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Classical Music Manuscripts Collection Finding Aid (PDF) University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION 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 MS226-Classical Music Manuscripts Collection 1 University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION 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 MS226-Classical Music Manuscripts Collection 2 University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION 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 MS226-Classical Music Manuscripts Collection 3 University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION 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
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