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Guide to the Amy Cheney Beach (Mrs. H.H.A. Beach) Papers, 1835-1956

Collection number: MC 51

Size: 18 boxes
(6.00 cu.ft.)

About Amy Cheney Beach (1867-1944)

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 (Mrs. H.H.A. Beach) Papers

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.

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.


Administrative Information

Access Restrictions

This collection is open.

Copyright Notice

Contents of this collection are governed by U.S. copyright law. For questions about publication or reproduction rights, contact Special Collections staff.

The copyright to Amy Beach’s music is owned by the Edward MacDowell Association. Permission to reproduce the songs must be obtained from the Executive Director at the MacDowell Colony (info@macdowellcolony.org).

Preferred Citation

[Identification of item], Amy Cheney Beach (Mrs. H.H.A. Beach) Papers, 1835-1956, MC 51, Milne Special
Collections and Archives, University of New Hampshire Library, Durham, NH, USA.

Acquisitions Information

Mulitple accessions beginning April 28, 1975; notable donors includ Walter S. Jenkins, David Buxbaum, and the Fuller Public Library in Hillsboro, New Hampshire.


Collection Arrangement

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.

This collection is arranged into seven series, all of which are further divided into subseries. Music manuscripts and published compositions are arranged by opus number, if assigned. Portions of this collection are still being processed.


Collection Contents


Series I: Correspondence


Subseries A: Letters to Beach, 1880-1943

Box 1
Box 1, Folder 1 A

Agassiz, Elizabeth C.; Allen, Una L.; Alves, C. Katie; and Aus de Ohe, Adele

Box 1, Folder 2 B

Bauer, Harold; Bispham, David; Brackett, Walter M.; Brooks, Phillips; Brown, Abbie Farwell; Burleigh, Harry T.; and Busch, Carl

Box 1, Folder 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

Box 1, Folder 4 D

Davis, Walter; Deland, Margaret; and Dole, Nathan Haskell

Box 1, Folder 5 E-F

Eames (Story), Emma; Fiedler, Max; Foote, Arthur; Fosdick, Harry Emerson

Box 1, Folder 6 G

Gabrilovitch, Ossip; Ganz, Rudolph; Goetschius, Percy; Gould, Elizabeth Porter; and Grandjany, Marcel

Box 1, Folder 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

Box 1, Folder 8 J

Jewett, Sarah Orne; Kroeger, Ernest R.; Keller, Helen; and Klempeter, Ana E

Box 1, Folder 9 L

Lang, Margaret Ruthven; Lajinska, Ethel; Lhevinne, Joseph; Library of Congress; Lockhart, Agnes Helen; Longfellow, Henry W.; and Lutkin, Peter C

Box 1, Folder 10 M-N

MacDowell, Mrs. Edward A. (Marion); Milligan, Harold V.; Nikisch, Amelie; Noble, T. Tertius; Nold, Raymond; and Nordica

Box 1, Folder 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

Box 1, Folder 12 R

Raudenbush, George King; Reese, Elizabeth Phelps; Richardson, Maurier R.; and Robinson, E. A.

Box 1, Folder 13 Sa-So

Samaroff, Olga; Scheel, Fritz; Schroeder, H. L.; Sembrich, Marcella; Seward, Olive Risley; Sgambatti, G.; Sockman, Ralph; and Sowerby, Leo

Box 1, Folder 14 Sp-St

Spencer, Robert Nelson; Speyer, Leonora; Spofford, Harriet Prescott; Stasny, Carl; Stephens, Nan Bagby; Stock, Frederick A.; Stoessel, Albert; and Stokowski, Leopold

Box 1, Folder 15 T-Wh

Taylor, Deems; Urso, Camilla; Walsh, Monica Barry; Waters, Clara E. Clement; Washington, Booker T.; and White, Harriett R

Box 1, Folder 16 Wi-Z

Wilder, Thornton; Wynne-Matthison, Edith; Zeisler, Mrs. Sigmund (Fannie Bloomfield Zeisler), and Zerrhan, Carl

Box 1, Folder 17 Correspondence concerning literary rights, 1895-1915
Box 1, Folder 18 Letters from unknown correspondents


Subseries B: Beach’s Autograph Album, 1850-1901

Box 1, Folder 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
Box 1, Folder 20 Material detached from album, unidentified
Box 1, Folder 21 Transcriptions of selected letters from the autograph album


Subseries C: Letters from Beach, 1923-1944

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


Subseries D: Correspondence of Others, 1880-1956

General (not Buxbaum or Shaffner):
Box 3
Box 3, Folder 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
Buxbaum, Lillian:
Box 3, Folder 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.

Box 3, Folder 3 Correspondence from Walter S. Jenkins concerning Beach and her papers, 1956-1964
Shaffner, Ruth:
Box 3, Folder 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


Series II: Diaries, Notebooks, and Genealogy


Subseries A: Diaries, 1926-1944

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


Subseries B: Notebooks and journals, 1888-1910

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


Subseries C: Writings about music, published and unpublished

Published writings
Box 4, Folder 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
Box 4, Folder 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.)
Unpublished writings and drafts
Box 4, Folder 6 Drafts of articles, manuscript review of the works of Rimsky-Korsakoff, and self-analysis of the “Gaelic” Symphony (typed transcription)


Subseries D: Genealogy and biography, 1835-1945(?)

Box 4, Folder 7 Moses Marcy and His Descendents, n.p.: Evanston, IL, 1897. Includes Beach’s manucript notes and clippings about the Marcy family
Box 4, Folder 8 Transcriptions of Marcy family letters, 1835-1838
Box 4, Folder 9 Biographies of Beach, 1917 and 1944/1945(?)
Box 4, Folder 10 Genealogy and obituaries of H. H. A. Beach


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


Subseries A: Music notebooks

Box 4, Folder 11 Blue notebook of music notations, cover inscription: “A. M. Beach, Rothenburg Nov 23, 1911,” 12 leaves
Box 4, Folder 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

Box 4, Folder 13 Beach composition lists
Box 5
Box 5, Folder 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


Subseries B: Manuscript scores, arranged by opus number (includes cross references to manuscript scores found in notebooks)

Box 5, Folder 2 “Dreaming.” Op. 15, No. 3. Arrangement for cello and piano. n.d.
Box 5, Folder 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)
Box 5, Folder 4 “Alleluia! Christ Is Risen!” Op. 27. Violin obligato. n.d. (FPL)
Box 5, Folder 5 “Gaelic Symphony in E Minor.” Op. 32. January, 1894
Box 5, Folder 6 “Gaelic Symphony in E Minor.” Op. 32. November 21, 1894
Box 5, Folder 7 “Gaelic Symphony in E Minor.” Op. 32. June 13, 1895
Box 5, Folder 8 3 Musical Illustrations from Symphony in E-Major “Gaelic.” Op. 32. n.d. 2 sets (FPL)
Box 5, Folder 9 “Nachts (Night).” Op. 35, No. 1. Song with piano. n.d. (FPL)
Box 5, Folder 10 “Nahe des Geliebten (with Thee).” Op. 35, No. 3. 2 copies: a) December 18, 1896 and b) n.d. (FPL)
Box 5, Folder 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, Folder 12

– “Far Awa!” Op. 43, No. 4. Arrangement for organ. September 17, 1936. See: Black notebook, June 6, 1934, Box 5, Folder 1

Box 5, Folder 12 “Come, Oh Come!” Op. 48, No. 1. Song with piano. n.d. (FPL)
Box 5, Folder 13 “Canzonetta.” Op. 48, No. 4. Song. n.d. (FPL)
Box 5, Folder 14 “Transcription for Piano of ‘Standchen’ by Richard Strauss.” Op. 49. n.d. (2 copies) (FPL)
Box 5, Folder 15 “Autumn Song.” Op. 56, No. 1. December 18, 1903 (FPL)
Box 5, Folder 16 “Go Not Too Far.” Op. 56, No. 3. Song with piano. n.d. (FPL)
Box 5, Folder 17 “I Know Not How to Find the Spring.” Op. 56, No. 2. Song with piano. n.d. (FPL)
Box 5, Folder 18 “The Sea Fairies. A Cantata.” Op. 59. Harp part. n.d. (FPL)
Box 5, Folder 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 11, 1934. See: Black notebook, June 6, 1934, Box 5, Folder 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, Folder 1

Box 5, Folder 20 “After.” Op. 68. For Voice and piano. 2 copies dated November 22, 1907 and November 11, 1908 (FPL)
Box 5, Folder 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. See: Black notebook, June 6, 1934, Box 5, Folder 1

Box 5, Folder 22 “A Prelude.” Op. 71, No. 1. Song with piano. n.d. (FPL)
Box 5, Folder 23 “Sweet Content.” Op. 71, No. 2. Song. December 18, 1909 (FPL)
Box 5, Folder 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, Folder 9

– ["The Candy Lion"]. Op. 75, No. 1. May 20, 1914. See: Music notebook, 1914-1936, Box 4, Folder 9

– “Prayer of a Tired Child.” Op. 75, No. 4. June 18, 1914. See: Music notebook, 1914-1936, Box 4, Folder 12

Box 5, Folder 25 “Separation.” Op. 76, No. 1. Song with piano. n.d. (FPL)
Box 5, Folder 26 “The Lotos Isles.” Op. 76, No. 2. For piano solo. n.d. (FPL)
Box 5, Folder 27 “The Lotos Isles.” Op. 76, no. 2. Song with piano. n.d.
Box 5, Folder 28 “Wind o’ the Westland.” Op. 77 No. 2. Song with piano. n.d. 2 Copies. (FPL)
Box 5, Folder 29 “Theme and Variations for Flute and String Quartet.” Op. 80. July 20, 1916 (FPL)
Box 5, Folder 30 “Prelude and Fugue.” Op. 81. For piano solo. May 29, 1917 (FPL)
Box 5, Folder 31 “Te Deum.” Op. 84. For 3 men’s voices and organ. February 26, 1921 (FPL)
Box 5, Folder 32 “Quartet for Strings (In one movement).” Op. 89 [formerly Op. 79]. August 9, 1921
Box 5, Folder 33 “Quartet for Strings (In one movement).” Op. 89 [formerly Op. 79]. January 22, 1929
Box 5, Folder 34 “Pastorale for Cello and Organ.” Op. 90, No. 2. n.d. (FPL)
Box 5, Folder 35 “Water-Sprites.” Op. 90, No. 2. n.d.
Box 5, Folder 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
Box 6, Folder 1 “The Moon-Path.” Op. 99, No. 3. n.d. “To Miss Grace Kerns”
Box 6, Folder 2 “A Mirage.” Op. 100, No. 1. For soprano, violin, cello, and piano. n.d. (FPL)
Box 6, Folder 3 “Stella Viatoris.” Op. 100, No. 2. Song with piano, violin, and cello. n.d. (FPL)
Box 6, Folder 4 “Jesus, My Saviour!” Op. 112. Song with piano. n.d. (FPL)
Box 6, Folder 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, Folder 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, Folder 1

Box 6, Folder 6 “Lento Espressivo.” Op. 125. [Opus number assigned by Beach]. Violin and piano. n.d.
Box 6, Folder 7 “Sea Fever.” Op. 126, No. 1. 4-part song for male voices. n.d. (FPL)
Box 6, Folder 8 “Fire and Flame.” Op. 136. Song with piano. July 1932
Box 6, Folder 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, Folder 1

Box 6, Folder 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, Folder 1

Box 6, Folder 1 “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, Folder 1

– “Improvisation. No. 2.” Op. 148, no. 2. June 12, 1934. See: Black notebook, June 6, 1934, Box 5, Folder 1

– “Improvisation. No. 3.” Op. 148, no. 3. June 20, 1934. See: Black notebook, June 6, 1934, Box 5, Folder 1

Box 6, Folder 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)


Subseries C: Manuscript scores, without assigned opus number

Box 6, Folder 13 “A September Forest.” Solo piano. n.d. (FPL)
Box 6, Folder 14 “On a Hill.” (Arrangement of a Negro spiritual). n.d.


Subseries D: Manuscript fragments and transcriptions (FPL)

Box 6, Folder 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.
Box 6, Folder 16 Unidentified fragment for piano, n.d. and unidentified fragment for solo instrument and piano, n.d.
Box 6, Folder 17 Transcriptions of folk songs [in Beach's hand]: “Old Welsh Airs”; “Russian Hymns”; “Osmanic March”; and “Bulgarian Songs”


Subseries E: Manuscript scores of others (FPL)

Box 6, Folder 18 Ralston, F. Marion. “Orientales.” (dedicated to Mrs. H. H. A. Beach), September 16, 1919
Box 6, Folder 19 Abelardo, Nicanor. “Sonata in C Major.” Op. 3, No. 2, 1921
Box 6, Folder 20 Unidentified transcriptions of folk songs, n.d.


Series IV: Published Compositions


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

Box 6, Folder 21 With Violets. Op. 1, No. 1. (Song). Boston: Arthur P. Schmidt, c.1885, 2 copies (FPL)
Box 6, Folder 22 With Violets. Op. 1, No. 1. (Song). Boston: Arthur P.Schmidt, c.1913
Box 6, Folder 23 The Four Brothers. Op. 1, No. 2. (Song). Boston: Arthur P. Schmidt, c.1887 (FPL)
Box 6, Folder 24 The Four Brothers. Op. 1, No. 2. (Song). Boston: Arthur P. Schmidt, c.1915
Box 6, Folder 25 Jeune Fille et Jeune Fleur. Op. 1, No. 3. (Song). Boston: Arthur P. Schmidt, c.1887 (FPL)
Box 6, Folder 26 Jeune Fille et Jeune Fleur. Op. 1, No. 3. (Song). Boston: Arthur P. Schmidt, c.1915
Box 6, Folder 27 Ariette. Op. 1, No. 4. (Song). Boston: Arthur P. Schmidt, c.1886. See also: Song Album, No. 1, Box 9, Folder 14
Box 6, Folder 28 Twilight. Op. 2, No. 1. (Song). Boston: Arthur P. Schmidt, c.1887, 2 copies (FPL)
Box 6, Folder 29 When Far from Her. Op. 2, No. 2. (Song). Boston: Arthur P. Schmidt, c.1889 (FPL) and c.1917. See also: “Beach, Songs, Volume One,” Box 9, Folder 18
Box 6, Folder 30 Empress of Night. Op. 2, No. 3. (Song). Boston: Arthur P. Schmidt, c.1891 (FPL)
Box 6, Folder 31 Empress of Night. Op. 2, No. 3. (Song). Boston: Arthur P. Schmidt, c.1891, 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, c.1888. See: “Beach, Piano Music,” Box 9, Folder 17

Valse-Caprice. Op. 4. (Piano). Boston: Arthur P. Schmidt, c.1889. See: “Beach, Piano Music,” Box 9, folder 17

Box 6, Folder 32 Graduale from Mass in E-Flat. Op. 5. (Tenor solo). Boston: Arthur P. Schmidt, c.1891, 2 Copies. (FPL) See also: “Beach, Songs, Volume One,” Box 9, Folder 18

Ballad in D Flat. Op. 6. (Piano). Boston: Arthur P.Schmidt, c.1894. See: “Beach, Piano Music,” Box 9, Folder 17

Box 6, Folder 33 O Praise the Lord, All Ye Nations. Op. 7. (Mixed voices). Boston: Arthur P. Schmidt, [c.1891], c.1919
Box 6, Folder 34 Nunc Dimittis. Op. 8, No. 1. (Mixed voices). Boston: Arthur P. Schmidt, c.1891
Box 6, Folder 35 Peace I Leave With You. Op. 8, No. 2. (Mixed voices). Boston: Arthur P. Schmidt, c.1891
Box 6, Folder 36 The Little Brown Bee. Op. 9. (Women’s voices). Boston: Arthur P. Schmidt, c.1891
Box 6, Folder 37 Dark Is the Night. Op. 11, No. 1. (Song). Boston: Arthur P. Schmidt, c.1889, 2 Copies (FPL) See also: Song Album, No. 1, Box 9, Folder 14
Box 6, Folder 38 The Western Wind. Op. 11, No. 2. (Song). Boston: Arthur P. Schmidt, c.1889, 2 Copies (FPL) See also: Song Album, No. 1, Box 9, Folder 14
Box 6, Folder 39 The Blackbird. Op. 11, No. 3. (Song). Boston: Arthur P. Schmidt, c.1889 (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, c.1889 (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, c.1889 (FPL) See: Song Album, No. 1, Box 9, Folder 14

Box 6, Folder 40 My Luve Is Like a Red Rose. Op. 12, No. 3. (Song). Boston: Arthur P. Schmidt, c.1889 (FPL) See also: “Beach, Songs, Volume Two,” Box 9, Folder 19
Box 6, Folder 41 Hymn of Trust. Op. 13. (Song). Boston: Arthur P. Schmidt, c.1901, 2 Copies (FPL) See also: Song Album, No. 1, Box 9, Folder 14
Box 6, Folder 42 Hymn of Trust. Op. 13. (Song). Boston: Arthur P. Schmidt, c.1901 2 copies of another printing

The Summer Wind. Op. 14, No. 1. (Song). Boston: Arthur P. Schmidt, c.1891. See: Song Album, No. 1, Box 9, Folder 14

The Secret (Le Secret). Op. 14, No. 2. (Song). Boston: Arthur P. Schmidt, c.1891. 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, c.1891. 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

Box 6, Folder 43 Dreaming. Op. 15, No. 3. (Piano). Boston: Arthur P. Schmidt, c1892 (FPL) See also: “Beach, Piano Music,” Box 9, Folder 17
Box 6, Folder 44 Dreaming. Op. 15, No. 3. (Piano). Boston: Arthur P. Schmidt, [c1892] c1920
Box 6, Folder 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

Box 6, Folder 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
Box 6, Folder 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
Box 6, Folder 48 Ecstasy. Op. 19, No. 2. (Song with violin obligato). Boston: Arthur P. Schmidt, [c1893] c1923
Box 6, Folder 49 Ecstasy. Op. 19, No. 2. (Men’s voices). Boston: Arthur P. Schmidt, c1926
Box 6, Folder 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
Box 6, Folder 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
Box 6, Folder 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

Box 6, Folder 53 Romance. Op. 23. (Violin and piano). Boston: Arthur P. Schmidt, c1893. With separate violin part, c1921
Box 7
Box 7, Folder 1 Promenade. Op. 25, No. 1. (Piano). Boston: Arthur P. Schmidt, c1894. See also: “Beach, Piano Music,” Box 9, Folder 17
Box 7, Folder 2 Columbine. Op. 25, No. 2. (Piano). Boston: Arthur P. Schmidt, c1894. See: “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

Box 7, Folder 3 Secrets. Op. 25, No. 5. (Piano). Boston: Arthur P. Schmidt, c1894. See: “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, Piano Music,” Box 9, Folder 19

Box 7, Folder 4 Just for This. Op. 26, No. 2. (Song). Boston: Arthur P. Schmidt, c1894. See: “Beach, Piano Music,” Box 9, Folder 19

Spring. Op. 26, No. 3. (Song). Boston: Arthur P. Schmidt, c1894. See: “Beach, Piano Music,” Box 9, Folder 19

Box 7, Folder 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
Box 7, Folder 6 Wouldn’t That Be Queer? Op. 26, No. 4. (Song). Boston: Arthur P. Schmidt, c1922
Box 7, Folder 7 Alleluia! Christ is Risen! Op.27. (Mixed voices). Boston: Arthur P. Schmidt, [c1895] c1923
Box 7, Folder 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 also: “Beach, Piano Music,” Box 9, Folder 17

Danse des Fleurs. Op. 28, No. 3. (Piano). Boston: Arthur P. Schmidt, c1894. See also: “Beach, Piano Music,” Box 9, Folder 17

Box 7, Folder 9 Within Thy Heart. Op. 29, No. 1. (Song). Boston: Arthur P. Schmidt, c1895. See also: “Beach, Piano Music,” Box 9, Folder 19

The Wandering Knight. Op. 29, No. 2. (Song). Boston: Arthur P. Schmidt, c1895. See also: “Beach, Piano Music,” Box 9, Folder 19

Sleep, Little Darling. Op. 29, No. 3. (Song). Boston: Arthur P. Schmidt, c1895. See also: “Beach, Piano Music,” Box 9, Folder 19

Haste, O Beloved! Op. 29, No. 4. (Song). Boston: Arthur P. Schmidt, c1895. See also: “Beach, Piano Music,” Box 9, Folder 19

Box 7, Folder 10 The Rose of Avontown. Op. 30. (Women’s voices). Boston: Arthur P. Schmidt, c1896
Box 7, Folder 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
Box 7, Folder 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 also: “Beach, Songs, Volume One,” Box 9, Folder 18

Box 7, Folder 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 also: “Beach, Songs, Volume One,” Box 9, Folder 18

Box 7, Folder 14 Minuet. Op. 36, No. 1. (Piano) Boston: Arthur P. Schmidt, c1897. See also: “Beach, Songs, Volume One,” Box 9, Folder 17
Box 7, Folder 15 Gavotte. Op. 36, No. 2. (Piano) Boston: Arthur P. Schmidt, [c1897] c1925. See also: “Beach, Songs, Volume One,” Box 9, Folder 17

Waltz. Op. 36, No. 3. (Piano). Boston: Arthur P. Schmidt, c1897. See also: “Beach, Songs, Volume One,” Box 9, Folder 17

March. Op. 36, No. 4. (Piano). Boston: Arthur P. Schmidt, c1897. See also: “Beach, Songs, Volume One,” Box 9, Folder 17

Polka. Op. 36, No. 5. (Piano). Boston: Arthur P. Schmidt, c1897. See also: “Beach, Songs, Volume One,” Box 9, Folder 17

O Mistress Mine. Op. 37, No. 1. (Song). Boston: Arthur P. Schmidt, c1897. See also: “Beach, Songs, Volume One,” Box 9, Folder 18

Box 7, Folder 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 also: “Beach, Songs, Volume One,” Box 9, Folder 18

Box 7, Folder 17 Fairy Lullaby. Op. 37, No. 3. (Women’s voices). Boston: Arthur P. Schmidt, [c1897] c1935
Box 7, Folder 18 Over Hill, Over Dale. Op. 39, No. 1. (Women’s voices). Boston: Arthur P. Schmidt, [c1897] c1925
Box 7, Folder 19 Come unto These Yellow Sands. Op. 39, No. 2. (Women’s voices). Boston: Arthur P. Schmidt, c1897
Box 7, Folder 20 Through the House Give Glimmering Light. Op. 39, No. 3. (Women’s voices). Boston: Arthur P. Schmidt, [c1897] c1925
Box 7, Folder 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

Box 7, Folder 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 Two,” Box 9, Folder 19

Box 7, Folder 23 Far Awa’. Op. 43, No. 4. (Song). Boston: Arthur P. Schmidt, c1899. 2 copies. See: “Beach, Songs, Volume Two,” Box 9, Folder 18
Box 7, Folder 24 Far Awa’. Op. 43, No. 4. (Vocal Duet). Boston: Arthur P. Schmidt, [c1899] c1918
Box 7, Folder 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 Two,” Box 9, Folder 18

Box 7, Folder 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
Box 7, Folder 27 The Year’s at Spring. Op 44, No. 1. (Duet). Boston: Arthur P. Schmidt, c1900. (FPL)
Box 7, Folder 28 The Year’s at the Spring. Op. 44, No. 1. (Song). Boston: Arthur P. Schmidt, [c1900] c1928
Box 7, Folder 29 The Year’s at the Spring. Op. 44, No. 1. (Mixed voices). Boston: Arthur P. Schmidt, [c1900] c1928
Box 7, Folder 30 The Year’s at the Spring. Op. 44, No. 1. (Women’s voices). Boston: Arthur P. Schmidt, [c1900] c1937
Box 7, Folder 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
Box 7, Folder 32 Ah, Love, But a Day! Op. 44, No. 2. (Song, with violin obligato). Boston: Arthur P. Schmidt, [c1900] c1920
Box 7, Folder 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

Box 7, Folder 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

Box 7, Folder 35 A Song of Liberty. Op. 49. (Women’s voices). Boston: Arthur P. Schmidt, [c1902] c1917
Box 7, Folder 36 A Song of Liberty. Op. 49. (Men’s voices). Boston: Arthur P. Schmidt, [c1902] c1917
Box 7, Folder 37 A Song of Liberty. Op. 49. (Song). Boston: Arthur P. Schmidt, [c1902] c1918, 2 copies
Box 7, Folder 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, c1903. See: “Beach, Songs, Volume Three,” Box 10, Folder 1

Box 7, Folder 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
Box 7, Folder 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

Box 7, Folder 41 A Hymn of Freedom. Op. 52. (Men’s voices). Boston: Arthur P. Schmidt, [c1903] c1917
Box 7, Folder 42 A Hymn of Freedom. Op. 52. (Women’s voices). Boston: Arthur P. Schmidt, [c1903] c1917
Box 7, Folder 43 A Hymn of Freedom. Op. 52. (Mixed voices). Boston: Arthur P. Schmidt, [c1903] c1931
Box 7, Folder 44 O Lord, Our God, Arise [formerly: A Hymn of Freedom]. Op. 52. (Mixed voices). Boston: Arthur P. Schmidt, [c1903] c1944
Box 7, Folder 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
Box 7, Folder 46 Invocation for the Violin. Op. 55. (Violin and piano). Boston: Arthur P. Schmidt, c1904
Box 7, Folder 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

Box 7, Folder 48 Shena Van. Op. 56, No. 4. (Women’s voices). Boston: Arthur P. Schmidt, [c1904] c1917
Box 7, Folder 49 Shena Van. Op. 56, No. 4. (Men’s voices). Boston: Arthur P. Schmidt, [c1904] c1917
Box 7, Folder 50 Shena Van. Op. 56, No. 4. (Mixed voices). Boston: Arthur P. Schmidt, [c1904] c1917
Box 7, Folder 51 Only a Song. Op. 57, No. 1. (Women’s voices). Boston: Arthur P. Schmidt, [c1904] c1932
Box 7, Folder 52 One Summer Day. Op. 57, No. 2. (Women’s voices). Boston: Arthur P. Schmidt, c1904
Box 7, Folder 53 The Sea-Fairies, A Cantata. Op. 59. (Women’s voices). Boston: Arthur P. Schmidt, c1904
Box 7, Folder 54 Variations on Balkan Themes. Op. 60. (Piano). Boston: Arthur P. Schmidt, [c1906] c1936, Revised edition (FPL)
Box 7, Folder 55 When Soul is Joined to Soul. Op. 62. (Song). Boston: Arthur P. Schmidt, c1905
Box 7, Folder 56 Te Deum. Op. 63A. (Mixed voices). Boston: Arthur P. Schmidt, [c1905] c1945
Box 7, Folder 57 Jubilate Deo. Op. 63C. (Mixed voices). Boston: Arthur P. Schmidt, [c1906] c1932
Box 7, Folder 58 Magnificat. Op. 63D. (Mixed voices). Boston: Arthur P. Schmidt, [c1906] c1934, 2 copies
Box 8
Box 8, Folder 1 After. Op. 68. (Song). Boston: Arthur P. Schmidt, c1909 (FPL) 2nd copy
Box 8, Folder 2 Baby. Op. 69, No. 1. (Song). Boston: Arthur P. Schmidt, c1908, 2 copies
Box 8, Folder 3 A Prelude. Op. 71. (Song). Boston: Arthur P. Schmidt, c1910
Box 8, Folder 4 Der Totenkranz. Op. 73, No. 2. (Song). Boston: G. Shirmer, c1914 (FPL)
Box 8, Folder 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
Box 8, Folder 6 Thou Knowest Lord. Op. 76. (Mixed voices). New York: G Schirmer, [c1915] c1943
Box 8, Folder 7 Cantate Domino. Op 78, No. 3. (Mixed voices). New York: G. Schirmer, [c1916] c1944
Box 8, Folder 8 Prelude and Fugue. Op. 81. (Piano). New York: G. Schirmer, c1918
Box 8, Folder 9 From Blackbird Hills. Op. 83. (Piano). Boston: Arthur P. Schmidt, c1922
Box 8, Folder 10 Te Deum in F. Op. 84. (Mixed voices). Philadelphia: Theodore Presser, c1922
Box 8, Folder 11 In the Twilight. Op. 85. (Song). Boston: Arthur P. Schmidt, c1922
Box 8, Folder 12 May Eve. Op. 86. (Mixed voices). Composed for A Book of Choruses, Silver Burdett Company, c1949, excerpt from the book
Box 8, Folder 13 Fantasia Fugata. Op. 87. (Piano). Philadelphia: Theodore Presser, c1923, 2 copies (FPL)
Box 8, Folder 14 Spirit Divine. Op. 88. (Duet). Philadelphia: Theodore Presser, c1922
Box 8, Folder 15 The Faire Hills of Eire, O! Op. 91. (Piano). Boston: Arthur P. Schmidt, c1922
Box 8, Folder 16 The Faire Hills of Eire, O. Op. 91. (Organ). New York: H. W. Gray, c1943
Box 8, Folder 17 A Hermit Thrush at Morn. Op. 92, No. 2. (Piano). Boston: Arthur P. Schmidt, c1922
Box 8, Folder 18 Message. Op. 93. (Song). Philadelphia: Theodore Presser, c1922
Box 8, Folder 19 Morning Glories. Op. 97, No. 1. (Piano). Philadelphia: Theodore Presser, c1922
Box 8, Folder 20 Heartsease. Op. 97, No. 2. (Piano). Philadelphia: Theodore Presser, c1922
Box 8, Folder 21 Mignonette. Op. 97, No. 3. (Piano). Philadelphia: Theodore Presser, c1922
Box 8, Folder 22 Rosemary and Rue. Op. 97, No. 4. (Piano). Philadelphia: Theodore Presser, c1922
Box 8, Folder 23 When Mama Sings. Op. 99, No. 1. (Song). Philadelphia: Theodore Presser, c1923, 2nd copy
Box 8, Folder 24 Little Brown-eyed Laddie. Op. 99, No. 2. (Song). Philadelphia: Theodore Presser, c1923
Box 8, Folder 25 The Moon-Path. Op. 99, No. 3. (Song). Philadelphia: Theodore Presser, c1923
Box 8, Folder 26 A Mirage. Op. 100, No. 1. (Song, with violin, cello, and piano). Boston: Oliver Ditson, c1924, 2 copies. (FPL) 3rd copy signed by May Goodbar
Box 8, Folder 27 Stella Viatoris. Op. 100, No. 2. (Song, with violin obligato). Boston: Oliver Ditson, c1924, 2 copies (FPL)
Box 8, Folder 28 Farewell, Summer. Op. 102, No. 1. (Piano). Boston: Oliver Ditson, c1924, 2 Copies (FPL)
Box 8, Folder 29 Dancing Leaves. Op. 102, No. 2. (Piano). Boston: Oliver Ditson, c1924, 2 Copies (FPL)
Box 8, Folder 30 Let This Mind Be In You. Op. 105. (Mixed voices). Bryn Mawr, PA: John Church, c1924, 2 Copies
Box 8, Folder 31 Cradle Song of the Lonely Mother. Op. 108. (Piano). Boston: Oliver Ditson, c1924, 2 Copies (FPL)
Box 8, Folder 32 Jesus, My Saviour. Op. 112. (Song). Philadelphia: Theodore Presser, c1925, 2 Copies (FPL)
Box 8, Folder 33 Mine Be the Lips. Op. 113. (Song). Boston: Oliver Ditson, c1926
Box 8, Folder 34 By the Still Waters. Op. 114. (Piano). St. Louis: Art Publication Society, c1925, 2 Copies (FPL)
Box 8, Folder 35 Around the Manger. Op. 115. (Song). Boston: Oliver Ditson, c1925, 2 Copies (FPL)
Box 8, Folder 36 Around the Manger. Op. 115. (Song). Boston: Oliver Ditson, c1925, Copy inscribed “For Lillian [Buxbaum]”
Box 8, Folder 37 Tyrolean Valse-Fantaisie. Op. 116. (Piano). Boston: Oliver Ditson, c1926, 3 copies (FPL)
Box 8, Folder 38 The Singer. Op. 117, No. 1. (Song). New York: John Church, c1925
Box 8, Folder 39 The Host. Op. 117, No. 2. (Song). New York: John Church, c1925
Box 8, Folder 40 The First Mayflowers. Op. 119, No. 2. (Piano, solo only). Boston: Oliver Ditson, c1927
Box 8, Folder 41 Rendezvous. Op. 120. (Song, with violin obligato). Boston: Oliver Ditson, c1928 (FPL)
Box 8, Folder 42 Benedicte, Omnia Opera Domini. Op. 121. (Mixed voices). Boston: Arthur P. Schmidt, c1928
Box 8, Folder 43 Communion Responses. Op. 122. (Mixed voices). Boston: Arthur P. Schmidt, c1928
Box 8, Folder 44 Agnes Dei (O Lamb of God). Op. 122. (Mixed voices). Boston: Arthur P. Schmidt, c1928
Box 8, Folder 45 The Canticle of the Sun. Op. 123. (Mixed voices and soli). Boston: Arthur P. Schmidt, c1928
Box 8, Folder 46 Evening Hymn. Op. 125, No. 2. (Song). Boston: Arthur P. Schmidt, c1934
Box 8, Folder 47 Evening Hymn. Op. 125, No. 2. (Mixed voices). Boston: Arthur P. Schmidt, c1936
Box 8, Folder 48 When the Last Sea Is Sailed. Op. 127. (Men’s voices). Boston: Arthur P. Schmidt, c1931
Box 8, Folder 49 Out of the Depths. Op. 130. (Piano). Boston: Arthur P. Schmidt, c1932
Box 8, Folder 50 Dark Garden. Op. 131. (Song). Boston: Arthur P. Schmidt, c1932
Box 8, Folder 51 Christ in the Universe. Op. 132. (Soli, mixed voices, and organ). New York: H. W. Gray, c1931
Box 8, Folder 52 Fire and Flame. Op. 136. (Song). Boston: Arthur P. Schmidt, c1933
Box 8, Folder 53 May Flowers. Op. 137. (Song). Boston: Arthur P. Schmidt, c1933
Box 8, Folder 54 Hearken Unto Me. Op. 139. (Soli, mixed voices, and organ). Boston: Arthur P. Schmidt, c1934
Box 8, Folder 55 O Lord God of Israel. Op. 141. (Mixed voices), c1936; Mechanically reproduced from manuscript score
Box 8, Folder 56 I Sought the Lord. Op. 142. (Song). Boston: Arthur P. Schmidt, c1937
Box 9
Box 9, Folder 1 I Shall Be Brave. Op. 143. (Song). Boston: Arthur P. Schmidt, c1932
Box 9, Folder 2 The Morning Very Early. Op. 144. (Women’s voices). Boston: Arthur P. Schmidt, c1937
Box 9, Folder 3 Lord of All Being. Op. 146. (Mixed voices). Boston: Arthur P. Schmidt, c1938
Box 9, Folder 4 I Will Give Thanks. Op. 147. (Mixed voices). Boston: Arthur P. Schmidt, c1939
Box 9, Folder 5 Five Improvisations. Op. 148, Nos. 1-5. (Piano). Boston: Arthur P. Schmidt, c1938
Box 9, Folder 6 Trio. Op. 150. (Violin, cello, and piano). New York: The Composers Press, c1939
Box 9, Folder 7 Pastorale for Woodwind Quintet. Op. 151. (Flute, oboe, clarinet, horn, and bassoon). New York: The Composers Press, c1942
Box 9, Folder 8 Though I Take the Wings of Morning. Op. 152. (Song). New York: The Composers Press, c1941`


Subseries B: Published Compositions, without assigned opus number

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


Subseries C: Collections of compositions (published and bound)

Box 9, Folder 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

Box 9, Folder 15 2nd copy of above
Box 9, Folder 16 Lyric Fancies: A Selection of Songs by American Composers. Boston: Arthur P. Schmidt, c1919

Contains: Shena Van

Box 9, Folder 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)

Box 9, Folder 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)

Box 9, Folder 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
Box 10, Folder 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


Subseries D: Published compositions of others

Unprocessed


Series V: Scrapbooks, Programs, and Reviews


Subseries A: Scrapbooks

Box 10, Folder 2 Symphonies de Beethoven. Op. 21 [No. I] and Op. 36 [No. II]. Boston: Arthur P. Schmidt, n.d. Beach’s bound copies
Box 10, Folder 3 Symphonies de Beethoven. Op. 55 [No. III] and Op. 60 [No. IV]. Boston: Arthur P. Schmidt, n.d. Beach’s bound copies
Box 10, Folder 4 Symphonies de Beethoven. Op. 67 [No. V and Op. 68 [No. VI]. Boston: Arthur P. Schmidt, n.d. Beach’s bound copies
Box 10, Folder 5 Symphonies de Beethoven. Op. 92 [No. VII and Op. 93 [No. VIII]. Boston: Arthur P. Schmidt, n.d. Beach’s bound copies
Box 10, Folder 6 Symphonies de Beethoven. Op. 125 [No. IX]. Boston: Arthur P. Schmidt, n.d. Beach’s bound copies
Box 10, Folder 7 MacDowell, Edward. 12 Etudes. Op. 39. (Piano). Mainz: B. Shott’s Sohne, c1890
Box 10, Folder 8 Royce, Edward. Theme and Variations. (Piano). New York: G. Schirmer, c1917
Box 10, Folder 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.
Box 10, Folder 10 Steinert, Alexander. Impromptu. (Piano). Boston: Boston Music Company, c1918
Box 10, Folder 11 Rothenburger Festspiel-Gesänge, text von Ad. Horber. November, 1911 (1900?); Michele Novaro, “Inno de Mamela,” Venice, April 1912
Box 11
Box 11, Item 1 Scrapbook, 1888-1905; Contains programs and reviews
Box 12
Box 12, Item 1 Scrapbook, 1883-1908; Contains newspaper and magazine clippings, programs, and reviews of Beach’s concerts
Box 13
Box 13, Item 1 Scrapbook, 1886-1916, mostly 1907-1916; Contains programs, newspaper clippings, and reviews (FPL)
Box 14
Box 14, Item 1 Scrapbook, 1915-1917; Primarily clippings from newspapers and magazines, along with programs and photographs (FPL)
Box 15
Box 15, Item 1 Scrapbook, 1939-1943, majority of material for 1942; Newspaper clippings, programs, and reviews


Subseries B: Concert/performance programs (arranged by year)

Box 16
Box 16, Folder 1 1883 — program for first public performance
Box 16, Folder 2 1884 — includes programs for first recitals
Box 16, Folder 3 1885
Box 16, Folder 4 1886-1887
Box 16, Folder 5 1889
Box 16, Folder 6 1891
Box 16, Folder 7 1892 — includes premier of the Mass in E-flat, Op. 5
Box 16, Folder 8 1894 — includes premier of Romanza (Romance), Op. 23
Box 16, Folder 9 1895
Box 16, Folder 10 1896 — includes premier of “Gaelic” symphony, Op. 32
Box 16, Folder 11 1897
Box 16, Folder 12 1898
Box 16, Folder 13 1901
Box 16, Folder 14 1902
Box 16, Folder 15 1906
Box 16, Folder 16 1907
Box 16, Folder 17 1908-1909
Box 16, Folder 18 1912
Box 16, Folder 19 1913
Box 16, Folder 20 1917
Box 16, Folder 21 1924
Box 16, Folder 22 1930-1931
Box 16, Folder 23 1933-1934
Box 16, Folder 24 1935
Box 16, Folder 25 1937-1938
Box 16, Folder 26 1939-1940
Box 16, Folder 27 1941-1942
Box 16, Folder 28 undated


Series VI: Photographs


Subseries A: Amy Beach


Subseries : As A Child (see gallery)

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


Subseries : As A Young Woman (see gallery)

Box 17, Envelope 8 Sepia, 6×4, n.d. Side profile. Photographer: Homert Co., Temple Place, Boston (2 copies)
Box 17, Envelope 9 Sepia, 6×4, n.d. As above, but half profile (3 copies)
Box 17, Envelope 10 B&W, 4×5, n.d. Dressed in costume. Photographer unknown
Box 17, Envelope 11 Sepia, 6×4, n.d.. Photographer: Metcalf, Washington St., Boston
Box 17, Envelope 12 Sepia, 6×4, n.d. Photographic copy of an artist’s portrait. Photographer: H.G. Smith, Boston
Box 17, Envelope 13 Sepia, 5×7, n.d. Wearing pearls around her neck. Photographer: Elmer Chickering, Boston
Box 17, Envelope 14 Sepia, 5×7, n.d. As above, but different view. Photographer: A. Marshall, Arlington St., Boston
Box 17, Envelope 15 B&W, 8×10 print, Aug 12, 1886. Standing with Dr. H.H.A. Beach. Photographer unknown. Also 3×5 tintype
Box 17, Envelope 16 Ca. 1890. Seated with Dr. H.H.A. Beach. Photographer unknown. (Negative only)


Subseries : As An Adult (see gallery)

Box 17, Envelope 17 Sepia, 5×7, ca. 1900. Portrait in profile. Photographer: Apeda, New York
Box 17, Envelope 18 Sepia (a) and b&w (b), 5×7, ca. 1900. Portrait, frontal. Photographer: Apeda, New York. Matted
Box 17, Envelope 19 Sepia, 3×5, ca. 1900. As above, but signed by Beach
Box 17, Envelope 20 Sepia, 3×5, ca. 1912. Amy Beach with two other, unidentified, women friends. Postcard. Photographer unknown.
Box 17, Envelope 21 As above, but different pose
Box 17, Envelope 22 As above, but different pose
Box 17, Envelope 23 Sepia, 4×6, February 14, 1913. Marcella Craft & Amy Beach. Photographer: H. Wiedenmann, Munich
Box 17, Envelope 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”
Box 17, Envelope 25 Sepia, 2×3, July 13, 1914. Amy Beach is at far right. Photographer: RusserPatty
Box 17, Envelope 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.
Box 17, Envelope 27 Sepia (a) and b&w (b), 8×10, glossy, ca. 1920. Publicity portrait, frontal. Photographer: Rayhuff-Richter. 4 b&w prints
Box 17, Envelopes 28-34 As above, but matte. Each envelope contains 3 sepia prints
Box 17, Envelope 35 Sepia, 4×5. Oval copy of above
Box 17, Envelope 36 As above, but used as portrait for The National Cyclopedia of American Biography, published by James T. White & Co., New York. Matted.
Box 17, Envelope 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.”
Box 17, Envelope 38 Sepia, 8×10, 1934. Seated holding a book. Photographer: Bachrach.
Box 17, Envelope 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)


Subseries : As An Older Woman (see gallery)

Box 17, Envelope 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.
Box 17, Envelope 41 B&W, 3×5, ca. 1935. Amy Beach with Ruth Shaffner, an unknown woman, and Mabel Pierce at Centerville, MA (?) Photographer unknown.
Box 17, Envelope 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.
Box 17, Envelope 43 Sepia, 3×5, 1930s. Amy Beach with cousins Mabel Pierce (left) and “Aunt Fannie” (right) at Centerville, MA. Photographer unknown.
Box 17, Envelope 44 Sepia, 3×5, 1930s. Amy Beach at Centerville, MA. Photographer unknown.
Box 17, Envelope 45 Sepia, 3×5, 1930s. Amy Beach and Eugenie Dengel, violinist, at Centerville, MA. Photographer unknown.
Box 17, Envelope 46 Sepia, 3×4, 1930s. Amy Beach at MacDowell Colony, Peterborough, NH. Photographer: Walter Jenkins.
Box 17, Envelope 47 Sepia, 3×4, 1930s. Amy Beach and Nancy Byrd Turner in front of The Eaves at MacDowell Colony. Photographer: Walter Jenkins.
Box 17, Envelope 48 Sepia, 3×4, 1930s. Amy Beach on stone wall in front of The Eaves at MacDowell Colony. Photographer: Walter Jenkins.
Box 17, Envelope 49 As above, but B&W, 8×10.
Box 17, Envelope 50 Sepia, 3×4, 1930s. Ruth Shaffner, singer, and Amy Beach at Long Pond, Centerville, MA. Photographer unknown.
Box 17, Envelope 51 As above, but different view.
Box 17, Envelope 52 Sepia, 3×4, 1930s. Amy Beach at Centerville, MA. Photographer unknown.
Box 17, Envelope 53 Sepia, 3×4, 1930s. David McKay Williams, organist at St. Bartholomew’s Episcopal Church, NYC, Amy Beach, and Ruth Shaffner. Photographer unknown.
Box 17, Envelope 54 Sepia, 3×4, 1930s. Amy Beach at Watson Studio, MacDowell Colony. Photographer: Walter Jenkins?
Box 17, Envelope 55 Sepia, 2×3, 1930s. Amy Beach while visiting friends in New Jersey.Photographer unknown.
Box 17, Envelope 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.
Box 17, Envelope 57 Sepia, 4×6, 1938. Mabel Pierce, Harriet Oldfield, Amy Beach, and Lillian Buxbaum at Centerville, MA. Photographer: Bachrach. 3 prints.
Box 17, Envelope 58 As above. 4 sepia prints.
Box 17, Envelope 59 Sepia, 4×6, 1938. Fannie Lord, Eugenie Limberg, Harriet Oldfield, Amy Beach, Mabel Pierce, and Lilliam Buxbaum at Centerville, MA. Photographer: Bachrach.
Box 17, Envelope 60 Sepia, 8×10, late 1930s. Amy Beach with the Junior and Juvenile Beach Clubs, Hillsborough, N.H. Photographer unknown.
Box 17, Envelope 61 As above, but B&W
Box 17, Envelope 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.
Box 17, Envelope 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.


Subseries B: Others

Box 18
Box 18, Envelope 1 Ethel Clement (Beach’s cousin). Sepia, 6×4, n.d. Photographer: The Imperial Photographic Gallery, Market Street, San Francisco
Box 18, Envelope 2 Ethel Clement. Sepia, 6×4, n.d. Photographer: Dames & Hayes Photographic Art Gallery, Market Street, San Francisco
Box 18, Envelope 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
Box 18, Envelope 2 Ethel Clement. Sepia, 6×4, n.d. Photographer: Thors, Larkin Street, San Francisco. Inscribed “To ‘Ant Clara’”
Box 18, Envelope 2 Ethel Clement. Sepia, 6×4, n.d. Photographer: Chas. Lainer, Market Street, San Francisco.

7 Responses to “Guide to the Amy Cheney Beach (Mrs. H.H.A. Beach) Papers, 1835-1956”

  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. […]