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Special Home > Mrs. H.H.A. Beach/Amy Cheney Beach, 1867-1944

Mrs. H.H.A. Beach/Amy Cheney Beach, 1867-1944

Papers, 1835-1956

MC 51

18 Boxes (6 cu.ft.)

About Amy Cheney Beach

Amy Marcy Cheney was born in Henniker, New Hampshire on September 5, 1867. A child prodigy, she began composing music at age four and performing publicly at age seven. At the age of thirteen, she wrote “The Rainy Day” following a visit with Henry Wadsworth Longfellow, the poem’s author. It was her first published song. The home-tutored pianist first entered Boston’s musical community at the age of eight. Because her parents could not afford to send her abroad, she received further musical training in Boston. In 1883, at age sixteen, she made her professional debut as a pianist. Afterwards, she became a soloist with the Boston Symphony Orchestra.

In 1885, the eighteen year-old pianist married Dr. Henry Harris Aubrey Beach, a prominent Boston physician who was 25 years her senior. She changed her professional name to Mrs. H. H. A. Beach and, at the request of her husband, she shifted emphasis from performance to composition. With the exception of an annual recital, presentations of her own works, and occasional solo performances with the Boston Symphony Orchestra, Beach devoted the majority of her time and efforts to writing music. Most of Mrs. Beach’s compositions were published and many were performed by leading artists and ensembles. In 1892, the Boston Handel and Haydn Society premiered her first major work, the Grand Mass, Op. 5. The subsequent acclaim her work received established her as a composer and led to her first commissions. The 1896 Boston Symphony performance of her Gaelic Symphony in E Minor, Op. 32 (recognized as the first symphonic work by an American woman) helped confirmed Mrs. Beach as one of the country’s leading composers.

Throughout her life, Beach wrote more than 150 numbered works ranging from chamber and orchestral works to church music and songs. Her early works show the influences of Wagner and Brahms, but she added her characteristic intensity and passion. In her later years, she moved beyond the late-Romantic style as her works became more chromatic and dissonant. Nevertheless, she retained an intense lyricism throughout her career as a composer.

Following Dr. Beach’s death in 1910, Mrs. Beach embarked on a three year tour of Europe. She resumed her career as a performer and changed her professional name to Amy Beach. However, upon returning to the United States, Beach once again assumed her married name. For the next thirty years she continued to compose and perform. Between tours, Beach resided in New York City and her cottage at Centerville on Cape Cod.

Between 1921 and 1941, Beach was an annual visitor at the MacDowell Colony in Peterborough, New Hampshire. She wrote most of her later works while at the Colony, including her two famous piano pieces, “The Hermit Thrush at Eve” and “The Hermit Thrush at Morning.” Her annual visits to the Colony enabled her to maintain contacts with family and friends in nearby Henniker and Hillsboro, New Hampshire. Beach also developed friendships with other “Colonists,” such as founder Marion MacDowell, Russian sculptor Bashka Paeff, and playwright Thornton Wilder. In 1928, Beach and Marion MacDowell received honorary Master of Arts degrees from the University of New Hampshire.

Failing health hampered Beach’s activities and travel during her final years. A worsening heart condition limited her concert-going and eventually confined her to her New York apartment. She died of heart failure on December 27, 1944 at the age of 77. In her will, she left the rights to her music to the MacDowell Colony, which continues to receive royalties from her many compositions.

About the Amy Cheney Beach Collection

The Mrs. H. H. A. Beach Collection consists primarily of personal correspondence, diaries and notebooks, music manuscripts, published scores, clippings, photographs, and ephemera. Major correspondents include: Lillian Buxbaum; Ruth Shaffner; Nan Bagby Stephens; Marion MacDowell; Percy Goetschius; Arthur Foote; George Chadwick; Margaret Deland; John Knowles Paine; and Horatio Parker. Beach’s diaries cover the years from 1926 until her death in 1944. Also included are over 60 manuscript scores, including the entire pencilled score of the “Gaelic” Symphony, and over 250 pieces of published music.

The Beach Collection comprises several accessions, primarily from Walter S. Jenkins, David Buxbaum, and the Fuller Public Library, Hillsboro, New Hampshire. It has been organized to reflect Beach’s own filing systems and to provide researchers with better access. Those items marked by “FPL” within the finding aid are the legal property of the Fuller Public Library in Hillsboro, New Hampshire and should be cited as such.

For additional Mrs. Beach manuscript compositions and printed works, visit the Special Collections website at the University of Missouri-Kansas City.

For recorded works of Mrs. Beach, visit Adrienne Fried Block’s discography.

Permission to publish or perform works by Amy Beach must be obtained directly from the Macdowell Colony.

Folder Listing

  1. Correspondence
    1. Letters to Beach, 1880-1943
    2. Beach’s autograph album, 1850-1901
    3. Letters from Beach, 1928-1944
    4. Correspondence of others, 1880-1956
  2. Diaries, notebooks, and genealogy
    1. Diaries, 1926-1944
    2. Notebooks and journals, 1888-1910
    3. Writings about music, published and unpublished
    4. Genealogy and biography, 1835-1945?
  3. Music manuscripts
    1. Music notebooks
    2. Manuscript scores, arranged by opus #
    3. Manuscript scores, without assigned opus #
    4. Manuscript fragments and transcriptions
    5. Manuscript scores of others
  4. Published compositions
    1. Published compositions, arranged by opus #
    2. Published compositions, without assigned opus #
    3. Collections of compositions (published and bound)
    4. Published compositions of others
  5. Scrapbooks, programs, and reviews
    1. Scrapbooks
    2. Concert/performance programs (arranged by year)
    3. Reviews, arranged by year [in processing]
    4. Reviews, arranged by Opus # [in processing]
  6. Photographs
  7. Sound Recordings and ephemera [in processing]

I. Correspondence

A. Letters to Beach, 1880-1943

BOX 1
f.1 A: Agassiz, Elizabeth C.; Allen, Una L.; Alves, C. Katie; and Aus de Ohe, Adele.
f.2 B: Bauer, Harold; Bispham, David; Brackett, Walter M.; Brooks, Phillips; Brown, Abbie Farwell; Burleigh, Harry T.; and Busch, Carl.
f.3 C: Carreno, Maria Teresa; Cary, Annie Louise; Chadwick, George W.; Chaminade, Cecile; Clarke, Anna Leininger; Coates, Florence Earle (11 letters); Cooke, Sidney T.; and Cushman, Charlotte.
f.4 D: Davis, Walter; Deland, Margaret; and Dole, Nathan Haskell.
f.5 E-F: Eames (Story), Emma; Fiedler, Max; Foote, Arthur; Fosdick, Harry Emerson.
f.6 G: Gabrilovitch, Ossip; Ganz, Rudolph; Goetschius, Percy; Gould, Elizabeth Porter; and Grandjany, Marcel.
f.7 H: Hammer, H.; Hegermann (Lindencrone), Lille; Hillsboro Saving Bank; Holmes, Oliver Wendell; Homer, Louise; Homer, Sidney; Hopekirk, Helen; Hughes, Agnes Lockhart; Hughes, Edwin; and Hyde, Arthur.
f.8 J-K: Jewett, Sarah Orne; Kroeger, Ernest R.; Keller, Helen; and Klempeter, Ana E.
f.9 L: Lang, Margaret Ruthven; Lajinska, Ethel; Lhevinne, Joseph; Library of Congress; Lockhart, Agnes Helen; Longfellow, Henry W.; and Lutkin, Peter C.
f.10 M-N: MacDowell, Mrs. Edward A. (Marion); Milligan, Harold V.; Nikisch, Amelie; Noble, T. Tertius; Nold, Raymond; and Nordica.
f.11 O-P: Ouhe?; Paine, John Knowles; Palmer, Bertha H.; Paris, Walter; Parker, Horatio W.; Patti, Madame (A. Morini); Paur, Emil; Perry, Nora; Powell, Maud; and Pugno, Raoul.
f.12 R: Raudenbush, George King; Reese, Elizabeth Phelps; Richardson, Maurier R.; and Robinson, E. A.
f.13 Sa-So: Samaroff, Olga; Scheel, Fritz; Schroeder, H. L.; Sembrich, Marcella; Seward, Olive Risley; Sgambatti, G.; Sockman, Ralph; and Sowerby, Leo.
f.14 Sp-St: Spencer, Robert Nelson; Speyer, Leonora; Spofford, Harriet Prescott; Stasny, Carl; Stephens, Nan Bagby; Stock, Frederick A.; Stoessel, Albert; and Stokowski, Leopold.
f.15 T-Wh: Taylor, Deems; Urso, Camilla; Walsh, Monica Barry; Waters, Clara E. Clement; Washington, Booker T.; and White, Harriett R.
f.16 Wi-Z: Wilder, Thornton; Wynne-Matthison, Edith; Zeisler, Mrs. Sigmund (Fannie Bloomfield Zeisler), and Zerrhan, Carl.
f.17 Correspondence concerning literary rights, 1895-1915.
f.18 Letters from unknown correspondents.

B. Beach’s Autograph Album, 1850-1901

BOX 1
f.19 Contains autograph sentiments and signatures collected by Beach. The album contains letters and/or autographs from, among others: Booth, Edwin; Darwin, Charles; Foote, Arthur; Holmes, Oliver Wendell; Howe, Julia Ward; Liszt, Franz; Longfellow, Henry Wadsworth; Phillips, Wendell; Reinecke, Karl; Thaxter, Celia; and Whittier, John Greenleaf.
f.20 Material detached from album, unidentified.
f.21 Transcriptions of selected letters from the autograph album.

C. Letters from Beach, 1923-1944.

BOX 2
1. To others, 1923-1937
f.1 To: Daniels, Mabel; Flower, Agnes; Jenkins, Walter; Mr. Lunt; Partridge, Roland; Miss Pierce, Rumrill, Barbara W. (FPL), Mrs. Wiegand; and unknown.
2. To Lillian Buxbaum, 1928-1944
f.2 1928-1930.
f.3 1931.
f.4 1932-1933.
f.5 1934.
f.6 1935-1936.
f.7 1937.
f.8 1938.
f.9 1939.
f.10 1940.
f.11 1941.
f.12 1942-1943.
f.13 1944.
f.14-18 Undated correspondence to Lillian Buxbaum.
f.19 Undated postcards to Lillian Buxbaum.
f.20 Greeting cards to Lillian Buxbaum (dated and undated).
3. To Ruth Shaffner, 1930-1944
f.21 1930.
f.22 1931.
f.23 1932.
f.24 1933.
f.25 1934.
f.26 1935.
f.27 1936.
f.28 1937-1939.
f.29 1940-1941.
f.30 1942-1944.
f.31 Undated letters.
f.32 Undated letter fragments.
4. Miscellaneous Beach manuscripts (including signed musical quotations)
f.33 Mostly undated fragments.
f.34 Miscellaneous empty envelopes.

D. Correspondence of Others, 1880-1956

BOX 3
1. General (not Buxbaum or Shaffner), 1880-1898
f.1 Cheney, Clara I. to Cousin Anna; Gericke, Wilhelm to Mr. Ticknor; Langley, Samuel P. to Dr. H. H. A. Beach; Mason, William to Dr. H. H. A. Beach; and Phillip, I. to Mrs. Parkes.
2. Buxbaum, Lillian
f.2 General correspondence, 1927-1956. Writers include: Alcott, William; Alphin, Albert; Corbell, Susan; Furbur, Edward P.; Goodbar, Ruth; Greene, Edith Noyes; Lombard, Myrtle H.; MacDowell, Marion; Manahan, Ethel B.; Shaffner, Ruth; and Tamblyn, Bertha L.
f.3 Correspondence from Walter S. Jenkins concerning Beach and her papers, 1956-1964.
3. Shaffner, Ruth
f.4 General correspondence, 1936-1950. Writers include: Brigham, Amy J.; Kinscella, Hazel Gertrude; MacDowell, Marion; Rasbach, Oscar; Richardson, Nina Maud; Stephens, Nan Bagby; Tollefson, Carl H; Turner, Nancy Byrd; and Wells, Carolyn.

II. Diaries, Notebooks, and Genealogy

A. Diaries, 1926-1944

BOX 3
f.5 Two diaries, Sept. 5, 1926-1931 and 1931-1935.
f.6 Two diaries, 1936-1941 and 1941-1944.
f.7-8 Walter S. Jenkins’s typed transcriptions of the Beach diaries, 1937-1941 and 1941-1944.
f.9 Autograph diary and notes of trip to England, May 14 to June 3, 1936.
f.10 Quotes and poems transcribed by Beach
f.11 “Rules for Young Musicians,” by Robert Schumann

B. Notebooks and journals, 1888-1910

BOX 4
f.1 Music reviews, v. II (of the compositions of others), October 1894.
f.2 Musical visitors (auditions of singers), 1909-1910.
f.3 Journal of performances of Beach’s compositions, 1888-1894, 1894-1898, and 1898-1901.

C. Writings about music, published and unpublished

1. Published writings
f.4 “Bird Songs.” The Designer (May 1911): 7; “Emotion Versus Intellect in Music.” Reprint from the Music Teachers National Association Proceedings (1931); “The Twenty-fifth Anniversary of a Vision.” Reprint from the Music Teachers National Association Proceedings (1932); and “Emotion vs. Intellect in Music.” Northwest Music Herald (March 1932): 4.
f.5 “A Plea for Mercy.” Reprint from the Music Teachers National Association Proceedings (1935); “Mrs. H. H. A. Beach Asks MacDowell Colony Aid.” Letter printed in The Musical Courier (April 1941); “How Music Is Made.: Keyboard (Winter 1942): 11, 38; “The How of Creative Composition.” Etude (March 1943): 151, 208; “The World Cries out for Harmony.” Etude (January 1944): 11-12; and “Music After Marriage and Motherhood.” Etude (n.d.)
2. Unpublished writings and drafts
f.6 Drafts of articles, manuscript review of the works of Rimsky-Korsakoff, and self-analysis of the “Gaelic” Symphony (typed transcription).

D. Genealogy and biography, 1835-1945?

f.7 Moses Marcy and His Descendents, n.p.: Evanston, IL, 1897. Includes Beach’s manucript notes and clippings about the Marcy family.
f.8 Transcriptions of Marcy family letters, 1835-1838.
f.9 Biographies of Beach, 1917 and 1944/1945?
f.10 Genealogy and obituaries of H. H. A. Beach.

III. Music manuscripts, primarily Mrs. H.H.A. Beach

A. Music notebooks

BOX 4
f.11 Blue notebook of music notations. Cover inscription: “A. M. Beach, Rothenburg Nov 23, 1911.” 12 leaves.
f.12 Music notebook, 1914-1936. 9 leaves plus one laid in. (FPL) Includes dated sketches of:
1. Untitled, laid in.
2. ["The Candy Lion"]. Op. 75, No. 1. May 20, 1914.
3. “Panama Hymn.” Op. 74. May 27, 1914.
4. “Prayer of a Tired Child.” Op. 75, No. 4. June 18, 1914.
5. “Tennyson Choric Song.” June 20, 1914.
6. “Far Awa’.” Op. 43, No. 4. September 17, 1936.
7. “Jesus, Tender Shepherd.” September 21, 1936.
f.13 Beach composition lists

BOX 5
f.1 Black notebook of music notations. June 6, 1934, 36 leaves. Contains dated sketches of the following: 1. “Evening Hymn.” Op. 125, no. 2. Arrangement for solo voices and chorus. And “Shadows of the Evening Hours.” Unassigned, June 6, 1934.
2. “We Who Sing Have Walked in Glory.” Opus 140. Arrangement for chorus. June 8, 1934.
3. “Evening Song [Hymn].” Op. 125, No. 2. Arrangement for solo voice and piano. June 9, 1934.
4. “Praise God.” Arrangement for chorus. June 9, 1934.
5. “Improvisation. No. 2.” Op. 148, no. 2. June 12, 1934.
6. “Improvisation. No. 1.” Op. 148, no. l. June 16, 1934.
7. “Improvisation. No. 3.” Op. 148, no. 3. June 20, 1934.
8. “Benedictus” (Ending, omitting “Gloria”). Opus 63B, December ll, 1934.
9. “O Lord God of Israel.” Op. 141. Arrangement for solo voices, chorus and organ. June 2, 1935, completed June 4, 1935.
10. “This Morning Very Early.” Op. 144. Arrangement for 3 part female chorus. June 7, 1935, completed June 9, 1935.
11. “April Dreams.” Song with piano. Lyrics by K. W. Harding. June ll, 1935.
12. “The Deep Sea Pearl.” Song. Lyrics by E. M. Thomas. June 13, 1935.
13. Unidentified fragment for piano. June 14, 1935.
14. “Agnus Dei.” [Possible revision of Op. 63.] Arrangement for solo voices, chorus and organ. New York. February 3, 1936, completed February 4, 1936.
15. “Far Awa!” Op. 43, No. 4. Arrangement for organ. September 17, 1936.
16. “After.” Op. 68. Arrangement for alto solo and chorus. September 18, 1936, completed September 20, 1936.
17. “I Sought the Lord.” Op. 142. For voice and organ. September 10, 1936.
18. “Barcarolle.” For violins and piano. June 3, 1937.

B. Manuscript scores, arranged by opus # (includes cross references to manuscript scores found in notebooks)

BOX 5
f.2 “Dreaming.” Op. 15, No. 3. Arrangement for cello and piano. n.d.
f.3 “Chanson d’Amour.” Op. 21, No. 1. With cello obligato in D-Flat. n.d. Also cello obligato in E-Flat. January 22, 1899. (FPL)
f.4 “Alleluia! Christ Is Risen!” Op. 27. Violin obligato. n.d. (FPL)
f.5 “Gaelic Symphony in E Minor.” Op. 32. January, 1894.
f.6 “Gaelic Symphony in E Minor.” Op. 32. November 21, 1894.
f.7 “Gaelic Symphony in E Minor.” Op. 32. June 13, 1895.
f.8 3 Musical Illustrations from Symphony in E-Major “Gaelic.” Op. 32. n.d. 2 sets. (FPL)
f.9 “Nachts (Night).” Op. 35, No. 1. Song with piano. n.d. (FPL)
f.10 “Nahe des Geliebten (with Thee).” Op. 35, No. 3. 2 copies: a) December 18, 1896 and b) n.d. (FPL)
f.11 “Peace on Earth. Christmas Anthem.” Op. 38. Violin obligato. n.d. (FPL)
– “Far Awa’.” Op. 43, No. 4. September 17, 1936. See music notebook, 1914-1936, box 4, f.12.
– “Far Awa!” Op. 43, No. 4. Arrangement for organ. September 17, 1936. See: Black notebook, June 6, 1934, box 5, f.1.
f.12 “Come, Oh Come!” Op. 48, No. 1. Song with piano. n.d. (FPL)
f.13 “Canzonetta.” Op. 48, No. 4. Song. n.d. (FPL)
f.14 “Transcription for Piano of ‘Standchen’ by Richard Strauss.” Op. 49. n.d. 2 copies. (FPL)
f.15 “Autumn Song.” Op. 56, No. 1. December 18, 1903. (FPL)
f.16 “Go Not Too Far.” Op. 56, No. 3. Song with piano. n.d. (FPL)
f.17 “I Know Not How to Find the Spring.” Op. 56, No. 2. Song with piano. n.d. (FPL)
f.18 “The Sea Fairies. A Cantata.” Op. 59. Harp part. n.d. (FPL)
f.19 “Variations on Balkan Themes.” Op. 60. Arranged for orchestra. Based on 1906 Version for piano solo. n.d. (FPL)
– “Benedictus” (Ending, omitting “Gloria”). Opus 63B. December ll, 1934. See: Black notebook, June 6, 1934, box 5, f.1.
– “Agnus Dei.” [Possible revision of Op. 63.] Arrangement for solo voices, chorus and organ. New York. February 3, 1936, completed February 4, 1936. See: Black notebook, June 6, 1934, box 5, f.1.
f.20 “After.” Op. 68. For Voice and piano. 2 copies dated November 22, 1907 and November 11, 1908. (FPL)
f.21 “After.” Op. 68. (Transcriptions for cello and violin), n.d.
— “After.” Op. 68. Arrangement for alto solo and chorus. September 18, 1936, completed September 20, 1936. Black notebook, June 6, 1934, box 5, f.1.
f.22 “A Prelude.” Op. 71, No. 1. Song with piano. n.d. (FPL)
f.23 “Sweet Content.” Op. 71, No. 2. Song. December 18, 1909. (FPL)
f.24 “Sweet Content.” Op. 71, No. 2. Song with piano, n.d. (FPL)
– “Panama Hymn.” Op. 74. May 27, 1914. See: Music notebook, 1914-1936, box 4, f.9.
– ["The Candy Lion"]. Op. 75, No. 1. May 20, 1914. See: Music notebook, 1914-1936, box 4, f.9.
– “Prayer of a Tired Child.” Op. 75, No. 4. June 18, 1914. See: Music notebook, 1914-1936, box 4, f.12.
f.25 “Separation.” Op. 76, No. 1. Song with piano. n.d. (FPL)
f.26 “The Lotos Isles.” Op. 76, No. 2. For piano solo. n.d. (FPL)
f.27 “The Lotos Isles.” Op. 76, no. 2. Song with piano. n.d.
f.28 “Wind o’ the Westland.” Op. 77 No. 2. Song with piano. n.d. 2 Copies. (FPL)
f.29 “Theme and Variations for Flute and String Quartet.” Op. 80. July 20, 1916. (FPL)
f.30 “Prelude and Fugue.” Op. 81. For piano solo. May 29, 1917. (FPL)
f.31 “Te Deum.” Op. 84. For 3 men’s voices and organ. February 26, 1921. (FPL)
f.32 “Quartet for Strings (In one movement).” Op. 89 [formerly Op. 79]. August 9, 1921.
f.33 “Quartet for Strings (In one movement).” Op. 89 [formerly Op. 79]. January 22, 1929.
f.34 “Pastorale for Cello and Organ.” Op. 90, No. 2. n.d. (FPL)
f.35 “Water-Sprites.” Op. 90, No. 2. n.d.
f.36 “A Hermit Thrush at Eve.” Op. 92, No. 1. July 20, 1921 and “A Hermit Thrush at Morn.” Op. 92 No. 2. [2 copies of No. 2] July 22, 1921 and n.d. (FPL).

BOX 6
f.1 “The Moon-Path.” Op. 99, No. 3. n.d. “To Miss Grace Kerns.”
f.2 “A Mirage.” Op. 100, No. 1. For soprano, violin, cello, and piano. n.d. (FPL)
f.3 “Stella Viatoris.” Op. 100, No. 2. Song with piano, violin, and cello. n.d. (FPL)
f.4 “Jesus, My Saviour!” Op. 112. Song with piano. n.d. (FPL)
f.5 “Rendezvous.” Op. 120. Song with violin obligato and piano. n.d. (FPL)
– “Evening Hymn.” Op. 125, no. 2. Arrangement for solo voices and chorus. And “Shadows of the Evening Hours.” Unassigned, June 6, 1934. See: Black notebook, June 6, 1934, box 5, f.1.
– “Evening Song [Hymn].” Op. 125, No. 2. Arrangement for solo voice and piano. June 9, 1934. See: Black notebook, June 6, 1934, box 5, f.1.
f.6 “Lento Espressivo.” Op. 125. [Opus number assigned by Beach]. Violin and piano. n.d.
f.7 “Sea Fever.” Op. 126, No. 1. 4-part song for male voices. n.d. (FPL)
f.8 “Fire and Flame.” Op. 136. Song with piano. July 1932.
f.9 “May Flowers.” Op. 137. Song with piano. July 1932. Inscribed: “For dear Lillian [Buxbaum], with Amy’s love.” (FPL)
– “We Who Sing Have Walked in Glory.” Opus 140. Arrangement for chorus. June 8, 1934. See: Black notebook, June 6, 1934, box 5, f.1.
f.10 “I Sought the Lord.” Op. 142. Song with piano. n.d. Inscribed: “To Ruth Shaffner.”
– “I Sought the Lord.” Op. 142. For voice and organ. September 10, 1936. See: Black notebook, June 6, 1934, box 5, f.1.
f.11 “This Morning Very Early.” Op. 144. 3-part song for female voices. n.d.
– “Improvisation. No. 1.” Op. 148, no. l. June 16, 1934. See: Black notebook, June 6, 1934, box 5, f.1.
– “Improvisation. No. 2.” Op. 148, no. 2. June 12, 1934. See: Black notebook, June 6, 1934, box 5, f.1.
– “Improvisation. No. 3.” Op. 148, no. 3. June 20, 1934. See: Black notebook, June 6, 1934, box 5, f.1.
f.12 “Cabildo.” Op. 149. Opera in one act. June 1932. 15 page penciled fragment. Accompanied by musical notes and typescript entitled: “Notes on Creole Folk Music,” n.d. (FPL)

C. Manuscript scores, without assigned opus #

f.13 “A September Forest.” Solo piano. n.d. (FPL)
f.14 “On a Hill.” (Arrangement of a Negro spiritual). n.d.

D. Manuscript fragments and transcriptions (FPL)

f.15 “Du Sieh’st.” (For baritone and piano), n.d.; “Prelude.” (For violin, cello, and piano), June 13, 1931; and Ecstasy. Op. 19, No. 2. [cover only], n.d.
f.16 Unidentified fragment for piano, n.d. and unidentified fragment for solo instrument and piano, n.d.
f.17 Transcriptions of folk songs [in Beach's hand]: “Old Welsh Airs”; “Russian Hymns”; “Osmanic March”; and “Bulgarian Songs.”

E. Manuscript scores of others (FPL)

f.18 Ralston, F. Marion. “Orientales.” (dedicated to Mrs. H. H. A. Beach), September 16, 1919.
f.19 Abelardo, Nicanor. “Sonata in C Major.” Op. 3, No. 2, 1921?
f.20 Unidentified transcriptions of folk songs, n.d.

IV. Published Compositions

A. Published compositions, arranged by opus # (includes cross references for published scores published or bound as part of a collection)

BOX 6
f.21 With Violets. Op. 1, No. 1. (Song). Boston: Arthur P. Schmidt, c1885. 2 copies. (FPL)
f.22 With Violets. Op. 1, No. 1. (Song). Boston: Arthur P.Schmidt, c1913.
f.23 The Four Brothers. Op. 1, No. 2. (Song). Boston: Arthur P. Schmidt, c1887. (FPL)
f.24 The Four Brothers. Op. 1, No. 2. (Song). Boston: Arthur P. Schmidt, c1915.
f.25 Jeune Fille et Jeune Fleur. Op. 1, No. 3. (Song). Boston: Arthur P. Schmidt, c1887. (FPL)
f.26 Jeune Fille et Jeune Fleur. Op. 1, No. 3. (Song). Boston: Arthur P. Schmidt, c1915.
f.27 Ariette. Op. 1, No. 4. (Song). Boston: Arthur P. Schmidt, c1886. See also: Song Album, No. 1, Box 9, folder 14.
f.28 Twilight. Op. 2, No. 1. (Song). Boston: Arthur P. Schmidt, c1887. 2 copies. (FPL)
f.29 When Far from Her. Op. 2, No. 2. (Song). Boston: Arthur P. Schmidt, c1889 (FPL) and c1917. See also: “Beach, Songs, Volume One,” Box 9, folder 18.
f.30 Empress of Night. Op. 2, No. 3. (Song). Boston: Arthur P. Schmidt, c1891. (FPL)
f.31 Empress of Night. Op. 2, No. 3. (Song). Boston: Arthur P. Schmidt, c1891. 2 copies. See also: Song Album, No. 1, Box 9, folder 14.
Cadenza to Beethoven’s C Minor Concerto, Opus 37. Op. 3. (Piano). Boston: Arthur P. Schmidt, c1888. See: “Beach, Piano Music,” Box 9, folder 17.
Valse-Caprice. Op. 4. (Piano). Boston: Arthur P. Schmidt, c1889. See: “Beach, Piano Music,” Box 9, folder 17.
f.32 Graduale from Mass in E-Flat. Op. 5. (Tenor solo). Boston: Arthur P. Schmidt, c1891. 2 Copies. (FPL) See also: “Beach, Songs, Volume One,” Box 9, folder 18.
Ballad in D Flat. Op. 6. (Piano). Boston: Arthur P.Schmidt, c1894. See: “Beach, Piano Music,” Box 9, folder 17.
f.33 O Praise the Lord, All Ye Nations. Op. 7. (Mixed voices). Boston: Arthur P. Schmidt, [c1891], c1919.
f.34 Nunc Dimittis. Op. 8, No. 1. (Mixed voices). Boston: Arthur P. Schmidt, c1891.
f.35 Peace I Leave With You. Op. 8, No. 2. (Mixed voices). Boston: Arthur P. Schmidt, c1891.
f.36 The Little Brown Bee. Op. 9. (Women’s voices). Boston: Arthur P. Schmidt, c1891.
f.37 Dark Is the Night. Op. 11, No. 1. (Song). Boston: Arthur P. Schmidt, c1889. 2 Copies. (FPL) See also: Song Album, No. 1, Box 9, folder 14.
f.38 The Western Wind. Op. 11, No. 2. (Song). Boston: Arthur P. Schmidt, c1889. 2 Copies. (FPL) See also: Song Album, No. 1, Box 9, folder 14.
f.39 The Blackbird. Op. 11, No. 3. (Song). Boston: Arthur P. Schmidt, c1889. (FPL) See also: Song Album, No. 1, Box 9, folder 14.
Wilt Though Be My Dearie? Op. 12, No. 1. (Song). Boston: Arthur P. Schmidt, c1889. (FPL) See: Song Album, No. 1, Box 9, folder 14.
Ye Banks and Braes of Bonnie Doon. Op. 12, No. 2. (Song). Boston: Arthur P. Schmidt, c1889. (FPL) See: Song Album, No. 1, Box 9, folder 14.
f.40 My Luve Is Like a Red Rose. Op. 12, No. 3. (Song). Boston: Arthur P. Schmidt, c1889. (FPL) See also: “Beach, Songs, Volume Two,” Box 9, folder 19.
f.41 Hymn of Trust. Op. 13. (Song). Boston: Arthur P. Schmidt, c1901. 2 Copies. (FPL) See also: Song Album, No. 1, Box 9, folder 14.
f.42 Hymn of Trust. Op. 13. (Song). Boston: Arthur P. Schmidt, c1901. 2 copies of another printing.
The Summer Wind. Op. 14, No. 1. (Song). Boston: Arthur P. Schmidt, c1891. See: Song Album, No. 1, Box 9, folder 14.
The Secret (Le Secret). Op. 14, No. 2. (Song). Boston: Arthur P. Schmidt, c1891. See: Song Album, No. 1, Box 9, folder 14 and “Beach, Songs, Volume Three,” Box 10, folder 1.
Sweetheart, Sigh No More! Op. 14, No. 3. (Song). Boston: Arthur P. Schmidt, c1891. See: Song Album, No. 1, Box 9, folder 20 and “Beach, Songs, Volume Three,” Box 10, folder 1.
The Thrush. Op. 14, No. 4. (Song). Boston: Arthur P. Schmidt, c1891. See: Song Album, No. 1, Box 9, folder 14.
In Autumn. Op. 15, No. 1. (Piano). Boston: Arthur P. Schmidt, c1892. See: “Beach, Piano Music,” Box 9, folder 17.
Phantoms. Op. 15, No. 2. (Piano). Boston: Arthur P. Schmidt, c1892. See: “Beach, Piano Music,” Box 9, folder 17.
f.43 Dreaming. Op. 15, No. 3. (Piano). Boston: Arthur P. Schmidt, c1892. (FPL) See also: “Beach, Piano Music,” Box 9, folder 17.
f.44 Dreaming. Op. 15, No. 3. (Piano). Boston: Arthur P. Schmidt, [c1892] c1920.
f.45 Fireflies. Op. 15, No. 4. (Piano). Boston: Arthur P. Schmidt, c1892. (FPL) See also: “Beach, Piano Music,” Box 9, folder 17.
Eilende Wolken, Segler der Lufte (Wand’ring Clouds Sail Through the Air). Op. 18. (Song). Boston: Arthur P. Schmidt, c1892. See: “Beach, Songs, Volume Two,” Box 9, folder 19.
f.46 For Me the Jasmine Buds Unfold. Op. 19, No. 1. (Song). Boston: Arthur P. Schmidt, c1892. See also: “Beach, Songs, Volume One,” Box 9, folder 18.
f.47 Ecstasy. Op. 19, No. 2. (Song). Boston: Arthur P. Schmidt, c1894 and c1921. See also: Song Album, No. 1, Box 9, folder 14 and “Beach, Songs, Volume Two,” Box 9, folder 19.
f.48 Ecstasy. Op. 19, No. 2. (Song with violin obligato). Boston: Arthur P. Schmidt, [c1893] c1923.
f.49 Ecstasy. Op. 19, No. 2. (Men’s voices). Boston: Arthur P. Schmidt, c1926.
f.50 Golden Gates. Op. 19, No. 3. (Song). Boston: Arthur P. Schmidt, c1892. 2 copies (FPL) and See also: “Beach, Songs, Volume Two,” Box 9, folder 19.
f.51 Villanelle (Across the World). Op. 20. (Song). Boston: Arthur P. Schmidt, c1894. 2 copies. See also: “Beach, Songs, Volume Two,” Box 9, folder 19.
f.52 A Song of Love (Chanson d’Amour). Op. 21, No. 1. (Song). E-Flat. Boston: Arthur P. Schmidt, c1893 and c1921. See also: “Beach, Songs, Volume One,” Box 9, folder 18.
Extase (Exaltation). Op. 21, No. 2. (Song). Boston: Arthur P. Schmidt, c1893. See: “Beach, Songs, Volume One,” Box 9, folder 18.
My Sweetheart and I (Elle et Moi). Op. 21, No. 3. (Song). Boston: Arthur P. Schmidt, c1893. See: “Beach, Songs, Volume One,” Box 9, folder 18.
Bal Masque. Op. 22. (Piano). Boston: Arthur P. Schmidt, c1894. See: “Beach, Piano Music,” Box 9, folder 17.
f.53 Romance. Op. 23. (Violin and piano). Boston: Arthur P. Schmidt, c1893. With separate violin part, c1921.

BOX 7
f.1 Promenade. Op. 25, No. 1. (Piano). Boston: Arthur P. Schmidt, c1894. See also: “Beach, Piano Music,” Box 9, folder 17.
f.2 Columbine. Op. 25, No. 2. (Piano). Boston: Arthur P. Schmidt, c1894. See also: “Beach, Piano Music,” Box 9, folder 17.
Pantalon. Op. 25, No. 3. (Piano). Boston: Arthur P. Schmidt, c1894. See: “Beach, Piano Music,” Box 9, folder 17.
Pierrot and Pierrette. Op. 25, No. 4. (Piano). Boston: Arthur P. Schmidt, c1894. See: “Beach, Piano Music,” Box 9, folder 17.
f.3 Secrets. Op. 25, No. 5. (Piano). Boston: Arthur P. Schmidt, c1894. See also: “Beach, Piano Music,” Box 9, folder 17.
Harlequin. Op. 25, No. 6. (Piano). Boston: Arthur P. Schmidt, c1894. See: “Beach, Piano Music,” Box 9, folder 17.
My Star. Op. 26, No. 1. (Song). Boston: Arthur P. Schmidt, c1894. See: “Beach, Songs, Volume Two,” Box 9, folder 19.
f.4 Just for This. Op. 26, No. 2. (Song). Boston: Arthur P. Schmidt, c1894. See also: Song Album, No. 1, Box 9, folder 14 and “Beach, Songs, Volume Two,” Box 9, folder 19.
Spring. Op. 26, No. 3. (Song). Boston: Arthur P. Schmidt, c1894. See: “Beach, Songs, Volume Two,” Box 9, folder 19.
f.5 Wouldn’t That Be Queer? Op. 26, No. 4. (Song). Boston: Arthur P. Schmidt, c1894. See also: “Beach, Songs, Volume One,” Box 9, folder 18.
f.6 Wouldn’t That Be Queer? Op. 26, No. 4. (Song). Boston: Arthur P. Schmidt, c1922.
f.7 Alleluia! Christ is Risen! Op.27. (Mixed voices). Boston: Arthur P. Schmidt, [c1895] c1923.
f.8 Barcarolle. Op. 28, No. 1. (Piano). Revised edition. Boston: Arthur P. Schmidt, [c1894] c1937. See also: “Beach, Piano Music,” Box 9, folder 17.
Menuet Italien. Op. 28, No. 2. (Piano). Boston: Arthur P. Schmidt, c1894. See: “Beach, Piano Music,” Box 9, folder 17.
Danse des Fleurs. Op. 28, No. 3. (Piano). Boston: Arthur P. Schmidt, c1894. See: “Beach, Piano Music,” Box 9, folder 17.
f.9 Within Thy Heart. Op. 29, No. 1. (Song). Boston: Arthur P. Schmidt, c1895. See also: “Beach, Songs, Volume Two,” Box 9, folder 19.
The Wandering Knight. Op. 29, No. 2. (Song). Boston: Arthur P. Schmidt, c1895. See: “Beach, Songs, Volume Two,” Box 9, folder 19.
Sleep, Little Darling. Op. 29, No. 3. (Song). Boston: Arthur P. Schmidt, c1895. See: “Beach, Songs, Volume Two,” Box 9, folder 19.
Haste, O Beloved! Op. 29, No. 4. (Song). Boston: Arthur P. Schmidt, c1895. See: “Beach, Songs, Volume Two,” Box 9, folder 19.
f.10 The Rose of Avontown. Op. 30. (Women’s voices). Boston: Arthur P. Schmidt, c1896.
f.11 Three Flower Songs. Op. 31: The Clover, No. 1; The Yellow Daisy, No. 2; and The Bluebell, No. 3. (Song). Boston: Arthur P. Schmidt, [c1894] c1924.
f.12 Night (Nachts). Op. 35, No. 1. (Song). Boston: Arthur P. Schmidt, c1897. See also: “Beach, Songs, Volume One,” Box 9, folder 18.
Alone! (Allein!). Op. 35, No. 2. (Song). Boston: Arthur P. Schmidt, c1897. See: “Beach, Songs, Volume One,” Box 9, folder 18.
f.13 With Thee (Nahe des Gelieben). Op. 35, No. 3. (Song). Boston: Arthur P. Schmidt, c1897. See also: “Beach, Songs, Volume One,” Box 9, folder 18.
Forget-Me-Not. Op. 35, No. 4. (Song). Boston: Arthur P. Schmidt, c1897. See: “Beach, Songs, Volume One,” Box 9, folder 18.
f.14 Minuet. Op. 36, No. 1. (Piano) Boston: Arthur P. Schmidt, c1897. See also: “Beach, Piano Music,” Box 9, folder 17.
f.15 Gavotte. Op. 36, No. 2. (Piano) Boston: Arthur P. Schmidt, [c1897] c1925. See also: “Beach, Piano Music,” Box 9, folder 17.
Waltz. Op. 36, No. 3. (Piano). Boston: Arthur P. Schmidt, c1897. See: “Beach, Piano Music,” Box 9, folder 17.
March. Op. 36, No. 4. (Piano). Boston: Arthur P. Schmidt, c1897. See: “Beach, Piano Music,” Box 9, folder 17.
Polka. Op. 36, No. 5. (Piano). Boston: Arthur P. Schmidt, c1897. See: “Beach, Piano Music,” Box 9, folder 17.
O Mistress Mine. Op. 37, No. 1. (Song). Boston: Arthur P. Schmidt, c1897. See: “Beach, Songs, Volume One,” Box 9, folder 18.
f.16 Take O Take Those Lips Away. Op. 37, No. 2. (Song). Boston: Arthur P. Schmidt, c1897. [proof copy] (FPL) See also: “Beach, Songs, Volume One,” Box 9, folder 18.
Fairy Lullaby. Op. 37, No. 3. (Song). Boston: Arthur P. Schmidt, c1897. See: “Beach, Songs, Volume One,” Box 9, folder 18.
f.17 Fairy Lullaby. Op. 37, No. 3. (Women’s voices). Boston: Arthur P. Schmidt, [c1897] c1935.
f.18 Over Hill, Over Dale. Op. 39, No. 1. (Women’s voices). Boston: Arthur P. Schmidt, [c1897] c1925.
f.19 Come unto These Yellow Sands. Op. 39, No. 2. (Women’s voices). Boston: Arthur P. Schmidt, c1897.

f.20 Through the House Give Glimmering Light. Op. 39, No. 3. (Women’s voices). Boston: Arthur P. Schmidt, [c1897] c1925.
f.21 Mazurka. Op. 40, No. 3. (Violin and piano). Boston: Arthur P. Schmidt, [c1898] c1926.
Anita. Op. 41, No. 1. (Song). Boston: Arthur P. Schmidt, c1898. See: “Beach, Songs, Volume One,” Box 9, folder 18 and “Beach, Songs, Volume Two,” Box 9, folder 19.
Thy Beauty. Op. 41, No. 2. (Song). Boston: Arthur P. Schmidt, c1898. See: “Beach, Songs, Volume Two,” Box 9, folder 19.
Forgotten. Op. 41, No. 3. (Song). Boston: Arthur P. Schmidt, c1898. See: “Beach, Songs, Volume Two,” Box 9, folder 19.
f.22 A Song of Welcome. Op. 42. (Mixed voices). Boston: Arthur P. Schmidt, [c1898] c1926.
Dearie. Op. 43, No. 1. (Song). Boston: Arthur P. Schmidt, c1899. See: “Beach, Songs, Volume Two,” Box 9, folder 19.
Scottish Cradle Song. Op. 43, No. 2. (Song). Boston: Arthur P. Schmidt, c1899. See: “Beach, Songs, Volume Two,” Box 9, folder 19.
O Were My Love Yon Lilac Fair! Op. 43, No. 3. (Song). Boston: Arthur P. Schmidt, c1899. See: “Beach, Songs, Volume One,” Box 9, folder 18 and “Beach, Songs, Volume Two,” Box 9, folder 19.
f.23 Far Awa’. Op. 43, No. 4. (Song). Boston: Arthur P. Schmidt, c1899. 2 copies. See also: “Beach, Songs, Volume One,” Box 9, folder 18.
f.24 Far Awa’. Op. 43, No. 4. (Vocal Duet). Boston: Arthur P. Schmidt, [c1899] c1918.
f.25 Far Awa’. Op. 43, No. 4. (Women’s voices). Boston: Arthur P. Schmidt, [c1899] c1918.
My Lassie. Op. 43, No. 5. Boston: Arthur P. Schmidt, c1899. See: “Beach, Songs, Volume One,” Box 9, folder 18.
f.26 The Year’s at the Spring. Op. 44, No. 1. (Song). Boston: Arthur P. Schmidt, c1900. See also: “Beach, Songs, Volume Three,” Box 10, folder 1.
f.27 The Year’s at Spring. Op 44, No. 1. (Duet). Boston: Arthur P. Schmidt, c1900. (FPL)
f.28 The Year’s at the Spring. Op. 44, No. 1. (Song). Boston: Arthur P. Schmidt, [c1900] c 1928.
f.29 The Year’s at the Spring. Op. 44, No. 1. (Mixed voices). Boston: Arthur P. Schmidt, [c1900] c1928.
f.30 The Year’s at the Spring. Op. 44, No. 1. (Women’s voices). Boston: Arthur P. Schmidt, [c1900] c1937.
f.31 Ah, Love, But a Day! Op. 44, No. 2. (Song). Boston: Arthur P. Schmidt, c1900. (FPL) See also: “Beach, Songs, Volume Three,” Box 10, folder 1.
f.32 Ah, Love, But a Day! Op. 44, No. 2. (Song, with violin obligato). Boston: Arthur P. Schmidt, [c1900] c1920.
f.33 Ah, Love, But a Day! Op. 44, No. 2. (Women’s voices). Boston: Arthur P. Schmidt, [c1900] c1927.
I Send My Heart Up to Thee! Op. 44, No. 3. (Song). Boston: Arthur P. Schmidt, c1900. See also: “Beach, Songs, Volume Three,” Box 10, folder 1.
f.34 I Send My Heart Up to Thee! Op. 44, No. 3. (Song). Boston: Arthur P. Schmidt, [c1900] c1928.
Come, Ah Come! Op. 48, No. 1. (Song). Boston: Arthur P. Schmidt, c1902. See: “Beach, Songs, Volume Three,” Box 10, folder 1.
Good Morning. Op. 48, No. 2. (Song). Boston: Arthur P. Schmidt, c1902. See: “Beach, Songs, Volume Three,” Box 10, folder 1.
Good Night. Op. 48, No. 3. (Song). Boston: Arthur P. Schmidt, c1902. See: “Beach, Songs, Volume Three,” Box 10, folder 1.
Canzonetta. Op. 48, No. 4. (Song). Boston: Arthur P. Schmidt, c1902. See: “Beach, Songs, Volume Three,” Box 10, folder 1.
f.35 A Song of Liberty. Op. 49. (Women’s voices). Boston: Arthur P. Schmidt, [c1902] c1917.
f.36 A Song of Liberty. Op. 49. (Men’s voices). Boston: Arthur P. Schmidt, [c1902] c1917.
f.37 A Song of Liberty. Op. 49. (Song). Boston: Arthur P. Schmidt, [c1902] c1918. 2 copies.
f.38 A Song of Liberty. Op. 49. (Mixed voices). Boston: Arthur P. Schmidt, [c1902] c1930.
Silent Love (Ich Sagte Nicht). Op. 51, No. 1. (Song). Boston: Arthur P. Schmidt, c1903. See: “Beach, Songs, Volume Three,” Box 10, folder 1.
We Three (Wir Drei). Op. 51, No.2. (Song). Boston: Arthur P. Schmidt, cc1903. See: “Beach, Songs, Volume Three,” Box 10, folder 1.
f.39 June (Juni). Op. 51, No. 3. (Song). Boston: Arthur P. Schmidt, c1903. 1 copy each of 2 printings. See:”Beach, Songs, Volume Three,” Box 10, folder 1.
f.40 June. Op. 51, No. 3. (Women’s voices). Boston: Arthur P. Schmidt, [c1903] c1917.
For My Love (Je Demande a l’Oiseau). Op. 51, No. 4. (Song). Boston: Arthur P. Schmidt, c1903. See:”Beach, Songs, Volume Three,” Box 10, folder 1.
f.41 A Hymn of Freedom. Op. 52. (Men’s voices). Boston: Arthur P. Schmidt, [c1903] c1917.
f.42 A Hymn of Freedom. Op. 52. (Women’s voices). Boston: Arthur P. Schmidt, [c1903] c1917.
f.43 A Hymn of Freedom. Op. 52. (Mixed voices). Boston: Arthur P. Schmidt, [c1903] c1931.
f.44 O Lord, Our God, Arise [formerly: A Hymn of Freedom]. Op. 52. (Mixed voices). Boston: Arthur P. Schmidt, [c1903] c1944.
f.45 Jephthah’s Daughter (La Figlia di Jephte). Op. 53. (Soprano and piano). Boston: Arthur P. Schmidt, c1903. See also: “Beach, Songs, Volume Three,” Box 10, folder 1.
f.46 Invocation for the Violin. Op. 55. (Violin and piano). Boston: Arthur P. Schmidt, c1904
f.47 Go Not Too Far. Op. 56, No. 2. (Song). Boston: Arthur P. Schmidt, c1904.
Shena Van. Op. 56, No. 4. (Song). Boston: Arthur P. Schmidt, c1904. Published in: Lyric Fancies, Box 9, folder 16.
f.48 Shena Van. Op. 56, No. 4. (Women’s voices). Boston: Arthur P. Schmidt, [c1904] c1917.
f.49 Shena Van. Op. 56, No. 4. (Men’s voices). Boston: Arthur P. Schmidt, [c1904] c1917.
f.50 Shena Van. Op. 56, No. 4. (Mixed voices). Boston: Arthur P. Schmidt, [c1904] c1932.
f.51 Only a Song. Op. 57, No. 1. (Women’s voices). Boston: Arthur P. Schmidt, [c1904] c1932.
f.52 One Summer Day. Op. 57, No. 2. (Women’s voices). Boston: Arthur P. Schmidt, c1904.
f.53 The Sea-Fairies, A Cantata. Op. 59. (Women’s voices). Boston: Arthur P. Schmidt, c1904.
f.54 Variations on Balkan Themes. Op. 60. (Piano). Boston: Arthur P. Schmidt, [c1906] c1936. Revised edition. (FPL)
f.55 When Soul is Joined to Soul. Op. 62. (Song). Boston: Arthur P. Schmidt, c1905.
f.56 Te Deum. Op. 63A. (Mixed voices). Boston: Arthur P. Schmidt, [c1905] c1945.
f.57 Jubilate Deo. Op. 63C. (Mixed voices). Boston: Arthur P. Schmidt, [c1906] c1932.
f.58 Magnificat. Op. 63D. (Mixed voices). Boston: Arthur P. Schmidt, [c1906] c1934. 2 copies.

BOX 8
f.1 After. Op. 68. (Song). Boston: Arthur P. Schmidt, c1909. (FPL) 2nd copy.
f.2 Baby. Op. 69, No. 1. (Song). Boston: Arthur P. Schmidt, c1908. 2 copies.
f.3 A Prelude. Op. 71. (Song). Boston: Arthur P. Schmidt, c1910.
f.4 Der Totenkranz. Op. 73, No. 2. (Song). Boston: G. Shirmer, c1914. (FPL)
f.5 All Hail the Power of Jesus’ Name. Op. 74. (Mixed voices). [The sacred version with alternate lyrics of Panama Hymn], New York: G. Schirmer, [c1915] c1943.
f.6 Thou Knowest Lord. Op. 76. (Mixed voices). New York: G Schirmer, [c1915] c1943.
f.7 Cantate Domino. Op 78, No. 3. (Mixed voices). New York: G. Schirmer, [c1916] c1944.
f.8 Prelude and Fugue. Op. 81. (Piano). New York: G. Schirmer, c1918.
f.9 From Blackbird Hills. Op. 83. (Piano). Boston: Arthur P. Schmidt, c1922.
f.10 Te Deum in F. Op. 84. (Mixed voices). Philadelphia: Theodore Presser, c1922.
f.11 In the Twilight. Op. 85. (Song). Boston: Arthur P. Schmidt, c1922.
f.12 May Eve. Op. 86. (Mixed voices). Composed for A Book of Choruses, Silver Burdett Company, c1949. Excerpt from the book.
f.13 Fantasia Fugata. Op. 87. (Piano). Philadelphia: Theodore Presser, c1923. 2 copies. (FPL)
f.14 Spirit Divine. Op. 88. (Duet). Philadelphia: Theodore Presser, c1922.
f.15 The Faire Hills of Eire, O! Op. 91. (Piano). Boston: Arthur P. Schmidt, c1922.
f.16 The Faire Hills of Eire, O. Op. 91. (Organ). New York: H. W. Gray, c1943.
f.17 A Hermit Thrush at Morn. Op. 92, No. 2. (Piano). Boston: Arthur P. Schmidt, c1922.
f.18 Message. Op. 93. (Song). Philadelphia: Theodore Presser, c1922.
f.19 Morning Glories. Op. 97, No. 1. (Piano). Philadelphia: Theodore Presser, c1922.
f.20 Heartsease. Op. 97, No. 2. (Piano). Philadelphia: Theodore Presser, c1922.
f.21 Mignonette. Op. 97, No. 3. (Piano). Philadelphia: Theodore Presser, c1922.
f.22 Rosemary and Rue. Op. 97, No. 4. (Piano). Philadelphia: Theodore Presser, c1922.
f.23 When Mama Sings. Op. 99, No. 1. (Song). Philadelphia: Theodore Presser, c1923. 2nd copy.
f.24 Little Brown-eyed Laddie. Op. 99, No. 2. (Song). Philadelphia: Theodore Presser, c1923.
f.25 The Moon-Path. Op. 99, No. 3. (Song). Philadelphia: Theodore Presser, c1923.
f.26 A Mirage. Op. 100, No. 1. For soprano, violin, cello, and piano. Boston: Oliver Ditson, c1924. 3 copies, one copy signed by May Goodbar.
f.27 Stella Viatoris. Op. 100, No. 2. (Song, with violin obligato). Boston: Oliver Ditson, c1924. 2 copies. (FPL)
f.28 Farewell, Summer. Op. 102, No. 1. (Piano). Boston: Oliver Ditson, c1924. 2 Copies. (FPL)
f.29 Dancing Leaves. Op. 102, No. 2. (Piano). Boston: Oliver Ditson, c1924. 2 Copies. (FPL)
f.30 Let This Mind Be In You. Op. 105. (Mixed voices). Bryn Mawr, PA: John Church, c1924. 2 copies.
f.31 Cradle Song of the Lonely Mother. Op. 108. (Piano). Boston: Oliver Ditson, c1924. 2 Copies. (FPL)
f.32 Jesus, My Saviour. Op. 112. (Song). Philadelphia: Theodore Presser, c1925. 2 Copies. (FPL)
f.33 Mine Be the Lips. Op. 113. (Song). Boston: Oliver Ditson, c1926.
f.34 By the Still Waters. Op. 114. (Piano). St. Louis: Art Publication Society, c1925. 2 copies. (FPL)
f.35 Around the Manger. Op. 115. (Song). Boston: Oliver Ditson, c1925. 2 copies. (FPL)
f.36 Around the Manger. Op. 115. (Song). Boston: Oliver Ditson, c1925. Copy inscribed “For Lillian [Buxbaum].”
f.37 Tyrolean Valse-Fantaisie. Op. 116. (Piano). Boston: Oliver Ditson, c1926. 3 copies. (FPL)
f.38 The Singer. Op. 117, No. 1. (Song). New York: John Church, c1925.
f.39 The Host. Op. 117, No. 2. (Song). New York: John Church, c1925.
f.40 The First Mayflowers. Op. 119, No. 2. (Piano, solo only). Boston: Oliver Ditson, c1927.
f.41 Rendezvous. Op. 120. (Song, with violin obligato). Boston: Oliver Ditson, c1928. (FPL)
f.42 Benedicte, Omnia Opera Domini. Op. 121. (Mixed voices). Boston: Arthur P. Schmidt, c1928.
f.43 Communion Responses. Op. 122. (Mixed voices). Boston: Arthur P. Schmidt, c1928.
f.44 Agnes Dei (O Lamb of God). Op. 122. (Mixed voices). Boston: Arthur P. Schmidt, c1928.
f.45 The Canticle of the Sun. Op. 123. (Mixed voices and soli). Boston: Arthur P. Schmidt, c1928.
f.46 Evening Hymn. Op. 125, No. 2. (Song). Boston: Arthur P. Schmidt, c1934.
f.47 Evening Hymn. Op. 125, No. 2. (Mixed voices). Boston: Arthur P. Schmidt, c1936.
f.48 When the Last Sea Is Sailed. Op. 127. (Men’s voices). Boston: Arthur P. Schmidt, c1931.
f.49 Out of the Depths. Op. 130. (Piano). Boston: Arthur P. Schmidt, c1932.
f.50 Dark Garden. Op. 131. (Song). Boston: Arthur P. Schmidt, c1932.
f.51 Christ in the Universe. Op. 132. (Soli, mixed voices, and organ). New York: H. W. Gray, c1931.
f.52 Fire and Flame. Op. 136. (Song). Boston: Arthur P. Schmidt, c1933.
f.53 May Flowers. Op. 137. (Song). Boston: Arthur P. Schmidt, c1933.
f.54 Hearken Unto Me. Op. 139. (Soli, mixed voices, and organ). Boston: Arthur P. Schmidt, c1934.
f.55 O Lord God of Israel. Op. 141. (Mixed voices). c1936. Mechanically reproduced from manuscript score.
f.56 I Sought the Lord. Op. 142. (Song). Boston: Arthur P. Schmidt, c1937.

BOX 9
f.1 I Shall Be Brave. Op. 143. (Song). Boston: Arthur P. Schmidt, c1932.
f.2 The Morning Very Early. Op. 144. (Women’s voices). Boston: Arthur P. Schmidt, c1937.
f.3 Lord of All Being. Op. 146. (Mixed voices). Boston: Arthur P. Schmidt, c1938.
f.4 I Will Give Thanks. Op. 147. (Mixed voices). Boston: Arthur P. Schmidt, c1939.
f.5 Five Improvisations. Op. 148, Nos. 1-5. (Piano). Boston: Arthur P. Schmidt, c1938.
f.6 Trio. Op. 150. (Violin, cello, and piano). New York: The Composers Press, c1939.
f.7 Pastorale for Woodwind Quintet. Op. 151. (Flute, oboe, clarinet, horn, and bassoon). New York: The Composers Press, c1942.
f.8 Though I Take the Wings of Morning. Op. 152. (Song). New York: The Composers Press, c1941.

B. Published Compositions, without assigned opus #

f.9 The Rainy Day. (Song). Boston: Oliver Ditson, 1883. (FPL)
f.10 Serenade of Richard Strauss. (Transcription for piano). Boston: Arthur P. Schmidt, c1902.
f.11 A Bit of Cairo. (Piano). Philadelphia: Theodore Presser, c1928. 2 copies. (FPL)
f.12 On A Hill, Negro Lullaby. (Song). Boston: Arthur P. Schmidt, c1929. 2 copies.
f.13 Pax Nobiscum. (Men’s voices). Boston: Arthur P. Schmidt, c1943.

C. Collections of compositions (published and bound)

f.14 Song Album, No. 1.: A Cyclus of 14 Selected Songs. Boston: Arthur P. Schmidt, c1891. Contains: Ariette; Dark is the Night; The Western Wind; The Blackbird; Empress of Night; The Secret; Sweetheart, Sigh No More; The Summer Wind; Hymn of Trust; The Thrush; Wilt Though Be My Dearie?; Ye Banks and Braes of Bonnie Doon; Just for This; and Ecstasy.
f.15 2nd copy of above.
f.16 Lyric Fancies: A Selection of Songs by American Composers. Boston: Arthur P. Schmidt, c1919. Contains: Shena Van.
f.17 “Beach, Piano Pieces,” n.d. Bound sheet music. Contains [from index in Beach's hand]: Cadenza; Valse-Caprice; Ballad; Four Sketches (In Autumn, Dreaming, Phantoms, and Fire-Flies); Three Compositions (Barcarolle, Menuet Italien, and Danse des Fleurs); Bal Masque; Children’s Carnival (Promenade, Columbine, Pantalon, Pierrot and Pierrette, Secrets, and Harlequin); and Children’s Album (Minuet, Gavotte, Waltz, March, and Polka).
f.18 “Beach Songs, Volume One,” n.d. Bound sheet music. Contains [from index in Beach's hand]: When Far From Her; For Me the Jasmine Buds Unfold; Wouldn’t That Be Queer?; Chanson d’Amour; Extase; Elle et Moi; Nachts; Allein; Nahe des Geliebten; Forget-Me-Not; O Mistress Mine; Take, Oh Take Those Lips Away; Fairy Lullaby; Anita; Oh Were My Love You Like Fair; Far Awa!; My Lassie; and Graduale from Mass in E flat).
f.19 “Beach Songs, Volume Two,” n.d. Bound sheet music. Contains [from index in Beach's hand]: My Luve Is Like a Red, Red Rose; Ecstasy; Golden Gates; My Star; Just For This!; Spring; Villanelle; Within Thy Heart; The Wandering Knight; Sleep, Little Darling; Haste, O Beloved!; Anita; Thy Beauty; Forgotten; Dearie;Scottish Cradle-Song; Oh Were My Love You Like Fair; and Aria “Eilende Wolken.”

BOX 10
f.1 “Beach Songs, Volume Three,” n.d. Bound sheet music. Contains [from index in Beach's hand]: The Year’s at the Spring; Ah, Love, But a Day; I Send My Heart Up To Thee; Come, Ah Come!; Good Morning; Good Night; Canzonetta; Ich Sagte Nicht; Wir Drei; Juni; Je Demande a’ l’Oiseau; Jephthah’s Daughter; Sweetheart, Sigh No More; Le Secret; and Mia Bella.

D. Published compositions of others

V. Scrapbooks, Programs, and Reviews

A. Scrapbooks

f.2 Symphonies de Beethoven. Op. 21 [No. I] and Op. 36 [No. II]. Boston: Arthur P. Schmidt, n.d. Beach’s bound copies.
f.3 Symphonies de Beethoven. Op. 55 [No. III] and Op. 60 [No. IV]. Boston: Arthur P. Schmidt, n.d. Beach’s bound copies.
f.4 Symphonies de Beethoven. Op. 67 [No. V and Op. 68 [No. VI]. Boston: Arthur P. Schmidt, n.d. Beach’s bound copies.
f.5 Symphonies de Beethoven. Op. 92 [No. VII and Op. 93 [No. VIII]. Boston: Arthur P. Schmidt, n.d. Beach’s bound copies.
f.6 Symphonies de Beethoven. Op. 125 [No. IX]. Boston: Arthur P. Schmidt, n.d. Beach’s bound copies.
f.7 MacDowell, Edward. 12 Etudes. Op. 39. (Piano). Mainz: B. Shott’s Sohne, c1890.
f.8 Royce, Edward. Theme and Variations. (Piano). New York: G. Schirmer, c1917.
f.9 Souther, Louise. Nocturne. (Piano). Boston: Charles W. Homeyer, c1930. “Dedicated and played by Mrs. H. H. A. Beach.” This copy inscribed to Lilliam Buxbaum from Beach.
f.10 Steinert, Alexander. Impromptu. (Piano). Boston: Boston Music Company, c1918.
f.11 Rothenburger Festspiel-Gesänge, text von Ad. Horber. November, 1911 (1900?); Michele Novaro, “Inno de Mamela,” Venice, April 1912.
BOX 11
Scrapbook, 1888-1905. Contains programs and reviews

BOX 12
Scrapbook, 1883-1908. Contains newspaper and magazine clippings, programs, and reviews of Beach’s concerts.

BOX 13
Scrapbook, 1886-1916, mostly 1907-1916. Contains programs, newspaper clippings, and reviews. (FPL)

BOX 14
Scrapbook, 1915-1917. Primarily clippings from newspapers and magazines, along with programs and photographs. (FPL)

BOX 15
Scrapbook, 1939-1943, majority of material for 1942. Newspaper clippings, programs, and reviews.

B. Concert/performance programs (arranged by year)

BOX 16
f.1 1883 — program for first public performance.
f.2 1884 — includes programs for first recitals.
f.3 1885.
f.4 1886-1887.
f.5 1889.
f.6 1891.
f.7 1892 — includes premier of the Mass in E-flat, Op. 5.
f.8 1894 — includes premier of Romanza (Romance), Op. 23.
f.9 1895.
f.10 1896 — includes premier of “Gaelic” symphony, Op. 32.
f.11 1897.
f.12 1898.
f.13 1901.
f.14 1902.
f.15 1906.
f.16 1907.
f.17 1908-1909.
f.18 1912.
f.19 1913.
f.20 1917.
f.21 1924.
f.22 1930-1931.
f.23 1933-1934.
f.24 1935.
f.25 1937-1928.
f.26 1939-1940.
f.27 1941-1942.
f.28 undated.

VI. Photographs

A. Amy Beach

1. As A Child (see gallery)

BOX 17
e.1 Sepia, 2×4, n.d. Photographer: W.G.C. Kimball, Concord, N.H.
e.2 Stereoscopic photograph, 7×3, n.d. Inscribed “Little Amy from Aunt Lizzie.” Photographer: M.M. Griswold, Boston.
e.3 Sepia, 2×4, n.d. Photographer: E. Adams’ Photographic Studio, Chelsea, MA.
e.4 Sepia, 6×4, n.d. Photographer: Thors, Larkin Street, San Francisco.
e.5 Sepia, 6×4, n.d. Photographer: Balch, Rembrandt Portraits, Washington St., Boston. 2 versions of same shot.
e.6 Sepia, 6×4, n.d. Photographer: Thors, Larkin Street, San Francisco.
e.7 B&w, 2×4, n.d. Same session as above, but full length view.

2. As A Young Woman (see gallery)

e.8 Sepia, 6×4, n.d. Side profile. Photographer: Homert Co., Temple Place, Boston. 2 copies.
e.9 Sepia, 6×4, n.d. As above, but half profile. 3 copies.
e.10 B&w, 4×5, n.d. Dressed in costume. Photographer unknown.
e.11 Sepia, 6×4, n.d.. Photographer: Metcalf, Washington St., Boston.
e.12 Sepia, 6×4, n.d. Photographic copy of an artist’s portrait. Photographer: H.G. Smith, Boston.
e.13 Sepia, 5×7, n.d. Wearing pearls around her neck. Photographer: Elmer Chickering, Boston.
e.14 Sepia, 5×7, n.d. As above, but different view. Photographer: A. Marshall, Arlington St., Boston.
e.15 B&w, 8×10 print, Aug 12, 1886. Standing with Dr. H.H.A. Beach. Photographer unknown. Also 3×5 tintype.
e.16 Ca. 1890. Seated with Dr. H.H.A. Beach. Photographer unknown. (Negative only).

3. As An Adult (see gallery)

e.17 Sepia, 5×7, ca. 1900. Portrait in profile. Photographer: Apeda, New York.
e.18 Sepia (a) and b&w (b), 5×7, ca. 1900. Portrait, frontal. Photographer: Apeda, New York. Matted.
e.19 Sepia, 3×5, ca. 1900. As above, but signed by Beach.
e.20 Sepia, 3×5, ca.1912. Amy Beach with two other, unidentified, women friends. Postcard. Photographer unknown.
e.21 As above, but different pose.
e.22 As above, but different pose.
e.23 Sepia, 4×6, February 14, 1913. Marcella Craft & Amy Beach. Photographer: H. Wiedenmann, Munich.
e.24 Sepia, 2×3, July 13, 1914. Inscribed: “To Mrs. Beach / with the compliments of the “artist,” who regrets that he failed to do the subject justice / RusserPatty, Munich, July 13, ’14.”
e.25 Sepia, 2×3, July 13, 1914. Amy Beach is at far right. Photographer: RusserPatty.
e.26 Sepia (a) and b&w (b), 8×10, glossy, August 1, 1915. Composers whose works were played at the American Composers’ Day Concert, Festival Hall, Panama Pacific International Exposition, San Francisco. Photographer unknown.
e.27 Sepia (a) and b&w (b), 8×10, glossy, ca. 1920. Publicity portrait, frontal. Photographer: Rayhuff-Richter. 4 b&w prints.
e.28-34 As above, but matte. Each envelope contains 3 sepia prints.
e.35 Sepia, 4×5. Oval copy of above.
e.36 As above, but used as portrait for The National Cyclopedia of American Biography, published by James T. White & Co., New York. Matted.
e.37 Two sepia prints, 4×6, ca.1927. Photographer unknown. One inscribed “Mrs. H.H.A. Beach / For the University of New Hampshire / Compliments of Harold Webster Cate.”
e.38 Sepia, 8×10, 1934. Seated holding a book. Photographer: Bachrach.
e.39 As above, but 7×9 mounted, and inscribed by Beach “For dear Bashka, in deep admiration and / sincere affection. Amy M. Beach, 1934.” (Negative available).

4. As An Older Woman (see gallery)

e.40 Sepia, 4×6, ca. 1935. Photographer unknown. Owned by Ruth Shaffner, the photograph has the following written underneath the portrait: “It is the other side of her profile I have, – R.S.” Some staining.
e.41 B&w, 3×5, ca. 1935. Amy Beach with Ruth Shaffner, an unknown woman, and Mabel Pierce at Centerville, MA (?) Photographer unknown.
e.42 Sepia, 3×5, 1930s. Amy Beach with cousins “Aunt Fannie” (far left) and Mabel Pierce (right) at Centerville, MA with another, unknown woman. Photographer unknown.
e.43 Sepia, 3×5, 1930s. Amy Beach with cousins Mabel Pierce (left) and “Aunt Fannie” (right) at Centerville, MA. Photographer unknown.
e.44 Sepia, 3×5, 1930s. Amy Beach at Centerville, MA. Photographer unknown.
e.45 Sepia, 3×5, 1930s. Amy Beach and Eugenie Dengel, violinist, at Centerville, MA. Photographer unknown.
e.46 Sepia, 3×4, 1930s. Amy Beach at MacDowell Colony, Peterborough, NH. Photographer: Walter Jenkins.
e.47 Sepia, 3×4, 1930s. Amy Beach and Nancy Byrd Turner in front of The Eaves at MacDowell Colony. Photographer: Walter Jenkins.
e.48 Sepia, 3×4, 1930s. Amy Beach on stone wall in front of The Eaves at MacDowell Colony. Photographer: Walter Jenkins.
e.49 As above, but b&w, 8×10.
e.50 Sepia, 3×4, 1930s. Ruth Shaffner, singer, and Amy Beach at Long Pond, Centerville, MA. Photographer unknown.
e.51 As above, but different view.
e.52 Sepia, 3×4, 1930s. Amy Beach at Centerville, MA. Photographer unknown.
e.53 Sepia, 3×4, 1930s. David McKay Williams, organist at St. Bartholomew’s Episcopal Church, NYC, Amy Beach, and Ruth Shaffner. Photographer unknown.
e.54 Sepia, 3×4, 1930s. Amy Beach at Watson Studio, MacDowell Colony. Photographer: Walter Jenkins?
e.55 Sepia, 2×3, 1930s. Amy Beach while visiting friends in New Jersey.Photographer unknown.
e.56 Sepia, 4×6, 1938. Amy Beach at Centerville, MA. Inscribed by Beach: “For darling Virginia with Aunt Amy’s love Christmas, 1938.” Photographer: Bachrach.
e.57 Sepia, 4×6, 1938. Mabel Pierce, Harriet Oldfield, Amy Beach, and Lillian Buxbaum at Centerville, MA. Photographer: Bachrach. 3 prints.
e.58 As above. 4 sepia prints.
e.59 Sepia, 4×6, 1938. Fannie Lord, Eugenie Limberg, Harriet Oldfield, Amy Beach, Mabel Pierce, and Lilliam Buxbaum at Centerville, MA. Photographer: Bachrach.
e.60 Sepia, 8×10, late 1930s. Amy Beach with the Junior and Juvenile Beach Clubs, Hillsborough, N.H. Photographer unknown.
e.61 As above, but b&w.
e.62 Sepia, 8×10, 1940. Amy Beach with members of the Tollefson chamber group, Neighborhood Music School, Brooklyn, New York. Inscribed on back: “For Mrs. H.H.A. Beach: A little souvenir of your visit to the Brooklyn Chamber Music Society, March 19th, 1940 and left an indelible impression of personal charm and fine musicianship. You friends, Carl and Augusta Tollefson.” Photograph: Vang Studio.
e.63 Sepia print that is silvering out, 6×9, n.d. Amy Beach on steps of Centerville, MA cottage built for her by Dr. Beach. Photographer unknown.

B. Photographs of Others

BOX 18
e.1 Ethel Clement (Beach’s cousin). Sepia, 6×4, n.d. Photographer: The Imperial Photographic Gallery, Market Street, San Francisco.
e.2 Ethel Clement. Sepia, 6×4, n.d. Photographer: Dames & Hayes Photographic Art Gallery, Market Street, San Francisco.
e.3 Sepia, 1 1/2×1 1/2, n.d. Full view, sitting on a chair. Photographer: Dames & Hayes Photographic Art Gallery, Market Street, San Francisco.
e.4 Ethel Clement. Sepia, 6×4, n.d. Photographer: Thors, Larkin Street, San Francisco. Inscribed “To ‘Ant Clara’.”
e.5 Ethel Clement. Sepia, 6×4, n.d. Photographer: Chas. Lainer, Market Street, San Francisco.

7 Responses to “Mrs. H.H.A. Beach/Amy Cheney Beach, 1867-1944”

  1. sara bauer Says:

    Hello, I am a Music appreciation student and have been trying to expand research on the composer Amy Beach. One of her works that i need more specific information on is The violin sonata in A minor II movement. I found a listening example, but i am looking for where it was at on her chronological time line or if there are any references to it’s composition. I would appreciate any help on this matter. Thank you Sara Bauer

  2. Roland Goodbody Says:

    The sonata was composed between 11 March and 6 June 1896, according to Adrienne Fried Block´s Amy Beach: Passionate Victorian, p.113. Block goes into more detail on its composition on pages 114-121 of the same book, which was published by Oxford University Press in 1998.

    Roland Goodbody Manuscripts Curator

  3. Imelda Murphy Says:

    Today I heard about Amy Beach from Virginia Erskin. Nice site

    Imelda

  4. angel Says:

    im doing a report on her and she sounds like a pretty GOOD person.=)

  5. Robin Greger Says:

    In one biography I read about Amy Beach, it mentioned an enthem for the P.E.O. that she wrote in the early 1940′s. I have not been able to find out anything else about this. Would like some information. Thank you.

  6. Roland Goodbody Says:

    Hello Robin.

    According to Adrienne Fried Block’s biography of Beach Amy Beach: Passionate Victorian (perhaps this is the one you are referring to), Amy Beach became a member of the New York chapter of P.E.O. in 1935 with her friend Ruth Shaffner, and later contributed the official song of the sorority, Ballad of the P.E.O, in the summer of 1944. A “thoroughly singable piece d’occasion,” it was her last composition. This information can be found on p.261 of the biography.

    Roland Goodbody, Manuscripts Curator

  7. Amy Beach, Henniker's Musical Prodigy | New England Historical Society Says:

    […] Amy Beach’s parents realized their daughter was a prodigy when she knew 40 songs at the age of one, sang countermelodies at two and composed waltzes at five. As a young child she heard each key in a different color. Unfortunately, she was born in 1867, when opportunities for a female musical prodigy were limited. […]

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