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Guide to the Robert Manton Papers, 1908-1968

Collection number: MC 14

Size: 12 boxes (4 cu.ft.)

About Robert Manton (1895-1967)

Rober Manton, noted composer of choral, piano, and orchestral works, was born in Dorchester, MA in 1894 and was educated in the Boston public school system. He studied music at Harvard University under W.C. Heilman, Dr. A.T. Davison and Dr. E.B. Hill and with Harris S. Shaw in piano and organ, graduating in in 1918. At the close of World War I, he studied at the University of Toulouse with Vincent d’Indy, pupil of Cesar Franck. In 1923, he came to the University of New Hampshire Music Department, where he served on the faculty for 41 years. In 1929, he was a resident composer at the MacDowell Colony in Peterborough, N.H. In 1967, the same year he died, he was awarded an honorary Doctor of Music degree by the university.

About the Robert Manton Papers

The papers consist of correspondence, music manuscripts, printed music, and memorabilia, 1914-1968. Correspondents include Amy Beach, Adrian Boult, Gladys Hasty Carroll, Archibald Davison, Arthur Foote, Edward Burlingame Hill, Agnes Ryan, Ernest C. Schirmer, Henry Bailey Stevens, and Ralph Vaughan Williams.

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.

Preferred Citation

[Identification of item], Robert Manton Papers, 1908-1968, MC 14, Milne Special Collections and Archives, University of New Hampshire Library, Durham, NH, USA.

Acquisitions Information

Donations: Mrs. Robert Manton, 1972; and Robert Reed, Aquisitions (source unknown), March 21, 1984 (Accession numbers: 020, 8343)

Transfers: University of New Hampshire Music Department, October 14, 1980 and November 15, 1984 (Accession numbers: 8025, 8443)

Collection Contents

Series I: Correspondence, 1915-1967

Subseries A: From Manton

Box 1
Box 1, Folder 1 Allan [Bone?], [Duke University, Durham, N.C.], May 31, 1963. 1p.

Sir Adrian Boult, London Philharmonic Orchestra, Dec 3, 1958. 1p.

Reginald Gardiner, Beverly Hills, CA., June 29, 1967. 2p. Pencil draft, letter.

William L. Ould, Appomattox, VA., Aug 23, 1929. Postcard from MacDowell Colony showing the studio where Manton worked.

John F. Reed, Dean of the Graduate School, UNH, Apr 16, 1957. 1p.

Box 1, Folder 2 Edward Ballantine, Cambridge, Mass., Oct 12, 1926. [3p].

Paul L. Bauguss, Lexington, Mass., Oct 10, 1948. [4p].

Mrs. H.H.A.(Amy) Beach, Boston, May 1, 1926. [4p].

Mrs. H.H.A.(Amy) Beach, Boston, Sept 30, 1926. [2p]. [incomplete].

Bonnie Blue, [Yarmouth, Maine], June 13, 1964. [3p].

The Charles Bolsters, Dec 6, 1961. Christmas Card.

Charles Bolsters, 1965. Christmas Card.

Allan H. Bone, Duke University, Oct 8, 1964. 1p.

Sir Adrian Boult, London, Apr 1, 1953. 1p.

Sir Adrian Boult, London, Dec 22, 1958. 1p.

Sir Adrian Boult, London, May 27, 1964. 1p.

Rollo Walter Brown, Madison, Wisconsin, [n.d.], 1p.

Paul Callaway, Washington, D.C., Apr 8, 1964. 1p.

Paul Callaway, Washington, D.C., Apr 23, 1964. 1p.

Capitol Records, Hollywood, CA., Aug 15, 1961. 1p. TLS.

Box 1, Folder 3 Gladys Hasty Carroll, South Berwick, ME., Jan 12, 1948. 1p.

Gladys Hasty Carroll, South Berwick, ME., May 31, 1967. 1p.

The Carrolls, South Berwick, ME., [n.d.], 2 Christmas cards.

Frank Case, Raymond, N.H., May 23, 1967. 1p.

Peg and Frank Case, [n.d.], 1p. Congratulations card.

Cauldron Singers, Roy Rhodes, Secretary, Los Angeles, Ma 19, 1929. 1p.

Jane W. Chase, Durham, May 17, 1967. [4p].

A.J. Croft, Oxford, England, June 7, 1958. 1p.

Louise Davis, Peterborough, N.H., July 29, 1950. 1p. Postcard.

Archibald Davison, Cambridge, Mass., Feb 6, 1954. 1p.

Archibald Davison, Brant Rock, Mass., Sept 22, 1956. 1p.

Alice Davison, Brant Rock, Mass., June 7, 1961. [2p].

Archibald and Alice Davison, [n.d.], Christmas card.

Box 1, Folder 4 Tom Desrosiers, March 3, 19-?. [3p].

Tom Desrosiers, New Orleans, Apr 27, 1964. [4p].

Tom Desrosiers, New Orleans, May 4, 1964. 1p. With band program.

Tom Desrosiers, Peterborough, May 16, 1967. 1p.

Ruth Dyson, Dorking, Surrey, Aug 8, 1964. [6] p.

Elgar Organ Fund, John Arthurs, Secretary to the Trustees, St. George’s Catholic School and Church, Worcester England, October 11, 1967. 1p.

Willie R. Emerson (Miss), Weatherford, OK, June 1, 1930. 1p.

Federal Music Project, William Haddon, State Director, Boston, Aug 4, 1938. 1p.

Box 1, Folder 5 Arthur Foote, Brookline, Nov 30, 1924. 3p.

Arthur Foote, Brookline, Dec 9, 1924. 2p.

Arthur Foote, Newton Centre, Nov 1, 1925. [2p].

Arthur Foote, Newton Centre, Dec 23, 1925. 1p.

Arthur Foote, Newton Centre, June 17, 1926. 1p.

Arthur Foote, Newton Centre, Dec 27, 1926. 1p.

Arthur Foote, Newton Centre, Dec 17, 1928. 1p.

Arthur Foote, Newton Centre, Jan 5, 1929. 1p.

Arthur Foote, Newton Centre, Dec 13, 1929. [3p].

Arthur Foote, Newton Centre, May 24, 1931. [3p].

Arthur Foote, Newton Centre [n.d.] [2p]. With photograph of Foote.

Arthur Foote, Newton Centre [n.d.] [2] p.

Arthur Foote, Newton Centre, May 15. [3p].

Arthur Foote, [n.p., n.d.] 1p. Christmas card.

Box 1, Folder 6 Reginald Gardiner, Beverly Hills, CA., Aug 7, 1967. [2p].

Reginald Gardiner, Beverly Hills, Sept 21, 1967. [2p].

Reginald Gardiner, Beverly Hills, Oct. 13, 1967. 1p.

Irene Hale, Boston, March 20, 1942. [3p].

Irene Hale, Boston, May 15, 1946. 8p.

Irene Hale, Boston, March 4. 6p.

Irene Hale, Boston [n.d.] 7p.

Irene Hale, “The Story of our Beloved English Door Harp.” [n.d.] [4p].

Box 1, Folder 7 Harvard Glee Club, Albert K. Webster, Cambridge, Mar 28, 1958. 1p.

William Heilman, Cambridge, Mass., Apr 30, 1917. 1p.

Ruth F. Hight, Munroe Falls, Ohio, Apr 19, 1967. [2p].

Edward Burlingame Hill, Boston, Sept 12, 1916. [2p].

Edward B. Hill, Francestown, June 29, 1949. [2p].

Edward B. Hill, Francestown, May 5, 1951. [2p].

Edward B. Hill, Boston, May 31, 1951. [2p].

Edward B. Hill, Francestown, July 14, 1951. [2p].

Edward B. Hill, Francestown, Nov 26, 1951. [2p].

Edward B. Hill, Francestown, Nov 18, 1952. 1p.

Edward B. Hill, Sarasota, Florida, Apr 11, 1953. [6p].

Edward B. Hill, Francestown, July 23, 1955. [2p].

Edward B. Hill, Francestown, Sept 25, 1958. [3p].

Edward B. Hill, Francestown, N.H. June 22 [2p].

Edward B. Hill, Francestown, Nov. 11. 2p.

Edward B. Hill, Francestown, Nov. 25. 1p.

Edward B. Hill, Printed Sympathy card.

Edward B. Hill, (Durham Cathedral from the Southwest) [n.d.]. Postcard.

Edward B. Hill, [n.d.] Christmas card.

Box 1, Folder 8 Katherine Upham Hunter, West Claremont, N.H., June 10, 1937. [3p].

Imperial War Graves Commission, High Wycombe, Bucks., England, March 10, 1958. 1p.

Mrs. C. F. Jackson, Zoology Office, UNH, Nov 30, 1936, [2p].

Eldon L. Johnson, President’s Office, UNH, Feb 29, 1956. 1p.

Douglas N. Kennedy to Robert Manton. London, Feb 19, 1959. [2p].

Douglas N. Kennedy, London, Feb 26, 1959. 1p.

Lawson-Gould Music Publishers, New York, May 26, 1961. 1p.

Box 1, Folder 9 Erich Leinsdorf, Boston, Dec. 11, 1967. 1p.

Loyal Order of Moose Choir, 23 signatures. Christmas card.

Loyal Order of Moose Choir, Salisbury, England. Christmas card.

Anne McClure, Oklahoma City, April 16, 1930. 4p.

John W. McConnell, Durham, Apr. 3, 1964. 1p.

John W. McConnell, Durham, May 5, 1964. 1p.

Edward MacDowell Association, James John Sweeney, New York, May 26, 1958. 1p.

Senator Tom McIntyre, Washington, D.C., January 28, 1964. 1p. With newsclipping.

Box 1, Folder 10 Harold Morris, New York, October 13, 1931. 1p.

Harold Morris, New York. May 9, 1932. 1p.

Helen A. Morse, Durham, N.H., May 17, 1967. 1p.

New Hampshire Music Festival, Center Harbor, N.H., Oct 14, 1961. 1p.

Father O’Connor, Dec 22, 1965. Christmas card.

Bashka Paeff, [n.p.], March 1 [2p]. 2 postcards.

Box 1, Folder 11 Walter Piston, Belmont, Mass., Dec 28, 1965. 1p.

Lucien Price, Marblehead, [MA.], June 30, 1942. 1p.

John F. Reed, Dean, College of Liberal Arts, UNH, Feb 1, 1961. 1p.

George Reynolds, Long Beach, Calif., July 2, l964. 1p. With photograph.

Agnes Ryan, Durham, March 4, 1953. [2p]. on 1p.

Everett Sackett, Dean, College of Liberal Arts, UNH, June 5, 1964. 1p.

Mabel W. Samuels, Brookline, Jan. 25, [3p].

Ernest C. Schirmer, Boston, March 10, 1924. 1p.

Ernest C. Schirmer, Boston. March 22, 1924. 1p.

Ernest C. Schirmer, Jr., April 1, 1964. Postcard.

Box 1, Folder 12 Harris S. Shaw, [n.d.] ALS. Business card.

Harris S. Shaw, [n.d.] ALS. Postcard (House door).

Harris S. Shaw, [n.d.] ALS. Postcard (Knox Memorial Mansion, Thomaston, Maine).

[Harris S. Shaw] [n.p. n.d.] [2p].

William Grant Still, Los Angeles, Oct 31, 1955. 1p.

Rolland Tapley, Newton Highlands, Mass. June 14, 1965. 1p.

Arthur and Ann Terri -?, Feb 6, 1953. Telegram.

Box 1, Folder 13 UNH Music Class, [n.d.] 1p.

Don Vaughan, St. John’s Church, Portsmouth, N.H., May 15, 1967. [3p].

R[alph] Vaughan Williams, London, Feb 7, 1954. 1p.

Ursula Vaughan Williams. London, Jan 3, 1959. 1p.

Ursula Vaughan Williams, [n.p., n.d.] 1p.

Laurance E. Webber, Chairman, Centennial Committee, UNH, Durham, May 20, 1966, 1p.

Governor John Winant, Concord, Nov 4, 1926. 1p.

Bill Yale (?), College of Liberal Arts, Boston University, Boston, Feb. 6, 1964.

Mr. and Mrs. L.B.S. Young, [n.d.] Christmas photo card (of Manton Post Office somewhere in England).

Subseries B: Unidentified

Box 1, Folder 14 [Harvard University], Cambridge, MA., June 16, 1915. Course grade (“A”). Postcard.

[Harvard University], Cambridge, MA., July 3, 1917. Course grade (“A”). Postcard.

“Buge?”, Dept. of Music Education, New York University, Nov 28, 1953. [2p].

“Woody”, Dept. of Music, Harvard, Oct 16, 1960. 1p.

“Charlie”, Boston (Superior Court of Mass.) May 7, 1964. [2p].

“Charles”, Hotel Dorset, New York City, Oct 13, 1967. [2p].

Karl and Florence [Bratton?] “With profound appreciation and respect”, [n.p., n.d.]. Notecard.

Subseries C: Others to Others

Box 1, Folder 15 Mrs. H.H. A. Beach to Mrs. Allen (of Durham), from Montreat, North Carolina, Apr 12, 1926. [3p].

Waldo S. Pratt to Mrs. [Irene] Hale, from Hartford, Conn., Oct 10, 1936. [2p].

Waldo S. Pratt to Mrs. [Irene] Hale, from Hartford, Conn., Mar 23, 1937. [2p]. With pamphlet: “A Forgotten American Portrait Painter, Peter Baumgras, 1827-1903,” [by] Waldo S. Pratt. 1937. 11p. 2 copies.

Series II: Manuscripts, 1914-1967

Subseries A: Unpublished Works in Manuscript

Box 2
Box 2, Envelope 1 Abraham Lincoln Overture

Scored June and July 1942 for orchestra and tenor solo. Pencil manuscript. 27 p. (212 measures). Scored for piccolo, flutes, oboes, English horn, clarinets in B-flat, bassoon, horns in F, trumpets in B-flat, trombones, tuba, timpani, tam-tam, triangle, snaredrum, bass drum, cymbals, bells, piano, tenor solo, violin I, violin II, viola, cello, bass.

Text by Walt Whitman: “When lilacs last in the dooryard bloom’d/ And the great star early droop’d in the western sky/ In the night I mourn, and yet shall mourn with ever returning spring the sweetest, wisest soul of all my days and lands/ Ever returning spring trinity sure to me you bring/ Lilac, and star in the west/ And thought of him I love.”

Box 2, Envelope 2 Abraham Lincoln Overture

Ink copy with corrections laid in. (212 measures). Solo for soprano. Text: variation. “..Lilac, blooming prenatal and drooping star in the west/ And thought of him I love…”

Box 2, Envelope 3 Acquaint Thyself With God – A Motet

For SATB with organ accompaniment. 2p. (42 measures). Corrections in red pencil. SA on one stave, TB on another. Dated 1958. Verso of page 2: 18 bar sketch of The Earth Has Grown Old. Text: “Acquaint thyself with God, and be at peace with him and lay up his words in thine heart.”

Box 2, Envelope 4 Air and Dance

For violin and piano. Ink manuscript. 4p. (68 measures). Corrections laid in. Phrasing indications in red.

Box 2, Envelope 5 Anderseniana, Suite for Orchestra

1. “The Little Match Girl”

Pencil manuscript. About 8p. (51 measures). Scored for flutes, oboes, clarinets in B-flat, bassoons, horns in F, trumpets in C, trombones, tuba, timpani, cymbals, pianoforte, violin I, violin II, viola, cello, bass.

Same. Ink manuscript, incomplete (page 4 begun, 21 measures completed.)

Same. Pencil manuscript, fragment, 3p.

Same. Pencil manuscript of sketches written for piano, but with some indications of instrumentation. Approximately 59 measures.

2. “Of a Dancer and a Tin Soldier”

Pencil manuscript. 16p. (approximately 122 measures). Scoring as for the 1st movement, with addition of triangle and snare drum.

Same. Pencil manuscript, fragment, page 1 (10 measures).

Same. Pencil manuscript, fragment, 55 measures – not including many duplicate measures possibly meant to be laid in as corrections.

3. “Nightfall in Tyrol”

Pencil manuscript. Approximately 9p. (78 measures). Scoring as for first movement. “Program” laid in: ” ‘I looked down upon the Tyrol,’ said the Moon”

Box 2, Envelope 6 Appalachian Rhapsody

Pencil and ink manuscript. 7p. (112 measures) Scored for flute, harp, and string orchestra. Full score in pencil with corrections. Individual parts in ink. First performed Feb 23, 1955.

Box 2, Envelope 7 Bright Is The Ring of Words

For four-part chorus and pianoforte. There is division in each voice S(S) A(A) T(T) B(B). Ink manuscript. 5p. (51 measures). Corrections laid in.

Text by R. L. Stevenson: “Bright is the ring of words/ When the right man rings them/Fair the fall of songs/ When the singer sings them/ Still they are carolled and said/ On wings they are carried/ After the singer is dead/ And the maker buried/ Low as the singer lies/ In the fields of heather/ Songs of his fashion bring the swains together/ And when the west is red/ With the sunset embers/ The lover lingers and sings/ And the maid remembers.”

Same. Two copies, size reduced, produced by photo-offset method.

Box 2, Envelope 8 Centennial Hymn – University of New Hampshire, 1866-1966

For SATB. Pencil manuscript. 2p. (27 measures).

Text: by Dr. Alfred E. Richards in 1898: “All hail, Alma Mater dear/ To thee we now belong/ And hand grasps hand in parting/ Heart finds heart in song/ New Hampshire, Alma Mater, dear/ Thy sons and daughters strong/ We will sing thy praises forever and forever/ Our love will last as life is long.”

Box 2, Envelope 9 The Christmas Rose

For SATB and pianoforte. There is division of soprano and alto parts. Ink manuscript. 6p. (97 measures). Corrections laid in.

Text by Karl H. Bratton: “Upon that night so long ago/ When shepherds to the Child did go/ Bringing simple gifts, and singing/ A maiden poor and lone sat weeping. (Solo:) ‘I have no gift what I may carry/ To the Babe and Mother Mary’/ (Chorus:) Then came an angel, without a sound/ Saying ‘Child behold the snowy ground’/ Where her tears in snow had rested/ Beautiful flowers of white now nested/ Gaily blooming treasures they/ Like blossoms of a summer’s day/ With joy the maiden plucked each one/ And hastened to the newborn Son/ She placed the roses by the Child/ He looked at them and gently smiled/ He touched them with his hands so little/ A flush appeared on every petal/ To this day, the legend goes/ In winter blooms the Christmas rose.”

Same. A photo-copy, signed and dated: “Robert W. Manton, Christmas, 1957.”

Box 2, Envelope 10 Concerto For Piano and Orchestra

Ink manuscript. 75p. over-all. Corrections laid in. Scored for flutes, oboes, clarinets in B-flat, bassoons, horns in F, trumpets in B-flat, trombones, tuba, timpani, cymbals, piano-forte, violin I, violin II, viola, cello, bass. Triangle added for third movement. First movement: Allegro maestoso, pp. 1-25 (162 measures). Second movement: Andantino con teneramente, pp. 26-42 (79 measures). Third movement: Allegro eroica, pp. 43-75 (185 measures).

Box 2, Envelope 11 Dance Rhapsody

Orchestral score. Ink and pencil manuscript. 14p. (115 measures). Corrections laid in. Scored for piccolo, flutes, oboes, clarinets in B-flat, bassoons, horns in F, trumpets in B-flat, trombones, tuba, timpani, side drum, triangle, cymbals, pianoforte, violin I, violin II, viola, cello, bass.

Box 2, Envelope 12 Dance Rhapsody

Parts for the instruments enumerated above. Ink manuscript originals exist for all but the violin I.

Box 2, Envelope 13 Dance Rhapsody

Photo-offset copies for bass, cello, and viola parts.

Box 2, Envelope 14 Dance Rhapsody

Photo-offset copies for first and second violin parts.

Box 2, Envelope 15 Deep Forest

Parts for flute and pianoforte. Ink manuscript. Corrections laid in. Approximately 50 measures.

Same. Orchestral score. Pencil manuscript. Dated 1964. 6-7p.

Scored for piccolo, flutes, oboes, clarinets in B-flat, bassoons, horns in F, trumpets in C, trombones, tuba, timpani, cymbals, harp, violin I, violin II, viola, cello, bass.

Program: “Where the forest murmurs there is music, ancient, everlasting – Fiona Macleod.”

Box 2, Envelope 16 Deep Forest

Sketch of a piano work entitled In Deep Woods. Ink manuscript. Earlier version of the flute and piano work?

Box 2, Envelope 17 Dies Natalis, A Christmas Cycle

1. Prelude

Full score. Ink manuscript. 7p. (38 measures). Corrections laid in. Scored for S(S) A(A) TB, trumpets in B-flat, trombones, cymbals, timpani, and organ. Text: “Through the cold and dark of night/ riding westward from Kingdoms far/ Led by the star’s foretelling light/ Come Caspar, Melchior and Balthasar.”

2. “Before the Paling of the Stars,” Dated 1964. For SA(A)TB and organ. Opens with soprano solo. Ink manuscript. 7p. (104 measures). Corrections laid in. Text by Christina Rossetti: “(Solo:) Before the paling of the stars/ Before the winter morn/ Before the earliest cock-crow/ Our Savior Christ was born/ Born in a stable/ Cradled in a manger/ In the world His hands had made/ (Chorus:) And born a stranger/ Priest and King lay fast asleep in Jerusalem/ Young and old lay fast asleep in crowded Bethlehem/ Saint and Angel kept a watch together/ Before the Christmas daybreak/ In the winter weather/ Jesus on His Mother’s breast/ In that stable cold/ Spotless Lamb of God was He/ Shepherd of the fold/ Let us kneel with Joseph bent and hoary/ With Saint and Angel, ox and ass/ To hail the King of Glory.”

Same. Part for celesta. 2p. (109 measures). English horn part is indicated in this ink manuscript.

Same. Two copies produced from an original ink manuscript by photo-offset process. Accompaniment differs from the main entry above; choral parts are the same.

3. “In the Bleak Mid-Winter”

For SATB. Ink manuscript, photocopied. lp. (16 measures). Dedication: “To the University of New Hampshire Glee Clubs.” Pencil direction in red: “organ thruout softly.” Text by Christina Rossetti: “In the bleak mid-winter/ Frosty wind made moan/ Earth stood hard as iron/ Water like a stone/ Snow had fallen/ Snow on snow/ In the bleak mid-winter, long ago.”

Same. For SATB a cappella. Ink manuscript. lp. (16 measures). The five strophe text by Christina Rossetti is laid in. At foot of page the composer’s note: “The metre of this hymn is irregular. The music above is that of the first verse, and it can easily be adapted to the others.”

4. “Hodie Christus Natus Est – Motet”

Full score and parts. Ink manuscript. Score 9p. (61 measures). Corrections laid in. Scored for SA(A)TB, trumpets, B-flat, trombones, cymbals, timpani, organ. Text: “Hodie Christus natus est, Nowell/ Hodie Salvator apparuit/ Hodie in terra canunt Angeli laetantor Archangeli/ Hodie exsultant justi dicentes/ Gloria in excelsis Deo. Alleluia.”

Same. Pencil manuscript of final six bars for chorus; different version for closing measures than in the version above. Inscribed: “Karl [Bratton] / ending – “Hodie Christus natus est” / this will put your choir on its toes!!”

Box 3
Box 3, Envelope 1 Durham Sketches, 1669-1965, full score.

On cover: “First Performance, U.N.H. Symphony Orchestra, May 14, 1966 / Program – One Hundred Years of American Music.”

1. “From Oyster River Meeting House (1655)”

Orchestral score. Ink manuscript. llp. (90 measures). Corrections laid in. Scored for flutes, oboes, clarinets in B-flat, bassoons, horns in F, trumpets in C, trombones, tuba, timpani, side drum, organ, violin I, violin II, viola, cello, bass. Bottom of page l: “Windsor – Christopher Tye – 1553.” At conclusion: “General Hymn: Windsor from M. William Damon’s Book of Musicke, 1591.”

2. “Indian War Dance (Objibway)”

Orchestral score. Ink manuscript. 10p. (82 measures). Corrections laid in. Scoring differs from 1st movement in that there is no side drum, and there are cymbals.

3. “Minuet Danced Before Gen. Sullivan”

Orchestral score. Ink manuscript. 6p. (83 measures). Corrections laid in. Scored for violin I, violin II, viola, cello, bass.

4. “The Shankhassik at Durham (River of the Wild Goose)”

Orchestral score. Ink manuscript. llp. (44 measures). Corrections laid in. Scored for flutes, oboe, clarinets in B-flat, bassoons, horns in F, pianoforte, violin I, violin II, viola, cello, bass.

5. “Fair Stands She All Glorious (University of New Hampshire)”

Orchestral score. Ink manuscript. 8p. (61 measures). Corrections laid in. Scoring the same as for the first movement except that there is no organ part.

Box 3, Envelope 2 Durham Sketches, 1669-1965, full orchestral score.

Pencil manuscript, same as the above except that the organ part in the first piece is divided between manual and pedal.

“War Dance – 3rd Act,” Incomplete pencil manuscript, 1p. (37 measures), of pianoforte score. Corrections in ink. [From Johnny Appleseed by Henry Bailey Stevens].

“Indian War Dance,” Incomplete pianoforte fragments. Pencil manuscript. 5p.

“Minuet Danced Before General Sullivan,” Fragments scored for pianoforte. Incomplete pencil manuscript. 4p.

Box 3, Envelope 3 Durham Sketches, 1669-1965

Parts for flutes, oboes, clarinets in Bb, and bassoons. Ink manuscript and photoduplicates for those parts requiring them.

Box 3, Envelope 4 Durham Sketches, 1669-1965

Parts for trombones, tuba, side drum, cymbals, timpani, and organ. Ink manuscript and photoduplicates for those parts requiring them.

Box 3, Envelope 5 Durham Sketches, 1669-1965

Parts for horns and trumpets. Ink manuscript and photo duplicates for those parts requiring them.

Box 3, Envelope 6 Durham Sketches, 1669-1965

Parts for violas. Ink manuscript and photo duplicates.

Box 3, Envelope 7 Durham Sketches, 1669-1965

Parts for first violin. Ink manuscript and photo duplicates.

Box 3, Envelope 8 Durham Sketches, 1669-1965, full score

Parts for second violin. Ink manuscript and photo duplicates.

Box 3, Envelope 9 Durham Sketches, 1669-1965

Parts for bass. Ink manuscript and photo duplicates.

Box 3, Envelope 10 Durham Sketches, 1669-1965

Parts for cello. Ink manuscript and photo duplicates.

Box 4
Box 4, Envelope 1 Elegy

Melody on one stave. Pencil and ink manuscript. 1p. (approximately 50 measures). Text by Walt Whitman: “Over the breast of the Spring, the land, amid cities/ Amid lanes and through old woods, where lately the violets peeped from the ground spotting the gray debris/ Amid the grass in the fields each side of the lanes, passing the endless grass/ Passing the yellow spear’d wheat every grain from its shroud in the dark brown fields uprisen/ Passing the apple tree blows of white and pink in the orchards/ Carrying a corpse to where it shall rest in the grave/ Night and day journeys a coffin…(of him I love).”

Same. For SATB. Pencil manuscript. 3p. Text for 5 measures only.

Box 4, Envelope 2 For Lo! The Winter Is Past

Full score. For chorus SATB (division in all parts), pianoforte, and violin. Ink manuscript. 5p. (37 measures). Corrections laid in. Text from Song of Solomon II, Verses 11 and 12: “For lo! the winter is past and the rain is over and gone/ The flowers appear on the earth/ The time of singing of birds is come/ And the voice of the turtle is heard in our land.”

Box 4, Envelope 3 Four Songs, 1957

For medium voice and pianoforte. 1 volume (unpaged) duplicated from an original ink manuscript not in the collection. 13 copies.

1. “Lilacs”

2p. (21 measures). Text: “The yellow years have gathered fast/ O’er this house upon the hill/ Old lilac bushes gaunt and gray/ Crowd ’round the sunken sill/ And lo! with each returning Spring/ Keep tryst at this lonely place/ But love and constancy withal/ Old Time can ne’er efface.”

2. “True Love”

lp. (21 measures). Text from “Anon. 13th Century from a girl’s Latin letter to her lover”: “Thou art mine/ I am thine/ That is clear as sunshine/ Thou art locked tight/ Within my heart/ Lost is the little key/ Never more to part….”

3. “Peace at Noon”

2p. (21 measures). Text by Arthur Symons from Poems in Two Volumes: “Here, there is peace, cool peace/ Upon these heights, beneath these trees/ Almost the peace of sleep or death/ To wearying brain, to lab’ring breath/ Here there is peace at last/ A sweet forgetting of the past/ There is no future here, nor aught/ Save this soft healing pause of thought.”

4. “Loveliest of Trees”

2p. (39 measures). Text: “Loveliest of trees, the cherry now is hung with bloom along the bough/ And stands about the woodland ride/ Wearing white for Eastertide/ Now, of my threescore years and ten/ Twenty will not come again/ And take from seventy years a score/ It only leaves me fifty more/ And since to look at things in bloom/ Fifty springs are little room/ About the woodlands I will go/ To see the Cherry hung with snow.”

Box 4, Envelope 4 Four Songs, 1957

“Lilacs.” Annotated photocopies of ink manuscript. Bass (7 parts), cello (9 parts), viola (8 parts), first violin (7 parts), second violin (10 parts).

Box 4, Envelope 5 Four Songs, 1957

“Lilacs.” Rough pencil manuscript. 1p (approximately 19 measures). 3 measures of accompaniment wanting.

“True Love.” Rough pencil manuscript. 2p. (21 measures). Varies slightly from the final version. Page 2 has sketches (unidentified) for another work.

Box 4, Envelope 6 Four Songs, 1957

For orchestra. Ink manuscript. 13p. (105 measures). Corrections pencilled or laid in. Written direction: “The chorus must be sung on a vowel sound – sometimes Ah, sometimes La and even oo. The whole work should have the shape of a peak up to ‘With exultation’ and then recede to a most distant pianissimo.” Scored for flutes, oboes, English horn, clarinets in B-flat, bassoons, horns in F, trumpets in B-flat, trombones, tuba, timpani, cymbals, celesta, harp, SATB, violin I, violin II, viola, cello, bass.

Same. Parts. Ink manuscript. Corrections laid in. Flute and strings only.

Same. Pianoforte score. Ink manuscript. 3p. (116 measures). Corrections laid in.

Same. SATB and pianoforte. Pencil manuscript. 17p. Dated at conclusion: “Durham, N.H., February, 1957.”

Box 4, Envelope 7 Indian Summer: Sioux Indian Legend

For high voice, piano and horn. Pencil and ink manuscript. 2p. (32 measures). Incomplete. Text: “Ere Michabo wends his footsteps/ Towards the bed on which he sleeps/ All winter underneath Great Bear/ He fills his pipe and makes it glow/ From the bowl the smoke ascending/ Fills the air with golden haze/ Of the enchanted Indian Summer.”

Same. Ink manuscript. For horn-F. 1p. (42 measures). Complete?

Same. Pencil manuscript. 1p. (12 measures). Incomplete. Text varies: “And Michabo wanders slowly/ Through the painted forest pathway/ Toward the bed on which he sleeps/ All Winter underneath Great Bear.”

Same. Ink manuscript. For SATB and pianoforte. 1p. (9 measure fragment). Text: “Golden haze of the enchanted Indian Summer.”

Same. Pencil manuscript. For SATB and pianoforte. 1p. (10 measure fragment). Text as above.

Box 4, Envelope 8 Intermezzo: For Cello and Piano, dated 1963

Cello part. Ink and pencil manuscript. Corrections laid in.

Same. Cello and pianoforte score. xerox copy. 4p. (49 measures). Manuscript wanting.

Same. Cello part. xerox copy. Manuscript wanting.

Box 4, Envelope 9 Introduction and Fugue

Full score for string orchestra. Ink manuscript. 16p. Introduction: 75 measures: Fugue, 89 measures. Corrections laid in.

Box 4, Envelope 10 Introduction and Fugue

Parts for solo violin and violin I. Ink manuscript and photo duplicates.

Box 4, Envelope 11 Introduction and Fugue

Parts for violin II and viola. Ink manuscript and photo duplicates.

Box 4, Envelope 12 Introduction and Fugue

Parts for cello and bass. Ink manuscript and photo duplicates.

Box 5
Box 5, Envelope 1 Jeanie: Rhapsody For Oboe and Strings

Pencilled score, 4pp (94 measures).

Same. Parts for oboe, three violins, cello and bass. Ink, 9pp.

Box 5, Envelope 2 Jeanie: An American Rhapsody

Parts for piano, solo violin, first and second violin, viola, violoncello, bass, flutes, clarinets in Bb, bassoons, horns in F, and trumpets in Bb. Ink. Pasted in copies of a program for the Boston Pops, Arthur Fielder, conductor, for May 27, 1950, that marked the first performance of the piece.

Box 5, Envelope 3 Jeanie: An American Rhapsody

Parts for violin, viola, cello, bass, flutes, piccolo, tuba, oboes, English horn, clarinets in Bb, bassoons, horns in F, trumpets in Bb, trombone, tuba, timpani, cymbals, and triangle. Ink and duplicated.

Box 5, Envelope 4 The Lark At Dawn, Rhapsody

For violin solo and small orchestra. Full score. Pencil manuscript. 7p. (111 measures). Dated at conclusion: “June 1961, Durham, N.H.” Scored for flutes, oboe, English Horn, clarinets – B-flat, bassoon, horns in F, violin I, violin II, viola, cello, bass, solo violin. Text, program inside cover: “‘Slow breaks the hushed June dawn, and, out of sight, Poised in the limpid blue on quivering wings, A lark pours out his soul to God and sings/ Of hope and faith and love and homely things. Anon.”

Same. Part for solo violin. Ink manuscript. 3p. Dated 1961.

Box 5, Envelope 5 May Morning

For SSAA and pianoforte. Photocopies of an original manuscript not in the collection. 4p. (42 measures). 38 copies. Text by Hartley Coleridge: “A lovely morn, – so still, so very still/ It hardly seems a growing day of Spring/ Though all the odorous buds are blossoming/ And the small matin birds were glad and shrill some hours ago/ But now the woodland rill murmurs along, the only vocal thing/ Save when the wee wren lits with stealthy wing and cons by fits and kits her evening trill.”

Box 5, Envelope 6 Mid-Winter

Orchestral score. Ink manuscript. 8p. (51 measures). Corrections laid in. Scored for flutes, oboes, English horn, clarinets in B-flat, bassoons, horns in F, trumpets in B-flat, trombones, harp, violin I, violin II, viola, cello, bass. Text, program at beginning, from Shelley: “A widow bird sate mourning for her love/ Upon a wintry bough/ The frozen wind crept on above/ The freezing stream below/ There was no leaf upon the forest bare/ No flower upon the ground/ And little motion in the air/ Except the mill-wheels round.”

Box 5, Envelope 7 New England Sketches

Full orchestral score (minus the fifth movement) in leather hardbound covers. On front cover mounted on matte board: ” New England Sketches/ for Orchestra/ by/ Robert W. Manton.” On inside left panel mounted on matte board: “I. The March of Spring II. Lilacs III. An Old Garden IV. Seascape V. Midsummer Idyl VI. In October:- woodlands, uplands and silent meadows.” On inside right panel mounted on matte board: “Old gardens dreaming in the sun,/ With their blooms creation done./ Roses, lilies, and alpines rare/ Winding paths and moss-grown stair./ Sweet blooms; and (STRIKE) symbols dear all sweet blooms of love/ (STRIKE)Of love undying linger here(STRIKE) Sent as tokens from above.”

New England Sketches

1. “The March of Spring”

Orchestral score. Ink manuscript. 15p. (89 measures). Corrections laid in. Scored for piccolo, flutes, oboes, English horn, clarinets in B-flat, bassoons, horns in F, trumpets in B-flat, trombones, tuba, timpani, cymbals, harp, solo violin, violin I, violin II, viola, cello, bass. Text from Shakespeare: “Then comes in the sweet o’ the year.”

2. “Lilacs (after Amy Lowell)”

Orchestral score. Ink manuscript. 5p. (62 measures). Corrections laid in. Scoring as for first movement, except omit piccolo and trumpets. Text from Amy Lowell: “Lilacs in dooryards/ Holding quiet conversations with an early moon/ Lilacs watching a deserted house/ Settling sideways into the grass of an old road/ Lilacs, wind-beaten, staggering under a lop-sided shock of bloom/ Above a cellar dug into a hill/ You are everywhere…”

3. “An Old Garden”

Orchestral score. Ink manuscript. 22p. (135 measures). Corrections laid in. Dedication: “To Ruth.” Scored for flute, oboe, English horn, clarinet in B-flat, bassoon, horns in F, trumpets in B-flat, trombones, tuba, timpani, triangle, cymbals, harp or piano, violin I, violin II, viola, cello, bass. Text: “Old gardens dreaming in the sun/ With their blooms creation done/ Roses, lilies, and alpines rare/ Winding paths and moss grown stair/ Sweet blooms, and all sweet blooms of love/ Sent as tokens from above.”

4. “Seascape”

Orchestral score. Ink manuscript. 5p. (35 measures). Corrections laid in. Scored for piccolo, flute, oboe, clarinet in B-flat, bassoon, horns in F, trumpets in B-flat, trombones, tuba, timpani, cymbals, bass drum, harp, violin I, violin II, viola, cello, bass. Text from Walt Whitman: “Lo, the unbounded sea.”

5. “Midsummer Idyl”

Although listed as being part of the work, no orchestral arrangement was found in the collection, but see e.7 below.

6. “In October: – Woodlands, Uplands, and Silent Meadows”

Orchestral score. Ink manuscript. 22p. (127 measures). Corrections laid in. Scored for piccolo, flutes, oboes, English horn, clarinets in B-flat, bassoons, horns in F, trumpets in B-flat, trombones, tuba, timpani, cymbals, bass drum, harp, violin I, violin II, viola, cello, bass. See also North Country Sketches For Piano, No. 7.

Box 5, Envelope 8 “Lilacs”

For violin and pianoforte. Ink manuscript. Violin part only. 2p. (53 measures). Corrections laid in. Text of Amy Lowell poem at close.

Same. String orchestra score. Ink manuscript. 5p. (56 measures). Amy Lowell poem laid in at close.

Same. String orchestra score. Ink manuscript. 5p. (61 measures). Slightly varied from the above.

Box 5, Envelope 9 “An Old Garde.”

Orchestral score. Pencil manuscript. 1p. (7 measures). Incomplete. Dedication: “To Ruth.” Celesta and harp parts instead of harp or piano.

Same. Pianoforte score in rough sketches. Pencil manuscript. 3p.

Same. Orchestral score. Pencil manuscript in rough draft. 10p. (132 measures), incomplete. Measures 14-32 wanting.

Box 5, Envelope 10 “Midsummer Idyl”

For pianoforte. Ink manuscript. 5p. (73 measures).

Same. For flute and string quartet. Full score. Rough pencil manuscript. 8p. (73 measures). Corrections noted in red pencil.

Same. Parts for flute and string quartet. Ink manuscript. Corrections laid in.

“Lilacs.” String orchestra score. Pencil manuscript. 5p. (36 measures) incomplete. See folder 64.

Same. Parts for the string orchestra (violin I, violin II, viola, cello, bass). Ink manuscript and photocopies for each part.

Box 5, Envelope 11 Never A Rose So Won’drous Fair- Motet

For TTBB, piano for rehearsal only. Ink manuscript. 39 measures. Corrections laid in. Dedication: “To the Harvard Glee Club.” Text: “Never a rose so won’drous fair, as was the rose that bear Jesu. Alleluia/ For on that night a manger stall sufficed the cradle of our Lord/ Then like the shepherds let us do homage to our Heavenly King. Alleluia.”

Same. A SATB score.

Box 5, Envelope 12 North Country Sketches

1. “Fire of Spring”

For pianoforte. Ink manuscript. 5p. (65 measures).

Same. For pianoforte. Ink and pencil manuscript. 4p., incomplete.

2. “Deep Forest”

For pianoforte. Ink manuscript. 3p. (50 measures). Corrections laid in. Title pasted over another: In Deep Woods. For other versions, see separate listing under Deep Forest.

3. “Dance (Across Fields)”

For pianoforte. Ink and pencil manuscript. 4p. (96 measures). Corrections laid in. In pencil, above the title: “Dance – Across June Fields.”

Same. Pencil sketch for pianoforte. 1. (28 measures), incomplete, several measures lined out.

4. “Clouds”

For pianoforte. Ink manuscript. 4p. (30 measures). Corrections laid in. Text: by R. P. T. Coffin: “Marble Andes tower twelve inches high/ And change their peaks like yeast foam in the sky/ Standing over earth in their white row/ The peaks turn into blossoms, swell and grow.”

5. “The Passing of Summer”

For pianoforte. Ink and pencil manuscript. 4p. (60 measures). Dated 1961. Text: “Along the roadside and in the meadows/ The withered blooms of asters not/ And swaying on its arid stem/ The ghostly plumes of the goldenrod/ New scarlet berries tell where bloomed/ The sweet wild rosemary thickets/ The evening deepens murmurous with the alfin zithers of the crickets/ The songs of summer long have ceased/ Brown autumns banners now unfurled/ The silence of eternity/ Seems descending on the world.”

Same. For string orchestra and string solo. Pencil manuscript. 6p. (61 measures). Incomplete.

6. “Autumn: Woodlands, Uplands and Silent Meadows”

For pianoforte. Ink manuscript. 5p. (93 measures). Corrections laid in. See also “In October: Woodlands, Uplands, and Silent Meadows, no. 6. of New England Sketches. Text from Longfellow:”Welcome, O brown October! like a monk with a drinking horn, like a pilgrim in russet.”

Box 5, Envelope 13 November Woods

For full orchestra. Ink manuscript. 18p. (122 measures). Corrections laid in. Scored for piccolo, flutes, oboes, English horn, clarinets in B-flat, bassoons, horns in F, trumpets in B- flat, trombones, tuba, timpani, cymbals, gong, celesta, harp, violin I, violin II, viola, cello, bass. Text: Sonnett LxxIII: “When yellow leaves, or none, or few do hang/ Upon those boughs which shake against the cold/ Bare ruined choirs where late the sweet birds sang…”

Same. Rough ink and pencil sketch, scored for pianoforte. Approximately 8p.

Box 5, Envelope 14 An Old Carol Re-Sung

For baritone and soprano soloists and chorus (SATB) with piano or organ. Ink manuscript. 2p. (30 measures). Corrections laid in. Direction: “This accompaniment for the first two verses vocalized on ah or singing with closed lips by the chorus.” Text by Donald C. Babcock, 1957: “(1 or 2 baritones:) God bless the master of this house/ Likewise the mistress too/ And all the little children/ That round the table go/ (1 or 2 sopranos:) God bless the families of the earth/ God bless the old and young/ And everywhere be love proclaimed and Christmas carols sung/ (SATB and piano or organ:) God bless the shepherds and the kings/ And save from any harm/ The ox and ass that nuzzled close to keep the Baby warm.”

Box 6
Box 6, Envelope 1 Old Cellar Hole

For pianoforte. Pencil and ink manuscript. 2p. (49 measures). Text from Holmes: “Its woodbine climbing where it used to climb/ Its roses breathing of an olden time/ Till nought remains, the saddening tale to tell/ Save home’s last wrecks, the cellar and the well.”

Box 6, Envelope 2 “Ports of Piscataqua” (Hornpipe)

Ink manuscript with red pencil notes and pencilled score on last page and a half. 4p.

Same. Parts for first and second violin, viola and bass.

Same. Multiple copies of above parts.

Box 6, Envelope 3 Prelude and Fugue

Scored for piano and titled “For String Orchestra.” Pencil manuscript. 4p. (56 measures).

Same. For sextet (horn in F, violin I, violin II, viola, cello I, cello II, Parts). Ink manuscript. Corrections laid in. Prelude – 95 measures. Fugue – 54 measures.

Box 6, Envelope 4 Sonata for Pianoforte

Rough pencil manuscript. I. Allegro moderato (9p.) II. Andantino con tenerezza (5p.) III. Allegro eroica (14p.)

Box 6, Envelope 5 Sonata for Violin and Pianoforte

Rough pencil manuscript of violin and piano score. 15p., plus one extra page of sketches from opening 10 measures of violin part. Note on 1st page: “14 minutes.” Indications for other instruments, and other markings, in red pencil. Date at conclusion: “Durham, N.H., 1956.”

Box 6, Envelope 6 A Song At Sunrise

For string orchestra with solo violin. Pencil manuscript. 11p. (146 measures). Corrections indicated in red. Note at conclusion: “Scored – Durham, N.H. November 1965.”

Same. Parts. Ink manuscript, one side only on single sheets. Corrections laid in. Each part autographed.

Box 6, Envelope 7 A Song At Sunrise

Parts. Ink manuscript. Corrections laid in. Parts for: flute I & II, oboe, clarinets I & II in Bb, bassoons I & II, horns I & II in F, timpani, cymbals, pianoforte, violin I, violin II, viola, cello, bass.

Box 6, Envelope 8 A Song At Sunrise

Bass, cello, viola, violin I and II parts.

Box 6, Envelope 9 A Song At Sunrise

Bass, cello, viola, violin I and II parts.

Box 6, Envelope 10 Song of Summer

For flute. Rough pencil sketch. 2p. (70 measures).

Box 6, Envelope 11 Stone Walls

For pianoforte. Rough pencil and ink manuscript. 3p. (49 measures). Text at head of title: “Grey and lichened stone walls marching/ Thru field and forest/ Into the haunts and bowers of the wild rose and hermit thrush/ A monument to patient Yankee hands/ Embroidered by the colorings of the year.” Text: Second program beneath title, in pencil. “Gray stone walls marching through field and forest/ Into the haunts of wildrose and bowers where hermit thrushes sing/ A monument to patient Yankee hands/ Embroidered by all the glories of the year.”

Box 6, Envelope 12 Summer Sketchbook

Incomplete.

3. “To a Hummingbird”

For pianoforte. Rough pencil manuscript. 2p. 40 measures da capo.

Same. Another pencil manuscript. 3p. Order of measures indicated in red pencil. Dated: “July ’66.”

4. “To the Goldenrod”

For pianoforte. Pencil manuscript. 2p. (58 measures). Incomplete.

Same. Arrangement for cello and piano. Pencil manuscript. 1p. (18 measures). Incomplete.

6. “Epilogue” title erased.

For pianoforte. Pencil manuscript with some indications in ink. 2p. (39 measures, altered to 31). Complete.

Box 6, Envelope 13 Sunset

For medium voice and pianoforte. Ink and pencil manuscript. 2p. (37 measures). Text: “Sunset purples the brooding sea/ That lately loosed its might/ And on its breast a broken ship/ Sways in the waning light/ Once she graced the crested ocean/ Proudly rode the gales/ Now her decks warp in the sun/ The rocks gnaw at her rails.”

Box 6, Envelope 14 Symphony No. 1

Parts only. Second movement only. Section 1 entitled “Deep Summer” and section II entitled “The Lake at Evening.” Scored for flute I & II, B-flat clarinet I & II, oboe, bassoon I & II, horn I & II, violin I & II, viola, cello, bass.

Same. Score for pianoforte, indications for instrumentation written in. Pencil and ink manuscript. 3p. (74 measures). At close: “High summer.”

Box 6, Envelope 15 Symphony

Pencil sketches of themes for a three movement symphony. 1p. First movement (17 measures) marked SF (for sonata form?).Second movement (4 measures) marked ABA. Third movement (17 measures) marked SF.

Same. Orchestral score. Ink manuscript. First movement, pp. 2-18 (163 measures). Incomplete. Second movement, pp. 19-24 (43 measures). Scored for flute, oboe, B-flat clarinet, bassoon, horns, trumpets in B-flat, trombones, tuba, timpani, cymbals, strings.

Box 6, Envelope 16 This Is The Month

For SATB and pianoforte or organ. Division in each vocal part. Ink manuscript (keyboard part in pencil). 4p. (42 measures). Corrections laid in. Text by John Milton: “This is the month, and this the happy morn/ Wherein the Son of heaven’s eternal King/ Of wedded maid and Virgin mother born/ Our great redemption from above did bring/ The sages once did sing/ That He our deadly forfeit should release/ And with his Father work us a perpetual peace.”

Same. Photocopy. Dedication: “To Harris S Shaw” and dated 1958. Slight methodic and rhythmic variations from the original manuscripts. Autographed and dated: “Robert W. Manton December 11, 1958.” Direction: “piano for rehearsal only.”

Box 6, Envelope 17 To A Wild Rose

Composed by Edward MacDowell, arranged by Manton for small orchestra. Pencil and ink. Full score in pencil with corrections. Individual parts in ink. 2p. (44 measures).

Box 6, Envelope 18 To Daffodils

For high voice and pianoforte. Ink manuscript. 3p. (36 measures). Corrections laid in. Text by Robert Herrick: “Fair daffodils, we weep to see you haste away so soon/ As yet the early rising sun has not attained his noon/ Stay, stay until the hasting day/ Has run but to the even-song/ And, having prayed together, we will go with you along/ We have short time to stay, as you, We have as short a spring/ As quick a growth to meet decay/ As you, or anything/ We die, as your hours do and dry away/ Like to the summers rain/ Or as the pearls of morning dew/ Ne’er to be found again.”

Box 6, Envelope 19 To The Memory of RVW (1872-1958)

Sub-titled for Chorus and Orchestra. Orchestral score. Pencil manuscript. llp. (89 measures). Choral text omitted. Note at conclusion: “scored September, October 1958.” Text: “Do not think that this passing calls an end to what we knew/ His noble music still sounds to mortal ears/ His grave turns among the stars/ Surrounded by the everchanging skies/ The cycling seasons and the restless seas/ (Solo:) There in dawn’s aubades, in sunset songs one knows he lives plumed with immortal wings.”

Same. Pencil manuscript for pianoforte, but sketches in instrumentation. Sub-titled for Chorus and Orchestra. 8p. (89 measures). Corrections in red. Choral text included.

Same. SATB (each part divided), tenor or soprano solo, and pianoforte. 2 duplicated copies. 8p. (89 measures).

Box 6, Envelope 20 To The Memory of RVW (1872-1958)

Orchestral parts, Including: flute I & II, oboe I & II, English horn, Clarinets in B-flat I & II, bassoons I & II, horns in F I – IV, trumpets in B-flat I & II, trombones I-III, tuba, timpani, harp, solo violin, violin I & II, viola, cello, bass. Corrections laid in for violin I part.

Box 7
Box 7, Envelope 1 Two Choruses For Male Voices

1. “Minnelied”

For TTBB. Ink manuscript. 1p. (26 measures). Dated “July 3, ’67″ TT on one stave, BB on another. Text by Nithart (A.D. 1230): “Winter wraps his grimmest spell o’er my mournful measure/ As the sun with warm caress/ Brings back the summer weather/ (Ah) What care I for (Summer sun) dying/ When still her eyes mock my sighing/ And so I sing my saddest song to touch her heart unyielding/ Though the frost that’s in her eyes melts not but scorns my pleading.”

Same. Another copy, one part per stave. 6p. (26 measures). Slight textual difference between the two scores. See words in parentheses above.

2. “The Crusaders”

For TTBB with pianoforte accompaniment. Ink manuscript. 7p. (59 measures). Correction laid over final measures. Text by the composer: “Ye gallant knights of England that seek the holy grave/ Whose quest shall brave the arid lands/ The battle and the wave/ Your lances hurl again/ To quell the foe/ Who ‘fore the Cross shall falter/ Whilst the battle rages loud and long/ And the burning sands do blow/ ‘Tis April now in England/ In lanes o’er downs and moors/ The lark wings up and ever up/ Dropping his silver chain of sound/ The cuckoo’s falling third now tolls from hill to hill whose wooded vales show primrose and the daffodil/ Onward men of England that seek the holy grave…God with us.”

Box 7, Envelope 2 Two Pieces For Small Orchestra

1. “The Sweet O’ The Year” – after Wordsworth’s “Daffodils.” Subtitled: Rhapsody for full orchestra. Pencil manuscript of score. 21p. (160 measures). Many corrections pencilled and laid in. Text William Wordsworth’s “I wandered Lonely as a Cloud” prefaced by the following: “Written at Town-end, Grasmere, The Daffodils grew and still grow on the margin of Ullswater, and probably may be seen to this day as beautiful in the month of March, nodding their golden heads beside the dancing and foaming waves.”

Same. Pencil manuscript. 8p. (36 measures). Scored for flutes, oboe, clarinets in B-flat, bassoons, horns in F, violin I, violin II, viola, cello, bass.

Box 7, Envelope 3 Two Pieces For Small Orchestra: “The Sweet of the Year”

Orchestral score, parts. Ink manuscript. In 4/4 time. Corrections laid in. Flutes I & II, oboe I & II, English horn, clarinets in B-flat I & II, bassoons I & II, horns in F I – IV, trumpets in B-flat I & II, trombones I & II, tuba, timpani, solo violin, violin I & II, viola, cello, bass.

Box 7, Envelope 4 Two Pieces For Small Orchestra: “The Sweet of the Year”

Orchestral score. In 6/4 time. Parts. Ink manuscript. Corrections laid in. Flute II omitted. Cymbals and harp added. Solo violin omitted.

Box 7, Envelope 5 Two Pieces For Small Orchestra

2. “The Quiet Stream”

Orchestral score. Pencil manuscript. 11p. (46 measures). Note at conclusion: “re-scored October 1967.” Scored for flutes, oboe, clarinets in B-flat, bassoons, horns in F, violin I, violin II, viola, cello, bass.

Box 7, Envelope 6 Two Elegiac Melodies, For String Orchestra

1. “Lilacs (after Amy Lowell)” New England Sketches, No. 2. Manuscript. Pencil sketch (32 measures).

2. “The Passing of Summer” see also North Country Sketches, No. 6. Manuscript. Pencil sketch (54 measures).

Box 7, Envelope 7 A Wessex Tale (After Thomas Hardy)

Subtitled: Symphonic Ballade for Orchestra. Ink manuscript. 26p. (184 measures). Corrections laid in. Scored for piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets in B-flat, 2 bassoons, 4 horns in F, 3 trumpets in B-flat, 2 trombones, bass trombone and tuba, timpani in G & E, side drum, cymbals, celesta, harp, solo violin, violin I, violin II, viola, cello, bass.

Box 7, Envelope 8 A Wessex Tale (After Thomas Hardy)

Parts for the instruments above. Ink manuscript and photocopies when necessary.

Box 7, Envelope 9 Whitmania

For mixed chorus, solo, and pianoforte. Ink manuscript. 13p. over-all. Corrections laid in.

1. “How Sweet the Silent Backward Tracings”

SATB and pianoforte. Each voice divided. 6p. (53 measures). Dedication: “To the memory of Dr. Ralph Vaughan Williams, O. M.” Text: “How sweet the silent backward tracings!/ The wanderings as in dreams/ The meditation of old times resumed – their loves, joys, persons, voyages/ Apple orchards the trees all cover’d with blossoms/ Wheatfields carpeted far and near in vital emerald green/ The external, exhaustless freshness of each early morning/ The golden, transparent haze of the warm afternoon sun/ The aspiring lilac bushes with profuse purple or white flowers. How sweet the memories.”

2. “Darest Thou Now O Soul”

SATB and pianoforte. Each voice divided. 7p. (64 measures). Text: “Darest Thou now, O Soul/ Walk out with me towards the unknown region/ Where neither ground is for the feet nor any path to follow?/ No map there, nor guide/ Nor voice sounding, nor touch of human hand, nor face with blooming flesh, nor lips nor eyes are in that land./ I know it not, O soul, nor dost thou, all is still blank before us/ All waits undreamed of in that region, that inaccessible land/ (Solo:) Till when the ties loosen/ Then we burst forth, we float/ In time and space O soul prepared for them/ Equal, equipt at last, O joy! O fruit of all! Them to fulfill, O soul.”

Box 7, Envelope 10 The Wing’d Hour

For medium voice and piano. Ink manuscript. 3p. (76 measures). Text by D. G. Rossetti: “Your hands lie open in the long, fresh grass/ The finger points look thru the rosy blooms/ Your eyes smile peace/ The pasture gleams and glooms/ ‘Neath billowing skies that scatter and amass/ All ’round our nest, far as the eye can pass/ Are golden Kingcup fields with silver edge/ Where the cow-parsley skirts the hawthorne hedge/ ‘Tis visible silence, still as the hourglass/ Deep in the sun-searched growths the dragon-fly hangs like a blue thread loosened from the sky/ So this wing’d hour is dropt to us from above/ Oh! clasp we to our hearts or deathless dower/ This close-companioned inarticulate’ hour/ When two-fold silence was the song, the song of love.”

Same. Pencil manuscript. Slight variations in text from the ink manuscript. Dated, in ink: “June 1954.”

Box 7, Envelope 11 With A Voice of Singing

For SATB and piano or organ. Photo-copy of original manuscript. 6p. (72 measures). Text: “With a voice of singing – declare ye this, and let it be heard/ Alleluia? Utter it even unto the ends of the earth/ The Lord hath delivered his people. Alleluia.”

Box 7, Envelope 12 With Rue My Heart Is Laden

For medium voice and pianoforte. Ink manuscript. 2p. (32 measures). Corrections pencilled and laid in. Dated in red pen: 1954. Verso this two-page work, sketches for a four part unidentified choral work “text from Thyrsis.” Text by A. E. Housman: “With rue my heart is laden/ For golden friends I had/ For many a rose-lipt maiden/ And many a light-foot lad/ By brooks too broad for leaping/ The light foot boys are laid/ The rose-lipt girls are sleeping/ In fields where roses fade.”

Subseries B: Adaptations By Manton

Box 7, Envelope 13 Air

by E. A. MacDowell. Op. 49, No. 1. Orchestration by Manton. Pencil manuscript. 8p. Notations in red.

Box 7, Envelope 14 Air

Ink manuscript. Parts for 2 flutes, 2 clarinets in Bb, 2 oboes, 2 bassoons, 4 horns in F, 2 trumpets in Bb, 3 trombones, tuba, timpani, cymbals.

Box 7, Envelope 15 Air

Parts for 2 violins, viola, cello and bass.

Box 8
Box 8, Envelope 1 A Babe So Tender

Old Flemish Carol. Printed. Boston: Schirmer, c. 1933, 5pp. 3 copies.

Box 8, Envelope 2 Christmas Fantasy on Old Carols

3p. (110 measures). Parts for violins, piano, viola, cello, bass, flutes, clarinets, bass clarinet, oboe, fagotte, alto sax, French horns, trumpets, trombones, tuba, cymbal and triangle and timpani in ink and pencil.

Box 8, Envelope 3 Fantasy On Old German Christmas Songs

Pencilled score in booklet, 10pp. “Durham, N.H. Sept 1957.” For symphony orchestra.

Box 8, Envelope 4 Fantasy On Old German Christmas Songs

Parts for pianoforte, violins, viola, cello, bass, flutes, oboes, clarinets in Bb, bassoons, horns in F, trumpets in Bb, trombone, tuba, percussion in ink.

Box 8, Envelope 5 Hillbilly Songs (scores have no title)

Parts for piano, solo violin, first and second violin, viola, cello, bass, flutes, clarinets in Bb, oboe, horns in F, trumpets in Bb, trombones, timpani and triangle. In ink.

Box 8, Envelope 6 Joy To The World

Pencilled and ink ms. of parts for string orchestra. (Copied by several different hands).

Box 8, Envelope 7 Night Piece

By Edward Burlingame Hill. Full score, pencil, 7pp. “Scored May, June 1965.”

Box 8, Envelope 8 Pierrot

By Arthur Foote. Orchestrated by Manton. Full score, pencil. 6pp.

Box 8, Envelope 9 Two Folk Song Arrangements

1. Turn Ye To Me; 2. One Morning in May, parts, ink, duplicated. [With letter from Manton to "Allan," May 31, 1963 - see Box 1 Folder 1.]

Subseries C: Other

Box 8, Envelope 10 Two Folk Song Arrangements

“Notes on Harmony, Counterpoint, Part Writing, and Instrumentation.” Manuscript notebook. Robert Manton. Harvard University, 1914-1918. [142p]. Pencil. 6 3/4 x 8 1/4.

Box 8, Envelope 11 Sketchbook. Robert Manton. 1928. 18p. of manuscript music, fragments. Pencil. 9 3/4 x 7 1/4. Evidence of pages removed, parts of other pages removed.
Box 8, Envelope 12 Fragments of compositions (includes 15 measures of “A Starry Night”; “Fugue (a 3 voci)” and “Fugue a 4 voci”; “Summer Song”; “Darest Thou Now O Soul” for Mixed Chorus -SATB, revised 1963, and “Alma Mater” and “Alma Mater’s Day” both arranged by Manton) as well as some unidentified.
Box 8, Envelope 13 Miscellaneous notes

Series III: Published Music, 1916-1958

Box 8, Envelope 14 Abandoned Acres, New York: Composers Press, 1947.

For mixed chorus with piano accompaniment (some division of voices). 7p. (30 measures). Dedication; “To Edward Burlingame Hill.” 6 copies, 5 of them booklets, 3 of which are autographed. Text by the composer: “Here where the fields and orchards lie abandoned/Once stood an old house set upon the hill/Once bloomed a garden gay with summer blossoms/There stood the old barn strong from ridge to sill/Now is the garden clutched by briar and bramble/Long has the barn stood roofless and forlorn/But oh! across the years are some who still remember/The dance of the young folk at the husking of the corn/Here where the lilacs crowded ’round the door rock/Still bloom in Spring dishevelled shocks and wan/Here where the warped floors open to the starlight/Once sped the dance at the husking of the corn.”

Box 8, Envelope 15 As Dew in April, New York: Composers Press, 1955.

For chorus of women’s voices (SSA) with piano accompaniment. 7p. (42 measures). Short biographical sketch of composer verso title page. Text: Anon. 15th Century: “I sing of a maiden that is matchless/King of all kings to her sons she is/He came all so still/There his mother was/As dew in April/That falleth on the flower/(Chorus:) He came all so still/ There his mother lay/As dew in April/ That falleth on the spray/ Mother and maiden/ Was never none but she/ Well may such a lady God’s mother be.”

Same. 3 copies produced by photo-offset. 4p. One copy with corrections laid in and signed “Robert W. Manton.”

Same. Ink manuscript. Corrections laid in.

Box 8, Envelope 16 At Sundown, New York: Bourne Company, 1953.

For SATB. Division within each part. 6p. (57 measures). Dedication: “To Walter C. Ehret, Director of Music, Malverne, N.Y.” 9 printed copies. Text: “Flocks of cloud sheep wander gently/ Thru the blue meadow overhead/ And marble Andes twelve miles high/ Blossom, swell, their summits now red/ The flock wanders on, and the sun sinks to rest/ The valley now is lost to sight/ The dimming peaks, the cloud sheep both/ Sail on thru the portals of oncoming night/ So be my passing, the long day over/ The lesson done, and in my breast/ A sundown silent and serene/ So let me gathered to the quiet west.”

Box 8, Envelope 17 The Earth Has Grown Old (Christmas Carol), New York: Lawson-Gould, 1968.

For four-part chorus of mixed voices (SATB) a capella. 8p. (40 measures). 5 copies. Text by Phillips Brooks: “The earth has grown old with its burden of care/ But at Christmas it is alway young/ The heart of the jewel burns lustrous and fair/ And its soul full of music breaks forth on the air/ When the song of the angels is sung/ It is coming, old earth/ It is coming tonight/ On the snowflakes which cover thy sod/ The feet of the Christ Child fall gentle and white/ And the voice of the Christ Child tells out with delight/ That mankind are the children of God/ On the sad and the lonely, the wretched and poor/ That voice of the Christ Child shall fall/ And to ev’ry blind wanderer opens the door/ Of a hope that he dared not dream of before/ With a sunshine of welcome for all/ The feet of the humblest may walk in the field/ This is the marvel to mortals revealed/ When the silvery trumpets of Christmas have pealed/ That mankind is the children of God.”

Same. 24 copies produced by photo-offset from an ink manuscript not in the collection.

Same. Pencil manuscript. 1p. (10 measures). NO TEXT. SA on one stave, TB on another.

Box 8, Envelope 18 Improvisation, Boston: Boston Music Company, 1916.

For pianoforte. 5p. (33 measures). No program provided.

Box 8, Envelope 19 In Memoriam, Op. 25, Boston: E. C. Schirmer, 1932.

For voice and pianoforte. (Range middle C – 2-line G). 3p. (32 measures). Dedication: “To the memory of Alan Seeger.” 2 copies. Text by Alan Seeger (1888-1916): “Obscurely sacrificed, his nameless tomb/ Bare of the sculptor’s art, the poet’s lines/ Summer shall flush with poppy fields in bloom/ And autumn yellow with maturing vines/ There the grape- pickers at their harvesting/ Shall lightly tread and load their wicker trays/ Blessing his memory as they toil and sing/ In the slant sunshine of October days and remembering.”

Box 8, Envelope 20 In Memoriam – Marian Nevin MacDowell (1857-1956), New York: Composers Press, 1958.

For mixed chorus with pianoforte accompaniment. Some division of alto and tenor parts. 11p. (92 measures). Text from Proverbs and Walt Whitman: “With the fruit of her hands she planteth a vineyard/ Joy, shipmate, joy/ Pleas’d to my soul at death I cry/ Our life is closed, our life begins/ The long, long anchorage we leave/ The ship is clear at last, she leaps/ She swiftly courses from the shore.”

Box 9
Box 9, Envelope 1 Love’s Soliloquy, Op. 22, Boston: E.C.Schirmer, 1928.

For soprano or tenor voice and pianoforte. 5p. (39 measures). Text from Walt Whitman’s “Out of the Cradle Endlessly Rocking”: “O past! O life! O songs of joy!/ In the air/ In the woods, over fields. Loved!/ But my love no more, no more with me!/ We two together no more.”

Box 9, Envelope 2 Marine Sketches, Op. 9, Boston: E.C.Schirmer, 1924.

For pianoforte. 12p. over-all. Dedication: “To Arthur Foote”

1. “Seascape”

30 measures. Text from Walt Whitman: “The brooding scowl and murk, of unloos’d hurricanes, speaking with husky, haughty lips.”

2. “From the Foc’s'le”

33 measures. Text from Newbolt: “Yarnder lumes the island, yarnder lie the ships, We sailor lads a-dancin’ heel-an’-toe.”

3. “Of an Old Brittany Legend”

23 measures. Text: “There is still a tradition among Brittany fisherfolk that every five years, on the first night of May, the sunken city of Ys rises, at the first stroke of midnight, to the surface, and on the twelfth stroke, sinks slowly back to the ocean bed.”

4. “Starlight”

40 measures. Text from Swinburne: “The deep divine dayshine of the sea…”

Box 9, Envelope 3 New Hampshire Idyls, Op. 16, Boston: E.C.Schirmer, 1926.

For pianoforte. 15p. over-all. Two copies.

1. “Midsummer Woods.” 30 measures.

2. “In Autumn.” 167 measures.

3. “Vista (Mt. Monadnock).” 38 measures. Text, “Program”: “A giant sentinel, he stands/ Robed in purple-imperial/ Above, the roseate cloudlets drift/ Below, the valley sinks to rest.”

4. “Fireflies.” 56 measures.

5. “Told at Pasture Bars.” 21 measures. There is also a copy of this last part on green paper pasted onto board.

Box 9, Envelope 4 Route Step, Op. 26, Boston: E.C. Schirmer, 1931.

For four-part chorus of men’s voices (TTBB) with pianoforte. 6p. (29 measures). Piano plays basso ostinato. “By Robert W. Manton (2nd Division U.S.M.C.)” Text by Donald M. Calley (1st Division, U.S.A.): “Night, and the glimmer of winding road/ Night and the rumble of caison wheel/ Night, and the ache of the strap-warm back/ Night, and the throb of the raw bruis’d heel/ There to the north flash answers flash/ But no sound is borne on the whispering air/ Save for an instant-a vague low boom/ Then night things murmur and murmur/ And tired stars stare.”

Box 9, Envelope 5 Sea Marge, Op. 15, Boston: E.C. Schirmer, 1926.

For men’s voices (TTBB) with pianoforte. (Some division of tenor I and II.) 10p. (59 measures). Dedication: “To the Harvard University Glee Club.” 2 copies. With 6p. pencil manuscript. Text: “By sunken reefs the hoarse sea roars/ And rolls and thunders in a rugged shore/ (Baritone solo:) While at a fisherman’s hut, nearby, a woman stands at the door/ (Chorus:) She peers out into the darkness/ Braving the storm’s wild pace/ Her young face now white with woe/ And wet with wild, dank foam/ The wind plays through her tresses/ And carries her sobs amain/ O Past! – O happy life! O songs of love!/ O’er fields of velvet ‘neath azure skies/ But my love no more with me/ Far under, dead, in an unknown deep/ The lov’d one lies asleep.”

Same. Pencil manuscript. 6p.

Box 9, Envelope 6 Song of Farewell: Appomattox, New York: Composer’s Press, 1957.

For SATB, with narrator and pianoforte. 19p. (139 measures). Dedication: “To the memory of Florence Ballou Ould” (Manton’s mother-in-law). Biographical sketch of composer, p.3. 5 copies, one without title page. Text by the composer: “Silent now the bugle’s wild alarum/ And hushed the whir of the convulsive drums/ The last forced march is finished/ Over the bottomless red mud roads/ East, West, North, South/ The perfumed tides of Spring/ White and enchanted as the soul of air/ Drifted its incense of earth renascent/ Waking again the bitter joy of life/ Forth from its scabbard all in vain/ Forth flashed the sword of Lee/ ‘Tis shrouded now in its sheath again/ It sleeps the sleep of the noble slain/ Defeated, yet without a stain/ Proudly and peacefully/ Blow bugles North/ Blow bugles South/ Blow bugles North with South/ Over their dreamless sleep/ Breathe the love of a common land like a garland over their graves.” Narrator: “After four years of arduous service, marked by unsurpassed courage and fortitude, the Army of Northern Virginia has been compelled to yield to overwhelming numbers and resources. You will take with you the satisfaction that proceeds from the consciousness of duty faithfully performed and earnestly pray that a merciful God will extend to you his blessing and protection. With an unceasing admiration of your constancy and devotion to your country, and a grateful remembrance of your kind and generous consideration of myself, I bid you an affectionate farewell.”

Same. For four-part chorus (SA on one stave, TB on another). Dedication: “To Ruth Manton” Text for chorus included: narrator text excluded.

Same. For four-part chorus and narrator. Pianoforte reduction. Ink manuscript with corrections laid in. Narrator text included. Choral text excluded.

Box 9, Envelope 7 Song of Farewell: Appomattox

Orchestral score. Ink manuscript. 18p. (140 measures). Dedication: “To the memory of Florence Ballou Ould.” Scored for piccolo, flute, oboe, English horn, clarinet in B flat, bassoon, horns in F, trumpets in B-flat, trombones, tuba, timpani, bass drum, cymbals, side drum, tam-tam, harp, chorus (SATTBB), violin I, violin II, viola, cello, bass. Narrator text included, choral text omitted.

Box 9, Envelope 8 Song of Farewell: Appomattox

Parts: piccolo, flutes I & II, oboes I & II, English horn, B-flat clarinets I & II, bassoons I & II, horns in F I-IV, trumpets I-III, trombones I-III, tuba, timpani, drum, 2 pianos, violin I – V, violins II-V, violas-3, cellos – 3, string basses - 3.

Box 9, Envelope 9 Summer Evening, New York: Lawson-Gould, 1963.

For six-part chorus (S(S)ATTBB) a cappella. 8p. (34 measures). Verso title page: “The choral publications presented in this series are original compositions by American composers, selected for performance at the Symposium of Contemporary American Music at the University of Kansas…Clayton Krehbiel.” Text by the composer: “The sunset lingers like a sound of golden horns, of golden horns in final fanfare of the day’s bright pageantry/ The evening deepens murmurous/ With the drowsy elfin zithers of the crickets/ And the low moan of sea wind/ And after the last, faint thrush’s note softly encircling silence like a veil.”

Box 9, Envelope 10 Three New England Lyrics, New York: Composers Press, 1955.

For voice and pianoforte. 8p. over-all.

1. “Long Ago”

30 measures. Correction laid in. Text: “The blooms still struggle bravely on/ Returning Spring to greet/ And wistfully seem to sigh and wait/ The vanished mistress/ feet/ The tide of blossoms flow and ebb/ When Spring trips o’er the hill/ On lilac bushes old and grey/ That crowd the sunken sill/ And on the ancient house and wall/ Disheveled roses climb/ And over all a fragrance faint/ Of a far-off happier time.”

2. “The Goldenrod”

70 measures. Text: “Along the road and down to the sea/ They nod and dance in jubilee/ Like lads with golden towseled hair/ They curtsy to each passing air/ The wastelands bloom like a miracle wrought/ For winter’s gloom no passing thought/ To summer beggared now and old/ They pour back their spate of gold/ Seen Autumn flames across the land/ And Winter rules with iron hand/ Yet dark and cold can ne’er efface/ The memory of thy lissome grace.”

3. “The Thrush at Eve”

29 measures. Dedicated “To Ruth” Text: “As the lengthening shadows steal through the forest aisle(s) / A thrush at eve with golden notes/ Of song our hearts beguile(s)/ The twilight of our lives is full/ For love out- lives its glowing flame/ The reach of Time and change/ Ah! sweet, why grieve in vain? / For ay, the lenghthening shadows steal, and soon the night will come/ Still a thrush at eve will sing/ As when our love was young.”

Box 9, Envelope 11 Two Choruses, Op. 14, Boston: E. C. Schirmer, 1925.

For men’s voices. 10p. over-all. Two copies, one autographed in ink: “To Miss Ruth Ould – Robert Manton.”

1. “The Saracens”

Four-part chorus for men’s voices (TTBB), with pianoforte. 45 measures. Dedication: “To Dr. Archibald T. Davison.” Text: “Scene from ‘The Song of Roland (1066)’”: “Through the dark night the pagan fires flare/ The Saracens’ trumpets do wail through the air/ For ‘mid the feasting, Gannelone swore to betray the good knight Roland, the Fair/ So the Saracens trumpets bare treason blare/ And sinister music bends the air.”

2. “The Day Grows Old”

Four-part chorus of men’s voices a cappella, with baritone solo. 25 measures. Text: “Ah! the day grows old/ The light now pales/ And from the west/ Soft flocks of snowflakes fill the robin’s frozen nest/ (Solo:) The night descends/ The light now dies, as the laggard guest steals quickly on/ Till a little head/ Sinks soft to rest.”

Box 9, Envelope 12 Two Choruses, Op. 20, Boston: E. C. Schirmer, 1926.

For four-part chorus of men’s voices. 10p. over-all. Dedication: “To the University of New Hampshire Glee Club.” 3 copies.

1. “A June Night in Washington”

35 measures. Pianoforte for rehearsal only. Text by Richard Hovey: “Outside the garden/ A group of negroes passing/ Sing with ripe, lush voices/ Sing with voices that swim/ ‘My love’s waitin’ / Waitin’ by the river/ Waitin’ til I come along/ Wait there, child, I’m comin’/ Jay-bird tol’ me in the mornin’/ Tol’ me she’d be there tonight/ Wait there, child, I’m comin’/ Whipoorwill tol’ me, Tol’ me in the evenin’/ Wait there, child, I’m comin” / Lo, the moon, like a galleon sailing the night/ And the wash of the moonlight over the roofs and the trees.”

2. “The Full Sea Rolls and Thunders”

18 measures. Text by William E. Henley: “The full sea rolls and thunders/ In glory and in glee/ O bury me not in the senseless earth/ But in the living sea/ Ay, bury me where it surges/ A thousand miles from shore/ And in its brotherly unrest/ I’ll range forevermore.”

Box 9, Envelope 13 Two Songs From The Spanish Main, Boston: E. C. Schirmer, 1928.

For men’s voices. 11p. over-all. 2 copies, one with title page wanting.

1. “Pieces of Eight”

For four-part chorus of men’s voices (TTBB). 25 measures. Text: Words adapted from Robert Louis Stevenson’s Treasure Island; additional verses by the composer: “Fifteen men on the dead man’s chest/ (Refrain:) Yo-ho-ho, and a bottle of rum/ Drink and the devil had done for the rest/ (Refrain)/ Then up from the depths, from the depths of the sea/ Rose Davy Jones with a big black key/ My men you must come, must come with me/ Down to the bottom of the sea/ Fifteen men of her crew alive/ Put to sea with seventy-five.”

2. “Marooned”

For four-part chorus of men’s voices (TTBB) – some division of Tenor II. 18 measures. Text: “Words suggested by Howard Pule’s illustration: Marooned”: “Dejected and listless he sat/ The cheerless bottle flung aside/ The useless flintlock and the hat/ No sound is borne save the seamew’s hoarse cry/ And the steady, monotonous beat of the surges/ Seething, receding, seething, receding.”

Same. Pencil manuscript with corrections laid in. 6p. over-all. Each with Tenor I & II on one stave, Bass I & I on another. With pianoforte. Each dated “Durham, N.H., January 1927.” First chorus: pp.1-4 (25 measures); second chorus: pp.5-6 (16 measures).

Box 9, Envelope 14 The Virgin’s Cradle Hymn, New York: Boosey & Hawkes, 1954.

For SATB, a cappella. 3p. (19 measures). Dedication: “To the Choir of Christ Episcopal Church, Exeter, N.H.” 2 copies, one autographed. Text, “Latin text paraphrased by S. T. Coleridge”: “Sleep, sweet Babe!/ My cares beguiling/ Mother sits beside Thee smiling/ Sleep, My darling, tenderly!/ If Thou sleep not, Mother mourneth/ Singing as Her wheel She turneth/ Come, soft slumber, come, soft slumber, balmily.” “Dormi, Jesu! Mater ridet/ Quae tam dulcem somnum videt/ Dormi, Jesu! blandule!/ Si non dormis, mater plorat/ Inter fila cantans orat/ Blande, veni, somnule.”

Same. Two copies produced by photo-offset process from an ink manuscript not in this collection. Dated: “November, 1940.” “From the text of an old Latin print paraphrased by S. T. Coleridge.”

Box 9, Envelope 15 Wanderer’s Song, Op. 17, Boston: E. C. Schirmer, 1926.

For soprano (or tenor) solo and four-part men’s chorus (TTBB) 7p. (43 measures) 2 copies. Also pencil manuscript. Text: “(Solo:) In a land far remote/ Where shepherds still pipe to their flocks/ And clouds move like a procession/ Of grey nuns over hill and like/ I wander, a stranger, and lone/ From afar, on the clear evening air/ Comes the tolling of curious bells/ I stand before an ancient church, the hour of Compline/ (Choir:) Te lucis ante terminum/ Rerum creator poscimus/ Ut pro tua clementia/ Sis praesul et custodia/ (Solo and choir:) A sweet calm enters my soul/ Outside, the world is wild and passionate. (Solo:) Ah, surely, there, beside the altar, there is peace.”

Series IV: Published Music By Others

Box 9, Envelope 16 Bach, J. S., Jesu Joy of Man’s Desiring. Oxford University Press, 1927. 5p.
Box 9, Envelope 17 Bax, Arnold, Mater ora filium. London: Chappell, n.d. 23p.
Box 9, Envelope 18 Bax, Arnold, The Garden of Fand. London: Murdoch, n.d. 80p.
Box 9, Envelope 19 Beach, Mrs. H. H. A., Scottish Legend (Composition for the Pianoforte), Boston: Schmidt, [1903]. 5p.
Box 9, Envelope 20 Beach, Mrs. H. H. A., Shena Van. Boston: Schmidt [1932], (Women’s Voices). 7p.
Box 9, Envelope 21 Butterworth, George, A Shropshire Lad. London: Novella, n.d. 26p.
Box 9, Envelope 22 Chadwick, George Whitfield, Tam O’Shanter. Boston: Boston Music, 1917. 96p.
Box 9, Envelope 23 Delius, Frederick, Im Meerestreiben. Sea Drift. Wien: Universal Edition, 1906. 39p.
Box 9, Envelope 24 Delius, Frederick, Songs of Farewell. London: Rogers, 1931. 39p.
Box 9, Envelope 25 Delius, Frederick, The Walk To The Paradise Garden. Berlin: Universal, 1910. 7p.
Box 9, Envelope 26 Delius, Frederick, Zwei Stücke für Kleines Orchester. Coln, Tischer & Jagenberg, 1913. 14p.

1. On Hearing the First Cuckoo in Spring

2. Summer Night on the River

Box 10
Box 10, Envelope 1 D’Indy, Vincent, Trois Pieces Pour Orgue. Paris: Leduc, 1939. 9p.
Box 10, Envelope 2 D’Indy, Vincent, Sarabande et Menuet. Paris: Hamelle, n.d. 10p.
Box 10, Envelope 3 Desrosiers, T. E., Adagio for string orchestra with solo flute. 4p. xerox copy of ms.
Box 10, Envelope 4 Elgar, Edward, Sonata no. 2. London: Prowse, 1933. 20p.
Box 10, Envelope 5 Foote, Arthur, Valse Peu Dansante (Bagatelles No. 5). Boston: Schmidt, 1895. 5p.
Box 10, Envelope 6 Foote, Arthur, The Water-lily. (Songs). Boston: Schmidt, 1892. 5p.
Box 10, Envelope 7 Foote, Arthur, An Irish Folk-song. Boston: Schmidt, 1894. 5p.
Box 10, Envelope 8 Franck, Cesar, Extraits de la Sonate. Paris: Hamelle, n.d. 14p.
Box 10, Envelope 9 Franck, Cesar, Pastorale (6 pieces d’Orgue). Paris: Durand, n.d. llp.
Box 10, Envelope 10 Grainger, Percy, Country Gardens. 1919. 7p.
Box 10, Envelope 11 Grainger, Percy, Handel in the Strand. Clog Dance. New York: Schirmer, 1912. 7p.
Box 10, Envelope 12 Grainger, Percy, In a Nutshell Suite. No. 2 Gay but Wistful. New York: Schirmer, 1916. 15p.
Box 10, Envelope 13 Hale, Irene, An Opal Heart. Pond, 1896. 5p.
Box 10, Envelope 14 Hale, Irene, We’ll Go No More a Roving. Boston: Schmidt, 1892. 5p.
Box 10, Envelope 15 Hale, Irene, Maisie (Three Songs). Boston: Schmidt, 1892. 5p.
Box 10, Envelope 16 Hill, Edward Burlingame, Three Poetical Studies. Op. 8. New York: Breitkopf, [c. 1902].

1. Moonlight. 2. A Mid Summer Lullaby. 3. From a Mountain Top.

Box 10, Envelope 17 Hill, Edward Burlingame, Five Songs, Op.6. New York: Breitkopf, [c. 1900].

1. She Sat and Sang Alway. 1 copy. 2. To Sleep, To Sleep. 2 copies. 3. Ah, Had I Thee But Sooner Seen. 3 copies.

Box 10, Envelope 18 Hill, Edward Burlingame, Jazz Study. New York: Schirmer [c. 1924], 7p.
Box 10, Envelope 19 Hill, Edward Burlingame, Four Sketches after Stephen Crane. New York: Breitkopf, [c. 1900]. No. 2, 3 copies. No. 3, 3 copies.
Box 10, Envelope 20 Hill, Edward Burlingame, Country Idyls. New York: Schirmer, [c. 1903], 15p.
Box 10, Envelope 21 Hill, Edward Burlingame, Stevensonia Suite. After Poems from R. L. Stevenson’s “A Child’s Garden of Verse.” Opus 29 . Score. 55p. Composer’s inscription to Manton.
Box 10, Envelope 22 Hill, Edward Burlingame, Spring at Twilight. Boston: Boston Music Co., c. 1906. 5p. Three Songs by Arthur Symons.
Box 10, Envelope 23 Hill, Edward Burlingame, In Kensington Gardens. Boston: Boston Music Co., c. 1906. 5p. Three Songs by Arthur Symons.
Box 10, Envelope 24 Hollaender, Alexis, March in Db. Opus 39, no. 1. Boston: Ditson, 1915. 9p.
Box 10, Envelope 25 Ireland, John, Chelsea Reach (London Pieces). London, 1918. 8p.
Box 10, Envelope 26 Ireland, John, The Island Spell. [London]: Augener, 1915, 8p.
Box 10, Envelope 27 Ireland, John, Elegiac Romance. London: Novello, 1903. 11p.
Box 10, Envelope 28 Ireland, John, The Forgotten Rite. [London]: Augener, 1918, 20p.
Box 10, Envelope 29 Ireland, John, The Holy Boy. [London]: Boosey & Hawkes, 1919. 4p.
Box 10, Envelope 30 Liszt, Franz, Etude de Concert. New York: Schirmer, 1915. 15p.
Box 10, Envelope 31 MacDowell, Edward, Piano Compositions; L’Ausonienne by Couperin. Edited by Edward MacDowell. Boston: Schmidt, 1900. 7p.
Box 10, Envelope 32 MacDowell, Edward, Piano Compositions; The Three Hands by J.P. Rameau. Incomplete. Edited by Edward MacDowell. Boston: Schmidt, n.d. [7p] only.
Box 10, Envelope 33 Nevin, Ethelbert, A Book of Songs. Boston: Boston Music, Schirmer, 1893. 34p.
Box 10, Envelope 34 Nevin, Ethelbert, Herbstgefuhl (Autumn Sadness), Opus 5, no. 1 (Five Songs). Boston: Schirmer, 1889. 3p.
Box 10, Envelope 35 Paine, John Knowles, Domine Salvum fac Praesidem Nostrum. Accompaniment arranged by Arthur Foote. Cambridge: Harvard University Press, 1915. 15p.
Box 10, Envelope 36 Parker, Horatio W., Hora Novissima – the Rhythm of Bernard de Marlaix on the Celestial Country. Set to music for solo, chorus, and orchestra by Horatio W. Parker. New York: Gray, 1893. 167p.
Box 10, Envelope 37 Rachmaninof, Sergi, Six Songs. With English texts by Carl Engel. Boston: Boston Music Co, 1919. 27p.
Box 10, Envelope 38 Sibelius, Jean, Romance Db Major for Piano Solo. Opus 24, No. 9. Arrangement for organ by James Lyon. New York: Breitkopf, 1914. 7p.
Box 10, Envelope 39 Vaughan Williams, Ralph, Fantasia on a Theme by T. Tallis. Inscribed by the composer. London: Boosey, n.d. 21p.
Box 10, Envelope 40 Vaughan Williams, Ralph, Toward the Unknown Region. Words by Walt Whitman. London: Stainer & Bell, 1962. 27p.
Box 10, Envelope 41 Vaughan Williams, Ralph, The Vagabond, Bright is the Ring of Words, and The Roadside Fire. (Songs of Travel, Part I) . Robert Louis Stevenson. Lynbrook, New York: Bosey, 1957. 15p.
Box 10, Envelope 42 Vaughan Williams, Ralph, Wassail Song. (Eight Traditional English Carols). Stainer & Bell, 1919. 3p.
Box 10, Envelope 43 Vaughan Williams, Ralph, The Lark Ascending. London: Oxford University Press, 1925. 7p.

Series V: About Robert Manton, 1908-1968

Box 11
Box 11, Folder 1 Biographical material, including bibliography of Manton’s published and unpublished works, 1916-1955; Phi Kappa Phi Fall Initiation, 1952 program; “The Man in 101,” an article about Manton in The New Hampshire Alumnus, May 1964; typed and mounted announcement concerning the establishment of the Manton Music Scholarship Fund, March 17, 1964; E. C. Schirmer publisher’s announcement for music by Manton, including list, picture, and short biographical sketch, and Honor’s Convocation program for May 14, 1967, when Manton was awarded the Doctor of Music honorary degree.
Box 11, Folder 2 Newsclippings, 1918-1967
Box 11, Folder 3 Programs: Performances of Manton’s compositions, 1926-1951 (including the flyer for the Sixty-fifth Season of the Boston Pops Orchestra” announcing performances of “Jeanie: An American Rhapsody” by Manton on May 27, 1950, its first performance)
Box 11, Folder 4 Programs: Performances of Manton’s compositions, 1953-1968
Box 11, Folder 5 Programs: Concerts conducted and/or directed by Manton and recitals by Manton
Box 11, Folder 6 Programs for performances not including Manton works
Box 11, Folder 7 Miscellaneous materials, including Durham Art Association exhibit catalogs listing Manton paintings, a program for the Durham Players preliminary production of Johnny Appleseed and John Bunyan by Henry Bailey Stevens, May 5, 1930, and a brochure announcing the mural history of the town of Durham in the post office as well as a couple of publishers catalogs that include Manton music.
Box 11, Folder 8 Re Philip and Irene Hale: clippings, information, etc. The Hale estate (Round Hill, Northampton, [MA?]. With history of house written by Irene Hale (Philip Hale’s widow) on verso; 12×10 mounted sepia toned print.
Box 11, Folder 9 Photographs:
Envelope 1 Robert Manton and George E. Reynolds, Nov 18, 1946; (3.5 x 4.5 black and white print)
Envelope 2 Robert Manton, c. 1959; (3×4 black and white print)
Envelope 3 Harris S. Shaw, Dec 22, 1957. On verso: “Greetings Dec 22/1957 / 75 yrs. / so here we go! Ho. Ho. / Harris S. Shaw / To my real friend and pupil / – Robert Manton -”; (4.25 x 3.25 black and white print)
Envelope 4 Robert Manton, 1919?; (10×7 sepia toned print on board). e.5 Harvard (Radcliffe Club) University of Toulouse, June 1919; (9×7 black and white print)
Item 1-2 Two rolled certificates: one, a war service certificate showing that Manton served in the U.S. Marine Corps at Parris Island, S.C., Quantico, VA and in France from April 29, 1918 to August 13, 1919, the other, a rolled diploma from the Roger Wolcott Elementary School in Boston, June 1908.

Series VI: Miscellaneous Materials

Box 12
Box 12, Item 1 Inscribed photograph of Adrian Boult, 1953 (framed)
Box 12, Item 2 Picture of Ralph Vaughan Williams (framed)
Box 12, Item 3 The first eight measures of Arthur Foote’s “Pierrot” in manuscript (framed)

2 Responses to “Guide to the Robert Manton Papers, 1908-1968”

  1. Sanford Farace Says:

    Great site, I really found it to be good. I am looking forward to visiting again to see what is new.

  2. Katherine Manton Kennedy Says:

    This is my grandfather

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