JULIAN MARSHALL AND THE : MUSIC COLLECTING IN THE LATER NINETEENTH CENTURY

ARTHUR SEARLE

IN the second volume of Sir George Grove's Dictionary of Music and Musicians^ which appeared in 1880, there is a descriptive list of private music libraries in the British Isles.* First, understandably enough, is the Royal Music Library at Buckingham Palace; the next two libraries listed are those of Sir Arthur Frederick Gore Ouseley and of Mr Julian Marshall. The entire Royal Music Library is now in the British Library by royal gift; the whole of Ouseley's collection passed to his foundation of St Michael's College, Tenbury. These two libraries have been catalogued in some detail and both the process of their assembly and the personalities involved have been explored.^ Only two substantial parts of Marshall's collection remain intact: his printed Handel scores and libretti, now in the National Library of Scotland, and the major part of his manuscript music in the British Library.^ Marshall's name remains almost unknown, and to many musicologists his book- plate, which is still easy enough to encounter, complicates rather than simplifies the problem of provenance. The only source for the basic facts of Marshall's life is the brief notice of him given in the Dictionary of National Biography. He was born in Yorkshire in 1836, the younger son of an industrial and political family, was educated privately and at Harrow, and, for a while in the later 1850s, worked in the family flax spinning business. During those years he sang in the choir of Leeds parish church under Samuel Sebastian Wesley and played a part in the establishment ofthe first Leeds festival in 1858. But in 1861 Marshall decided that he was not suited to business. He quickly moved to , married, and then devoted himself to three principal interests, art, music, and games (he had been champion racket at Harrow). He collected and wrote in all three fields, and his enthusiasm for them is amply born out by the evidence that now remains of the content of his library. After living in Duke Street and in Park Lane, the Marshalls moved in the early 1870s to 13 Belsize Avenue in North London, and it was there in 1903 that Julian Marshall died. Prints and engravings occupied him most at first, to the extent that the major part of his holdings, when sold three months before his marriage in 1864, realized well over ^8,000. The twelve days' sale at Sotheby's included a formidable array of Flemish, Dutch, Italian, French, English, and German works. There is no evidence of an unusual or exceptional taste at work—as well as an album of Van Dyck's portrait engravings (fetching £400) and

67 an impression of PoUaiuolo's 'Battle of the Nude Men', there were over 1,200 lots of Nanteuil portraits—but the breadth and energy of Marshall's collecting emerges strongly."•" His publications include The Annals of Tennis (London, 1878), a detailed historical study, the result of lengthy research, which had first appeared in chapters in The Field during 1876 and 1877. There were subsequent books on racket games and, in 1895, A Catalogue of Engraved National Portraits in the National Art Library which Marshall had compiled over a number of years for the South Kensington Museum. However, music carried the main thrust of his collecting activities in the later 1860s and, on the evidence of his music manuscripts, more intensively throughout the 1870s. His wife, Florence Ashton Marshall, must have strengthened his inclination towards music. She published songs and vocal exercises and, after Marshall's death, two arrangements for string orchestra. As well as The Life and Letters of Mary Wollstonecraft Shelley^ published in two volumes in 1889, she contributed the Life of Handel to Hueffer's 'Great Musicians' series in i88i. Marshall's own writings on music were largely confined to his contributions to Grove's Dictionary. Mrs Marshall was a contributor as well, but Marshall wrote far more, and, in his principal entries, at far greater length. In all he supplied 139 articles; only J. A. Fuller- Maitland, W. H. Husk, W. S. Rockstro, and Grove himself wrote more. As secretary (for twenty-one years from 1871) of the Mendelssohn Scholarships Foundation Marshall wrote the corresponding entry. ^ Grove's letter to him of November 1879 on the subject survives—'i column or a very little more ought to serve'—and also contains part of a running discussion between the two men on the music of Handel.^ The Handel entry, of ten pages, is Marshall's largest contribution. It is the work of a true collector, including a disquisition (buried in a footnote) on the paper types to be found in manuscript sources, as well as a reference to a portrait drawing in his own collection. The article on Nicola Haym draws on a document 'in the writer's possession', and in his account of Owen Swiney, Marshall quotes liberally from another letter he owned. Another of his more substantial entries is that on Handel's impresario partner John James Heidegger. His only contem- porary subjects were Sir Michael Costa, whose conducting career began with opera and went on to include the Leeds and Handel festivals, and the author and critic H. F. Chorley. The direction of Marshall's musical interests, or perhaps rather the area in which Grove considered him most competent, is evident from all this. His other articles were often less substantial, some very short indeed; the subjects of them all were singers, most Italian and all but four of them concerned with the Italian repertory. Many entries rely heavily on material in Marshall's collection, and some derive entirely from it. The evidence of this industry did not quickly disappear: the entry on Velluti, the last great male soprano, a column and a half in length, survived without alteration or addition into the fifth edition ofthe Dictionary of 1954. All this was achieved despite Marshall's sale of his printed Handel scores in the summer of 1876 to Arthur J. Balfour, from whose estate, as first Earl Balfour, they were acquired sixty years later by the National Library of Scotland.^ Apart from this sale Marshall's collection reached its greatest extent at just the time when the articles for Grove's

68 dictionary were being written, and it was also then, in October 1879, that he offered the entire collection to the British Museum. There was, though, a preliminary to his principal negotiations with the Museum. The first brush with the great institution, and more especially with its Department of Manuscripts, came early in 1878, when Marshall offered a small but outstanding collection of late seventeenth- and early eighteenth-century English music which included major Purcell autographs.^

No doubt a man of Marshall's standing had many possible links with the Museum, through general as well as musical circles. One context for this first approach is provided by the early history of the Musical Association. Marshall and his wife were among the 'original members', having been admitted at the Association's second meeting in 1874^ (though they do not appear in the printed list of members for 1878). Another of the original members was W. H. Cummings, a musicologist, singer, conductor, and collector—his library follows those of Ouseley and Marshall in the Dictionary's list. Cummings and Marshall were also both members ofthe committee ofthe Purcell Society at its foundation in 1876.^*^ In December of that year Cummings addressed the Musical Association 'On Henry Purcell and his Family'. He read a more contentious paper, under the title 'The formation of a National Music Library', at a meeting chaired by Grove in December 1877 which Edward Augustus Bond, the Museum's Keeper of Manuscripts, attended by invitation. ^^ Both this paper and the discussion which followed it are of interest in the light of all Marshall's subsequent dealings with the Museum. After talking about printed scores and the literature of music, Cummings stressed that 'a "National Musical Library" should also be the great repository of precious musical manuscripts, particularly those by composers of our own country'. He was in no doubt ofthe right place for the library he outlined: 'At the British Museum most things find a home . . .'. As a collector himself he knew that immediate action was needed, as the rising trend in prices could only continue still further and treasures become increasingly scarce: 'our cousins in America and our brothers in the Colonies are all awakening to a feeling that they must have musical art and musical libraries'. He went on to criticize the Museum for past neglect of music and for the present state ofthe catalogues, in particular for the absence of a separate class catalogue for recent acquisitions of manuscript music. He advocated that more be spent on 'the musical department', which should become 'a distinct class at once\ In finding the Trustees remiss in not taking advantage of recent opportunities to enlarge the collections, he mentioned specifically three auction sales at which both he and Marshall had been buyers. Most significantly, the first course of action he suggested to the members ofthe Association was 'to persuade... wealthy friends who have musical libraries or books to bequeath or dispose of, to give them to the British Museum'. In the discussion Bond seized on the last two points, acknowledging the help that could be given in the sale room by people like Cummings (who had recently bought and passed on some items which the Museum's agent had failed to secure), but adding that 'the thing most needed was to induce private owners to bring forward the treasures which they had'.

69 Much ofthe discussion was misinformed, and in due course it was a simple matter for the Museum to answer the memorial which the Association submitted to the Trustees. ^^ However, the whole incident shows an awareness of public need at a time when private collecting was in full spate. The memorial was not actually agreed upon and presented until May 1878. Marshall made his offer in April, and he felt that it was one that the Museum could hardly refuse. He almost echoed Cummings when he wrote that manuscripts of this kind ought to be in the British Museum, in order to be properly preserved and honoured as tbe original scores of England's greatest musicians... Purcell is our only great English musician—you have (I tbink) none of his MSS in the Museum. You will never have any (of importance) if these go to America. I do not threaten to sell them to the Americans, for I have no wish to do so, though they would give me more than I ask you for them tomorrow, if I chose to accept it. I should, however, be deeply grieved to think of their going out of the country... The argument of rival interest abroad was to recur in the negotiations for the whole collection, as was Marshall's mistaken assumption that a few minutes' conversation with the Keeper of Manuscripts could settle a serious difference of opinion. He was correct though, in his assertions that the Museum had no other Purcell autographs and that his large folio Purcell manuscript was similar in form and importance to the great autograph volume in the Royal Music Library, still then at Buckingham Palace. He added that his Purcell manuscripts were the only collection in private hands, 'except for a piece or two which Mr Cummings has'. Despite these powerful arguments the Museum thought the asking price too high. It seems to have been Cummings who was instrumental in bringing about agreement after a little less than three months: he was consulted by both sides, and in a letter to Bond stated that the manuscripts were of undoubted importance but overvalued. Marshall lived up to his patriotic avowals and accepted half the sum he had originally asked.^-^

Negotiations for the main manuscript collection took longer (though nine months now seems no great time for such a momentous acquisition) and followed a more stormy course. Bond had moved on from the Department of Manuscripts to become Principal Librarian, but it is neither surprising nor entirely inappropriate that Marshall should first have turned to him, for his initial offer was of his entire library of music, printed and manuscript. Bond foresaw a problem with duplicates of printed material, since Marshall was bound to have many works that were already in the Museum, but was encourag- ing: 'There is every disposition—certainly with me at least—^to give the section of music its proper attention in the purchases of the Library,' This was at the end of October 1879. On 17 November, with Marshall still apparently intent on offering his library as a whole. Bond wrote casting further doubt on the purchase of printed works, but urging Marshall to write directly to the two keepers, of printed books and of manuscripts, whose responsibility it was to advise the Trustees on purchases for their departments,^"^

70 That same day Marshall wrote to Bond's successor in the Department of Manuscripts, Edward Maunde Thompson: Agreeably with Mr. Bond's wishes, I write to inform you that I should be willing to part with my Collection of Ms. music and autographs of musicians, if your Dept. would purchase it entire. I am unwilling to see it separated. The collection, which is of considerable extent, contains letters & compositions of all the great composers, English and Foreign, as well as MS. copies (mostly contemporary) of unpublished works. I have as yet no [complete erased] Catalogue which would give a fair idea of the collection, which I estimate as worth from ^£2000 to jC3000' P^^~ haps more, perhaps less. If you entertain the idea of purchasing it, a catalogue and valuation must be made. Overtures have been already made to me by the authorities of a Foreign Museum, but I would rather cede the collection entire, even at some disadvantage to myself, to the Br. Mus*".. .^^ The collection by now comprised nearly 450 volumes, and its size was recognized from the beginning as a possible problem. It was Marshall himself who first suggested that the Museum might spread the purchase over two years. Maunde Thompson went to Belsize Avenue to meet Marshall and to see the manuscripts. By Christmas 1879 the collection had been valued at ^£2,136. i2s. 6d. by Alfred Whittingham, a dealer from whom the Museum had already purchased a number of small items, and the catalogue was in Maunde Thompson's hands. ^^ By mid-January 1880 the possibility of staged payments over three rather than two financial years was being considered, though perhaps as a further demonstration of good faith, Marshall offered that the Museum should purchase the collection all together rather than in sections, and that the payment only should be spread: 'I should prefer clearing it off my shelves at once—when the time came for doing so.' The next stage was for the manuscripts to be transported to the Museum for detailed examination. Marshall was worried as to how this might be done to ensure protection for the fine bindings on a number of volumes. Also the items in Whittingham's catalogue and the manuscripts themselves had to be numbered. Though the catalogue no longer survives, the numbers are still to be found below MarshalFs book-plate in many volumes. The brusque exchanges of the later stages of the negotiations were not helped when it was discovered that Marshall's two daughters, who had taken on the task of numbering the manuscripts, had missed out some numbers and repeated others. At the end of February Maunde Thompson received a curious letter which could well have given him his first misgivings: on the prospect of the sale Marshall had raised £1,000, and asked that payment, when agreed, should be made jointly to him and his creditor. However, the transfer of the manuscripts went ahead. The first boxes, marked 'J.M.', were sent to the Museum on 13 March. The second consignment went less than a fortnight later, though Marshall kept back five volumes 'which Mrs. Marshall is using for a few days*: Beethoven's 'Pastorar Symphony sketch-book, and manuscripts of Paisiello, Porpora, and Sacchini. Even when the last items of all were sent, on 14 May, the collection was not quite complete: 'I have sent in now all the MS. but one (no. 11) which I wish to keep, perhaps a month longer, as Mrs. Marshall wants it for Sarti's biography in Grove's Dictionary ...'.^^

71 C. J. Evans, the Assistant in the Department of Printed Books^^ who specialized in music, examined the collection. With his help Maunde Thompson was able to give Marshall an assessment of the Manuscripts within a few days: I regret to say that there is a very great difference between your estimate and ours. Yours is upward of £2100; ours is barely ;£ 1350.1 believe that where we really differ is in the Italian portion of the collection. Probably in the English portion there would be little to choose between our valuations. I fear that it will be impossible to carry out negotiations to a succesful issue from such different bases. But we can talk the matter over when you call. But Marshall opted for no more conversations to resolve the difference, and instead asked Maunde Thompson to confer with Whittingham. The latter reported on 3 June that Marshall declined to part with the English portion alone, and wished to sell the entire collection. Whittingham felt unable to recommend to Marshall the Museum's revised offer for this: 'it is impossible for me to tell him that j£i 500 is enough for it, simply because I dont think so'. He went on to justify his valuation of the Italian manuscripts, despite the number of later copies among them, by saying that 'Mr. Marshall's collection is in itself a "History of Orchestration"—by it may be traced the rise and progressive development of Accompaniments of all kinds—Figures, forms and resources now unfortunately forgotten are to be found in such complete scores'. He bolstered his argument with this ingenuous observation: 'I confess to a selfish interest in the matter as the MSS. would be of service to me if they were in the British Museum.' By this time Marshall and Whittingham were asking only j£ 1,725 and were prepared to contemplate payment over four years. Maunde Thompson stuck to his figure and received a reply which very nearly brought tbe negotiations to an end: Mr. Whittingham was empowered to treat with you for me. I am no hand at driving a bargain,— witness the sacrifice I made on the Purcell MSS. a year or two ago, which you bought considerably below the sum which Mr. Bond had told Mr. Cummings he was prepared to give!... I do not wish to receive more than the value. Why should you offer me what is manifestly less, after keeping me waiting for several months? The surviving draft of Maunde Thompson's reply is explosive. Negotiations were pronounced at an end, the tone of Marshall's letter found objectionable, even more so his insinuations against Bond, who 'is incapable of taking an unfair advantage of any one'. Marshall climbed down a little^'I meant no reflection on Mr. Bond... You are trying to buy my MSS as cheap as you can: you are so far quite right'—and asked for the return of his catalogue so that he might consider his position further. On 2 July he reluctantly accepted the Museum's price for the manuscripts: 'I shall have pleasure in thinking that they are not dispersed, but in the National Library.' The next day the details of the staged payments were worked out, and it was clear that Marshall had what he really wanted: 'It would please my vanity a little if you could keep the MSS. together, and be careful that my bookplate appears in each volume. I will send you more impressions, if any are found wanting.' The Keeper of Manuscripts was at last able to report to the Trustees of the Museum

72 that Marshall had agreed to sell his collection, formed over many years and 'considered by Students of music to be one of the best collections in private hands'.^^ Twenty-three items were singled out for special mention, including some of the early English music, and the Beethoven, Haydn, and Mozart autographs. It was reported that the Keeper and Evans thought the price fair (though it represented three-quarters of one year's purchase grant for the Department) and that Marshall had agreed to sell some of the manuscripts immediately, the rest the following year. The bindings, of which Marshall had made so much during the negotiations, were indeed fine. Many of them had been made for him by Francis Bedford and are excellent examples of his elegant restrained work. Maunde Thompson had rightly stressed earlier tbat the content was the Museum's prime concern. Now, having secured his price, he could point out to the Trustees the advantages: 'the collection is for the most part handsomely bound and will pass through the Museum binder's hands at a trifling cost'. The purchase of the first 325 items from Whittingham's catalogue was officially sanctioned by the standing committee of the Trustees on 10 July 1880; a further portion, 'consisting of sacred music by Moscbeles, a volume of Mottcts, and several original, and, in part, unpublished compositions by Mozart', was purchased on 26 March 1881, and the remainder two weeks later on 6 April.^^ Whatever the financial formalities, the practical circumstances were contrived so that Marshall's wish that the collection be kept intact and identified as his could be met. It was incorporated as a whole, book-plates were supplied where lacking (almost all survive today), and a special stamp was made and applied to the fiyleaf of each volume recording the three dates of the purchase (fig. i). The manuscripts were rearranged from the hap- hazard order of Whittingham's catalogue, and when the list of them duly appeared in the Museum's Catalogue of Additions to the Manuscripts., i8y6-T88i^ Marshall's name was printed at the head, an unusual distinction in the case of a purchase.

As Marshall's letters to Maunde Thompson, and bis interests, indicate, manuscripts of English and Italian music form the largest elements in the collection. But in addition to these two strengths the collection ranges from a thirteenth-century gradual from France to autograph compositions of Mendelssohn, Moscheles, and Spohr. The only limits on Marshall's collecting were the state of musical knowledge at the time and competition from other collectors. This competition can be seen at work by following Marshall through the three sales in 1872 from the immensely rich library of Joseph Warren—a man whose collecting was if anything even more omnivorous than Marshall's.-^^ Ouseley was a major purchaser of the better lots in the Warren sales of that year. Dealers, including Whittingham, were also active. Marshall bought through (or from) the dealer Robinson,^^ and his purchases were few, though of high quality: the autograph of Johann Ernst Galliard's Pan and Syrinx (which he later had bound up with other Galliard material), John Eccles's royal birthday ode of 1703, and the large folio autograph miscellany of Purcell that was the first of the manuscripts to pass into the British Museum.^ Five years later, at the six days' sale of part of E. F. Rimbault's library at Sotheby's, beginning on 31 July 1877, where the most interesting items were all printed music, Marshall was

73 PURCHASED OF MARSHALL, ESQ 10 OUtY, 1830; CO MAf

in the British Museum. From Add. manuscripts m to be found buying on his own account, and more successfully, in the face of opposition which included Cummings and the dealers Robinson and Reeves.^^ Marshall's purchase of nine volumes of rare music sale catalogues ofthe late eighteenth and early nineteenth centuries suggests that he was also developing an interest in the history of collecting

By this time Marshall was also buying abroad. The thirteenth-century gradual mentioned above^^ came from the sale ofthe collection of Edmond de Coussemaker in Brussels in 1877. Marshall's purchases in Paris in 1879 (the year after the catalogue was issued) from the Cherubini collection were particularly rewarding. Besides Haydn's 'Drum Roir Symphony, works by Frescobaldi, Caldara, Stadler, Neukomm, Padre Martini, and Mayr can all still be identified as acquisitions from that collection. ^"^ It has also recently been possible to identify an autograph fragment of J. S. Bach, which did not pass to the British Museum, as one of Marshall's purchases at the same time.^^ The precise history of the provenance of some of the manuscripts has been traced in detail, as with Marshall's (major) portion of Beethoven's 'Pastoral' Symphony sketch- book, which he purchased at a sale at Puttick and Simpson's in 1879.^^ In other instances, the manuscript itself contains all the evidence: Haydn annotated the score of his Symphony No. 103, the 'Drum Roll', when he presented it to Cherubini in 1806. Marshall, as was his habit also with purchases at auction, pasted the entry from the catalogue to the flyleaf—though only in the case of the Cherubini manuscripts did he trouble to identify the original collection. In this case he added on the flyleaffurthe r details which he had learned in Paris, among them that four pages ofthe manuscript were written by Cherubini (fig. 2). These pages, presumably supplying lacunae in the original, are in the tremulous hand characteristic of Cherubini's last years.^^ That same hand is to be found on the title-page ofthe Caldara cantatas from the Cherubini collection. These are now bound with the manuscript of a chorus from Caldara's opera Sanzio which came from the library of Aloys Fuchs, was subsequently (like the Beethoven sketch-book) in the library of Ferdinand Simon Gassner, and was purchased by Marshall at that same sale at Puttick's in 1879. The history of few items in the collection is, at least immediately, so clear. But in addition to Marshall's unidentified clippings from auction catalogues, there are surviving indications of provenance to identify a host of contemporaneous and earlier English collections (fig. 3). As well as Joseph Warren and Rimbault, names of owners whose collections were sold during Marshall's active period of collecting include Cipriani Potter, Thomas Oliphant, John Lodge Ellerton, and R. J. S. Stevens. With the autograph scores of a number of Potter's works Marshall acquired sets of manuscript parts, an interesting survival of commercially prepared performance material ofthe period (fig. 4). A number of volumes from the library ofthe eighteenth-century collector Thomas Bever belonged in turn to C. B. Wollaston and W. C. Frampton before coming into Marshall's possession. Volumes of anthems in the first sale to the Museum came from the collection of William Flackton and subsequently passed through the hands of Philip Hayes, James Kent, and Vincent Novello.^^ Other volumes entered Novello's collection from his friend the

75 double-bass player Domenico Dragonetti. Among the other names which occur are those of William Gostling, John Bartleman (with one of his volumes passing by way of Charles Hatchett and Joseph Warren), and J. P. Street. The manuscripts acquired through this wide and complex network of past collectors, even though most of them had been collected for scholarly purposes, varied greatly in quality. Marshall possessed the autographs of Mozart's C minor string quintet (K 406), formerly belonging to J. A. Stumpflf, and ofthe string quartet in B flat (K 172) from the collection of Richard Zeune in Berlin. But he also had a collection of supposed Mozart piano pieces, with an outlandish pedigree, which even the British Museum for a short time catalogued as in the composer's autograph.^^ Small wonder that Marshall's William Byrd autograph should in fact be nothing ofthe kind.^^ This was one ofthe items singled out for special mention in the report made by the Keeper of Manuscripts to the Trustees of the Museum, where it was simply 'said to be in the writing of W. Byrd'. But the Marshall entry in Grove's Dictionary., written if not already published by the time the Keeper made his report, describes it unhesitatingly as *a small book of canons in Byrd's autograph.' Another ofthe items cited to persuade the Trustees to sanction this huge purchase was a volume of'Fancies' for organ in the autograph of John Coprario. This attribution, along with others made by Marshall and the British Museum cataloguers, stood unchallenged until recent years. ^ This was the case with a group of supposed autographs of John Jenkins, until it was demonstrated that they were of too late a date. They remain as an important set of seventeenth-century copies.^^ That an attribution overturned can even add to the interest of a source is demonstrated by the collection of Italian and Latin madrigals, motets, and monodies copied in the mid-seventeenth century by Angelo Notari, which was for long thought to be a volume of autograph pieces by Peter Reggio.^^ Equally, there were many correct attributions, even among seventeenth-century sources. Matthew Lock's 'Collection of Songs when I was in the Low-Countreys 1648' (its authenticity attested by Philip Hayes, an earlier owner) contains the autographs of Lock's earliest sacred compositions, and there is a major autograph source for the songs of William Lawes which still has its early binding, with a note on the flyleaf recording it as a gift from Lawes. ^^ Some ofthe earlier English sources are ofthe greatest importance, such as the volume of f.i6oo (in its contemporary binding) containing lute music and four pavan-galliard sets for keyboard by Byrd. ^^ Best known and perhaps most important of all the instrumental music is the 'booke of In Nomines & other solfainge songes' thought to have been compiled in the late i57os.^^ Later copies in Marshall's collection include the work of eighteenth-century collectors and musical antiquarians such as William Gostling and Henry Needier. He owned the transcript in score of John Hilton's Ayres or Fa Las {162^) which Joseph Warren prepared for publication by the Musical Antiquarian Society in 1844.**^ There are copies by many figures associated with the Madrigal Society and with the Noblemen and Gentlemen's Catch Club, among them the elder John Alcock, John Immyns, E. T. Warren-Horne, John Stafford Smith, and Thomas Oliphant. The anthology volumes from the collection

77 Evidence of previous ownership in volumes from the collection: Incidental music to Macbeth., by John Eccles. Copy of (r.i8oo. Add. MS. 31454, foi. i^ "* • - .* • • •' * -

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^. The cover for the orchestral parts of Cipriani Potter's Concertante on the theme 'Les Follies d'Espagne', prepared by the music seller W. Goodwin. Add. MS. 31785, foi. 34 of R. J. S. Stevens include copies of his own compositions, bound up with transcriptions, and even autographs, by others.**^ Such assemblies and transcriptions now have a historical interest of their own. It is also true that, in relation to early manuscripts, they form a greater part ofthe Italian than ofthe English portions ofthe collection as a whole, and that these transcriptions of Italian music are more often 'scored-up' from printed parts of which copies were already in the Museum. This goes some way towards explaining the opinion that this Italian portion was over-valued by Whittingham. But the Museum's view must also reflect the judgement then current of composers like Carissimi and Colonna, Pergolesi, Jommelli, Paisiello, and Cimarosa, who were evidently so much to Marshall's taste (fig. 5). A manuscript like the score of Pietro Generali's opera I baccanali dt Roma, copied apparently for performance in Turin in 1816,''^^ illustrates that in this particular portion of the collection there may still be questions of manuscript status and

80 r

Fig. 5. Passe-par-tout title-page to a volume of duets by Paisiello. Eighteenth-century copy. Add. MS. 31731, foi. I autograph attribution to be settled. One item on the fringe of this area is of undoubted importance, the volume of sonatas by Domenico Scarlatti copied for an organist of the Spanish chapel royal and later given by Dr John Worgan to Charles Wesley.''"^ Marshall's Handel manuscripts,'^ which he held back from the sale to Balfour, reflect the variety of quality and origin to be found in the collection as a whole. High claims are made for a number of the eighteenth-century copies in the sale-catalogue extracts still attached to them: the score of Esther., in a binding by Bedford which may well follow the style of earlier covers, is suggested as one ofthe copies used by Handel at Cannons, and it is claimed that annotations in other volumes are in Handel's hand. The score of Orlando is neatly documented, 'copied by F. Panormo of No. 13 Berwick Street Soho at the Earl of Aylesford Packington'. Other copies are associated with Handel scholars. Jeptha, partly manuscript and partly made up of sheets from the original published score, was Samuel Arnold's copy, and a collection of works by Handel and others is identified in an extract from a later sale catalogue as 'Purchased at the late Dr. Arnold's sale May 14, i8o3'.''"^ A number of manuscripts are annotated by Michael Rophino Lacy and some, for example Alessandro, were copied by him from the autograph in Buckingham Palace. Lacy did much

81 to assist Victor Schoelcher in preparing his Life of Handel (London, 1857), and the eighteenth-century score ofthe pasticcio Ormisda has a note on the flyleaf by Schoelcher concerning Handel's part in that work. From Marshall's notes on printed editions of Handel"^ it is apparent that he had access to Schoelcher's collection, the bulk of which was presented to the library of the Conservatoire in Paris in 1873, following Schoelcher's return there from England. Extensive as it was, the British Museum's acquisition did not comprise quite all ofthe manuscript music in Marshall's collection. The autograph letters of musicians which Marshall had mentioned in his first letter to Bond were tacitly dropped from the negotiations. Marshall sold them off at Sotheby's auction of autograph letters in June 1884.'^'^ Also in the sale was the collection of over a hundred documents dating from 1340 to 1779, twenty-six of them from before 1400, relating to 'French Minstrels', which Marshall had offered to the Museum for ;£ioo in October 1880, claiming to have overlooked it earlier. At the sale the French dealer Charavay, who purchased a number of other lots as well, bought it for £50. W. H. Cummings was the major buyer at the sale, securing among fifty-five lots two letters of Pcpusch (which Robinson had bought for Marshall at Warren's sale of 28 June 1872),"^ the Bach fragment from the Cherubini collection already mentioned,"^^ and a Purcell manuscript which the British Museum eventually purchased at the sale of Cumming's own collection in

As far as printed books are concerned, Marshall's dealings with the Museum took longer and produced a far less spectacular result.^^ Although a representative ofthe Department of Printed Books had visited Belsize Avenue in November of 1879, negotiations went no further because of Marshall's insistence that the collection should not be broken up. Twelve months later he relented and wrote to George Bullen, the Keeper ofthe Department: 'I am disposed now to let you purchase, at a fair price, the volumes which you may find in my library wanting in the Museum collection.' Having altered his view Marshall sought speedy action. On 24 November he was able to send a first list of twenty-four titles chosen by C. J. Evans after a single visit, during which he had been able to go through the contents of little more than one press (fig. 6).^^ That list included the first and third parts of J. S. Bach's Clavieruhung, the latter from Sterndale Bennett's collection. Together they were priced at _£io; the same sum was asked for Robert Dowland's Varietie ofLtite Lessons of 1610. In now familiar style Marshall wrote: 'I need not point out that... the Bach and Dowland might very likely bring much larger prices at auction. I am not desirous of drawing a bargain, but will cheerfully relinquish these books to you according to the prices marked.' Also on the list, at ^£4, was Franz Xaver Murschhauser's Octi-tonium novum organum (Augsburg, 1696), presumably the copy which Marshall had bought in 1877 at the Rimbault sale for £2. 85. Evans made further selections, but the matter dragged on. In late December Marshall wrote: 'I cannot allow an indefinite time for this selection. You are doubtless aware that more than one bookseller would very gladly embrace such an offer, without any formalities.' In February 1881 Marshall felt it necessary to justify the prices he set: 'I know that they are reasonable

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. 6. Marshall's invoice to the Department of Printed Books, 24 November 1880 because they are based on what I gave for the books 2, 4, 10, or 15 years ago, with the cost of binding added.' Bullen had in the end to defer payment until the new financial year in April. Altogether the Museum purchased four lots of books at a cost of over £230; the April purchases included Bach's 'Goldberg' Variations. At that point Evans and Bullen decided to call a halt. The correspondence ended in June with Marshall protesting that Evans had still not seen his whole library. A last chance to do so was offered in 1884 when Marshall followed his manuscript sale by a larger one of printed books." The three-day sale at Sotheby's in July ran to i ,339 lots. There were some general literary works, including a good collection of English drama, and about a tenth of the lots consisted of musical theory and biography, but the bulk of the material on offer was printed music. Eighty-four lots were bought for the Museum.^The descriptions in the auctioneer's catalogue mention provenance from time to time; many of the names of previous owners are familiar from Marshall's manuscript collection, though there are a few additions, among them King Otto of Greece, whose presentation copies of Rossini opera scores were included. Even in this sale there was a small number of manuscripts. Sterndale Bennett's copies of Bach had presumably been acquired by Marshall before his major sale to the Museum and either deliberately kept back or simply overlooked among the contents of 13 Belsize Avenue. It is impossible to tell whether other items had been acquired before or after that date. The Museum's manuscript purchases on this occasion included an important late sixteenth-century source of English instrumental music. ^^

Marshall's collecting, though broad, almost indiscriminate, seems to have been entirely pragmatic. The July 1884 sale catalogue lists fine bindings by de Coverley and Holloway as well as Bedford. That Marshall enjoyed his library and appreciated its worth is shown by his assembly of letters and music by Samuel Wesley, with offprints of his own publication of some of the letters, bound by Bedford in full vellum. ^^ Equally obviously he regarded the collection and the bindings as an investment; at the very least his collecting activities must have been self-financing. The print sale of 1864 raised a considerable sum at what was for him an advantageous time, yet in the sale of 1904 following his death, there were some outstanding volumes of prints, particularly by Blake and Callot, names con- spicuously absent from the 1864 sale. There was also a volume of seventeenth-century verse in manuscript, catalogued as by Mildmay Fane, which he had apparently purchased at the Westmorland sale in 1887. At the Rimbault sale in July 1877 one of his purchases was a collection of early editions of word-books for Handel oratorios, and this a year after he had sold his Handel collection. The most striking incidence of sale and purchase being contemplated at the same time is brought to light by a letter of 7 May 1880 from Pauline Viardot to Marshall:^^ at precisely the time when he had secured a loan of £1,000 on the prospect of the sale of his manuscripts to the Museum, he was trying to buy from her the autograph of Don Giovanni. It is worth summarizing in order the principal sales from Marshall's collection. The print sale of 1864 was followed in 1870 by the sale of over £1,000 worth of books as 'the Choice Library of a Well-Known Amateur'.^^ In this sale there were only eight lots of music, fine early English printed editions, which raised £75 of the total. The main concerns were literature, where Marshall's abiding interest in seventeenth- and early eighteenth-century drama was evident (some titles, including a first edition of Susannah Centlivre and Halliwell's Dictionary of Old English Plays, were bought back by the Marshalls), and print making, with books on technique, print sale catalogues, and illustrated books. Next came the sale of the printed Handel collection to Balfour in 1876. As this now exists in the National Library of Scotland, there are some 500 scores (of varying length), and an important collection of libretti, most of them published during Handel's lifetime. ^^ The British Museum's purchases of 1880-1 came next, followed by the sales of manuscripts and printed books at Sotheby's in 1884. Items from the second of these sales were put up by Puttick and Simpson in their sale of 8-9 April 1885,'^° but Marshall himself did not sell again by auction in his lifetime. The bookseller William Reeves offered items from his library in 1886, but these may also have been products of the 1884 sale. However, the sale of 11 and 12 July 1904 'By order of the Executrix' was substantial—it raised over £21,000. All the now familiar categories were present, with a formidable array of early printed English music, seventeenth-century literature, nine- teenth-century first editions, nearly eighty lots devoted to games, and the volumes of prints already mentioned. The last sale of a 'Portion of the Library of the late Julian Marshall' took place at Hodgson's rooms on 22 June 1922, after Mrs Marshall's death. There was more manuscript music, including cantatas by Alessandro Scarlatti, works by Francesco Durante, a copyist's score of Weber's Euryanthe, and a Schubert autograph.^^ There were naturally fewer lots of printed music than in the earlier sales, though this category included forty-two volumes of the Handel Society's publications and volumes 1-28 of the Leipzig Bach edition. The catalogue also offers one final piece of evidence of Marshall's standing in the musical scholarly community of his day. There is a group of works of music history and biography, many written by Marshall's contemporaries, among them Fetis, Rimbault, Victor Schoelcher, H. Sutherland Edwards, and Stainer, all with autograph letters from the authors inserted. The last item of all recalls Marshall's overriding musical passion: 'an old copy' of Hudson's portrait of Handel.

I wish especially to acknowledge the help of Dr Alec Tenbury (Paris, 1934). The Toulouse-Philidor Hyatt King; his Some British Collectors of Music Collection from the Tenbury library was sold at (, 1963) contains information on the Sotheby's on 26 June 1978; the remaining manu- activities of all of the collectors mentioned in this scripts are now placed on loan in the Bodleian article. Library. 1 Vol. ii, pp. 422-4. 3 Add. MSS. 31384-823. 2 W. Barclay Squire, British Museum. Catalogue of 4 BL, Sotheby & Co. sale catalogues, 30 June the King's Music Library., 3 vois. {London, 1864 (annotated with prices and purchasers) 1927-9); E. H. Fellowes, The Catalogue of the S.CS 548(1). Manuscripts in the Library of St. MichaePs College 5 The Mendelssohn Scholarships Foundation... Deed of Trust and Regulations (London, 1896), (Paris, 1878); on the flyleaf of Add. MS. 31707 p. 6. Marshall dates his purchase 1879. 6 R.M. i8.b.2, fol. 6. 28 Early Music, xn{i()S4)y p. 221. 7 National Library of Scotland. George Frideric 29 Alan Tyson, 'A Reconstruction of the Pastoral Handel 168^-1759 (, 1948), pp. 2, 3. Symphony Sketchbook (B.M. Add. MS. 31766)', 8 Add. MSS. 30930-4. in A. Tyson (ed.), Beethoven Studies (New , 9 Musical Association, minutes 1874-83, p. 16. 1973), PP- 67-96. 10 Grove, Dictionary., ist edn., s.v. Purcell Society, 30 Kindly identified by Mr O. W. Neighbour. 11 Proceedings of the Musical Association, 18//-8 31 Add. MSS. 30391-4. (London, 1878), pp. 13-26. 32 Add. MSS. 31748-9. 12 A. H. King, Printed Music in the British Museum 33 Add, MS. 31391. (London, 1979), pp. 102-7. 34 Add. MS. 31416; Richard Charteris, 'Auto- 13 BL, Dept. of MSS., Papers Relating to the graphs of John Coprario', Music and Letters, Purchase and Acquisition of Manuscripts, Ivi (1975), pp. 41-6, which contains the observa- 1877-8, fois. 596-748 ;)fl5Jim. tion: 'It is not hard to see why the original 14 BM, Central Archives, letter-book 1879, items cataloguer thought this manuscript was auto- 4332,4563- graph...'. 15 This letter and the succeeding correspondence is 35 Add. MSS. 31422-6; Pamela J. Willetts, 'Sir to be found in the Dept. of MSS., loc. cit., Nicholas Le Strange and John Jenkins', Music 1879-83, fois. 318-606/"flss/m. and Letters, xlii (1961), pp. 36, 41-2, and 'Auto- 16 Whittingham was also organist at St Michael's graph Music by John Jenkins', ibid, xlviii (1967), Church, Basinghall Street, and Professor of p. 125. Music at the London College for Ladies, Strat- 36 Add. MS. 31440; P. J. Willetts, 'A Neglected ford. Dept. of MSS., loc. cit., fois. 86-8. Source of Monody and Madrigal', ibid, xliii 17 The entry eventually published on Giuseppe (1962), pp. 329-39, and 'Autographs of Angelo Sarti is by Gustave Chouquet. Notari', ibid. 1 (1969), pp. 124-6. 18 A. H. King, op. cit., pp. 90 fF. 37 Add. MSS. 31437, 31432. 19 BM, Central Archives, Trustees, original papers, 38 Add. MS. 31392. May-December 1880. 39 Add. MS. 31390. Jeremy Noble, 'La repertoire 20 Dept. of MSS., Minutes of Purchases, 1879-80, instrumental Anglais 1550-1585', in J, Jacquot fois. 45-65 passim. (ed.). La Musique instrumentale de la Renaissance 21 Puttick and Simpson sale catalogues, 23 Feb- (Paris, 1954), pp. 91-114. ruary, 23 May, and 28 June 1872: S.C.P. 146(10), 40 Add. MS. 31419. 148(7), 150(8). 41 Add. MSS. 31809-22. Copies of this kind link 22 William Robinson, bookseller, St Martin's Lane. Marshall's collection with those of the Madrigal Part of his stock of music was sold by Puttick and Society and the Catch Club in the Music Library Simpson, 5 February 1885: S.C.P. 222 (12). of the British Library, and with the Stevens 23 Add. MSS. 31588, 31456, 30930. collection in the Royal Academy of Music. 24 S.CS.758(2). 42 Add. MS. 31777; Stanley Sadie (ed.). The New 25 The partial lists of contents given in the auc- Grove Dictionary of Music and Musicians, xvii tioneer's sale catalogue suggest that these (London, 1980), pp. 600-1, where two pages included the five volumes previously in Warren's from this manuscript are reproduced. collection. The first of these, now in the Siblcy 43 Add. MS. 31553. Music Library, Eastman School of Music, 44 Add. MSS. 31555-78. Rochester, New York, has 'From the Library 45 A copy appears to have been among Marshall's of Julian Marshall' written on the flyleaf. purchases at the Rimbault sale in 1877 (see A. H. King, Some British Collectors of Music, note 25 above), though none is recorded in (Cambridge, 1963), pp. 92-3; information kindly A, H. King, Some British Collectors of Music. supplied by Professor James Coover. 46 R,M, i8.b.i. 26 Add. MS. 31384. 47 Sotheby's, 26 June 1884: S.C.S. 875 (5). 27 Add. MSS. 31422, 31549, 31658, 31707, 31732, 48 One of the letters appeared again as lot 56 in 31761,31770. Catalogue de la Collection Cherubini Sotheby's sale of music, etc., of 26 May 1983.

86 49 See note 28 above. 57 Richard Macnutt Ltd., Catalogue 112 (Tun- 50 Egerton MS. 2958. bridge Weils, 1983), item 179. 51 Dept. of Printed Books, Correspondence, 58 Sotheby's, 25 April 1870: S.C.S. 630 (2). 1879-81, D.H. 4 24, 26, 28 passim. 59 Information kindly supplied by Mr Roger Duce 52 Dept. of Printed Books, Invoices, D.H. 5 27. of the National Library of Scotland. 53 Sotheby's 29 July 1884: S.C.S. 878 (i). 60 S.C.P. 223 (10). I wish to thank Professor James 54 A. H. King, Printed Music in the British Museum, Coover for this and the following points, as well as for general discussion of Marshall. 55 Add. MS. 32377. 5J Cambridge, Fitzwilliam Museum, Mus. MS. 56 Add. MS. 31764. 686