The most notable gifts came from Adolphe M. Förster, of MUSIC: Gifts Pittsburg, and George W. Chadwick, of Boston. The former presented the autographs of his op. 29, 67, and 69, and Mr. Chadwick the autograph score of his "Symphonic sketches," surely one of his most representative works. Not only this, but Mr. Chadwick has graciously consented to give to the Library the full score of his Christmas pastoral "Noël." Purchases The organic development of the collections has continued MUSIC: uninterruptedly as planned. Yet opportunities for the acquisition of important individual works outside of the usual course were taken advantage of, as the following survey of the more noteworthy purchases of this kind will illustrate: Abaco's XII sonate da chiesa, op. III. Paris, Le Clerc; Airs de cour et de differents autheurs, 1615-1626; Albert's Arien, 1646-1651; Amaryllis, 2d ed., 175–; d'Anglebert's Pièces de clavecin, 1689; Bach's Clavier Übung, 1731, 1739, 1742; Bach's Kunst der Fuge, 1752; Bach's Musikalisches Opfer, 1747; Besardus' Thesaurus Harmonicus, 1603; Bickham's Musical Entertainer, ca. 1737-1738; Boccherini's String Trios (complete set) and his unpublished Quatuors, op. 54; de Bousset's Airs nouveaux (18 vols.); Brunetti's unpublished Quatuors and Quintets; Butler's The principles of musick, 1636; Case's The praise of musicke, 1586; Child's Choise musick to the Psalms of David, 1656; Croce's Musica sacra to sixe voyces, 1608 (complete); Eslava's Lira Sacro-Hispana, 1869; Euclidis rudimenta musices, 1557; Fischer's Musikalisches Blumen Büschlein, 1698; Frescobaldi's Toccate d' intavolatura di cimbalo et organo, 1637; Gluck's Tigrane libretto (a complete copy!); Händel's The songs in Messiah, London, Walsh, [!]; Hasse's Alcide al Bivio (full score); Keiser's Diana and Pomona (both full scores); Kuhnau's Frische Clavier Früchte, 1696; Landi's Il San Alessio, 1634; Luminalia, or The festivall of light, 1637; Mattheson's Les doits parlans, 1749; Mersenne's MUSIC: Harmonicorum libri XII, 1648; Mozart's Sei quartetti, 1785; Muffat's Componimenti musicali, 173-; Nabbes' The Springs Glory, 1639; The Nightingale of liberty, New York, 1797 (extremely scarce songster); Pelissier's Columbian melodies, 1811 (nos. 1-12); Pfitzner's Rose vom Liebesgarten (full score); Playford's Psalms and hymns, 1671; Rameau's Nais, MSS. full score, 1749; Jean Rameau's Le Maître à danser, 1748; Ravenscroft's Melismata, 1611; Ravn's Heptachordum danicum, 1646; Reichardt's Erwin and Elmira, 1793; A Relation of the late Royall Entertainment London, 1613; Rousseau's Traité de la viole, 1687; Sala's Regole del contrappunto pratico, 1794; Select psalms and hymns for... the Parish of St. James Westminster, 1720; Tabourot's Orchesographie, 1588; Wilbye's Madrigals, 1598; 1609 (complete); Yonge's Musica transalpina, 1588 (complete); Zacconi's Prattica di Musica, 1592; Zanger's Practicae musicae praecepta, 1554. Our acquisitions from the recent auction of the famous. Weckerlin collection, formed by the eminent dean of music librarians, who survived the dispersion of his treasures by only a few weeks, show so much the character and purpose of an en bloc purchase that the most noteworthy items may best be mentioned together. The distinctive feature of Mr. Weckerlin's collection was of course due to his interest in French folk-songs, chansons, etc., and our choice lay particularly among these, including the following: Agricola, Musica figuralis deudsch, 1532; L'Année musicale, 1755-1756; Ariettes de Ninette à la cour (Paris, in 3 acts!); Bacilly, Recueil des plus beaux vers, 1661, 1680 (3 v.); Cerreto, Della prattica musica vocale e instrumentale, 1601; Airs de différents autheurs à deux parties, Paris, Ballard, 1658-1691 (almost complete series); Chansons pour dancer et pour boire, Paris, Ballard, 1627–1665 (almost complete set); de Chancy, Chansons pour danser et pour boire, Paris, Ballard, 1640– 1655; La Grotte, Chansons de P. de Ronsard, Tenor. Paris, 1580; Recueil des Mille et un air, 1715-1739; Les parodies nouvelles et les vaudevilles inconnus, 1730-1737; La Philomele seraphique, 1632, 1640; Recueil des plus beaux airs, etc., Caen, Mangeant, 1615; Coyssard, Les hymnes sacrez et odes spirituelles, 1600; Lambranzi, Deliciae theatrales, 1716; Landrin, Recueil d'airs, etc., ca. 1750; Rameau, Abrégé de la nouvelle méthode, 1725; Gallæus, Encomium musices, ca. 1600; Gaultier le vieux and Gaultier, Denis, Livre de tablature des pièces de Luth, ca. 1664; Gillier and Grandval, Airs de la comédie françoise, 1712-13; Borjon, Traité de la musette, 1672; Denis, Traité de l'accord de l'espinette, 1650; Discours non plus mélancoliques que divers, 1556; Hotteterre, Méthode pour la musette, 1738; de La Voye, Traité de musique, 1656; Lippius, Synopsis musicæ novæ, 1612; Luscinius, Musurgia, 1536; Moreau, Chœurs de la tragédie d'Esther, 1689; Mozart, Trente-cinq points d'orgue, 1804; Nouvelles poesies spirituelles et morales, etc., 1732-1733; Parran, Traité de la musique théorique et pratique, 1646; Pontus de Tyard, Les discours philosophiques, 1587; Caignet, Les CL Pseaumes de David, 1624; Goudimel, Les Pseaumes de David, 1667; Le Jeune, Les Pseaumes de David, 1635; De Goüy, Airs à quatre parties, 1650; Marot et de Bèze, Les Pseaumes mis en rime françois, 1562, 1564; Puteanus, Musathena, 1602; Rameau, Cantates françoises, 17-; Rossi, Erminia sul Giordano, 1637. The most noteworthy actual purchase en bloc was that of the Marquise Martorell collection. Honored by the jury of the Paris Exposition of 1900, this collection was known to be sui generis. Its importance lies not so much in the fact that it contains nearly thirty full scores in manuscript of old operas, among them Meyerbeer's "Semiramide riconosciuta" and Haydn's "Isola disabitata" (the dedication copy to the Prince of the Asturias), besides MSS. oratorio, etc., scores by Haydn, Durante, Zingarelli, Jommelli, Pergolesi, Palesi, and much manuscript and printed instrumental music. by Brunetti, Schmidl, Dittersdorf, Bruni, and many others. What lends more and permanent significance to the Martorell collection is the fact that it contains about 1,300 full scores of "favorite" arias from eighteenth century operas, in neat, contemporary manuscripts, uniformly bound. hundreds of these arias are from operas not otherwise represented in our collections, their value as additions to our collection of full scores of operas (now numbering almost 2,000) will be obvious. The transcribing of the scores of old operas unprocurable in the original or in print has continued, the number added during the year reaching nearly 100. The list of these includes: Ariosti's La fede ne' tradimenti; Badia's Ercolo vincitor di Gerione; Bertali's Gli amori di Apollo con Clizia; G. B. Bononcini's Gli affetti più grandi, vinti dal più giusto, Mario fugitivo; M. A. Bononcini's Polifemo; Caldara's Atenaide (1709), Don Chisciotte in corte della duchessa, Ifigenia in Aulide; Emilio del Cavaliere's Rappresentazione di anima e di corpo; Cavalli's Alessandro vincitor di se stesso; Cesti's La Dori, Il Tito, La magnanimità d'Alessandro, Serenata, 1662; Conti's Galatea vendicata; Deller's Orfeo ed Euridice; Dittersdorf's Liebe im Narrenhaus; Draghi's La laterna di Diogene, La patienza di Socrate con due moglie; Ferinelli's La Pamela maritata; Galuppi's Filosofo di campagna, La serva per amore, Il conte Caramella; P. C. Guglielmi's La bella pescatrice, Alessandro nelle Indie; Guglielmi's La lanterna di Diogene; Gyrowetz' Der Augenarzt, Federica ed Adolfo, Die Junggesellenwirtschaft; Hasse's Piramo et Tisbe; Hiller's Die Jagd; Jomelli's Armida abbandonata, Il paratajo, Creso, La Semiramide riconosciuta, Temistocle; Latilla's La finta cameriera, Siroe, Temistocle; Leonardo Leo's Catone in Utica; Logroscino's Il Governatore, Il Giunio Bruto; Maio's Adriano in Siria; Mattei, Bononcini, Händel's Muzio Scevola; Wenzel Müller's Ritter Don Quixote, Teufelsmühle; Naumann's Cora; Neefe's Sophonisbe; Giuseppe Nicolini's Le due gemelle; Perez' Andromeda; Perti's Rosinda; Porpora's Annibale, Mitridate, Arianna in Naxo; Predieri's Zenobia; Rinaldo da Capua's La donna vendicativa; Rodolphe's Medée et Jason; Rutini's I matrimoni in maschera; Salieri's Die Neger; Sarti's Fra i due litiganti il terzo gode, Ifigenia in Aulide; Scarlatti's Il Medo (attributed to Sc.); Schürer's Doris; Starzer's Roger e Bradamante; Telemann's Miriways; Pietro Torri's Briseide; Trajetta's Le serve rivali; Vinci's Alessandro nelle Indie; Filippo Vitali's Intermedii, 1623; Weigl's Kaiser Hadrian; Wolf's Die Dorfdeputierten; Ziani, Negri and Caldaras' Atenaide (1714); Zingarelli's Alsinda. The classes "Dramatic music" and "Chamber music" were Catalogues added to the subject catalogue. Further catalogues in book form are, of course, in contemplation, among them "Orchestral music," "Dramatic music in vocal score," "Librettos,' ," "Books on music printed before 1800" and an enlarged and more elaborate edition of the catalogue of "Dramatic music in full score." DIVISION OF PERIODICALS (From the report of Mr. Martel, in present charge) The following comparative table, covering six years, shows the accessions of serials from various sources: volumes). ... . 9, 216 10, 468 11, 646 12, 828 13, 597 14, 740 |