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TABLE OF CONTENTS
Biographical Sketches
Scope and Content
…………………………………………………………………... 2
…………………………………………………………………………... 13
Series Notes …………………………………………………………………………………... 13
Container List …………………………………………………………………………………... 15
Robert Ambrose
…………………………………………………………………... 15
Florence Aylward
…………………………………………………………………... 15
J.W.B. …………………………………………………………………………………... 15
Jean-Guillain Cardon …………………………………………………………………... 15
Evaristo Felice Dall’Abaco …………………………………………………………... 15
Alphons Darr …………………………………………………………………………... 15
P.F. Fierlein …………………………………………………………………………... 15
Franz Jakob Freystadtler
…………………………………………………………... 16
Georg Golterman
…………………………………………………………………... 16
Gottlieb Graupner
…………………………………………………………………... 16
W. Moralt
…………………………………………………………………………... 16
Pietro Nardini …………………………………………………………………………... 17
Camillo de Nardis
…………………………………………………………………... 17
Alessandro Rolla
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Paul Alfred Rubens …………………………………………………………………... 17
Camillo Ruspoli di Candriano
…………………………………………………... 17
Domenico Scarlatti …………………………………………………………………... 17
Friederich Schneider …………………………………………………………………... 17
Ignaz Umlauf …………………………………………………………………………... 17
Miscellaneous Collections …………………………………………………………... 17
Unknown
…………………………………………………………………………... 18
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BIOGRAPHICAL SKETCHES
Robert Ambrose
Robert (Steele) [Ambrose]. Organist, choirmaster, composer, teacher, b Chelmsford, Essex, 7
Mar 1824, d Hamilton, Ont 30 Mar 1908. When the family moved to Hamilton from Guelph in
1845 he remained behind to work the farm, but in 1847 he joined his brother, Charles Jr, who
was a music teacher in Kingston, and Robert became organist-choirmaster at St George's Church
there. He was organist-choirmaster 1863-83 at the Church of the Ascension in Hamilton and also
taught 1864-89 at the Wesleyan Female College (later Wesleyan Ladies College, still later
Hamilton Ladies College). He was president in 1891 of the *Canadian Society of Musicians.
During this period he composed extensively. Among his approximately 80 songs, 14 part-songs,
and 25 instrumental pieces were Claridine (T.W. White 1872) for piano; 'Abide with Me'
(Suckling 1882) for voice and piano; 'May God Preserve Thee, Canada' (Suckling 1886), written
for chorus though recorded many years later (Columbia R4034) by the tenor Charles *Harrison;
and 'The Contrite Heart' (Suckling 1881), an anthem. *Nordheimer issued a series of songs and
part-songs, including at least seven for accompanied solo voice and three for quartet. Ambrose's
most famous composition, the sacred song 'One Sweetly Solemn Thought' with words by Phoebe
Carey, was published by Nordheimer in 1876, and has been included in numerous song
collections, including CMH vol 3. This volume also contains his song 'Under the Snow.' 'One
Sweetly Solemn Thought' was also adapted as a hymn tune (see CMH vol 5). It was recorded
many times by a variety of performers: as a vocal solo by Ernestine Schumann-Heink, as a duet
by Alma Gluck and Louise Homer, as a harp solo, an organ solo, and a trombone solo, and on at
least five piano rolls. (See Roll Back the Years.)
Source:
http://web.archive.org/web/20040305122249/http://www.nlc-bnc.ca/4/17/m17-118e.php?uid=67&uidc=ID
Florence Aylward
Florence Aylward (b. 1862, d. 14 October 1950) was an English composer known for ballads.
She was born at Brede Rectory in Brede, East Sussex, England in 1862, the daughter of the
Rector of Brede, Augustus Aylward and his wife Mary. Aylward studied at the Guildhall School.
Source:
http://en.wikipedia.org/wiki/Florence_Aylward
J.W.B.
[No Biographical Information Available]
Jean-Guillain Cardon
(b Mons, southern Netherlands, 18 Jan 1732; d Versailles, 18 Oct 1788). French violinist and
composer. He apparently lived in Champagne or Lorraine before going to Paris in 1761; it is
likely that he also spent some time in Brussels, as a certain Cardon was a violinist with the
Durancy troupe of actors there in 1753. He married Marie-Anne Petit before 1760, and after
settling in the Paris area began using the name Jean-Baptiste; it is therefore important not to
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confuse him either with his best-known son, Jean-Baptiste, often referred to as ‘Cardon fils’, or
with his near-contemporary, Jean-Baptiste Cardonne, often called Philibert Cardonne.
Cardon was appointed violon ordinaire in the royal chapel at Versailles in 1764, and about 1772
received the additional appointment of maître de violon to the teenage future Louis XVIII, from
which he was pensioned in 1774. His compositions include chamber works, mainly for the
violin, and song collections. A brother of Cardon was a cellist with the Concert Spirituel and
Théâtre Italien, and taught the cello to Jean-Guillain’s son Pierre.
Source:
Kenneth Langevin. "Cardon, Jean-Guillain." In Grove Music Online. Oxford Music Online,
http://www.oxfordmusiconline.com.ezproxy.mnl.umkc.edu/subscriber/article/grove/music/04917
(accessed February 21, 2011).
Evaristo Felice Dall’Abaco
(b Verona, 12 July 1675; d Munich, 12 July 1742). Italian composer. He was born into a family
of high social standing, his father being a jurist. As a boy he learnt the violin and the cello,
possibly under Torelli until the latter's removal to Bologna in 1685. In 1696 Dall'Abaco went to
Modena, where his services as a musician were much in demand despite his not being attached to
the court orchestra. His noted penchant for the French style may date from his Modena days,
since the director of the orchestra, Ambreville, was French. After 19 September 1701 no further
trace of Dall'Abaco exists in Modena, and the next mention of him is early in 1704 as a cellist in
the Bavarian court, where one of his colleagues was J.C. Pez. The defeat of the reigning elector,
Maximilian II Emmanuel, in the War of the Spanish Succession forced him to flee to the
Netherlands, where he brought a large retinue including many of his own musicians. Setting up
court in Brussels, Maximilian continued to patronize the arts extravagantly, but further French
reverses caused him to withdraw to Mons in 1706. The capitulation of Mons following the battle
of Malplaquet in 1709 sent the elector back to France, and a relatively impoverished court was
established in Compiègne by grace of Louis XIV. Throughout these unsettled times Dall'Abaco
remained at the elector's side. He had married Marie Clémence Bultinck in the Netherlands, and
their son Joseph-Marie-Clément was born in 1709 or 1710.
Dall'Abaco must have deepened his acquaintance with the French style after prolonged residence
in the Low Countries and France, though it was only after Maximilian's eventual triumphant
return to Munich in April 1715 that specifically French traits began to creep into his published
music. Dall'Abaco's loyalty and competence were rewarded by his appointment as
Konzertmeister in the reconstituted court orchestra and his elevation to the rank of electoral
councillor in 1717, a fact proudly advertised on the title-page of his fifth publication, a set of
concertos for various combinations. He also participated as a soloist in ‘academies’, the
precursors of the musical soirées of the 19th century, some of which were held at his own house.
Dall'Abaco remained in the service of the Bavarian court after Maximilian's death in 1726 and
the accession of the new elector, his son Karl Albrecht. Though a music lover like his father, the
new elector favoured a more up-to-date style of music than his Konzertmeister would, or could,
supply, with the result that Dall'Abaco's musical activities became increasingly relegated to the
background. A second set of concertos, published by Le Cène in 1735 as Dall'Abaco's op.6, is
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the sole proof of his continued creative work during this final phase. He seems to have retired on
a pension in 1740.
Dall'Abaco's surviving output is restricted to the 66 works published in his lifetime as opp.1–6.
Like Corelli, he seems to have taken unusual care in preparing his works for publication. The
result is a consistently high standard of craftsmanship allied to an original and inventive turn of
mind, which shows itself in individual details no less than in the broad design. Although the
musical materials Dall'Abaco worked with are accurately described as post-Corellian, he did not
hesitate to adapt or embroider them for special effect. His movements, whether binary or unitary,
are mostly long and restate material systematically, using large units. The French influence in his
music does not often extend to harmony, melodic style or ornamentation, but is seen in the
occasional adoption of the rondeau form and in French dance movements, such as the passepied,
with no traditional cultivation in Italy, and in a marked fondness for the parallel key (also, more
unusually, its satellite keys). Thus an excursion to G major in the course of a movement in E
major, such as occurs in the opening movement (Ciaccona) of the 12th sonata in his op.1, is no
novelty for him.
Source:
Michael Talbot. "Dall'Abaco, Evaristo Felice." In Grove Music Online. Oxford Music Online,
http://www.oxfordmusiconline.com.ezproxy.mnl.umkc.edu/subscriber/article/grove/music/07074
(accessed February 16, 2011).
Alphons Darr
[No Biographical Data Available]
P.F. Fierlein
[No Biographical Information Available]
Franz Jakob Freystadtler
(b Salzburg, 13 Sept 1761; d Vienna, 1 Dec 1841). Austrian composer. He was the son of Johann
Jacob Freystädtler (1723–87, composer, choirmaster and ‘Totensänger’ of St Sebastians-Kirche).
After serving as a choirboy in the fürstliches Kapellhaus, Freystädtler studied the organ with
Franz Ignaz Lipp, and in 1777 entered the Kapelle of St Peter, where he was organist until
September 1782. He then went to Munich as a piano teacher; he ran up debts, as he had done in
Salzburg, and was imprisoned. On 13 May 1786 he arrived in Vienna, where he studied
counterpoint with Mozart. Until 1961 it was thought that his book of studies (A-Sm) was
Mozart’s own material from his studies with his father Leopold. Mozart employed his pupil as a
copyist, and Freystädtler copied the Piano Concerto in B K456 and replaced six pages of the
autograph score of the String Quintet in G minor K516. During a lawsuit in 1786/7, in which
Freystädtler was accused of having stolen a piano, Mozart came to his help by posting bond for
him and presenting a written surety. In summer 1787 he was the eponymous hero of Mozart’s
project for a burlesque Der Salzburgerlump in Wien (K509b), which includes the canon Lieber
Freistädtler, lieber Gaulimauli (K509a). Freystädtler was still active as a piano teacher in 1834.
He moved into a pensioners’ home in April 1837 and died there, destitute, in 1841. Nowak’s
theory that Freystädtler was involved in completing the orchestration of the ‘Kyrie’ in Mozart’s
Requiem is ruled out by recent studies of his manuscripts.
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Freystädtler’s compositions include sonatas and sets of variations (and also a variation for
Diabelli’s Vaterländischer Künstlerverein, 1824), programmatic piano fantasies, two piano
concertos (a quattro), songs in the popular, simple style, and two cantatas. In 1793 he arranged
Mozart’s last three string quartets for piano trio (with viola). An arrangement for piano quartet of
the Piano and Wind Quintet K452 dating from 1786 and ascribed to him by Deutsch and Oldman
in 1931, must be regarded as spurious.
Source:
Michael Lorenz. "Freystädtler, Franz Jakob." In Grove Music Online. Oxford Music Online,
http://www.oxfordmusiconline.com.ezproxy.mnl.umkc.edu/subscriber/article/grove/music/48829
(accessed February 16, 2011).
Georg Goltermann
(b Hanover, 19 Aug 1824; d Frankfurt, 29 Dec 1898). German cellist, conductor and composer.
The son of an organist, he first studied the cello with A.C. Prell, one of Romberg’s last pupils. At
the age of 23 Goltermann moved to Munich to study the cello with Joseph Menter and
composition with Ignaz Lachner. In 1850 he began touring as a virtuoso cellist, at the same time
gaining recognition as a composer; his Symphony in A and First Cello Concerto date from this
period. His appointment in 1852 as music director in Würzburg effectively ended his short career
as a touring cellist. The following year he accepted the post of assistant music director in
Frankfurt, and in 1874 he became principal music director there. Goltermann’s own playing was
marked by an energetic and highly emotional delivery, and stood him in high regard among
cellists. His other compositions include orchestral overtures, songs, three sets of organ preludes
and many chamber pieces, among them the Romance and Serenade op.119 for four cellos.
Despite the success in his day of many of his works, it is Goltermann’s compositions for cello
that are chiefly remembered; his eight concertos so effectively demonstrate the lyrical and
virtuoso potential of the instrument that they continue to be in use as study pieces.
Source:
Marc Moskovitz. "Goltermann, Georg." In Grove Music Online. Oxford Music Online,
http://www.oxfordmusiconline.com.ezproxy.mnl.umkc.edu/subscriber/article/grove/music/11415
(accessed February 16, 2011).
Gottlieb Graupner
(b Verden, nr Hanover, 6 Oct 1767; d Boston, 16 April 1836). American musician, teacher and
publisher of German origin. He was a son of the oboist Johann Georg Graupner, but no evidence
has been found to link him with the earlier Christoph Graupner of Darmstadt. He was a skilled
performer on many instruments, but followed his father’s profession and joined a military
regiment in Hanover as oboist. He was honourably discharged in 1788 and shortly afterwards
travelled to London, where he was first oboist in the orchestra assembled for Haydn’s concerts
during 1791–2. He later immigrated to America where his first documented musical activity was
as a member of the City Theatre Orchestra in Charleston, South Carolina, performing an oboe
concerto on 9 November 1795. He married there Catherine Comerford Hillier, an English actress
and opera singer, and the couple soon moved to Boston and were engaged at the Federal Street
Theatre by January 1797.
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Dr. Kenneth J. LaBudde Department of Special Collections
Both Graupners were active as performers, and Gottlieb also opened a music store in which he
taught, published and sold music. During the early decades of the 19th century he became
Boston’s leading music publisher and dealer, selling music and instruments on consignment from
other dealers, and engraving and printing much music and instructional material himself. He was
leader of the Philharmonic Society throughout its existence (1809–24), and was a charter
member of the Handel and Haydn Society in 1815. Graupner’s influence on the musical life of
Boston was considerable because of the variety and scope of his activities through a long career.
Graupner wrote a few songs, in which the text appears between the two staves of one keyboard
system, Governor Brooks’ Grand March for flute and piano, and several instruction books:
Rudiments of the Art of Playing on the Piano Forte (Boston, 1806), New Instructor for the
Clarinet (Boston, 1811) and G. Graupner’s Complete Preceptor for the Clarinet (Boston, 1826).
Source:
Douglas A. Lee. "Graupner, Gottlieb." In Grove Music Online. Oxford Music Online,
http://www.oxfordmusiconline.com.ezproxy.mnl.umkc.edu/subscriber/article/grove/music/11655
(accessed February 16, 2011).
W. Moralt
[No Biographical Data Available]
Pietro Nardini
(b Livorno, 12 April 1722; d Florence, 7 May 1793). Italian violinist and composer. He
displayed an early musical talent and received his first lessons in the town of his birth. In 1734
he was accepted as a pupil of Tartini in Padua and soon became his favourite student (according
to Leoni and Burney). He then undertook an intensive programme of teaching and giving public
and private concerts, for which he often went abroad for long periods. In 1760 he was in Vienna
at the wedding festivities of the crown prince; from October 1762 until March 1765 he served at
the court in Stuttgart under the direction of Jommelli, returning to his own country only for short
visits; in 1765 he went to Brunswick, and in May 1766 he returned to Livorno. Two years later
he was appointed solo violinist, and later music director, at the chapel of the court of the Grand
Duke Leopold of Tuscany in Florence, where he remained until his death. The Florentine
orchestra was made up of eminent musicians, including Campioni and Dôthel, who helped raise
the musical and cultural level of the town: Nardini, for example, was a close friend of the poet
Corilla Olimpica-Maddalena Morelli, and was himself a member of the Arcadia under the name
of Terpandro Lacedemone. His one absence from Florence was during Tartini's final illness,
when, according to Burney, he cared for the dying maestro with true filial affection and
tenderness.
Nardini was famed not only for his orchestral playing but also for his solo performances, which
he gave until the 1790s. He performed at the court of Ferdinand III of Bourbons in Naples, in
Rome at the Gonzaga residence and in Pisa in the presence of Emperor Joseph II in 1784. His
compositions reflect his abilities as a performer. He was noted for his perfect technique,
excellent bow control and a superb sound. Leopold Mozart heard him play in 1763 and
remarked: ‘The beauty, purity and evenness of his tone and his cantabile cannot be surpassed’.
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He was particularly famed for his performance of adagio movements, which were more suited to
his lyrical rather than dramatic nature. According to Schubert, he managed to move even the
most insensitive listeners by the deep emotions expressed so effortlessly and naturally. His
compositions, accordingly, combine two traits typical of the Italian style in the 18th century:
cantabile and passionate writing in slow movements and fluency in fast ones.
Source:
Maria Teresa Dellaborra. "Nardini, Pietro." In Grove Music Online. Oxford Music Online,
http://www.oxfordmusiconline.com.ezproxy.mnl.umkc.edu/subscriber/article/grove/music/19572
(accessed February 16, 2011).
Camillo de Nardis
Camillo de Nardis (Orsogna, May 26, 1857 – Naples, August 5, 1951) was an Italian composer.
He was also a conductor and teacher.
He taught at the Conservatory San Pietro a Majella in Naples between 1882 and 1884,
Nunziatella Military Academy from 1885, and at the Conservatory of Palermo between 1892 and
1897. From 1907 to 1922 he resumed teaching at the Conservatory of Naples, where he held the
position of deputy director, succeeding Paul Serrao, until 1929.
He was the author of a treatise on Harmony published by Ricordi in 1921. He also wrote sacred
music, chamber, and revisions of music for harpsichord. Often introduced in his music elements
from the folk tradition of Abruzzo: Abruzzo Scene, his orchestral work, two suites for symphony
orchestra, is also published by Ricordi.
His catalog also includes several operas, including Stella (1898), commissioned by the publisher
Sonzogno to be represented in the Teatro Lirico in Milan, although he was given a preview at the
Teatro Marrucino of Chieti.
Source:
Translated from http://it.wikipedia.org/wiki/Camillo_De_Nardis
Alessandro Rolla
(b Pavia, 23 April 1757; d Milan, 14 Sept 1841). Italian composer, violinist and viola player. He
studied counterpoint in Milan with G.A. Fioroni, a pupil of Leonardo Leo. Having decided to
devote himself to the viola, he performed a viola concerto of his own in the church of S
Ambrogio at some time between 1772 and 1774, probably under the direction of G.B.
Sammartini, and in 1778 he played the viola in the orchestra for the inauguration of the Regio
Ducal Teatro alla Scala. In 1782, possibly thanks to Sarti, he was appointed first viola player in
the Parma orchestra, becoming its leader and conductor in 1792. In 1802, on the death of the
Duke of Parma, he was summoned by the impresario Ricci to conduct the La Scala orchestra,
where he remained until 1833, directing operas by Mozart, Mayr, Paer, Rossini, Bellini, the
young Donizetti and Mercadante. He also served as first violinist and conductor of the court
orchestra of Viceroy Eugenio di Beauharnais from 1805, and from 1808 to 1835 he was first
professor of violin and viola at the newly opened Milan Conservatory.
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Continuing the northern Italian tradition of Sammartini and others, Rolla was very active in the
field of instrumental music. In 1813 he performed excerpts from Beethoven's Prometheus music
at La Scala and gave private performances of Beethoven's fourth, fifth and sixth symphonies in
Milan, and in 1823 he gave the first public performance of a Beethoven symphony at La Scala.
After retiring from the conservatory he began private performances of chamber music in his own
home; here too he was a pioneer in his emphasis on Beethoven. One of those involved, from
1840 onwards, was the young Antonio Bazzini, later the leading Beethoven interpreter in Italy.
Rolla's compositions, which number some 500 or more, relate to both the Italian instrumental
tradition (particularly that of Boccherini) and the Viennese Classical style. His solo concertos
reveal the influence of Mozart in the short development sections of their sonata form movements
and the clear structural separation of soloist and orchestra; the solo writing is technically
demanding, although it requires nothing like the supreme virtuosity of Paganini. The viola
concertos, inexplicably neglected by 20th-century performers, are idiomatically written for the
instrument. The symphonies are each in a single movement in the form of an Italian opera
overture; in some the treatment of the orchestra and the thematic style contain superficial echoes
of Mozart, while in others Rolla prefers a freer form with much concertante work between
strings and woodwind. In his chamber music Rolla displays his increasing familiarity with
Beethoven's music: for example, the opening of the F minor Quartet of op.2 openly recalls that
of Beethoven's op.18 no.1. The formal and tonal schemes of Rolla's quartets make them the
closest of his works to Viennese classicism.
Source:
Antonio Rostagno. "Rolla, Alessandro." In Grove Music Online. Oxford Music Online,
http://www.oxfordmusiconline.com.ezproxy.mnl.umkc.edu/subscriber/article/grove/music/23709
(accessed February 16, 2011)
Paul Alfred Rubens
b. Paul Alfred Rubens, 29 April 1875, London, England, d. 25 February 1917, Falmouth,
Cornwall, England. Scion of a rich family, Rubens wrote songs while studying at Oxford
University. Although musically untrained, when still in his teens Rubens had a song, ‘The Little
Chinchilla’, interpolated into The Shop Girl (1894), a hugely successful show at George
Edwardes’ Gaiety Theatre. Rubens continued to write songs and his ‘Me Gettee Outee Velly
Quick’ was interpolated into another Edwardes show, San Toy (1899). His additional songs for
Floradora (1899) made his name and Edwardes continued to add Rubens’ songs to other shows.
Among these were The Messenger Boy (1900), The Toreador (1901), A Country Girl and The
Girl From Kays (both 1902), The School Girl (1903), The Blue Moon and The Cingalee (both
1904). Mostly, Rubens’ songs were written in collaboration with others, including his brother
Walter Rubens, Landon Ronald and, later, Harry Graham, Percy Greenback, Howard Talbot and
Arthur Wimperis.
Encouraged by the success of individual songs, Rubens wrote book, music and lyrics for three
shows, Three Little Maids (1902), Lady Madcap (1904), and Mr Popple Of Ippleton (1905). He
collaborated on music and lyrics for The Dairymaids (1906), and on the book for Miss Hook of
Holland (1907), also writing music and lyrics. He wrote music for My Mimosa Maid (1908),
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book, music and lyrics for Dear Little Denmark (1909), and the following year collaborated on
music and lyrics for The Balkan Princess. He collaborated extensively on The Sunshine Girl
(1912) and The Girl From Utah (1913) before completing another largely solo effort, 1914’s
After The Girl, with some assistance from Greenbank. He wrote the book for Tina (1915) with
Graham who also worked with him on lyrics, as did Greenbank. The music was completed in
collaboration with Haydn Wood. Throughout his life Rubens was sickly and although in
seriously failing health he worked on The Happy Day (1916). He had formed a close attachment
with Phyllis Dare who had starred in The Sunshine Girl, a 1914 revival of Miss Hook Of Holland
and Tina. They hoped to marry, but aware of his probable early demise abandoned their plans.
Although Rubens’ songs admirably suited the light-hearted shows in which they were featured,
most were ephemeral. One though, from The Messenger Boy, lived on: ‘Tell Me Pretty Maiden
(Are There Any More At Home Like You?)’.
Source:
"Rubens, Paul." In Encyclopedia of Popular Music, 4th ed., edited by Colin Larkin. Oxford
Music Online,
http://www.oxfordmusiconline.com.ezproxy.mnl.umkc.edu/subscriber/article/epm/89995
(accessed February 16, 2011).
Camillo dei Principi Ruspoli
(Rome, January 10, 1882 – Havana, September 5, 1949), was the 2nd and last Principe di
Candriano, son of Emanuele Ruspoli, 1st Prince of Poggio Suasa, and second wife Laura
Caracciolo dei Principi di Torella, Duchi di Lavello, Marchesi di Bella. His great-great-uncle
was Cardinal Bartolomeo Ruspoli. He was also a half-great-uncle of actor Bart Ruspoli.
His maternal uncle, Giuseppe Caracciolo (1849 – 1920), Patrizio Napolitano, married twice and
without issue, was the 1st Prince of Candriano (formerly Marquis of Candriano) (12 May 1893 –
1 October 1920).
Source:
http://en.wikipedia.org/wiki/Camillo_Ruspoli,_1st_Prince_of_Candriano
Domenico Scarlatti
Italian composer and harpsichordist, son of Alessandro Scarlatti. Thought to have been pupil of
his father and after 1708 of Pasquini and Gasparini in Venice, where he met Handel. In 1709,
according to one biographer, Handel's patron, Cardinal Ottoboni, arranged a friendly keyboard
contest between Handel and Scarlatti which was a tie, Handel being adjudged the better organist
and Scarlatti the better harpsichordist. Worked in Rome 1708 – 19. Choirmaster to Queen of
Poland, composing operas for her private theatre in Rome. Choirmaster, Cappella Giulia at St
Peter's 1714 – 19. Court harpsichordist to King of Portugal and teacher of Princess Maria
Barbara in Lisbon 1719 – 28; returned to Italy on leave 1725 – 9; accompanied Maria Barbara to
Spain on her marriage to the Spanish Crown Prince in 1729. Stayed in Madrid for rest of his life,
becoming Maria Barbara's maestro de cámera when she became queen. Domenico did for
keyboard‐playing what his father did for opera, by imparting to it a hitherto unsuspected freedom
of style. Introduced many new technical devices (rapid repetitions, crossed hands, double‐note
passages, etc.) and the 550 single‐movement sonatas he wrote in Spain are exercises (esercizi) as
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well as innovatory compositions foreshadowing sonata form. Also composed 14 operas, masses,
Stabat Mater for 10 vv., Salve Regina, cantatas, at least 12 concerti grossi, 17 sinfonias, and org.
fugues. His works have been catalogued by R. Kirkpatrick, superseding the Longo catalogue
begun in 1906.
Source:
"Scarlatti, Domenico." In The Oxford Dictionary of Music, 2nd ed. rev., edited by Michael
Kennedy. Oxford Music Online,
http://www.oxfordmusiconline.com.ezproxy.mnl.umkc.edu/subscriber/article/opr/t237/e9005
(accessed February 16, 2011).
Friderich Schneider
Johann Christian Friedrich Schneider (born Alt-Waltersdorf, January 3, 1786 - Dessau,
November 23, 1853) was a German composer and conductor.
Schneider studied piano first with his father Johann Gottlob Schneider, and then at the Zittau
Gymnasium with Schönfelder and Unger. His first published works were a set of three piano
sonatas in 1804. In 1805, he commenced studies at the University of Leipzig. He became an
organist at St. Thomas Church, Leipzig in 1812, and was named conductor in Dessau in 1821. It
is thought that Schneider premiered Ludwig van Beethoven's Piano Concerto No. 5 in Leipzig in
1811. In 1824, he was festival director of the Lower Rhenish Music Festival and his oratorio
"Die Sündflut" was premiered during this event.
Schneider composed copiously. Among his works are seven operas, four masses, six oratorios,
25 cantatas, 23 symphonies, seven piano concertos, sonatas for violin, flute, and cello, and a
number of shorter works for voice and for piano, as well as both solo and part songs.
Source:
http://en.wikipedia.org/wiki/Friedrich_Schneider
Ignaz Umlauf
(b Vienna, 1746; d Meidling, nr Vienna, 8 June 1796). Austrian composer, conductor and viola
player, father of Michael Umlauf. His name first appears as fourth viola player in the Vienna
court orchestra in 1772, from which year his Singspiel Die Insul der Liebe probably dates. By
1775 he had advanced to the post of principal viola player in the German Theatre orchestra, and
by 1778 he was highly enough regarded to be given the commission to write the first work for
Joseph II’s new ‘German National Singspiel’, Die Bergknappen, to a libretto by Joseph
Weidmann. Umlauf was appointed Kapellmeister to the new venture at a modest 600 florins a
year, less than some of the singers received. Four further works by him were given before the
first closure of the Singspiel company in 1783, including Die schöne Schusterin oder Die
pücefarbenen Schuhe (1779), which, partly because of the much-loved Marianna Weiss in the
title role, had over 60 performances in 23 years and was also staged in at least four other Vienna
theatres, and Das Irrlicht (1782), which also exceeded the 30 repetitions of Die Bergknappen.
By 1783 Umlauf had advanced to the position of Salieri’s deputy Kapellmeister at a salary of
850 florins a year, and he also had the responsibility (and additional remuneration) for
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instructing seven boy choristers. After the closure of the National-Singspiel in 1788 he was
appointed second Kapellmeister to the Hofkapelle. He played the keyboard continuo at the
performance Mozart conducted on 26 February 1788 of C.P.E. Bach’s oratorio Die Auferstehung
und Himmelfahrt Jesu; and on 6 March 1789 he directed the singers in the Messiah performance
in Mozart’s orchestration and under his direction. On the occasion of Leopold’s coronation at
Frankfurt in 1790 Umlauf made his only lengthy journey from Vienna, being part of the official
entourage of the emperor. He died shortly after his appointment as music teacher to the imperial
children.
Umlauf was the most successful Viennese Singspiel composer before Dittersdorf began to
establish himself in this popular genre in the mid-1780s; he was studious and careful and had a
marked melodic gift (his air ‘Zu Steffen sprach im Traume’ from Das Irrlicht was a particular
favourite, as witness Eberl’s set of variations long attributed to Mozart). His tendency to
juxtapose such stylistic features as Italian coloratura arias and homely Austrian songs and dances
is characteristic but by no means original; the best of his scores would still prove viable, not only
because of their effective orchestration but also because, despite the occasionally jerky effect of
rapid key change, they reveal sufficiently marked gifts of dramatic timing and musical
characterization to make Mozart’s comments (e.g. the letters of 21 December 1782 and 5
February 1783, admittedly discussing Welche[s] ist die beste Nation?, one of his least successful
scores) seem rather intolerant. It was no doubt mainly due to a lack of resilience and power of
development, however, that his last success dates from his 36th year, a few months before the
première of Mozart’s Die Entführung aus dem Serail: none of Umlauf’s last three Singspiele
achieved double figures in the repertory lists, and by the time of his death only Die schöne
Schusterin and Das Irrlicht were still being performed.
Source:
Peter Branscombe. "Umlauf, Ignaz." In Grove Music Online. Oxford Music Online,
http://www.oxfordmusiconline.com.ezproxy.mnl.umkc.edu/subscriber/article/grove/music/28746
(accessed February 16, 2011).
Elias Howe
[Compiler of Quintuple Musician’s Omnibus; see section: Miscellaneous Collections]
(b Framingham, MA, 1820; d Watertown, MA, 6 July 1895). American music publisher and
music and instrument dealer. According to several accounts he was a farmhand and fiddler. He
compiled a large collection of fiddle tunes popular at local dances and persuaded the Boston
publishers Wright & Kidder to publish it as The Musician’s Companion. As a result of his
success in selling this collection from door to door, he opened a music shop in Providence,
Rhode Island, in 1842, and set up a similar business in Boston in 1843. His books of
arrangements and instrument instruction were popular: the Complete Preceptor for the
Accordeon (1843) sold over 100,000 copies, and his violin self-mastery volumes sold over
500,000 copies. In 1850 he sold his catalogue to the Boston publisher Oliver Ditson and agreed
not to publish music for ten years. During that period he lived on his newly acquired estate in
South Framingham, managed the South Reading Ice Company and compiled editions of dance
music and dance instruction books.
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In 1860 Howe re-entered the publishing business in Boston at 33 Court Street, where he also sold
drums, fifes and other instruments needed for Civil War bands. His expanded catalogue included
numerous arrangements for band, orchestra, solo instruments and voice. By 1871 he was
collecting rare string instruments, and by the late 1880s was one of the largest dealers in rare
violins, violas, cellos, viols, violas d’amore, guitars and banjos in the USA. After his death his
sons William Hills Howe and Edward Frank Howe carried on the business, specializing in the
sale and repair of violins, plucked string instruments and their fittings. When the company was
sold in 1931, the music catalogue plates were destroyed and the rare instrument collection was
dispersed.
Source:
Cynthia Adams Hoover. "Howe, Elias." In Grove Music Online. Oxford Music Online,
http://www.oxfordmusiconline.com.ezproxy.mnl.umkc.edu/subscriber/article/grove/music/13432
(accessed February 16, 2011).
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SCOPE AND CONTENT
The Classical Music Manuscript contains a wide array of score and parts, in both manuscript and
printed form, from composers and music educators dating back to the Eighteenth Century. Along
with recognizable names such as Domenico Scarlatti, there are many far lesser known composers
from the time of Mozart and Beethoven that are represented here in this collection, with rare
scores and pedagogical manuals. Not only are the items an interesting glimpse into virtually
unknown works, they are a valuable resource for those seeking insight into notational practices
of the Eighteenth and Nineteenth Centuries.
SERIES NOTES
Robert Ambrose
Contained in Box 1, Folder 1; Includes one manuscript part.
Florence Aylward
Contained in Box 1, Folder 1; Includes one manuscript score.
J.W.B.
Contained in Box 1, Folder 1; Includes two manuscript scores.
Camillo Ruspoli di Candriano
Contained in Box 4, Folders 1-2; Includes two manuscript scores.
Jean-Guillain Cardon
Contained in Box 1, Folder 1; Includes one manuscript score.
Evaristo Felice Dall’Abaco
Contained in Box 1, Folder 1; Includes manuscript parts.
Alphons Darr
Contained in Box 1, Folder 2; Includes instructional book for how to play the Zither.
P.F. Fierlein
Contained in Box 1, Folders 3-5; Includes ten manuscript scores and parts.
Franz Jakob Freystadtler
Contained in Box 1, Folders 6-7; Includes nine sets of manuscript parts.
Georg Golterman
Contained in Box 2, Folder 1; Includes one manuscript part.
Gottlieb Graupner
Contained in Box 2, Folder 1; Includes two editions of an instructional book on how to play the
Piano Forte.
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W. Moralt
Contained in Box 2, Folder 2; Includes instructional book for how to play the Zither.
Pietro Nardini
Contained in Box 2, Folder 2; Includes a collection of printed scores.
Camillo de Nardis
Contained in Box 2, Folder 2; Includes one manuscript score.
Alessandro Rolla
Contained in Box 2, Folder 3; Includes one manuscript score and parts.
Paul Alfred Rubens
Contained in Box 2, Folder 3; Includes two manuscript scores.
Domenico Scarlatti
Contained in Box 2, Folder 4; Includes one printed collection of scores.
Friederich Schneider
Contained in Box 3, Folder 1; Includes one printed score.
Ignaz Umlauf
Contained in Box 3, Folder 2; Includes one bound manuscript score.
Miscellaneous Collections
Contained in Box 3, Folders 3-4; Includes two manuscript books and one printed collection of
tunes.
Unknown
Contained in Box 3, Folders 5; Includes one set of manuscript parts.
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Box
Folder
Description
Dr. Kenneth J. LaBudde Department of Special Collections
CONTAINER LIST
Box
Folder
Description
1
1
Robert Ambrose
One Sweetly Solemn Thought
- Manuscript Violin Part, 1 p.
Florence Aylward
An Anthem of Love for Contralto, Baritone, and Piano.
- Manuscript Score, 4 pp.
J.W.B.
Assorted Traditional Songs
- Manuscript Score (Melodies and Lyrics only), 11 pp.
Ich lieben sie for Piano.
- Manuscript Score (St. Louis, MO, May 23, 1872), 2 pp.
Jean-Guillain Cardon
Sonata No. 1 in Bb Major for Piano or Harp.
- Manuscript Score, 6 pp.
Evaristo Felice Dall’Abaco
Concerti a quattro da chiesa Op. 2 No. 4 and 5
- Manuscript Parts, 12 pp.
2
3
4
5
Alphons Darr
Nueste vollstandige Zitherschule (Instructional text for Zither).
- Hardcover Book in German, 114 pp.
P.F. Fierlein
Bagatellen for Two Guitars.
- Manuscript Parts, 13 pp.
Divertimenti Melodiosi for Two Guitars
- Manuscript Parts, 14 pp.
Divertissement for Two Guitars.
- Manuscript Parts w/ Photocopies, 14 pp.
Drei Waltzer for Two Guitars
- Manuscript Parts, 20 pp.
Five Sonatines (arr. for Two Guitars).
- Manuscript Parts, 12 pp.
Popular Melodies for Two Guitars.
- Manuscript Parts, 22 pp.
Pot-pourri uber Tyroler National-Melodien for Guitar.
- Manuscript Parts, 16 pp.
Sonata (arr. for Guitar).
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Box
Folder
Description
(1
5)
1
6
2
Dr. Kenneth J. LaBudde Department of Special Collections
- Manuscript Score, 6 pp.
Variations avec… for Guitar.
- Manuscript Score, 14 pp.
Syrian Waltzes for Two Guitars.
- Manuscript Parts, 7 pp.
7
Franz Jakob Freystadtler
Alma
- Manuscript Parts: Alto, Tenor, Violin I, Violin II, Organ (w/
figured bass), 8 pp.
Alma
- Manuscript Parts: Soprano, Violin, Organ (w/ figured bass), 3 pp.
Ave Regina
- Manuscript Parts: Soprano, Violin, Clarino, Organ (w/ figured
bass), 4 pp.
Ave Regina
- Manuscript Parts: Soprano, Alto, Tenor, Bass, Violin I, Violin II,
Organ (w/ figured bass), 11 pp.
Salve Regina
- Manuscript Parts: Soprano, Alto, Tenor, Bass, Violin I, Violin II,
Clarino I, Clarino II, Organ (w/ figured bass), 9 pp.
Salve Regina
- Manuscript Parts: Soprano, Organ (w/ figured bass), 4 pp.
Salve Regina
- Manuscript Parts: Soprano, Alto, Violin I, Violin II, Organ (w/
figured bass, 2 different versions), 6 pp.
Salve Regina
- Manuscript Parts: Soprano, Violin, Organ (w/ figured bass), 3 pp.
Salve Regina a 5 Vocibus
- Manuscript Parts: Soprano, Violin I, Violin II, Viola, Organ (w/
figured bass), 10 pp.
1
Georg Golterman
Untitled MS
- Manuscript Part (Cello?), 2 pp.
Gottlieb Graupner
Rudiments on the Art of Playing on the Piano Forte
- First Edition, 40 pp.
- Second Edition (1819), 51 pp.
2
W. Moralt
Nueste grundliche und leicht-fassliche theoretisch-praktische ZitherSchule
- Printed Edition, 37 pp.
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Box
Folder
Description
(2
2)
Dr. Kenneth J. LaBudde Department of Special Collections
Pietro Nardini
Sei Sonate per Violono Solo e Basso
- Printed Collection, 30 pp.
Camillo de Nardis
Serenata Barcarola for Piano
- Manuscript Score, 4 pp.
2
3
Alessandro Rolla
Concerto for Viola and Orchestra
- Manuscript Score, ed. Sydney Beck, 35 pp.
- Manuscript Viola Part, ed. Sydney Beck, 9 pp.
Paul Alfred Rubens
Burmah Girl for Voice and Piano
- Manuscript Score, 5 pp.
I Love You Ma Cherie
- Manuscript Score, 6 pp.
Camillo Ruspoli di Candriano [located in oversized box 4]
Capriccio Napoletano for Orchestra
- No. 1: Manuscript Conductor’s Score, 42 pp. [box 4, folder 1]
- No. 2: Manuscript Conductor’s Score, 38 pp. [box 4, folder 2]
4
3
Domenico Scarlatti
Sonatas, Book XII (Books 1 and 2)
- Printed Collection, Published June 13 1771, Edited by John
Worgan, 89 pp.
1
Friederich Schneider
Missa solis vocibus humanis
- Printed Score, 51 pp.
2
Ignaz Umlauf
Messa
- Bound Manuscript Score, 128 pp.
3
4
Miscellaneous Collections
Manuscript Books (2)
- Filled with Manuscript Hymns, Musical Exercises, etc., 22 pp.
and 44 pp.
Quintuple Musician’s Omnibus
- Collection of Hundreds of Tunes, Compiled by Elias Howe, 2
Volumes, 200 pp.
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Box
Folder
Description
3
5
Dr. Kenneth J. LaBudde Department of Special Collections
Unknown
Mass in A Major
- Manuscript Parts: Tenor, Bass, Violin, 12 pp.
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