Missals
Manuscripts, Latin--15th century
Manuscripts, Latin--New York (State)--Buffalo
Parchment; formal gothic book hand in two sizes of script; 2 columns of 30 lines, ruled in lead (?). 2-line initials within the text area (except for the letter I, which is placed outside of the text area, and is equivalent to ca. 5 lines in height), alternating gold with dark blue (or black) flourishing, or blue with red flourishing. Rubrics in red. Foliation in red roman numerals in the center upper margin of the recto: CCXXII; what may be modern foliation is in pencil in the lower outer corner of the recto, "130."
Written in France during the first half of the 15th century. This manuscript uses the word "officium" to designate the introit of the mass; such usage is common to books of Carthusian, Dominican or Carmelite rite. Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library; initials BECPL stamped in lower margin of the recto. This leaf was n. 20 in the Elson collection; that information in the small ovel label on the uppermost corner of the recto: "No. 20, Elson Collection."
Bibliography: De Ricci. Census, p. 1211, no. 15
Missal, with the mass for the feast of The Chains of Peter (1 August) from its introit through the beginning of its post-communion prayer.
Catholic Church
Elson, Louis Charles, 1848-1920
Rare Book Room of B&ECPL (repository)
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lat
Hymnals
Music--Manuscripts
Parchment?; f. 1; 10 lines of text and of 5-line staves for the music. Written in a squared gothic book hand. Music in Hufnagelschrift with a custos at the end of each set of staves. Initials in alternating red or blue occupying the height of one line of text and one set of staves. The initial on the recto that opens the hymn to Cyprian is blue with a small reserved white decoration. Rubrics in red.
Written in Germany during the 15th century; it bears remembering that the head of St. Anne was held in the Stiftskirche St. Stephan in Mainz until 1510, when it was stolen and taken to D en in north Rhine-Westphalia (the church that housed this relic was completely destroyed in Allied bombing in 1944). Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library; initials BECPL stamped in lower margin of the recto. This leaf was n. 19 in the Elson collection; that information in the small ovel label on the uppermost corner of the recto: "No. 19, Elson Collection."
Bibliography: De Ricci. Census, p. 1210, no. 14
Hymn dedicated to St. Anne (possibly for her feast on 7 March; end of the hymn that begins "Gaude mater anna gaude mater omni digna mater tante filie / Anne recte nuncuparis") and a hymn dedicated to St. Cyriacus (16 March; beginning of the hymn).
Formerly classified as RBR MSS. C33G74 1300Z
Graduals (Chants)
Manuscripts, Latin--Specimens
Parchment; f. 1; 7 lines of text and music, the text written in a formal gothic bookhand, the music in square notation on 4-line red staves with the custos at the end of each set of staves. Some flaking of the ink off from the flesh side of the parchment (i.e. the recto of this leaf). Initials alternating red with purple flourishing, and blue with red flourishing; rubrics in red; in the upper left corner of the recto, the foliation in roman numerals, alternating red and blue letters: LXXV. A small indentation in the lower margin, near the fore edge, was perhaps intended to help the singer turn the page.
Written in Italy during the fifteenth century. Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library. This leaf was n. 18 in the Elson collection.
Bibliography: De Ricci. Census, p. 1210, no. 13
Gradual with chants for the 3rd Sunday in Lent, beginning with the introit, In convertendo inimicum meum retrorsum.
Formerly classified as RBR Mss. C33G73 1300z
Illumination of books and manuscripts--Specimens
Gradual with the beginning of the introit (on the recto) and the beginning of the gradual (on the verso) for the mass for Easter Sunday. Parchment:; the upper half (?) of a leaf; 3 lines of text each with its 5-line staves of music. Written in a formal gothic book hand; on the recto, a line filler shaped as multiple small lozenges stacked one on top of the other. On the recto, square notation in red ink on 5-line red staves; on the verso, the notation is in black. The initial R (for Resurrexi) in parted red and blue with a narrow strip of blank parchment separating the two colors; blank parchment square boxes on the initial's red; elaborate red flourishing along the outer left and the outer right of the initial (but no infilling, or flourishing at top or bottom of the initial). One initial in blue with red flourishing the height of one line of text and one set of staves. Rubrics in red. Added in a noting hand on the verso, along the left margin, cropped: "//erna //te vetus //agdalene."
Written in Spain during the 16th century. Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library. This leaf was n. 16 in the Elson collection; that number on a small oval label in the upper left corner of the recto.
Bibliography: De Ricci. Census, p. 1210, no. 12
Formerly classified as RBR Mss. C33G72 1300z
Sequentiaries
Parchment; f. 1; 9 lines of text and music; the text written in a formal gothic book hand; the music in square notation on 4-line red staves, with the custos added at the end of the staves in a light, noting hand. One historiated initial, the height of 2 lines of text and music: the Virgin, seated on a cushion in a garden, with the baby Jesus (both with rosy cheeks) standing in her lap and reaching his arms up to her face; extending from the pale brown leafy initial, and across the upper margin, a vine with green leaves and clusters of colored berries; gold dots. The second sequence introduced by an initial of the height of 1 line of text and music in particolored red and blue, with infilling of light brown leaves, and with red penwork surrounding the initial on 3 sides (not the top). Alternating plain red and blue initials, the height of 1 line of text and music. In the mid outer margin of the recto, foliation in red roman numerals: CCXXXIX. Early foliation (?) in the lowermost right corner of the recto: xvi (but cropped?); early modern foliation (?) in the uppermost right corner of the recto: 7 (?).
Written in Germany (or rather, in a Germanic area, including Austria) during the 15th century. The book which contained this leaf has here been termed a sequentiary, although it could have been a gradual. Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library. This leaf was n. 12 in the Elson collection.
Bibliography: De Ricci. Census, p. 1210, no. 11
Sequences for Christmas Day (and other feasts) and for Easter.
Formerly classified as RBR MSS. C33G75 1400Z
Gradual, with, on the recto, sung parts of masses for Processus and Martinianus (2 July), the octave of Peter and Paul (6 July), the Seven Brothers (10 July), and on the other side of the leaf, parts of the masses for Apollinaris of Ravenna (23 July) and Felix II, pope (29 July).
Parchment; the lower part of a single leaf, constituting perhaps 1/2 of what would have been the full height of the leaf. Now with 5 lines of text, written in a formal gothic book hand. Each line of text is surmounted by a set of 4-line staves, of which one line is enhanced by a horizontal red line; this red line bears the letter "f" or "c" (?) on the far left at the beginning of the set of staves. Musical notation in Hufnagelschrift. The two introits are introduced by plain red initials of the height of 2 lines of both text and music; heavy red 1-line initials the height of one line of text and one of music; smaller 1-line red initials; initials the height of one line of text and copied in the same ink as the text, but highlighted by a red stroke along the length of a pen stroke; Elefantenr sel with some frequency and often adding a red vertical stroke to the initial; on the recto, one very elaborate letter S, the height of one line of text and of one set of staves in which the uppermost bar of the S is repeated upwards again and again in an ever-smaller set of curls with red dots and lines running through them and with a sketched profile of a monk (given his tonsure) attached to the left of the initial. Another similar profile attached to the left of an initial M on the verso. Along the left margin of the recto, a vertical dark stripe left on the parchment by the adhesive that held this fragment in place as a pastedown.
Written in Germany during the 14th century. Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library. This leaf was n. 8 in the Elson collection; see the oval label attached to the uppermost left corner of the recto.
Bibliography: De Ricci. Census, p. 1210, no. 8
Catholic Church--Liturgy--Texts--Manuscripts
Manuscripts, Medieval--Specimens
Manuscripts, Medieval--New York (State)-- Buffalo
Gradual, presumably for the common of saints: for apostles, for a confessor bishop, for one martyr, for one martyred bishop. Specifically, the leaf contains: at the beginning, two communion chants the one immediately after the other and both for, inter alia, the common of apostles; an introit for the common of a confessor bishop (Sacerdotes tui domine induunt iusticiam); chants for the common of one martyr; an introit for a martyred bishop (Statuit ei testamentum pacis et principem fecit eum).
Parchment; f. 1 but significantly cropped the length of one side and across the top; now with 11 lines of text and their 4-line staves of music. Written in a formal gothic hand with variously long red horizontal lines connecting syllables of a single word when the music called for stretching out the sound; the musical notation in Hufnagelschrift. One plain red initial extending the height of one line of text and one set of staves (for the introit, Sacerdotes tui); smaller initials in alternating plain red or plain blue; lesser initials in the ink of the text with Elefantenr sel along the left side of ascenders, and with single red lines along the same left sides of ascenders.
Written in Germany during the 14th century. De Ricci states that the leaf was formerly used as a wrapper for deeds, presumably in reference to the long vertical fold towards one edge of the leaf that is pierced three times as if to hold binding thongs. Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library. An oval label in the uppermost left corner of the recto, "No. 7, Elson Collection."
Bibliography: De Ricci. Census, p. 1210, no. 7
Formerly classified as RBR MSS. C33M52 1200Z
Manuscripts, Medieval--New York (State)--Buffalo
Gradual with sung parts of the mass from the end of the 8th through the beginning of the 10th Sunday after Pentecost; added between the lines at the beginning of the 9th and the 10th Sundays are the cues for the collect, epistle and gospel readings for those Sundays.
Parchment; f. 1; 10 lines of text with 3-line staves for musical notation in Hufnagel format. The ruled lines for the text and the music alternate lead, then ink (?), then lead, and so forth; the lines of the staves are marked at the beginning of each set of lines as C or F, or as G or C. Copied in an early gothic book hand that retains the use of ampersands for elegance; each letter copied independently of its neighbors; round r and round s where expected. Foliation in red roman numerals on the verso of the leaf, towards the middle of the page; here, cropped, "//vii." Major initials, equivalent to 2-line height of text lines (plus the necessary 6 lines of music) for the introits: on the recto, in red and green with leafy flourishes, and with a hand, with pointing finger, extending from behind the initial towards the text of the introit; on the verso, mainly in blue with the crossbar of the E in red; leafy flourished in red and blue; 1-line initials in red; rubrics, including references to folio numbers elsewhere in the book. Several short lines added at the end of one Sunday's service, and before the following Sunday with the spoken (not sung) incipits for the collect, and the epistle and gospel readings.
Written in Germany during the period between the late 12 and the early 13th century. In the upper left corner of the recto, later notes probably from the 16th and then the 17th (?) century showing that the leaf served as a wrapper for deeds. In the lower margin of the recto, in modern ink (?): No. 8. Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library. This leaf was n. 6 in the Elson collection.
"Formerly used as a wrapper for deeds."--De Ricci
Bibliography: De Ricci. Census, p. 1210, no. 6
Formerly classified as RBR MSS. C33M51 1100Z
Manuscripts--New York (State)--Buffalo
Antiphonal, with the end of the night office for the feast of St. Paul (29 June) signaled by the rubric on the recto, "In III nocturno," and on the verso with the beginning of Lauds with the rubric, "In Mat. Laud.," for which see R.-J. Hesbert, Corpus antiphonalium officii (Rome: Herder, 1963-1979) vol. 1, and as an example of this type of book, no. 102b for Bamberg. The book from which this leaf was taken was intended for secular (rather than monastic) use, as shown by the three antiphons for the third nocturn (here, preceded by the responsories for the second nocturn; and then followed by the responsories for the third nocturn, and at the end, Lauds).
Parchment; ; f. 1; 22 long lines of text with the musical notation in neumes in campo aperto copied above each text line. Written in a pregothic script (no fusing of contrary convex curves and no round letter "s"; but also no "ae" or "oe" diphthongs; one cedilla'd e noticed). Rubrics in a dark red ink, and adjacent major initials in a reinforced ink of the text itself. Copied in Germany, or more carefully stated, in Eastern Europe, during the 12th century, as is shown by the shapes of the neumes; use of this book was certainly in a secular church (see note, regarding the text).
Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library. This leaf was n. 5 in the Elson collection (his name and the number, on an oval sticker attached to the upper recto). Stamp of the library (as BECPL) in lower margin of the recto
Bibliography: De Ricci. Census, p. 1209, no. 5
Elson, Louis Charles,1848-1920
Antiphonaries
From an antiphonal, one leaf, with the liturgy for the feast of the Nativity of the Virgin (8 September).
Parchment; f. 1; 23 long lines with the neumes for the music added above each text line; the text is copied in a pregothic minuscule; the music is in staffless neumes. On the recto, 3-line initial for the responsory, "Hodie nata est beata maria," in white vine stem on a particolored blue and yellow (?) ground. Initials of the major breaks in the text are highlighted in red; rubrics in red. Thanks to Prof. Susan Boynton (Columbia University, Dept. of Music) for her description of the musical notation.
Copied in Germany or Austria towards the end of the 11th century. Damage to the reverse of the leaf shows that it survived to modern day as a pastedown in a binding.
Bibliography: De Ricci. Census, p. 1209, no. 4
Formerly classified as RBR MSS. C33A6 1100Z
Elson, Louis Charles, (1848-1920)
Breviaries
Leaf from an office book (that would later be termed breviary) containing chants and lessons for matins of the feast of the Trinity (celebrated on the Sunday after Pentecost); six lessons (readings) are present here; with musical notation. The cues for the repetenda within the responsories are written in rustic capitals. Thanks to Prof. Susan Boynton (Columbia University, Dept. of Music) for her description of the musical notation.
Parchment; one leaf; ruled in dry point on the flesh side for 28 lines of text. Written in a late caroline minuscule; music notated in staffless neumes. Rubrication for the chant genres.
Written in France (?), towards the end of the 11th century. Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grovesnor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library. This leaf was n. 3 in the Elson collection (his name and the number, on an oval sticker attached to the upper recto). Stamp of the library (as BECPL) in lower margin of the recto.
Paper; f. 1 but torn in half (?); 4 lines of text printed in Roman font, and 4 staves of 4 lines each, with square notation. Major initials (P and F) printed in red, as are the rubrics. In the lower margin of the verso, "Pars Aestiva" (so the text is not from the feast of the Epiphany?) and "eee." In upper left corner of the recto, the usual label, "No. 2 <?>, Elson Collection." In the lower margin of the same page, "BECPL."
European printed text and music, 19th century, although the actual location and date of the printing are not known. The very uncertain identity of this fragment may explain its presence in this collection that belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library. This leaf (presumably because it is not dated to medieval or Renaissance times) was not described by De Ricci. Elson no. 28.
The chant for communion on the recto (Ponam visitationem) is identified on the Cantus Database and on the Musica Hispanica database as being from the Hispanic rite, for Epiphany, with the Cantus ID: h03550b ; this piece of text is from London, British Library, Add. 30844, f. 127 (Spain, second half of the 10th century, or 11th century). However, none of the other texts on this fragment are listed in either database, nor did movement forward or backward in the manuscript identify any other pieces of text or chant, nor did an online examination of the description of this British Library manuscript. No results found in Liber usualis, ed. by the Benedictines of Solesmes (Tournai: Society of St. John the Evangelist, Descľe, 1952); none in W. H. Iacobus Weale, Analecta liturgica, pars 1, Clavicula missalis romani (Insulis et Brugis: Typis Societatis s. Augustini, 1889); nor in the mass in time of war (introit, Reminiscere miserationum) in a printed Missale Romanum ex decreto sacrosancti Concilii Tridentini restitutum (Regensburg, 1861).
Bibliography: De Ricci, p. 1209, n. 2 (although this fragment is not mentioned)
Formerly classified as RBR MSS. C33F7 900Z, item 4
[Divine office, or, liturgy of the hours/Opus dei]
Liturgies
Music-Manuscripts
Illuminations of books and manuscripts--Specimens
Paper; f. 1, although cut ca. in half (?); the fragments now hold 5 lines of text, in a script imitative of Roman font, and the same number of 5-line staves for music in square notation. Rubrics in red.
Produced in the northern part of Europe possibly during the 17th century. In the upper left corner of the verso, the standard label, "No. 3<?>, Elson Collection." Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library. This leaf (presumably because it is not dated to medieval or Renaissance times) was not described by De Ricci. Elson no. 26.
R: From the Divine Office, parts of the service for Good Friday, in the 3rd Nocturn; see, for example, the Liber usualis with Introduction and Rubrics in English, ed. by the Benedictines of Solesmes (Tournai, 1950) pp. 682-684. -- V: From the Divine Office, parts of the service for Good Friday, at Lauds; see, for example, the Liber usualis with Introduction and Rubrics in English, ed. by the Benedictines of Solesmes (Tournai, 1950) pp. 689-690.
Formerly classified as RBR MSS. C33F7 900Z, item 3
Manuscripts, Latin -- New York (State) -- Buffalo.
Parchment; f. 1, cut down so that barely two lines of text and musical staves survive on each side. The text is produced by stencil, with the originally open spaces of lines around enclosed spaces filled in by hand (for example, to fully enclose the o; to close the upper partial circle of the e; to finish off the enclosing of the bottoms of the rounded spaces in the letters b and d; etc.). Square musical notation on red 4-line staves.
Produced in France during the 18th century. On the recto, in the lower right corner, an octangle label, edged in printed blue design, bearing the pen-written note: 1051. Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library. Elson no. 24; This leaf (presumably because it is not dated to medieval or Renaissance times) was not described by De Ricci.
For the feast of Sts. Peter and Paul (29 June), the sequence that begins, "Quos unus in vita labor," as printed in, for example, the Missale cenomanense (Lyon: ex typographia Caroli Monnoyer, 1835) p. 527. The piece of text missing between the end of the scrap of the recto and the beginning of the scrap of the verso is: una quondam martyres/ In morte iunxit gloria,/ Vos una nunc colit dies./ Supernus inter vos Pater/Partitur. -- //uos unus in vita labor,/ Quos// <text cut away> //orbem: tu doc<es>/<o Petre,> Judaeos; fide/ T//<u, Paule, gentes imbuis>
Previously classified as RBR MSS. C33F7 900Z, item 2.
Parchment; f. 1, cut down at both top and bottom; now with 16 long lines in an early gothic script (double pp is fused; round s at the ends of words, but round r occurs only once) with staffless Germanic neumes inscribed between the lines of text. 6-line letter H to open the responsory on the recto: particolored yellow and parchment, with zigzag line in red to separate the areas; infilling of non-painted leaves, outlined in red, against a light blue ground. 1-line initials within the text touched in red. Rubrics in red.
Written in Germany, or perhaps in the Netherlands, during the 13th century. It survived to modern times as the cover of a small book, with clearly visible wear and dirt along what was the spine (with the recto of the leaf facing outwards). Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library. This leaf, as described by De Ricci, was no. 2 in the Elson collection.
J. V. Mierlo, Jr., S. J., "Een utrechtsch Antiphonarium: Bijdrage tot de Geschiedenis van het liturgisch Drama in de Nederlanden," in Leuvensche Bijdragen vol. 8 (1908-1909) pp. 1- 75, here p. 15 (recto) and pp. 16-17 (verso) for the office at Christmas.
Previously classified as RBR MSS. C33F7 900Z, item 1
Bibliography: De Ricci, p. 1209, n. 2, item 1.
Office book or breviary, containing the office at matins for the feast of Sts. Philip and James (3 May). Parchment; f. 1; 15 long lines ruled in drypoint. Copied in a caroline minuscule script in two sizes; the larger script is used for lessons, and the smaller size is used for chant texts (responsories with their versicles). Somewhat later, staffless Germanic neumes (some in red ink that is now faded, but most in brown) were added in the interlinear space under the chant texts.Thanks to Prof. Susan Boynton (Columbia University, Dept. of Music) for her description of the musical notation.
Written in Germany, during the 10th century; it survived to modern times as the pastedown in a bound volume: the dark areas on the recto of the leaf (shaped as a backwards letter c) show where the glued was adhered. Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grovesnor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library. This leaf was n. 1 in the Elson collection.
Formerly classified as RBR MSS. C33L4 900Z
Buffalo & Erie County Public Library (publisher of digital)
Elson, Louis Charles, 1848-1920 Rare Book Room of B&ECPL (Repository)
The Farm journal illustrated rural directory of Erie County, New York.
Erie County (N.Y.)--Directories
Wilmer Atkinson Company (publisher of original)
Grosvenor Room of B&ECPL (repository)
eng
Labor--New York (State)--Buffalo.
Playwriting.
Interview One Manny Fried turns 80 and reflects on his life and the struggles he endured after being blacklisted from 1956 to 1972 for his political beliefs. He says that growing up as one of nine children, “We were taught to be honest and stick up for your rights.” In his books and plays he writes about relationships inside the labor movement. “I tried hard to be a voice for the American worker,” he tells Rich Newberg. He talks about refusing to answer any questions by the House Un-American Activities Committee, and about receiving support from Albert Einstein. Fried says the committee did not have a constitutional right to exist. He says he has no regrets, even though his life has been tough. He says, “I’ve tried to embody my experience in plays I write and the novels I write.” The interview is conducted at the Alleyway Theater before scenes are rehearsed for his play “Big Ben Hood.” Fried says the underlying theme is, “The need to be true to yourself, the need to have integrity, and the need to make a choice and not try to stand on the fence.” When the interview ends, the actors on stage celebrate Manny Fried's birthday, surprising him with a song and a cake. He joins them on stage and blows out the candles with one breath. The actors, including Jim Santella, pay tribute to Fried, pointing out his honesty and integrity. March 1, 1993 Interview Runs: 12:36 21:18 including b-roll Interview Two In 1994 Manny Fried is interviewed by Rich Newberg at home, where he discusses his lawsuit against the FBI and the price he paid for being labeled “the most dangerous man in Western New York.” At age 81, he discusses the lawsuit he filed against the FBI based on testimony he learned two years earlier from a former FBI worker. He says the woman told him that the FBI set up 25 agents to follow him around the clock, bug his conversations, read his mail and work toward getting him indicted. Fried says the most important goal of his lawsuit is to “have them admit what they did... and to make amends and so it’s not easy for them to do it again.” He says former FBI director J. Edgar Hoover, through his agents, damaged his marriage and convinced neighbors not to allow their children to play with his children. Fried says the agents assigned to his case also convinced friends of his wife Rhoda, who came from an upper class Buffalo family, to stop socializing with her. He says they went to her friends’ employers or clients and pressured them to stay away from the Fried family. Rhoda’s family owned the upscale Park Lane Restaurant and apartment building on Gates Circle in Buffalo. She had been a part owner but was barred from entering the restaurant according to Fried, after a priest called for a boycott of the establishment. Fried blames the actions of government agents for breaking his wife’s spirit and believes they were probably responsible for her death. He says she had become an alcoholic and a heavy smoker and eventually had a stroke. He says he has no regrets having been a member of the Communist Party in Western New York, whose goals locally he says were to “better the standard of living, the wages and the working conditions of the people here.” But he adds, “The only sense of guilt I have about this whole thing is what my wife and kids went through and the part I played in sticking up for these ideals.” He says, “They went through hell on account of it and that bothers me yet!” The number one hope expresses at age 81 is that “working people are able to get decent jobs and don’t have to worry where their bread’s coming from.” He adds, “I want people to have enough to eat. I want them to have decent homes. I want them to get along. That’s what I want.” [June 9, 1994] [Interview Runs: 31:01] [32:58 including b-roll]
Newberg, Rich (Writer, Reporter)
WIVB (Television Station : Buffalo, N.Y.)
Murphy, Kurt (Graphic Artist)
Copyright held by WIVB-TV. Access to this digital version provided by the Buffalo & Erie County Public Library. Videos or images in this collection are not to be used for any commercial purposes without the expressed written permission of WIVB-TV and the Buffalo & Erie County Public Library. Users of this website are free to utilize material from this collection for non-commercial and educational purposes.
When Manny Fried was blacklisted during the McCarthy era in the 1950s, he says the union rank and file he represented as an organizer stood by him. He said he never lost hope in the American people because of that support. He was being investigated for his association with the Communist Party. His refusal to answer questions from the House Un-American Activities Committee earned the respect of Albert Einstein, who sent him a note on April 16, 1954 saying, “You did the right thing and fulfilled your duty as a citizen.” After finding it impossible to find work in the US, Fried took a job with a Canadian company as a life insurance salesmen. He established his voice as a playwright, author, actor and teacher. He began teaching creative writing at Buffalo State College in 1972. Later in life he sued the FBI for emotional and financial damage, claiming he and his family were harassed and intimidated by twenty-five agents under the direction of J. Edgar Hoover. Fried’s book, “The Un-American,” retells the nightmare he and his family were made to endure. When Manny Fried passed away in 2011 at the age of 97, Buffalo News columnist Colin Dabkowski wrote, “He remained a guiding presence in Buffalo’s theater, literary and social activist communities and was widely regarded as the most important figure on Buffalo’s theater scene.” Manny Fried told his story to Rich Newberg, who produced three reports in 1993 and 1994.
City of Buffalo birth records: Dec. 12, 1850 - Aug. 31, 1878 [frame 1]
Birth records from the City of Buffalo, primarily covering the mid to late 19th and early 20th century.