New TABLE OF CONTENTS - UMKC Libraries · 2019. 9. 23. · autograph score of the String Quintet in G minor K516. During a lawsuit in 1786/7, in which Freystädtler was accused of

University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections

NOT TO BE USED FOR PUBLICATION

MS226-Classical Music Manuscripts Collection 1

TABLE OF CONTENTS

Biographical Sketches …………………………………………………………………... 2

Scope and Content …………………………………………………………………………... 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 …………………………………………………………………... 17

Paul Alfred Rubens …………………………………………………………………... 17

Camillo Ruspoli di Candriano …………………………………………………... 17

Domenico Scarlatti …………………………………………………………………... 17

Friederich Schneider …………………………………………………………………... 17

Ignaz Umlauf …………………………………………………………………………... 17

Miscellaneous Collections …………………………………………………………... 17

Unknown …………………………………………………………………………... 18




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/m17-118-

e.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





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,



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.





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,



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,



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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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,



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’.





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,



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,


(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),





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,

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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,

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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

http://www.oxfordmusiconline.com.ezproxy.mnl.umkc.edu/subscriber/article/opr/t237/e9005http://en.wikipedia.org/wiki/Friedrich_Schneider




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,



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.





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,







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.




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.



Box Folder Description


CONTAINER LIST


Robert Ambrose 1 1 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.


Evaristo Felice Dall’Abaco

Concerti a quattro da chiesa Op. 2 No. 4 and 5 - Manuscript Parts, 12 pp.

Alphons Darr 2 Nueste vollstandige Zitherschule (Instructional text for Zither).

- Hardcover Book in German, 114 pp.

P.F. Fierlein 3 Bagatellen for Two Guitars.

- Manuscript Parts, 13 pp.

Divertimenti Melodiosi for Two Guitars


Divertissement for Two Guitars.

- Manuscript Parts w/ Photocopies, 14 pp.

4 Drei Waltzer for Two Guitars


Five Sonatines (arr. for Two Guitars).


Popular Melodies for Two Guitars.


5 Pot-pourri uber Tyroler National-Melodien for Guitar.


Sonata (arr. for Guitar).






(1 5) Variations avec… for Guitar.


Syrian Waltzes for Two Guitars.


Franz Jakob Freystadtler 1 6 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.

7 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.

Georg Golterman 2 1 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.

W. Moralt 2 Nueste grundliche und leicht-fassliche theoretisch-praktische Zither-

Schule

- Printed Edition, 37 pp.





Pietro Nardini (2 2) Sei Sonate per Violono Solo e Basso

- Printed Collection, 30 pp.

Camillo de Nardis Serenata Barcarola for Piano


Alessandro Rolla 2 3 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


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]

Domenico Scarlatti 4 Sonatas, Book XII (Books 1 and 2)

- Printed Collection, Published June 13 1771, Edited by John

Worgan, 89 pp.

Friederich Schneider 3 1 Missa solis vocibus humanis

- Printed Score, 51 pp.

Ignaz Umlauf 2 Messa

- Bound Manuscript Score, 128 pp.

Miscellaneous Collections 3 Manuscript Books (2)

- Filled with Manuscript Hymns, Musical Exercises, etc., 22 pp.

and 44 pp.

4 Quintuple Musician’s Omnibus

- Collection of Hundreds of Tunes, Compiled by Elias Howe, 2

Volumes, 200 pp.





Unknown 3 5 Mass in A Major

- Manuscript Parts: Tenor, Bass, Violin, 12 pp.

New TABLE OF CONTENTS - UMKC Libraries · 2019. 9. 23. · autograph score of the String Quintet in G minor K516. During a lawsuit in 1786/7, in which Freystädtler was accused of

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