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University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION TABLE OF CONTENTS Biographical Sketch ………………………………………………………………. 2 Scope and Content ………………………………………………………………. 3 Series Notes ………………………………………………………………………. 3 Series I: Manuscript Scores ………………………………………………………. 4 Operas ………………………………………………………………………. 4 Major Vocal/Choral Works ………………………………………………. 9 Minor Vocal/Choral Works ………………………………………………. 10 Instrumental Works ………………………………………………………. 13 Organ/Harmonium ………………………………………………………. 15 Music Books Containing Multiple Scores & Score Sheets Containing Different Manuscripts on Front and Back ………. 17 Rejected Manuscripts & Unidentified Fragments ………………………. 17 Series II: Published Scores ………………………………………………………. 18 Orchestral ………………………………………………………………. 18 Vocal ………………………………………………………………………. 18 Instrumental ………………………………………………………………. 19 Series III: Other Composers‟ Published Scores ………………………………. 19 Series IV: Photocopies of Manuscripts ………………………………………. 25 Series V: Miscellaneous Documents ………………………………………………. 26 Series VI: Oversized Manuscripts ………………………………………………. 26 Addendum ………………………………………………………………………. 27 MS135-Charles Sanford Skilton Collection 1 University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION BIOGRAPHICAL SKETCH Born in Northampton, Massachusetts, in 1868, Charles Sanford Skilton received his Bachelor of Arts degree from Yale University in 1889. He taught languages at Siglar's Preparatory School in Newburgh, New York, from 1889 to 1891. While in New York, he studied composition with Dudley Buch and organ with Harry Rowe Shelley. From 1891 to 1893, Skilton attended the Berlin Hochschule für Musik where he studied with Woldemar Bargiel and Otis Boise. He became Director of Music at the Salem Academy and College in North Carolina until 1896. The following year he took a position as instructor of piano and theory at the State Normal School in Trenton, New Jersey. In 1903, he secured a position as professor of organ, theory, and history at the University of Kansas, and from 1903 to 1915 he served as Dean of the School of Fine Arts. Skilton became acquainted with American Indian tribal melodies while working at the Haskell Institute near the KU campus, and he incorporated some of these melodies in his compositions. His opera Kalopin, based on an Indian story, received the David Bishop Medal of the American Opera Association of Chicago. Skilton died March 12, 1941, in Lawrence, Kansas. MS135-Charles Sanford Skilton Collection 2 University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION SCOPE AND CONTENT The Charles Sanford Skilton Collection was donated to the University of Missouri-Kansas City by Skilton‟s son and daughter. Housed in the Dr. Kenneth J. LaBudde Department of Special Collections, the collection consists of several of Skilton‟s major works in manuscript form, including the operas The Day of Gayomair, Kalopin, The Sun Bride, and Ticonderoga; and works for vocal/choral and organ/harmonium as well as instrumental compositions. Also included are published scores by Skilton and by other composers (some inscribed to him) and other miscellaneous items such as programs, correspondence and photographs. SERIES NOTES Series I: Manuscript Scores This series is contained in boxes 1-22, and box 23, folders 1-9; and consists of manuscript scores composed by Skilton. Works are divided into the following categories: Operas; Major Vocal/Choral; Minor Vocal/Choral; Instrumental; Organ/Harmonium; Music Books Containing Multiple Scores & Score Sheets Containing Different Manuscripts on Front and Back; and Rejected Manuscripts & Unidentified Fragments. In general, material is arranged alphabetically by title within each category. Series II: Published Scores This series is contained in box 23, folders 10-12, box 24, and box 25, folders 1-5; and consists of published scores composed by Skilton. Works are divided into the following categories: Orchestral, Vocal, and Instrumental. Material is arranged alphabetically by title within each category. Series III: Other Composers’ Published Scores This series is contained in box 25, folders 6-16, boxes 26 and 27, and box 28, folders 1-4; and consists of published scores by other composers. Material is arranged alphabetically by composer‟s last name; in instances of a publication containing multiple compositions by multiple composers, it is found alphabetically under the publication title. Series IV: Photocopies of Manuscript This series is contained in box 28, folders 5 and 6, box 29, and box 30, folders 1-3; and consists of photocopies of manuscript scores composed by Skilton. Series V: Miscellaneous Documents This series is contained in box 30, folders 4-12; and consists of miscellanea such as programs, correspondence, photos, notes and other assorted items. Series VI: Oversized Manuscripts This series is contained in boxes 31 and 32; and consists of oversized manuscript scores composed by Skilton. MS135-Charles Sanford Skilton Collection 3 University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION Box Folder Description CONTAINER LIST SERIES I: MANUSCRIPT SCORES Box Folder Description Operas 1 1 The Day of Gayomair [193?]. Ink MS. Orchestral score. Annotations. 3 books. Book I: Prolog. 51 l, 99 pp. Book II: Scene 1. 103 l, 204 pp. Book III: Scene 2. 107 l, 212pp. 2 1 The Day of Gayomair [pencil draft] [193?]. Pencil MS. 216 l, 411 pp. Orchestral score. Annotated. 2 The Day of Gayomair [voice and piano] [193?]. Ink MS. Annotated. 3 Books. Book 1: Prolog. 18 l, 33 pp. Poem by Allen Crafton. Book 2: Scene I. 40 l, 78 pp. Book 3: Scene II. 47 l, 92 pp. 3 The Day of Gayomair [voice and piano] [pencil draft] 1933-34. Pencil MS. 72 l, 144 pp. 3 Books. Book 3 includes one page from American Indian Fantasie (written over). 3 1 The Day of Gayomair [Scene I] [part books] [193?]. Ink MS. 202 l, 349 pp. 4 1 The Day of Gayomair [Scene II] [part books] [193?]. Ink MS. 127 l, 226 pp. 2 The Day of Gayomair [Prolog] [orchestra parts] [193?]. Ink MS. 97 l, 154 pp. 3 The Day of Gayomair [Prolog] [men‟s voices] [193?]. Photo copy of MS. 4 l, 4 pp. 4 The Day of Gayomair [libretto] [193?]. 3 copies. Copy 1: Typescript and ink MS. Prologue, Scene I, and Scene II. 39 l, 39 pp. Copy 2: Typescript MS. Scene II only. 10 l, 10 pp. Copy 3: Carbon of a typescript MS. 35 l, 34 pp. In two-hole binder. 5 The Day of Gayomair [synopsis of opera and list of cast] Synopsis: [193?]. Carbon of a typescript. 3 l, 3 pp. List of cast: Ink MS. 2 l, 2 pp. 6 The Day of Gayomair [excerpts] [193?]. Ink MS. 12 Copies. Copy 1: Dance. Violin and piano. 4 l, 5 pp. Copy 2: Dance. Violin and piano. 2 l, 4 pp. Copy 3: Dance, “Intro”. Voice and violin. 1 l, 1 pp. Copy 4: Arietta. 1 l, 1 pp. Copy 5: Part of Susa. 6 l, 5 pp. Copy 6: The Day of Gayomair (partial score). Copy 7: title page “Gayomair, Orchestral Score, Scene II”. Pencil MS. 2 l, 1 pp. Copy 8: orchestral score. Ink MS. 1 l, 2 pp. Copy 9: voice, chorus and piano. Pencil MS. 5 l, 9 pp. Copy 10: orchestral score. Pencil MS. 2 l, 3 pp. Copy 11: “Ending of MS135-Charles Sanford Skilton Collection 4 University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION Box Folder Description Gayomair.” Pencil MS. 1 l, 1 pp. Harp. Copy 12: four voices fragment. Ink MS. 2 l, 1 pp. 5 1 Kalopin [vocal score] 1925. Ink MS. Libretto by Virginia Armistead Nelson. 2 Books. Book 1: Act I. 47 l, 94 pp. Dedication: “To my children Helen, Vivian, Sanford, and the memory of their mother.” Book 2: Act II~III. 79 l, 158 pp. 2 Kalopin [vocal score] [pencil draft] 1929. Pencil MS. 119 l, 228 pp. (Last two pages: “Forest Trail” with dedication: “To Lolita de Yurrita.”). 3 Kalopin [Acts 1 & 2] [vocal score] [192?]. Ink MS. 96 l, 169 pp. 6 1 Kalopin [Act 1] [192?]. Pencil MS. 89 l, 176 pp. Orchestral score. 2 Kalopin [Act II, Scene I] [192?]. Ink MS. 21 l, 42 pp. Orchestral score. 3 Kalopin [libretto] [192?]. 2 copies. Copy 1: Red and black typescript MS. 94 l, 194 pp. Copy 2: Carbon copy. Libretto by Virginia Nelson Parmer. 4 Kalopin [chorus parts] [192?]. Photocopy of MS. 19 l, 19 pp. 5 Kalopin [vocal parts: excerpts] [192?]. All are Ink MS: Chicopah. Tenor. 2 l, 2 pp. Chorus Part. Act I. 1 l, 2 pp. Copia. Bass/baritone. 2 l, 1 pp. Dream Song. 1 l, 1 pp. Kalopin. Baritone. 4 copies. Copy 1: Act I, Hunting Chorus. 2 l, 4 pp. Copy 2: Act II. 2 l, 3 pp. Copy 3: Act II. 2 l, 4 pp. Copy 4: Act III. 2 l, 2 pp. Nashola. Tenor. 2 copies. Copy 1: Act 1. 2 l, 2 pp. Copy 2: Act II, end of scene. 1 l, 2 pp. 6 Kalopin [Prelude] [orchestral parts] [192?]. Ink MS. 38 l, 26 pp. Includes envelope. 7 Kalopin [orchestral parts: excerpts] [192?]. All are Ink MS (except Theme of Belledea). 10 copies. Copy1: Harp. Act II, Scene 1. 3 l, 5 pp. Copy 2: Violin II. Incantation Scene. 2 l, 4 pp. Copy 3: Flute Solo. Flute Scene, Act II. 4 l, 11 pp. Copy 4: Solo Flute. Act II, Scene 1. 2 l, 3 pp. Copy 5: Cello. Prelude, Incantation, Dream Song. 2 l, 4 pp. Copy 6: Violin I. Prelude, Incantation, Dream Song. 2 l, 4 pp. Copy 7: Horn in F. Prelude. Page fragment. Copy 8: Theme of Belledea. Pencil MS. 1 l, 2 pp. Copy 9: Sketch of four main themes in Kalopin. 1 l, 2 pp. Copy 10: orchestral parts. Act I. 1 l, 1 pp. 8 Kalopin [scenic synopsis and instructions for Peace Pipe Song] [n.d.].
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  • A Visit to the Macdowell Colony During World War 1

    A Visit to the Macdowell Colony During World War 1

    VISIT TO THE MACDOWELL COLONY DURING WORLD WAR I By Katherine Haynes Gatch Letter from Katherine H. Gatch to her family (Josephine and Albert Gatch) in Milford Ohio. Postmarked Peterboro [now Peterborough], NH, [Monday] June 17, 1918. The writer, a member of the class of 1921 at Wellesley College, writes from the MacDowell Colony, where she had gone at the end of her freshman year, with a classmate (also a fellow-graduate of Miss Kendrick’s School in Cincinnati), Mary Elizabeth (“M.E.”) Ritchey. Peterboro Sunday Morning [June 16, 1918] Dear Family, I have been a ‘nawty’ beast about writing these last three weeks but honestly, I haven’t had time to breathe or sleep, much less write letters, these last days especially. I might as well give you events in chronological order (a History Course under one Judith Williams instills that into one’s system) You should have seen us leaving Wellesley! We were the last out of Crofton and they were manifestly glad to see us go as the house had to be ready for alumnae. My trunks were ready to go at nine o’clock in the morning but not Mary Elizabeth’s. She is an erratic backer to say the least. I did all the tearing up of the room and packing of room things. I even took down all the screwed articles—by Jove, Mother, you put those curtain rod holders up to stay! I at last even wrapped up many sundry articles of M.E.’s because it looked as tho she would never be ready for the 12:58.