DOCSLIB.ORG

The Letters of Samuel Wesley: Social and Professional Correspondence, 1797-1837

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Letters of Samuel Wesley: Social and Professional Correspondence, 1797-1837 Olleson, Philip (2000) The letters of Samuel Wesley: social and professional correspondence, 1797-1837. PhD thesis, University of Nottingham. Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/11279/1/312203_VOL1.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. · Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. · To the extent reasonable and practicable the material made available in Nottingham ePrints has been checked for eligibility before being made available. · Copies of full items can be used for personal research or study, educational, or not- for-profit purposes without prior permission or charge provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. · Quotations or similar reproductions must be sufficiently acknowledged. Please see our full end user licence at: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. For more information, please contact [email protected] THE LETTERS OF SAMUEL WESLEY: SOCIAL AND PROFESSIONAL CORRESPONDENCE, 1797-1837 Vol. 1 Edited by Philip John Olleson, MA ýýý-ý71Nß/ýqý AIA Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy, January 2000 CONTENTS Abstract iii Acknowledgements v Abbreviations and Cue Titles ix Chronology -- xxii Biographical Introduction xxix Textual Introduction lxxxix The Letters 1 Appendix: undatable letters 984 ABSTRACT The life of the composer and organist Samuel Wesley (1766-1837) encompassedmomentous changes in British society. Born in the early years of the reign of George III, Wesley died in the first months of the reign of Victoria. He saw equally momentouschanges in music. As a child he was taught by musicians who rememberedand in some cases had played for Handel; in adult life, he witnessedthe introduction of the music of Haydn, Mozart, and Beethoveninto England, and late in his career saw the visits to London of Liszt, Weber, and Mendelssohn. Wesley's life on both a personal and professionallevel was highly unconventional.Born into the first family of Methodism - his father was the hymn-writer Charles Wesley (1708-88), his uncle was John Wesley (1703-91) - he converted in his teens to Roman Catholicism and spent most of his life alienated from his family and from his Methodist upbringing. His marriage to Charlotte Louisa Martin in 1793 followed years of family opposition and a period when the couple lived togetherunmarried. In 1810 he left her for his teenagehousekeeper, with whom he lived until his death. His professional career was brilliant but uneven,bedevilled by periods of mental illness which left him incapacitatedfor long periods. Wesley was a prolific correspondent:over 600 letters out of a far larger number of letters that he is known to have written are extant. The letters fall into two fairly distinct categories:those to membersof his family, and thoseto correspondentsoutside the family. This division is paralleled to iii a large degreein the subjectmatter of the letters. In general,Wesley kept his family and his professionaland social life well apart. He only rarely discusses family matters rarely in his social and professional letters; conversely, although there are many mentions of his social and professionallife in the family correspondence,they do not form a very large proportion of it as a whole. The two sequencesof letters are thus largely self-contained. The bulk of Wesley's discussionsof music are containedin the social and professional letters, and these form the largest and most important collection of letters by an English musician of the late eighteenthand early nineteenthcenturies. This edition brings togetherall such letters from 1797 until Wesley's death in 1837. It also includesa few family letters where the subject matter is wholly or largely music: further details are given in the Textual Introduction. It can therefore be seen as the first part of a complete edition of Wesley's letters. The second part, containing the family letters, will, I hope, follow in due course. iv ACKNOWLEDGEMENTS I gratefully acknowledgefinancial assistancefrom the University of Nottingham, who provided funds for the initial purchaseof microfilms and photocopiesunder the HumanitiesRolling Small Grants Schemeand have given generoussupport subsequently,including a period of study leave in 1997-8. A number of individuals have beenparticularly closely involved with this volume. Robert Pascallfirst suggestedthat I might look at Wesley's letters. Michael Kassler, with whom I am compiling the Samuel Wesley Sourcebook,has sharedwith me his extensiveknowledge of Wesley's life and has made a large contribution to establishingthe chronology and dating of the letters. Fr Alvaro Ribeiro, SJ, editor of the correspondenceof CharlesBurney, has answerednumerous queries about Burney, provided advice and wisdom on editorial procedures, and given much support and encouragement.Ian Wells has provided information on matters of Roman Catholic liturgy. Andrew Drummond has identified and translated Wesley's quotations from Greek and Latin. Anne Allcock copied the music examples.To all of theseI am most grateful. I must also express my particular thanksand gratitude to Cyril Ehrlich, who has been involved in this project since its beginning and has been characteristicallygenerous in his advice, support, and encouragement. I acknowledgewith thankspermission granted by the following libraries and private individuals to publish letters in their collections: the V Revd Frank Baker; Bath Public Libraries; BeineckeRare Book and Manuscript Library, Yale University; BostonPublic Library; The British Library, London; Michael Burney-Cumming;Cambridge University Library; CheshireRecord Office; John R. G. Comyn; RaymondC. Currier; Drew University, Madison, New Jersey; Duke University, Durham, N. Carolina; Edinburgh University Library; Emory University, Atlanta, Georgia; Fitzwilliam Museum, Cambridge; GloucesterPublic Library; HampshireRecord Office; Houghton Library, Harvard University; John Wesley's Chapel, Bristol; Library of Congress,Washington, DC; Michael and Jamie Kassler; London University Library; Methodist Archives and ResearchCentre, John Rylands University of Manchester; London Metropolitan Archives; National Library of Scotland;The National Trust; New York Public Library; Norfolk Record Office; Princeton University; The Royal College of Music; The Royal Institution of Great Britain; Royal Ontario Museum, Toronto; SouthernMethodist University, Dallas, Texas; University of California at SantaBarbara; The Upper Room, Nashville, Tennessee. InvestigatingWesley's letters has involved me in correspondence with, and visits to, a large number of libraries and record offices. In addition to the institutions listed above, I would like to thank the following: Birmingham Archives; Bodleian Library, Oxford; British Library NewspaperLibrary; Bristol Public Library; The Brotherton Library, University of Leeds; Dorset Record Office; Guildhall Library; Hertfordshire Record Office; The PendleburyLibrary, Cambridge; The V1 Royal Society of Musicians; St Albans Public Library; Suffolk Record Office; Watford Public Library; Wesley College, Bristol. I am also grateful to the following, who have answeredqueries or provided assistancein other ways: Mark Argent, Chris Banks, Christina Bashford, The Revd Mark Beach, Heather Blackburn, Barra Boydell, Donald Burrows, David Byers, Rachel Cowgill, Donald Cullington, Oliver Davies, Nigel Day, Fr Ian Dickie, Sally Drage, Pippa Drummond, Michelle Elverson, Kathy Flewitt, Peter Forsaith, Maggie Gibb, Jane Girdham, Leo Gooch, Bette Gray-Fow, Sam Hammond, JaneHatcher, John Henderson,Peter Holman, Peter Horton, Bronwen Jenkins, H. Diack Johnstone,Jamie Kassler, ChristopherKent, ST Kimbrough, Jr., Leanne Langley, Gareth Lloyd, Simon McGuire, Simon McVeigh, The Ven. John Marsh, SanderMeredeen, Anne Micallef, John Morehen, Johyn Morgan, Kenneth Newport, Peter Nockles, John Ogasapian,Michael Ogden, Edward Olleson, Stanley Pelkey, Lynda Prescott,Peter Preston, Rebecca Preston,Kenneth E. Rowe, Brian Robins, Graca Almeida Rodrigues, Alan E. Rose, StephenRoe, Francis Routh, Gillian Ward Russell, Wendy Sharpe,Hilary Silvester, the Revd William Simpson, Christopher Smith, Meg Smith, Alan Sommerstein,Nicholas Temperley, Richard Turbet, John Vickers, Arthur Wainwright, John Wardroper, Paul Weaver, William Weber, John Whittle, RosemaryWilliamson, Peter Wright, Carlton Young, BennettZon. My greatestthanks, however, are due to my wife Hilary, who over a period of almost ten years has sharedwith great good humour and vii tolerancethe ups anddowns of a projectwhich at timeshas seemed never- ending. vii' ABBREVIATIONS AND CUE TITLES Manuscript collections Argory The Argory, near Moy, Co. Armagh. Austin Harry RansomHumanities Research Centre, The University of Texas at Austin. BL British Library, London. Drew Methodist Collection, Drew University
Load more

Recommended publications
  • John Wesley and the Religious Societies
    JOHN WESLEY AND THE RELIGIOUS SOCIETIES JOHN WESLEY AND THE RELIGIOUS SOCIETIES BY JOHN S. SIMON, D.D. AUTHOR OF * A SUMMARY OF METHODIST LAW AND DISCIPLINE,' * THE REVIVAL OF RELIGION IN ENGLAND IN THE EIGHTEENTH CENTURY,' ETC. LONDON THE EPWORTH PRESS J. ALFRED SHARP First edition, 1921 PREFACE Canon Overton, in his Life in the English Church, 1660- ' 1714, says that there is no doubt that John Wesley intended his Societies to be an exact repetition of what was done by Beveridge, Horneck, and Smythies sixty-two years before.' ' He continues : How it was that the Methodist Societies took a different course is a very interesting, and, to a church- man, a very sad question.' In this book I have given descrip- tions of the first Rehgious Societies, and have shown their development under the influence of Dr. Woodward and John Wesley. From those descriptions my readers wiU be able to judge the accuracy of Canon Overton's statement concern- ing John Wesley's intentions. There can be no doubt, how- ' ' ever, that the relationship between the Religious Societies ' ' and the United Societies of the People called Methodists was so close that the latter cannot be understood without an intimate knowledge of the former. In writing this book, I have kept the Methodist Church in view. My eyes have been fixed on John Wesley and the England in which his greatest work was done. We can never understand the revival of religion which glorified the eighteenth century until we see Wesley as he wls, and get rid of the false impressions created by writers who have had an imperfect acquaintance with him and his evangelistic work.
    [Show full text]
  • The Wesleyan Enlightenment
    The Wesleyan Enlightenment: Closing the gap between heart religion and reason in Eighteenth Century England by Timothy Wayne Holgerson B.M.E., Oral Roberts University, 1984 M.M.E., Wichita State University, 1986 M.A., Asbury Theological Seminary, 1999 M.A., Kansas State University, 2011 AN ABSTRACT OF A DISSERTATION submitted in partial fulfillment of the requirements for the degree DOCTOR OF PHILOSOPHY Department of History College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2017 Abstract John Wesley (1703-1791) was an Anglican priest who became the leader of Wesleyan Methodism, a renewal movement within the Church of England that began in the late 1730s. Although Wesley was not isolated from his enlightened age, historians of the Enlightenment and theologians of John Wesley have only recently begun to consider Wesley in the historical context of the Enlightenment. Therefore, the purpose of this study is to provide a comprehensive understanding of the complex relationship between a man, John Wesley, and an intellectual movement, the Enlightenment. As a comparative history, this study will analyze the juxtaposition of two historiographies, Wesley studies and Enlightenment studies. Surprisingly, Wesley scholars did not study John Wesley as an important theologian until the mid-1960s. Moreover, because social historians in the 1970s began to explore the unique ways people experienced the Enlightenment in different local, regional and national contexts, the plausibility of an English Enlightenment emerged for the first time in the early 1980s. As a result, in the late 1980s, scholars began to integrate the study of John Wesley and the Enlightenment. In other words, historians and theologians began to consider Wesley as a serious thinker in the context of an English Enlightenment that was not hostile to Christianity.
    [Show full text]
  • Musica Britannica
    T69 (2020) MUSICA BRITANNICA A NATIONAL COLLECTION OF MUSIC Vauxhall Pleasure Gardens c.1750 Stainer & Bell Ltd, PO Box 110, Victoria House, 23 Gruneisen Road, London N3 IDZ England Telephone : +44 (0) 20 8343 3303 Fax: +44 (0) 20 8343 3024 email: [email protected] www.stainer.co.uk MUSICA BRITANNICA A NATIONAL COLLECTION OF MUSIC Musica Britannica, founded in 1951 as a national record of the British contribution to music, is today recognised as one of the world’s outstanding library collections, with an unrivalled range and authority making it an indispensable resource both for performers and scholars. This catalogue provides a full listing of volumes with a brief description of contents. Full lists of contents can be obtained by quoting the CON or ASK sheet number given. Where performing material is shown as available for rental full details are given in our Rental Catalogue (T66) which may be obtained by contacting our Hire Library Manager. This catalogue is also available online at www.stainer.co.uk. Many of the Chamber Music volumes have performing parts available separately and you will find these listed in the section at the end of this catalogue. This section also lists other offprints and popular performing editions available for sale. If you do not see what you require listed in this section we can also offer authorised photocopies of any individual items published in the series through our ‘Made- to-Order’ service. Our Archive Department will be pleased to help with enquiries and requests. In addition, choirs now have the opportunity to purchase individual choral titles from selected volumes of the series as Adobe Acrobat PDF files via the Stainer & Bell website.
    [Show full text]
  • G.F. Handel: Choral Edition: Messiah (Watkins Shaw) - Paperback Edition Vocal Score Pdf
    FREE G.F. HANDEL: CHORAL EDITION: MESSIAH (WATKINS SHAW) - PAPERBACK EDITION VOCAL SCORE PDF Watkins Shaw | 264 pages | 01 Aug 1999 | NOVELLO & CO LTD | 9780853602118 | English | London, United Kingdom Georg Friedrich Händel: Messiah (Watkins Shaw) | Presto Sheet Music About free-scores. Digital Sheet Music. Create a playlist. Public Not listed G.F. Handel: Choral Edition: Messiah (Watkins Shaw) - Paperback Edition Vocal Score. Other german artists. Messiah - HWV Buy sheet music books Haendel, Georg Friedrich. Connect to add to a playlist. Add Videos on this page Add a video related to this sheet music. This service works with Youtube, Dailymotion. Share this page Free-scores. Audio and video players are included. Annotate this sheet music. For 20 years we provide a free and legal G.F. Handel: Choral Edition: Messiah (Watkins Shaw) - Paperback Edition Vocal Score for free sheet music without asking you anything in exchange. If you use and like Free-scores. Do not see this window again for the duration of the session. Comfort Ye My People. Add you MP3 interpretation on this page! Every Valley Shall Be Exalted. And the glory of the Lord. Chorus: And He Shall Purify. Recitative for Alto: Behold! A Virgin Shall Conceive. Pastoral Symphony. Chorus: Glory to God. Chorus: His Yoke Is Easy. Chorus: Behold the Lamb of God. Air for Alto: He Was Despised. Band Write down your comment. You are not connected, choose one of two options G.F. Handel: Choral Edition: Messiah (Watkins Shaw) - Paperback Edition Vocal Score submit your comment Login. By mwemenakamabwe2yahoo. Was this review helpful? By Serge B.
    [Show full text]
  • Crucifixus ’ of the B Minor Mass 1 (BWV 232 II /5)
    Understanding Bach, 3, 39-54 © Bach Network UK 2008 An Early English Imprint of the ‘Crucifixus ’ of the B minor Mass 1 II (BWV 232 /5) ROBIN A. LEAVER While researching English church music repertoire of the early nineteenth century as represented in published anthologies, I came across an edition of the ‘Crucifixus ’ from the B minor Mass that does not appear to have been discussed in Bach literature. 2 It is found in the second volume of Sacred Minstrelsy published in London in 1835, that is, a year or so after the publication of the Clavierauszug of the complete work by Simrock & Nägeli in Bonn and Zurich, 3 but ten years before these publishers issued it in the second 1 This paper was originally given at the Bach Colloquium at Harvard University, May 2003, and, slightly revised, at the 3rd Dialogue meeting of Bach Network UK meeting in Oxford, January 2008; it has been further revised for its inclusion here. 2 There is no discussion or reference to it in the primary articles on early English Bach reception: F. G. E[dwards], 'Bach’s Music in England', Musical Times 37 (1896), 585–87, 652–57, 722–26, 797–800; Hans F. Redlich, 'The Bach Revival in England (1750–1850): A Neglected Aspect of J. S. Bach', Music Book: Volume VII of Hinrichsen’s Musical Year Book , ed. Max Hinrichsen (London: Hinrichsen, 1952), pp. 287–300; Stanley Godman, 'The Early Reception of Bach’s Music in England', Monthly Musical Record , 82 (1952), 255–60; Stanley Godman, 'Bach’s Music in England: 1835–1840', Monthly Musical Record , 83 (1953), 32–39, 69–71; Robert Pascall, 'Ein Überblick der frühen Bach-Rezeption in England bis ca.
    [Show full text]
  • John Stanley a Miracle of Art and Nature
    John Stanley, “A Miracle of Art and Nature”: The Role of Disability in the Life and Career of a Blind Eighteenth-Century Musician by John Richard Prescott Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor James Davies Professor Susan Schweik Fall 2011 Abstract John Stanley, “A Miracle of Art and Nature”: The Role of Disability in the Life and Career of a Blind Eighteenth-Century Musician by John Richard Prescott Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair This dissertation explores the life and career of John Stanley, an eighteenth-century blind organist, composer, conductor and impresario. Most historians of blindness discuss Stanley but merely repeat biographical material without adding any particular insights relating to his blindness. As for twentieth-century musicologists, they have largely ignored Stanley’s blindness. The conclusion is that Stanley’s blindness, despite being present in most of his reception, is not treated as a defining factor. This study pursues new questions about Stanley’s blindness. His disability is given pride of place, and perspectives from the fields of disability studies and minority studies are central to the work. A biographical sketch precedes a discussion of the role of Stanley’s blindness in his reception. The central role of Stanley’s amanuensis and sister-in-law, Anne Arlond, leads to a discussion of issues of gender, and the general invisibility of caregivers. Chapter 2 explores those aspects of Stanley’s life that required an engagement with literate music.
    [Show full text]
  • Pdf\Preparatory\Charles Wesley Book Catalogue Pub.Wpd
    Proceedings of the Charles Wesley Society 14 (2010): 73–103. (This .pdf version reproduces pagination of printed form) Charles Wesley’s Personal Library, ca. 1765 Randy L. Maddox John Wesley made a regular practice of recording in his diary the books that he was reading, which has been a significant resource for scholars in considering influences on his thought.1 If Charles Wesley kept such diary records, they have been lost to us. However, he provides another resource among his surviving manuscript materials that helps significantly in this regard. On at least four occasions Charles compiled manuscript catalogues of books that he owned, providing a fairly complete sense of his personal library around the year 1765. Indeed, these lists give us better records for Charles Wesley’s personal library than we have for the library of brother John.2 The earliest of Charles Wesley’s catalogues is found in MS Richmond Tracts.3 While this list is undated, several of the manuscript hymns that Wesley included in the volume focus on 1746, providing a likely time that he started compiling the list. Changes in the color of ink and size of pen make clear that this was a “growing” list, with additions being made into the early 1750s. The other three catalogues are grouped together in an untitled manuscript notebook containing an assortment of financial records and other materials related to Charles Wesley and his family.4 The first of these three lists is titled “Catalogue of Books, 1 Jan 1757.”5 Like the earlier list, this date indicates when the initial entries were made; both the publication date of some books on the list and Wesley’s inscriptions in surviving volumes make clear that he continued to add to the list over the next few years.
    [Show full text]
  • Appendix: Catalogue of Restoration Music Manuscripts Bibliography
    Musical Creativity in Restoration England REBECCA HERISSONE Appendix: Catalogue of Restoration Music Manuscripts Bibliography Secondary Sources Ashbee, Andrew, ‘The Transmission of Consort Music in Some Seventeenth-Century English Manuscripts’, in Andrew Ashbee and Peter Holman (eds.), John Jenkins and his Time: Studies in English Consort Music (Oxford: Clarendon, 1996), 243–70. Ashbee, Andrew, Robert Thompson and Jonathan Wainwright, The Viola da Gamba Society Index of Manuscripts Containing Consort Music, 2 vols. (Aldershot and Burlington: Ashgate, 2001–8). Bailey, Candace, ‘Keyboard Music in the Hands of Edward Lowe and Richard Goodson I: Oxford, Christ Church Mus. 1176 and Mus. 1177’, Royal Musical Association Research Chronicle, 32 (1999), 119–35. ‘New York Public Library Drexel MS 5611: English Keyboard Music of the Early Restoration’, Fontes artis musicae, 47 (2000), 51–67. Seventeenth-Century British Keyboard Sources, Detroit Studies in Music Bibliography, 83 (Warren: Harmonie Park Press, 2003). ‘William Ellis and the Transmission of Continental Keyboard Music in Restoration England’, Journal of Musicological Research, 20 (2001), 211–42. Banks, Chris, ‘British Library Ms. Mus. 1: A Recently Discovered Manuscript of Keyboard Music by Henry Purcell and Giovanni Battista Draghi’, Brio, 32 (1995), 87–93. Baruch, James Charles, ‘Seventeenth-Century English Vocal Music as reflected in British Library Additional Manuscript 11608’, unpublished PhD dissertation, University of North Carolina at Chapel Hill (1979). Beechey, Gwilym, ‘A New Source of Seventeenth-Century Keyboard Music’, Music & Letters, 50 (1969), 278–89. Bellingham, Bruce, ‘The Musical Circle of Anthony Wood in Oxford during the Commonwealth and Restoration’, Journal of the Viola da Gamba Society of America, 19 (1982), 6–71.
    [Show full text]
  • THE LIFE of JOHN WESLEY •Thgyftfe' the LIFE OF
    THE LIFE OF JOHN WESLEY •Thgyftfe' THE LIFE OF JOHN WESLEY BY C. T. WINCHESTER PROFESSOR OF ENGLISH LITERATURE IN WESLEYAN UNIVERSITY WITH PORTRAITS Nefo gorfc THE MACMILLAN COMPANY LONDON : MACMILLAN & CO., LTD. I906 All rights reserved Copyright, 1906, By THE MACMILLAN COMPANY. Set up and electrotyped. Published February, 1906. Reprinted March, August, 1906. NorfaooB $«88 J. S. Cushing & Co. — Berwick & Smith Co. Norwood, Mass., U.S.A. MY WIFE PREFACE A word of justification is due from any one who presumes to add another to the already numerous Lives of John Wesley. The early biographers — except Southey — and most of the later ones have written as Methodists for Methodists. With that great religious move- ment of which Wesley was the leader, I have the most hearty sympathy; but I have endeavored to consider his^QjdLwithout narrowing denominational jjias, and have emphasized certain important phases of his character that have often received compara- tively little ^ltentiom__ Wesley was, indeed, pri- marily the religious reformer; but he is surely to be remembered not merely as the Methodist, but as the man, — a marked and striking personality, energetic, scholarly, alive to all moral, social, and political questions, and for some thirty years prob- ably exerting a greater influence than any other man in England. I have ventured to hope that the story of such a life, told in moderate compass, may still be of interest to the general reader as well as to the student of religious history. I am, of course, indebted to the older Lives of Wesley by Clarke, Watson, Moore, and Southey, and to the later ones by Stevens, Lelievre, Overton, and Telford ; while the laborious and monumental viii PREFACE work by Tyerman is a vast storehouse of facts to which all subsequent biographers must resort.
    [Show full text]
  • Robert Shay (University of Missouri)
    Manuscript Culture and the Rebuilding of the London Sacred Establishments, 1660- c.17001 By Robert Shay (University of Missouri) The opportunity to present to you today caused me to reflect on the context in which I began to study English music seriously. As a graduate student in musicology, I found myself in a situation I suspect is rare today, taking courses mostly on Medieval and Renaissance music. I learned to transcribe Notre Dame polyphony, studied modal theory, and edited Italian madrigals, among other pursuits. I had come to musicology with a background in singing and choral conducting, and had grown to appreciate—as a performer—what I sensed were the unique characteristics of English choral music of the sixteenth and seventeenth centuries. It was a seminar on the stile antico that finally provided an opportunity to bring together earlier performing and newer research interests. I had sung a few of Henry Purcell’s polyphonic anthems (there really are only a few), liked them a lot, and wondered if they were connected to earlier music by Thomas Tallis, William Byrd, and others, music which I soon came to learn Purcell knew himself. First for the above-mentioned seminar and then for my dissertation, I cast my net broadly, trying to learn as much as I could about Purcell and his connections to earlier English music. I quickly came to discover that the English traditions were, in almost every respect, distinct from the Continental ones I had been studying, ranging from how counterpoint was taught (or not taught) 1 This paper was delivered at a March 2013 symposium at Western Illinois University with the title, “English Cathedral Music and the Persistence of the Manuscript Tradition.” The present version includes some subsequent revisions and a retitling that I felt more accurately described the paper.
    [Show full text]
  • C:\Users\Randy\Documents\Wesley
    JOHN WESLEY’S MS POETRY MISCELLANY Editorial Introduction: This is a transcript of Volume 1 of the “Coleman Collection” of John Wesley manuscript materials, held in the Methodist Archives at the John Rylands University Library of Manchester, England. It is a bound volume of Wesley’s transcripts of 110 poems. It was apparently completed prior to February 6, 1730, as dated on page 180. Wesley’s Oxford dairy supports this dating in its record of when he read several of the volumes used (noted below at time of citations). Almost all of the poems are by authors other than John Wesley himself. He drew on about 20 sources (all identified in notes). Two sources merit special mention as they were NOT published prior to February 1730. 1) John includes several poems by his old brother, Samuel Wesley Jr. None of these were published until 1736, and most were never published in the eighteenth century. John was clearly transcribing from Samuel’s manuscript copies, and the published version often has slight differences from that transcribed by John. 2) John also includes five poems that appeared in 1730 in a collection by David Lewis. Both John Wesley and his brother Samuel Jr contributed to an earlier volume by Lewis and assisted in soliciting other contributions (cf. John’s letters to his brother in Works 25: 190–93, 195–98). Thus, the poems included in this MS Miscellany that appeared in the published volume edited by Lewis were possibly also transcribed by John Wesley from manuscript versions. Wesley transcribed the poems for his personal use.
    [Show full text]
  • Wesley, Samuel Manuscripts in the Royal College of Music Library 639
    Wesley, Samuel Manuscripts in the Royal College of Music Library 639 Dixit Dominus. Antiphon for double choir. Autograph, 13 January 1800. 640(1) Might I in thy sight appear. Sacred song (1807). In the hand of Vincent Novello. 640(2) Air in C minor for organ. Autograph. 640(3) Duet for organ, composed as an introduction to the grand triple fugue in E flat [‘St Anne’] by J.S. Bach. In the hand of Charles Stokes. 674(18) Anglican chant. 674(79) I waited patiently. Anthem for 4 voices, adapted from the Missa pro Angelis , harmonised by Wesley. 679(10) Kyrie (unfinished) from the Missa pro Angelis , harmonised by Wesley. Owned (and copied?) by George Grove. 723(16) What bliss to life. Glee for 3 voices. 822(83) Nella cara. Round for 3 voices. 1039 Works for piano. Autograph. 1) Page of piano duet 2) Sonata in E flat. 8 November 1788. 3) Le Diable à Quatre. Air with Variations. 28 October 1801. 1040 Deus Majestatis. Motet for double choir and orchestra. 1799. Full score. ‘From the original MS. in the possession of C. Stokes’. From the library of Vincent Novello. 1062(76) Benedicamus Domino. For 3 voices. In the hand of George Grove. 1111(49) Parting to Death. Song, with figured bass. Autograph. 1784. 1143(7) Kyrie eleison. For 4 voices. From Missa de Angelis . In the hand of George Grove. 1151(15) Scraps for the Organ (copied from the Author’s MS. In the possession of Miss Ogle). In the hand of J.W. Windsor, 1808. See also MS 1151 1) Aria in D minor 2) Larghetto in B flat 3) Andante in G 4) Vivace in E flat 2130 24 letters from Samuel Wesley to Benjamin Jacob dealing principally with the works of J.S.
    [Show full text]