|
Introduction
Consists (primarily) of manuscripts of works by Handel and his contemporaries
but also of correspondence and subject files gathered by James S. Hall,
the English surgeon who collected the manuscripts.
Range of Collection Dates: 1714-1968
Range of Collection Bulk Dates: 1946-1968
Size: 7 linear feet [11 boxes, 26 volumes, one oversize folder]
Language: The primary language is English, but there is also
some material in German.
Provenance: The manuscripts collection is part of a larger collection
containing 425 volumes of printed music from 1714 through the mid-19th
century. All material was acquired by private sale in 1974.
Photocopying, literary rights, and citation: Single photocopies
may be made for research purposes. No further photoduplication of copies
of material in the collection can be made when Princeton University Library
does not own the original. Permission to publish material from the collection
must be requested from the Associate University Librarian for Rare Books
and Special Collections. The library has no information on the status of
literary rights in the collection and researchers are responsible for determining
any questions of copyright. Citations should be as follows: James S. Hall
Collection of George Frideric Handel, Volume or Box #, Department of Rare
Books and Special Collections, Princeton University Library.
Biographical Sketch
James S. Hall (1899-1975) was a surgeon by profession but an ardent Handel
scholar and collector by avocation. In addition to the Handel scores and
libretti the Princeton University Library acquired Hall's correspondence
with performers, composers, conductors, scholars and other collectors of
his heyday, the 1950s and 60s. As the founder and manager of the Deal and
Walmer Handelian Society, Hall was responsible for arranging performances
of Handel's works, for public celebrations of Handel's achievements, such
as the mounting of the plaque in Dublin on the hall where Messiah
received its world premiere, and for representing English Handel lovers
at festivals in honor of Handel's memory, especially those in the Handel
town of Halle in the former East Germany. At the time of those festivals,
travel to East Germany was complicated by Communist bureaucracy, the paper
trail of which is preserved in the collection. Hall was also consulted
during work on the Hallesche Handelausgabe, the standard edition
in German of Handel's works, because of his authority as a Handel scholar.
Because of these connections with Handel scholars in Germany, some of the
material in the collection is in German. A Roman Catholic, Hall was interested
in Handel's knowledge of Latin Church music and his use of it in his own
compositions, especially during the period he was known to have spent in
Italy. Hall published on this topic as well as on Handel's use of grace
notes, in the context of his larger interest in the history of Handel performance.
Collection Description
Scope Note
The James S. Hall Collection of George Frideric Handel includes nineteen
volumes of musical manuscripts of Handel by various 18th-century
copyists, mainly anonymous but some identified, collected by James S. Hall,
a surgeon by profession and a Handel scholar and collector by avocation.
Included are manuscripts of Belshazzar (ca. 1744), the nearest in
relation to Handel since it is entirely in the hand of John Christopher
Smith, Sr., Handel's chief copyist and amanuensis; Alexander Balus
(ca. 1748) by the copyist "S5", so called by scholar Jens Peter Larson;
Joseph,
also written by S5; Israel in Egypt (ca. 1760) in various hands;
Odes
for St. Cecilia's Day (1739) and Queen Anne's Birthday
(1714), one volume in the hand of several copyists; Te Deum (before1780),
in unidentified hand; the Ayelsford Collection, a set of miscellaneous
manuscripts; and Messiah and Coronation Anthems, part-book
for a bass.
Other manuscripts include a volume of operatic arias (ca. 1738-1743)
containing music of Handel and other composers; a folio manuscript book
including two Handel pieces; and a photostat of a printed version of Israeil
in Babylon (1765), a potpourri of Handel's works and some unidentified
music. The collection also contains festival medals, portraits of Handel,
and prints of city views and churches associated with the composer, as
well as an original issue of the London Chronicle, an 18th-century
newspaper that reported Handel's burial in Westminster Abbey, and an original
watercolor by Thomas Hosmer Shepherd, showing a performance of a Handel
oratorio at Convent Garden before its 1808 fire. In addition, the papers
of James S. Hall are comprised of correspondence, including letters by
Benjamin Britten, counter-tenor Alfred Deller, harpsichordist Thurston
Dart, Handel collectors Sir Newman Flower and William Charles Smith, and
various other composers, performers, scholars and collectors, as well as
subject files, including articles by Hall and material relating to Handel
festivals and societies, especially the Deal and Walmer Handelian Society
which he founded in 1946.
Arrangement
The collection has been arranged in the following series: I. Manuscripts
of Handel's Works and Works by Contemporary Composers, II. Correspondence
of James S. Hall, III. James S. Hall as Handel Scholar, IV. James S. Hall
as Handel Collector, V. Handel Societies and Festivals, VI. Miscellaneous
Handel Material, VII. Non-Handel Material Relating to James Hall.
Added Entries
The following added entries have been assigned to this collection to
highlight significant sources (other than the main entry), subjects, and
forms of the collection's materials. Where possible Library of Congress
Subjects Headings have been used, and the forms of names reflect international
cataloging standards. As a result, all of these entries may be searched
in the Department's database (MASC), in the Library's online catalog, and
the public card catalog to find other related material.
Person/Corporate Body Added Entries:
Hall, James S., 1899-1975
Subject Headings (in uppercase) / Form Headings
(in upper and lower case):
Alexander Balus / George Frideric Handel
Belshazzar / George Frideric Handel
Composers--England--18th century--Manuscripts
Copyists--England--18th century--Musical
scores
Coronation anthems / George Frideric Handel
Coronation music--England--18th century
COLLECTORS AND COLLECTING--ENGLAND--20TH
CENTURY
DEAL AND WALMER HANDELIAN SOCIETY
English newspapers--18th century
Israel in Babylon / George Frideric Handel
Israel in Egypt / George Frideric Handel
Joseph / George Frideric Handel
Messiah / George Frideric Handel
Music--England--18th century
Musical scores--England--18th century
MUSIC--ENGLAND--COLLECTORS AND COLLECTING--20TH
CENTURY
Odes for St. Cecilia's Day / George Frideric
Handel
Operas--England--Excerpts--18th century--Musical
scores
Oratorios--England--19th century--Musical
scores
Queen Anne's birthday / George Frideric Handel
Scrapbooks, English--20th century
Te Deum / George Frideric Handel
Related Publications and Links
For a more descriptive look at the collection, see: Knapp, J. Merrill.
"The Hall Handel Collection," Princeton University Library Chronicle,
Vol. XXXVI, No. 1 [Autumn, 1974], pp.3-18.
For the web page of the Deal and Walmer Handelian Society, click on this link:
http://www.handeliansociety.musicnw.co.uk/
Series Descriptions
| I. Manuscripts of Works by Handel and Contemporaries |
|
26 bound volumes |
|
|
A collection of 25 bound manuscripts
including but not restricted to contemporary copies of Handel's musical
works. Some of these copybooks include works by other contemporary composers.
Also included are several indices of Handel's works and a scrapbook concerning
19th-century performances at various Handel festivals. |
|
| II. Correspondence of James S. Hall |
|
|
|
|
Boxes 1-3 |
|
|
|
Alphabetical files of correspondence between Handel scholar
and collector James S. Hall and various performers, composers, conductors,
and other Handel scholars and collectors of his day. |
|
| III. James S. Hall as Handel Scholar |
|
|
|
|
Boxes 4-5 |
|
|
Includes drafts, notes and correspondence, arranged in
order of importance, relating to James Hall's research on Handel's Latin
Church music, Handel's use of grace notes, and biographical topics such
as Handel's publisher, Handel's musical instruments, and the time Handel
spent in Salisbury and Bath. Also included are correspondence, notes and
documents relating to the standard edition in German of Handel's works,
the
Hallesche Handelausgabe. |
|
| IV. James S. Hall as Handel Collector |
|
|
|
|
Boxes 5-6 |
|
|
Includes two copies of the October 1955 issue of Country
Life, which carried an article by Hall entitled "Collecting Old Music",
followed by fan mail relating to this article, and subject files, arranged
in order of importance, relating to Hall's collecting activity, particularly
with regard to Handel's oratorios. |
|
| V. Handel Societies and Festivals |
|
|
|
|
|
Boxes 7-9 |
|
|
Includes files of the activities of the Deal and Walmer
Handelian Society, founded by Hall in 1946, arranged by event, followed
by files on other such societies, including one in Brisbane, Australia.
Following the files on Handel societies is material on East German Handel
festivals. At the end of the series is a box of commemorative medals, minted
for various anniversaries and festivals in honor of the composer. |
|
| VI. Miscellaneous Handel Material |
|
|
Boxes 10-11, one oversize folder |
|
|
Includes Victor Schoelcher's four-volume typescript catalog
of Handel's works; prints and engravings of the city views and churches
where Handel was active, as well as reproductions of portraits of the composer;
facsimile reproductions of parts of Handel manuscripts; an
original watercolor by Thomas Hosmer Shepherd, showing a performance of
a Handel oratorio at Convent Garden before its 1808 fire; an original
issue of the 1759 London Chronicle that ran a description of Handel's
burial in Westminster Abbey; a sample of the X-ray film boxes in which
Hall preserved his files and sent them to the Library; a typescript survey
of the Aylesford Manuscripts by James S. Hall; and a microfilm of Hall's
copy of the 1760 Walsh imprint of the Six Concertos for Harpsichord
or Organ. |
|
| VII. Non-Handel Material Relating to James
S. Hall |
|
|
Box 11 |
|
|
James Hall's published memoirs of his activity as a lifeboat
doctor during World War II and afterwards, Sea Surgeon, Pain Pocket
Edition, 1968. |
Box/Folder Listing
| Volume |
I. Bound Manuscripts |
|
| 1 |
|
Keyboard-vocal score for Handel's opera
Orlando,
written in unknown hand. Probably derived from H-G. v. 82, but has the
keyboard part realized throughout. Original may have been for a Cambridge
performance ca. 1935. The score was again used for the Abingdon Handel
Festival on May 6-8, 1959. Also includes a broadside for the 1959 Abingdon
Handel Festival. 1 v. (182 p.). |
|
| 2 |
|
Composite volume containing manuscript
copies of three works by Handel,
Dettingen Te Deum, Utrecht Te Deum,
and Utrecht Jubilate. Written in unknown hand on a pale blue paper,
which is probably to be dated 1807. The 3/4 section of the first chorus
of the Dettingen Te Deum has two missing bars at 82-84, a mistake
which occurs in all the early printed scores (Walsh, Randall, Wright, etc.)
until corrected in the English Handel Society's edition of 1846/7. This
suggests that this manuscript may have been copied from the early printed
scores. 1 v. (83 leaves). |
|
| 3 |
|
Composite volume containing manuscript
copies of opera arias by Handel and others, written in unknown hand. Contains
the Italian setting of "Return O God of Hosts," used in the pasticcio opera
Rossane,
or Alexander in India, the year following the first performance
of Samson, and which has not been printed. Two other unpublished
Handel songs include "La gloria e la fortuna," and "Son questi vaghi,"
originally written for later performances of Alexander in India,
are here written out for Rossane, in November and December of 1743.
Titles include: "Diro che l'ami" and "Spera fors'anche" from Vello d'oro,
and "Parla de studi" and "Bella diva" from Diana by Giovanni Battista
Pescetti (1704-ca. 1766); "Amorosa la lusingho," "Il cor fedel," "Vidi
al par" and "Tui per senno" from Partenio by Francesco Maria Veracini
(1690-1768); "Dirti ben mio" by [Leonardo Leo]; Air in A "O Love Regard
a Virgin's Sigh," Air in F "O Beauteous Maid," Air in D minor "O Power
of Bliss," Air in G "Her Breath Perfumes the Vale," Air in "A While on
My Breast," Air in F "O Gentle Sleep," Air in F (French horns) "Beneath
That Shade;" and "Ah, no, non voler," "Il cor mio," "La gloria e la fortuna,"
"Lusinghe pie care," "Fra le guerre," "Men fedele," "Placa l'alma," "Permettete
ch'io," "Superbette," "Son questi vaghi," "Sempre fido e disprezzato,"
"Alla sua gabbia," and "In generoso onor," and "Return O God of Hosts"
from Rossane, Air in F "What Beauteous Scenes," "O Godlike Youth,"
"As I by Charming Chloris," "Thou Rising Sun," "Per pieta: l'Incontanza
delusa," and "Minuets in E and G," by Handel. 1 v. (276 p.). |
|
| 4 |
|
Manuscript volume containing the full
score of two odes by Handel, written in unknown hand. Includes "Song for
St. Cecilia's Day," with the overture and no. 5-11 wanting (Novello edition).
Several mistakes in the notation, corrected on p. 7 in contemporary pencil
as "wrote not right." Together with "Serenata on Queen Ann's Birth Day."
The score follows that later printed in H-G 46a version B of "Let Flocks
& Herds." Also includes two songs "As Cloe Came By," and "Mirth Admit
Me" (Allegro) Soprano version, dated ca. 1739. 1 v. ((193 p.). |
|
| 5 |
|
Manuscript vocal part-book from the mid
18th century which appears to be for a church or cathedral bass
singer, whose name may have been William Thompson. Among a number of anthems
is the bass part of the choruses in the
Messiah in an arbitrary
order but with occasional reference to the paging of the Randall &
Abell edition (1767 or later). Titles include: Psalm 1, 29, 81, and 118;
"Hallelujah Chorus," "All We Like Sheep," The Son of Levy," "Thou That
Tel[l]est Good Tidings," "Unto Us a Child," "Since by Man Came Death,"
Glory to God;" also includes "Life Up Your Heads," Behold the Lamb of God,"
Surely He Hath Born[e] our Grief," "...And With His Stripes," "His Yoke
is Easy," "He Trusted in God," "Let All the Angels," "The Lord Gave the
Word," "Their Sound is Gone Out," "Let Us Break Their Bonds," "But Thanks
Be to God," and "The Amen Chorus." The manuscript was originally bound
with a printed copy of Handel's Coronation Anthems edited by Randall
(1768-1776) with this name on the cover. 1 v. (70 p.). |
|
| 6 |
|
Disbound volume containing six late 18th-century
music manuscript scores for string quartet, adapted from the opera overtures
to Parthenope, Lotharius, Ptolemy, Siroe,
Richard I, and Admetus. The selection and order of these overtures
is that first published by Walsh as XXIV Overtures Fitted to the Harpsichord
or Spinnet (1730) and later editions, of which the above form the first
six. There are added dynamics and small omissions and different orchestration
in places from the above and other Walsh editions. Copyist unknown. 4 v. |
|
| 7 |
|
Manuscript copy of a second violin part-book
for Handel's oratorio Joshua, written in the early 18th century,
in unknown hand. 1 v. (22 leaves). |
|
| 8 |
|
Manuscript copy of a bassoon part-book
with vocal line for the triptych Allegro, il Penseroso ed il Moderato,
written in the late 18th century, in unknown hand. The libretto, by Charles
Jennens, is adapted from Milton's L'allegro ed il penseroso and
Jennens's Il moderato. The original work was composed in 1740. 1
v. (22 leaves). |
|
| 9 |
|
Manuscript copy of a second violin part-book
for the triptych Allegro, il Penseroso ed il Moderato, written in
the late 18th century, in unknown hand. Inverted at back are 2 one-page
sketches for the choruses "Oh, the Pleasure of the Plaine," (for oboe)
and "Galatea, Dry Thy Tears ..." 1 v. (43, 5 p.). |
|
| 10 |
|
Manuscript copy of a first violin part-book
for the triptych Allegro, il Penseroso ed il Moderato, written in
the late 18th century, in unknown hand. Together with an oboe and violin
duet entitled "As Steals the Morn" (2 p.) and a sketches for the bassoon
part for Macbeth (7 p.). Program announcement for a Shaw Musical
Society performance and a book of words (2 leaves) to accompany the performance,
laid in. 1 v. (75, [5] p.). |
|
| 11 |
|
Music manuscript parts for various instrumental
ensembles, written in the hand of Le Tellier, copyist to Louis XVI, and
at least 2 other unidentified hands. Includes two works by Handel: his
minuet from Samson and the flute part of "Fixed in His Everlasting
Seat." The names of Guadagni and Glassi appear against one duet. Titles
include "Les desirs de dames," "Les drapeaux," "Duo des deux avares, "La
dum dolerita," "Contredanse," and L'amabilité;" untitled minuet
from Handel's Samson; untitled work of "Sigr. Di Vienne" [possibly
François Devienne (1759-1803)]; "Baldàn" [rondo], and "La
chasse de Venus," of Giovanni Paisiello (1740-1816); "Ciaccole" of Sigr.
[Tomelli]; "Romance" of Valentin Roeser (fl. 1735-ca. 1782); flute part
for Handel's "Fixed in His Everlasting Seat;" "Menuet de caprice," "Menuet
allemande," Double," Menuet da cupid" [variation], and "La Furstemberg"
[with four variations]; and the violin part to Haydn's 10th symphony, dated
ca. 1793. 1 v. (100 p.). |
|
| 12 |
|
18th-century manuscript lesson book of
pieces for harpsichord, probably belonging to a Miss Baring, who signed
and dated the front flyleaf on 25th August 1755. Inverted at back are pastoral
songs by Handel, some from Thomas Augustine Arne's Comus including
"Let Me Wander," with ornaments. Titles include: "Concerto in F," "Minuet
in F," "Minuet in D," and "Sonata in G" by Hasse; "Chorus Happy Pair" and
"Water Music (variations on I)" by Handel; "Air & variations in G"
by Jack Latin; "Air in C" by [Alessandro] Scarlatti; "Air and variation
in A" "Minuet in A," "Minuet in D," "Air in F," "Air in C," "Song in F:
In vain you tell," "Lesson in B flat," "Larghetto in G minor," "Gigue in
B flat," "Song in G: Cupid, God of soft," "Sonata in D," "Allegro in D,"
"Minuet & Variations in C," "Air in F (minuet)," "Sonata in E," "Aria
in E & Variation," "Air in E," "Air in A," "Minuet in G," "Air in C,"
"Minuet in B flat," and "Air in C" by Felton; "Air in A" and "Minuet in
G" by Thomas Linley (1732-1795); "Air in F," "Minuet in E," "Minuet in
D," "Air in E," "Minuet in E," "Air (Ailen Aroon)," "El Fandango (in D
minor)," "Aria in E," and "Minuet in D" by Groot; "Minuet in E" by [Vauxhall?];
"Minuet in G" by William Herschell (1738-1822); "Adagio (1st Concerto),"
and "Adagio (4th Concerto) by Handel; "Fandango in B flat" by Thicknape;
"Allegretto in D," "Minuet in D," and "Air in A;" "March from Montezuma"
by Karl Heinrich Graun (1704-1759); "March in E flat;" and "Air in Alonzo
& Imogene" by Morhead. |
|
| 13 |
|
Full score in manuscript of Handel's oratorio
Israel
in Egypt, written in at least 2 different scribal hands. Probably in
the hand of Copyist S6 (Larsen) for the first 37 p. and in the hand of
Copyist S10 (Larsen) for the remainder, dated 1738. Together with an 18th-century
copy of the original trombone parts for
Israel in Egypt (p. 261-276)
laid in at back. 1 v. (276 p.). |
|
| 14 |
|
Second violin parts in manuscript for
30 pieces from Handelian operas (1720-1723). Probably written by a Smith
copyist, S8. Titles include: "Deh! fuggi," "L'ingrato non amar," "Si che
ti renderai" and "Overture" from Radamisto; "Pupille s'degnose,"
"Lungo pensar," and "Ma come amar" from Muzio Scaevola; "Dimmi o'
speme," "Seri solvi," and "Vivere per penare" from
Floridante; "Non
credo," "Con un vezzo," and "Amante stravagante" from
Flavius; "Gode
l'alma," "Pensa adamare," "Quanto dolci," "Notte cara," "D'ell onda," "A
teneri affetti," "Sio dir potessi," "Ah tu no sai," "Trema tiranno," "Affanni
del pensier," "Benche me sia," and "Spera ti," "Alla fama," "La speranza,"
"Le profonde," and "Overture" from Otho; "Da ti parto," "Sirti scogli,"
and "Rompo di ucco" from Flavius; and "Sweet Echo" from Arne's
Comus.
1 v. (23 p.). |
|
| 15 |
|
Violoncello and contrabass parts in manuscript
for 30 pieces from Handelian operas (1720-1723). Probably written by a
Smith copyist, S8. Titles same as in Hall-Handel manuscript no. 14 (see
above). 1 v. (23 leaves). |
|
| 16 |
|
Manuscript scribal copy of the full score
of Handel's oratorio Joseph, probably in the hand of John Christopher
Smith (the elder). This volume is no. 10 in a series made for Frederick,
Prince of Wales about 1745. An engraving by Heath - The Apotheosis of Handel
(1787) - has been inserted later as a frontispiece. The contents are as
in the Arnold edition except in part III where the air "Tho' on Rapid Whirlwinds"
and the recitative "Already There Retaken" are omitted. 1 v. (274 p.). |
|
| 17 |
|
Manuscript scribal copy of the full score
of Handel's oratorio Alexander Balus, probably in the hand of John
Christopher Smith (the elder). This volume is no. 13 in a series made for
(Frederick) Prince of Wales about 1745. The contents generally follow the
Prout-Novello score, except that n. 38 and 39, "Triumph Hymn" and "Glad
Time at Length" are omitted and the order of "Heroes may Vaunt" and "Mighty
Love" have been retained in their correct original position in the score.
1 v. (246 p.). |
|
| 18 |
|
Manuscript scribal copy of the full score
of Handel's oratorio Belshazzar, probably in the hand of John Christopher
Smith (the elder). This volume is no. 8 in a series made for (Frederick)
Prince of Wales about 1745. The contents generally follow the Novello vocal
score, with the exception of n. 4, 5, 7, 8, and the two Chandos Anthems.
Handel did not include numbers 4 and 5 "The Fate of Babylon" and "Lament
Not Thus" in the performance. Contains the final instruction "Ends with
the Anthem 'I Will Magnifie Thee o God my King &c." 1 v. (252 p.). |
|
| 19 |
|
Scrapbook, compiler unknown, containing
materials related to 19th-century performances of Handel's music in England.
Includes manuscript letters, magazine and newspaper clippings, performance
ticket stubs, embossed rehearsal tickets (1834), printed programs, printed
publications, engraved plates (portraits, illustrations), etc. Contains
memorabilia from performances of the Royal Music Festival, Westminster
Abbey (1834); Clippings about the first performance of Handel's "Coronation
Anthem" and the "Overture to Samson," at the Music Festival at Westminster
Abbey in 1834; printed programs from the Handel Festival at the Crystal
Palace (1857-1859); printed diagrams of sections of roofs of various cathedrals,
music halls &c used for great musical festivals; printed diagram of
the comparative dimensions of the principal orchestras of England; Autograph
letters signed by various musicians (some from the Handel Festival at Crystal
Palace, 1859). Includes correspondence of: Mr. Michael Costa, conductor
of the Handel Festival, 1859; Clara Novello (Soprano); James Howell, R.
S. Pratton (flutist), and others; and newspaper clippings concerning the
Handel Festival at Crystal Palace in 1862. 1 v. (77 leaves). |
|
| 20 |
|
Typescript copy of an alphabetical index
of French and Italian songs composed by Mr. Handel, originally compiled
from a manuscript in the Royal Music Library (RM 19.f.8) attributed to
Victor Schoelcher. Revised and augmented by James S. Hall, September 1953,
Courtlands, Walmer. Includes 1 ALS from Isabelle Coopersmith to Dr. Hall,
dated May 23, 1968. 1 v. ([42] p.). |
|
| 21 |
|
Photostatic copy of an alphabetical index
of French and Italian songs from the Schoelcher collection, Royal Music
Library, dated Oct. 1952. 1 v. (28 leaves). |
|
| 22 |
|
Typescript alphabetical index of songs,
cantatas, sacred music, and important recitatives set by Mr. Handel in
French, German, Latin, Italian, and Spanish. Compiled by James S. Hall,
Walmer, 1953. Includes 1 TLS from Merrill [?] to "Jimmie," dated Wotton
House, Wotton Underwood, Aylesbury, Bucks, June 18, 1968. 1 v. ([42] p.). |
|
| 23 |
|
Typescript catalogue of Julian Marshall's
Handel collection, now in the National Library of Scotland, dated ca. 1953.
Together with an account of the correspondence regarding its sale. 1 v.
(50 p.). |
|
| 24 |
|
Typescript list of the Aylesford Handel
manuscripts in the possession of Sir Newman Flower with a table of contents,
watermarks, and copyists, compiled by James S. Hall, ca. 1958. 1 v. (16
leaves). There are two additional copies in Box 11, Folder 4. |
|
| 25 |
|
Photostatic copy of a manuscript of Handel's Forest Music Schoelcher 164 (a) and Schoelcher 192 p. 1 from the Bibliothèque nationale de France, Département de la musique, Ms. 36734. 1 v. (4 p.). |
| 26 |
|
Manuscript full score of Handel’s Te Deum (before 1780). 88 ff. (161 pp.) of music, notated on 12-stave ruled paper in an unidentified hand, with occasional corrections, bound in original blindstamped suede (worn, lacking spine). This Te Deum in Bb is scored for soprano and two tenor soloists, men’s choir, and instruments, and pre-dates the first printing of the work in 1788. |
| Box |
Folder |
II. Correspondence [of James Hall] |
|
| 1 |
1 |
|
A |
|
2 |
|
B |
|
3 |
|
Britten, Benjamin (1959) |
|
4 |
|
C |
|
5 |
|
Capell, Richard (1954) |
|
6 |
|
Clements, John (1953) |
|
7 |
|
Coke, Gerald (1957-1968, n.d.) |
|
8 |
|
D |
|
9 |
|
Dart, Robert Thurston (1956-1957, n.d.) |
|
10 |
|
Dean, Winton (1957-1969) |
|
11 |
|
Deller, Alfred (1953-1959) |
|
12 |
|
Deutsch, Otto Erich (1951-1956) |
|
13 |
|
Farncombe, Charles (1956-1968) |
|
14 |
|
Flower, Newman (1954-1965) |
|
15 |
|
G |
|
16 |
|
Girton College Musical Society (1953-1954) |
|
17 |
|
Godman, Stanley (1956) |
|
18 |
|
Goehr, Walter (1953) |
|
19 |
|
H |
|
20 |
|
Henschel, Helen (1952) |
|
21 |
|
Hill, Roland (1959) |
|
22 |
|
Hinrichsen, Max (1956) |
|
23 |
|
Howes, Frank (1954-1958) |
|
24 |
|
J |
|
| 2 |
1 |
|
K |
|
2 |
|
Kitching, Alan (1963) |
|
3 |
|
Knapp, Merrill (n.d.) |
|
4 |
|
Koehler's Publishing House (1959) |
|
5 |
|
L |
|
6 |
|
Larsen, Jens Peter (1957-1972) |
|
7 |
|
Loorij, Jack (1955-1973) |
|
8 |
|
M |
|
9 |
|
National Federation of Musical Societies (1957, n.d.) |
|
10 |
|
Novello Company Music Publishers (1957-1970, n.d.) |
|
11 |
|
R |
|
12 |
|
Richardson, Eddie (1957-1972) |
|
13 |
|
S |
|
14 |
|
Smith, William Charles (1951) |
|
15 |
|
Smith, William Charles (1952) |
|
16 |
|
Smith, William Charles (1953) |
|
| 3 |
1 |
|
Smith, William Charles (1954) |
|
2 |
|
Smith, William Charles (1955) |
|
3 |
|
Smith, William Charles (1956) |
|
4 |
|
Smith, William Charles (1957-1958) |
|
5 |
|
Smith, William Charles (1959-1965) |
|
6 |
|
Smith, William Charles (1966-1972) |
|
7 |
|
V |
|
8 |
|
W |
|
9 |
|
Y-Z |
|
10 |
|
Unidentified |
|
|
|
|
III. James S. Hall as Handel Scholar |
|
| 4 |
1 |
|
"Handel in Italy": Hall's research into Handel's Latin
church music |
|
2 |
|
"Handel's Graces": draft, notes and correspondence |
|
3 |
|
Letters for publication |
|
4 |
|
John Walsh, Handel's publisher |
|
5 |
|
Correspondence and notes, regarding Handel's musical instruments
as well as a bust of the composer |
|
| 5 |
1 |
|
Handel's visits to Salisbury and Bath |
|
2 |
|
Hallesche Handelausgabe: correspondence, notes and
documents |
|
3 |
|
Research assistance to various correspondents |
|
|
|
|
IV. James S. Hall as Handel Collector |
|
|
4 |
|
"Collecting Old Music", Country Life, 27 October
1955 [2 copies] |
|
5 |
|
Fan mail, regarding the article "Collecting Old Music". |
|
6 |
|
Notes on the provenance of Handel's manuscripts |
|
7 |
|
History of the editing and publication of Handel's music |
|
8 |
|
Miscellaneous photostats of Handel manuscripts |
|
9 |
|
Handel-related clippings |
|
| 6 |
1 |
|
Photostats of oratorios |
|
2 |
|
Photostats of Messiah |
|
3 |
|
Editing history of Handel oratorios |
|
4 |
|
Correspondence and notes relating to editions and performances
of
Messiah and Samson |
|
5 |
|
Correspondence with Dr. Konrad Ameln, re: Alexander's
Feast and
Samson |
|
6 |
|
Photostats of subscriber lists for premieres of Handel's
oratorios |
|
| 7 |
1 |
|
Photostats of L'Allegro |
|
2 |
|
Messiah: annotated musical examples |
|
|
|
|
V. Handel Societies and Festivals |
|
|
3 |
|
The Deal and Walmer Handelian Society's Messiah
memorial plaque (1) |
|
4 |
|
The Deal and Walmer Handelian Society's Messiah
memorial plaque (2) |
|
5 |
|
"John Christopher Smith" by James Hall, The Musical
Times, March, 1955, re: the erection of the memorial plaque in Bath
by the Deal and Walmer Handelian Society |
|
6 |
|
John Christopher Smith, the younger, re: Bath memorial
plaque |
|
7 |
|
John Christopher Smith, father and son: notes and drafts |
|
8 |
|
Correspondence between James Hall and Konrad Sasse, re:
John Christopher Smith |
|
9 |
|
John Christopher Smith in Germany |
|
10 |
|
John Christopher Smith in London |
|
| 8 |
1 |
|
Handel Festspiele in the German Democratic Republic
(1) |
|
2 |
|
Handel Festspiele in the German Democratic Republic
(2) |
|
3 |
|
Handel Festspiele in the German Democratic Republic
(3) |
|
4 |
|
GDR clippings, re: Handel Festspiele |
|
5 |
|
Other Handel Societies |
|
| 9 |
|
|
Handel Anniversary and Festival Medals (1791-1959) |
|
|
|
|
Twelve molds of the seal from John Christopher Smith's will, accompanied
by a letter from E. W. Pedley, dated "October 28th, London". |
|
|
|
|
Handel Bicentennial Medal, plaster mold only, East Germany, 1959, Halle,
11-19 April (3 copies) |
|
|
|
|
Handel Medal, n.d., Dodds Cheap Shop for Musical Instruments |
|
|
|
|
Handel Festival Medal, Crystal Palace, June, 1857 |
|
|
|
|
Handel Commemorative Medal, 1784, silver [case inscribed for Dr. Charles
Hague, Cambridge University musicologist who died in [1821?]. |
|
|
|
|
Handel medal of the Benevolent Choral Fund, inst. 1791, inscribed,
"I know that my Redeemer liveth". |
|
|
|
|
Sacred Harmonic Society, founded 1832, medal to commemorate its 50th
and last season in 1882 [E.A.Waugh, member] |
|
|
|
|
Handel Centenary Medal, Crystal Palace, 1859 [E.A.Waugh, Esq.] |
|
|
|
|
Handel Centenary Medal, Crystal Palace, 1859 [H.D.Drury, Performer] |
|
|
|
|
Handel Centenary Medal, Crystal Palace, 1859 [A.G.McKinnon, Steward] |
|
|
|
|
Handel Centenary Medal, Crystal Palace, 1859 [punctured] [Barnby, Performer] |
|
|
|
|
Handel Festival Medal, Crystal Palace, June, 1857 [Major Jeff Sharp,
Steward] |
|
|
|
|
Three medal cases |
|
|
|
|
VI. Miscellaneous Handel Material |
|
| 10 |
|
|
The Catalogue of Mr. Handel's Music by Victor Schoelcher
[4 v.] |
|
| 11 |
1 |
|
Portraits of Handel |
|
2 |
|
Facsimile reproductions of Handel mss and engravings of
city views and churches related to Handel's career. |
|
3 |
|
Original of The London Chronicle for April 24, 1759,
printing the review of Handel's interment in Westminster Abbey. |
|
4 |
|
"The Aylesford Manuscripts of G. F. Handel", compiled by
James S. Hall, together with notes and correspondence [2 copies] |
|
|
|
Sample X-ray film box used by Hall to house his collection |
|
|
|
Negative master microfilm of 1760 Walsh publication of
Handel's Six Concertos for Harpsichord or Organ, from Hall's library. |
|
| Oversize folder 1 |
Oversize portraits of Handel, city views and musical facsimiles |
|
|
|
|
VII. Non-Handel Material Relating to
James Hall |
|
| 11 |
|
5 |
Sea Surgeon; the memoirs of the lifeboat doctor in peace
and war, by James S. Hall, O. B. E |
Top
|
