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Music Manuscripts: Series 7: Part 3: Royal Academy of Music, London: Previously Uncatalogued Manuscripts


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About this Collection

Music Mss from the Great English Collections: Series VII Royal Academyof Music

Introduction; MusicManuscripts from the Great English Collections: The Music Collection of theRoyal Academy of Music, London: Series 7: Parts 1-3

 

Publishers Note:British and Continental Music Manuscripts, Sections A and B; PreviouslyUncatalogued Music Manuscripts

 

The Royal Academy of Music has, since its foundation in1822, become one of the worlds most highly respected training grounds formusicians. It also houses one of Britains finest collection of musicmanuscripts, yet this collection has hitherto remained in relative neglect forwant of a printed catalogue. Research Publications (now Primary SourceMicrofilm, an imprint of Thomson/Gale) now present a selections of thesemanuscripts as Series Seven of the programme Music Manuscripts from the Great English Collections.

 

The selection of manuscripts has been made with the help ofProfessor Roger Bray of Lancaster University and Joan Slater, Librarian of theRoyal Academy of Music. The programme is presented in three parts: Part One,British and Continental Music Manuscripts Section A; Part Two, British andContinental Music Manuscripts Section B; and Part Three, PreviouslyUncatalogued Music Manuscripts, now listed and described for the first time.

 

Over half of the collection is devoted to the works ofnotable European composers. From the Italian school there are works by Bassani,Carissimi, Corelli, Hasse, Leo, Lotti, Negri, Pergolesi, Porpora, Scarlatti,Vivaldi and others. Classical, Nationalist and Romantic figures dominate themanuscripts of Northern European composers, and include: Bizet, Brahms, Grieg,Liszt, Massenet, Mozart, Rossini, Saint-Saens, Schubert and Schumann.

 

The collection also broadly reflects the history of music inEngland and the history of the Royal Academy. Works by William Crotch, firstprincipal of the Academy are included, as are pieces by later students andteachers, including Sir Arthur Sullivan, Sterndale Bennett, John Wesley, EdwardElgar and Gustav Holst. There are also important groups of manuscripts bylesser known composers such as Edward Bache and Sir Alexander Mackenzie.

 

There is no printed catalogue to these manuscripts, but thesubstantial card catalogue forms the basis for the entries in this guide. Thecatalogue also appears in full on the first reel of the programme. Any slightvariations in format of cataloguing conventions between cards, are the productof its long history, and changes in library practise over the years.

 

Guide entries to previously uncatalogued items in Part Threefollow the current Royal Academy of Music style.

 

As the manuscripts are filmed in catalogue order (i.e. bymanuscripts number) the guide includes a composer index, to aid the researcherin locating items of likely interest.

 

A brief Contents of Reels, giving the manuscript numbersonly appears at the start of each reel. The detailed listing appears in full onthe first reel and the relevant pages are reproduced on subsequent reels.

 

Research Publications are indebted to Ms. Joan Slater andher staff for their time, care and assistance in the preparation of thisprogramme. We must also thank Professor Roger Bray for his invaluable advice inthe selection of manuscripts for this edition.

 

The History of theManuscripts Collection at The Royal Academy of Music Library

 

The Royal Academy of Music is among the oldest schools ofmusic in Europe. It was founded in 1822 by John Fane, Lord Burghersh, theeleventh Earl of Westmorland. The earliest references to the presence of alibrary also date from the first decade of the Academys existence. During thattime each professor was in charge of his/her own music which was keptseparately from the librarys collection. Eventually, however, these individualcollections were amalgamated as the professors left their music to the Academywhen they retired or died. Today, seventy per cent of the library collectioncomprises gifts and bequests from past professors, students and friends. Thepolicy of the Academy to date has remained one of non-acquisition wherearchival material is concerned. Records of donors, together with dates, had notbeen maintained for the majority of the gifts received by the Academy until theearly 1920s when the Library Committee was formed, but by this time, themanuscript collection had already settled into its present size. The majorsource of information as to the provenance of the manuscripts in the collectionhas been through inscriptions, notes and signatures in the manuscriptsthemselves.

 

The majority of the manuscripts date from the lateseventeenth century to the early twentieth century and a substantial part ofthe collection consists of manuscripts of the Academys professors. There aresome which date from the early part of the seventeenth century but these aresmall in number and represent only a limited group of composers, mainlyItalian.

 

The most valuable manuscript in the Royal Academy of Musics(R.A.M.) collection is that of Henry Purcells Fairy Queen (Ms. 3) whichwas only discovered in the Academy archives in 1901. A description of this findwas noted by J. Percy Baker, the editor of the R.A.M. Club Magazine:

 

Much interest has been evoked by the discovery of the fullscore of Purcells Fairy Queen in the Library of the Royal Academy of Music.The work was originally produced in 1692, but for a second performance a yearafter Purcell added some more numbers, which are included in this score. Theopera has been missing for about 200 years, notwithstanding that at the time ofits disappearance a reward of twenty guineas was offered for its restitution. Itnow appears that for the last 60 years it has lain amongst a quantity of musicbequeathed to the Academy by R.J.S. Stevens, the glee composer, which issupposed to have come from the library of Dr. Pepusch, who about 1700 wasengaged at Drury Lane to adapt operas. If this supposition be well foundedthe mysterious disappearance seems to be explained, though one would be loathto accuse Pepusch of confusing to adapt with the wise use of convey.1

 

The manuscript is chiefly by copyists although there aresome sections which are holograph, possibly the added numbers which Purcellincluded for the second performance of the work.

 

As J. Percy Baker surmised, the manuscript probably camefrom the library of Pepusch. Johann Christoph Pepusch (1667-1752), the Germancomposer and theorist, famous for his opposition to Handels opera seria production in London and forhis involvement in Gays Beggars opera, was a founder-member anddirector of the Academy of Ancient Music, a society which aimed to promote themusic of the older masters. He was regarded as the most learned antiquarian ofhis day and was an avid collector of antiquarian music much of which he left tothe Academy of Ancient Music and his various pupils after his death. Pepuschmust have found the Fairy Queen at Drury Lane when he was an activecomposer of ballad opera and, recognising it as a work of historicalimportance, kept it for his collection. One of his pupils, an activeparticipant in the activities of the Academy of Ancient Music, was WilliamSavage (1720-1789), the English composer, organist and bass singer. How Savagecame to possess the manuscript is not known; possibly Pepusch gave it to Savagewho was held in much estimation by his contemporaries for his abilities andingenuity in his profession according to R.J.S. Stevens.2

 

Richard John Samuel Stevens (1757-1837) was a distinguishedand favourite student of William Savage. He later became the organist at theCharterhouse in 1796, and from 1801 onwards was the Gresham Professor of Music.Today he is remembered primarily as a composer of glees, although he alsocomposed anthems, some keyboard sonatas, and a few songs and hymn tunes.According to H.G. Farmer, manuscripts belonging to Savage came into thepossession of Stevens at the death of the Rev. George Savage, the son of thecomposer in 1816.3 Stevens bought part of the Savage collectionfrom Sothebys whose sales catalogue (number S.C.S. 100 (6)) gives the date ofthe auction as Friday, May 2, 1817. Stevens purchased mainly motets, anthemsand cantatas of various Italian composers, primarily seventeenth century andcontemporary.

 

According to Walter Stock, Librarian at the Academy from1927 until 1970, the R.A.M. Committee of Management had formally accepted theR.J.S. Stevens bequest in January 1865, twenty eight years after Stevenssdeath.4 The collection remained untouched for thirty six years until1901 when the musicologist and pianist Henry Davey (1853-1929) began tocatalogue the Academys collection as part of his research into sixteenth andseventeenth century English music. Why Stevens bequeathed his collection to theAcademy is not known, especially since he had a son, Richard George Stevens,with whom he frequented concerts (as Stevenss Recollections suggest)and also a great niece Minny Jeffery who seems to have been an able pianist.Stevens appears to have been a generous man, for as Charles Cudworth writes inhis annual summing-up, at the end of 1817, having given away something like athousand pounds during the course of the year, he wrote on the last page of hisdiary for that year:

 

Freely ye have received, freely give,
So says my dearest Anna, and so says
R.J.S. Stevens.5

Stevens left his own musical autographs, and diaries to hisfamily for none of his music or his writings are represented in the R.A.M.collection. His writings which are an important source of information on thesocial and musical life of the late eighteenth and early nineteenth centuriesare now housed in the Pendlebury Library, Cambridge and his musical autographsare in the Fitzwilliam Museum. Only a copy book entitled Rules for learningmusic, 1773 (Ms. 169) compiled whilst Stevens was being taught by Savage, andwhich contains the rudiments of music and thorough bass remain as an example ofStevenss own work.

 

There are no references to Sevens in either of the twohistories of the Royal Academy of Music, compiled by the Academys secretary,Rev. W.W. Cazalet in 1854 and by the curator and professor of composition,Frederick Corder in 1922. However, there is a record of Stevens meeting one ofthe professors of the Academy in his Recollections. The professor wasMr. Bochsa who was regarded as the most celebrated performer on the harp.Stevens met Mr. Bochsa when he and his wife Anna went to a subscription concertin Brighton on October 13, 1828.6 However, this meeting took placenine years before Stevens died and may not have any relevance to his leavinghis valuable collection to the Academy because, by 1837, Bochsa was no longerassociated with the Academy having been dismissed for misconduct in 1829. Amore relevant clue occurs in a manuscript of Charles Lucas (1808-1869), thethird principal of the Academy, which has Stevenss signature at the end. Themanuscript is number 1003, a Magnificat for unaccompanied voices (SATB)with figured organ part for practice. Stevens knew Lucas who had begun teachingat the Academy in 1832. At the time of Stevenss death, the Academy had alreadybeen given the Royal Charter although its future was financially uncertain, awidely known fact. Stevens, being the generous man he was, and knowing aprofessor at the Academy, may have decided that the institution was worthy ofpreserving his collection.

 

As stated previously, the majority of the manuscripts fromthe Savage-Stevens bequest in the Academy Archives date from the seventeenthand eighteenth centuries. This can be explained by Stevenss preference forearlier music and by his association and active participation in the Academy ofAncient Music. His Recollections state his resentment toward the noiseand violence or boisterousness of nineteenth century music and it was muchlater in life that he came to appreciate the music of Beethoven.7Also as Trend states, there was competition between the activities of the RoyalPhilharmonic Society which encouraged the performance of contemporary music,that is, the music of Mozart and Beethoven, and the Academy of Ancient Musicwhere Stevens had for years been in the habit of attending the morningrehearsals of the Ancient Concerts, [and] the music performed was usuallyconfined to composers who were dead, or whose music, at any rate, might alreadybe considered ancient.8

 

Many of the manuscripts (mostly by copyists, although thereare a few holograph manuscripts) have Savages signature and R.J.S. Stevens,Charterhouse, 1817 or the date of acquisition inscribed within them and a lotof them contain the music of the members of the Academy of Ancient Music. Forinstance, the music of Agostino Steffani (1654-1728) is well represented, sincehe was the president of the Academy of Ancient Music in 1727: the R.A.M.Archives hold copies of Steffanis famous chamber duets for two voices andcontinuo (Mss. 31 and 32), copies of his motets (Mss. 35 and 36), some miscellaneouspieces (Ms. 33) as well as copies of the three pieces that he composedespecially for the Academy of Ancient Music, the madrigal Gettano ire dalsoglia (Mss. 32 and 39), the motet Qui diligit Mariam (Ms. 40) and aStabat Mater (Ms. 38).

 

Another Italian, Giovanni Bononcini (1670-1747) who came toLondon in 1720 was also a member of this society and examples of his musicinclude anthems and motets (Ms. 95) which Stevens acquired from the Sothebysale of Savages collection in 1816. One of the anthems When Saul was kingwas written expressly for the Duke of Marlboroughs funeral as the Duke hadpatronized Bononcini during his lifetime.

 

The German composer and oboist, John Ernest Galliard(1687-1749) who worked in London and studied composition with Steffani isrepresented in the collection by his one-act masque Oedipus (Ms. 115)which was first performed at Lincolns Inn Fields in about 1722 and again in1761 by the Academy of Ancient Music after his death. The founding-member anddirector of the Academy of Ancient Music, Johann Christoph Pepusch is also wellrepresented by solo Italian cantatas (Ms. 37) and anthems (Mss. 86 and 87) aswell as theatre music, the masque Death of Dido, first performed 17April 1716 at Drury Lane, the overture to the Carousers and Musick inMassaniello (Ms. 85). These manuscripts also belonged to Savage and werebought by Stevens in 1816 according to the inscriptions within. The Englishcomposer and organist, Dr. Maurice Greene (1696-1755), a member of the Academyof Ancient Music, is represented by one of his finest works, the dramaticpastoral in two interludes, Florimel, or Loves Revenge composedto the text of Hoadly in 1734 (Ms. 109). Additionally, there is a manuscriptcopy of the anthem The King shall rejoice (Ms. 110) which was published byGreene in 1743 in his collection of Forty Select Anthems.

 

In addition to the music of the members of the Academy ofAncient Music, the Stevens bequest includes music by the Italian composersAlessandro Stradella (1638/9-1682), Bernado Pasquini (1637-1710), GiovanniBattista Bassani (1657-1716), Alessandro Scarlatti (1660-1725), Leonardo Vinci(1690-1730), Giovanni Battista Pergolesi (1710-1736), Nicola Porpora(1686-1768), Francesco Gasparini (1668-1727), Giovanni Clari (1677-1754),Emanuel dAstorga (1680-1757) and Francesco Barsanti (1690-?1772). Notableworks are: Stradellas dramatic oratorio S. Giovanni Battista (Ms. 30),a copy of which was bought by Stevens at Philip Hayess (1738-1797) sale in1798; Scarlattis chamber cantatas in manuscript 132; Leonardo Vincis arias(Ms. 134) from his serious operas Semiramide (1723), Didoneabbandonata (1726), Gismondo, Re di Polonia (1727) and AlessandronellIndie (1729), all important examples of Neopolitan opera set toMetastasian texts; the solo cantatas of Nicola Porpora in manuscript 130 andGasparinis in manuscript 132; Claris famous and popular duets and trios fortwo and three voices and continuo, which Burney found superior to Steffanis(Ms. 131); Astorgas only sacred work known to be extant, the Stabat Materin C (Ms. 53) and his solo cantatas also in manuscript 132; and the littleknown solo cantatas of Francesco Barsanti (Ms. 132). Manuscript 107 comprisesan interesting collection of sacred music by such composers as Nicolo Fontei(d.1647), Giovanni Rovetta (c.1595-1668) and Giuseppe Aldrovandini(1672-/3-1707), as well as works by French and English composers such asJean-Baptiste Lully (1665-1743), William Child (1606/7-1697), Benjamin Rogers(1614-1698) and Michael Wise (c.1647-1687).

 

Among the collection of sacred English music in Stevenssbequest can be found copies of services and anthems by John Ward (1571-1638),John Blow (1649-1708) and William Turner (1651-1739/40) in Musica sacra,(Ms. 100), which was also bought at Phil Hayess sales. The works of RobertValentine (1680-1735), Charles King (1687-1748) and William Boyce (1711-1779)can be found in manuscripts 173, 96 and 97, and 174 respectively. Arias fromvarious Handel operas such as Giulio Cesare (Ms. 140), Atalanta, Giustino,Ariodante, Rodelinda, Il pastor fido and others areincluded in manuscripts 138 and 139 and the collection also includes HenryPurcells King Arthur (Ms. 21), Te Deum & Jubilate (Z232)(Ms. 22) and the Ode for St. Cecilias Day (Ms. 23).

 

Johann Adolf Hasse (1699-1783), the well-known composer of opera seria in Italy and Germany, isrepresented by the intermezzo Grilletta e Porsugnacco (Ms. 125) and somesolo cantatas (Ms. 130); and the collection also has the music of William De Fesch(1687-?1757), the oratorio Joseph (Ms. 116) which was considered lostuntil recently when it was revived in Alkmaar in August 1987 to celebrate the200th anniversary of De Feschs birth.

 

It is worth noting that manuscripts 70 to 83 belonged to aJ. Buckworth before William Savage acquired them for his collection. Theidentity of this person and his association with the musical life of theseventeenth century have yet to be established.

 

In addition to the Stevens bequest, there are other giftsand bequests which make up the archival collection and which, although not aslarge and varied in number as the Stevens bequest, are worthy of note. Themajority of these manuscripts are holographs, unless otherwise described.

 

The first of these is the Sir William Sterndale Bennettbequest. Sterndale Bennett (1816-1875), a child prodigy, was admitted to theRoyal Academy of Music in 1826 and forty years later he became the fourthprincipal of the Academy. His bequest includes only one of his own works, themanuscript cantata The May Queen (1858) (Ms. 15) which was composedduring the last years of his life. Most of the other works in this bequest aremanuscripts that were earmarked for publication (some of them which bear platenumbers from the publishers Leader and Cocks have been published). Thesecomprise popular songs by minor composers of the time, Macerone, a Mrs. Groom,Beatrice, Mary Victoria Feodore, Princess of Great Britain and Ireland(Princess Henry of Battenberg), Francesca Jessie Ferrari, Livesay Carrott,Vincent Morgan and Charlotte Helen Sainton Dolby (Mss. 339 to 347). Otherinteresting items include the manuscript copy of Schuberts NachtelleD892 (Ms. 348), the French opera composer, Hippolyte Chelards (1789-1861) Fantasiadi Bravura: Variatione fr Ganzes Orchester, dated 7 January 1889 (Ms. 499)and Giovanni Paesiellos (1740-1816) Dixit Dominus (autograph Ms. 67).

 

Another collection which somewhat resembles the SterndaleBennett bequest is the Joseph Barnby bequest. Joseph Barnby (1838-1896) wasalso trained at the Academy and made his name as an organist, a choralconductor and a composer of anthems, services, hymn-tunes, oratorios andpart-songs, some of which are still popular today. The only manuscripts ofBarnbys in the collection are the songs Henceforth (Ms. 1950) datedJune 28th 1886 and The roseate hues of early dawn (Mss. 314 and 315).The other items include works by Camille Saint Saens (1835-1921) (Ms. 305),George Bizet (1838-1875) (Mss. 306 and 307, both holograph manuscripts) andJules Massenet (1842-1914) (Ms. 308) all of which have the rubber stamp of G.Hartmann and his plate numbers on them. Also of note are manuscripts 309 to 313which contain excerpts from Charles Gounods (1818-1893) opera Faust andhis Lords Prayer (Ms. 1061) which was expressly composed for her mostgracious majesty Queen Victoria, London, 29th December 1873 as the note in themanuscript indicates.

 

A small group of manuscripts which came from the WalterStewart Broadwood bequest (dates unknown, died ?1890s) comprises Broadwood'sown work for flute and piano Laendler aus dem Schwarzwald composed in1866 (Mss. 412 and 413) as well as works by contemporary composers John LiptrotHatton (1808-1886) (three volumes of his songs, Mss. 416 to 418), a quintet,opus 35 of Bernhard Moliques (1802-1869) (Ms. 422) which was composed for anddedicated to Broadwood, Schuberts (17979-1828) Liebesbotschaft D957/1(Ms. 428) and Thekla D595, Schumanns (1810-1856) Der Nussbaum,opus 25, no. 3 to name a few. W.S. Broadwood was a member of the Committee ofManagement from 1865 to 1868 and his association with the Academy isrepresented by works of two former Academy students, Kellow John Pye(1812-1901) and Agnes Zimmerman (1847-1925), manuscripts 427 and 431 respectively.

 

The Kellow John Pye bequest was presented to the Academy byMrs. Kellow Pye in 1952. Kellow Pye was one of the first generation students ofthe Academy who studied piano with Cipriani Potter and composition with WilliamCrotch. Later in life he was active on the Academy Committee of Management. Twoof the manuscripts in this collection are of historical importance to theAcademy for they are compositions by William Crotch (1775-1847), a Round:The Academy Roll Call to Dinner which was dedicated to Pye and otherstudents by Professor Crotch (Ms. 465) and a Canon Gloria Patri whichCrotch notes was meant to be in the style of O. Gibbons (Ms. 466). The wordsto the Academy Roll Call are pure nonsense, consisting of a string ofpuns on the names of the students.

 

The Gloria Patri was composed expressly for hispupil K.J. Pye by W. Crotch, Oct. 14 1828. Other composers represented in thiscollection are James Turle (1802-1882), Sir Henry Bishop (1786-1855), SirWilliam Sterndale Bennett (1816-1875) who dedicated his Chamber Trio in A,opus 26 (Ms. 470) to Kellow Pye, John Barnett (1802-1890), Edward Loder(1813-1865) (whose glee The Millers Daughter (Ms. 474) may have come to Pyevia Sterndale Bennett as the latter knew Loder quite well), Robert Lucas Pearsall(1795-1856), Charles Corfe (1814-1883) and Otto Goldschmidt (1829-1907) whosesong This world is a fleeting show (Ms. 477) was composed for his wife JennyLind. Goldschmidt taught piano at the Academy from 1863 onwards and was itsvice-principal in 1866.

 

Joseph Bennett (1831-1911), the influential music critic,librettist, author and journalist left two very interesting manuscripts to theAcademy. One of these is the Scottish composer Hamish MacCunns (1868-1916)grand opera Janie Deans (1894_ (Ms. 495) for which Bennett wrote thelibretto and the other is George Henschels (1850-1930) Stabat Mater,opus 52 which was presented to Bennett by the composer in 1894 after its firstperformance in Birmingham that year.

 

Two manuscripts presented in 1929 by the family of Dr.William Hayman Cummings (1831-1915), who was a professor of singing at theAcademy from 1879 to 1896 and who also belonged to the R.A.M. Committee ofManagement are Henry Purcells Dido and Aeneas (?1787) and a collectionof Purcells airs arranged by Vincent Novello (1781-1861), the publisher andcomposer (Ms. 28). The latter were published by Novello between 1840 and 1850.These are just two items of the many manuscripts of Purcells works in theCummings Library (which was sold privately in 1917) and their presence is notsurprising as William Cummings was not only a biographer of Purcell but alsofounded the Purcell Society in England in 1876. He was instrumental inpreparing for publication a modern edition of the complete works of HenryPurcell. This edition appeared in 1959, long after Cummingss death.

 

Among Victorian composers manuscripts worth noting arethose of Francis Edward Bache (1833-1858) whose brother Walter Bache(1842-1888), a professor of piano at the Academy, may have bequeathed overforty manuscripts of his brothers works to the Library. (There is no otherexplanation for their presence in the collection). According to NicholasTemperley, Francis Baches early death at the age of twenty four deprivedVictorian music of its most promising talents.9 Bache was a privatestudent of Sterndale Bennett for over three years and at Bennettsrecommendation, he went to Germany for further studies. It was there that hebecame critical of the music of Berlioz, Liszt and Wagner. Not surprisingly,most of Baches music shows influences of Mozart, Beethoven, Mendelssohn andSterndale Bennett. The Bache collection comprises the opera Rubezahl(c.1852) (Mss. 1001 to 1004), three piano concertos (Mss.1005 to 1007), variouspiano works which were composed from the mid-1850s when Bache was contracted towrite light piano pieces for the publishing company of Addison, Hollier andLucas, as well as vocal music (songs and choral works) (Mss. 1037-1048).

 

In 1974, the Performing Rights Society presented a number ofmanuscripts to the Academy. Some of these include Charles Wesley' (1757-1834) Dirgeon the death of Captn. George Nicolas Harding: How sleep the good and brave(?holograph Ms. 184) and his pastoral glee Now I know what it is to havestrove (?holograph Ms. 185), selections from the operas of Pietro CarloGuglielmi (c.1763-1817) (Ms. 186) and the well known German impressario JohannPeter Salomons (1745-1815) tenor aria Dal suo gentil sembiante (Ms.189).

 

As interesting group of manuscripts which have been given byvarious people over the years include an early nineteenth century copy ofPalestrinas Litania a Quattro (Ms. 265), presented by Lord Burghersh,the founder of the Academy, copies of Christian Ritters (1650-1725) solo cantataO amantissime sponse, Jesu (Ms. 325 and 326) (given by Miss MurielFoster (1877-1937), the mezzo soprano who won international repute as anoratorio singer) and parts of the Bach (1685-1750) St. Matthew Passion(Ms. 252) which Mendelssohn used at the first practices of its rival in Berlinin 1829. These parts belonged first to Sir George Grove, then to HenryLittleton who gave them to Frederick Shinn (1867-1950), an organist andprofessor at the Academy. Of interest are also two early nineteenth centuryvocal scores of Mozart (1756-1791) operas Don Giovanni and DieZauberflte, both with Italian text which came from Baroness Nairne(1766-1845) who was known for her poems for old Scottish tunes, GiuseppeFarinellis (1769-1836) comic opera LAmico del uomo (first performed in1807) which was presented to the Academy by a Mrs. C. Davidson who received itfrom Charles Santley (1834-1922) a singing master of overwhelming reputation atthe Academy and Bernhard Rombergs (1767-1841) Cello Solos, opus 42, 51 and58 (Ms. 1154) which were given to the Academy by Henry Charles Banister(1831-1897), a composer, pianist and writer who studied at R.A.M. and whotaught harmony and composition at the Academy from 1851 onwards. Sir ArthurSullivan (1842-1900) who had been a student at the Academy in the mid-1850s,presented two of his works, the Savoy opera The Mikado (1885) (Ms. 6)and the oratorio, The Martyr of Antioch (Ms. 14) and Ernest de Munck(1840-1915), a cello professor at the Academy donated his manuscript of a celloconcerto (Ms. 501) as well as Liszts (1811-1886) Consolations for pianowhich the composer arranged for cello and piano (Ms. 322).

 

There are a number of manuscripts in the collection whoseorigins cannot be traced. The most interesting ones in this group includemanuscripts 102 and 105 (both copies) with anthems, chants and evening servicesby such composers as Vaughan Richardson (c.1670-1729), Michael Wise(c.1647-1687), William Child (1606/7-1697), James Kent (1700-1776), CharlesKing (1687-1748), Jonathan Battishill (1738-1801) and Thomas Atwood Walmisley(1814-1856) among others; Arnes (1710-1778) Comus (?1738) (Ms. 114)which was owned by Thomas William Taphouse (1838-1905), the English music andinstrument dealer and then by the vocal composer A.H.D. Prendergast(1833-?1909) but its presence in the Academy archives is a mystery. (It mayhave come with the rest of Prendergasts library which the Academy was given in1910 but there is no proof of this in the Academy records). Then there is thelate nineteenth century copy of a violin concerto by Pietro Nardini (1722-1793)(Ms. 270) and one by Rodolphe Kreutzer (1766-1831) (Ms. 500 holograph);Raffaele Orgitanos (c.1770-1812) opera buffa Lamour intraprendente(Ms. 257); Johann Nepomuk Hummels Rondo brillant for piano andorchestra (Ms. 488); Luigi Cherubinis (1760-1842) motet Ave verum corpus(Ms. 292); Simon Mayrs (1763-1845) operas Lamour conjugale (1805) (Ms.123) and Elisa (1801) (Ms. 124); Felix Bartholdy Mendelssohns(1809-1847) Midsummer Nights Dream Overture (1826) (Ms. 2) which waspresented to Sir George Smart by Mendelssohn in 1829 and which somehow foundits way to the Academy; George Griffins (1781-1863) piano concerto of October31st 1800 which contains the melody The blue bells of Scotland (Ms. 267) andSimon Waleys (1827-1875) piano concertos which were composed specially for theconcerts of the Amateur Musical Society (Mss. 517 and 518); the Czech violinistvirtuoso, Heinrich Wilhelm Ernsts (1814-1865) Concerto pathetique, opus23 (Ms. 1060) and his Rondo papageno, opus 30 (Ms. 1059), interestingspecimens of Ernsts violin technique which was said to surpass even Paganinison some occasions; and the vocal score of Alfred Mellons (1821-1867) onlyopera Victorine (Ms. 490) which was produced at Covent Garden in 1859.

 

Examples of twentieth century British works are those of SirCharles Villiers Stanfords (1852-1924) ballad for chorus and orchestra, PhaudrigCrohoore, opus 62 (Ms. 4(i)) and Requiem, opus 63 (Ms. 4(ii)) whichwere given to Sir Alexander Campbell Mackenzie (1847-1935), the fifth principalof the Academy. After Mackenzies death, the two manuscripts were returned toStanfords daughter, Jennie who then re-presented them to the Academy in 1940.In addition to these two works, the archives also contain Stanfords Concertofor clarinet in A minor, opus 80 (Ms. 321) which was presented to theLibrary by Mr. Hilary Chadwyck Healey, an amateur musician who was a member ofthe Committee of Management of the Academy from 1939 to 1961. Sir EdwardElgars (1857-1934) concert overture In the south (Ms. 1) was depositedby the executors of Leo F. Schuster, the dedicatee of the work, in 1928.According to Diana McVeagh, Elgar was in the habit of dedicating works to cultivatedmen of substance who delighted in furthering his career (The New GroveDictionary of Music and Musicians) and Mr. Leo Frank Schuster was one ofthese men. Another Elgar work, the cantata, Scenes from the Saga of KingOlaf was presented by Mrs. Irene Blake, Elgars daughter, first on loan in1935 and then as a gift after Mrs. Blakes death in 1970. Gustav Holsts(1874-1934) music is represented by manuscript 302, Three folk tunesarranged for military band (?1913) which was found among the manuscriptcollection belonging to Cecil Sharp by Maud Karpeles, the English folk musicscholar and which was presented to the Academy by the Library of the CecilSharp House in 1967. Imogen Holst, the daughter of the composer presentedHolsts prelude and scherzo for military band and orchestra, Hammersmith(Ms. 324) to the Academy in 1966 and the donor of manuscript 303, a two-pianoversion of Mercury: Messanger of Gods is unknown.

 

Latham (1894-1970), the English musical scholar, lecturerand Gresham Professor of Music (1941-1964) who studied (1919-1920) and taught(1938-1964) at the Academy bequeathed his small collection of Bernard VanDieren (1884-1936) songs, manuscripts 363 and 364 to the Academy.

 

Composers associated with the Academy as professors who havegiven their manuscripts to the Academy include Nicholas Charles Bochsa(1789-1856), Charles Lucas (1808-1869), Cipriani Potter (1792-1871), Sir GeorgeAlexander Macfarren (1813-1887), Ciro Pinsuti (1829-1888), Charles Steggall(1826-1905), Ebenezer Prout (1835-1909), Richard Harvey Lhr (1856-1927), OscarBerringer (1844-1922), Frederick Corder 1852-1932), Sir Alexander CampbellMackenzie (1847-1935) and Reginald Steggell (1867-1938). A descriptive coverageof all the works by these composers is beyond the scope of this paper. SelectedAcademy professors include the following:

 

Cipriani Potter (1792-1871), the second principal of R.A.M.had among his teachers Thomas Attwood (a student of Mozarts), William Crotchand Joseph Wlfl, and in 1818 when he visited Beethoven in Vienna, he beganstudies in counterpoint with Aloys Frster at Beethovens suggestion. In fact,Beethoven is believed to have advised him on some of his music.10The R.A.M. collection has among many works, the revised version of Potters Symphonyin B flat (1839) (Ms. 259), his Symphony in G minor (no. 2 or no.10) (1832) in piano duet version (Ms. 1153), two keyboard works (Mss. 261 and262), two overtures (Mss. 1152 and 535) as well as a string quartet (Ms.263-4).

 

Among the manuscripts of R.A.M. professors worth noting arethose of Charles Lucas (1808-1869), the third principal of the Academy. Lucaswas also one of the first generation students at the Academy and was an activecellist, conductor, composer and publisher being a partner in the publishinghouse of Addison, Hollier and Lucas. The manuscript collection of his works inthe archives includes various scenes from dramatic works (Mss. 1091 and 1094),the opera The Regicide (1839) (Mss. 1092 and 1093), three symphonies(Ms. 1095), a number of overtures (Mss. 1096) and 1097), various pieces forvioloncello (Mss. 1098 to 1100) as well as chamber music (Mss. 1101 and 1102)and vocal works (Mss. 1103 to 1105).

 

Sir George Alexander Macfarren (1813-1887), the fifthprincipal of the Academy and a popular composer of cantatas and oratorios whichwere in demand at provincial festivals all over England, was also a student atthe Academy where he studied composition with Potter. He is represented in theAcademy collection by his cantata May Day (Ms. 497) which he presentedto the Academy after its premiere in 1857 at the Bradford Festival, and Traditionsof Shakespeare for the clarionet with pianoforte accompaniment (Ms. 1105)which Macfarren composed for the clarinettist Henry Lazarus (1815-1895) who wason the staff of R.A.M. from 1854 to 1882. Of the great theorist and musicalscholar Ebenezer Prout (1835-1909) who taught at the Academy from 1879 to hisdeath in 1909, there remains only a sample of his output in the clarinetconcerto (Ms. 1155), as Prouts library was acquired by Trinity College, Dublinin the early 1910s.

 

Sir Alexander Campbell Mackenzie (1847-1935), the Scottishcomposer and conductor who began his musical studies at the Academy, was thesixth principal of the Academy. His manuscripts, which number over forty,include operas (Colombo (1883) (Ms. 1106), The Troubadour (1886)(Ms. 1107), The Cricket on the Hearth (1901) (Ms. 1111) and TheCottars Saturday Night (1889) (Ms. 1117)), cantatas, The Bride(1881) (Ms. 1112), Jason (1881) (Ms. 1113), The Dream of Jubal(1888) (Ms. 1118), The Witches Daughter (1904) (Ms 1121) etc.)orchestral works such as the incidental music to Manfred (1898) (Ms.1109), the Scottish Rhapsody nos. 1 and 2 (Ms. 1123) and the ScottishConcerto for piano and orchestra (Ms. 1148A and B) among many others andvarious oratorios, songs, and chamber music. The Scottish Concerto wascomposed for Ignacy Jan Paderewski (1860-1941) and the Academy collection hastwo drafts of the concerto both of which differ from the published version.These drafts are interesting as they contain Paderewskis suggestions for thesolo part.

 

Richard Harvey Lhr (1856-1927) was a very prolific composerwho studied under Proud when he was a student at the Academy. Of his works inthe collection, the oratorio Queen of Sheba (1896) (Ms. 1089), theoperas Kenilworth (1906) (Ms. 1062) and A Border Raid (1883) (Ms.1086) are worth noting among the many orchestral (three concertos, foursymphonies, and a number of suites, marches and orchestral preludes), chamberand vocal works. Frederick Corder (1852-1932), another Academy student wholater became a professor of composition and curator, is remembered todayprimarily as the teacher of a new generation of British composers--Bax, Bantockand Holbrook. A small collection of his music is represented in the collection.

 

The collection of manuscripts by Charles Steggell(1826-1905) and his son Reginald Steggell (1867-1938), both of whom werestudents and then organ professors at the Academy, makes a substantial part ofthe collection. Charles Steggalls works are represented mainly by vocal music(Mss. 1156 to 1159), an Evening Service in C (1878?) for voices andorchestra and two cantatas composed during the mid-nineteenth century. ReginaldSteggalls works include two suites for orchestra (Mss. 1160 and 1161) as wellas a dramatic symphony entitled The Spanish Student (1900) (Ms. 1163)among other orchestral and chamber works.

 

This is by no means the extent of the archival collection atthe Academy. There are many hundreds of manuscripts which remain to becatalogued, some of which are still in copyright. The collection is alsoexpanding as the Academy is continuously being offered gifts by its professors,students and friends.

 

Copyright Nazlin Bhimani
Deputy Librarian
June 1988

 

Footnotes

 

1 J. Percy Baker,Purcells Fairy Queen, R.A.M. Club Magazine No. 4 (October 1901), p.15.

 

2 The New Grove Dictionary of Music and Musicians, s.v. Stevens, Richard John Samuel, by NicolasTemperley.

 

3 H.G. Farmer, A forgotten composer of anthems, Musicand Letters 27, No. 3 (July 1936), p. 189.

 

4 Walter Stock, The Fairy Queen, (Unpublished paper,n.d.), p. 1.

 

5 Charles Cudworth, R.J.S. Stevens: The memories andmusic of an English pre-romantic, Musical Times 103, No. 1438 (December1962), p. 835.

 

6 Ibid., p. 754.

 

7 J.B. Trend, R.J.S. Stevens and his contemporaries, Musicand Letters 14, No. 2 (April. 1933), p. 132.

 

8 Ibid.

 

9 The New Grove Dictionary of Music and Musicians, s.v. Bache, Francis, by Nicolas Temperley.

 

10 The New Grove Dictionary of Music and Musicians,s.v. Potter, (Philip) Cipriani (Hambly), by Philip H. Peter.