24 100 60591 https://digital.lib.buffalo.edu/files/original/002b3e9182eec772bde03297a79fa6ac.jpg ce03c305d38617ea614be81bb59ec4bd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Tree-lined walkway with benches leading to fountains and statues in a public park setting. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context LIB-005_0024 Is Part Of A related resource in which the described resource is physically or logically included. LIB-005 Pan-American Exposition of 1901. LIB-005 Type The nature or genre of the resource Image Architectural photographs Title A name given to the resource Shaded walk near the Triumphal Bridge Date A point or period of time associated with an event in the lifecycle of the resource 1901-09-01 Source A related resource from which the described resource is derived Cosmopolitan, v. 31, no. 5 (September 1901), p. 538. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Buffalo (N.Y.) Description An account of the resource On Exposition grounds Exterior views A photograph of the Triumphal Bridge. The bridge is a little far away and is hard to see. A tree-lined walkway in a park-like setting with benches along the sides. In the background, fountains, statues, and open plazas are visible, with several people walking and sitting throughout the scene. Subject The topic of the resource Architecture--New York(State)--Buffalo Pan-American Exposition (1901:Buffalo)--Buildings Pan-American Exposition--(1901:Buffalo, N.Y.)--Photographs Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Photograph Triumphal Bridge https://digital.lib.buffalo.edu/files/original/b8eb22908c86d829b488908dec2719c9.jpg 8ad58c1d967e7f650dac8a5b49f0cc04 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Curved colonnade with tall columns and decorative reliefs, opening onto a wide plaza. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context LIB-005_0023 Is Part Of A related resource in which the described resource is physically or logically included. LIB-005 Pan-American Exposition of 1901. LIB-005 Type The nature or genre of the resource Image Architectural drawings Title A name given to the resource Front of Propylaea Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Buffalo (N.Y.) Pan-American Exposition--(1901:BuffaloN.Y.)--Propylæa Description An account of the resource On Exposition grounds Exterior views A front view of the Propylaea. It shows the columns of the building. The photograph was taken during the day. A sweeping curved colonnade with tall columns forming part of a grand architectural structure. Decorative reliefs and statues are visible along the walls. A few people walk across the open plaza in front of the colonnade. Subject The topic of the resource Architecture--New York(State)--Buffalo Buffalo(N.Y.)--Buildingsstructuresetc Pan-American Exposition--(1901:Buffalo, N.Y.)--Pictorial works Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Architecture Photograph Propylaea https://digital.lib.buffalo.edu/files/original/26965fd1bc5c152e707b3ac00dfc1a76.jpg 0e557daa12e9b3f98f81eb29c1700e06 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Ornate exhibition entrance with a grand archway, towers, and decorative reliefs. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context LIB-005_0022 Is Part Of A related resource in which the described resource is physically or logically included. LIB-005 Pan-American Exposition of 1901. LIB-005 Type The nature or genre of the resource Text Architectural drawings Title A name given to the resource Proplyaea Date A point or period of time associated with an event in the lifecycle of the resource 1900-01-01 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Buffalo (N.Y.) Pan-American Exposition--(1901:BuffaloN.Y.)--Propylæa Description An account of the resource On Exposition grounds Exterior views A detailed drawing of the Propylaea. There are people outside the building. It is a frontal view. An ornate exhibition entrance structure with a large central archway flanked by decorative towers. The façade is richly adorned with sculptural elements, reliefs, and decorative details. Several people stand near the base of the building, emphasizing its scale. Subject The topic of the resource Architecture--New York(State)--Buffalo Buffalo(N.Y.)--Buildingsstructuresetc Pan-American Exposition (1901:Buffalo)--Buildings Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Architecture drawing Propylaea https://digital.lib.buffalo.edu/files/original/6b6773ea2e561ad6ef3fdef68fd9c75d.jpg 57ee58cae8cbaf9b8ee836a5cc853273 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Aerial illustration of an exposition with central canal, fountains, domed buildings, and a tall tower. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context LIB-005_0021 Is Part Of A related resource in which the described resource is physically or logically included. LIB-005 Pan-American Exposition of 1901. LIB-005 Type The nature or genre of the resource Text Architectural drawings, Promotional materials Title A name given to the resource Grounds at twilight - Pan-American Exposition, Buffalo, 1901 Source A related resource from which the described resource is derived From a postcard produced by the Gray Lithograph Company and printed by the Niagara Envelope Manufacturing Company, Buffalo, N.Y. c1901. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Buffalo (N.Y.) Pan-American Exposition--(1901:BuffaloN.Y.)--Buildings Description An account of the resource On Exposition grounds Postcard depicting aerial view of Pan Am Exposition at twilight. A colorful aerial illustration of a grand exposition site with a central canal, fountains, and numerous ornate buildings. A tall tower rises prominently in the background, while domed and colonnaded structures line the waterway. Crowds are visible throughout the grounds, and formal gardens occupy part of the foreground. Subject The topic of the resource Architecture--New York(State)--Buffalo Buffalo(N.Y.)--Buildingsstructuresetc Buffalo(N.Y.)--Exhibitions Buffalo (N.Y.)--History--20th century-- Pictorial works Exhibition buildings--New York (State)--Buffalo Pan-American Exposition--(1901:Buffalo, N.Y.)--Pictorial works Pan-American Exposition--(1901:Buffalo, N.Y.) --Views Pan-American Exposition (1901 : Buffalo, N.Y.) Pan-American Exposition (1901 : Buffalo, N.Y.)--Buildings Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Gray Lithograph Company Niagara Envelope Manufacturing Company [sic] postcard https://digital.lib.buffalo.edu/files/original/710bbfd421562b064b5c2d0a03b22cd8.jpg b1fd79c1772ebee8667846be63c32f18 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Garden courtyard with trees and statues beside an ornate domed building with arched colonnade. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context LIB-005_0020 Is Part Of A related resource in which the described resource is physically or logically included. LIB-005 Pan-American Exposition of 1901. LIB-005 Type The nature or genre of the resource Image Architectural photographs Title A name given to the resource Court of cypresses Creator An entity primarily responsible for making the resource Arnold, Charles Dudley Description An account of the resource On Exposition grounds Exterior views An exterior view of the Court of Cypresses, which was partly enclosed by the Liberal Arts Building, Ethnology Building and the north wing of the Government Building. Photograph copyright 1901, by C. D. Arnold. A landscaped garden courtyard with pathways, trees, and decorative plantings in front of an ornate building. The structure features a domed roof, arched colonnade, and sculptural details, with statues placed near the garden. Subject The topic of the resource Architecture--New York(State)--Buffalo Buffalo(N.Y.)--Buildingsstructuresetc Buffalo(N.Y.)--Exhibitions Exhibition buildings--New York (State)--Buffalo Pan-American Exposition--(1901:Buffalo, N.Y.)--Photographs Pan-American Exposition (1901 : Buffalo, N.Y.) Pan-American Exposition (1901 : Buffalo, N.Y.)--Buildings Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Pan-American Exposition--(1901:BuffaloN.Y.)--Buildings Pan-American Exposition--(1901:BuffaloN.Y.)--Terraces Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Court of Cypresses https://digital.lib.buffalo.edu/files/original/61a8e9073523fa28f3834b3c9484a4b1.jpg 42ab3fcf2552ea325a3fc94cf6df3a47 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Ornate domed building with arched windows and people walking in front. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context LIB-005_0019 Is Part Of A related resource in which the described resource is physically or logically included. LIB-005 Pan-American Exposition of 1901. LIB-005 Type The nature or genre of the resource Image Title A name given to the resource The Bazaar Building Creator An entity primarily responsible for making the resource Bosworth, William Welles, 1869-1966 Source A related resource from which the described resource is derived Text quoted directly from the Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. (http://bit.ly/JKxGuD) Description An account of the resource On Exposition Grounds Exterior View Situated beyond the Canal at the junction of the Mall and the Midway, and fronting on the Midway, was the only large building outside the main scheme which was built by the Exposition Company. Destined for the exhibit and sale of all sorts of bijoux and souvenirs, the character of the design was studied to express a gaiety and "laisser aller" spirit consistent with the uses of the building. To express this spirit no style in the history of architecture is so well adapted as that of the French trellis-decorated buildings of the epoch of Louis XV, though it is dangerous when not used with restraint, being the expression of a generation renowned for moral decadence. When used as in this instance, where it is merely applied as surface decoration to a building composed with strong structural masses of wall surfaces in their relation to openings and great simplicity of architectural line and silhouette, it has great charm. The groups of children surmounting the balustrade, as well as the decorative bronzed figures in the niches between the windows, are the work of the sculptor Isidore Konti. Photo caption: Bazaar Building. - The style of the Bazaar building comports with its purpose, that of a building designed for the exhibit and sale of all sorts of souvenirs. The architect, William Welles Bosworth, found in the French architecture of the Louis XV period many ideas which he embodied in the decoration of this building with most successful results. Isidore Konti modeled the groups of children surmounting the balustrade and the bronzed figures in the niches between the windows. A large ornate building with domed roof structures, arched windows, and decorative detailing along the façade. Flags fly from the roof, and several people are seen walking and gathering in the open area in front of the building. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Bazaar Building Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries https://digital.lib.buffalo.edu/files/original/c48d5fb9c07596fc2f162708ccf074f9.jpg 9ef645dbf4fe174911e6f02cfa9c2526 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Illustrated exposition map with labeled main axis in red and two secondary axes in blue. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context LIB-005_0018 Is Part Of A related resource in which the described resource is physically or logically included. LIB-005 Pan-American Exposition of 1901. LIB-005 Type The nature or genre of the resource Image Title A name given to the resource Three-Dimensional Map Illustrating the Axes and Symmetry of Scale of the Exposition Plan Source A related resource from which the described resource is derived Derived from a rendering by Murray Smith, published by Orvis and Smith, Buffalo, N.Y., [1901]. Original is from the collection of the Buffalo and Erie County Historical Society. In Kerry S. Grant, The Rainbow City : Celebrating Light, Color and Architecture at the Pan-American Exposition, Buffalo, 1901, Buffalo, N.Y. : Canisius College Press, 2001. Description An account of the resource Bird's-eye views Axes diagram was added in 2003, and is based on information found in John M. Carrère, "The Architectural Scheme," Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. (http://bit.ly/JKxGuD) A color-coded illustration of an exposition site with labeled directional axes. A central "Main Axis (Esplanade Axis)" is marked in red, running from the foreground toward a tall tower in the distance. Two "Secondary Axis" routes are marked in blue, extending diagonally from either side of the main axis. The grounds feature buildings, fountains, waterways, and gardens arranged symmetrically. Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries https://digital.lib.buffalo.edu/files/original/ec22726575ef1e2b4d17d86af2beff3b.jpg fbef5ad391f9e5f86862ed990d809f5e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Exposition site map with labeled main axis in red and secondary axes in blue. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context LIB-005_0017 Is Part Of A related resource in which the described resource is physically or logically included. LIB-005 Pan-American Exposition of 1901. LIB-005 Type The nature or genre of the resource Image Title A name given to the resource Map Showing the Main and Secondary Axes and Illustrating the Symmetry of Scale Source A related resource from which the described resource is derived Derived from the 1901 map, Plan of the Pan-American Exposition to be Held at Buffalo, New York, May 1 - Nov. 1, 1901, (Plan revised to April 15, 1901). Original map was drawn by C. E. Peltz and published in Buffalo, N.Y., 1901. From the collection of the University Archives, State University of New York at Buffalo. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Buffalo (N.Y.) Description An account of the resource Bird's-eye views Axes notes added in 2003 based on information found in John M. Carrère, "The Architectural Scheme," Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. (http://bit.ly/JKxGuD) A detailed map of an exposition site with color-coded buildings, pathways, lakes, and gardens. Overlaid red and blue lines indicate the "Main Axis (Esplanade Axis)" running vertically through the center and multiple "Secondary Axes" running horizontally. Labels identify entrances and major features across the grounds. Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries https://digital.lib.buffalo.edu/files/original/1fab74dad0e629eef73c77c0c33c82a0.jpg f80a8455ca2cba8611434dd62a7ba28d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Nighttime view of illuminated tower with fountains, beams of light, and crowds in the plaza. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context LIB-005_0016 Is Part Of A related resource in which the described resource is physically or logically included. LIB-005 Pan-American Exposition of 1901. LIB-005 Type The nature or genre of the resource Image Photographs Drawings Watercolors Title A name given to the resource Electricity Building Creator An entity primarily responsible for making the resource Howard, John Galen, 1864-1931 Turner, Charles Yardley, 1850-1919 Howard, John Galen, 1864-1931 Source A related resource from which the described resource is derived The Delineator, v. 58, no. 1 (July 1901) p. 79. Description text quoted directly from the Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. (http://bit.ly/JKxGuD) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Buffalo (N.Y.) Electricity Building Description An account of the resource On Exposition Grounds Exterior views Detail views EVERY artistic composition, whether it be a picture, a piece of sculpture, or a group of buildings, can be said to have a focus-some Point or dominant feature which serves as a resting-place for the eye. The Electric Tower, by reason of its height and its central position, is such a focus in the midst of the main group of buildings of the Pan-American Exposition. Since this may be called the Age of Electricity, it was fitting that the focal point of the Exposition should be so designed as to afford an opportunity of accentuating that fact by a lavish display of electric power. This display is in the form of a majestic fountain and a scheme of brilliant illumination. The source of the power is Niagara, and this is suggested not alone by the fountain and the basin at the base of the tower, but by various groups of statuary in the wings, which have been designed to symbolize the great bodies of water which are tributary to the stupendous cataract. The following groups occupy the niches at the extreme ends of the curved wings, and are arranged from west to east in order: Lake Michigan, by Mr. Louis A. Gudebrod Lake Superior, by Mr. Philip Martiny Lake Ontario, by Mr. Ralph Goddard Lake St. Clair, by Mr. Henry Baerer Lake Huron, by Mr. Philip Martiny Lake Erie, by Mr. Carl E. Tefft. The spandrels of the niche in the south face of the tower and the smaller ones above the arch of entrance on the north side were modeled by Mr. Adolph A. Weinman, under the direction of Mr. Karl Bitter. They represent the four rivers Niagara, Buffalo, St. Lawrence, and St. Clair. The keystones of these arches were modeled by the same sculptor. Another feature of the sculptural embellishment of the tower which deserves special note is the Pan-American escutcheon on the south front of the shaft of the tower, above the water niche. This was modeled by Mr. Philip Martiny and Mr. Michele Giusti. Mr. Martiny was also the sculptor of the torch-bearers crowning the four corners of the terminal pavilions, and of the groups typifying Progress which embellish the pyramidal pylons on the east, west, and north sides of the tower. The groups ornamenting the pylons on the south side adjoining the water niche were modeled by Mr. George Gray Barnard, and typify "The Great Waters in the Time of the Indian" and "The Great Waters in the Time of the White Man." The frieze with children, garlands of fruit, and eagles, beneath the loggia at the top of the shaft, was executed by Mr. Karl Bitter. The Goddess of Light which crowns the tower is the design of Mr. Herbert Adams, and is 16 feet in height. The total height of the tower is 389 feet. The shaft of the tower is 77 ½ feet square at the base and is built with steel framework, the walls being of staff. The colonnades which form the curved wings at the sides of the tower have an extreme width of 255 feet. The promenades on these colonnades afford a fine view of the court and the other main buildings. If one approaches the tower from the north, he may cross a bridge, enter, and take an elevator to the lantern at a level of 252 feet, which commands a superb outlook of the Exposition and the surrounding country. Aside from its function as an observatory, the interior of the tower is made of service to the people by means of restaurants. As regards the architectural design of the Electric Tower, it may be called essentially American. As in the other buildings, use has here been made of classic and Renaissance forms, and certain "influences" may perhaps be pointed out by the critic but the tower cannot be said to have been designed in any strictly defined traditional "style." It shows the trend of thought in this country, and may be taken as an example of modern American architecture. An illuminated nighttime scene of a tall ornate tower with decorative lighting beams projecting into the sky. The tower is part of a grand exhibition complex with domed and colonnaded buildings. In the foreground, fountains spray water, and crowds of people gather in the plaza. Subject The topic of the resource Architecture--New York(State)--Buffalo Pan-American Exposition (1901:Buffalo, N.Y.)--Buildings Pan-American Exposition--(1901:Buffalo, N.Y.)--Photographs Pan-American Exposition (1901:Buffalo, N.Y.)--Electricity Building Pan-American Exposition (1901:Buffalo, N.Y.)--Electric Tower Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries https://digital.lib.buffalo.edu/files/original/d873c7b21bd92b2130d0ed19e469607d.jpg cbc9a3278ea73d7025c2c877d6f00d68 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Promenade with statues and columns leading to a tall tower in the distance. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context LIB-005_0015 Is Part Of A related resource in which the described resource is physically or logically included. LIB-005 Pan-American Exposition of 1901. LIB-005 Type The nature or genre of the resource Image Photographs Title A name given to the resource Approaching the Triumphal Bridge From the South (Carrère's "ideal approach" to the Exposition) Creator An entity primarily responsible for making the resource Arnold, C. D. (Charles Dudley), b. 1844 Date A point or period of time associated with an event in the lifecycle of the resource 1905-03-15 Source A related resource from which the described resource is derived The Pan-American Exposition Illustrated by C. D. Arnold. Buffalo, N. Y.: C. D. Arnold, 1901, p. 47. (http://bit.ly/LmdOKw) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Buffalo (N.Y.) Description An account of the resource Entering Exposition Grounds A wide promenade lined with monumental columns and statues leads toward a tall central tower in the distance. People are walking along the broad pathway, framed by the large sculptural structures on either side. Subject The topic of the resource Pan-American Exposition--(1901:Buffalo, N.Y.)--Photographs Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Entrance Triumphal Bridge https://digital.lib.buffalo.edu/files/original/af4e1840119a2c741b7c6a72181c55c6.jpg 5ae25dd014af41639f1fc291ee54a80b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Crowd gathered in a plaza with tall columns and statues. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context LIB-005_0014 Is Part Of A related resource in which the described resource is physically or logically included. LIB-005 Pan-American Exposition of 1901. LIB-005 Type The nature or genre of the resource Image Photographs Title A name given to the resource The Approach From the Park (Looking South from the Triumphal Bridge) Creator An entity primarily responsible for making the resource Arnold, C. D. (Charles Dudley), b. 1844 Date A point or period of time associated with an event in the lifecycle of the resource 1905-03-15 Source A related resource from which the described resource is derived The Pan-American Exposition Illustrated by C. D. Arnold. Buffalo, N. Y.: C. D. Arnold, 1901, p. 36. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Buffalo (N.Y.) Description An account of the resource Entering Exposition Grounds A large crowd is gathered in an open plaza lined with tall columns topped with statues. Several winged sculptures stand on pedestals among the columns, and trees border the space in the background. Subject The topic of the resource Pan-American Exposition--(1901:Buffalo, N.Y.)--Photographs Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Entrance Triumphal Bridge https://digital.lib.buffalo.edu/files/original/11775641ca92dcabdc294171bd363d70.jpg a51625c551646c5677449dbff489aba5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Illuminated exhibition building at night with fountain and reflections in the water. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context LIB-005_0013 Is Part Of A related resource in which the described resource is physically or logically included. LIB-005 Pan-American Exposition of 1901. LIB-005 Type The nature or genre of the resource Image Photographs Architectural Drawings Title A name given to the resource Agriculture Building Creator An entity primarily responsible for making the resource Shepley, George F. (George Foster), 1860-1903 Shepley, Rutan & Coolidge Source A related resource from which the described resource is derived Text quoted directly from the Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. (http://bit.ly/JKxGuD) Sources of the images are noted with each. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Buffalo (N.Y.) Pan-American Exposition--(1901:BuffaloN.Y.)-- Agriculture Building Description An account of the resource On Exposition Grounds Exterior views THE Agricultural Building is situated at the east of the Electric Tower, the narrow front, 150 feet in length, facing the Court of Fountains, and the principal front, 500 feet in length, on the Mall. This building is treated with great simplicity and very few features. The principal entrance is toward the Mall, facing the Manufactures and Liberal Arts Building. Around this entrance is the greatest amount of enrichment. The decorations are designed with fruit, vegetables, and flowers, expressing the character of the building and the large corbels are in the form of heads of animals of the field. This idea is carried around in the decorations of the cornice. There is a loggia on the south side of the building, overlooking the Mall, formed of arches resting on single columns, with a ceiling of groined vaulting. The treatment of the exterior, like that of the Manufactures and Liberal Arts Building, designed by the same architect, is Spanish Renaissance, adapted to express a spirit of exposition gaiety. A large exhibition building is illuminated at night, its architectural details highlighted by rows of lights outlining the roof and arches. A fountain in the foreground reflects the glowing lights on the surface of a pool. Subject The topic of the resource Architecture--New York(State)--Buffalo Pan-American Exposition (1901:Buffalo, N.Y.)--Buildings Pan-American Exposition--(1901:Buffalo, N.Y.)--Photographs Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Agriculture drawing https://digital.lib.buffalo.edu/files/original/c6d62e89f90e6f3e00ce3d9cdb8c6212.jpg 37eaa0118a7e3d9ead16dd4e5e6c0ed0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Ornate exhibition building with arched windows beside a canal, with people gathered near the entrance. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context LIB-005_0012 Is Part Of A related resource in which the described resource is physically or logically included. LIB-005 Pan-American Exposition of 1901. LIB-005 Type The nature or genre of the resource Image Photographs Title A name given to the resource Acetylene Building Creator An entity primarily responsible for making the resource Bosworth, William Welles, 1869-1966 Source A related resource from which the described resource is derived Cosmopolitan, v. 31, no. 5 (September 1901) p. 472. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Buffalo (N.Y.) Pan-American Exposition--(1901:BuffaloN.Y.)-- Acetylene Building Description An account of the resource On Exposition Grounds Exterior views The Acetylene Building, situated on the Mall at the west of the Machinery Building and across the Canal, was built by the Exposition Company for the exhibits of the acetylene industry. Just opposite from the Bazaar Building, it shows an interesting contrast in architectural style. The main structural elements are equally simple and frank ample openings for light give it the museum or exhibit-building character, while the seriousness of the nature of its exhibits is expressed by the reserve with which the ornament is applied in well-defined architectural limits, and the particular nature of the exhibits is made evident to the careful observer in the symbolism of the ornaments themselves. The evolution of lighting methods is worked out in the ornaments around the windows, from the fire-brand below up through the candle and classic lamp to the acetylene burner at the top, while above the cornice are groups of children holding acetylene torches which light the globe by M. Loester. A neoclassical-style exhibition building with ornate detailing stands along a canal or waterway. The structure features large arched windows, decorative reliefs, and a sculpted roofline. Several groups of people are gathered near the entrance and along the walkway. Subject The topic of the resource Architecture--New York(State)--Buffalo Pan-American Exposition (1901:Buffalo, N.Y.)--Buildings Pan-American Exposition--(1901:Buffalo, N.Y.)--Photographs Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Photograph https://digital.lib.buffalo.edu/files/original/13f2bc1493f455f90c97c5b2a7333e87.jpg d6be5cc221045cac166f826de14629b6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Watercolor of a building façade with three arches below, two ornate windows above, and a red roof with decorative cresting. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context LIB-005_0010 Is Part Of A related resource in which the described resource is physically or logically included. LIB-005 Pan-American Exposition of 1901. LIB-005 Type The nature or genre of the resource Image Architectural drawings Title A name given to the resource The Restaurant Buildings and Arcades Creator An entity primarily responsible for making the resource Cook, Walter, 1846-1915 Babb, Cook & Willard Source A related resource from which the described resource is derived Text quoted directly from the Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. (http://bit.ly/JKxGuD) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Buffalo (N.Y.) Pan-American Exposition--(1901:BuffaloN.Y.)--Buildings Description An account of the resource On Exposition Grounds Exterior views On either side or the square are buildings closely resembling one another, and having a double use. The lower part of each is largely an open arcade, forming the entrance on the one side to the Midway, and on the other to the Stadium. The remainder of these buildings serve as restaurants. The style of architecture adopted in these buildings is freely reminiscent of Spanish examples, and of their descendants in Spanish America, while no single building has been taken as a prototype. The character of the exhibition, in which only the Americas are represented, naturally suggested this inspiration, which is indeed evident in many other parts of the grounds. And it is this character which suggested calling the little square the Plaza. A watercolor rendering of a decorative building façade featuring three arched openings on the lower level and two elaborately framed windows above. The roof is steeply pitched in red with ornate cresting along the ridge. Decorative details adorn the arches and window frames. Subject The topic of the resource Architecture--New York(State)--Buffalo Pan-American Exposition--(1901:Buffalo, N.Y.)--Pictorial works Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries drawing Restaurant https://digital.lib.buffalo.edu/files/original/3012d725d1d63558cd8f6282751fc0d1.jpg 5ba2cffed063d998a7ecf773416775a4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Illustration of the Pan-American Exposition stadium, an oval arena with surrounding colonnades and towers. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context LIB-005_0009 Is Part Of A related resource in which the described resource is physically or logically included. LIB-005 Pan-American Exposition of 1901. LIB-005 Type The nature or genre of the resource Image Book illustrations Title A name given to the resource Stadium Date A point or period of time associated with an event in the lifecycle of the resource 1900 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Buffalo (N.Y.) Pan-American Exposition--(1901:BuffaloN.Y.)--Stadium Description An account of the resource On Exposition Grounds Bird's-eye views An aerial drawing of the stadium. There is no artist listed. There are players on the field. Text at the bottom of the image reads: Pan-American Exposition Buffalo The Stadium An illustration of the stadium at the Pan-American Exposition in Buffalo. The large oval-shaped arena is surrounded by tiered seating and enclosed by colonnades and tall decorative towers. The field within the stadium is open, with a central area marked for events. Subject The topic of the resource Architecture--New York(State)--Buffalo Pan-American Exposition--(1901:Buffalo, N.Y.)--Pictorial works Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries drawing Stadium https://digital.lib.buffalo.edu/files/original/671d91db899858e9c79c39b6f74e5717.jpg 89a5b8cd36bf1efc1a6bcd9208dfad30 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Fountain with multiple water jets in front of an ornate building façade at the Pan-American Exposition. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context LIB-005_0008 Is Part Of A related resource in which the described resource is physically or logically included. LIB-005 Pan-American Exposition of 1901. LIB-005 Type The nature or genre of the resource Image Photographs Title A name given to the resource Front of the Electric Tower Source A related resource from which the described resource is derived Source: The Pan-American and its Midway, Philadelphia : J. Murray Jordan, 1901, p. [23.] Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Buffalo (N.Y.) Pan-American Exposition--(1901:BuffaloN.Y.)--Electric Tower Description An account of the resource On Exposition Grounds Exterior views Frontal view of the Electric Tower taken during the day. Off centered shot of the middle of the water. A view of a large decorative fountain at the Pan-American Exposition. Jets of water rise in arcs from several smaller fountains in the pool, while water also cascades from sculpted figures and an arched opening on the building’s façade. Ornamental statues flank the central water feature. Subject The topic of the resource Architecture--New York(State)--Buffalo Pan-American Exposition (1901:Buffalo, N.Y.)--Buildings Pan-American Exposition--(1901:Buffalo, N.Y.)--Photographs Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Architecture Electric tower Photograph https://digital.lib.buffalo.edu/files/original/442ca58162e0959ed009a0b3c983c653.jpg f5df4c5d2545903653d86cb9282b2abf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Ornate domed building with arched windows and sculptural details at the Pan-American Exposition. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context LIB-005_0007 Is Part Of A related resource in which the described resource is physically or logically included. LIB-005 Pan-American Exposition of 1901. LIB-005 Type The nature or genre of the resource Image Photographs Title A name given to the resource Front view of the Temple of Music Description An account of the resource On Exposition Grounds Exterior views A frontal view of the Temple of Music. A domed building at the Pan-American Exposition featuring elaborate architectural details. The structure has arched windows, ornate carvings, and sculptural decorations along the upper façade and dome. Crowds of people gather around the building in the foreground. Subject The topic of the resource Architecture--New York(State)--Buffalo Buffalo(N.Y.)--Buildingsstructuresetc Pan-American Exposition--(1901:Buffalo, N.Y.)--Photographs Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Pan-American Exposition--(1901:BuffaloN.Y.)--Temple of Music Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Architecture Photograph Temple of Music https://digital.lib.buffalo.edu/files/original/0f953bf29e127c01a4c26702dbe838f3.jpg 61fc6fe701fd389ca3461379f1810836 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Domed exposition building with colonnade and visitors walking nearby. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context LIB-005_0006 Is Part Of A related resource in which the described resource is physically or logically included. LIB-005 Pan-American Exposition of 1901. LIB-005 Type The nature or genre of the resource Image Photographs Title A name given to the resource Temple of Music as seen Through the Colonnade Source A related resource from which the described resource is derived Pan-American Souvenir by Charles Cutter. Niagara Falls, N.Y.: Charles Cutter, 1901. Courtesy of Kerry S. Grant Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Niagara Falls (N.Y.) Pan-American Exposition--(1901:BuffaloN.Y.)--Temple of Music Description An account of the resource On Exposition Grounds Exterior views A photograph taken in the walkway in front of the temple, including people. A view of a domed building at the Pan-American Exposition, with a long colonnade extending to the right. The structure features arched doorways and elaborate architectural details. People are seen walking and gathering along the colonnade and in front of the building. Subject The topic of the resource Architecture--New York(State)--Buffalo Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Colonnade view Temple of Music https://digital.lib.buffalo.edu/files/original/f30f58c1325d2d4eac80c03e89f62c05.jpg 3d2320d926f87c183da63df486fac505 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Large domed exposition building with ornate arches and decorative details, surrounded by visitors. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context LIB-005_0005 Is Part Of A related resource in which the described resource is physically or logically included. LIB-005 Pan-American Exposition of 1901. LIB-005 Type The nature or genre of the resource Image Photographs Title A name given to the resource Temple of Music Creator An entity primarily responsible for making the resource Arnold, C. D. (Charles Dudley), b. 1844 Source A related resource from which the described resource is derived The Pan-American Exposition Illustrated by C. D. Arnold. Buffalo, N. Y.: C. D. Arnold, 1901, p. 54 (http://bit.ly/LmdOKw) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Buffalo (N.Y.) Pan-American Exposition--(1901:BuffaloN.Y.)--Temple of Music Description An account of the resource On Exposition Grounds Exterior views A close-up, front exterior view of the Temple of Music. The photograph was taken during the day. A domed building with elaborate architectural details, including arched entrances, decorative reliefs, and sculptural ornamentation. The structure is symmetrical with smaller domed sections flanking the central dome. People are gathered around the building’s entrance and open plaza. Subject The topic of the resource Architecture--New York(State)--Buffalo Buffalo(N.Y.)--Buildingsstructuresetc Pan-American Exposition--(1901:Buffalo, N.Y.)--Photographs Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Architecture Photograph Temple of Music https://digital.lib.buffalo.edu/files/original/86142bd1a53a5604d3046612a3483983.jpg a4ae16ea3e7ac0b0afd4ea6488d0878e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Watercolor rendering of an ornate entrance tower, arched gateway, and colonnaded building with red doors. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context LIB-005_0004 Is Part Of A related resource in which the described resource is physically or logically included. LIB-005 Pan-American Exposition of 1901. LIB-005 Type The nature or genre of the resource Image Architectural drawings Title A name given to the resource Watercolor Sketch of the Propylæa at the Pan-American Exposition, 1901 Creator An entity primarily responsible for making the resource Turner, Charles Yardley, 1850-1919 Source A related resource from which the described resource is derived The Delineator, v. 58, no. 1 (July 1901) p. 74 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Buffalo (N.Y.) Pan-American Exposition--(1901:BuffaloN.Y.)--Propylæa Description An account of the resource On Exposition Grounds A watercolor sketch of the proplyaea. A watercolor architectural rendering of a grand entrance structure featuring a tall decorative tower on the left, an arched gateway, and an adjoining colonnaded building with red doors and ornate detailing. The design is colorful, with light shades of pink, red, and gold accents. Subject The topic of the resource Architecture--New York(State)--Buffalo Pan-American Exposition (1901:Buffalo, N.Y.)--Buildings Pan-American Exposition--(1901:Buffalo, N.Y.)--Pictorial works Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Architecture Proplyaea Sketch Watercolor https://digital.lib.buffalo.edu/files/original/8766644b7db223ecd434a3f38b642960.jpg 47536d35fdfc03b75a236ef24bb76741 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Nighttime view of a colonnade with illuminated columns and statues in recessed niches. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context LIB-005_0003 Is Part Of A related resource in which the described resource is physically or logically included. LIB-005 Pan-American Exposition of 1901. LIB-005 Title A name given to the resource Propylæa Description An account of the resource On Exposition Grounds Interior views Interior view of the Propylaea. It shows large pillars and statues of people. A nighttime view of a colonnade lined with tall columns, each set in front of niches containing classical statues. Decorative molding is visible above the niches, and string lighting outlines the upper structure. Format The file format, physical medium, or dimensions of the resource Photographs Subject The topic of the resource Architecture--New York (State)--Buffalo Propylaea (Pan-American Exposition1901Buffalo, N.Y.) Pan-American Exposition--(1901 : Buffalo, N.Y.)--Photographs Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Buffalo (N.Y.)--Buildingsstructuresetc. Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. Type The nature or genre of the resource Image Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Proplyaea Stadium https://digital.lib.buffalo.edu/files/original/f49371a20e82b24bd60510810007594a.jpg 953949a75e032bf8969b3e5cb4591115 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Annotated map of the Pan-American Exposition grounds showing main and secondary axes with thematic labels. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context LIB-005_0002 Is Part Of A related resource in which the described resource is physically or logically included. LIB-005 Pan-American Exposition of 1901. LIB-005 Type The nature or genre of the resource Image Technical illustrations Title A name given to the resource Map Illustrating Bitter's "Progress of Man" as Related to the Ground Plan Creator An entity primarily responsible for making the resource Peltz, C. E. Date A point or period of time associated with an event in the lifecycle of the resource 1901-11-01 Source A related resource from which the described resource is derived Derived from the 1901 map, Plan of the Pan-American Exposition to be Held at Buffalo, New York, May 1 - Nov. 1, 1901, (Plan revised to April 15, 1901). Original map was drawn by C. E. Peltz and published in Buffalo, N.Y., 1901. From the collection of the University Archives, State University of New York at Buffalo. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Buffalo (N.Y.) Description An account of the resource On Exposition Grounds Map views A map dipicting the ground plan for the Pan-American Exposition. A color-coded map of the Pan-American Exposition grounds with superimposed labeled axes. A red line marks the main axis running vertically from the "Main Entrance" at the bottom to the "Temple of Music" near the top. Black dashed lines highlight themes such as "Man’s use of Nature’s materials and forces" and "Man’s intellectual mastery of his world." Purple dashed lines cross the center, labeled "Nature’s Provisions" and "People and Institutions." The layout is surrounded by pathways, buildings, and water features. Subject The topic of the resource Pan-American Exposition--(1901:Buffalo, N.Y.)-- Maps Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Ground Plan Map Peltz https://digital.lib.buffalo.edu/files/original/307aa9b2b8f5341cbc65b61dac76e0b7.jpg fdca8cdf38b6ea6308cd6258b02a1a11 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource View of the Pan-American Exposition plaza with a domed bandstand, fountains, and surrounding ornate buildings. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context LIB-005_0001 Is Part Of A related resource in which the described resource is physically or logically included. LIB-005 Pan-American Exposition of 1901. LIB-005 Type The nature or genre of the resource Image Architectural drawings Title A name given to the resource Plaza Source A related resource from which the described resource is derived Text quoted directly from the Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. (http://bit.ly/JKxGuD) Sources of the images are noted with each. Description An account of the resource On Exposition Grounds Exterior views A drawing showing a partial view of the plaza. A view of the main plaza at the Pan-American Exposition featuring a circular bandstand with a domed roof at the center, surrounded by decorative balustrades, stairways, and arranged seating. The surrounding architecture includes large exhibition buildings with domes, towers, arches, and elaborate ornamentation. Flags fly atop several structures, and visitors are seen walking and sitting around the open area. Subject The topic of the resource Architecture--New York(State)--Buffalo Buffalo(N.Y.)--Buildingsstructuresetc Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Pan-American Exposition--(1901:BuffaloN.Y.)--Plaza Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Court of Fountains drawing Electrical Tower of Mr. Howard Plaza https://digital.lib.buffalo.edu/files/original/c1a80da6806c5a66daaf1d63d0fd29be.jpg e9d243cda137542d5bfb4649c9eae106 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Person smiling while holding a handwritten note, wearing a patterned sweater. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Suzanne Rodgers Collection Subject The topic of the resource Human engineering Description An account of the resource <p>Suzanne H. Rodgers, Ph.D. (1939-2017)</p> <p>Suzanne H. Rodgers, Ph.D. was an internationally recognized scholar, consultant and leader of the field of occupational ergonomics. She received her doctorate in Physiology in 1967 from the University of Rochester School of Medicine and Dentistry in Rochester, New York. After a two-year post-doctoral fellowship in London where she studied the control of blood pressure, heart rate and respiration, she joined the Human Factors/Ergonomics Group at Eastman Kodak Company in Rochester, New York. Working with engineers, medical specialists, psychologists and computer and statistical specialists, Dr. Rodgers spent the next thirteen years studying people at work. In 1982, she left Kodak to start her own ergonomics consulting and training business with the focus on participatory approaches to ergonomics problem solving. From 1982-1988, she taught IE 436/536 “The Physiological Basis of Human Factors” to students of the Department of Industrial Engineering at the State University of New York at Buffalo [now the Department of Industrial and Systems Engineering at the University at Buffalo, SUNY].</p> <p>Dr. Rodgers was a principal author and technical editor for Kodak’s two-volume series, <i>Ergonomic Design for People at Work</i>, published in 1982 and 1986, and the second edition that was published in 2004. She also wrote <i>Working with Backache</i> that was published in 1985. She has published a number of important journal articles and position papers in ergonomics and medical journals, and spoke frequently at professional conferences. For many years, she was an important leader and organizer of the Lucien Brouha Work Physiology Symposium.</p> <p>Dr. Rodgers had a profound impact on many ergonomics professionals, hundreds of students and thousands of workers. This collection illustrates some of the many contributions Dr. Rodgers made as a leader and pioneer of the ergonomics profession. It includes samples of her textbooks, journal articles, worksite training syllabi, conference presentations and other professional and personal contributions. This collection also contains examples of her writing, illustrations, and workshop/conference schedules.</p> Creator An entity primarily responsible for making the resource Rodgers, Suzanne H. Publisher An entity responsible for making the resource available University at Buffalo. University Libraries. Contributor An entity responsible for making contributions to the resource University at Buffalo. Department of Industrial and Systems Engineering. Language A language of the resource en Type The nature or genre of the resource Text Images Identifier An unambiguous reference to the resource within a given context IE-001 Suzanne Rodgers Collection Rights Information about rights held in and over the resource IN COPYRIGHT - EDUCATIONAL USE PERMITTED This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. In addition, no permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). http://rightsstatements.org/vocab/InC-EDU/1.0/ Copyright Estate of Suzanne Rodgers Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Suzanne Rodgers Description An account of the resource Photograph of Dr. Rodgers holding an invitation with a glass of wine in front of her. Suzanne Rodgers is seated indoors, smiling while holding a handwritten note in one hand. The person wears a light-colored sweater with a patterned design around the neckline. The note appears to contain an address and several lines of text written in cursive. A partially filled wine glass sits on the table in front of the person, and a window with curtains is visible in the background. Creator An entity primarily responsible for making the resource Maloney-Jordan, Shirley Format The file format, physical medium, or dimensions of the resource Image/jpeg Type The nature or genre of the resource Still image Identifier An unambiguous reference to the resource within a given context IE-001_050 Is Part Of A related resource in which the described resource is physically or logically included. Susanne Rodgers Collection IE-001 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Estate of Suzanne Rodgers https://digital.lib.buffalo.edu/files/original/f54e0c01a9fbc9f9707fde6635644243.pdf 93d851c9a5c7b6c1c7cd4e1600e6ae58 PDF Text Text Two Comments by Gail Sher 1. I’d like to thank Jim Hartz, Executive Director of the Poetry Center at SF State, who introduces this reading (and makes a brief announcement at the end). It was my good fortune to have his generous, thoughtful support at the beginning of my poetry career. 2. At the beginning of the reading, I mentioned how much I was influenced by “On Barnaby Jones” by Barrett Watten, which begins: A jeep pulls up to a house in the woods. A man gets out of the jeep. The man’s face and what the man is looking at: blank wall of trees.1 In 1981, when I first read “The man’s face and what the man is looking at,” my mind, opening, launched an experiment which became my first published book of poetry, From another point of view the woman seems to be resting (1982) that is now (in 2017) being developed in a new work2 as a series of “plays without the play”—think of stage directions for an improv (all the dialogue made up on the spot). That “opening of mind” from the bits & pieces of another artist (such that a whole new way of using language suddenly appears) reminds me of Diebenkorn—his response to Matisse for example. He felt, he said, that he could go on “endlessly exploring” a certain idea, and he did. He worked that way as I have throughout my career. So I’m very moved to realize that something that influenced my first book of poetry is still having an effect thirty-five years later. 22 April 2017 1 2 Watten, Barrett. Frame (1971-1990). Sun & Moon Press, 1997, p. 203. Mary’s Eyes (planned for publication in late 2017). � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gail Sher Collection Subject The topic of the resource Sher, Gail, 1942- Poetry -- United States Creator An entity primarily responsible for making the resource Sher, Gail, 1942- Identifier An unambiguous reference to the resource within a given context LIB-PC011 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Two comments by Gail Sher Creator An entity primarily responsible for making the resource Sher, Gail, 1942-; Date A point or period of time associated with an event in the lifecycle of the resource 2019-03-08 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Gail Sher and used with permission. Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context LIB-PC011_144 Date Available Date (often a range) that the resource became or will become available. 2018-03-08 Date Copyrighted Date of copyright. 2019 Language A language of the resource eng SherInterview https://digital.lib.buffalo.edu/files/original/bbddceca27cb72ddc66a137fd2b8958f.pdf 5c0531a99194de71f00ec30d41e593ca PDF Text Text DAVID L. SHEIDLOWER Miming the Phrase Review of (As) on things which (headpiece) touches the Moslem by Gail Sher (San Francisco: Square Zero Editions, 1982). Gail Sher places an incredible weight in each phrase of this book. They are phrases mostly, the discreet & seemingly incomplete units which make up this short book. I find the weight in the phrases, not on them; they are not burdened, rather each has its own volume & density, can attract the phrases around them or be inert and integral. Take the phrase: “Tubers & iron/even to prepare/this.” From their natural state, both the vegetable & the mineral are prepared by heat, in that sense they’re even (or equal). Very dense consistencies also. Then the “this” which, locating only itself (i.e. not subordinate as in “this thing here”) pulls down on the three words above it & the question is not “even to prepare this what?,” but can the middle phrase double itself? Rather than one incomplete phrase, there are two phrases here, with “even” meaning “as well” and “equal” simultaneously. 70 �A line by itself reads: “Mime is first”; and yes the words are, at first reading, gestures of phrases. Like a mime (on a still, empty stage) pretending to be thrown forward by the short stop of a bus he’s not riding on, these phrases imitate the motion of phrases in a context, but are surrounded by white space & make their own sense: “Dawns or/parson.” The next line is “Or go god,” That’s a real choice in this poem which invites speculation on whether or not religious characters (specific & general): “monk”, “god”, “nun”, “Christ”, “the Moslem”), religious actions (vowing, chanting, renunciating, gracing) & religious imagery (“the/shepherd”, “The wooly flesh”) can maintain their religious meanings in such undevotional as well as non-moralistic phrases. And of course they can if you let them. The poem is not didactic, offers choices. Hence, the only pronunciation is a handful of parentheses at the beginning which sets the mood for the optional: “Saw (too) to/cling here”; take or leave either “to” or “too” or both. Some phrases end with “this” or begin with “As,” attracting surrounding phrases (but there is no syllogistic sense which definitely connects any 71 �two phrases and hence the connections are optional). The poem offers the choice between action and being: “A rung or yelling,” “The grit or/hear”; but wonderfully & conscientiously blurs the distinction between the two “As hover from the/elbows is something/growing.” And so the distinctions between mime and the actual are blurred. Berkeley, 1982 72 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gail Sher Collection Subject The topic of the resource Sher, Gail, 1942- Poetry -- United States Creator An entity primarily responsible for making the resource Sher, Gail, 1942- Identifier An unambiguous reference to the resource within a given context LIB-PC011 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Miming the phrase Subject The topic of the resource Sher, Gail, 1942-; Description An account of the resource Review of (As) on things which (headpiece) touches the Moslem by Gail Sher (San Francisco: Square Zero Editions, 1982) Creator An entity primarily responsible for making the resource Shieldlower, David Date A point or period of time associated with an event in the lifecycle of the resource 1982 Contributor An entity responsible for making contributions to the resource State University of New York at Buffalo. Poetry Collection. Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Gail Sher and used with permission. For more information contact the Poetry Collection at lpo-poetry@buffalo.edu. Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context LIB-PC011_142 Date Available Date (often a range) that the resource became or will become available. 2019-03-08 Date Copyrighted Date of copyright. 1982 Extent The size or duration of the resource. 3 p. Language A language of the resource eng SherInterview https://digital.lib.buffalo.edu/files/original/c35c248ac43350fcbc394bb8a5f857ed.pdf fb5ee2cadb0f0af96a17d348e36039a0 PDF Text Text ������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gail Sher Collection Subject The topic of the resource Sher, Gail, 1942- Poetry -- United States Creator An entity primarily responsible for making the resource Sher, Gail, 1942- Identifier An unambiguous reference to the resource within a given context LIB-PC011 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Science of Cooking: The sponge method Description An account of the resource The Cook’s Magazine, vol. 6, no 1, Jan.-Feb. 1985, pp. 62-65. Creator An entity primarily responsible for making the resource Sher, Gail, 1942-; Source A related resource from which the described resource is derived The Cook's Magazine Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection. Date A point or period of time associated with an event in the lifecycle of the resource 1985 Contributor An entity responsible for making contributions to the resource State University of New York at Buffalo. Poetry Collection. Rights Information about rights held in and over the resource Copyright Gail Sher and used with permission. Contact the <a href="http://library.buffalo.edu/pl/">Poetry Collection</a> for more information. <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context LIB-PC011_142 Date Available Date (often a range) that the resource became or will become available. 2019-03-08 Date Created Date of creation of the resource. 2019-03-08 Date Copyrighted Date of copyright. 1985 Extent The size or duration of the resource. 4 p. Language A language of the resource eng SherMagazine https://digital.lib.buffalo.edu/files/original/9105a3f8c94de1e988b93ce28ec75218.pdf c4688fe6446f35dc8a480fe0b868f545 PDF Text Text �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gail Sher Collection Subject The topic of the resource Sher, Gail, 1942- Poetry -- United States Creator An entity primarily responsible for making the resource Sher, Gail, 1942- Identifier An unambiguous reference to the resource within a given context LIB-PC011 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A question of origin Description An account of the resource With Merry White Benezra; Review of Lascaux by Beau Beausoleil. Poetry Flash, no. 124, July 1983 Creator An entity primarily responsible for making the resource Sher, Gail, 1942-; Source A related resource from which the described resource is derived Poetry Flash Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection. Date A point or period of time associated with an event in the lifecycle of the resource 1983 Contributor An entity responsible for making contributions to the resource State University of New York at Buffalo. Poetry Collection. Rights Information about rights held in and over the resource Copyright Gail Sher and used with permission. Contact the <a href="http://library.buffalo.edu/pl/">Poetry Collection</a> for more information. <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context LIB-PC011_141 Date Created Date of creation of the resource. 2019-03-08; Date Copyrighted Date of copyright. 1983 Language A language of the resource eng SherMagazine https://digital.lib.buffalo.edu/files/original/59ac6dd50459b9ae0fb001d3d91ef9ae.pdf abbd734ed0d1d7d97727d1cdce0870e3 PDF Text Text HOW(ever) ------------~/\~--------------------Vol. I, No. 1, May 1983 Editor: Kathleen Fraser Associate Editors: Frances Jaffer, Beverly Dahlen Contributing Editors: Rachei Blau DuPlessis, Carolyn Burke WHY HOW(ever)? And what about the women poets who were writing experimentally? Oh, were there women poets writing experimentally? Yes there were, they were. They were there and they were writing differently and a few of them were chosen and did appear in the magazines for people writing in new forms. And then several women began to make their own experimentalist magazines. What about that? Well, they read each other. But we hardly ever heard about their poems where I was sitting listening. You mean in school? I mean where poems were being preserved and thought about seriously and carried forward as news. And the women poets, the ones you call experimentalist, were they reading Simone de Beauvoir? Firestone? Chodorow? Irigaray? Some were. They were reading and they were thinking backwards and forwards. They were writing to re-imagine how the language might describe the life of a woman thinking and changing. And the poetry they were writing wasn't fitting into anyone's anything because there wasn't a clear place made for it. They must have felt displaced. Yes, they must have. They must have felt unreal. Unrealized. Effaced. Did they know it? Yes, they knew it. Did they talk about it? Yes, they talked about it. We were sitting in a writing group two years ago and we talked ab<;>ut it. One year ago, we were sitting there talking about it. Last summer, I was walking around talking to myself about it and feeling displaced and I wrote to one of my scholar friends and asked her about it and she said you are right. There is this gap. But perhaps we don't know how to acknowledge something, how to think about something, unless it resembles what w~s already there. I thought of Dickinson. I thought of Stein. Woolf and Richardson. Slashes, anarchies, sentences, disruptions. I was listening and I said to her, but if we could somehow talk to you and tell you about us, would you be interested? Yes, she said, I would be interested. • HOW(ever) proposes to make a bridge between scholars thinking about women's language issues, vis-a-vis the making of poetry, and the women making those poems. HOW(ever) hopes to create a place in which poets can talk to scholars through poems and working notes on those poems, as well as through commentary on neglected women poets who were/are making textures and structures of poetry in the tentative region of the untried. -Kathleen Fraser A vehicle for experimentalist poetry-post-modern if you will, to be thought of seriously as an appropriate poetry for women and feminists. The poetry feminists usually eschew, believing that now is the time for women to write understandable poetry about their own lives, and with feeling, with the heretofore undeveloped self in prominent display. But the myths of a culture are embodied in its language, its lexicon, its very syntactical structure. To focus attention on language and to discover what can be written in other than traditional syntactical or prosodic ~tructures may give an important voice to authentic female experience. Certainly one should be read side-by-side with the other. Unhappily, most feminist publications have ignored the experimentalist work which women are writing now and have been writing since early in the century. And unhappily, most publications of "new" writing have had little interest in feminist language issues, although some of the women who appear in them have written brilliantly and movingly about their lives as women. We want to publish an excep.. tion, however. -Frances Jaffer �WORKING NOTES FROM GAIL SHER: Virginia Woolf said something about words having auras. Poets place them in sequence. I would say about the vibrations of a word that poets order them according to their similar intensities. Also interested in concentration as it releases energy in language. Addressing not the conscious understanding but the intelligence of contained experience. Also as a child she had wanted to eat Also as a child she had wanted to eat. Without particular motive (to be) on her own crossing the street on her own or going through the door making an effort to buy food. • Always with amount of energy she could spend with that person (son) or even possibly some other people. Even simply listening. Not to but that that had already occurred . urg~d • 5 �Seen by the other people (during) the day or sometime during the course of the day (the driver) calls out something. To be phased by this. To appear calm but actually to imagine herself quarreling . • Intense expression in striving for something (intake) of food (inheritance) of something. Having asked for something to eat (in) one process to eat one (particular) part. • In bed for example (always) perpetuating (striving) in the midst of any room. Which (she) as a lonely person appreciated. Avenues and walking with such & such emotion (buses) where they seem needed . • 6 �Reversing her terminology and tendency to want something from·him. (To) supply food here. (Not) to move or feel like moving. With others like her in the same mood (hiding) something received from her. Delicate relation to her (discerned) (quarter) of mind. • Children & events of the day enter her mind. Once while eating (in) quiet manner of saying something. Or being in a hurry to get somewhere. Arrangement of food at (moment) of giving it to her. By Gail Sher: As on things (which) headpiece touches the Moslem, Square Zero Editions, 1982. From another point of view the woman seems io be resfing, Trike Press, 1983. Available from Small Press Distribution, 1784 Shattuck Ave.; Berkeley, California 94709. 7 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gail Sher Collection Subject The topic of the resource Sher, Gail, 1942- Poetry -- United States Creator An entity primarily responsible for making the resource Sher, Gail, 1942- Identifier An unambiguous reference to the resource within a given context LIB-PC011 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Working notes from Gail Sher Description An account of the resource From HOW(ever). vol. 1, no. 1, May 1983, pp. 5-7. Creator An entity primarily responsible for making the resource Sher, Gail, 1942- Publisher An entity responsible for making the resource available State University of New York at Buffalo. Poetry Collection. Date A point or period of time associated with an event in the lifecycle of the resource 1983 Contributor An entity responsible for making contributions to the resource State University of New York at Buffalo. Poetry Collection. Rights Information about rights held in and over the resource Copyright Gail Sher and used with permission. Contact the <a href="http://library.buffalo.edu/pl/">Poetry Collection</a> for more information. <a href="https://rightsstatements.org/vocab/InC/1.0/">IN COPYRIGHT</a>. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context LIB-PC011_140 Date Created Date of creation of the resource. 2019-03-08 Extent The size or duration of the resource. 2 p. Language A language of the resource eng SherMagazine https://digital.lib.buffalo.edu/files/original/c006e899db289c67e1011e72ca2998a1.pdf e6ca3c6f0a6fde9cc8bcab1f6035043f PDF Text Text � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Quarterly school report for Ferdinand Praeger, undated Subject The topic of the resource Praeger, Ferdinand, 1815-1891 Description An account of the resource Scan of original document held by Praeger's great great grandson, Andrew Leach. Creator An entity primarily responsible for making the resource Wolff, J. H. Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource circa 1824 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context ubmu0046leach024.pdf Medium The material or physical carrier of the resource. school records Extent The size or duration of the resource. 1 leaf Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/ae754d846e6e56632b890f5b595524f1.pdf 6220ba5d2fd12484b36a69f32c9c894e PDF Text Text � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Quarterly school report for Ferdinand Praeger, 1824 Subject The topic of the resource Praeger, Ferdinand, 1815-1891 Description An account of the resource Scan of original document held by Praeger's great great grandson, Andrew Leach. Creator An entity primarily responsible for making the resource Wolff, J. H. Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource 1824 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context ubmu0046leach023.pdf Medium The material or physical carrier of the resource. school records Extent The size or duration of the resource. 1 leaf Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/e3d568d20575820936bb6500cfd59998.pdf bcb293c97f506972e587562718ef70c1 PDF Text Text �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Quarterly school report for Adelhaid Präger, 1824 Subject The topic of the resource Praeger, Adelhaid Description An account of the resource Scan of original document held by Praeger's great great grandson, Andrew Leach. Creator An entity primarily responsible for making the resource Wolff, J. H. Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource 1824 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context ubmu0046leach022.pdf Medium The material or physical carrier of the resource. school records Extent The size or duration of the resource. 2 manuscript leaves Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/f04d015b7af27b564c779c55a6b83608.pdf 9e518eca43ff9bb546ad93b81c8d1d83 PDF Text Text � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Letter from Agnes Praeger, with some genealogical information about the Praeger family Subject The topic of the resource Praeger family Description An account of the resource Scan of manuscript letter by a niece of Ferdinand Praeger. Original document held by Praeger's great great grandson, Andrew Leach. Creator An entity primarily responsible for making the resource Praeger, Agnes Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource undated Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context ubmu0046leach021.pdf Medium The material or physical carrier of the resource. correspondence Extent The size or duration of the resource. 1 manuscript leaf Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/d6d8bd17955ed435f5f936e0b07ea84e.pdf 09297792f4d7755285eeec748958558f PDF Text Text � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource To the editor of the Musical Courier: Praeger-Wagner Controversy, by Wilfred Praeger, August 1895. Subject The topic of the resource Praeger, Ferdinand, 1815-1891 Wagner, Richard, 1813-1883 Description An account of the resource Scan of letter to the editor by Ferdinand Praeger's son, Wilfred, regarding texts by Houston Stewart Chamberlain about Ferdinand Praeger's text on Richard Wagner. Original document held by Praeger's great great grandson, Andrew Leach. Creator An entity primarily responsible for making the resource Praeger, Wilfred Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource 1895-08 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context ubmu0046leach020.pdf Medium The material or physical carrier of the resource. articles Extent The size or duration of the resource. 1 page Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/4361cf407351f0c9b3e4834bbbd3cb17.pdf 785a0a0299919fffa1d0e6ade2aee4d1 PDF Text Text � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Musical World, 7 December 1889. Portion of article by B. L. Mosely. Subject The topic of the resource Praeger, Ferdinand, 1815-1891 Wagner, Richard, 1813-1883 Description An account of the resource Scan of an article about Praeger's role as supporter of Wagner's music in England. Original document held by Praeger's great great grandson, Andrew Leach. Creator An entity primarily responsible for making the resource Mosely, B. L. Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource 1889-12-07 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context ubmu0046leach019.pdf Medium The material or physical carrier of the resource. articles Extent The size or duration of the resource. 1 page Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/51f4c9de0e878ca897dbb23b2ba1fdc3.pdf 3601958912a237e284d851da0c9e230c PDF Text Text ������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Biograph and Review, September 1880, Volume 4, number 21, pages 242-247. Subject The topic of the resource Praeger, Ferdinand, 1815-1891 Description An account of the resource Scan of a biographical entry for Ferdinand Praeger. Original document held by Praeger's great great grandson, Andrew Leach. Creator An entity primarily responsible for making the resource Unidentified Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource 1880-09 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context ubmu0046leach018.pdf Medium The material or physical carrier of the resource. articles Extent The size or duration of the resource. 7 pages Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/815fe3604d25ade3e1ffeb9475c2648c.pdf af16fce8cc397ec66acad622b91855bc PDF Text Text � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Musical Standard, 7 March 1884, p. 153. Correspondence titled "Wagner" by George Tolhurst. Subject The topic of the resource Praeger, Ferdinand, 1815-1891 Wagner, Richard, 1813-1883 Description An account of the resource Scan of article from the journal Musical Standard regarding Ferdinand Praeger's views on Richard Wagner. Original document held by Praeger's great great grandson, Andrew Leach. Creator An entity primarily responsible for making the resource Tolhurst, George, 1927-1877 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource 1874-03-07 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context ubmu0046leach017.pdf Medium The material or physical carrier of the resource. articles Extent The size or duration of the resource. 1 page Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/5b7ce2b25f951662e2b4c54d2c589e24.pdf 56422a6f23648d0e96d90d736df039e2 PDF Text Text ���� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Letter from Edward Roeckel to Léonie Praeger Subject The topic of the resource Röckel, Eduard, 1816-1899--Correspondence Description An account of the resource Scan of letter by pianist/composer Edward Roeckel to Praeger's wife. Original document held by Praeger's great great grandson, Andrew Leach. Creator An entity primarily responsible for making the resource Röckel, Eduard, 1816-1899 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource circa 1892 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context ubmu0046leach016.pdf Medium The material or physical carrier of the resource. correspondence Extent The size or duration of the resource. 1 manuscript letter (4 leaves) Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/9b46ed714e227116f5b4c48d2af7e17a.pdf a53a29f6420cb27ae35c76ac63e1d854 PDF Text Text • o ft~;)OL ,:: So- or. ( I tiA vt ~ { 1~ C.Ytrr/l,c. ;it. .. ,._. .. ,. ••• ,.. rA fP. • q J& ,J • • ( I �'l'J! ; PALSimOODS OF HO:JS"'O~: Cll!'.llil .HT,ADI ----------------------- - • ) �J P R E FA CE During tho earlier part of tho year 1892 appeared a book callod "Wagner As I Know Him". ~'he author was Ferdinand Praog or , who had diod during tho previous year. The book was brought out undor unusual and remarkable circumstances, which are clearly set forth in the second chapter of this volume; and as a result a certain number or errors appeared in it t hat ought never to have seen print; and tho text of t he letters of to Praoger that appeared 1n it was not reliable. ~·r. agner Houston Stewart Chamberlain was apparently anxious to ingratiate himself Tlith tho members of tho r aener fnnily, who wore knom t o have boon annoyed by certain things 1n Praeg or's book; he found it expedient to ignore the real circumstances of the publication, and used the defects of the book as a basis tor making the bitterest and most vindictive a ttack on the whole book and on Prner,er's character. He had no hesitation whatever in deliberately obscuring and d istorting tho truth whenever it happened to suit him, in doing which he resorted to tho most donnright falsehoods. This book is an eXposure or his calculated and obstinate attempt to exhibit Praeger as being in all respe.c ts a worthless parson, a nd to dis credit entirely all tho true t hingo that Praogor had v~itten about ;.agner; and as such I submit it to all who cnro for justice • ..hile 1nvosti ;at1ng t ho various points at issue, I somot1I:ios found it convenient to draw up tho evidence concerning a single point in a formal document that was complet e in itself , and some- �' 2 timos to do the same ree arding the evidence I obtained trom others . Various su~h documents have boon included without alteration, 1n ordor to simplify the treatment or a complicated subject; it often aoamed a botter way or making tho evidence clear to tho reader than morol y working tho substance or t h em into tho body or tho text. With the exception of ono point (see Chap: 8) I MUst leave Glaaenapp's defamation or Praegor to be dealt with in a later volume. I muat express my moat grateful thanks to my mother for her constant help and criticism while .I was writing this volume. also return my best thanks f or their kind help to I rs. Forman ( II Alma L!urray"). l/Jl'S. r.oonio l>dwards and Mr. \" 1lfrod Praeger . ----------------- I �CHAPTER I. FERDIUAND PHAEGER ----------------Ferdinand Prnogor, tho son ot a professional musician, was born on Jan . 22nd, 1815, at Leipzig. I t in not necessary to go into details of his family and his descent hero, as in viow of Houston Stewart Chamberlain's amazing and amusing statement that Praeger was a Jew, the sUbject must be considered 1n a lator chapter . Praogor came or a Dutch family, and throughout his lifo he spoke Dutch as easil y and fluently as Gorman. His mastery or Engl ish became quito unusual for a foreigner, avon ono settled 1n England, and he also learned to spoak French fluently. Praoger, who numbered John Iluss among hill ancestors, was or iginnl ly intended f or tho ministry or the Protestant church. His attont1on was, however, soon turned to music and literature ; he received lossona on tho 'cell o, for which ho shoTied obvious talent; but tho ' collo gave way to tho piano. Hummel hoard him 1mprov1ao, and sllid to his father "Send me that boy and I will make a great pianist out of him, his touch ia somotbina exceptional . " In the Musical Standard of 1891 (p. l 93) 111'. \'l1lfred Praoger wrote aa foll ows about his father :- "It ia not recorded that Hummel received him as a pupil, and in any case it could have boon but for a short while, as tho boy was sont to Lubeck, whore he remained until his sixteenth yoar, studying composition and work- �2 ing hard at the piano and violin. It is said that during his residence at Lubeck his appetite for literature was such that he read every book conta1nod in the librari es of the town . " Inci- dentally I can bear testimony to hi3 being an exceptionally wellread man, and one who gave tho i mpression of being unusuall y well educated. In 1831 he went to his father's country (Holland) and began to teach mus ic at the lla{;ue. Here he became a life- long friend of J loys Schmidt , to Whom he afterwards dedicated one of his compositions , a caprice . he came to Engl and . In 1834, wishi ng to appeal to a larger world, He settled in London, which booamo his domicile for the rest of his days . His ambition was to make hi s name as a composer; but havi ng no pr1vato means at all (he was tho thirteenth of 24 children, the first 14 had to devote most of his time to teaching. be~ all boys), he He enjoyed the friendship of Spohr, l:oscheles (to whom ho dedicated on Impromptu) and Al oys Schmidt . In the year 1849 he married l'llo. Leonie Baziro of Paris. Praoger had been struck by the fact that 1n cyclic works (symphonies, sonatas etc . ) the various movements seomod sometimes to bear too l ittle relation to each other, or even seemed to be incongruous. He was fond or quoting the scherzo or Beethoven's so- cal led Uoonlight Sonata a s boing too light, ono might almost say frivolous, 1n comparison with the other two profoundly serious movements, a feeling that most good musicians share . As a r emedy ho proposed t ho unification of the movements of a cyclic work by �3 means of leading thomas. thus an advocate of the "Lei t • motiv" long beforo \'ognor had made known his views on the subject . - - - Praeger ' s Ttr1t ten - - He TillS - - - - - - - A sonata of on tho Leit-motiv principle was greatly praised by lloscheles. To quote nga1n trom ~·r. li'il.fred Praegor's article:- "In 1844 ho assisted his friend r•ax von Vlobor to bring about the removal of tho remains of Carl 1 aria von l eber frOM the Chapel in l!oorfiolds t o tho family vault 1n Dresden, ~agnor assisting 1n the arrangements on the Continent . " In tho year 1842 Schumann chose Praeger to represent in London tho "U&uo Zoitsohrift fur l~usik", with which journal he remained connected during the rest or h i s life. autograph lottor was 1n the possession or l~e . (Noto:Sehumann's Leonie Praeger after her husband's death, and is now 1n possession of ). And having ncquired n considerable mastorJ of English, he began to write criticnl articles for English journals, and later for the Now York ~sical Review (oldor series). He wrote at first in the "Northern Whig" and "English Gentleman", and later on he became a regular contributor to tho "Jr-usical Standard" . In tho "English Gentleman" or October 1845, he wrote in praise or \?98ner 1 s ' Tonnhausor', of which he had soon t h o first performance in Germany; this nrtiole is noteworthy as being t ho first one printed in England which pressed forward tho right of \"lngnor to consideration as an eminont composer. 1/ And durins the ---------------------------------------------------------¢ Somo years earl ior thoro wero brief roferonces to "Rienzi" in some English newspapers (A. B. VI . 436- 7). oxtract from Praogor's article . See appendix for an �4 rest of his life Praegor woo Wagner's chiof champion 1n England ; but for many years tho causo gained ground slowly, and brought Praoger much abuse and unpopularity. In 1854, when Sir Michael Costa resigned the conductorship of tho Philharmonic Concerts, Prnoger suggested Wagner's naxno f or tho conductorship to Sa1nton (see p. )• The upshot \'las the Society's invitation t o Wagner to conduct the concerts of 1855. Y:agner had known about Praegor evor since tho latter had helped 1n 1844 1n the matter of bringing the remains of Carl Varia von \1ober back to Germany; and 1n his first letter (of 8 .1.55) to Praeger (p . 222 of 11 \7agner As I Knew H1mu) he relates how, ton yoars before, August Roeckol had read to h1m Praoger ' s article on "Tannhauser" from tho "English Gentleman". Praegor off ered Wagner tho use of his house in London, which Wagnor accepted, "until I have found a suitable apartment. " On 'larch 5th. Wagner arrived at the Praegers' hous e in Wilton Stroot. After a few days he fowxl that ho must havo a place of his own, where he could be alone and undisturbed, 1n order to resume his work during the mornings, so a bedroom ond study wore found f or h1m very near to tho Praegera ' , and Regent's Park. overlook!~ regular r outine for him, after h~.s But it was a morning ' s work and thon a walk, to have lunch at Praegor's nnd apond t ho root of t ho day at their house, which was his real homo 1n London . In their house a room was set apart ent1roly ror his use if he wished to be alone or take rest. friend ~ r. In a long letter of l~e. Leonie Praoger to her ol d Beale (printed in tho Kent County Examiner and Ashford �5 Chronicle of Jan. 6 , 1893), she refers to Wagner as follows: "He had always so much to nay and discuss with Ferdinand that the hours flew, and the days seemed hardly long enough. What with their respective occupations and their long discussions, with the exception of t he short timo they devoted to sleep, they did not l ose a minute . It \vas indeed a busy time, a beautiful time, to be ever remembered and cherished." Vlagner becarrte godfather to the. kn0\1 Pra~gers' con Richard; and I (ft•om the fact that Wagner was godfather to my own sister Eva) that he would only have stood godfather to a child if he • regarded its parents as be 1ng r eal friends . It was tollarda the end of Wagner 1 a visit to London in 1855 that t;me . Praeger heard ;·;agner tell her husband "that he had met no one yet who had dono s o i n everything as ho did . " f5 And from that very understendit~B sprung so fast a friendship that absence and even dlence between them did not alter it. They knew each other and were satisfied. Events of later years rendered Perdinnnd somewhat silent - Wagner knew why - but their old love was ever alive , and Ferdinand's devotion never flagged . To his conviction he sacrificed his own fame, made himself enemies, alienated all critics of that time and since . During the many years that tho war against Wagner raged, Ferdinand stood at first entirely alone." (Letter to Mr. Deale, see above). This friendship wan fostered by correspondence, by Praeger 's . f5 See Chapter v. �I 6 visits to Zurich , l.!unchen, Lucerne and Bayrouth, and by Wae;ner 1 s visit to Engl and in 1877, when the l atter mado his famous spaech about Praeger in proposing the toast of Prae6er 1 s health. In 1882 Praa6er went to h ear "Parsifal" 1n Bayrouth, where he saw Wagner for tha last time. \".'h en Wagner died, Praegor was too much overcome to be able to go to the runoral . In his biographi cal article Mr . 'Ni lfrod Praeger centioned that in his youngor days his father met Sponti ni i n Paris, and thai l ater he became intimate nth Hector Berlioz and the Abbd Liszt . He al so become a good friend of Von Bulow, and lmew t ho s tory of Cosima trom both sides ( Von Bulow' s and Uagners) . And he knew how unjust Cos1l'!la could be to the n emory or \7agnor 1 s first uifo l&inna. ~~' . Wilfi•od Praegor mentioned 1n his b1oaraph1cal notice that among Pr aegor 1 s more reoont pupila Ttere l.:adamo de Pachmann, Herr Schonberger and ·r. Alfred Joftery, organist of Al bany Cathedral. And at the end he added tho following paragraph: - · "In 1851, Messrs. Cr ame1• and Beale commissioned r·r . Praeger to compo~o an opera, but ~r. Beale dying before t he commission was begun the wor k was lett unwritten. Among the most recent s cri pts are tho thor.tes for an opol'a which Ur . Praoger • 1ng to a libretto by l'r . Sutherl and Edwards." Unhappily Praeger suffered ~rom \1tl.S 1!18nU- compos- a good deal of illness during tho last tr.o 7ears or his life, and he had to undergo two operationa. lie d ied on Sept . 2nd . 1891 at his rosidonce, "Lansdowne", 23, Brackenbury Rd . Shepherds 1 Bush. Green Cemetery. ------------ He was bur:t.ed in Kensal Appended i s a notice or s ome of Praeger's works , both musical and literary . �'r ~1e time following works of Praeger were published in his life- (Noto : I Dhall be glad of any additions to the list. H.C.):Praeger Album. This was in 2 volw.1es# oach volume contain- lng 24 pieces for piano solo. The first volume was dedicated to Jdward Roeckel, t he second to n.r•• Mosely. C. F. Kahnt in Leipzig. It was published by Of the copy that Praegor gavo to my father the firs t volumo is inscribed February 1880, and the second volume l'arch 1880 . 5 Songs of Hei ne Set to lludc. ) ) ) ) 3 II II ,;. Geibel 6 n It llicolaus Lonau set to music . ) 11 II Those songs wore all published by Wilhoh! Jo'I'Yien in Htuti>urg; my rather's cop1os boar on tho front pago a stamp of Cramer's, who apparently sold thom in London. A Lamentation for Piano . Published by r.ookes. This was written for tho French Charities in London# and was dedicated by permission to tho l'rincess of Wales (later Quoon Alexandra) . A Number or Piocos for Pianoforte Solo , of varying degrees of difficulty# published by Cr amer , Beale Co . �8 The following are the public performances of Prneger's more important works, in so far as I have been able to trace t hem:ORCHESTRAL An OVerture (sometimes called Symphonic Prelude 2 to Byron,' s "Manfred". Performed under August .Yanns at the Crystal Palace on 8 . 12. 1888 and 17.4. 1880 . I t was also performed at Birmingham and in Germany. An Overture "Abel lino". Performed under Hector Berlioz at tho New Philharmonic Concerts. A S:ymphon1c Poem "Life• and Love". Performed under August Manns at the Crystal Pal ace during the year 1885. A Fantasia (later called SY!Phonic Poem) in F. This was perform- ed under August Manns at the Crystal Palace on Nov.27th.l886. I t was repeated under Henschel at St . James ' s Hall on Jan . 27th. 1890 (on which occasion I was present. CHA14BER MUSIC WORKS Quartet in A. Major . At a Concert of the National Society of Professional Musicians in tho Town Hall of Birmingham on Jan. 4t h . 1887 . Romance for Violin and Pianoforte. At a concert of the s ame on Jan. 6th. 1887 . A Later Piano Trio . Or chestra, and A PiWlo Trio. Per formed at tho first concert of tho London se~eral times r epeated . Performed at t he Me1n1ngen Festival of the United German J.!usicians in 1868 . Piano Sonatn No . 32!. Performed on Feb . 1st. 1892 . of t his 1s to be found in the "Monthly Journal" • A criticism �9 A concert or Ferdinand Praeger's works was given at l!essrs. Collard & Collard on llov. l Oth. 1885. Praeger left behind ~ a large number of compositions includ- ing a Cantata "Yagdalena", some orchestral pieces, 25 quartets, 36 piano sonatas and many songs and pianoforte pieces. The copyright or the great bulk of his compositions passed into tho hands of a wealthy patron,who however did .not publ ish them. I t deserves to be recorded that Praeger read a papor hefore tt Society of Arts on "The FUsion or the Romantic and Classical School of Music" • He also r oad the following throe papers before t he Uusioal Association:On t he Repetition On Form. On St yle. of Parts 1n Classical Form on Nov. 6 . 1882. II Peb . 4 . 1884. II •1ar .1 . 1886 . He also translated Naumann's "History of Music" from Gorman into English . In conclusion, I would express the hope that some day the bas• of Praogor 1 s musical articles 1n English journals ma y be collected 1n a volume . An interesting second volume would bo a collection o: __ ____ his best articles from tho "Neue Zoitschrift". , ....._ Noto. Tho following appearod 1n an article in"The Artist" (1 . 9. 91 ) "Long boforo any or Wagner's uorks were kno11ll 1n this oo'lmtry, Mr . Praegor had used tho leit- motiv as tho basis of his compositia and 1n looking through some of his earliest works it is almost impossible to conce!ve that they were written before Wagner's theories were hoard or. " �10 CHAPTER II . l . The facts concerning tho writing by Ferdinand Praeger of his book "Wasn:er As I Knew Hlm11 , related by . Praoaer 's wife L6onie in the Uusical Standard or April 21, 1894. "About a yoe..r after the death of Wagner (1883) J.:r . Praegor waa commissi oned to write 11 VIo.gnor As I Knew ll!m" in English. Thnt occupied in all about two years (see note at end. R. C.), leaving Praeger's hands at once and f or good ~ having been dospatched,al S1 written, to its purchaser. Mr . Ellis will see tho force of this 1~ . statement since it disposes of sevoral of his insinuations. When the work was in its owner's possession he desired to have some of the original letters . be limited to 20 letters ~ the book, woro sent . He stipulated that tho transfer should and 20~ with a slight scrap not 1n I know what I am writing intimately concerned in the transaction. the book was addressed to me . about ~ for I was The longest letter in That wns my property. Thinking that the hol dor of the 20 would like to possess this unique French specimen by l'lagner I offered it to him. Be courteously replied that he had plenty and did not want any moro . tion why ~r . ThAt is the explnna· ' Chamberlain did not find in the possession of the hol der of the 20 tho whole of the letters in the book. That very l etter in French was transferred by me to the late honorary ~ Ashton Ellis, editor of the Uoistor (tho organ of the London Branch of the WagnorSociotv) had attacked Praeger 1 s book in a series of articles 1n tho T'llusical Standard" �11 secretary of the London Wagner SOci ety. Shortly after the English book had been completed and some of the l etters had boon ~rtod with, Mr . Praeger, at the wish of the owner of the English nnnuscript, pr epared a Gorman edition, whil e I prepared one ~.n Fronoh. First, as roBards the English: The copy made for the owner, Which I presume he sent to the publishers, is in my hnndwriting, as is also the original English now 1n my poss sssion and from which tho tran3lations \'lore made . As regards tho French, the copy made for the owner is in my handwriting as wel l as tho original now in my possession. Coming to t he German, Jfr Pr aoger, havi%16 nbout him no one vlho knew German, was his own translator, whether from the English into German, or originally from German (Wagner ' s lottors) i nto English. He did it all himself, nnd the copy sent to tho owr.cr and from which I presume tho Oermnn printers set up tho type is 1n his handwriting, tho only copy over existing. l!r . Ellis fUrther asks tho author ' s death?" 11 1/ns the English book 1n type before No, certainly not. "If not, "ho corrected the proofs: and Vlho devieod the headli nes, etc?" onl y tho publishers coulrl answer this. I should say Most assuredly Mr . Praoger 1 s family nover saw any proofs, and , strange though it may seem to ~r . Ellis, only know of its publication by seeing press announcemen~s of it, nnd by subsequentl y recoivi nc n presentation copy throu&h the courtesy of the publishers. Precisely similar r emarks appl y to tho Gorman odition, with the exception that no �12 presentation copy was sent to me. Indeed, up to t h e present day, I have not even seen a copy of the German edition . "llhy was the l''l'ench version never published?" aeain asks Mr . Ellis. That can only be answered by its owner. "Wh y were both books (English and German) kept back unt il t he author had de parted this life? " is another query by Mr. Ellis. To this as to t he above I can only answer "t he i r ovmer alone lalows . " He had had both manuscripts i n his possessi on years before they were issued to the publ ic. From the a bove i t will be clearly seen that typographical errors cannot be laid to t he door of Mr . Praeger, although Llr. Ellis has gone out or his way again and again to point out such inaccuracies. But t h ese explanations relieve r r . Praeger of more i mportant insinuations. Mr . Praeger v1as bound by contract to complete a GerMan version by a certain date. As I have already stated some 20 of t he original letters had b een parted with after t he English book vras finished and bef ore t he corranission for t ho German was given. At t he time JAr . Praeger was writing t he German, t he owner of these letters was some t housands of miles away. f ulfil his contract b~. In order to Praeger evidently rendered the English l etters back into German. Had the orig inals been in h is possession or obtainable in any way, undoubtedly thoy would have been inserted. Mr . Praeger had nothi ng to gain by such a course but everything to lose, both time and trouble. Had t ho German proofs been sent to Mr . Praeger when alive, or to his f amily l �13 after death, most assuredl y t he originals 'f1ould have been subs tituted for the German f r om the Engl ish. I cannot but express surprise that ne ither the publishers nor the ovmer acquainted the family with the projected publication. llote on p. 10. Praeger presumably began his book with the preface dated June 15, 1885; it must therefore have b een finished (j during 1887 . Lord Dysart consequently must have kept the MS . of the English version some 4 years before publishing it. ¢ If the preface was v~itten finished during 1885 . last, the book must have been �14 - 2. Thus far Mme . Leonie Praeger; but as some ill- natured people might r egard her ovidence as baing biassed in favour of her husband, it wil l be best to add independent evidence on the subject . My mother, Anna Cyriax, wrote out the following state¢ ment of the circumatancas:Mr . Ferdinand Praeger, whose pecuniary circumstances at the time were not affluent, had made a contract with Lord Dysart (president of the London branch of the Wagner Society) . The letter had asked Praeger to write his recollections of Wagner for him, offering a sum of money for doing so; Praeger accepted his offer, and bound himself to supply a certain amount of manu- scr ipt to Lord Dysart each month until the book should be completed. In this MS. were to be included copies of Wagner's l etters to Praeger as references to Praeger' s narrative, and in order to complete the wor k; these letters however had been sold some time previously by Praegor to Lord Dysart, so that Praeger himself no l onger had the originals. \v.hile Praeger was writing the book, Lord Dysart went abroad on a long tour, and was for some time inaccessible to Praege1•, t:ho letters from Vlagner being in a safe in Lord Dysart's private residence. During Lord Dysart's absence Pr aeger had to ful fil his contract of supplying a certain amount p This document, entirely 1n her ovm handwriting, be produced for inspection in a court of law if al so the one by Mrs . Forman that is g iven next, other documents in my mother ' s writing relating can of course desired, as and also all to the ease. �15 of manuscript each month, which was duly sent to the person entrusted by Lord Dysart but whose name I do not recollect . In consequence of Lord Dysart's absence, Praeger found himself in a dilemma as regards the letters of Wagner to himself, for he could not obtain copies of them during Lord Dysart's absence either for the purpose of verifying certain points in his narrative referring to times long past, or of making copies of them for inclusion in his book. He had with him, however, translations of them into English, and in order to fulfil his contract and complete the manuscript he re-translated them into German as best . he could, leaving it to Lord Dysart to check his re- translation by the originals later on when he returned to England. Dysart, hoVIever, soon after l'raeger's death sent the Lord MS. without revision of any kind to a publisher, and Praeger having died in the meantime never saw the proofs, and never even had a chance of putting the manuscript in order, nor did his family know anything of Lord Dysart ' s intention until the book was actually published. The letters vmich Praeger had tried to reconstruct as a purely temporary measure were never checked against the originals , nor was any effort made to revise an unrevised manuscript . Mr . Praeger was a great friend of our family, and Praeger often discussed with my late husband Mr. Julius Cyriax (member % and for a time Honorary Secretary of the Wagner Society) in my ¢ i . e . , of the London Branch of the Wagner Society. �, 16 hearing and on many occasions, the embarrassment into which he had been brought by Lord Dysart ' s absence. Praeger died 2nd. Sept . 1891, and his book was published Fob . 16th. 1892 by Longmans (7/6) . On page 279- 280 of Praoeer ' s book i s given the text of a l etter written by \'IQ8ner 1n Pl'9nch to Hrs . Praeger. The oriei nal of this letter is in the pos session of my son Dr . Edgar F . Cyriax . Anna Cyriax. April 1932 . Further, !'rs . Forman ("Alma Murray") , widow of the late Alfred Forman (who translated the "Nibelungen Ring" into English alliterative verse, and who also translated into English various others of Wagner's librettos), wrote out t ho following statement in confirmation of my mother's account:49, Come1•agh Road, \lest Kensington, W. l 4. "I have read t he original manuscr!pt, dated April 1932, in r.:rs . Anna Cyriax' s own handwriting, gi ving an account of cortain circumstances relating to the publication of t he late Ferdinand Praeger's book "Wagner As I Knew Him", and more especially the difficulties arising from Lor d Dysart's absence from England . Accordine to my recollection, it gives an accurat e account of the circumstances . I would add that I hearcl t he sub ject discussed at l ength, on several occasions, between my late husband, Forman, and ~~r . ~·r. B. L. l!osely, both of' whom were honorary members of ¢ the committee of the i"agner Society . Alma Mary Forman. 20th April 1932 . ¢ Alfred i. e . , of the London Branch of the \1ogner Society . �17 III. A very obvious critici3m may here be dealt with. It may of course be urged that Praoger ' s temporary expodiont of re-translating the letters into German showed too littlo sense of an author's responsibilities; which is of course truo as far as that particular matter is ooncorned. But Prnoger was essentially an honest man, and in t hat one matter he acted not out of natural unscrupulousness, but out of sheer simplicity and too groat hopefulness . I t must always be borne 1n mind that ho was expect- ing Lord Dysart to tako tho publication in hand as soon as he returned to England, when of course the toxt of the letters would have to be checked against tho originals. Nobody ,.;ould have boen more horrified than Praogor at tho idea that tho text of tho letters should bo unroliablo in tho printed book; his device had boon the merest stopgap, and in using it he had not even the faintest inkling of tho trouble that would ultimately ensue. Furthor, Praeger was an intelligent man; even if - to suppose J what is absurd - be had wantod to act fraudulently, ho would not havo exposed himself eo rooklosaly to detection. Why, then, did not Praeger sot things right as soon as Lord Dysart returned to England? In the first place, he was constant· ly expecti ng the publication of his book to be taken in hand, and as regards this he could not hustle a wealthy patron who found reasons of his own for postponing it, more especially as the said patron had acquired all the legal rights concerning tho book, and was the only p erson capable of exercising them. In addition, �18 Praoger was not financiall y pr osperous , and had to set his mind upon har d work in order to earn a living f or himself and his frum1ly; to this was added a great deal of illness, including two operations, during the last too years of his life. The i mpartial reader can readily surmise that it was ono of Praeger's great disappointments that h is book was never published during his lif etime. ' I t must not be overlooked tha t as time went on, and Praeger waited in vain for the publication of his book, he probabl y forgot his temporary expedient of re- translating the letters into German. ~ Note on the reliability of t he text of Praeger ' s "Vlagner As I Knew Hi m". \'/hen the English text of the book \7as finished (in 188 7 ), a copy of it was sent to Lord D.ysart, and t he only MS. of the German text was sent t o Lord Dysart not very long after. As already stated, Lord Oysart had these two manuscripts in his keeping for some years, and Praeger d i d not see them again: t hey were not published until after Prceger ' s death. In the German edition, published by Carl Duncker of Berlin , t here are certain discrepancies as compared with t he English text. Moreover t he references to Sainton as being still alive have been altered from present to past in consequence of Sai nton' death in 1890 . Whoever VTas responsible f or any such alterations t hat took place , it cannot possibly have been Praeger himself . �19 Frau Cosima V/ngnor having caused t h o Gorman e dition to b e suppressed and tho plates to bo destroyed , it is presumab ly impossi ble to r i nd out what exactl y was dono in Germany to the Gorman t ext . All that 1s necessary is to warn readers that tho German text can be regarded as s t andard alwo.ys bearing 1n mind that i t was never r evised by Pr aegor ror publication as it shoul d ho.vo been. Chamberlai n bases his criticism in the main on the German t ext , and 1mputoo to Praeger faults Whi ch are not his . I t may be object ed that Praoger ' s MS . ought to have been thor oughly r evi s ed (excepting tho t ext of the letters that wero at the time i nac cessibl e) bororo being sont to Lord xxx. 'nt i t so happened t hat Praegor and his family mi s takenly believed this to have been done . \'i'h en Praeger wroto "'7agner As I Knew Hi m" he was unable to arror d a secret ary . But he had friends who off ered to help him; and one of these was Honry Edwards , whose younger br other l ater married Pr aoger 1 s daughter . Honry Edwar ds undertook to go to the British Museum, verify tho corr ectnes s of all extract s and quot ations , ascertain the correctness of dates and so rorth . Unhappily he wil ful l y decei ved Praoger ; and the fact was not • discovered until Praeg er's book was published, having been s ent to pre ss without the knowledge of the Praeger fam ily . Henry Edwards sai d that he had verif ied everything to bo cor r ect ; but i n r eality he had shir ked the "or k , and instead of going to the �20 Br1 t1sh ~useurn he had gone olsowhere. This fact become latown to our family within the f1rot fow weoks after tho publication of Praoger ' u book, when certain 1naccurac1os had already booome nw.n1f est. I mysolf often hoard it alluded to; and I romembor '.u-s. A. Schroibor, nbo at one tillle ¢ was pt•opnring n reply to Chomberla1n, rororrln8 to 1t in torma or groat disgust. ·-------- ¢ . Houston Stewart Chamberlain was born in 1856 ; ho married Eva \',88ner in 1908 ; he become a naturalised Oennan in 1916,and died in 1 925. �21 CHA l"l'f:t< II I . The truth of tho account given in t ho previous chapter is attested not only by members of the Praeger family, but also, as . I have shoVJn, by my mother (lr!rs . Anna Cyriax) and ' rs. Forman ("Alma Murray" ), who knew of the circumstances at tho time. was indeed so well known that ~·rs. It Schreiber roferrod to the matter very clearly and at sOMe length in the "Uusieal Courier" of llew York of June 26th. 1895. to Ashton El l is (vide J~sical It was exceedingly woll known Standard of ay 26th . 1894). And it was also well known to Chamberlain (vide t:usical Standard of l ay 5th. 1894) who had road Ume. Praeger 1 s articles. Indeed, the truth of Mme. Praogor ' s accounts as to the re- tranolat1on (meant to be merely a stopgap) of 1'/agner's letters to Praegor was assumed to be generally known to and accepted by the public in general, as is shown by tho long leading article in the l usical Standard of June 2nd . 1894, which sums up the controversy as well as the editor felt that ho could do, althouth wo now know that he was unwittingl y unjust to Praeger . Wot very long aftor it seems to have occurred to Chamberlain that his r eputation with the German public would be enhanced i f unknorm to it he woro to suppress enti rely the well-known facts set forth above . At the time that he published his original criticism (1893) of Praogor ' s book, ~!me . ~onie Praoger had not yet made publ ic the actual facts, which she did in 1894; but Chamberlain had been clover enough to show that tho letters in �22 the German edition or the book had been translated from English back into German. In his book "Hichard r:agner an Ferdinand Praeger " (second edition 1908, reprinted 1912) Chamberlain deliberately ignores tho facto ~de public by l~e. Praegor in England in the year 1894, in order that tho German public should roma1n ignorant ot those facts, and so enable h1m moro plausibly to bring not only tho letters (as given by I'rnegor) but also r rnoger 's boolt in gonoral into disrepute . Tho second oo1 tion or Chru:!borlain' s book "Richard \':agnor an Ferdinand Praegel' " contains the following:- -1. -23 .. - Preface . Alleged gonuino text of Wagner's letters to Praeger . Reprint of Chamberlain ' s "first criticism" or Praegor 's book in the Dayreuther Blatter of 1893. -4. -5. Reprint or Chamberlain' s second 'briticism" of Praegor 's book in the Bnyreuther nlattor of 1094. A brief Postscript. It is interesting to noto that the last paragraph of (3) has been omitted in the alleged reprint, and that tho last two parasraphs of (4) have likewise disappeared to make room for an ontiroly frash page or matter . The r eader is not informed as to . these details, and so cannot know, in the ordinary way, that tho articles in tho reprint aro not quite as they were written. I must leavo it to others to find out whether any other alterationa were made 1n reprinting; it will be enough to deal �23 with tho final form of Chamberlain ' s book as we find it, excepti ng that I shall refer to ono of the paragraphs I have already mentioned as having disappeared. �24 CHAPT!i:R IV. PRA!~GFJl' S POWERS I U OLD AGE . Before proceedins to consider the various details of Chamberlain 1 s attack on Praeger, it will be best to deal with a certain sweeping charge of the most impudently false kind. In the EB.yreuther Blatter (p . 29) of January 1894, !Jr. Chamber- lain, in the final paragraph but one or an article full of outrageous falsehoods on Prnegor, wrote as follows:"As against this (i . e . certain theories dismissed by Chamberlain) it is very important to loarn that already t'1enty years before his death Praeger was almost blind, and that he fell prematurely into senile decay and comparative irresponsibility. " (Sehr wichtig 1st es dagegen zu er fahren, dass Praeger schon zwanzig Jahre vor seinem Tode fast erblindet war, und dass er frubzeitig in einen zustand greisenhafter Schwache und relativer Unsurechnungsfahigkeit verfiel . ) Upon this statement, be it noted, Chamberlain founded a theory (see t he same paragraph) that what he regarded as the "malice" of Praeg er 1 s book \'las tiue to somebody who, while professing to help Praegor, took advantage of Praeger's alleged senile decay to incorporate in 11\'lagner As I Kne\7 H1m" his own evil i maginings. Thi s t heory i s so ludicrous that it deserves to be recorded for the s ake of t he "gaioty of nations". It is to be remarked that when Chamberlain reprinted this �25 article in his "Richard \"'agner an 'erdinnnd Praeger ", he omitted the paragraph that I have uingled out, and substituted another one. But I have not been able to discover that he over withdrew, much l ess apologised for the statements contained in it, more especially his foul falsehoods r egardi ng Praegor ' s rental state in his old ago . I draw special attention to the fact that Chamberlain did not state from what person or peroonu he drew his infornation, and that he failed entirely to pr oduce any real evidence in support of his sto.tomont. He \7as fond of making swoopi ng s tatements of tho most sland&rous ki nd upon no bas is of fact, wher eas I regard it as my duty to produce the moat unimpeachable evidence that can be obtained. !n the ~usical Standard of earl y in 1894 Ashton ~llis h nd lll'i tten: "It is known that F'erdjnand Praeger's powers were failing in the Ja st fO\T years of his life . " '1no . r,donie Praegor, the wi dow of the deceased composer, in the course of her series of articles in tho same paper, wrote as follows (April 21st . 1894) i n ans?;er to this charge of Ashton ~llis:- "Soma tlme after tho completion of both versi ons of •wagner As I Know Rim' ~r . ~lish and German Praeger was commissioned to wr1 to a work upon "The Art or Compost tion with Numerous Original Musical Ulustrat1ons " . This work, written whilo ho was actively engaged i n his ordi nary occupati ons of composina and t eaching , occupied about two yoars. I t was 'road ' by the musical adviser or n l arge �26 "London publishing firm. The 'reader' is a well- lmown professor of the Hoyal Academy and a ref erence to him would speedil y dispel any suggestion of failing powers, and consequently of any incapacity on tho part of l.'r. Praoger at the time ho was writing ' Wagner As I Knew Him'. I may add that up to his vory l ast hour he was activel y ongaged in musical composition. " This statement or lme. Praeger can of course be corroborated by all the members of tho Praeger famil y. It was so entirely irrefutable that lr. Ashton Ellis in reply to Mme . Praeger did not even make the smallest attempt to refute it. And Chamberlain was likewise so completely unablo to refute it, that ho deleted from subsequent reprints or his article in the Bayreuther Blatter the paragraph containing his libels on Praeger's old age. Houston Chamberlain did not know Prneger personally, Tmich made it easy f or him to invent what suited his purpose . I wrote ev~dence, . abov~ that I r egarded 1t as 1:171 duty to pr oduce and therefore I add the f ollowing:A Statomont_ cpnoor~!IS. a vi sit P_!.id by nyselt (Anna C;yriax) to Ferdinand Praeger shortly before his death, wh,ch took pl ace on Sept . 2nd .l891. It unhappil y bocnme necessary for our excellent and valued friend Mr . Pordinand Praegor to undergo a severo operation. This took pl ace 1n tho year 1891 . I t was for the time b eing successful, although his death �27 unhappily fo l lowed later on . ~ A short tho before ho :l1od, uy husband and I r..>nt to0 ether to pay him a visit at his Shepherds Bush, ho~o, Lansdowne, 23 ~raekonbury Road, \,o found h1m vary ill 1n bod, but his \'1 . 1ntolleet and his mental faculties wore entirely unimpaired by his illness and by tho pain that ho suffered . freely ~1th lie conversed us during tho t1mo we sat at his bedside , and his conversation was quito in tho old friendly style . I can certify that any statenont to tho otfoct that Ferdinand Praeger 1 s faculties were impaired even shortly beforo he died• 1s merely e stupid and malicious invention. I can add that he cavo lessons in Gorman and plano playing for years to my children until w1th1n a few months or his doath. Annn Cyriax. Aug. 7th. 1!>32 . In concl usion I would add my own testimony. I had plano l essons from Ferdinand Prneger during tho space of at least ten year s; and as my mother testifies , they only ceased a row months before his death . Like my mother, I can testify that any s t ate- ment to the effect that Praogor 1 s faculties wero impaired evon shor tly before his death 1s merel y a foolish and random assertion. I ought to add that during the last year of his l ife hoalth and strength were obviously fa111ng . Praeger ~ Occasionally 1t happened that during his l essons to me he suffered a sudden and severe a t tack of pain. ~ ho . 1 . e . , Praegor . This \fOuld divert h1s attention from the �28 loason, which for a minuto or two was suspenJed, and whilo rocovox·ing from his apnsm ho v10uld seek refuge 1n tolling mo something of his exporiencoo of earlier dayn, l'lith regard to which his memory soonod to be very good. I can remember nothing that indicated in any way that his mind was not quite cloar. --- ---- - �29 Cli/,PTJ.:R V. ','fA~'~IER ' ~ J'HI 'l'DSHIP r:I<;>:". PRi.I:G -;p One or the things to which Chamberl ain has devoted particul ar attent ion is an al l ogod gr eat dimi nution of tho r r iendship bot woon Wagner and Praogor, which he also a s sor t ed was never charact erised by any r eal intimacy. Thus he wrote on p . 129, aft er vari ous very doprooiatory remarks about Pr aeger "a rriondship of the closer kind never existed" {ein naheres verhaltn1s hat niemals bes tanden) . ~j agner lie tried to make out (p . 129) that regarded Praegor as bo1ng an insignificant person, !:rom whom Wagner k i ndly accepted many small services for which he . woul d not havo troubled more important poople. llo referred (p . 130) to what ho called Praeger's foolish conceit in imagining that he h1JMelf and riagner understood each other so well. On P • 151 he wrote that 1n "truth Pr aeger was ontJ.rely unjustified in speaking about •ragner, both as a human be~ and an artist" {in \lahrhe1t war Praeger vollig unberechtig t, uber Wagner - savohl. als Yenschen wie als Kunstlenzu sprechen) . On p . 181 he wrote that when \7agner came to London in 1877 he ·behaved vory cool ly to Praeger, hardly r eceived him, and did vthat he could to rid hi msel r of his t edious society (dass ••••• or s1ch sehr kuhl gogen Praeger bennhm, da kaum empring und all os t at, sich von seiner lasti gen ges ellschaft zu berrei en) . As regards this last, Chamber lain could not quote tho name or oven a single witness to what be said ; he coul d not oven pr oduce a tittle of evi dence - �30 which is not surprisi ng , in vie~ of t he fact that he impudentl y invented whut are simply falsehoods . I t ia now my duty to produce evidence as to \"iagner 1 s sincere and deep fri endship f or Praeger, nhich remained undiminished as l ong as they l ived. l'raeger 1aar ried in t he year 1849. In the year 1855 (as rel ated 1n Chap. 1 of this book) Wagner came to London. To begi n wi th he actuall y s t ayed awhil e with the Praegers ; then when he had t aken t wo rooms near by, he t r eated the Praegers ' house a s his real home until he l eft London. t~e. Praeger had thus ever y oppor tunity of seeing what intimate fri ends Wagner and her husban became. In the Musical Standard of April 28th. 1894, !,:r.to . Ldonie Praoger wrote in answer to Ashton Ellis: - "I have myself heard Wagner tell my husband that be had never met onyone YThO so thoroughly understood him. And, f retn that understanding , sprang a f r iendship so fast that neither nbflence nor silence coul d a1 t or . 11 (note. r.:mo Praeger boi ng a b orn French\/Oman did not always express herself in perfect English. ) On anotbe1• occasion (soc Chap. l of this book) trrn.e Praeger wrote that she had hear d Wagner tell her husband (towards the end of his visi t of 1855) "that he had met no one yet who had done so . i n everything as he did". This sentenco may requ1ro some elucidat ion . Wagner and Pre.eger were both pr otagonists of what was then r egar ded as "modernism" in music; both were t o some extent iconocl ast s ; bot h of t hem, by their championship of new �31 ideas, and thoir r efusal to worship the fashionable shibboleths of the day, had brought down on personal enmity. Praeger had the:o~selvos Wl!lleasurod abuse and syste~atically used tho "Leit- motiv" in his compositions long before Wagner ' s theories had boen made public, and indeed long before tho two men first met; . and if this fact has boon lost sight of, it is because the wealthy patron who bought the copyright or the great bulk of Praeger 1 s compositions has not yet (A. D. 1932) published t hem ; and in view of the tact that Praeger's reore important works are qui to unkno\m to the public, judgment as to his mori ts as a composer must on tho whole be suspended for tho prosont, although of course tho "Praegor Album" Will givo a good idoa of his loss ambitious pieces . (Note . A pianist in search of whnt is un- hackneyed might profitably examine it). ~agner's Further, although enthusiasm f or some or his revolutionary friends had to some extent cooled, a democrat like Praeger was tull of s,mpathy and admiration f or Wagner 's past political activities. Also both men wore full of new idoas, very wall read, and extremely plain- spoken; ns for tho latter , I myself have hoard Praeger say things so unconventional that I con quito understand his offending certain types of people. Again, Wagner had written pamphlets and books, and Praeger had already been writing for some thirteen yours for tho press. So for concerning l!me . Praeger 1 s own reminiscences or tho year 1855. Next, 1n tho Musical Standard of April 28th. 1894, Lwe . Praoger printed the following translation (presumably hor �32 o1m) or part or a letter from Hans von Bulow to Praeger, written in the year 1861:"Highly Honoured Sir, I remember the great kindness which you showed me when in Paris with our mutual, highly honouro friend Wagner. Do write to him, I know he would be very pleaaod, for he is particularly and deeply attached to you, etc . etc . Yours quite devotod Berlin . 26th September 1861 . Hans von Bulow. " I need not quote more regarding the early friendship; for the fact of this letter is generally admitted in spite of Chamberlain's attempts to doprive it of importance. I now submit evidence fran the year 1878, leas than five years before waener died. A Statement concerning Wagner ' s friendship with rerdinnnd Praegor. In tho yoar 1878, I, Anna Cyriax nnd my husband Julius Cyriax, togothor with my two young sons Rudolf and Edgar, paid n visit to Dayrouth. On June 20th. we all went to Wahnfried during the course or the corning, where Wagner received us in the garden . lie wore his black velvet head-covering in which ho has been photographed . Ho took one of my sons on each knoo and said a fow friendly wor ds to each of them; then he asked Siegfried to take thO!II into another part of the garden to pick strawberries . Afterwards, in the course of our conversation J6 by Anna Cyriax. �33 with Wagner and his \7ife Cosima 1n the drawing- room of Wahn!'ried, they both referred to Fer dinand Praeger, whose son Richard was R. Wagner's godson . Wagner had recently received the news that his godson having gone on a sea-voyage for the benefit of his health, had not been hoar d of for many months, tho vessel had pr esumably been lost, everybody on board having apparently been drowned. They both expressed themselves greatly concerned at the calamity and begged us to go and see the Praegers as soon as possible after our return to England and do for them what we cou in their distr ess. From this incident as well as from Wagner's speech in sole honour of Praeger on May 22nd. 1877 I can testify that any assertions to the effect that Wagner's early friendship vrith Praeger had cooled down 1n later years, are quite untrue . August 1932. ------------- Anna Cyriax. On June 23rd . 1878, three days after the conversation between Wagner and my parents related by my mother above, Cosima Wagner wrote to Praeg~r calamity referred to . in her husband 1 s name regarding the The text of the letter, translated by Mme. Praeger into tinglish , is printed in the Musical Standard of April 28t h. 1894, as follows:"Dear Friend, - It is impossible at this time to remain silent or to speak out . lAy husband presses your hand and sends you word that if your heart is not too sad, will you come and pay us a visit. I know you do not mind receiving through me the expression of his feelings , and, in sadness, �34 "I also add rrry own greetings. 23rd JWle. 1878. Cosima flagner." At tho end of her statement my mother refers to Wagner's apoech 1n solo honour or Prneger at the banquet at Cannon Street Hotel. This speech, and indeed tho events or the ovening in general, have been so distorted by Chamberlain and his like, and tho wealth of evidence that must be brought forward is so great, that the subject must bo dealt with in a separate chapter. Note. In Glasenapp 's "~a Leben Richard \7agners" (2nd. edition Vol . 6. p . ll2) occurs an account or the events or JWle 20th . 1878 of whi ch the following is a translation:- "On the 20th. JWle he (i.e. Wagner) was visited by a faithful adherent with his family from London (whore they lived) namely Julius Cyrin.x, whoso two young sons he took on his knee and petted 1n a friendly manner. With him (and his w11'o) he (i . e . Wagner and also Cosima) made a beautiful excursion to the Wnldhutte, which lasted tho whole afternoon and even1J18, and during which it beclll!lo evident while walking through tho woods, that Wagner, or all the party, was tho youngest and most unt1ring . 11 ' (Glasenapp calls my father an "adherent" (anhnnger) of Wagner J he seems to have been ign~rnnt that my father was also n personal friend of Wagner . ) My parents duly complied with the desire of Richard and Cosi ma Wagner regarding Praeger, and on JWle 21st . 1879 Cosima �35 Wagner wrote to my parents as follows:"Thnt you are concerning yourselves for Praeger is very friendl y of you ; t he unhappy earme") and excellent man deserves it, for no outward or inward fortune has smiled upon him. Pray be thanked for your sympathy • ••• " Bayreuth June 29th 1879. C. Wagner . Original German Text of above:"Es est sehr freundlich von Thuen iss sie sich Praeger ' s annehmen der arme & vortreffliche mann verdientes , koin ausseres und ke1n inneres gluck hat 1hm gelachelt. sie dank fur thre te1lnah!!1e ••• " Bayreuth 29. June 1879. c. Wagner. Raben �36 • CHAPTER VI . Statement (by Ann£.. C;yriax) concerning Richard Wngn,e r 's speech about Ferdinand Praeger, delivered at tho banquet in Cannon Street Hotel on tmy 22nd. 187~, which was ~ivan t~ Richard Wagner by the German conmrun1ty in London. "On May 22nd. 1877, I was present a t the private banquet to Richard Wagner in Cannon Street Hotel. 'l'he banquet had been arranged for gentlemen only, but as it was desired to do honour to Frau Cosima also, she had been invited to dine at the same time wit h a few l adies in a small room upstairo. I had the honour of receiving and greeting Frau Cosima, beside whom there were present Mrs . Dannreuther, Frau Materna, Frau von Ernsthausen, Mrs. Harrer and a few others. i'ih1·le we were still in the small room at dinner, Richard Wagner himself came in to us, sat down at our table, and spent a few minutes chatting '71th us ladies . After dinner the ladies adjourned to the gallery in order that they m1eht watch the proceedings below and hear the speeches . From my seat in the eall ery I could hear with perfect clearness every word of the speeches doYm b elow. To my husband .Tul1us Cyriax, for a long t ime honorary secretary of the (branch of the) Wagner Society in London, had been allotted to propose the toast of Dr. Hans Richter coupled with the names of those artists who had taken part in the Wagner concerts at the Albert 1Ial1. X May 22nd . was Wagner's birthday. ¢ Note. At this time my father Julius Cyriax, who was a native of Gotha, was already a naturalised Englishman. �37 "The following extract concerning the speeches is COP.ied "}i from my husband 1 s unpublished memoir .f Richard \1ngner:'Von Ernsthausen held the f irst public speech, and proposed the health of tho Meister . Pointing to Dr . Harrer he said: "I am not an orator as he 1s", and quickly to an end. brou,~ht his speech Wagner, in a long and del!ahtful speech, returned thanks; his heart was f u ll, and ho was visibly moved. He eMphasi sed how elated ho folt to have come from his hermit's l ife in Bayreuth into so groat a co~pany; unhappily no stenographer recorded his words, but they made a deep impression and electrified everyone prosent. After this Dr. Harrer spoke in a rather ecsta tic manner , ¢¢ del ivered the present to him (i . e. Wagnor) and broke suddenly into tears, which brought his speech to a premature close . Mter t his I proposed t h e toast oi' the artists who had taken part 1n the f estival. Ri chter returned thanks, said that thoro was onl y one groat Moist er, then embr aced him etc . • The Meister t hen asked f or silence for yet one more toast (intently we wondered whom he would name) and drank a glass to t he health of "his oldest and best friend in r..ondon", Ferdinand Praoger, in whose house ¢ The original text of this is in German and will be found in t ho appendix. Tho volume can of course be produced in a court of law if required; it was written most carefully by my father in conjunction with my mother. ¢¢ The birthday present to \'lagnor . statement. See the latter part or this �'h e had l ived in 1855, and to whom more than anyone else ¢ he was indebted f or his visit to London and later results . Praeger returned thanks, being obviously moved, and said that this was "the greatest day of his l i f e" , and then praised Wagner's genius in such h i gh terms - "may the hounds bay at the moon, but thou art the greatest of all" (or such like words) - that at the end of Praeger 1 s speech the Meister again stood up and said loudly "I call the speaker to order'. " I can a t test the accuracy of this account, having heard all t he speeches. Wagner referred in his s econd speech, Which was quite spontaneous and unexpected, to Praeger only, not tp anybody else . (Note. The first speech was the one in wh ich he returned t hanks to Herr von Ernsthausen who had proposed his health as the guest of the evening). I t follows that Houston Stewart Chamberlain's s t atement made on p . 146 of the revised edition of his book "Richard Vlagner an Ferdinand Praeger" that \Vagner referred in that speech to all his I.ondon friends is a pure invention. I would especially draw attention to the fact that he does not quote a single witness in support of his statement. I woul d add that the birthday present given to Wagner in the name of the company by Dr . Harr er , after previous consultation with ¢ r~au Cosima and at her suggestion was a large portfolio See the l ater chapters on ~agner 1 s visit to Engl and in 1855. �39 containing a series of sixty photographs (autotype) of Michael Angelo's frescoes in the Sistine Chapel. In conclusion I mention that a description at some length of the proceedings of the evening was written by my husband and published in No. 14, dated Sept. 12th. 1884, of t he newspaper "Parsif al", edited by Kastner and brough t out by Edwin Schlemp in Leipzig. My husband refers to t hi s article in his unpublished memoir of Wagner. July 5th. 1932. ----------- Anna Cyriax. " To this statement that has been drawn up by my mother , must be added the following. The ma1n facta related in it have always been common knowledge among the members of our f amily. I myself when still only a boy often heard them f rom the lips of my father years before his death in the year 1892, and certainly years before the publication of Praager's book; the first time . om not have bean long after the death of Wagner himself. I have also heard them from the lips of my excellent friend Alfred Forman (translator of most of ~Pgnar's librettos, especially of the Niebelungen Ring into alliterative verse), who was present on the occasion. I heard them discussed in detail by various people when the controversy arose about Praeger's book; but at that time I was too young to do a.>lyth1ng in the matter, and Mrs. A. Sc_hreiber, who has since died, was engaged in preparing an answer to the attacks of Ellis and Chamberlain, ,.,hich however has not yet seen the light. My attention was again directed to �tho matter through reading !lr . Ernest Ne'Milan' s innocent rehash of • Chwnberla1n' s venom in his book " Fact and Fiction about Wagner" . -- - - --- --- - �41 CHAPTER VII I t is conceivable that certain libellers of Praegor would profess not to be satisfied with the evidence brought forward 1n the last chapter; and in view of tho misrepresentations that have been current for so long, it will be best to devote a further chapter to corroborative evidence, all dating from before tho publication of Praogor 's book . In the J.lusical t.orld of Doc. 7, 1889 , Mr. B. L. Moseley (founder of the London branch or the Wagner SOciety) wrote in the course or an article on l'raeger as follows:" It was to Praeger that '7agner, when in England in 113'1; • at a great gathering of Teuton Songsters, proposed a toast the only one given by the Meister - which can never be forgotten by those who were privileged to be present. In touching terma Wagner referred to the champion of his early days ' der Treu 1 sto aller Treuen ••• der Freundlichste der Freunde 11 • begging his hearers to unite with him in drinking to the health of one who, be added with tragic emphasis, "was with me in tho wilderness." I t may be rerarked that the German words quoted by Wagner • were from the libretto of Tristan and Isolde; but be altered the accusative case to the nominative, and the two phrases are not actuall y consecutive in the l ibretto. the "wil derness" sentence were 11 The actual German words of Er war mit mir in der '.\tate 11 • In the Musical News of Sept . 11th. 1891 appeared a two- column �' • 42 biogr aphy of Praeger written by E. H. Turpin, Mus . D. (later Warden of Trinity College of UUsic) . It begins as follows: - "The death, on September 2nd.,of this eminent musician deprives the art \'Torld of a prombient f i gure, and ranoves not only a composer and teacher of marked power and influence, but takes away one of the few remaining life-long f riends of Wagner . At the banquet gi ven to Wagner at t he Cannon St . Hotel, s ome fifteen years ago, the only toast Wagner himself proposed was: 'The truest triond, Ferdinand Praeger • ••••• f or he was with me in t he darkest hour'. This last sentence was t hought to have special reference to the period thirty-six years ago, when t he Times critic, Davison, asked 1 \'lho are the champions of \'Jagner? Madmen like Liazt and Ferdinand Praeger . ' " In the Musical Standard or Jan. 26, 1884, appeared an article on Praeger referring to the Wagner banquet; I am informed by Mrs. Leonie Edwards (nde Praeger) that it was written by Mrs . WyattSmith. The latter made one slight error; it was not in his speech responding to the toast of his health, but in a second, . unexpected a."ld spontaneous speech that Wagner proposed Praeg er's health. In the course of her article she wrote: - "When in t he May of 1877 a banquet was given to Wagner in London at the termination of the Al bert Hall Y.lagner series of concerts, that great master, in responding to the toast or h is health, declared before all, that it was Ferdinand Praeger who ~ had introduced him to London, who had alone understood him, and ~ See Chapter XXV on Wagner 's visit to London in 1855 . �43 h al! unflinchingly stood by him in spite of all calumny, and that he owed htm an immense debt of gratitude, and begged to propose with a fUll heart tho toast of his valued friend. This, it is almost needless to say, was received wi th acclamation. " I have a copy ot this extract in my own writing, h aving taken it \vhen preparing this book. Uy mot her added below it t ho f ollowing:" ! certify tho above to be a correct epitome of V:agnor 's speech. Aug . 6th. 1932. Anna Cyriax." In the Uusical Standard of Sept. 1891 appeared a biographical notice of Ferdinand Praegor by his son Uiltred Praeger. It should especially be noted that this appeared some time before his father's book "Wagner As I Knew Him" was published , nor did anyone venture to impugn tho facts stated until Chamberlain started h i s campaign not in England but in Oormany and i n the German language, 1n the year 1893 . l4r . In the course of his article \Ulfred Praeger wrote:"At tho banquet givon to Wagner at tho Cannon Street Hotel 1n 1877, the J.!e1stor pronounced but ono toast, asking tho company to drink to the health of ono who had suffered t hrourp his faith in htm, his staunch friend, Fer 11 l8Jld Praocer . " ------------On Uarch 9th. 1888 , my father referred to ~agner's speech about Praeger in his lecture entitled "Go to Bayreuth" bef ore �44 tho London Branch of the ~agner Society. or this lecture, i.:r . Ashton Ell is, who together with Houston Chamberlain made himself notorious by his attack on Praeger 1 s a lonG repor t in tho ~eister 11 \Tagnor As I Knew Him", gave (of May 22nd . 1888) the official organ of tho London branch of the Wagner Society. It 1s true that Ashton Ellis did not actually sign his editorial report, but 1n a later number of the Meister, 1n an obituary notice of my rather (Nov . 14tn. 1892) he refers to tho account "which I almost had tc. force tho modest lecturer to let me print". Thus we know that even i f that account had been written by anyone else, it had the editorial endorsement or Ashton Ellis, who was himself actually present at the lecture, and his obituary notice shows what he thought of my father; his report, hO\'IGVer, occurs in the regular "Notes", which were all by Ashton Ellis unless signed by the initials of someone else . And it 1s particularly noteworthy that Ashton Ellis thus himself gives his editorial f6 endorsement to what my rather said about Wagnor and Praeger. The f oll owing extract is taken from Ashton Ellis 1 report of my father's lecture 1n the Moister of May 22nd. 1888: - "He (i . e . Julius Oyria.x) recalled the fact that, when in tho year 1877 tho German "Liedenkranz 1 of London entertained Wagner at a banquet, at which were assembled all tho greatest representatives ot art, the Meister proposed one toast, and one only, t hat of the health of his old triond and supporter, Hr . Ferdinand f6 See, however, tho next chapter. �45 Praeger, 1n these words: "Er war mit m1r 1n der V:Uato" with mo 1n the wilderness) • 1he was f1 lolr Praeger had, as early as 1855 begun the work of advocacy of \ agner's genius which the Wagner Society is now carrying on; Wagner never forgot his services, and showed to him a gratitude such as that ho always showed for Li s zt. " To my copy of this extract my mother added tho following:"! certify that tho report in the ' Meister' of Uay 22nd. 1888 of~ husband's lecture, Julius Cyr1ax, 'Oo to Bayreuth' was written by Ashton Ellis. Aug . 13th . 1932 . ~ Anna Cyriax. " Praeger's first public advocacy of Wagner in England was an article on tho performance of Tannhauser in Germany, printed in the 11 Hnglish Gentleman" of October, 1845. �46 CIIAP'I'BR VIII CHAtiBBRLADl and GLASENAPP ------------------------- -1 . Chamberlain At the banquet to Richard Wagner (see Chap. VI) at Cannon Stroot Hotel on l!ay 22nd. 1877, \Vagner said ( 811101'18 other t hings) of Praogor "Er war mit mir in dar Vluste " (he was with me in tho wilderness). These words were quoted correctly by 1n the ~usical ~e. Ldonie Praeger Standard not only or April 21st . 1894, at tho head of her reply to Ashton Ellis, but a l so at the head or each other part of her reply (i . e . tho numbers of April 28th. and lday 5). They wore quoted correctly by Ashton Ellis himself in tho l4eistor or May 22nd 1888, and in the Musical Standar d or J.lay 26th. 1894 . And they Ttere quoted correctly by my father 1n his lecture "Go to Bayreuth" given before t he London branch of the l'.agner Society on J.larch 9th. 1888; the words aro inserted in his own handwriting 1n tho manuscript of his lecture by tho stenographer, who did not understand German. I may add that I havo frequently heard the correct words quoted by my father , who was present on the occasion when they were spoken. The f irst word "or" (ho) has boon dol1beratoly corrupted by ¢ Cluxmborla1n to 11 diesor" (this one. or this man) • in o. fraudulent o.tt8!11pt to make it appear that \'fagner referred to Praeger only among others; whereas ~agner 1 s speech was in sole honour of f6 It need hardly bo said that Chamberlain was not present at the banquet. �i Praeger and nol>ody else . 47 Moreover Chaml>erla1n, as so often, has not even attempted to quote the name of even a single ~itness in support of either his distortion, or his falsehood that Wagner's speech referred to his London friends in general. Thos e who are curious as to Chamberlain's methods are referred in respect of this matter to p . l 46 of the second otU.t1on of his book "Richard Wagner an Ferdinand Praeger". 2. Glasenapp. A further statement concernins tho banquet at Cannon Street llotel g1 von to lUchard Wagner on May 22nd. lei77 . In Glasenapp 's book "Das Leben Richard \'lagners" (2nd . eq . vol.5 p . 357) is contained a certain statement relating to the banquet that is entirely at va~iance with fact . Glasenapp, who was not pres ent at the banquet, states t hat f6 Praeger "although uninvited appeared at it (!) " simply outrageous . This statement is Not only had Praeger been speciall y invited as being Wagner's oldest friend in London, but also he had been specially and deliberately placed at table directly opposite to Wagner. I saw him there myself' from the gallery just above from which I heard all the speeches, and it is out or the question that I could possibly be mistaken in the matter. The simpl e i'act is that Chamberlain was clever enoueh to succeed in poisoning the minds of many adherents o f Wagner in Germany, and so to make them ready to swallow anything that he told them. Aug. 14th. 1932 . Anna Cyriax . " f6 In the German Socioty of London at the time such a thing was impossible . Anyone even attempting such a t hi.n g would have been promptly and ruthlessly turned out . Praegor's wife was Sl'IOng t he few chosen ladies who heard the speeches from the gallery . �48 In concl usion it should be added that in vol. V. 227, Ashton El lis has deliboratoly falsified the tlrst word or "Er war mit mir in der V1usto 11 to der; although, as I have shown in the previous chapter, he know the correct ------------ fo~ exceedingly well. �49 CHAPTER IX Richard \'lagner 1 s Revolutionary Activities. ----------------------------------------To certain people, the greatest cause of offence in Praeger's book was his statement that in after life Wagner did his best to m1n1m1se , or even deny altogether, his part in the r i sing of 1849 . s~~on up- Praeger 's enemies pounce upon this, as if it wore utterly out of the question that Wagner could have acted in a way that ·was so very human later f ortunes . and even natural considering his El l is and Chamberlain were apparently furious because Pagner, as they consider, was made out by Praeger to be a liar; they quite failed to realise the influences that were brought to bear on Wagner through his marriage to Costma and the patronage of the Ki ng of Bavaria, and that his giving way to them did not seriously invalidate the general honesty or his life , or the greatness of his work and his struggles . There is such a thing as a sense or proportionl On p. 99 of his book "Richard Wagner an Chamberlain wrote as f ollows: - ¢ (Note. "'erdinand Praegor", The original German text 1s g i von belo\'r. ) "There are presumably enough people, to whom it is a matter of no consequence at all whether Wagner took port in the Revolution or not, but who at once scented out what capital was to be made out of tho fact t hat the so greatly praised, exalted master ¢ (Add hero ori g inal German t ext of quotation from Chamberlain} �50 "was portrayod by his 'most intimate friend' as a liar, as a man who 'took the trouble' to falsify the truth; yoa, Praeger says positively on p. 205 (German edition) as a man vmo 'spread an untruth 1 concerning himself. 11 In the Musical Standard of May 26, 1894, Ashton Ellis (p. ·435) wrote:- "Until any particular charge (such as this utterly monstrous ono, of untruthfulness) is Eroved against him, I shall continue to decry 1 t". (And on p. 438) "To mo it matters nothing (sic!) whether Wagner did, or not, what Praeger says; but it \YOuld matter, if' he had done it and then denied it." \'/hat did Pra.egor actually write? of his book he remarked as tollo\vs : - To begin with, on P• 191 11 \'lhen \'lagnor visited London in 1855, tho Revolution and the thousand and one episodes connected therewith were relatod and discussed fully and dwolt upon with affection, but as the years rolled on he exhibited a decided aversion to any reference to his participation. " Further, Praeger related on p. 229 how he persuaded Wagner to lay aside his "r evolutionary" hat VThen he clll'lle to London 1n 1855, and continued 11 As to Richard Wagner ' s democratic principl es, I observed that the solitude or exile had considerabl y modified them . This I noticed to my surprise and no less pain, for, when I anxiously inquired after our poor friend, August Roeckel, he shrugged his shoulders arid said ' Perhaps he tries to revolutionise the prison warders, for tho \'lullers ('Uprooters", a namo of the period) are never at rest in their self- elected role of reformers ! " �51 Chamberl ain (p . 106) denounced these two extracts, both r elati ng to the year 1855, as being so contradictory as to eonviet Praogor or deliberate lying. But in roality they are obviously not contradictory at all. Wagner was stil l ready to discuss the revolution freely "and with aff'ection" as having been a great and interesting historical experience; but tho march of events ho.d proved to h1m that the averago rovolut1ouar:r wos o. person of smo.ll intelligence, that the actual revolution had been hopelessly bungled and was an utter failure, bringing only trouble on those who had mixed in it, and that it was vor-r evident that some of the ideas and even pol itical principles of some of the revolutionists (e . g . Bakunin, the anarchist, cr . Praegor p . l90) wore quito fal so . Furthermore, Wagner ' s exile from Germany had boon largely if not mai nly due to his letter to Roeckol tound on the latter, a fact that may voll have eoolod Wagner's enthusiasm for Roockel. To sot tho so two oxtracts of Praeger against oach other is a false antithesis - a threadbare trick. On p . 151 . Praeger ho.d alrond7 m-itten "Yet 1n after- life, in his talk with n o, I who held documentary evidence under his own hand, of his participation, he in petulant tones sought either to minimise tho part ho plo.yed, or to explain it away altogether . r~unich . II This change of tront I first noticed o.bout 1864, at Olote. 1864 is a mistake for 1065; it is Praeger was a little careless ~bout knOT/Il that datos . ) J �52 Chamberlain actuall y tried to discredit this third extract on tho ~ound that tho date 1865, as narking tho chnngo, is incompatibl e with the second extract given abovo, relating to tho yoar 1855 (p . 229 of Praogor ' s book). But 1n the latter Praegor merely said that Wagner 1 s democratic principles had been modified - a vory different thing from Wagnor 1 s la tor attempts to deny his part in tho revolution. Once more, Chamberlain's nnt1thes1s i s entiroly false; and indeed some of his tri cko are oo silly that I ol.tlost tool inclined to ask in clorision - "Could he understand English Vlben he read it?" In connection with Praeger 1 s state~ent that it was in the year 1865 (not 18641) n t Munich that Praeger first noticed \'/agner ' s desire to minimise his part in the revolution, it must bo borne in mind that it was 1n the year 1864 that Vlagner first came under tho patronage or King Ludwig of Bavaria (Ol asonapp's Life of Wagner, first edition, vol. 2, p.l27). It should turthor be borne in mSnd that tho papal' road by i.fl8ner before tho Fatherland Union on tho 16th Juno , 1848, was omitted from his collected nrit1ngo (in 11 volumes ; Leipzi g from 1871 onwards. \'ihy? As Ellis and Chamberlain have a s sorted in their shrillest manner that Wagner nhon much o l der could not have aenied any action of his earlier yoars , 1t becomes t or an impartial enquirer to ask the questions : - Do somo people change theii' pol! tical op1n1ons , or not, during the course or tho1r lives? Is every man when much o l der anxious to recall, or oven adm1 t, some of �the hot- handed or hot-bl ooded things that he did in his youth? And - more particularly - were thor o cogent reas ons that Wagner 's whol e outl ook on the revol utionary peri od should undergo a gr eat change? Firstly mu3t be cons idered tho influence of Cosima on his lite . Their son Siegfried Wagner was born 1n 1869; and after Cos1ma. had been divorced by Von DulolT in July, 1870, she llltlrl'ied \'lagner on Aug. 25th. 1870. (Note. Minna i'lagner, the first \'life , died at Dresden during January, 1866) . IJ.hat was her history? She was the youngor daughter of L1s zt by the Comtesse d'Agoult (kno\m by hor pon- name of Daniel Stern) • Her el der sister, Blandino, was the soc:1>nd \'life 1>f Er.lile Ollivier, the minister of Napol eon III. on Lake Como . Cosix:la \Tas b1>r n in Dec&rlber 1837 o.t Bellaggio She was educat ed i n Paris; her upbringing and all her e arly l ife were in aristocratic society; ar~ at the age of about 20 she married Von Bulow (in tho yoar 1857 ) , a member or e. Oormsn aristocr atic famil y (his f ather was a writer) . ·t~ell-known How can onyono be surprised if her whole outlook and her tl'aditions wer o or the aristocratic type? To anyone of her vi ews tho bnre idea that her exalted husband had boon acti vely engaged in o. revol ution must have seomod vulgar and hat efUl beyond words; 1f not impossible, hl1on at any rate the 1t to be decently obli terated . mo~ory of If anyone thinks that t his is exaggerated , lot him study some of the outcries of those of the Bayreuth cir cle who divided the world into Bayreuth and "Draussen" (outside) - vide past f iles of the Bayreuthor Blatter ". �54 But further. llhon Wagner vtllB settled at \i'ahnf'riod, d id he livo n 11!o of rovolut1onary fraternity and democratic equality? Vecy f ar from it! ITo \Tns a succe:Jsful man, groo.tly sought not only by the world in gonoro.l, but also by tho most famous people from all quartorG Of tho ClObO. '1ahn.friod, O..S is \7011 lmO\m, became a snal l court, where distinguished people wore graciously rocoivod. That Wagner always relllll1ned true to his f om or rea l friends, tthatovo1• their station, goes without saying; but i t had bocomo Cosima ' s task to preside over this court, to facilitate \"Jngner' s work, to protect h1J:1 from the h urd of merely curious and ~erely thi ck- skinned lion- hunters and sig htseers, and to shiel d h1l:t as f a1• as possible fra:n actual viaitors Vlho become in any way tedious or importunate. This s he did most dutifUll y and efficiently, as rny parents s a" ':7i th their o'I'IJl oyos. But what had this cow·tly graci ousness to do n1th revolutionary aims? not only was this tho sort of homo Wat;ner had in his latter days, but it was 1n tho atmosphere of such a homa that Wagner ' s chil dren grew up . To what wero Wagner ' s easier circumstances duo? In the year 1864, Ludwig, i'i ng of Bavaria , attracted by tho musician's genius, took tho resolution of pr oviding for t he first performance (dUl'ing tho next year) of Trist an and Isolde, the difficul t1es 1n the "&:! of wh!ch had hi thortoo bC!on ins'Ul'Countnb le. It took place on June l Oth. 1865. kno~m It had already become publicly that tho King had guartmtoed Wagner a l'egul nr income in order to enabl e him to continuo his c r eative work. I n January �55 1865 Semper uas consulted by tha K1ng rti th regard to the building of a neu special theatre - the "Nebol'Un8enthenter". napp ' s Life, lat. edition, vol . 2, p .l65). ~·1a.gner (Glnse - And so forth. became the protog$ of a King, and by this also his whol e outlook \'tas utterly changed. How many men woul d , under such conditions, have been pl eased to remember earlier r evolutionary activities? And 1f 17agner then tried to min1ro.1s e the l a t ter , surely i t was in tho main not so l!IUCh an unscl'Upul oua and deliberate falsehood, as a forces . ~as ~agner b1~an yiel ding to vory potent a fallible human being or not? And if Wagner in thin one lllatter did not act up to his highest standard , it 'tJB.Y be askod - Hot? ma!ty men do nl?tays act up to their highest standar d? Chamberlain and Tillis' vi rtuous indi gnation at the mere i dea thnt Wae;nor cou:).d hnvo devintod !'ron the trtt'c;h on any occasion suggests thut they ret;arded l7acnor as being not human but superhumnn. l.nd in this connection thought ful r eaders cannot avo id tt\k!Xl{; 1nto considoration \1agnor ' s tl'eatment,in his oYm printed recollections, of his affair \7:i.th ltathildo was r~itten \?esendouok. This at a time when tho possibility of his letters to her ever being published had never evon occurred to him. In h i s autob1qgraphyWagnor has deliberat ely and completely distorted tho \7hole affair. lie asserts tha.t !Jinna' s jealousy vtaa gr ound- less to the point of being outrQ{S&ous, and t r.at the break- up of tho1r married 11:f'e was ont1rely the faul t of the utterl y unreas onable Minna, who obstina t ely r efused to bel i eve that t here �56 was merely a perfectly 1nnocont friendship botwoon him and Mathilde . It is indeed tho worst and saddest feature or the oase that Wagner whitewashed himself at the price of blackoning Minna to posterity, and it is both fortunate and just that posterity knows the fault to have boon Wagner 's; but of course it must be borne in mi nd that Wagner 's main objoot was presumably to keep Mathil de's good namo untarnished to posterity. ------------ • �57 CHAPTER X Praeger on Wagner's part in the Revolution. -----------------------------------------In the previous chapter it has boen shown that Wagner 's l ater attitude towards his early political activities was not at all remarkable, and only what many peopl e would regard as quite natural under the circumstances. It may, however, be objected that I have taken tor granted Wagner ' s participation i n tho Revolution - a matter which has been hotly disputed. It will therefore be necessary to examine carefully Praeger 1 s statements on the subject, and Chamberlain ' s efforts to i nvalidate them. And besides this, it will further be necessary to consider briefl y other evidence than that of Praeger himself, in order to consider whet her or no any or Praeger 's statements may be regarded as being in any \'laY exaggerated . On p . 192 Praeger sums up t he chief evidence on which his statements are based . I have altered some of Praeger's numbers , as under No . 4 he h as put together the evidence of two separate persons . !• Paper on the "Abolition of the !.lonarchy" (as Praoger c alls it) , read before t he Fatherland Union on June ¢ 16t h. 1848 . p Wagner, in his own recollections ( 11l!ein Leben", popular edition, vol . II pp. 198- 201) gives an account of h is writing of the paper, its anonymous publication i n the 11 Dresdener Anzeiger" , its reading before t he Fatherland Union, and the ensuing off i ci al troubles . �58 -2 . Letter to August Roeckel of £ay 2nd. 1849, found on Roeckel when he was taken prisoner (he could not give the -4 . -5 . 3. -6 . ~ctual text, only n brief account of it.) Letter ot Wagner to Edward Roeckel of 14arch 15th. 1851 . Wagner's own statements to Praeger . The testtmony of Ha1mberger. Tho testimony ot Max von Weber. In this chapter I must rotor more especially, but briefly, to the first three . And as Chamberlain (p. 100 ot "R.W. and F. P.") relies to some extent on Ashton Ell is , I shall in this chapter be obliged to make various references to tho latter. ! • The paper read by Wagner before the Fatherland Un!on was printed at the time . It wns Praeger who, trom his own copy, first revealed ita existence to Wagner's admirers in England , and who gave 1t 1n full in his book "Wagner As I Knew Him", on pp . 156-164. p It is now part ot Wagner l iterature; and so tar as I know nobody has been rash enough to try to deny Wagner ' s authorship. Even Chamberlain could not ~ttempt to impugn 1t; he acknowlod6es 1t on p. 100 ot "R.W. and F. P.", ond on p . 139 of the Bayreuther Blatter ot 1893 he had already reterred to 1t as "uncontested". (unbestritten). Wagner himsel f , as mentioned 1n the l ast chapter, excl uded i t trom the collected edition of his works made in l ater years . We all owe a deb t of gratitude to Praeger for bringing it to light in England. p Ellis s ays that Tappsrt exhumed i t some years earlier 1n Germany; was it before Praee;or actually wrote his book? • �59 -2 . This Wagner ' s letter to Au gust Roeckel of May 2nd. 1849. contained t he passage which firs t aroused the suspic ion of t he aut h orities as to Vlagne r' s being one of the revolutionary leaders, although he had already been suspected of l e sser t hings; it runs as follows : "People are preparing themselves for a decisive conflict, if not wi th the king,. in any case Vli t h the Prussian troo ps; people have only one fear, namely that a revol u tion might break out too early". Chamberlain has printed the lette r in full on pp. 174- 175 of "R.\'1. and J!' . P.", and Ashton Ellis has given an English translation on pp. 332- 3 of vol. 2 of his Life of wagner. And with r egard to it, Chamberlain tells one of' hi a choicer lies. He says that Praegor "quoted (citierte) in his way" this letter, altering "the short reference to its contents" i n August Roeckel's book to "direct oration, as if the orig inal lay before him" - this, in order to discr edit Praeger ' s version by comparison with the original. But unhappily for Chamberlain, Praeger says at the top of p. 174 of bis book that he has merely copied from a manuscript that he had from Roeckel, adding "and I will produce textually what he says". The actual l e tte r b eing at the time inaccessible, it was impossible for Praeger to know h ow carelessly August Roeckel had written to him. 2· Praege r ' s letter to Edv~rd Roe cke l of Varch 15th. 1851 given on pp . 188- 191 of "Wagner as I Knew Him". 'lb1s let ter will be dealt with at some length in the next chapt er, as �60 Chamberlain's treatlmlnt ot it gives a highly instructive example ot his methods. Here I nood only ci to from Praeger' s trans la- tion the three famous passa~os that bear on ,,agner' s part in the Revolution. (a) 11 \'/e were all compelled to be prepared for extremes during those times, for it was no longer possible to endure the state of things in which we lived, unless we had become ¢ unfaithful to ourse lves." (b) "Although I had not accepted a special role , yet I was present everywhere, actively superintending the bringing in of convoys." (Note. As r egards Praeger ' s translation ot t ho last phrase, see the end of the next chapter) (o) ¢/J "I was act1voly engaged in the revolutionary movement up to 1ts final struggle, and it was a pure aooidont that I ,too, was not taken prisoner in company with Heubner and Bakunin, as I had but taken l eave of tho&:~ for the night to meet in consultation again the next morning." (l~ote. In tho L.<usical Standard of 1!ay 26th. 1894, Ashton Ellis objected to Praegor ' s translation of "zusammentraffen" by "meet in consultation" ; it certainly is not literal, but preSUI!l8.bly Wagner told Praegor tha t they had actually arranged to meet in consultation) /J Reader s who wish to know how bad political circumstances were in ::>axony even half a century or more later,aro recommended to read "'!he life- story of tho ex- Cro•n Princess ot Saxony". I might also refer to tho fact that in this year ot grace 1932, political violence is not extinct in Germany. ¢¢ Chamberlain sa1d ( p . l72) that the original German t ext runs "Ich begl eitet e den Aufstand" . �• 61 !· For >~er's statoments to Praeger wo r e ly on the latter's word. The test1l:!ony of Ba1lllberger and Weber will be dealt 5. & 6 . with in a later chapter. I n this chapte r a further r eference must be rr~de to the extract from (2) , as to t ho people 1 s fear of o. J:t' emo. ture outbreak . ~e Saxon Government claimed to have definite knowledge that an o r ganised rising had been planned for l'cay lOth . or at latest Jf. ay 20th. The Government view of the matter is contained in a book of ove r 300 pages, "Der l£ai-dufstand in Dresden", in which t he whole affair is o p1 tomised by A. ~·ontbe. Ash ton Ellis ref ers to it on p . 392 of the second volumo of his l ife ot Wa gne r; and with that lack of logic and lack of sanae of proportion so ohara ctor1stio or him, does his boat to discredit the idea of a prconcertod plan tor a r ising in Saxony by r ef e rring to a futile attempt to get help from a band of Czech students in Prag l And he oi tea Be.kun1n 1 s l ett er, introd ucing Roeokel to young but unimportant symJnth1sers in Prag as a "plain proof of tho insurgents 1 u tter lack of anything to be dignified by t he name of a J:t-eoon oe1ved plan." attempt to ge~ But what has Roockel 's futile hel p from the Czechs to do with tho existence or otherwise of a plan in Saxony itself? Rocckel denied that the passage in Wagner 's l e tter referring to a "premature outbreak" had reference to any conc e rted plan, and says that 1t was misunderstood. But revolu- �62 tion1sts who have failod badly are apt to deny as much as possi ble of their shattered plans. Impartial readers must ask them- selves t he question "Can we disprove the official account?" And if they cannot, t hey should at l east be cautious about dogmatising. However repugnant the official history of the Revolution may be to fanatical Wagner1tes, they merel y make themselves l udicrous in publ ic by arguing that there could not have been a concerted plan for a rising merel y because Richard Wagner ' s possible connection with it does not happen to square with their idea that Wagner was f ashioned in t heir own image. Any refuta- tion must be based on solid argument. Before closing this Chapter, it must happily be recorded that certain misstatements about Wagner have been finally disproved. A certain Oraf von Beust, prime minister in the r eac - tionary Saxon Cabinet of revolution time, published his memoirs in 1887, and said 'therein that Wagner had bm sted (in a paper in the archives) of setting fire to the Royal Palace in Dresden during r evolution time, aro that he was sentenced to death contumaciam11 • "!n In the papers of Wagner 1 s lawyer, F .A • Schmidt, made public i n 1901, Schmid t states that having, by special penn1ss1on, examined the State archives "there is nowhere even a suggestion that Herr Wagner made the attempt, o r had the intenti to s et fire to the . King's Palace or any other p.tblic or private building in Dresden". (See Ashton Ellis , vol. 2,p .4ll) . It has further been proved that Beust confounded RiChard Wagner with a �63 certain Woldemar Wagner who was condemned to death at the beginning of 1850 (see Ashton Ellis, vol. 2, p . 407); for by an examination of the official archives it has been sho1vn t hat Wagne r was never tried or condemned during his absence. (See Ashton Ellis, vol. 2, p . 408 ). On p . 406 of vol. 2. of his "Life" Ashton Ellis says "Upon first reading Beust 1 s statement, after my attention had been drawn thereto by l'raegor 1 s book (which treats it as gospel)" etc. The first reference to Graf von Beust in Pre.eger ' s book is on p . 178 ; and there Praeger merely refers to a statement of Beus t i n the Dresden Chamber dUring 1864 t hat the r evolt of 1849 was "an insurrection that embraced the whole of the people of Saxony". The second reference is on p. 298, where l'raeger repeats from Beust 1 s memoirs tho story c£ Wagner "proposing to burn the Prince ' s Palace". In accepting this printed story of the mini ster Praeger acted no w<rse than the reading public in general; it was not rev~aled until later that Beust 1 s story was f alse. --------------- �64 On Houston Stewart Chambe rlain' s deliberate SUPJ)l'ession of e vidence. I n the ~1Usi ca l St!mdard of 21.4 . 94, r.~rs Praoger wrote as follows in answer to :•r . Ashton Ellis concerning the letter date March 15, 1851, addressed by I'Jagnel' to Bdward Roookel of Bath ("Wagner As I Knew Him" pp. 188- 191). ( J.:r. Praeger states in footnote to p . 188 that the original is in ~1e possession of Fdward Roeckel of Be. th) • "One of the longest letters in the book is that addressed by Wagne r to Edward Roeoke1 of Be.th, in which ..agner admits fully his acti ve participation in the revolutionary strug~le . As it is part of the 'conspirators ' creed ( Note: By this name Mrs Praeger Means Ellis and Chamberlain) to see no tault in ~. agner as a man, ~:r Chamberlain addressed a l etter to Mr. Roe cke: telling him that Praege r t.d fabricated the letter referred to above. I did not of coUl•ae know of this at the time. I only learned of it some couple of months or so after the e vent, upon receiving a letter from Mr . Roeckel relati ng the incident, and tel.llng me that he repllod. at once , 'that Pre.eger had translated the l etter word for wol'd, and enclosed to lt:r. Chamberlain an exact coP,r of ~~gner ' s original let ter." Mrs. Praeger then comments on the gravity cf the accusation . On May 26 follows: - Ashton Ellis ropl1 od. i n the l.'usical Standard as �65 "But I now have seen yet another original document, i . e. the copy c e rti fi ed by Etlward Roeckel,of wagner' s 1851 l e tter to himself. Mr . Chamberlain (see p . 5) has a lready dealt with Lfme Praeger's charges in this matter; but, seeing t hat she doubted his having taken 11 fai thful cop! es 11 of the Wagner- Praeger l etters, I made a point of obtaining from him this special copy of a ~1agner l etter, this copy certified by her own friend and mention- ed in her r eply . The OOPf is initialed on every sheet by Mr . E. ' Roeokel, Who has also signed his name in full beneath a statement on the last sheet 1 t hat be certifies ( 111 ch bezeuge") "that the above is a verbally•faithful copy of' the letter which I (E .R. ) r eceived in Ma r ch 1851 from my friend Richard Wagner. 11 To all intents and purposes, then, we have the original l e tter before us • and up to June 2nd. I shall be happy to slxlw it, by appointment at my own residence, or in your off ice, to any friend, or 2 fri ends, of the late Ur , Praeger. With the excep- ti on of 2 or 5 words apparently omitted (by a harmless oversight ) f rom an unimportant clause, and with the exce ption of a f ew mistakes in orthography such as can scarcely have occurred in the orig!nal (the copy is not w1•itten by Mr . Roeckel himse lf, I ought to add) I should have no ~ubt of the accuracy of this COPf, even without ~lr . Roeckel's certificate ; it is "signed all over" by Ric hard wagner" . Mr . Ellis then comments on a f ew slight inaccuracies in translation, after having censured Praeger r egarding the German text of Roeckel •s letter. �66 In the l.'usioa l Standard of l:ay 5 th . ldr. Houston Stewart Chamberlain wrote as follows: "In your issue or 21st. inst. in an article signed Leonie Praeger, I find various allegations against mys elf , One c:£ t hem only admits or disproof, as it rests on words whioh purport to be quoted from a l e tter I took a copy of in my letterpress. Your correspondent alleges that I wrote to Mr . E. Roeokel "telling him that Praeger had fabricated (Nol It was Roecke l who said so to Lira . Praeger. !t:Q .) the l et t er written by l'lagner to him in 1851", i . e . s everal years before I was born . This statement, whatever its precise meaning may be, is not in accordance with truth, for I never imgined and never said or wrote anything which oould lead other people to believe that I did imgine the l etter in question to be "fabricated" . I enclose a copy of my letter to Mr . E . Roecke l; the gist will suffice for your readers : "having proved beyond question t hat the l etters in Praeger's book (the Gennan or later text . R.C .) ~rporting to be from Wagner to the author are not ~bUshed in their original shape, but have certainly been touched up (bearf ei tet), I conjecture (ve rmuthe) the s ame of the letter to you and therefore beg you tor a copy." Mr. E. Roockel thereupon very kindly furnished me with a copy, and I was thus enabled to establish that, . although this l e tter has not been altered to the same extent as those to Praeger, the two or three words necessary to make it not only fit into, but back up Praeger' s l �67 i maginary account of the ov ents o f ~~Y 1849 have been altered , and that, in tho a bsurd process of retranslating back i nto German , these apparently t r ifling modifica t ions have been pushed still further in the same sense . " Mr . Chamberlain then proceeded to comment on \'la gner 1 s political activitie s. ---------------I n his original criticism of Praeger, da t ed 1893 {i.e ., before he had applied to Edward Roeckel) Chamberlain wrote the words {among others relating to Roeckel' s l e tter) 11 tba t no single sentence is by Wagne r " . ·0n the same page he wrote "that t his alleged autog ra}il cannot be by Richard Wa gner, I have already shown in an earlier P~-rt of this essay". In t ha t earlier part he bases his adverse case entir ely on cri ticism of t he German as no t being in Wagner's style. part to a discreP~-ncy And he r e f e rs i n the lat t hat does !121 exist in t he original English text of Praeger 1 s book. All of this was reprin ted without further comment in t he s e cond edition of his book " Richard Wagner to Ferdinand Praege r" {pp . 67 seq. and 107 seq.) In his second ~ritici sm of Ferdinand Praeger , dated 1894, Chamberlain however admitted t hat afte r all t her e exi s ted an original of the lette~ from Wagner to Roe c ke l of May 15, 1851. He wrote that he h ad not yet seen the original , and t hat the "ce rtified copy" wh1 oh he had procured conta i ned a number of obvious mistakes {Schreibfel'ler), which can har d ly occur in the �68 origi nal, and through which the meaning of certain sentences becomes almost incomprehensible. He added that on his next journey t o England he hoped to copy the original himself and to obtai n the permission to publish it ; and he added further some criticisms. This is reprinted in the second edition of his book "Richard \;agner to Ferdinand Praeger" ( pp. l7l seq . ) The history of the obtaining of the "certified copy" is c ontained in the extracts from Ellis and Chamberlain quoted above but not a word of it appears in Chambe rlain 1 s book "Richard Vlagner to Ferdinand Praeger" (2nd . edition 1908, reprinted 1912) . In this second edition he reprints unaltered and without comment (as stated above) his orig inal d enunciation (of 1893) of Roeckel ' s letter as a fabrication ( pp. 67 seq . and 107 s eq . ) But in order to s ave h i mself , as he thinks, he reprints (as stated above) on p. 171 seq . his further criticism (of 1894 ) ot wh ich an a ccount is given in my previous paragraph, t act t hat Ashton Ellis has ~een The the " certified copy", has shown it to others , s ays that i t 1s "signed all ove r by Wagner, a nd treats of i t in detail in the Musical Standard of May 26, 1894, is not mentioned or ev en alluded to. In tile 1.1 usical Standard of May 5, 1894 , t!r . Chamberlain admi t ted that excepting " two or three words", t h e v ersion of • Wa gne r ' s lette r to Roeckel on p. 188- 19l o f 11 Him" was a correct t ranslation into English. VIagne r /I.e I Knew But on P • 172 of his book (1908 and 1912) he wrote "Pre.eger' s version of the letter corres ponds nowhere exac tly to the original" ( Praeger' s �69 Therefore Houston Stewart Chamberlain in his book deliber- IPassung der Dr i efes stimmt n1rgendour gonou zu dam Original) • ately and entirely suppressed the absolutel y unimpeachable evidence he had obtained of the genuineness of \~agner ' s letter to Roeckel, in order to defame Praeger in a manner that was absolutely shameless. In t h e Jiusical Courier of New York of Jan . 1, 1896, is published a correspondence between Cosima \lagner and Mrs . A. Schreiber, who did her boat to champion Praeger . 1 rs . Ylagner gives her so- cal led reason for refusing to allow a corrected version of the Gorman text of Praeger's book to be published, which is merely that her permission had never in tho f i rst instance been asked for the publication of· 1'/agnor 's letters to Praeger . She declined to do justice to Praeger, and she writes of !.lr . Chamberlain as follows: "First of all I must mention that to all those who know Mr . Houston Chamberlain his honour and integrity are unimpeachable, and the unreserved recognition of this is for me tho basis of the intercourse in this affair . " A Note on t;he t r anslation of a passage in Roockel's letter. In Praeger's translation of Roo~kel's letter (p . 189) occurs the phrase "actively superintending t he bringing in of convoys" . In the Musical Standard of May 26th. 1894, Ashton .t.' ll1s s aid that the literal translation of the German (wirkte fur zuzuge ) should be "worked for convoys" . This is obviously absurd; the German f or "to work" (for) is not "wirken" but "arbeiten". �70 By 1902 As h ton Ellis seoms to have learnt some more Ga r man, and 1n Vol. 2 (p . 353) of his Lifo or WngnAr ho translated tho phrase by "I exorted oyself for ro i nforcements", Tlh1ch is still a very imperfect rendering. The phrase "mrkte fur zuzuge" is vary hard to transla to. It might mean either "I exerted myself to g ot reinforcements (sent), or "I got thL"'gs dono for reinforceme nts", i . e . "prepared the r.o.y for - " • The latter moaning is fairly near to Praeg er's transla tion . ---------- �71 Cl!Al'T.m XII. The Roeckols, \iagner and the Saxon revolution. ------------------------- ------------------- -1. In the Musical Standard of Uay 5, 1894, !mo. Loon1e Pro.oger wrote as follows: 11\'lhen I camo to this country from Psris in F'obruary, 1848, the day bofore the Fronch Hovolution broke out, I , my husband and idward Roeckel (later or Bath. R.C.), tho brother of August, lived in the same houso. \'lo formod ono .family. I t l7ill there- fore be readily understood that ! board nothing but talk about revolutionary evonts, and this enables me to testify to tho fa1th1'ulness of Llr . Praeger 's treatment or agner at that period" I t may bo added that all h1s life Edward Roeckel re~ained among Praeger 's closest friends, and not even Chamburlain could attempt to deny the fact. For tho sake of clonrness, I must here briefly recapitulate the argument of the last chapter. I n the ~usical Standard of May 5th. 1894, Chamberlain relates how he obtained from Edward Roeckel himself an authoritative copy of tho letter written by Wagner to Edward Roockel on March 15th. 1851 . ¢ The fact that this copy corresponded exactly almost throughout to Praeger 's translation was deliberately suppressed by Chamberlain in his book "R. W. and P. P " (2nd. ad. 1908, reprinted 1912). ¢ He wrote on pa6e 171, "On my no:xt visit Chamberlain refers to "2 or 3 words" having boon "altel'ed". �72 to London I hope to copy the original myself and at the same • time obtain permission to make i t public." This last sentence appeared originally in his second criticism of Praeger in t h o year 1894, and hns remained unaltered in the reprints made since then . So the simple fact 1s that upon his own evidence Chamberlain never visited Edward Roeckol; indeed, he carefully avoided doing so, although after the deaths of Wagner • Pl•aeger and t.u,gust Hoockel, t he latter 1 s brother knew far more about \1c.gner ' s part in the Saxon revolution than did anyone else, and could have given Chamberlain more author itative information on tho sub ject than anyone else. Horaovor, Chamberlain purposely did his utmost to conceal from his readers Praeger 's int~tnte friendship ~1th Edward Roeckel, who actually for a while lived with the Praegers in one household . He says (p . 109) that after tho revolution Praegor and August Roeckel seem to have stood in no sort of communication with each other - as if August's brother Edward could not have been the 1ntornled1ary! He del1berately ignores the fact that Edward Roeckel was very well i nformed regarding the charge brought against his brother, asking who would have sent details of the char~e to "an obscure piano-teacher" (p. 109) in London. And in conclusion he says that Praager must have taken his information reBarding the l egal process against August Roeokel from the latter's book, whereas beyond all possible question Praeger got it at the time froro Edward Roeckel. �73 -2. On p. 182 of "Wagner as I Knew Him", Praeger wrote: "The official accusation of my friend (i . e. August Roeckel ) is before me, and as Richard Ylagner is concerned , I will summarise the char ge . " (Note. "The official accusation" was presumably a copy or stateMent of it furnished by Edward Roeckel). Praeger says that the official document concerns ~agner; and it does so, for a letter trom \lagner to Roeckel was found on Roeckel when the l a tter was t aken prisoner, and i t was this letter that first caused the authorities to regar d Wagner as being possibly one of the revolutionary l eaders. But Pr aeger, who had his i nformation from Edward Roeckel,summaris es the ¢ accusation:- "It consists of 8 distinct counts to the effect that he, Roeckel etc . " Nowhere does Praeger in the original Engl ish text even suggest that this document , with its 8 counts, is equal l y an official charge against 1' agner also; he makes it quite c lear that it applies as an official charge to Roeckel alone, although he says that it mentions Wagner incidentally not only as regards the seized letter but also as being one o f those who brought into Dresden convoys that were received by Roeckel. The 8 points of the accusation are g iven by Roeckel in his book ("Sachsens Erhebung und das zucht haus zu \1aldhe1m", publ. 1865 in Frankfurt am Ma i n) , and also by Dinger in his book "Richard \7agner 1 s Goistige Eutwickelung". ¢ August Roeckel 1 s list does not Praeger does not profess to give any actual text. �74 altogether tally with Praegor ' s summary, but the fault of that lies with Edward Hoockel and tho rae t that the book was sent to press unrevised and without the knowledge of tho P1•aeger family. In the original English text occur the words I have already quoted - "As RichfU'd Wagner is concerned". In the much less authoritative German od1t1on, purposely quoted by Chamberlain in order to give him greater scope for denunciation, this p~r ase has been altered to "as it equally concerns IUchard 'lfagner ", if Chamberlain ' s quotation from the suppressed Gorman edition is to be trusted. It is not known to whom this alteration is due. It is an old trick of controversy to appear to defeat an adversary by ascribing to his words a different meaning from the • one intended, and Chamberlain does his best to make it appear (p . 112 and p . 117) that Praeger v~ote positively that Wagner was condemned ("Verurteilung" p . 112) by the same tribunal and on the s ame charge as Roockol. C~borla1n further rotors to tho follow- ing sentences from "Wagner As I Knew Him", in order to mako it appear that Praegor tel t that ho was "tri'UII'phantly" ( triumphierend (p . ll2) proving his case: p . l 52 . (A papor read by h&gner before the Fatherland Union) "constituted part or the Saxon government indictment against Richard \lagner". p . l 52 . (The head and front of Wagner's offending, according to the government) "rested on a letter he had written !'roM Dresden to August Roeckel at Prague, on tho first day of tho rise, which l etter was unfortunately found on Roeckel whon taken prisoner. �75 p . l 56 . (The paper read before the Fatherland Union) "was filed aS part Of thO indictment against him. II (see also pp.l77 and 179 or Praeger's book). After referring to these passages, Chamberlain, much more "triumphantly" than Praeger, brings forward the official tact that Wagner did not receive an actual legal trial , and was not actually condemned and sentenced. But where did Praeger ever say so? Praeger rotors to the government "indictment" against \1agner. But without some kind of "indictment", a word not used by such a layman as Praoger in a strict legal sense, but in the ordinary layman's sonse of "formal accusation", how could \'iagner have been exiled from Saxony? word "indictment", let him find If anyone does not like Praoger 's whatever othor word he pleases for whatever was tho government process that led to Wagner being exiled. Did ~r. Chamberlain regard Wagner's exile from Germany for 13 years as being due not to any s~~t of ro~al accusation but merely to a playful little joke? In the next chapter will be considered what Praeger calls the "indictment " or '1'/agner , a summary or the "attestation" (eo translated by Ashton El lis) which has only boon made public s i nce Prae~or 's death. I t was an abstract dra•m up by Wagner's own l awyer in 1863, and publ ished in 1901 in tho O~:tober number of Vol. III of tho Ze1tschr1ft der Internationalen J.tus1kgesellschatt . ----------- �76 CHAPTER XIII Tho Teati mony of !.lax von Weber and Hainberger. --------------------------------------------Max von Weber was the eldost son of the famous mua1cal compos or Carl von Weber , who died in the year 1026 in ~!aria London, whero ho was burled 1n Moorfields Chapel. In tho year 1844 his r emains wero taken back to Germany, where he was buried 1n Dresden, and an o.ccount of this 1s g1 von in "\,'agner As I Knew Hi m" (p . IX) . Max von Webor, \71th Praeger and others, "obtained the necessary authority and carried out the r emoval; the body was received 1n Dresden by Wagner who pronounced the funeral oration". Thoro wore various references to this i n English journo.ls in obituo.ry and other notices or Pr aeger . On p . 193 of 11 \'lo.gner as I Knew Him" Praoger wrote that !.lax von Vober "told me that ho was present during the Revolution, and saw Wagner ahoulder his musket". Doing unable to deny this statement with any plausibility, Chamberlain resorted to his frequent trick of i gnoring what he did not like . On p . l Ol of "Richard Wagner and Ferdinand Pr aeger" he gives a list of all the CO!Jmrun1cat1ons on Tlhich Praegor "alleges" to base his narrative; they are six i n number. The reader who l ooks carefully at the list will see tho.t 1n it ~ax von Weber is not even alluded to. ldr . Ashton Ellis (see reference i n the Musical Standard of May 5th. 1894) added a touch of unconscious humour to tho affair �77 by saying in defence of Wagner "shouldering is neither presenting nor firing". But in the second volume of his Life of agnor, giving what he wished to be regarded as a full and detailed account of the revolution and Wagner, Ashton Ellis omitted all reference to l.!ax von Weber ' s testimony as completely as did Chamberla in. "Discretion is the better part of valour". In "\1agner As I Kne\'t Hi m" Praeger refers (pp. l 73 seq . ) in various places to Haimbergor (~oso name he misspells as Rain- borger), from Whom he had f irst- hand evidence as to the part played by \7agner in the Saxon revolution. Being unable to rebut Ha1mberger 1 s testimony, Chamberlain resorts to trickery. Firstl y, he rotors 3 times (p . 101 and twice on p. 110) to Jmi mbergor ' s utterances as being 11 unkontrol l1erbar" (uncontrollable), an epithet that merely begs the question; in sober truth it is not Haimberger 1 s utterances but those of Chamberlain that are "unkontrollieDbar". Secondl y, h e J oss his best to arouse vul6ar racial prejudice (p . 101) against Raimberger on tho ground that he was ''hal f German, half Pole", 11hich "a17akens litt le confidence" in him. The Germans , speaking generall y, have tended to be prejudiced against the Poles because the l atter did their best to prevent t heir nati onal ity from being crushed by tho combined efforts of the Germans, Russians and Austrians; and this bitter ness has not been sensibly diminished since the Poles recovered their country tram their throe despoilers . The answer to Chamberlain is obvious: -What would the latter have said i f , supposing he had had a son, public 1'1I'iters had stated that his �78 son' s evidence was unreliable because he was "half English, half Gennan?" And Ernst Lissauer ' s notorious "Hymn of Hate" is evidence of Germany ' s prejudice against England not so long since. \'1ho was Haimbor ger? On p. 173 of "Wagner As I Knew Him" Praeger wri tea as follows:"Pirst, Ua1nberger, son of Herr von llainberger, one of the eight i mperial councillors of the Emperor of Austria . A musician of gift, his father wished him to enter tho law, his studies in which drove him into the ranks of democracy. Ho came to l~esden, and took up his abode vrith August Hoeckel, was a member of the Fatherland Union, addressed public gatherings, and though but t wenty yeare of age, was of i nvaluable service in the organising (such as it was) and controlling of the people . He was on the staff, too, of Roeckel ' s paper". Not very long after the revolution, Haimberger came to London. Mrs . Praeger (in the Musical Standard of May 5th . 1894) r efers to "Julius von Ha1mberger whom Wagner sent to Praeger in 1851" - a statement on which Chamberlain could not even cast any doubt . Two poi nts of this description >;U'e of particular interest here . In spite of his youthful democr atic sympathies, von Haimberger belonged to the Austrian aristocracy; this should be An borne i n mind in view of Chamberlain ' s attempt to malign him. at the time of the revolution Ha1mberger ' s age was only 20. On p. lll of his book, Chamberlain tries to discredit Haimberger's evidence on the gr ound that Roockel does not happen to mention �79 him in his book ("So.chsen's Erhobung und das Zo.cht h au s zu Wo.ldheim" publ. 1865 in l"ro.nkfurt am Main) on occasions when Haimberger claims to h ave beon present . To vmich t h e answer i s ;- Why should Roecltel havo thought t he presence or a youth of only 20 worth mention? Or , alternatively, considering all the revolutionary tunrult, v1ould 1 t not af terwards have be on ea sy t o forget that on some occasion a youth of only 20 was present? ------------ I �80 CHAPTER XIV. The Official Charges against 1:agner. ----------------------------------The abstract t hat was mentioned at the end of the last chapter is from the papers of t he late Franz Adolf Schmidt, legal adviser to Richard Wagner, who was allowed during t he year 1863 to inspect t he Saxon archi ves in consequence of a demand of \Vagner himsel f to be cleared of t he suspicion of having set f i re to t he King's palace . I have already dealt with how Wagner's letter to Roeckel, found on t he latter uhen he \Vas captured, aroused Government suspicion; this is inclUded i n the abstract. The majority of tho charges "aro founded on nothing but t he verbal statement of a single unsworn witness " . The most i mportant are as follows (see Ashton Ellis, vol . 2 . pp.410- 411): - -1. Wagner is said to have taken part in his garden in discussions that formed the basis of t he pamphlet on "Folk- arming " ¢ published by August Roeckel . 2. 'iiagner is said to have boon seen at meetings ,.,1th Bakunin (the anarchist) • ~· Wagner is said to have ordered from a tinman about 500 ¢ On P• 11 of his book "Richard Wagner in der ~lai-Hevolution 1849", Dr. G. H. l'ull er refers to an account by nr . Dinger his b ook "Richard Wagner's Geistige Entwiekelung") that a few days before a concert fixed for May 5th . i n t he Opera House, Wagner said that t he concert probably would not take place at all, as by the n t h e revolution would infallibly have broken out, o.nd who could tell what would then become of t h e Royal Choir ! He knew of the preparations, and was certain of the outbreak. (in �81 hand- grenades , and received del ivery of at least a portion of them; the t1nman said that they wore "moat undangerous" • which 1s probabiy what he \'K>Uld have said even if they wore the reverse. -4. Wagner "is said to have incited a Connnunal Guard rein- foreement, alike at Oederau and Freiberg, to pursue its march on Dresden, and in Dresden to have led through tho streets a rei nf orcement arrived from Zittau". (translated by Ashton Ellis). -5 . On May 6th. 1849 (i . e . during the actual insurrection) "Wagner was seen on the Kreuzthurro; there he is said to have observed the position of the troops and the approach of popular reinforcements, to have written dovnl the result of his observations, and to .have dropped the written notes beneath" (translat ed by Ashton Ellis). And now it may be asked - In what way does Praeger's evidence seem to be exaegerated when compared v1ith these official records? are (,!!) Tho three most important parts of Praeger's evidence Wagner's p1,er read before the Fatherland Union, which he broueht to light, and which is now an accepted part of ~agner literature; (b) Wagner's lettor to Edward Roockel, which he also brought to lieht, \ and which is now also an accepted part of Wagner literature in spite of Chamberlain 1 s efforts; (£) the r eferences to Wagner's letter that was· found on August Roeckel when he was captured , which letter has since been published in - full< and is now also an accepted pax•t of Wagner ' s literature. Surel y the fuss that was made about Praeger's revelations was ~ See Chapter X. �82 positively l udicrous ! Suroly one must say that Praeger 1 s remain- ing evidence, tho state-monte to him or 'l'lagner, 11ax von Weber and 1la1mberger, i s positively mild in comparison with parts or t he "attestation" just sUI!IIIlarisedl Let us now consider briefly the points numbered above as 1 to 5. 1. Those who vant evidence in confirmation will find it on pp. 253-235 of vol. 2 . of Ashton Bll1s 1 "Life". llobody could possibly deny that l'lagner was i ntimate with Roeokel dur ing t h e revolutionary peri od. - t:obody can deny that \'lagner was associated with Bekunin the anarchist during the revolut ionary period . l etter to ~· ~dward Vi de Wagner 1 s Roeckol (pp. 188- 191 of Praeger). As regards t ho t1nman 1 s evidence, Dr . Dinger (in his "Goi s t1ge Entw1ckelung Richard Wagner 1 s ") quotes various details as the result of his solitary and unverified researches 1n the Government archives; Ashton ~llis does his usual tortuous best to discredit them, and Chamberlain in his book i gnores t he whole matter uttGrly. ! · Wagner was said to have led through t he streets or Dresden a r e1nforoemont arrived from Zittau. In all probability t his was tho occasion whon Max von Weber saw Wagner shouldering his musket, and r eader s shoul d be gr ateful to Praegor for a valuable piece of ovidoneo so entirely i ndependent. Ha1mborger 1 s testimony as to Wagner ' s convoy- supervision (Pro.oger pp . l75-l77), and Stephen Dorn 1 s similar testimony (El lis II . p . 353) are all �83 of a piece with Max von Weber's testimony and t he "attestation" sunmary of Wagner 1 s lawyer; and we can be grateful to Praeger for Hatmberger 1 s ovideneo. ~· This d1st!ng"ishes between the ascertained fact that Wagner was positively seen on the Kreuzturm , and what he was reported to have done there . His presence on the Kreuzturm is ignorsd by Chamberlain; it is accepted by Ashton Ellis (pp . 348349 of vol. 2), who quotes additional evidence . a time, a ¢ he there? tim~ If Vlagner at such of actual insurrection, was on the tower, why was llow lot us consider Chamberlain ' s criticisms. "R.W. and F.P . " he says th~t On p . ll3 of of Praeger's sources of evidence four are invented, and the remaining two, namely Haiw)erger and Beust, l Of t he five given on pp.l92- 3 of l'raeger's deserve no credence . book he omits , as I have already recorded, ldax von Weber; he adds from p . 298 Praeger's quotation from Beust, and from p . l80 quotationa· from what he (Chamberlain) cal ls an "al leged" letter from Frau August Roeckel to Praegar . Of these six sources, Beust ' s publ ished statements have been proved to be false - the only ones; and tho fact that they were false did not become generall y known . until the year 1901, whereas Praeger died in 1891. On p . l76 of his book, Chamberlain proceeds to consider what motive Praeger could have had to \'II'i te a book so openly and deliberately malicious which gives him an excel lent excuse ror inventing further false - ¢ L!inna Wagner ' s testimony on this matter will be found in Chap. XV. �84 hoods . It was not Praeger 1 s innocent book, but ChaMberlain's foul book that was openly and deliberately malicious; and as for the motive, it has already boon pointed out. ---------- ; �85 CHAPTER XV . Last Words on \'/agnor and tho Revolution. ---------------------------------------I t wi ll have been noticed in the last chapter that the Government "at testation" regarding Wagner was based on "hat is called 11 K1ng 1 s evidence", i . e . the evidence of prisoners who t estified against \'lagner among others , preswnably in the hope of mitigating their O\m punishments. be suspect, but it need not be so. Evidence of such a kind may As already remarked, some at l east of the charges have been corroborated in other quarters . There remains a point to which attention should be dravm. The interval of time between the discovery of l'agner 's letter on Roeckel, and the flight of \'Iegner from Dresden, vtas less than 24 hours . aoeckel was captured near midnight on May 7th.; he was t aken to a magazine enclosure, where prisoners were kept, was examined, slept part of the night, was roused early , compelled to make a forced march to the Elbe, and was then taken in a steamboat to Dresden, uhere he was soon broueht to a strong guard-house by the Leipzigor Thor (see Roeckel ' s "Sachsen 1 s Erhebung", quoted by Ashton El lis, pp. 395 seq . ) • Wagner paid his last visit to t he Rathhaus on t he evening of the same day, May 8th; and according to Stephen Born, uriting in the Baseler Nachrichten (quoted by Ashton Ellis vol. II, p . 353) Wagner left Dresden the s ame night. It is obvious that the reason the Government at testation against Wagner contains only 11 King 's evidence" is because Wagner left Dresden so soon after greater �86 suspicion was aroused that the C~vernment b~ tho finding of his letter to Roeckel, had no tiMe to learn at first hand what .agner ' s activities in Dresden reall~ were. Their politicians, employees and spies did not direct attantion to Wagnor until too late. This, of course, hRs loft room for displays of imagina- t ion by the extremists on both sides. In this book I am examin- ing Chamberlain's defamation of Praeger; but in so doing I must point out that lack of first hand Government infornation enables ChaMberlain to den~, any statement, made or even make a plausible show of disproving b~ an~one, that does not happen to be other- wise corroborated, and which it happens to suit him to attack. As for myself, I onl~ positively admit \·'senor's entanglement in the revolution in so far as his own statements and the or what I believe to bo honest and intell~gent testimon~ people make it quito clear; and I have more than once warned the reader against judging hastily in tho obsonce of sufficient evidence • . There remains , however, some further evidence that I have not yot alluded t o ; and as same of it is accepted by Ashton ;111s, whose plain obJoct is to whitewash Wagnor, and apparently also to turn him into an "J~nglish gentJ,eman" of tho typo of Ashton Ellis, it desorvos consideration. On pp. 339- 340 of Vol. 2 of his "Lifo" Ashton Ellis gives an account of what ho calls "the sole authent1catod action by Richard Wagner during the whole disturbance". \;agner suggested printing strips of paper with revolutionary propaganda, and when they were printed ho distributed them with his own hands to the �87 regular Saxon troops, in order to ascertain their 11 leaning 11 • Rompler, the pri nter, who saw t his , said that it was a marvel t hat Wagner was not made prisoner at once, or maybe shot. (See 1f.usika l1sches Wochenblatt for 1894) . On p . 343 Ellis alludes to the fact that it was said (italics of A. E. ) that when the brief provisional government of three was elected on May 4th. "the Kapellmeister (i . e. Wagner) led off the cheering for the new Government". He does not give the source of this report; but just previously he states that it is very doubtful whether \'iagner was present at the election, giving however n.:>thing whatever to indicate that this is anything more than an opinion of his own, and an example of his frequent habit of denying what he happens to dislike. On pp. 335-337 Ellis gives a long-winded account in which he tries to make out that another action reported of Wagner cannot bo true. The story is that an order having been g!ven by the . Committee of Public Safety to hoist on the Rathhaus roof the black- red- yellow banner of the new "Reich" , Wagner and others rushed off to execute it 11 ¢ and themselves pulled the bell- ropes at the Kreuz-Church during t ha attack on the arsenal" that followed . Gustav Klotz , an old 'friend of Wagner, was one of the communal guard before the Rathhaus and exchaftgOd a few words with - Wagner as he passed, after which Wagner "hurried away 11 • Ashton Eliis thereupon says that i f Ylagner "hurried away" he did not enter t he Rathhaus. ¢ (i . e . to pull tho bells). See l at er in tho chapter. But why could �88 not Wagner have hurried away trom K1etz into tho Hathhaus? if Kiet~ And vas on guard with his and other reginonts and had his back turned to the Rathhaus, how could he have soon wagner enter it? Did Ashton Ellis think that buildings are guarded by If Wagner did not pull the bells, turn1nB one's taco to them? tho fact cannot be proved by means of mere logical fallacies. Another obvious fact overlooked by Bllis is that \:agner may have dono away for a short time and then returned to the Rathhaus . A row years atter the insurrection, Richard .;agnor Is first wife lo!inna •(Ellis II . p . 355) said to Prau Wille at ?:urich "J'y husband did nothing wrong . Ho merely watched troc the tower- top for convoys that were to come from the country to tho help of tho town. He never stood on any barricade, as pooplo have said of him; he bore n2 weapon; and only escaped by flight when Prussian troops were pouring into Dresden''. The impartial reader may ask, "Vihy should it bo loss wron,g to help a revolution by watcbinB for (and announcing) convoys than doing other things? And "Did Wagner by watching for convoys sot himsel f against the Revolution?" Further, it must be l eft to tho impartial reader to decide whether Wagner's statements to Minna were influenced by t he desire to reassure a distressed woman. In the appendix to his life of rtagner Vol . II, Ashton Ellis refers (on pp . 404-5) to two letters or tho youthful Hans von Bulow (Vol . 1. Breitkopf & Hartel 1095) . Ellis says that Hans was 1n a groat state or nervous excitement at the time; but this �89 applies only to the first lettor . In the first Bulow says of .agnor "he stnnds, I fnncy, in tho 4th battalion of the Communal Guard, nnd nover shirks his duty, even though it cal l t o death!" In the second he says "ller o Rietz told pooplo in tho Conserva- toire that \agner had been secret ary to tho Prov. Government (\1bich lasted only a vory few daya); ~eser , whom I mot yesterday in Booksellers• -mart, could not precisely say ho had boon socrotary, but assured me he (Wagner) had taken a considerable share . " Theso statements bo1ng unverified and presumably unverifiable , t he impartial reader must form his own opinion on them, in tho light of what he knows about the voracity and intelligence of Hans von Bul ow. Tho l'Oader is noll in a position to estimate t he val ue of the way 1n which Chamborla1n, anong many other things, does his best to discr edit what Prnogor said nbout Wagner and tho Revolution, and the way in which h1s book is still (A. D. 1932) being openly sold 1n Oormnny, professes to bo auti1011tntive, and treats Pro.eger as e. malicious l iar. But ir1 ordor to complete tho survey, it is necessary to consider br!efly the writings of Richard Pohl. Soon o.ftor nagnor 1 s death, Pohl, a well- kno\m musical critic, delivorod a l ecture on Wngner boforo t he literary society of Bnden- Bnden. Ho.rtol. This was published by Broitkopf and In i t occurs tho following pass ago : - �90 "The Dresdener l!ay- days or 1849 arrived . Richard 11agner did not stand on the barricades, as has boon assorted - but he had takon over tho 'musical direction' or tho Revolution; he led the signals , the alarm-bol ls; he also organised tho arrival or ro!nforoemonts from outside, and through apeoohos exhorted (tho soldiers) to fieht" . A reference to tho "nlnrm- bel ls" has been made earlier 1n tho chapter. That \1nanor "lod the signals" is a very indefinite expression, and is unlikely to reror to his activities on tho Krouz-Thurm. Before tho passage just quoted Pohl explains how (1n his view) Wagner became a revolutionary. · This other passage runs as follows: 11Tho recognition that 1t was mado impossible for him, on tho one hand to make terms \11th the public, on tho other hand to gain a decisive influence for good en Dl:·d:;dtm theatre-affairs, had already for l ong made \7agner 's off icial pos1 tion vexatious to him . Thus when tho yo111• 1848 arrived, and everywhere evoked Reforms , Uevt Organisations and L!ovements of Progl'oss, Wagner believed that tho moment had at last ar1•ived, whon he too could exort himself profitabl y in order to advance tho status or music 1n the St ate . lio worltod out tho draft of an organisati on of a Gorman national theatre for the Kingdom or Saxony - of course quito in vain . 'fhings remained as they wore . That made Uagnor a revolutionary . Through the fruitlessness of all his efforts at roform, artistic as well as administrative, he "as l ed to the standpoint, that only a compl ete transformation �91 of all existing conditions could be of real help. llo strove for a goneral reform of political and social conditions in order to be able to found new art-conditions on such a fowldation." This view doos not lack cloarness . Tho topic cannot be hero considered at length; but it must be taken into account in judging o f Praogor ' s veracity in what he wrote regarding Wagner. Those who wish to pursuo the subject further are referred to PP• 300- 313 of vol. II ot Hllis' "Life" , which relate some of the humiliations that ~agner in his position ot apollmoister had to undergo in his efforts at artistic reforms (aeo especially pp. 309- 312). On pp . 144 soq : of the same work will bo found a discussion of an unavailing memorandwn by Wagnor "Concerning the Royal Band" , and on pp. 224 seq: of Wagner ' s i gnored project of theatre-reform, which "l iterally brought tho author into the thick of the revolutionary movement" (Ash ton Ellis). ------------ • �, 92 Postscript I (Chap . XV. ) I n the yeRr 1927, Wol demar Li ppert, keeper of t he princi pal publ ic ar chives of Saxony, publish ed a book called "Wagner i n Exile, 1849- 62". It is of especial interest on account of cer t ain let ters of Wagner of which t he te~t is given in full ( I quote extract s from t he English translation of Lippert's wor k published by o. Harr ap & Co . in 1930). As t ho years wen t on, Wagner vmile in exile addressed various appea ls to the King of Saxony and infl uential friends 1n Saxony , i n h is endeavours to obtain an amnesty; and however bitter it must have b een to h i m, h is endeavours led hi m on to conf essions of guilt t hat gradually became more explicit, although couched i n general terms. Thus in his l etter to Ki ng John of Saxony da t ed May 16th. 1856, he Vfrote (Lippert p . 68 ) "In petitioning f or this extra or di nary favour I frankly and wil lingl y acknowledge my grievous f ault in de serting my proper sph ere of art f or the f ield of pol itics; I also deep l y and sincerely regre t the f act that by such conduct I must h ave appeared guilty of the grossest ingr at i tude to my exalted benefactor , hi s lamented Ma jesty King Frederick Augustus . Though I cannot p l ead it in justif ication, i t i s nevertheless a consol at ion to me to know t hat I am innocent of thi s off ence, and t hat it never occur red t o me t hat my reck less action woul d be interpreted in this light . " In 1860 Wagner , although not receiving full amnesty, r eceived permission to entor t he St ates of the German Confedera- �93 tion other than Ssxony. This was due to the influence of Von Seebach, Saxon Ambassador at Paris, in a letter to whom (Lippert p . l31- 2) Wagner wrote:- "I am not conscious of' having committed any really criminal act • •• ••••••••• I may further hope that by my frank explanations I completely satisfied your excellency that that sta te of exc'-tement (entirely alien from my real character) which carried me away under the pressure of unwont ed circumstances and misunderstandings has entirely vanished, and that if it was ever possible for me to join a revolutionary political faction (with whom I really had nothing in co~or.), my present views etc •••••• ••• • cannot possibly bring me into even apparently er1m1nal relations with such a body. The writers who have made such unnecessary and misguided attempts to \7hitewo.sh Viagnor have vented their anger on the Saxon Government for declin.1.ng to pardon Wagner f or so many years . They seem to have been ignorant of t he fact, now made clear beyond all possible doubt by Lippert, that tho action of the Saxon Government was in this respect perfectly consistent and not unreasonable. Wagnel' was cons1.stently infol"Med that if he wanted to try to obtain a pardon he must first return to Saxony and stand his trial instead of' being and remaining a fugitive from justice. \1hy did Wagner !'lee, and why did he apparently dread standing his trial? At the same time we ~ay also ask:- if \7agner was led by tho troubles of the times into �94 tnkinc pnrt (as did many worthy people) in the revolutionary movemont, noed Tie necessarily think tho worse or him as a man? At any rato he had some spirit ar~ was not a more lny- tigure, although we may fairly rogard hie political views as being those or un i mpulsive artist ''lho had no clear concoption of tho complexities and difficulties of ndm1n1strntivo ------------- govor~~ont . �95 Postscript no . 2. ( Chap . XV.) Dr . G. l!. !lullor, on p.24 of his book "Richard Wagner in dar Mai Revolution 1849" (published in 1 919 by Oscar Laube in Dresden) adds some information about Wagne1• 1 s alleged att empt to set fire to the palace. He relates that a corta1n Zwingerwall commanded the first company of the Communal Guar ds on tlay 5th. 1849; they we1•e awaiting :f'tu•ther orde1•s while occupied in guard- i ng tho museums . Then follows a passage that I have t ranslated as follows: - "Late in tho afternoon (before six o'clock), Richard \'lagnol', e.::: has positively been testified, came to the guards as spokesman of a few men, \7i th the request that the guards would a l low thom, from the post where they (the guards ) vtere stationed, to squirt sulphuric ethor, vitriol and alcohol on to the Prince 's Palace and the Castlo, \11th a view to setting f'ira to them. This \Vas decisivel y r9fused, and so the project came to nothi ng." In a footnote Dr. Mull er adds that tho a!'fnir is described in a latter by Schl1Emder of 1 4 . 6 .1849 (only u brief time after the actual event) to Kochly, but without mentioning Wagner by n<.une. Dr . J.: ull er goes on t o say:- "Schwonder, who died in 1901 in Dresden as a respected merchant , emphasised, when suspicions wore r~s r epeatedly and expressly e:l\."Pre~sed to him, that it was Wagner v1ho spoko at the hoad of those men, and that he ( \'lagner) una vo1•y well known to him." Dr . Muller reforo t o of f icia l documents . ----------- I �96 Poatscript lo . 3 . (Chap . XV. ) Even after tho provisional governrnont h ad ret1ro d from Drosdon in the hopo o r continuing its work and rallying the poople in the country districts, Wagner cor.tinuod to act as a member or what remained o f that governmont (see pp . 44-51 ot' Dr . G. H. ~ uller' s book "Richard 1 aener i::t der Mai- Hovolution 1849"), and his activities did not cease until he heard that Heubner and Bakunin had boon made prisoners . Ho had i ndeed accompanied the revolution until it flickered out, as he M.rself wrote later to Ldward Hoeckel on larch 15th. 1851. f ccordin,; to a certain Samnig, quote-1 by Dr . lnl{'; O Dingor in his book "Richard t•ar,nor 1 s Oeistige Entwickelung", Uo.gnor on a brief hurried return to Dresden (a fter tho Provisional Oovol'nment had l eft) was in a highly excited state, nnd Made loud i nfl ammatory speeches to tho mob (Dr . Jl.uller p . 47) . loft Dresden, thls timo with nakunln and ~eubner, He again with wh~ he had a consultation at Freiberg; trey resolved to retreat fUrther to Chel'l'ni tz . '3oforo leaving, Haubner made a speech to the people from the balcony of tho town hall, in the course ombraced h1m. or which \ agner Tho next morning Wagner learnt at Chomnitz the news or .l:lakun1n ' s and llou'bnor 1 s a rrest . ------------ �97 ·os tscript No . 4 . (Chap . H . ) On page 44 o!' his book "Richard Wagner in dor l'ni- Rovolution 1849", Dr . G• .II . !ullor r ofors to the fac t thnt nftor his fliJht from Dresden \;agnor const1 tutod himself messenger of tho Provisional Government "as he himself says, bosougllt to do so". s ought tho reservists who wore marchi~ He on Dresden, and drove Ylith thor> unt11 they mot fugitive voluntoors who informed him that the Marbo rs of tho provisional government woro close behind , and that 1n Drosdon tho nffair was at an end . ----------• �98 Post scri pt Uo . 5 . (to Chap. XV. ) agner in his own recollections ( "~'e in Lobon" , popular edition, vol. II, pp . 195--260) gives a long account of his connection with tho revolutionary movement. 11.th the exception of tho printing of the appeal to the soldiors , he admits no positive action on his part in favour of tho insurrection, and throuehout poses as having boon merely an interest ed spectator (e . g . on pp. 232, 248, 260) . This part o~ his autobiography nust be studied in connection with all the independent testimony t hat exists regarding tho matter . ---------- �99 CHAPTER XVI . Wagner's Letters to ~~e. Ldonie Praegor. --------------------------------------- It has already been mentioned that Mme. Prnegor was a born Frenchwoman; and because of this fact, when Wagner wrote to her he wrote in the French laJl6unge. On p. 69 of his book "Richard \'iagner an Ferdinand Praeger~' Chamberlain writes as follows: "All the lettors (i . e . from \'lngnor to tho Praegers) are written in German, excepting the three 1n the }Tench language to !.Irs. Praeger, of which the French text 1s given (as is proper); the orig inals arc all still 1n existence 1n England and have lain before the author of this book . " J.!y mother drew up the followiJl6 statement in her own handwriting:"The history of the longest and most important of these three letters is as follows: - ¢ A few years before Mr . Praeaer s death, L7me . Praeger sold 1 it (in the year 1888) to my hueband Julius Cyriax, after whose death in 1892 it became my property. son Di- . Edgar I<' . Cyriax in 1917. It was given by me to my Under no circumstances can Mr . Chamberlain possibly have seen the or1gino.l, for my son Edgar never had any communication from him, neither did I myself ever see him. Aug . 7th. 1932 . Anna Cyriax" . ------~--------------------------~----------------Note. ldy brother once met Houston Chamberlain; it was at Bayreuth in August , 1912 . �100 To which my brother added the following: - "! heroby certify that the above-mentioned lettor written by llagner to !.Irs . Pro.oger came into my possession during 1917. as stated. and that it has not boen inspected by ~·r . Houston Stewart Chamberlain or h1s duly authorised ropreeento.tive at any time s ince then . Aug: 21st. 1932. ------------- Edgar F. Cyriax . " �101 CHAPTllli XVII. Hous t on Chamber lain ' s Enquiries concerni ng Ferdinand Prnegor . -----------------------------------------------------------On Oct . 29th. 1893 Mr . ChruMberlain caMe to my mother's house . He asked to see my mother, but sho happened to be 1n Sweden at tho time ; so I i nterviewed him in her pl ace . le expl ained that ho was interested in everything concerning Richard Wagnor , and asked whet her \?e had any lettors written by Waener . I said that my mother had a number of letters written by \'oagner to my father , which however \Yore private and not for publ ication. P.e asked whether she had any letters written by Wagner to Praeger, and I said that I did not think so, baing entirel y unawaro that my mother posse ssod tho long letter in the French l nnguage written by Wagner to ¢ on pp. 277- 280 of Prnegor s book. 1 ~mo . Prnogor (given in full I took him to see our "\ ngner cupboard" , explained to him that the doors of it wore the doors of the room in Leipzig in \lhich r,agner was born, and shoTied him t ho relies from tho first per formance of Parsifal . llr . Chanberlo.in then took hi s l eave, and said that he hopod to hear from my mother, on hor return to London, whether sho had any let tors in iin~er 1 s handwriting other than those I had mentioned , more especially any l etters of ' agnor to Pr aeger . Ho never came to t he house again, nor did he write to me . ~ This is the lettor "hich, as narrated in tho last chapter, is no" in tho possession of my brother , Dr . lidgar Cyriax . �102 In his book (2nd. Ed . p.l79) Chamberlain wrote that he enquired "everywhere diligently" (uborall fleissig) for information about Praeger . He certainly never asked me a s1ne lo questio about Praeger, although t h e latter had boon my piano-master and taught me for years . This is the more remarkable in view o f his statement , because the family Cyr1ax were well and widely known to be among Prnegor's best and most intimate f riends in London. t~y mother drew up t he following statement in her own hand- writing:"I herewith certify that Mr. Houston Chamberlain never visited me personally, and never spoke to me, and thus ho could not possibly have made any enquiries of me by word of mouth concerning l'r . Praeger . He wrote to me twice . In the f irst letter (of nov. 27th. 1893) he regretted not having yet received any answer to the questions that he had put to my son Rudolf. Praeger had inf ormed him that possibly ~~ . He wrote that r·rs . Cyriax had come into possession of one or more letters from Wagner to Praeger; he asked for the loan of the originals or for certified copies. After the death of my husband Ju.l 1us Cyriax in 1892 , I had not yet looked through all the papers he had left me, and did not yet know t hat he had bought and put away in safety the long letter in French written by Wagner to Mrs . Praeger, and referred to in the previous chapter , so I wrote briefly to Mr . Chamberlain to say that I only possessed let ters written by Wagner to my husband and these we:.-e quite priva te and not for publ ication. Mr . Chamberlain �103 '~ote to me again (on Dec . 5th. 1893) and requested ~a to inform him if ever I found any record of the possessors of the letters "sold through the medium of Mr. Cyriax" . But this presumption that Mr . Cyriax had sold l etters of Wagner, presumably on behalf of Praeger, was I believe groundless, as I have no recollection of any such transaction . and he never ~ote I did not reply to this second letter to me again. In neither of his letters did he ask me for any information concerning Praeger himself . Oct . 5th. 1932 . Anna Cyriax. '' I t must be added that Houston Stewart Chamberlain never made any enquiries concerning Praeger of any of us children, although five out of six had had piano lessons from Praeger. In view of this fact on the one hand, and on the other that - Chamberlain said in his book (p.l'79) that he had enquired "everywhere diligently " concerning Preeger, it became necessary to enquire into his statement further . On Aug . 25th. 1932 I '~ote to Mrs . Ldonie Edwards (n6e Praeger} for information on the point. Her reply is dated 26. 8 . 32:"Dear Rudolf -------------------·-I think my mother only saw Chamberlain the once to which she alludes in the Musical Standard . She never had seen him before that time. Chamberlain never made any enquiries from me nor �103 wrote to me again (on Dec . 5th . 1893) and requested tro to inform him if ever I found any record of the possessors of the letters "sol d through the medium of 1/. r . Cyriax". But this presumption that Mr . Cyriax had sold l etters of Wagner, presumably on behalf of Praeger, was I believe groundless, as I have no recollection of any such transaction . I did not reply to this second letter and he never wrote to me again. In neither of his letters did he ask me for any information concerning Praeger himself. Oct . 5th. 1932. Anna Cyriax. '' I t must be added that Houston Stewart Chamberlain never made any enquiries concerning Praeger of any of us children, although five out of six had had piano lessons from Praeger . In view of this fact on the one hand , and on the other that • Chamberl ain said in his book (p.l'79) that he had enquired "everywhere diligently" concerning Praeger, it became necessary to enquire into his statement further . On Aug . 25th. 1932 I wrote to Mrs . Leonie Edwards (nEfe Praegerl for information on the point. Her reply is dated 26. 8 . 32:"Dear Rudolf ---------------------I think my mother only saw Chamberlain the onco to which she alludes in t he Musical Standard . She never had seen him before that time . Chamberlain never made any enquiries from me nor �104 "Drunnhilde about my father, and I don't think he did of Wilfred, but the last named would tell you definitely if you asked him. I never even saw Chamberlain nor did Brunnhilde - and I only heard of him. when he made himself so antagonistic to my father's wor k . With kindest regar ds to you from us all Yours very sincerely, L6onie }o;. c . Edwards . " On August 28th. 1932, I obtained inf ormation from Mr • • Wilfred Praeger in person . presence of hi~ ~ire He told me ·most positively i n t he (formerly Miss Bl yth, a well- knovm Wagner enthusiast) t hat Chamberlain had never made any enquiries of him ab out his father , and that Chamberlain and his father had never met . Thus when Chamberlain made his remarkable statement he had not enquired about Pr aeger of any member or t he family . The only member or the family he ever saw was Mme . Leonie Praeger , and her only once; and on that occasion he only asked concerni ng Wagner's l etters to Praeger. Before making enquiries of any members of tho Praeger family, I had already sought f or inf ormation elsewhere. On August 3rd. 1892 I wrote to Mrs . Forman ( "Alma Jr.urray 11 ) , and she replied as follows: 11Dear Rudol f No. Mr . Houston Chanberlain never approached us; and I feel pretty sure had he done so to J.1r . Mosely or Mr . �105 "Dowdeswell we shoul d have heard it . Of course I may bo wrong, but t h ink I should have remembered had I ever heard of him. ------------------------Yours etc. Alma Murray Forman. " Mr . Moseley was tho rounder or tho London branch of tho Wagner Society} he wo.s a l so a great friend of Alfred Forman . l'r . Charles Dowdeswoll was a member of the former art- firm • Dowdeswell, of Bond Street; he was a staunch friend of Praeger and a frequent pilgrim to tho performances of Bayreuth . From what Chamberlain says on p . 171 of his book it is pl ain that he never avon so.w Edward Roeckel, who kno\V Praegor so well that at one time ho lived in one househol d with him, and that be never made any enquiries of Roeckol excepting \Vith regard to the letter to him from Wagner of whlch tho toxt is gi von ln full on pp. 188- 191 of Praogor ' s book. Chamberlain does not in bls book name oven a single person from Whom he made any onquirles of Praeger . Indood it i s obvious t hat ho carefully avoided many or most of those who could speak with author ity, and that his statoment that he enquired "everywhere diligentl y" concerning Praegor is slmpl y an i mpudent falsehood . --------------j �106 CHAPTER XVIII. Letters of Richard Wagner alleged by Houston Stewart Chamberl ain to be apocryphal. ---------------------------------------------------Of the 35 letters of \"lagner to Praeger, of which translations are given in the original English text of 11 \'lagner As I Knew Him", 21 passed finally into the possession of Lord pysart. Chamberlain took great credit to himself f or giving in his book "Richard Wagner and Fer dinand Pr aeger" tho alleged correct text of these 21 letters, although in the "Musical Courier" of New York of Jan . 1. 1896, !.'rs. A. Schreiber stated that Chamberlain had intentionally l eft out l arge parts of five letters and 'I omitted various postscripts. She further stated that Lord Dysart was concerned at such a proceeding, but that Frau Cosima had intervened, and through her possassion of the copyright of Wagner's letters as long as she lived, had prevented a corrected German edition of Praeger 's book from bei ng reprinted. Chamber- l ain had in fact been granted the sole permission to reprint the l etters of Wagner to Praegor in his book, and had therefore been able to mutilate t hem as he chose while professing to give the German publ ic the exact text . In his second cr•tic1sm (1894) of Praeger's book (reprinted 1n "Richard Wagner an, Ferdinand Praeger" ) Chamberlain stateti his convic.ticn (p . l63 of R••v. and F .P . ) t hat of the remaining 14 . l etters (which Lord Dysart never had) tho majority wore altogether apocryphal, and others distorted through interpolations to the ~ See end of chapter for the text of the extract from t'rs. Schreiber ' s letter. �1 07 But (p. l 65 of R.P. and F . P.) he point of b eing unrecoanisable. rel ated how he had visited Ume . Praeger i n ·London and made enquiries of her as to the missi ng l etters . Mme . Praoger's version of this interview was given in the Musical Standard of Apri l 21, 1894 . !.lmo . Praeger, relates Chamberlain, assured him repeat edl y and emphatically that the 14 "missing lett er s" had boon destroyed by her husband, because they contai ned detail s of a too intimate kind f or publication . wrote that nobody could doubt ~e . Thereupon Chamberlain (p.l65 Praeger's l ove of t r uth; but in the same sentonco he throw doubt on her memory and source of i nformati on . He further doubted that Wagner had over told Praeger anything very intimate; and then he asked who in the wor l d woul d destroy such documents? Per sonally I know Praeger vory well ; he was very honest and • pl ain- spoken, and the sort or man who would not hesitate t o destr oy such documents if he had a mind to do so. puts it very well 1n the ~usical ~rs. Schreiber Couri er of New York of June 26, 1895: - "It was Praeger ' s nobility of character uhich led him to destroy the documents in question, and thereby koep trom publication anyt hing which might compromise his much-loved friend and rouse t he world ' s advers o criticism of hi m" . On p . 360 of the German edition of "r,•agnor As I Knew Him" Praeger r eferred to these l et t ers as follows: - "I fe l t i t my duty to mention a l l I have e7.per1enced, just as ~ch ~d quoted for this reason in every case only from the letters a s would vouch for tho truth of what I l"ol at ed wout Wagner " (transl ated by ~·rs . Schreiber) . �108 Was there any special reason more than another that led Pr aeger to destroy some or all of the missing 14 letters written to him by Wagner? llow tot1srds the end of the year 1893, Mme . Praeger accidental ly foWld a box containing some letters of \"lagner to Praeger which the latter had evidently f orgotten, and which did not appear in "Wagner As I KneVJ H1m" • Mme. Praeger related this in the Musical Standard of April 21, 1894; and in the same paper of 5 1 1894, she made public the unabridged text of two of the ~my l etters . I t is noteworthy that in both the incurably extrava- gant Richard Vlagner made reques t s for money. In fact Praeger, who himsel f was never well off, destroyed some if not all of the 14 "missing letters 11 mainly because he did not want the world to know the extent to which Wagner had appealed to him for pecuniar y aid. And further, there were 1n the letters certain references t o Minna (\'Ieg ner's f irst Vlife) which Praeger thought should not . be made public . ~ I may add that on Sunday, July 31, 1932, at 2 Denmark Avenue, \'11mbledon, !.<rs . Leonie Edwar ds (nde Praeger) told me that she had personal~y seen all the 35 letters during the course of her father writing "Wagner As I Knevt H1m" , and she added t hat she knew definitely that on a certain occasion various papers relating to Wagner were destroyed, although she hersel f d1d not actually see them destroyed. ¢ She made this statement to me in I owe this statement to Mr s . Ldonie Ed\7ards (nee Praeger ) and Mr . Wilfred Pr aeger . �109 the presence of Mr . and Mrs . Richar d Edwards and of Miss Muriel Edwards. From the Musical Standard of April 21st . 1894, I append Mme . Ldonie Praeger's account of the finding of the additional l etters . "On the 18th. of February last, I was, with the assistance of my daughter, Brunnhil de, making room for the storing of a flower- stand . To do this I had to remove some lumber, when, by the merest accident, I came upon a bundle of books and newspapers, in t he midst of ~ich a small wooden box. vms On opening the box I found it contained letters, and to my surprise one in Wagner's handwriting . I thereupon called my son Wilfred and together we went through the box, finding no less than 16 letters from Richard \'Iegner, besides some from Berlioz, Bulow, Liszt, and others. llo doubt some of these Wagner letters are those which Mr . Praeger refers to in his book (p. 300) as having been received by him but which he did not elect to reproduce . Of course Mr . Ellis has singled out this r eference and bluntly suggested that it was an untruth on the part of Fer dinand Pr aeger. The whole of these letters I then sent to total strangers for transl ation. with me . The l-etters and t ranslations are now Brief l y , they relate to money matters , copyright, Minna, projected concerts 1n London, his Zurich neighbour , etc . etc . They all breathed a spirit of t he closest intimacy with Ferdinand Praoger . They are val uable documents, all of which shall bs gi ven to the public at some time . I wlll, however, �110 ask you, ur . Editor, to be good enough to publish at l east two, both in the original and with t heir English ~onder1ng". (For t hese 2 letters vide N. St . of May 5, 1894). Extract from llrs . Schreiber's letter i .n tho New York "Muaical Courier" referring to Houston Chamberlain's al leged mutilation of Wagner's letters. "The book ' Wagner wie ioh 1hn kannte' is now corrected, and Lord Dysart wishes to republ ish it, together with the photographs of the original letters. But Lord Dysart's publisher, Carl iJUnoker, of Dorlin, m•ote that you forbade him publishing these letters, and that you threatened to bring nn notion against him if he did so . This surel y must be a misunderstanding . Very l ikoly it has not cOJTte to your kno\fldc!ge that Lord Dysart allowed Mr . Chamberlain to copy tho oria 1nal letters on the understanding that he was to publish them in their entirety in Germany. But Mr. Chamberlain, withou t the permission o f Lord Dysart and without g iving him information thereof, omitted considerable portions of the text of 5 letters, and also left out several postscripts . This is the more astonishing, as Ur . Chamberlain himself in his ori tical pamphlet oallod Orig inal !.etters of Richard Wagner to l<'e rd1nand Praeger, pago 9: "ovon tho very smallest detail is of interest if it concerns a man l ike Richard \'lagner" . Now Lord Dysart considers it an absolute necessity that the l etters should appear in t hoir complete form" . (Note . Frau Cosima flatly declined all )'rs . Schreiber 1 s reques t s) . �111 Extr act from a letter from tlrs . A. Schreiber to Praeger's patron (Lord Dysart) dated 29 .10 . 96. "You will be surprised to hear that Mr . Chamberlain asserts that he had to copy the Wagner letters at Buckminster very hurriedly at night by candlelight, and therefore was compelled to leave out text. He further says that he made no secret of it, that ll.ra . Praeger, or rather those who attack him, knew this long ago, because he repeatedly explained it privately and publicly. 01' course I know nothing of the kind and I wrote tlr . Lebrecht (the lawyer) to let assertions . fried" . 1~. Chamberl ain bring the proofs tor his The original copies, he says, are 1n "Villa Vlahn- Your Lordship TT!ll remember , that t'.r . Chamberlain wrote to you Frau YJ€1gner kne'ft noti:ling at all about the l'raeger book. On the whole, I think !.lr . Chamberlain has made out a bad case for himsel f, for 1t he was aware or having made slovenly and incomplete copies of the letters he had no right to publish them as originals . ~~ . Ellis wrote not a comma or dash has been omitted by J.lr . Chanberlain. 11 (Note: I quot~ See also Ashton Ellis ' "Life of i'lagner ", Vol . V.p. 416) have to thank the O\mer of the letter f or pei'111ission to this passage . ---------- �112 CHAPTER XIX. Praeger's Visit to Wagner at Zurich. \ ----------------------------------- During a year given by Praoger as 1856, altho•;g.'l the date has been disputed, Praege r vis! ted Vlagne1• at Zurich. He gives an account o f his visit in Chap. XXI, and at the end of this chaptor wrote as follovro: "Dtu•ing my stay I saw .Minna's jealousy or another. She refused to see 1n the sympathy of Pladrune \'lesendonk for Ylagner as a composer, t h at for the artist only~ It eventually broke out ¢ 1nto.a public scandal , and filled the opposition papers wi th indignant rop1•oaches about 'ilagner's friend . ingratit~de On leaving Zurich I went to Paris . towards his There I wrote to Wagner an expostulatory letter, alluding to a couple of plays with wM.ch we we1•e both familial', viz; "The Dangerous Neighbour hood" and "The Public Secret", with a view of warning him priva tely in such a manner that Minna should not understand should she chance ·to x•ead my letter . soon. The storm burst but too Wagner wrote to me while I was still in Paris: "The devil is l oose . I shall leave Zurich at once and come to you in Paris . lt.eet me at the Strassburg station" • ••• • But two days after, t h is was cancelled by another lotter, an extract from which I give. 1 1.1attera have been m::.oothed over, ::o t hat I am not compelled to leave hore . ¢ I hope r1e shall be quite free from annoyance in The month and year (or months and years) in which these c.ppeo.red woul d be a help to the correct dating o f Praog er 1 s narrative. �113 1 a short time ; but aehl, the virulence, the cruel maliciousnes s o f a<r.!lG of my onemies . 1 · I can toot1.fy •,:ognor sufforod aevcroly rron thoughtlessness . 1 It Praeger was in Zurich not 1n 1856 but 1857 (as Chamberlain • asserts) it was about a year boforo Wagner loft Zurich and parted from Mathilde \lesendonk. Somothing must be said about tho affair between Wagner and his friend ' s wife before passing on to consider the subject of dates . The latter ia important, as Chamberlain has fastened on a certain carelessness shown by Prae63r regarding dates 1n order to make out Prneger to be a most intentional and inveterate liar . In the year 1904 appoarod "Richard _Wagner and J.!ath1lde Vlesondonk" wit h pref'aco by Prof. Dr . Wolfgang Oolther, published in Berlin by Alexander Dunckor . It contained \'lasner 1 s letters to Frau \'fesendonk, and pi.U'ts or h1s diary written for her; at the ond were added 14 or her letters to Wagner. As both parties to t h o affair were already married, they regarded any union between the~ selves as being out of the question; but scandal had been aroused and protracted for a l ength of time; serious quarrels took pl ace betweon \'lagnor and his firs t wife Minna, leading to a temporary broach. In t ho ond r;llGDer and Frau Wosondonk agreed to part, which they did during August 1858, although they conti nued to correspond in a most int!mato and affectionate manner until during 1664 by Cosir:.a. ~agner ' a attention was distracted fl•om Frau Wesendonk �114 In view of nagner 1 s later behaviour to Bulow 's wife, it woul d not have bean altogether sru•prising if Wagner and Frau Wasandonk had boon led away by what is called "guilty passion", but there 1s no positive evidence of this . Readers must judge for themselves \Thotber such a correopontlunce in<llcatos nothing more than a high- f l own lovers' passion of a purely spiritual !rind . In any case, most thoughtful 1•eaders will agree with the opinion I have hoard various times expressed, that her husband Otto \'losendonlt pushed forbear ance to rather remarkable limits. And evory reasonable reader must realise tlult l-linna Wagner bad abundant cause for jealousy. Minna did not understand Wagner's l ater and higher artistic development, whereas Mathil de \'/esendonk did; but Minne., as Wesner's legal wife, had every rie;ht to object to Wagner ' s manifest preoccupation with another woman moreover, another man' s wife ! In his book Praeger speaks of only one visit to Zurich . Chamberlain (p . l 35) wrote that Praeger ' s visit must have been in 1857 . He gi ves four chief reasons for this , one of vmich is that in Wagner ' s letter to Fischer of Oct . 29th. 1857, he say s that he has had various visitors durine the aUJmner "for a longer or shorter time" , among whon1 lias Praeser ; and this of course is unanswerable evidence that Praezer visited Wagner at Zurich duri ng 1857 . Chruuberlain further poi nted ottt that. Pr aeger says he l ived i n tho "charming chul et " - which \7ngnor did not enter until April 1857 (seo Driofe and Liszt, II .l62), and says that Wagnor \7as composi ng the second net of Siegfri ed - which must �115 have been tho aUllllller of 1857. Boa ides all this Chamberlain points out that during "a great part", though not all, of the aUllllller of 1856 Wagner was not in Zurich. Having oat ablishad that Praogor visited \':ngner in Zurich during 1857 , Chamberlain accuses Praeger of the moat reckless l ying regarding his story of the f irst origin of tho music of Tl:'istan and Isolde. According to Praoger (p.293), Wagner drew his attention to Gottfried von Strassburg's "Tristan and Isolde" and, as Praeger wrote "we spoke long and earnestly as to its adaptab1l1 ty for operatic trea tmont" . This is just what woul d have happened between two such good friends, more especiall y as Praagex· was a trained practical music:lllll so much in sympathy wl th Wngner . Chambe1•lain, however, dlllllllS the account not only on account of the trrong date, but because Praeger \'lrote "But at tho time he spoke , 1t appeared (sic) to me he had no thought of utilising it as a libretto". Thereupon Chamberlain proceeded to trample on Praeger because Wagner had already conceived the idea of a "Tl:'istnn and Isolde" in the year 1854 (vide his letter to Liszt II . 46); and Pohl r1as told 1n August 1857, when he Tlas in ZU1•ich, that the poem of the first two acts was already completed Nm1, i n tho first place, evan although Wagner had conceived the idea some time boforo, it was only natural that he should ask the opinion of a t1•ained musician and Cl'i tic like Praegor on. such a subject without first "giving hilll$elf away" too much, aa is aaid. And again !t was only natural that after such an enthusiastic discussi on Wagner ' s inspiration should have beon �116 stimulated to the point ot beginning to conceive musical thomas for the subject; it is indeed most probable. There remains the difficulty ot date . I hnvo proved Praeger to be most truthful with regard to a number of statements tor which be bas boon most unjustl y attacked . was somewhat c areless as r egards dates . As I have said, be Is thoro ony simple and easy explanation that has boon overlooked by his too-clever detr actors, ono \'lhich sol vas tho problem of Prnee;er ' s "Tristan" story? When Praegor wroto about his experionces in Zurich, it was betwoon 20 and 30 years later . I t may porhnps bo suggested that be paid a longer visit to Zurich in 1857, to which rotors most of what ho rol atos in Chap . XXI, nftor a shorter one in 1856, during which occurred the "Tristan" opisodo . There r emained f i rmly in Praoger ' s mind the doings of uagner and the many artistic discussions and experiences; then, after so l ong a space of time, he forgot the first short visit as having been 11 separ ate, and mixod it up with tho second . It mu~t bo under- stood that I refr ain from dogmnt1sing ; I run meroly pointing out a possibil ity that has boon overlooked by those who aro anxious not t o explain, but to slander. Prneger ' s version of the .osendonk attair is one moro testimony to the truth of his narrative . He rotors to Gorman papers that attacked Wagner on tho subject at tho tine, but he 11 It must be romernborod that Praogor led an exceedi ngly busy l ife, and did a e;ood donl of t ravelling . �117 himsel f was the f irst aut h or in England to have t ho knowledge and courage to deal with t he matter . Ashton El lis (vol.III , p . 273 of his "Life " ) attncked v1h at he called t he "scandal-mongers " most bitterl y , and h imself ga ve a f ine example of "virtuemongering" that i s most amusing to read in t he l1ght of the l ot t ors of Wagnor to Mathilde \,e sendonk published the very ne xt year (1904) . Ellis refers in a footnote to his share i n the exposure or "Wagner As I Knew Him","where the i nnuendo made its first impertinent appearance in t h e English tongue". Ue now know that Praeger did indeed writo about the matter from personal ¢ observation. Chamberlain himself admitted (pp .l35- 6 of his book) that . Praoger ,·,as in Zurich in 1857, although he arb! trar1ly cuts do.-m ¢¢ the time of his v1s1t ; and of CO\~se during this time Praeger 1n any case could not help becoming well acquainted with the Wosendonks . On p .l37 , Chamberl ain wrote that t he Wesendonks remember- ed neither the name nor the person of Praeger ; Ashton El lis had made enquiries on the subject in 1892, in consequence of the passage above- quoted 1n Pr aeger's book. As to \T.bich it is only ¢ of t he val uable corroborative evidence in Richard Pohl 1 s article in the Augsburger "Allgemeine Ze1tung" of April 8th and 9th. 1883 . Wagner i n his own r ecolloctions("Mein Leben", popular edition vol . III . p . l 39) says that Ferdinand Praoger came to visit him 1n Zurich during 1867, at the beginning of August, when he had just f inished the second act of Siegfried ; but he does not say when Praeger l eft . �118 necess ary to remark t hat it was the sottled policy of ·t he Wesondonks to deny the whole affair completely as long as We8endonk was still alive . ~athild e I t was not until after hor death t hat the truth was revoaled . -----------?ootnote to P • l l4, Chap. XIX . ( ••••••••• In vi ew of Wosner ' s lator beh avi our to Bul ow' s wife •• • ) Tho reader i 8 further referred t o t he affair b otween Wagnor and !:mo . Jes8i& Laussot in Bordeaux 1n the year 1850 . \7agnor gives an e.ooount of this in h1s recollections (":Me1n r,eben" , popul ar edition, pp. 293· 307 of vol. II) ; he con fes8es (p . 302 ) t hat .t he aid of the police wa8 called 1n t o prevent hir.l from moet1ng her; and also (p. 306) how her husband took Jessie away on hearing of Wagner 1 s coming to Bor deaux again, w1 th Wagner 1 s own :~.•etorences to having been "slandered" . • �119 f HAI'rER XX Praeger ' s Keet1ngs with Wagner in Paris . 1859· 61 -----------------------------------------------On p.302 or "Wagner as I Know Him", Praogor wrote or Wagner as fol l ows:- "So, of Paris. in the autumn or 1859, again ho attempts the conquest He wrote to mo, asking f or an introduction to certain friends who would assist him 1n securing tho les nl copyright of h1s compos! t1ons . I took stops to put him into collll!lun1cat1on w1 t h the des1rad adv!sors'' ••••••• • Chamberlain (p. 141 ) tried to pour sarcasm on Praeger the Protector , Praeger who introduced Wagner to Paris, Praeger whom Wagner consulted at every important step, otc . llo cUd h1s very boat to depict Praogor as a nobody who was bursting with conceit and self- importance, and ever r e ady to magnify h1s own acts to "epic dimensions" (p. l 80) . He wrote that already i n 1858 Wagner had begun negotiations with L1szt 1 s son- in-law Oll1v1er 1n r~gard to copyrights and said that the whol e of Praogor 's story was an 1nvont1on (p . l42) . However, he admitted i n a foot- noto to p . l42 that Wagner, before he wont t o Paris and made Olliv1or 1 s acquaintance, wrote to Praeger about th1s matter (i . o . or copyright) and had roce1vod useful addresses (see latter to Mi nna Wagner of Jm1 . 17th. 1858). Obviously all that 1s necessary to correct Praeger ' s careless words i s to alter tho phrase "Be wrote to mo" to "He had already wr1 tten to me· 1n 1857". But as regards Chamborla1n 1 s s piteful calumny that Praegor �120 was a mere nobody, a mere "obscure pio.no- toachor" (p. l09) of ovel'\'Yoening solt- 1mportance, something more must be said. Some account of Praogor 1 s l i fo and achievements waa givon in the first chapter . In Chaptor XVIII it was made clear that Chamber- l a in had avoidod at an y r ate most of those Who could speak about Praeger with author ity, and then had told l ies about the enquirie he professed to have made. And now it is necessary to deflate the bubbles of Chamberl ain's swoll en r hetoric about Praegor' s real servi ces to Wagner. Chamberlain never hnvi ng made any serious otfort to learn nnyth1ng about Praegor was obviously . ignor ant that tho l atter, until he had an accident to one of his hands, was a woll- known pianist who played in public not only in .Engl and but also in various countries in Europe . He, a Gorman, born of Dutch paronts, played with success in Paris, notably at the Salle Erard; and it was i n Paris that he mot his future wife . If Pr negor knew Paris well, his Parisian wife knew it exceedingl y well; if more. Praeg~r had many frionds in Paris , his wife had yet many To cOMe down trom Chamberlain ' s windy abuse to hard facts Praeger wns just the per son f or Wagner to apply to for informat i on and help regarding Paris nnd its society . On pp. 303- 4 Praegor relates how while he was with \'lagner 1n Paris , the latter received a message trom Badjocki (Napoleon III 's chamberlain) that tho Emporor had commanded ( in Praeger ' s wor ds "arr anged for") a performance of Tannhausor at t he Orand Opera. Chamberlain tried to pour ridicule on this, because Wagner wrote to Liszt on ~arcb 20th . 1860 t hat a performance of �121 Tannhauser vtas 1n pr ospect in Paris, and because Praeger could not have heard what he described during his "summer- holidays in 1860" . As if Praeger could not have been in Paris for his Easter holidays or at any other time! As if a musical critic so wel l - known as he was, and of such importance, had not to do ~ any travelling 1 Furthermore, Praeger 1 s story only refers to Napoleon ' s personal intervention, not to anything mooted by anyone else ; or did Chamberlain imagine ally responsible for ~veryth~ tl~t Napoleon was person- at the Paris Opera? And indeed Chamberlain himself admits (p.l42) that he could not state t he date \vhen the Emperor interposed his own \'tishesl ---------------- ~ Wagner, in his own recollections ( "Mein I.eben", popular edition, Vol . III , p . 244) mentions Praeger, among others, as having come to Paris to attend the f i r st performance of Tannhauser there. Further (Vol . III, p . 247) Wagner narrates that Pr&eger was presented at a conference (including Hat zfeld, Erlanger, Kietz and Wesendonck ), at which the obsttlcles that wer e being put in the way of the performance were being dlscussed, and he mentions Praeger as one of those who for the time being despaired or a per formance actually taking pl ace . I may add that when I was still a young boy I heard from Pr e.eger 1 s own lips an account of the perf ormance, and of the behaviour of the members of the Jockey Club and the disturbance they created . So far as I r emember he gave me this account before Wagner died. �122 C.IAPTBR XXI. Praeger 1 a Advice to Uaener about Begging Letters -----------------------------------------------Praeger v1a1tod \'lagner in Llunchen 1n the year 1865. On p. 143 Chamberlain wrote: "This short visit produced a choice flower of Praeger's power of i nvention. " Wagner requested ¢ PrQegor t o work through a packet of begging l etters . "I did this at Wagner's request, 1n order also to g1vo him advice as to whom and how to answer, as with regard to such affairs he had much less worldly experience than myself. " On which Chamberlain malcos the following would-be spiteful comment: - "Lucky German music- teacher who, in t ho answering - not in tho writing - of bogging l e tters had worl dl y oxper1enco!" Unlike Chamberlain, I prefer to procure ovidonco f or statemonts made . On enquiry I roce1ved the following from !o'r s. L6on1o Edwards (nee Praegor) :"Dear Rudolf • -----------------------My father Tras not connected \rl. th any musical char! ty in particular, but he often gave in answer to boggingletters - of which ho received many, and I am afraid not all wore from legitimate poor peopl e . father's advice to ~ ~agnor I am sure my would have been good, e specially This story only occurs 'in the Gorman edition. In making tho translation of his book into Gorman, Praoger inserted a few items that ho had not remembered when writing tho original English text. �123 "as he knew how free Wagner was with his money! " It is indeed notorious that Wagner, to speak plainly, did not know how to handle money, although his first \Tife kne\v how to manage with it extremely well. In .view of Chamberlain's persistent attempt to reduce Praeger to a mere "obscure piano- teacher", it is perhaps as well to point out that in London, where he lived, he was one of' t he best- knO\m figures in the musical world, and that he was widely known in his lifetime as a concert player, critic, writer and composer • although as regards t he latter he was f or t he most part r egarded as not very successful; but how f ar t h i s is due to the actual quality of' his works it must be left to future generations to determine, when t hey know not only the few works that Praeger was able to get perf ormed, but also the great majority t hat never were performed. To substantiate these remarks, let a few quotations be adduced from various obituary notices. Tho Times (3. 9 . 91) referred to him as a "well-known musician", specified various of' his compositions, and mentioned those not yet published. The Dally News (3. 9 . 91 ) raters to him as being mainly "a highly successful teacher, one of the earliest and most constant champions of the \'IOrks of Richard Wagner, and an experienced and . able writer and critic". (N. B. l'raeger's "Wagner As I Knew lf1m" had not yet been published). The Globe (3. 9 . 91) gave a summary of his different activities and achievements. The St . James ' s Budget, in reviewing "Wagner As I Knew Him" refers to �124 h1m as "a composer and writer of great abil ity". But as Chamberlain carefUlly avoided making enquiries ab out Praeg er 1n tho right quarter11. bow could h e know whO; Praeg er 1 8 London really was? -------------- 8 ta tus in �125 CHAPTER XXII. Praeger 1 a Visit to Triebschen in 1871 . -----------------------·-------------On p . 144 of hio book, Chamberlain wroto about Praeger ¢ with would-be sarcasm, saying "His worldly experience seems also to have been advantageous to tho machinery for tho music-drama 'Rheingol d ' "· Apparently Chamberlain rororrod to some advice given by Praeger to \'lagnor on the subject, but this account is only contained in tho suppressed German edition, of which I have not yet boon able to procure a copy. As to Chamberlain ' s foolish attempt at sarcasm, it has already been pointed out sufficiently that Praogor was a man or wide attainments exceptionally plain- spoken. and Did Chamberlain really imagine t hat Praoger would cringe to Wagner as would have been dono by a mere Chamberls!n, who moreover was not a musici an? Did Chamberlain really imagine t hat Praeger knew as little of music as he himsel f did? In tho German edition Praoger quotes some worda or Wagner implying that the latter did not hol d a very high opinion of Liszt 's compositions. Chamberlain quotes tho wor ds "dom gowissen Talente, wolches man ilnmer morko" i . e . "a certain talent, which can a l ways be recognised". This record of Wagner 1 s opinions caused Chamberlain to take wings on one of his most wildly strenuous filghts of imagination. He wrote (p . l 44) :- "Here rears itself the essentially smal l against tho ossentially great, the ¢ See pr evious chapter . �126 tho spirit of evil a~ainst the absolutel y noble. the spirit of good, meanness against That Wagner did NOT say these words (i . e . about Liszt, as recorded by Praeger) it is unnecessary to prove here; everyone, who knows the master's life, knows that as well as I do, thus, as I have sai d, we stand here in the presence not of a mere invention but of a lie". It may be left to the reader to try to understand what difference Chamberlain draws her e bet\Ve&n an "invention" and a "lie" . Further, Chamberlain took advantage of the fact that Praeger added to the German edition a few items that had been overlooked when v~iting the original English edition, to say that a11 that was not in the latter had · developed itsel f meanwhile in Praegor's mind "as being fitting and s easonable . So did this man of honour write history". This requires the right ansv1er . In the f irst place, it is a fact, apparently unknovnt to Chamberlain, t hat trained musicians who have been through e. proper training in composition, and learned its technique, can and do discuss music, more especially from the constructive or'architectural " side, with a greater freedom and ease than uith ls:ymen who would need continual expl anation. To a man like Praeg er, Wagner would ex- press many opi nions on music not only with t he utmost fre edom, but also with l ess r egard for personal considerations than in his or dinary social circl e - which lat ter included Liszt . And in the second plac e, vthat pretensions has Liszt to be r egarded ¢ I commend this passage to posterity for its amusement . �127 as a great composer? And did Chamberlain really Wagner in 1871 lmew s o little of lliUBic as bo1ng a great composer? to ~ag1ne that regard L1szt as As for Praegor, his laudable bluntness rj regarding tho too groat pretensions of inferior works was one of the qualities that raised onamies against him. ------------ ¢ cf.Praeger 1 s opinions upon the uorks of such inferior composers as Lucas and Onslow, which seem to have hurt the national pride of Ashton Ellis (V. 155- 6) Ashton El l i s does his bast to ll!ake Praeger alone responsible for \'/agnor 1 s opinions on England as if Ylagner never discussed anything w1 th Sainton, Lude1•s, Klind•rorth, Berlioz and others, and had no powers of observation of his own! �128 CHAPTER XXIII. On a Certain Interpolation in a Quoted Extract. ---------------------------------------------• Al though this chnptor has nothing to do with Chamberlain himsel f , I will ask tho reader to tolerate it on account of i ts bearing on Praeger's reliability. In the Musical Standard of May 26th. 1894, Ashton Ellis wrote as follows: "If she (tme. Praeger ) \Till turn to p . 266 of hor husband ' s book, she will find a l ong quot ation from the "Muaical World" of JUne 30th. 1655, in which after "t.len like Liszt" , Fer dinand Praeger has interpolated - "the Apostl e of ne1mar Praeger ". ~ This interpolation is very curious . and Professor Having known Praeger for as ll'.any years as I di d , I know that such an absurd entry coul d not possibly have been meant seriousl y . Praegor was es sen- tially an honest man; and anyone who imagines that Pr aeger could real ly have intended such a deliberate addition, moreover one so easy to detect (tho name and date of tho newspaper are actually given in Praeger ' s book ! ) must be more innocent than a baby. How, then, could such an i nterpol ation hnve crept into the text? Ashton El lis, on this occasion as on others, could not see that there was a simple solution o f the matter . In making his copy tor the "Uusical r.orl d" of 1655, Praeger's tooling of sarcasm seems to have got tho upper hand , and he added his ~ See the l atter part of this chapter . �129 jesting comment, as some ~~iters sometimes do. Then, some 30 or more years later, on copying out his old llS. for his new book, he seems quite to have forgotten that the l ittle sarcasm or so long ago had i .n reality been his own. It must always be remembered that Praeger ' s book was issued after his death, and that neither he nor any member of his family had the chance or revising it. !lor, unhappily, were any quota- tions checked. \'las there any reason why Pr aeger should refer to himself jestingly as a proressox•? L:ost certainly there was! It will be remembered that the chief leaders of the anti-Wagner campaign were Chorley (critic of the At henaeum and the Musical World) and Davison (editor of the Musical \'!orld and critic of the Times) . Davison believed himsel f to be facetious, and in an article i n the "Musical Vlorld" of l~areh 24th. 1855, referred to Praeger as "Professor Praeger, of Hamm" (Ellis' "Lire" V. 61) , a name he used also subsequently. Hemm meant apparently either a small German town, or a district 1n Prussia of about 450 square kilometres; presumably Davison meant to impl y that Praeger came from a place o.uite insignificant . As Praeger came from Leipzig, which f'act was well known to Davison, we may be pardoned f'or not going into ecstasies over Davison ' s wit . Davison further refers to a treatise by Professor Praeger called "Paral lax". This recondite joke (if it can truly be regarded as a joke) was based by Davison on an entirely false assumption that Praeger had changed his opinions with r egard to Wagner . "Parallax" is defined in the �130 19th. Century English Dictionary as meaning "an apparent change i n the position of an object caused by change of position in the observer" . Ashton Ellis l7as so delighted with tho paragraph containing t hose jests t~~t retorts". And he thereupon borrowed Davison's word, and in the he call ed it one of Davison 's "most Aristophanio l atter part of his "Life of Wagner" he often termed Praeger "Parallax" (e . g . V.l25.157 . 354.), just as Davison kept on referrl!lg to "Professor Praeger". And not satisfied with this, Ashton Ellis then went on to call Praeger "Greybeard" instead of by his proper name. It never seems ~o have occurred to Ashton El lis that by adopting such methods he TTas degrading himself to the level of Chorley and Davison. \/hat Vlould Ashton Ellis have said if I had r egar ded it as a witty crushing of himself and his arguments to call him not by his proper name but "llr. Heavy-Moustache", or "Professor El l is of Little Pedlington, who wrote paralogisms"? Would he really have regarded such "wit" as boing ".Aristophanic "? So Praeger ' s referring to himsal f as "Professor Praeger" was simpl y a sarcastic repetition of Davison 's attempt at sarcasm. As for t he "Apos t l e of Weimar", I have not yet traced the actual expression, but it has its source in Davison's (or Chorl ey ' s) girding at Liszt. In his article of Jan. 6th. 1855, in the "Musical World", Davison wrote: - "in tho dreary streets of Weimar, \there F'l'anz Liszt reigns , like a musical King Death, and quaffs destruction to melody and harmony" . (El l is v. p . 44 . ) �I 131 A reference was made earlier in the chapter to Davison's false assumption that Praoger had changed his opinions r egard to l'iag:nor. On ~ith July 24th . 1854, there appeared in the "Musical Tlorld" ( soo Ellis V. 47) an article oi' Praeger, "in which ho givos an entertaining account of the Rotterdam Musical Festival oi' that year, and of his journey thither from Cologne 1n a Rhine atoamboat in canpany Tlitlt a number oi' German critics. ::~u.sicians and These kept up an incessant discussion about music 'till at last' says Praoger 1 I l ost my patience and told them roundly that thoi1• aukunftsmt:Sik (music of the futuro) was no better than Deutschland 1 s zulrunft (the fut.ure of Garmany) Praoger here did not mention \'/agnor . 1 11 • Obviously ho only referred to tho sort of musicians who, having no great talent of % their own, take up a new cry that they themselves misunderstand; and who, being unable to hew out a new and original way, cling to the skirts of ascending, great men who have attracted public notice. To prate voluminously about "zukunttmusik", into which torn; they could road almost any meaning thoy chose, and Ylhich they could appropriate for a~ the refuge of many incapables. bad compositions of their own, was SUch people tend to be fluent chatterers , and any intell igent person can realise that they made poor ~~aogQn pertoctly sick or then . • Ellis's attempt to make out that Praager referred by his words to \'lagnor h1msol f is morely another instance of mendacious % See the letter from Praeger quoted on P• 60 of Ellis v. �132 spitefulness; for already in 1845, in his article in the "English Gentleman", Praeger had most unmistakably given his real opinion about Wagne~, as may ba seen by the extract from that article given in the appond!x to thio book. ------------ J �133 • XXIV. CHAPTER .. Miscellanoou.s ________.., ____. _ In this chapter will be considered various separate !toms, nono of which neods to be troatod of at length. -1. Cn p . VIII. of "Wagner Aa I Know i:ila" Praeger stated of his father Ron.~ Aloysius Praesor that he was "conductor ot the fal!X)US Oewnndhaus concert s ns woll as of tho Stadt theater . 11 Cluwborla1n, (p . B9), origi ncll:r m•ote simply that this statement was not borno out by Y!Orks of roterenco; but 1z. the year 1908 he added a footnote in general ~buse of Praeger, and wrote 1n it "and also tb1s st atement (i.e. concerning tho OolTand.haus) 1s at variance n1th tho truth." (p . 90). r~en ~aamborlaln research had wrote tho latter - without further comment - ~atnbllehod tho tact that H.A. Praoger had actually conducted four concGrts of his O\tn at the Gewandhaus , that were not in the ordinary regular series. Of these one was 1n 1814, one 1n 1815, and tr.o 1n 1821 (Ashton Ellis V,lOS- 9). As Ferdi- nand Praeger was born 1n 1815, he was only six years ol d when the l ast of tho four took place. Obviously, wbon a small boy, he heard his father narrate things of Vlhlch ho did not grasp the sc1ontlf'lco.ll 7f e.xnct doubt myth!~ ~oanlng. l.o had of course no reason to his father told him, and that tho s t atement was not afterwards verified was the fault not of Praoger himself, but of Henry Edwards. It may be added that H.A. Praoger played 5 �134 times as soloist on tho violin at the reaular Gewandhaus concerts. All thes e 1 t oms are ca.l'efull y o~1 tted f'1•om Cha:::'oer la1n 1 s book, whi ch is sti ll being f reel y sold i n t he year 1~32. -2 . In the l ast psges of his book (181- 2 ) Chamberlain stated that Praeger was a Jew, which is a prize joke. forward the theory that ~hat Chamberlain put he elsewhere called t he deliberate malice or Prneger 1 & b~k against Wagner was due, not to a desire of the Hebrew to avenge Wagner 1 s "Das Judenthum in der l.!Us1k", but to hio being offended at Wagner's coolness to him in 1877, during his visit to London. With the latter malicious lie of Chamberlain I have already dealt. But as regards t ho statement that Pr aeger was a Jow, the following must be recorded . • ~as destined in earl y life for the Lutheran church. Praegor His mother was Uiss Davison, a Scotchwoman of the Clan Chat tan, 'llhich was proscr ibed ; her grandmother on tho same side VIas a !!iss W hyteOgilvie, a l so a Scotchwoman. Praeger's father was a meMber of 9$ a famil y l ong settled in Holland, but which came ultimately from Prag (Engl. Prague). directl y from Prag. Tho name Praeger is in tact derived Among Praoger's ancestors was John Hus(s), (1373- 1415), the Bohemian rel igious r eformer. In calling Praeger a Jew, Chamberlain was deliberately trying to excite the common Gorman race- prejudice against Jews, just as he tried to excite Gorman race- prejudice by saying that Hatmborger was half Pole (Chap. XIII of this book) and therefore more ~ Ferdinand Praeger 1 s brother Amiel was in the Dutch Artillery. �135 or less unreliable. In a year (1932) when the largest political party in Ge:rrnany are S\70:>n foes of tho Je·.7s , and openly carry the badge of their enmity, it is not difficult for English readers to realise that for a century past, to soy no more, the dislike of Jewa as sunh has bee11 far stronger in Germany than 1n England . But although I have termod Chamberlain's statement a prize joke, the hul'IO\U' so far ns its author uas concerned \7as unconscious; and the statenent itself was due to a very mean union of spite and deceit. On p. 1~0 3. of his book, Chamberlain referred to Praeger s 1 s t atement that his knovtledge or Dutch and Low German (in addition to High German) enabled him to understand the older Gorman writings with comparative ease. And Chamberlain thon flashed out one more of his gems, saying: - "That again is a phenomenon of a kind that can only happE'tr;. to a Praogor." It so happens that there are people 1n this \70rld who know something of philol ogy. That Praeger ' s statement was strictly true is well e.."ld l'7idely known; tho "Privat- Lozente" under whom I studiad the older German dialects for a semester at Freiburg U~tversity told me that it was true ths othor way round, for having learnt the older Gorman dialects , they could read Dutch fairly well without having actually studied it as a separate l anguage. Chamberlain 1 s nttempt to sneer at l'raegor in this matter is n:e::oely the self-revelation of his orm. igno1•ance and arrogance . ' �lSG -4 . 15 \'lhat has \tagner written about Praeger? Among other torms Wagner roferroc'l to him as "guton nnrrischon 11snschen11 (latter to August Roockol quoted by Ellis V. 237 of his "Lifo" ; also referred to on p.l36) ; on anot her occasi on as a "oin narrischer seolens guter Hypochondri nt" (lottor t o 'Prn':.l Ritter of Oct . 8th. 1857 . See El lis VI p . 269). Tho word "nnrrisch ", when uoed i n Gorman in praise (as in the firot phl"nsll quotad ) or jokingly (as 1n t ho second) dooa not mean f ool ish; it means odd , droll, funny ; it is used essentially of a man who hs good company. ~ I know Praeger woll ; his cast of mind tended to be melancholy, but in spite of that he had a dry humour that was most entertaining . Wagner ' s descrip- t ion of him as being melancholy but droll hits him o ff very well. Ashton El l is wrot e (Vol . V. p . 377) that during Praegor ' s l ifetime he could only speak of him "from hearsay", except that he merely saw him a fow times at meetings of the \":agner society, and once heard him take part in a discussion. • Knowing nothing of Praegor 1 o real nature , he coolly translates Wagner ' s "guton narrischen Menschen" by the words "amiable noodle" . One of two things is evident; either Aohton Ellis was dis ·racefull y ignorant of German f or one who made such pretensions to authority, or else he deliber at ely falsi f ied Wagner ' s words in order to -------------------------------------------------------pJ See aloo \':agnor' a "Msin r..ob on" popula r od1tion Vol. III, PP • 88- 9, 90, 92, 94, 139. ~ Chamberlain never even saw him. �137 creat e pr ejudi ce agai nst Praeger among English readers (as also on p . 269 of Vol . VI) . On pp . 122- 3 of Vol . V Ashton Ellis refers to an attack on Praeger made behind his bac~: • A certain refugee from saxony, Dr . Oorbor, warned \'lagner in t ho sprinc of 1857 that Praogor (from whom \lagner l ater so often bor rowed monoy) wa s "betraying him and abusing his confidence" - the al leged grounds for which are utterly unlmown o.nd cannot oven be guessed at . 'agnor could not believe it, for he knew Praogor much too well. Ho wrote ~ however to Karl Klindworth and said that his friendship with Praogor had not boon intimate, and that Praoger did not st and 1n such a r el ation to him that he coul d possibl y abuse his confidence . ~his l et ter, quoted with glee by Ellis, Chamberlain and Olnsenapp is so much at variance with what is known beyond all dispute, that it can only be regarded as a doso of diplomatic soothi ng- syrup proscribed 1n a burry to allay foolish anxieties or foo l ish jealousies and prevent them from becoming offensive . In his effort to make peace, tagner apparently stretched a point, and did not in tho least realise hou future generations might r egard his hastily·\~itton letter . ---------• Ellis does not oxpluin \Yhy Wagner wrote to Kli ndworth i nstead or to Ger ber. In Ellis and Gl asenapp the names Ger ber and Kli ndworth are not mentioned ; only tho extract from Wagner ' s letter is given . Vher o is that lottor, and who has i t ? \ihat is tho evidence for i ts existence or havi ng existed? �138 -5 . Wagner, in his own recollections ( "Mein Leben", popular edition, vol. III, p . 89) says that Praoger, after Wagner's ar rival in London, at once placed himself at his service in maldng the "usual visits". Wagner says, 1n the most unequivocal terms, that it was Praeger who introduced h1m to both Costa and Sa1nton (N. B. "L!ein Leben" was not published until 1911). On p. l 30 of his book, Chamberlain refers to an account, in the year 1888, of Sainton's of his f irst interview with Wagner, in order to discredit Praeger 1 s statement that he introduced \·lagner to Sainton. Obviously, after the lap se of so many years, • Sainton had forgotten Praeger ' s presence, or else confused a subsequent meeting with Wagner with the f irst one . We cannot doubt Wagner's explicit statement on the subject, confirmed as it is by Praeger ' s own account . Equally explicit are Uaener's and Praeger's statements with regar d to the visit to Costa. But Ashton Ellis , being in i gnor- ance of Wagner's own statement , not only scouts Praegor ' s call with Wagner on Sainton, but also \'ll'ote (vol . V, p . l25) "toget her with the personally-conducted call on Sainton must fall t hat paid to Costa. If such a visit took place at all, it is far more likely to have been paid in company \ii t h Sainton solus" . In view of Wagner ' s explicit statements , Ashton Ellis merely makes his own bias manifest . In Sa1nton 1 s articl e reg arding his first interview with Wagner (Quarterly Review, July 1888) Ashton Ellis, after quoting �139 Sainton to t he effect that Wagner came in full evening dress to p ay an early morning cal l , added in brackets in a small type that was a peculiar affectation of his own, "woul d Praeger have allOIVed that ? 11 It is difficult to decide whether he meant this question to be serious or facetious, straightforward or in some way ingeniously clever. The fact is, of course, that at that period - and long after - Germans always made ceremonial calls in evening dress, no matter what the time o f day might be. Indeed, it was the custom of some English gentlemen during the eighteensixties, as my mother has informed me. Ashton Ellis seems to have been unable to grasp the fact that Wagner 's first champion in England was genuinely anxious to make as good an impression as possible, and tt,erefore to act wit h what was regarded as good form . It is possible that Ashton Ellis' question raters to Praeger's advice to Uagner regarding the latters "Hockerhut" (m1sspelt Neckerhut in Praeger 's uncorrected book - a mistake that Ellis quotes uncorrected on p. 122 or his Vol. V). Praeger insisted on Wagner m.a king his calls in a top hat, and says in his book (p . 229) "be it known that in some parts of Germany the soft slouched felt hat had been interdicted by police order a s being the emblem of revolutionary principles". Praeger 1 s advice r;as not only sincere but obviously in Wagner's best interests. I may add that my own memory goes back to the time when soft felt hats were only worn in England by what I was told were "low people"; it was impressed upon me by various of my schoolfellows t hat for all social purposes "all gentlemen" wore top- hats. �140 (To be added to On 9 2 or Chapter XXIV) Jul y 17th. 1895, Mrs . A. Schreiber wrote to Praeger 1 s patron (Lord ~sart) , and enclosed a translation or a letter written by Hous ton Stewart Chamberlain, and addressed to the editor of the "Neue Musik Zeitung" and tho editor or tho "Neue J.:usikalische Prosso 11 • In the course of this letter dated May 14th. 1895 or Cham- berl ain occurs the f ollowing passnge: "Since I have from tho very beginning energetically protested against the unfortunate Jewish question boing drawn into this matter, I am sincerely glad to learn t hat Pr ao8or was destined tor a P1•otest ant teaohor . This does away with ovory suggestion . that Ant i - Semitism is to be smolt behind the exposure or Praeger's scandalous untrustworthiness . I have the honour to be Yours faithfull y Houston s . Chamberlnin. (Noto . This l etter was refused by the Neue Uusik Zeitung, but was pr inted 1n llo. 25 of tho Neue Uusikal1sohe Pre sse) • I have to thank the owner or the letter for permission to quote this passage of Mrs . Sohr~er ' s translation • • �141 CHAPTER XXV . Wognor 1 s Visit to London in 1856 . -------------------------------l•agnor 1 s visit to England 1n the yoar 1855 to conduct a sories ot Philharmonic Concerts has been tho sourco of so many disputes that it is urgently necessary to clear up tho subject as tar as possible. It is true that certain Matters of conten- tion are in thems elves of small importance, but the respective characters of Praogor and Chamberlain are matters of roal importance . What are apparently trifles become of import regarding tho groat question 11 \Yho told tho truth about Wagner?" Tho history or Wagner ' s appointment will first be given, procoded by brief notices of tho chief persons concerned; then tho evidence for it will be considered, and t h o comments of otherf subjected to scrutiny. As for Chanberla1n, tho reader is referred to pp. 125 soq. of his book "Richard Wagner an Fordinanc Praoger" . I t has alroady boon pointod out that Praoger's definite championship of Wagner, in Engl and, began 1n 1845 (seo appendix). In oarly l ife Praoger was a wel l - known concert perf ormer on the piano; as such, and later on as writer and critic, ho paid frequent visits to Germany. . It is not recorded where he actuall J saw "Rienzi" and "Der Fliogende Hollander", but he was present at the first perf ormance of Tannhauser (in Dresden). ~ He read l'r agnor ' s books a s soon as ho could pr ocure than , and thr ough his ~ Ot course 1n the original Gorman, thoro wore no clnglish translations for many years . �142 knowl edge and appreciation or Wagner 1 s books and music knew at l east as much of Wagner and his achievements as anyone in England, and pr obably a great deal more . He spoke onthus iastical l y or Wagner to Sa1nton and Luders before any of \ Q6ner 1 s music was f$ performed 1n England, and was known by them to be well- informed on the subject of Wagner . Prosp~re Sa1nton (1813- 1890), a Frenchman, was a violinist ot note, and one of the seven directors of the Philharmonic Society, or whose orchestra he was the leader; he did not know the German language . Charles Luders was a German musician who had travell ed with Sa1nton on concert tours throughout Europe . Mr . O. F . Anderson was a director or the Philharmonic Society, and visited Wagner at Zurich on Much 18th. 1855 in order to make the final arrangements . Goorao Hogarth was the secretary of tho Philharmonic SOciety. f$¢ Towards the end of tho year 1844 Michael Costa (knighted 1n 1869) resigned the conductorship of the Philharmonic Concerts that he had so long held ; and f or a time the Society were in doubt as to whom to approach for the conductorship next season. Praeger suggested Wagner, and strongly urged his claims to f$ The r 1rst performance of any of '\lagner ' s music 1n England was that of the Overture to Tannhauser at a concert of the New Phi lharmonic on May 1st . 1854. Wagner, in his O\m rocoll ections ("~Join Lobon", popular edition, vol . III, pp . 90 & 93) says that Costa had not meant tho Philharmonic Society to t ake his resignation seriously, and that consequently Wagner ' s appointment was "in the highest degree disgusting" (hochst widerwartig) to him, and made him Wagner ' s personal enemy. �143 ¢ Sainton; and then Luders added his enthusiasm to Praeger 's . Sainton t hereupon urged the claims of Wagner upon his fellowdirectors, he himself being the only one or the Philharmonic directors who had at any rate some knowledge of \7agner . So far, of all Wagner 's works, only the Tannhauser overture - separated from t h e opora that explains it - had been performed in London (but not at the concerts of the (old) Philharmonic) ; and it had had bad press notices . The "Times" of Dec. 11th. 1854 called it (inter alia) "a piece of vapid r hodomontade". The "Musical World" of Dec. 16th. 1854 said that 1t "failed to render itself The "Times" of May 3rd . 1854 had already come comprehensible". out with "The almost impossible overture •• • • would do very well for a pantomime • • • • It is a weak parody of the worst compositions, not of Mr . Berlioz, but of his imitators. So much fuss about nothing, such a pompous and empty commonplace, has seldom been heard. In the face of all this, the directors of the Philharmonic seEm to have wanted more information about Wagner before proceeding further 1n the matter. Anyhow Praeger, who was at that time the chief authority on Wagner in Engl and, had an interview with the directors, and strongly urged Wagner's claims . ¢ The directors Wagner, in his own recoll ections ("Main Leben 11 , popul ar edition, vol . III, p . 90) says that Sainton proposed Wagner 's name to Anderson at Luder's suggestion. He forgot to mention t hat Pr aeger first suggested Wagner's name to Luders ; but his speech at the Cannon- Str eet Hotel banquet l eaves no doubt on the point. • �' 144 finally resolved to invite Wagner for a season, but exactly how far t hey were moved respectively by Sainton ' s and Praeger 's recommendations is not recorded, nor is the point of importance. What the reader must carefully bear in mind is th1s, that whereas i t was Praeger who orig1nally made the suggestion, it was Sainton who broached t he idea to h1s fellow- directors and, unlike Praeger, could exert the authority of a director and act accordingly . In view of all the conflicting statements that have been made by partisans, it is now necessary to review the evidence. In the f irst place it is necessary to refer to the account quoted in Chapter VI or the banquet given to Wagner at Cannon St . Hotel ¢ on May 22nd. 1877. On this occasion Wagner, in his speech proposing the health of Praeger, said before an audience of some six hundred, that it was to Praeger that he ultimately owed his ¢¢ visit to London in 1855. When my father wrote his memoir of Wagner, every statement that he made in it received all the consideration t hat was necessary in conjunction with my mother; . and as the l atter was herself present at the banquet and heard all the speeches, every statement in my father's account of the ¢ Mme Praeger was in the gallery and heard all the speeches. This statement of Wagner was referred to in print by the write quoted in the next paragraph. I should be obliged f or any instance of other \Yriters referring to it in print that date from before the publication of Praeger 's book. They are not necessary for the arg~ent of this work; but for my own satisfaction I should like to have as many instances as possible. �145 dinner and the speeches has the authority of two porsons who wero actually present . ~ The fact that r:agner had made in his speech this s tatement concerning his visit to London became of course widel y known; and in an article on Praoger (see Chap . VII of this book) in the t~s ical Standar d of J an . 26th. 1884, thoro appeared the passage "that great master (i. e . \1agner) in responding to tho toast of his health , declared befo1•e all, tluit it was Ford innnd Praeger who had introduced him to London" . Now l ot us consi der Praegor 1 s own words. Tho account in his book, which was published in 1892 is contained on pp.218- 219, and nood not be consi dered here; for of still &renter importance as evidence is the pUblic letter of Praeger on tho subject dating from the year 1888, together with its consequences . Francis Hueffer , the musical critic of the Times t~om 1874 to 1889, published i n the year 1889 a volume oalled "Half a Century of Llusic in England" (Chapman and Hall); and in this h e gave a description (pp. 41- 42) or the negotiations leading up to tho i nvitation of ·wagner to London in 1855 . This description appeared f i r st in t h e Quarterly Review of July, 1888 . In a footnote to his description he added the f ollowing : "When tho above statement, founded upon J.lr. Sainton ' a relation to ~ ~~ ~e , appeared in the Quarterly Review, ~·r . Ferdinand I myself was told of Wagner ' s s t atement regarding Praoger (on ~Y 22nd . l 877 ) not only by m1 father , but also by ~ . Alfred Forman, who was present at the banquet • . The account was not written by· Sainton himself . �146 "Praeger, one of Wagner's early admirers , addressed a letter to the musical papers, in which the following passages occur: 'On the str ength of its being a matter of historicnl interest, I rrould vent ure to supply the key to this otherwise too emotional version of the proceedings of the conscientious directors of the Society in question. !Jr . Sn1nton had a dear old friend, Charles Luders, an -excellent musician, albeit of the old school, and I had the good fortune to be intimate with both. To these friends ¢ I had suggested Wagner, of whom neither knew even the existence •••• • • • • When tho directors heard that I had proposed to Sa1nton t o neme V!agner, I was invited to attend their meeting, where I gave all the information they required . This must have been most satisfactory to them, for I received the voted thanks, and enjoyed the honour of a "shake hands all round" . The f irst correspondence concerning the matter was between Wagner and mysel f . 111 Hueffer added, "Whether it lias Mr . Sainton or Mr. Praeger from whose head t he \'lagner idea sprang ready-made, Minerva fashion, those two gentlemen, who are both still amongst us, must settle bot..-1een themselves" . The f irst point to be noticed is this, that Hueffer says Praeger addressed his letter to the musical papers - not merely one paper . I said above that Praeger's letter had certain ¢ This latter clause is written carel essly. Praeger first brought Wagner to their notice , but before (possibly long before) the Tannhauser Overture was first performed in London. In any case it has presumably been knovm that Costa was going to retire long before he actually did so . The date of Praegor 1 s first suggestion of Wagner as a conductor is unknown . �147 • "consequences"; they were, that although Sainton lived for some two years after the appearance of this letter, which had evidently been widely circulated in t he papers as well as appeat•ing 1n Huerter's book, he never publi cly contradicted one single statement contained 1n it. During August 1932, I called upon ~rs . Leonie Edwards (nee Praeger), and among other things I asked her f or information about this matter. She intormod mo, in tho presence of Mr . and tlr s . Richard Edwards and L~ba L!uriel Edwards , that Prosp~re Sainton and Ferdu1and Praeger remained the best of friends until the death of Sai nton; and that it rtas a commonly accepted fact between Sainton and the Praeger family that 1t was Fer dinand Praegor who had originally suggested Wagner for the conductorship of the Philharmonic. But as Chamberlain (and also Ell i s) carefully refrained from making enquiries about Praeger f rom most (or all) of those who knew him well, how could they know such facts as those adduced in this paragraph? I t must further be added t hat Sainton never publicly contradicted Wagner's statement made at the banquet on May 22nd . 1877, t hat it was Praoger who was ultimately responsible for his coming to London 1n 1855. The second point to be considered is Praeger 1 s statement:"The f irst correspondence concerning the matter was between Wagner and myself" . Hero Praoger 1 s memory, a f ter some 30 years, may have made a mistake; but t h is is not certain. Geor ge Hogarth, the secretary of the Philharmonic Society, �148 COliDI!Unicated their offer to Wagner 1n a letter to \7agner which reached the l atter on D:lc . 28th. 1854 (see \iagner ' s letter 169 to L1szt). So far ao is known Hogarth's letter 1s not in exist- ence; but Wagner 1 s reply, dated Zurich 28th Doc . 1854, was placed at Dr. Hueffer 1 s disposal by W. G. Cusins . On Jan. 6th . 1855 \lagner wrote to Roeckel for certain advice, and asked h1m for the address of Praeger, saying "I have also thought of Ferdinand rraeger, and should bo very pleased if he would look after my affairs very carefully; for besides h1m I really do not know anybody ~n there". London, nor do I intend to make many acquaintances On Jan. 8th. 1855, Wagner wrote his first letter to Praeger (see Ellis V. 68-69) . In the first sontonce he wrote "Ich weiss, dass ich :omen vorpflichtet bin" (I knoVI thut I am under tul obl igation to you) • Further on he wrote "Sie er sehen dass ich vom Sehretnr dor Philharmon1schen Gooell schatt in London gefragt worden bin etc . " (you will porcoivo that I have been asked by the secretary of the Ph. Soc . in London etc . ) Towards the end he asked Praeger, if the lattor QGroed with father Roeckel regardi ng certain mnttors, to negotiate on his (Wagner ' s) account with George Hogarth, tho secretary of the Philharmonic Society. The date of this lottor, Jan. 8th. has been general l y quoted as a final proof that Praeger' s statement concerning the "first correspondence" was a mistake . But Wagner ' s sentence "You will perceive that I have been asked etc . " mi£)lt very well b e 1n answer to a note from Pr aeger warni ng him of the possibilit �149 And how can Wagner ' s statement at the beginning that he is under sn obligation to Praeger refer to anything else than the latter's advocacy to Sainton of Wagner's claims? Wagner certainly would not have learnt about Praeger's action from the official letter of Hogarth on behalf of the directors; and if he did not learn of Praeger 's advocacy from Praeger himself,wnero did he learn of it? That he asks Roeckel for Praeger ' s address does not rule out the possibility of a note from Praeger; f ox• Praeger may h&ve written from some place outside of London, for in c.ny case he had to do a good deal of travelling; ol:' Wagner me.y have mislaid his letter. Besides which, Prneger knew that \'lagner'could get whatever information he wanted about him from the Roeckels. It must be understood that I have no wish to dogmatise on • the matter. I only wish to point out possibilities that have been quite overlooked by those whoso chief anxiety has been not to explain but to vituperate. I f Praeger \1rOto such a note, and that note has been destroyed, the point may never be finally settled; but I have proved Praoger to have been in the right Vlith regard to so many matters regarding whiCh he has boon so bitterly assailed, that it is our duty to try to f ind reasonable explanations or those of his statements that may seem at first sight to be possibly mistaken. If Praoger makes a positive statement that 1s not confirmed elsewl1ere, it does not follow logically that such a statement is necessarily incorrect. But unhappily Chamberlain and Ellis keep on plunging headlong into the most �150 obvious logical fal lacies . Doforo concl uding the chapter# tho testimony of Praeger must be considered . ~me . Ldonie Sho married Ferdinnnd Praeger in 1849; it was to her and hor husband 1 s houso that Wagner enme on his arrival in London, nnd it ,.,as their houso thct he f r equented more than any other duril'l6 the rost of his stay in London . Ashton B1lis tried to ridicule tho Prnogers 1 tru~ statem~nt that they plucod a room in their house apocially ut l;ho llioposal of llagnor . to \lhich t ho l at tor could rotiro 11hen he wanted to be quiet ; but or course it was just what such kind- hearted people would do, howovor incapable Ashton Ellis soems to huvo been of understand- ing such un action. In tho l.iusical Standard of April 28th. 1894, !.me . Praeger added her testimony to that of her husband . or course tme . Praogor hud hoard every detail or the Philharmonic negotiations f"r= hor husband at the time . to a toTI points in her article . Hero it is only necessary to r efer She said that she Jmew Sai nton i'l•om 1848, but that her husband had known him some yoars earlior. She askod tho question 11 If Suinton was the prine mover, why did not ''iagnor correspond \71th Saint on? They both kn<m French". \7agnor 1 s l ot tors in tho 1-' rench language to ~o . testimony to tho truth o1' tho latter stat01:1ant . Praoger are a She s aid further on " I t io truo that it 1ms th1•ough the weight and i nfluence of Sa inton a.s a Dil•eci;or that Ml.' . Praoger suocoouocl, but undountodl y tho inst1ga tor was l!r . Pt•aoger " . Be ing present on Uay 22nd. 1877 at Cannon s t . Hotel, ~e �151 Praeger hoard Wagner 1 s own statement frOl'l tho gallery. I may bore add that I havo a perfectly clear recollection that when my father during my youth told r o nany things about the musical history of tho previous half century, he positively tol d me that Wagner owod his visit to England in 1855 in the first pl ace to P:raeger ' s recoi!Dl!emation to Sainton. And ho certainl y told me so long before the publication of Praeger 1 s book, which only appeared a row months bofore my father's death in the year 1892. Lastly, r ororonce must be made to two passages in Wagner ' s published let ter s . In .agnor 1 s lettor to Liszt (No . 187 on p .72 of Vol. II o f tho published correspondence) , dated !lay 16th. 1855, he refers to Sainton, "der auch moine ungluckseelige ver anl ass te " London)) • ~rufung (who also causod my unfortunate cal l (i . e . to I t is to bo observed that Wagnor says "voranlasste ", i . e . caused; he does not say "achlugvor" (proposed it) . As Sai nton was a dir ector of the Philharmonic , it was ho who was responsib)e f or getting the other directors actually to invite \7ngnor. Praeger was not a director or tho Philharmonic , and coul d not possibl y act i n any off icial capacity. Wagnor ' s s t ate- mont to Lis.zt (he probably wrote in a hurry and without stri ving for groat accuracy) does not in tho least invalidate the fact that it was Pr aeger who fir s t suggest ed War,ner to Sainton, and subsequently gave the d irectors all the information about Wagner that be alono i n London was in a position to gi ve . In his 1908 edition or "Richard Wagner an Ferdinand Pr aoger" , Chamber lain al so quotes (i n a footnote on p . l 26) a �162 sentence trom a letter of Wagner (trom London, dated Uarch 21st. 1855) to Otto \'lesendonk, to the srune etfoct ns the one in his l etter to Liszt. The reader can nO\v estimate at its true value Chamberlain's vulgar abuse or Praeger . On p . 125 he talks of Praeger 1 s "gra dual formation of a legend" . On p. 128 h e says that Praeger 1 s story of having first written to Wnener "is untrue trom the f irst word to the last". your evidence? " To which wo mny reply "\'/hat is On p . 126 Chnmbex•lain says that Sninton had road two of Wagner 's more important books - but Sainton did not know German! On p . 50 of' vol. V. of Ellis 1 s "Li f o" it is related, in n letter of Wagner to Uesendonk, how Luders, havins r oad Wn6Der 1 s writinss, "imparted them to Sninton as best he could". Also, on pp . l 25-126 of his book, Chamberlain says that the Overture to Tannhauser had been performed at a concert of the Philharmonic Society, before it invited Wagner ; this is contrary to fact, tho overture havins been performed at a concert of' the New Philharmonic . ---------- �153 CHAPTER XXVI. Wagner ' s Visit to London during 1855 . Continued . -----------------------------------------------l . Concerning Ferdinand Praeger and Hector Berlioz . In tho L:uaical Standard or 28 . 4 . 94, lira . Praegor answered l.lr . Ashton Ellis r egarding the attempt ot the latter to discredit Praeger's statement in the "Neue Zoitschrif't" of 1855, t hat he gave "tho f irst impetus to this engagement", i . e . or Borlloz as conductor of the Now Philharmonic . Crs . Praoger quoted a lottor ot Berlioz to her husband, datod 28 . 11 . 54, pr oving that Praogor was acting as intermediary between Berlioz and Dr . V~lde , a director or the llew Philharmonic, but not actually proving t ho statement called in question by Ellis . The latter, howover , in tho Uusi cal Standard of 19 . 5. 94 proceeded to crush Urs . Praeger (as he thought) by dragging in so- called arguments that are entirely beside tho point . Ho said for oxll!ltplo t hat 11essrs . Fox and Henderson "gave tho f irst impetus" to the creation or the llew Philharmonic; but llhat has this to do w1 t h the tact that Praeger originally suggested Berlioz as its conductor? Further • Mr • Ellis said with apparent triumph that Berlioz was in England i n more than ono year botore tho date of Jtrs . Praeger 1 s lotter; but in what way does this inval idato Praeger ' s original suggestion of Berlioz as conductor of tho now Philharmonic? On page 261 or Praeger ' s "Wagner As I Knew Rim" occurs t ho follo,~ng paragraph concerning a mooting or Wagner and Ber l ioz �154 after tho Seventh Philharmonic Concert (Mny 11, 1855) :"That ovening after the concert our usual meetinG 1ncludod Berlioz and his wife . concert. ~ Berlioz had arrived shortl y before this Botwoen him and \7agner I know an awkward constraint existed, which I hardly saw how to bridge over, but I wns desirous to bring the two together, and discussing t ho matter with Wagner, he agreed that perhaps the convivial union after the concert afforded the very opportunity. And so Berlioz came. But his wife was sickly; sho l ay on the sof a and engrossed tho whole or her husband's early . a~tention, causing Berlioz to leave somewhat He cnme alone to the next gathering . 11 Now it so happens that in Liszt 1 s letter to Wagner of l 0. 7. 5E he included a l ong extract from Berlioz in vm1ch tho latter said that he greatly regretted not having been present at t ho seventh Philharmonic Concert (when Wagner's Tannhauser overture was performed) on account of having to attend a horrible chorus-rehearsal f or a concert or the New Philharmonic. All that thi s proves is that Praegor, who was a little too much inclinod to trust to his memory for dates, mado a mistake rosarding the date of the meeting described . Chamberlain howovor (p .l31 or his book) mado the mistake of date an excuse for trying to make out the whole of Praeger 1 s account to be an invention, and adduood, as so often, s o-called arguments that are entirely beside tho point . ~ Thus he pointed out triumphantly that \'agner Wagner had offended Berlioz by his censure of certain recitatives that Berlioz had ad<ied to Weber ' s "Freischutz". (Wagner . L!oin Loben. Vo1 .1 . p . 265) �155 and Berlioz first met at Sainton's• when Praeger was not present . Praeger 1 however. did not cl aim to have made the two acquainted; he merely said (see above) that lmowing that an awkward constraint existed between t he two, he was anxious to givo thom an opportunity to become more friendly. On p.l32, Chamberlain said that in Wagner's lottor to Liszt ot 5 . 7 . 55 "~agner speaks of his meetings with him (Berl ioz) especially ' alone at Sa1nton ' s' • those last 3 words being printed 1n typo spaced more widol y to indicate their importance . Chamber- lain tried thus to make out that agner did not meet Berlioz at Praeger 1 s, but only at Sainton's . But anyone who consults the original text can see that \l.agner wrote wi th respect to Berlioz "Einigo Tago darouf wnren wir aber allein by Sainton zu Tisch" (a few days afterwards we were alone at Sainton to dinner). Chamberlain (p . l32) has so phrased his wor ds as to imply that v:agnor had various meetings (PLURAL! ) alone with Berlioz at Sa1nton's - at Uhich Praeger coul d not have been present. But once more, 1n any case, in what way can t his artful perversion inval idate Praeger ' s account? ponoerning the Introduction of \1agner to Carl Klindwor t h . 2. On page 236 of tho English edition of Praogor ' s "Wagner As I Knew Him" occurs a brief account of a visit to Wagner ' s rooms 1n London after tho f irst Philharmonic concert was over (Uarch 1 2 . 1855 ) . Praeger wroto: "There were Wagner, Saint on, Luders, Klindworth (whom I had i ntroduced to i7agner as a pupil of Liszt) �156 mysel f and wife . " In the Uu.sical Standard or 19. 5. 94, ~o~r . Ashton Ellis wrote as follows: - "I asked a head or ono of our l argest pianoforte firms to writo to Dr . Kli ndworth {at Berlin) for an answer to one simpl e question: \'lh o i nt roduced you to Wagner ? Very kindly this gentleman wrote to Dr. Klindworth for me, and tho latter repl ied direct to myself on the 5th. inst . 1n English, as follows: - ~. X. writes me that you would like to hear from me, who introduced me to no.gner. I om pl eased to tel l you, Franz Liszt . pupil from 1852 to 1 Being his 54, he had soveral times montionod my name and doings to \iagner before the latter came to London. For this event he wrote him a special lotter to i n troduce me and when \Iegner arrived in Loudon h!!, came at once t o mo {9 l!anchoster St reet) to make my personal acquaintance. is ut terl y untrue) . Yours, otc . etc.' (What Pr aeger relates The brackets and i talics are Dr. KJJ.ndworth ' s own. " How can the cor..tlict1ng statements be reconciled? l'essrs. El lis and Chamberlain {p. l 3l ) were much too stupid to hit on the sol ution, uhich i s obviously as follows: Wngner arrived in London very l ate one evening, going str ai ght to Praeger 1 s house and on a morning very soon after his arrival went to soo Klindworth. ~agner 1 s Praeger had placed his house at disposal , and f r eely offered h1m his services . Further- more Pr aeger already knew Klindwor th, the l at ter having been i ntroduced to h1m by Theodor Hagen, editor of the Signal, a �157 Leipsic Journal (See Mrs . Praeger's article 1n the Musical Standard of 2S . 4. 94). Wagner was almost a complete stranger to London; he was in a part of t he town utterly unlmown to him; moreover he was in a land of which he did not know the language . To anyone who knows Germans and can realise what sort of people Praeger and Wagner were (I knew Praeger well myself), it is utterly i~ossible to conceive that Praeger did not go with Wagner to Kl1nd\\"Orth, even 1f only to keep him from losing his way. Praeger, having merely greeted Klindworth, and introduced Wagner, went away for t he time being, conscious of having presented Wagner to his friend Klindworth, and being perhaps quite unaware that Wagner had 0::1 him a letter of introduction to Klindworth written by L1szt . Klindworth, on being appealed to after some 40 years, found or remembered t he letter of Liszt, and forgot t he trifle, as he \7ell might have done after so long a lapse of time, t hat Praeger had brought Wagner to his house that morning . ---------- • �158 CHAPTER XXVII . Conclusion. --------------Tho design of this work, as the title implies , was to expose the untrue statements made by Houston Stewart Chamberlain, namely in his book "Richard Wagner an Ferdinand Praeger" ; and I claim to have pr oved their falsity . His book is one that is utterly scandalous, and it ought to be withdrawn at once from circulation But I must ask renders to remember the scope of this volume. Al though I have made it manifest that many of those statements of Praeger that have been most venomously atta~~ea. are perfectly true, yet I am far from claiming to have cleared up every single matter in Praeger 1 s book that has been disputed . I did not undertake to do so; any effort or the kind would have taken me so far beyond tho scope ot Chamberlain ' s book, and required so much time and r esearch, that for the present in any case it was impr acticable . ' Unhappil y we cannot question Praoger himself; also many ot his papers -were destroyed b y him during his lifetime, and he did not attach as great importance to keeping old papers as many peopl e do. In the course of my reading I have met with violent attacks on various sta tomonts in Praegor 1 s book of ,.,h1ch I cannot yet see the explanation . Thus he seems to have given a wrong list of the operas t hat Wagner conducted in Zurich ; but exact l y what l ists he happened to have contused is I believe unknown . Again, if Ashton Ellis's quoted German text (V. pp . 70- 71) ot Wagner's �159 first l etter to Praeger is correct, how is Praeger's own different text to be explained? To refer to a thir d matter, Ashton El lis s t ates in his "Life" (V . p . l06) that according to the Rector of 1906 Praeger 1 s name is not to be found on the lists of the Nikol aischule (School of St . Nicholas), ~hiCh Praeger claimed to have attended; but Ellis fails to state to what school Praeger went; and the assertion of the Rector that the school-lists of the Nikol aischule for the period of Praegor 1 s alleged attendance there "are very complete for that period" is a vague statement of a not wholly reassuring kind; were the lists in general not complete, and if so, what degr ee of completeness is meant by "very complete?" In this connection may bo considered a letter from Wagner to fa thor Roecltel (see Ellis V. 64) written before Wagner's visit to England in 1855, saying "For besides h1m (i . e . Praeger) I really do not lmow anybody in London". D:>es the word "lmow" here imply that Wagner lme\v Praeger at school? Thera are various such points for consideration and investigation. But vi ewed in the l ight of what I have written, it is obvi ous that what is wanted is the effor t to find reasonable expl anat ions, and that the wrong thing to do is to indulge in mere random abuse . The world of readers i s at present in great need of tvto books . One is a fresh edition of Praeger 1 a "Wagner As I Knew Him", revised and corrected by a competent author ity. And the other i s a final, author itative edition of a l l those l ett ers that �160 Wagner wrote to Praegor which have been preserved. I would express the hope that t hese two books may be prepared with the l east possible del~y . -------:--------P O.S T SCRIPT During the progress of the Great War, Houston Stewart Chamberlain changed his nationality from English to German. If it be asked "What has that to do with Praeger ?" the ans\'ler is that it throws a certain light on the character of t he man who attacked Praeg er malevolently. �APPENDIX An Extract f rom Prae~er 1 s ar ticl e in the "Engl ish Gentleman11 of October 1845 . ---------------------------------------"The music (i . e . of TannhRv.eer) excels all expectations, and exhibits a total absence of thnt ext ravagance which det racts in some measure from the merits of his t wo former operas ; the first ' Ri enzi 1 , wri tten some year s back, and intended for t he Academia Royal e at Paris, is rather in the bombastic style t hen i n vogue, and has too much of that noisy i nstrumentation, which cover s many r eal l y beautiful ideas; nevertheless, it is a ¢ production of gr eat merit. and as the first work of an opera composer i s, perhaps . unrivalled . It procur ed him the appoint- ment of "Kapel lmeister" to the King of Saxony. Before it appeared on the stage , he wrote his second. "The Fl ying Dutchman" foilnded on the wel l - knorm nautical l egend, a roman.t ic opera. t hat s t amps h1m one of the greatest masters of the age . It contains some of the most beautiful orisinal melodies, which, once hear d, cling to the memory like the strai ns of earl y youth; but his Tannhauser i s his chef- d ' oeuvre , and forms an era in music, both as to invent ion and scoring. The perfor mance was perf ection i t sel f" , et c . \~at criticism could be more just or more clearly written? And it i s dated 1845 , when nobody had an idea of what Wagner 1 s future development would be . Tho anti- Wagner campaign had not ---------------------------------------------¢ Thi s is not cor rect . He had l'II'itten "Di e Peen" (unperformed) and "Das Lieber verbot" ( a solitary performance at Magdeburg tmrch 29th. 1836) �11 yet begun in Engl and, Chorl ey having started it in the Athenaeum of Sept . 14th. 1850 (the greater part of his article is given in Ell!& v. pp.418 seq . ) after being present at the f irst perf orm- ance of Lohengrin. V~en has either Chamberlain or Ashton Ellis over wri tten a piece of criticism (not to spoak of pioneer criticism) of the same length that has equal merit? Ellis tries to make out that Praeger was not present at the f irst performance of Tannhauser , because 10· years later i t slipped Praeger ' s memory that \'iagner. whom he did not know 1n 1845 had himself conducted the performance. �APPENDIX Orisinal German Text or Extract from my father's Unpublished Llomoir of Wagner . -----------------------------------------------"Von Ernsthausen hielt die orate Allgemeine Rade auf don Leister, an(! proponierte so1ne Gesundheit. " Ich bin pein Radnor lfio dieser Aa" eagte er, auf Harror deutend, und. machte e s kurz ah Wagner l angorer herrlichor Redo dankto bewegt nus vollern ~n Ho1•zon, betonte wio or sich orrogt fUhlto o.ua seiner "E1nsiedelei" in Bayreuth heraus in eino so grosse Ge llel:i.schaft zu treten; l oider hat ke:n Stonogrnph ae!no \torte rostgehnlten, sie machten einon tieton E1ndruck & elektris1rten einon jedon Anwesenden . Bierauf sprnch Dr . Harror in etwo.s extat1schor '1eise, uberre1ohte . 1hm das Gesohenk & brach bo.ld i n Thranen nus einom fruhen onde brachten. ~e iater , Redo zu Ich proponierto hiorauf die Gesund- heit dar m1twirkonden Kunstlor. e1non grosson ~ie se L~e Richter dankte, es gabe abor nur unarmte Liosen etc . Dor Moister bat nooh fur einen Toast Ruho (man wnr gospnnnt won or wol nennen wurdo) und loerte e1n Gl as auf das Wohlo saines "altesten & beaten Freundet~ .l.n London "H. P6rd1nand Praeger", boi dem er 1855 gowohnt & demer uborhaupt wohl seinen Londoner Dosuoh und spatero Erfolge moist zu danken hatte . Praoger danlete goruhrt, dies sei dor "schonote t ag sei nes I.obens" und pries dann Vlagner 1 s genius so wc.rm . ~ogen die Handa den 1~ond ambellen, du b1st doch der g1•osste von Allen" odor so ungefahr, dass dar Meister beim Sohluss Praeger 1 s Rode uioder aufstand und ausr1ef " Ich rur o den l!errn Vorrednor zur Or dnung" . �APPEtiDIX A Chamber Concert consisting entirel y of Compositions by Ferdinand Praegor . At l!essrs . Col~d t : Collard 1 s Rooll13, 10 Grosvenor Street . Vle dnesday JUly 8th. 1995. ----------------------------------------------------1. Quartet No . 20 1n F. Mi nor . Songs. ~· Im A· "Sonnenoentergang". Sol o , Piano. Songs . Messrs. Josef Ludwig, o. Collins, A. Gi bson, JA . Koopmann. -a. b. - · "Auf' den Bergen". -b . a. c. Miss ktny Aylward . Frickenhaus . L!me . "Ah, who 'll tel l t he wanderer" ) } (words by P. Praeger} ~) "Tho rainy day" (words by Longfellow Herr Hofler . MmB Frickenhaus Sonata . Piano & Violin. Songs. l4ai. "D1o Arnosunderblum 11 t~ Herr Ludwig . ) } ) \'lerm ich in doine Augen seh" 11 ~lisa Holen Arn1m ) ) "Leg ' s Hand chen". II. Quartet No . 4 in G. Songs . :>ongs. -a. -b . -a . -b . Violin Solo. Songs. -b . a. ~e ssrs . Josef Ludwig, 0 . Collins, A. Gi bson, 'J. Koopman. "Twas but i n drosmo") \fords by ) ) "De'oeption" F. Praeger "The midn1S}lt wi nd 11 "1lourn1'UlJ.y, 0 mournfull y" ) ) ) "Dor 5ch\Toro Abend:' ACCOlllpaniSt . J.liss Helen Arnim Horr Josef Ludwig Cavat1n1 i n A. "Drubon goht die Miss Amy Aylward Sonnt~" ) ) ) Herr Hofler Mr . Ernest Ford . �APPEnDIX \':agner 1 s Activities on the Kreuzthurm. On --------------------~-----------~----{ pp . 55-6 of Dr. G. H; Muller's "R~nard Wagner in der l.tai- Revolution 1849 11 (published in 1919 by Oscar Laube in Dresden) occurs a passage mlich I translate as follows:- "The V~Brrant of arrest of !day 16th. accuses him (Wagner) - with good reason as we sal7 - of complicity as a principal in t he revolutionary movement. In the f irst report appearing in the "Leipziger Neue Zeitschrift fur Musik" on June 21st., after t h e theatre had been • closed for 4 weeks up to June 2nd . it is obesrved in rather malicious words that members of t he t heatrical company had not t aken part in the f i ght, "only t he Herr Kapellmeister Wagner has fled, for he seems to have been active in t he rebellion; moreover, mind1'ul of his high station as Kapellmeister, he vms active on the Kreuzthurm, ns director of ringing the alarm- bells and of signalling, whereby his personal safety was less endangered than on the barricades". In his book Praeger says in one place (p . 15) that \·/agner \TaB courageous, in another (p . 184) that he VIaS not. These t wo passages have been seized upon by Chamberlain (p . l 48) as being contradictory; but presumably Wagner, like most people, could be brave on certain kinds of occasions but not on others. --------- �APPENDIX ' • Ferdinand Praeger 's Father. --------------------------¢ Henri Aloia Praeger was born in Amsterdam on Dec. 25th. 1783 . He became an excellent solo performer on the violin, and J.lendel 1 s "Lex!kon" terms probably "the last virtuoso in the guitar" . He was also a good conductor; for some years •••••••••• • %¢ he was "J,iu sik-D1rektor" (i . e . chief conductor) of a travelling company called the "Joseph Seconda German Opera Company". Joseph Seconda was manager of the I talian Opera at Dresden; his brother Franz Seconda succeeded a certain Bondin1 in the management of a playhouse; and Ashton Ellis (I . 28) states t hat "for some time the t wo Secondas took turn about vt1th cne another, the Opera coming to Le1pz1g, the play going to Dresden, and vice versa . " 1nterest~j An fact may be recorded by the way; Ludwig Geyer, \'lagner!: step fa thor, v1as for a number of years a member of Franz Seconda 1 s troupe of strolling pl a yers. ~:ua1k-D1rektor In due course H. A. Praeger became of the "Stadt theater" (municipal play- house or opera- house) or Leipzig ; then he became 1.1usik- D1rektor in Magdeburg, and subsequently "Kapellms1ster" at the Hanover court- ¢ The s econd name 1s given as Alo1s, not Al oysius, in Mendel's Musikal1sches Conversations-Lexicon . The first name is given in Grove as Heinrich, which is not Dutch but Gel'litan ; the Dutch is Hendri k. ¢¢ Ludwig Geyer is believed by many to have been Wagner ' s real fa thor. ¢¢¢ "Zfusik- D1rector" is chief condu.ctor; the word for an ordinary conductor i s "Musik- D1rigent". �11 thoG t:t-e. In German tho word "Knpelle" (borrowed from the Itnl1an) moant oricinally a musical society; the \70rd "Kapellmoister " should be translated as '~andmaster" or (much less often) "choirmast er" ; not as "chnpelmas tor". so.ys of n.A. Aahton Ellis V. log Prneger "but Kapel lmeister ho no•1er wns at Leipzig" : which provokes tho quostion, "i'lho.t did uor d "K.;.pelllllu1stor " meant? .:.'111~ 'rnll{;ino that the Did he imagine that tho term "Kapellmoist or" 1mpliod s0111ething much higher than 11 L!us1kdiroktor· or that a ·:uai kd1rektor i s not n Kllpol lneinter? I t has nlready boon recordod in this volume that H.A. Praege. was conductor or 4 concerts or his own at the Gewandhaus in Loipzig, that were howovor not in tho regular Gewandhaus series; and that in tho latter ho appoarod five times as soloist . H.A. Praege1• diod on AUb • 4th. 1854 • • ------- � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Falsehoods of Houston Chamberlain, by Rudolf Cyriax (born 1873). Unpublished typescript, [1932]. Subject The topic of the resource Chamberlain, Houston Stewart, 1855-1927 Praeger, Ferdinand, 1815-1891 Wagner, Richard, 1813-1883 Description An account of the resource Scan of unpublished typescript presumably by Rudolf Cyriax, the son of Julius Cyriax. Scanned by permission and arrangement with Andrew Leach, Praeger's great great grandson. Creator An entity primarily responsible for making the resource Cyriax, Rudolf, b. 1873 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource circa 1932 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context ubmu0046leach015.pdf Medium The material or physical carrier of the resource. articles Extent The size or duration of the resource. 1 typescript (172 leaves) Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/424fd48e79a95014019e34bcc012a999.jpg 49e1ba2c116a39da3cdd05a7f54a7cc8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Last will and testament of Ferdinand Praeger, May 25 1891 Subject The topic of the resource Praeger, Ferdinand, 1815-1891 Description An account of the resource Digital photograph of document held by Praeger's great great grandson, Andrew Leach. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource 1891-05-25 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context ubmu0046leach014.jpg Medium The material or physical carrier of the resource. wills Extent The size or duration of the resource. 1 will (1 leaf) Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/6b5ea66bd86aed807809b93dd316713a.pdf 5320861c4232f61f6c0e60dcf51476e1 PDF Text Text ��� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Contract between the Earl of Dysart and Ferdinand Praeger for Praeger's book Wagner, As I Knew Him 16 April 1885 Subject The topic of the resource Praeger, Ferdinand, 1815-1891 Description An account of the resource Scan of document held by Praeger's great great grandson, Andrew Leach. Creator An entity primarily responsible for making the resource Dysart, William Tollemache, Earl of, 1859-1935 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource 1885-04-16 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context ubmu0046leach013.pdf Medium The material or physical carrier of the resource. contracts Extent The size or duration of the resource. 1 contract (3 leaves) Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/af3c43bdc590f8af1138369e360adfc6.pdf d0768353bd51e2cc20487ccd1a1e2872 PDF Text Text � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marriage certificate of Ferdinand Praeger and Léonie Bazile, 18 January 1849 Subject The topic of the resource Praeger, Ferdinand, 1815-1891 Praeger, Léonie Description An account of the resource Scan of document held by Praeger's great great grandson, Andrew Leach. Creator An entity primarily responsible for making the resource Great Britain. General Register Office Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource 1849-01-18 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context ubmu0046leach012.pdf Medium The material or physical carrier of the resource. marriage certificates Extent The size or duration of the resource. 1 marriage certificate (1 leaf) Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/b41bf12f2bd63319d991882dd99bd939.pdf d2b50faaed2986ceaabe90c7051032f5 PDF Text Text ���� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Program for 8 December 1888 concert by the Crystal Palace Saturday Orchestra, at Crystal Palace, London, with performance of Praeger's Symphonic Prelude to Byron's "Manfred". Only includes pages relevant to Praeger. Subject The topic of the resource Concert programs--England--London--19th century Description An account of the resource Scan of pages related to Ferdinand Praeger, including themes from his composition, in a concert program held by Praeger's great great grandson, Andrew Leach. Creator An entity primarily responsible for making the resource Crystal Palace (Sydenham, London, England) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource 1888-12-08 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context ubmu0046leach011.pdf Medium The material or physical carrier of the resource. concert programs Extent The size or duration of the resource. 1 concert program (excerpts) Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/0016534922cd95ada50bbf1d0f11a71c.pdf 84f8cbd3e7b3d091d13aba9ded04815c PDF Text Text ��� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Program for 4-5 January 1887 concert at the annual conference of the National Society of Professional Musicians and the Birmingham and Midland Musical Guild in Birmingham, England, with performance of Praeger's String quartet number 15 in A major Subject The topic of the resource Concert programs--England--Birmingham--19th century Description An account of the resource Scan of a concert program held by Praeger's great great grandson, Andrew Leach. Creator An entity primarily responsible for making the resource Birmingham and Midland Musical Guild Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource 1887-01-05 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context ubmu0046leach010.pdf Medium The material or physical carrier of the resource. concert programs Extent The size or duration of the resource. 1 concert program Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/01b2acbf8065ad1a7092861f838cb199.pdf fe813c070d2f128e3cbcbab26c5d5ed5 PDF Text Text ���� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Program for 7 November 1885 concert by the Crystal Palace Saturday Orchestra, at Crystal Palace, London, with performance of Praeger's Symphonic Poem, Leben und Liebe, Kampf und Sieg Subject The topic of the resource Concert programs--England--London--19th century Description An account of the resource Scan of pages related to Ferdinand Praeger, including themes from his composition, in a concert program held by Praeger's great great grandson, Andrew Leach. Creator An entity primarily responsible for making the resource Crystal Palace (Sydenham, London, England) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource 1885-11-07 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context ubmu0046leach008.pdf Medium The material or physical carrier of the resource. concert programs Extent The size or duration of the resource. 1 concert program (excerpts) Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/90cc4e11db4d88d84bb9eafbf71e5a9c.jpg d15434509e3d6e1b72644c5dbc173de9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Program for lecture, Richard Wagner & his works, the music of the future, at Chelsea Literary & Scientific Institution, Vestry Hall, King's Road, Chelsea, Friday December 3 [probably 1875] Subject The topic of the resource Lectures--England--London--19th century Wagner, Richard, 1813-1883 Description An account of the resource Digital photograph of lecture program held by Ferdinand Praeger's great great grandson, Andrew Leach. Creator An entity primarily responsible for making the resource Chelsea Literary and Scientific Institution Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource 1875-12-03 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context ubmu0046leach007.jpg Medium The material or physical carrier of the resource. programs (documents) Extent The size or duration of the resource. 1 lecture program Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/03c08a88e2fdeed92357a4f5c0cd9e9f.jpg f5da7dc1961ab5e3cef78e3ee3542c68 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Playbill for 6 March 1834 concert by Ferdinand Praeger's father, Heinrich Aloys Praeger (1783-1854) at London Tavern, Bishopsgate Street, London, England Subject The topic of the resource Playbills--England--London--19th century Praeger, Heinrich Aloys, 1783-1854 Description An account of the resource Digital photograph of concert playbill held by Ferdinand Praeger's great great grandson, Andrew Leach. Creator An entity primarily responsible for making the resource London Tavern (London, England) Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource 1834-03-06 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource text Identifier An unambiguous reference to the resource within a given context ubmu0046leach006.jpg Medium The material or physical carrier of the resource. playbills Extent The size or duration of the resource. 1 playbill Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/f793aad0557d739b3389115353a44281.jpg 5ddc60736bd4819af02403a3a70c7c1b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Photographic portrait of Ferdinand Praeger's son, Richard Wagner Charles Henry Praeger Subject The topic of the resource Praeger, Richard Wagner Charles Henry, 1855-1878--Portraits Description An account of the resource Scan of portrait of Ferdinand Praeger's son held by great great grandson, Andrew Leach. Includes verso. Creator An entity primarily responsible for making the resource Stuart Brothers Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource circa 1877 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource image still image Identifier An unambiguous reference to the resource within a given context ubmu0046leach005.jpg Medium The material or physical carrier of the resource. portraits photographs Extent The size or duration of the resource. 1 photographic portrait Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/987b8cbd40f538f20d195a1d750df781.pdf 2d09eb80117f062837c3a313461823cc PDF Text Text �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Photographic portrait of Ferdinand Praeger's wife, Léonie, with their daughter Brunnhilde Subject The topic of the resource Praeger, Léonie--Portraits Praeger, Brunnhilde--Portraits Description An account of the resource Scan of portrait of Ferdinand Praeger's wife and daughter Brunhilde held by great great grandson, Andrew Leach. Includes verso. Creator An entity primarily responsible for making the resource Windsor, Rose Amelie Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource 1879 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource image still image Identifier An unambiguous reference to the resource within a given context ubmu0046leach004.pdf Medium The material or physical carrier of the resource. portraits photographs Extent The size or duration of the resource. 1 photographic portrait Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/59ee3f0282b8304e15fbf9bbbfe0a1c6.pdf 0b35eeab2c91f2c5f1f4fd419dd22989 PDF Text Text �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Photographic portrait of Ferdinand Praeger's wife, Léonie Praeger Subject The topic of the resource Praeger, Léonie--Portraits Description An account of the resource Scan of portrait of Ferdinand Praeger's wife held by great great grandson, Andrew Leach. Includes verso. Creator An entity primarily responsible for making the resource Windsor, Rose Amelie Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource April 1878 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource image still image Identifier An unambiguous reference to the resource within a given context ubmu0046leach003.pdf Medium The material or physical carrier of the resource. portraits photographs Extent The size or duration of the resource. 1 photographic portrait Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/79311ad5d03d6e011be183080821f9e4.pdf 7f9d35805c49b2b95222981840a95342 PDF Text Text �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Photographic portrait of Ferdinand Praeger Subject The topic of the resource Composers--England--Portraits Praeger, Ferdinand, 1815-1891--Portraits Description An account of the resource Scan of portrait of Ferdinand Praeger held by great great grandson, Andrew Leach. Includes verso. Creator An entity primarily responsible for making the resource Geo. Tuohy & Co. Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource June 1883 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource image still image Identifier An unambiguous reference to the resource within a given context ubmu0046leach002.pdf Medium The material or physical carrier of the resource. portraits photographs Extent The size or duration of the resource. 1 photographic portrait Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/0d21fcefc02f3b12b0c94fcd433bdd15.jpg 7d5a186f00a7712864e8fd131cf908f9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Red-toned portrait sketch of a bearded individual facing right. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portrait of Ferdinand Praeger Subject The topic of the resource Composers--England--Portraits Praeger, Ferdinand, 1815-1891--Portraits Description An account of the resource Portrait of Ferdinand Praeger held by great great grandson, Andrew Leach A detailed portrait sketch shows a bearded individual facing slightly to the right. The drawing is done in red tones, highlighting the subject’s facial features, hair, and clothing with fine shading and line work. Creator An entity primarily responsible for making the resource Unidentified Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource approximately 1880-1891 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource image still image Identifier An unambiguous reference to the resource within a given context ubmu0046leach001.jpg Medium The material or physical carrier of the resource. portraits Extent The size or duration of the resource. 1 color portrait Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/4e4812519fd454fed7546c79b3fcc765.pdf 762da4c31550199465aff21720836e79 PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_481.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Folder for delivery of compositions to the Earl of Dysart Subject The topic of the resource Dysart, William Tollemache, Earl of, 1859-1935 Description An account of the resource Front of folder: 2d Grand Symphonic Poem in F for full orchestra. Received housing Legend for winds. Specifies two dates of delivery in accordance with the agreement with the Earl of Dysart. Signed by B.L. Mosely, Ferdinand Praeger, H.J. Edwards, and Lilian Grace Mary Blyth. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource 1892 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 16 Item 481 ubmu0046_481.pdf Medium The material or physical carrier of the resource. documents Extent The size or duration of the resource. [1] page, 33 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/27f821ae8c85717397f2bb499e512b00.pdf 73681434e51dcb5fd59a38b80f8afc4d PDF Text Text State University of New York at Buffalo. Music Library Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Agreement with the Earl of Dysart Subject The topic of the resource Dysart, William Tollemache, Earl of, 1859-1935 Description An account of the resource Specifies that Praeger is to send compositions to the Earl of Dysart quarterly for 12 years, beginning on Mar. 1, 1890. Signed by J.A. Bertram, Esq. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource [1888] Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 16 Item 480 ubmu0046_480.pdf Medium The material or physical carrier of the resource. contracts Extent The size or duration of the resource. [1] page, 33 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/84fd24d6f01d44ae35af2c595489ab11.pdf 34ddc0a27f85138110bccc1fe164a89d PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_476_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_476_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_476_003.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_476_004.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_476_005.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_476_006.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_476_007.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_476_008.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource [Selections from] Gustav Wasa: herosiche Oper Subject The topic of the resource Music--Manuscripts Operas--Excerpts Description An account of the resource Opera. Caption title. Holograph (Ink). Possibly an incomplete vocal score, no text is present. Correction on insert pasted on p. [2]. "Copied from an old mspt of 1837, one of my youthful operas. F. Praeger"--left margin. Caption: 1842. Contents: Chor (Maestoso) -- Chor (Allegro moderato) -- Lieges marsch -- Hymnus -- Lied -- Romance -- March and chorus -- March -- Lied (Molto moderato). Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource 1837 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 476 ubmu0046_476.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Uniform title: Gustav Wasa. Selections, arr. Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript piano score ([8] p.), 31 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/bcaa17a40751254417ddda56d82b56ff.pdf bc3f243766ac7b3e0f1f7111a46fb2e8 PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_003.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_004.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_005.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_006.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_007.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_008.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_009.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_010.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_011.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_012.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_013.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_014.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_015.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_016.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_017.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_018.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_019.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_020.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_021.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_022.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_023.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_024.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_025.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_026.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_027.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_028.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_029.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_030.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_031.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_032.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_033.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_034.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_035.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_036.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_037.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_038.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_039.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_040.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_041.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_475_042.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Brascovano Subject The topic of the resource Music--Manuscripts Operas--Excerpts Description An account of the resource Opera. Caption title. Holograph (Ink). Incomplete work. In caption, p. [16]: 29/4 90 , p. [17]: 23/4 90 , p. [50]: 1 May 90 , p. [60]: 3/12 90. Contents: Overture -- National songs -- Valse sentimentale -- Turkish march -- Turkish drinking song -- Chorus of Turkish soldiers -- Quartet -- Constantine's story -- Chorus -- Trio -- Pas seul -- Song Helena -- Song Michaela -- Song Helena (Moderato) -- Vocal duet. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource 1890 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 475 ubmu0046_475.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Uniform title: Brascovano. Vocal score. Selections Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([60] p.), 31 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/eca301e3a631896e938590b51eb8be8b.pdf 4a80733af453ca36d2cdcdb36b0501f6 PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_474.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tell me my lute : serenade from Sheridan's Duenna Subject The topic of the resource Music--Manuscripts Vocal quartets Description An account of the resource For 2 tenors and 2 basses. Cover title. Holograph (Ink). Paper is extremely fragile. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource [18--] Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 474 ubmu0046_474.pdf Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([9] p.), 35 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/badc59f202fa6f809c6fa53cf49f0082.pdf f6872aea9df3f89d6e32036fcf203fd3 PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_473_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_473_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_473_003.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_473_004.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_473_005.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_473_006.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_473_007.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_473_008.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_473_009.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_473_010.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_473_011.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_473_012.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_473_013.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_473_014.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Spring : part-song for four female voices Subject The topic of the resource Music--Manuscripts Vocal quartets Description An account of the resource For 2 sopranos and 2 altos. Cover title. Manuscript (Ink). Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource [18--] Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 473 ubmu0046_473.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. First line of text: Spring forecasts its magic spell Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score (5 p.) + 4 manuscript parts, 31 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/2bd7a4415d2b4eb5e2382d3faaf237a3.pdf a938e9afd8169a58946062a6c04004f1 PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_472_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_472_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_472_003.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The stars are with the voyager : duet for soprano and contralto Subject The topic of the resource Music--Manuscripts Vocal duets with piano Description An account of the resource For soprano, alto, and piano. Cover title. Holograph (Ink). Cover: Septr. 1888. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource 1888 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 472 ubmu0046_472.pdf Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([2] p.), 31 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/c3ac67de8e99d28df949531478daa771.pdf 0ba217637627154ccf865c2589aa4d92 PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_471_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_471_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_471_003.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_471_004.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource May morning Subject The topic of the resource Music--Manuscripts Vocal duets with piano Description An account of the resource For soprano, alto, and piano. Caption title. Holograph (Ink). Caption: 1891. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource 1891 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 471 ubmu0046_471.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. First line of text: Now the bright morning star Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([3] p.), 31 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/4242cf15bc63fc34e78084ae05df21b3.pdf cdab034fff64a02000f667120cf7be84 PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_470_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_470_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_470_003.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_470_004.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource May morning : duet for soprano and contralto Subject The topic of the resource Music--Manuscripts Vocal duets with piano Description An account of the resource For soprano, alto, and piano. Cover title. Manuscript (Ink). Cover: Septr 1888. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource 1888 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 470 ubmu0046_470.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. First line of text: Now the bright morning star Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([3] p.), 31 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/ea7cefa3c963cd520f0bc229e62d897d.pdf dcbe02f6eedb45b49f67efa3c3ea005b PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_469_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_469_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_469_003.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_469_004.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_469_005.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_469_006.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Daybreak : duet for soprano and contralto Subject The topic of the resource Music--Manuscripts Vocal duets with piano Description An account of the resource For soprano, alto, and piano. Cover title. Holograph (Ink). At end of piece: 22/9/88. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource 1888 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 469 ubmu0046_469.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. First line of text: A wind came up out of the sea Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([5] p.), 31 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/847979f5244f6ab97a6d49cb68cd1b84.pdf 53e8bb26afda815db33af620af5f1c6b PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_468_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_468_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_468_003.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_468_004.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_468_005.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_468_006.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Duet from the Golden legend Subject The topic of the resource Music--Manuscripts Vocal duets with piano Description An account of the resource For soprano, alto, and piano. Cover title. Holograph (Ink). Caption: Sept 88. "The words from: The Golden Legend by Longfellow, Duet for soprano and contralto"--Caption. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource 1888 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 468 ubmu0046_468.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Uniform title: Come back First line of text: Come back, come back, ye friendships long departed Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([5] p.), 31 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/7b52bc3c94c5a358575467cfbcb43fcb.pdf 073237bc9cba89944f3735a7f887852f PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_467_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_467_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_467_003.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_467_004.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_467_005.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_467_006.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Come back : duet for soprano and contralto Subject The topic of the resource Music--Manuscripts Vocal duets with piano Description An account of the resource For soprano, alto, and piano. Cover title. Text from Henry Wadsworth Longfellow's poem "The golden legend". Holograph (Ink). Cover: 5th Sept. 1888. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource 1888 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 467 ubmu0046_467.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. First line of text: Come back, come back, ye friendships long departed Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([5] p.), 31 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/1a751fd958da6535ca0ca375a6f3b08d.pdf 3aec435042103e4e56396ee56596778e PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_466_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_466_002.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource [Untitled song in A major] Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For medium voice and piano. Title supplied by cataloger. Indecipherable song text. Holograph (Ink). Caption: London 19th November 1829. "für das Emil"--Caption. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource 1829 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 466 ubmu0046_466.pdf Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([2] p.), 30 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/8ef4e7c69cf9a2620e48acd392b1ac4e.pdf b361943049655e4065e5a6c72f906398 PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_465_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_465_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_465_003.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource T'was but in dreams Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For medium voice and piano. Caption title. Holograph (Ink). Corrections in manuscript pasted on p. [1, 2]. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource [18--] Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 465 ubmu0046_465.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. First line of text: T'was but in dreams that happines e'er came to me Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([3] p.), 31 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/97e8cb514f62549fc9fd7853ad66f2cc.pdf c73355a3ccc5350c760db2531e78346f PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_464_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_464_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_464_003.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Traurige Liebe Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For medium voice and piano. Caption title. Holograph (Ink). Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource [18--] Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 464 ubmu0046_464.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. First line of text: Ach, Könnt ich dir nur sagen Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([3] p.), 35 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/9fad1f297034a7e2c3298a7a2f6a246a.pdf e7a60994c7ed799a4104e9efdc1feb78 PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_463_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_463_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_463_003.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_463_004.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_463_005.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Die Todtenuhr =the deathwatch Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For medium voice and piano. Caption title. Holograph (Ink). Caption: 12 July 1842. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource 1842 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 463 ubmu0046_463.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. First line of text: Die Mitternachts Stunde ertönt vom Thurm Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([5] p.), 30 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/49cd413236f72aeb3aff7ca25f254ce5.pdf 9655095cf28ac3565d33ecc53184c656 PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_462_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_462_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_462_003.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_462_004.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_462_005.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_462_006.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Das Standchen von Uhland : National lied , Tempo di Bolero , Im Style Russischer national Lieder Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource First work for voice and piano, second work for piano, third work possibly for violin and piano, fourth work for voice and piano. German words. Caption title. Holograph (Ink). Third and fourth works are incomplete. Caption, p. 1: August 1839 , p. 4: April 28/1840 , p. 5: 22 May 1839, 26 May 1839 , p. 6: 29 Dec. 1840. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource 1840 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 462 ubmu0046_462.pdf Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([6] p.), 30 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/555245f9fd44abaee9f7a243a12d3b15.pdf a8f75dc379dd78f8e1b43d8b6aa28c4d PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_461_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_461_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_461_003.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The song of the past Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For medium voice and piano. Cover title. Holograph (Ink). Corrections on inserts pasted on p. [2]. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource [18--] Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 461 ubmu0046_461.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. First line of text: You ask me as I used to sing a homely friendly lay Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([2] p.), 31 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/439e1aa6ee4c5d74c864a6ea496e0bf4.pdf 479adfcd37486ebd79ffe6e57c917163 PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_460_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_460_002.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Song of Mary, Queen of Scots :[from] Chastelard Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For medium voice and piano. Caption title. Holograph (Ink). Sung by the character Mary, Queen of Scots in Act II, scene i in Swinburne's tragedy, Chastelard. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource [18--] Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 460 ubmu0046_460.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. First line of text: J'ai vu faner bien des choses Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([2] p.), 31 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/a91361c2f781f5b99a8a91e46645b944.pdf a42287bd386d2cb324b01de19f1c0de7 PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_459_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_459_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_459_003.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_459_004.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_459_005.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_459_006.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_459_007.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_459_008.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_459_009.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_459_010.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_459_011.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_459_012.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_459_013.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource [Song cycle for medium voice and piano] Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For medium voice and piano. Texts not present. Title supplied by cataloger. Holograph (Ink). Songs 1-10 were received in the same folder. Song 11 was originally listed as a violin and piano work in the Finkelman inventory and song 12 (War song) was received in a separate folder, but both appear to belong to this set. Contents: Ballad song (Very moderate) [G major] -- Song (Slowly) [G major] -- Song (Very slowly, dreamily) [A♭ major] -- Song (Moderate time) [E♭ major] -- Ballad (Allegretto) [G major] -- Song (Very slowly) [E♭ major] -- Ballad (Moderate) [F major] -- Song (Lively with emotion) [E♭ major] -- Ballad (With spirit) [G major] -- Song (Slowly, gracefully) [F major] -- War song or military ditty (Moderato) [F major]. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource [18--] Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 459 ubmu0046_459.pdf Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([11] p.), 30-35 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/a2b1fab15ec46d0fc1f6f4e50173fd1a.pdf c8e611fcf71e9d009544da953fbe8c58 PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_458_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_458_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_458_003.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The secret Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For medium voice and piano. Caption title. Holograph (Ink). Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource [18--] Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 458 ubmu0046_458.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. First line of text: Could I my secret but reveal Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([3] p.), 31 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/88af35eca23b36155baa77e64e013a96.pdf 79d75b3f4cc86eead65beea8fb7d1de9 PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_457_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_457_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_457_003.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_457_004.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Schlummerlied Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For medium voice and piano. Caption title. Holograph (Ink). Caption: Februar 1888. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource [18--] Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 457 ubmu0046_457.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. First line of text: Es ruht die Welt in Abendduft Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([4] p.), 37 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/17ccfd87dc7bd2508d558aa8ccf87fc8.pdf d7bca06c5a026f95c2d289b2aeba1aeb PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_456_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_456_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_456_003.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Remember : song Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For medium voice and piano. Caption title. Holograph (Ink). Caption: Oct. 90. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource 1890 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 456 ubmu0046_456.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. First line of text: Remember me when I am gone away Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([3] p.), 31 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/aba5db39db2031dc69edc919e909e167.pdf fd57a29628e7fb45c90ebd5001a0f141 PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_455_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_455_002.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The reefer's song Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For medium voice and piano. Caption title. Holograph (Ink). Caption: Prize composition. "Motto: After a storm cometh a calm"--Caption. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource [18--] Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 455 ubmu0046_455.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. First line of text: Far away far away on the billow Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([2] p.), 24 x 30 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/192a192c27853239d72c988397bc4168.pdf b5a6268cfb05a600141af655ba3258d0 PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_454_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_454_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_454_003.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_454_004.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_454_005.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_454_006.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource O sweet to my soul is that beautiful grove Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For high voice and piano. Title from first line of text. Text from a stanza of the poem "Bolehill trees" by James Montgomery. Holograph (Ink). Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource [18--] Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 454 ubmu0046_454.pdf Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([6] p.), 30 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/d10fab91e16115a4789c54677aa76e6a.pdf 0c5e3ba855734149b5efc20f400c7d46 PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_453_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_453_002.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mitternacht Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For medium voice and piano. Caption title (difficult to decipher, possibly incorrect). Holograph (Ink). Incomplete work. Caption: Juny 1844. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource 1844 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 453 ubmu0046_453.pdf Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([2] p.), 31 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/ecb453ce6848371edd7bd0874ee79775.pdf 5c043c500ff4217933ab71559c11aafc PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_452_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_452_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_452_003.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mein Liebchen hat mich verlassen Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For medium voice and piano. German words. Title from first line of text. Holograph (Ink), p. [3] in pencil. Incomplete work. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource [18--] Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 452 ubmu0046_452.pdf Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([3] p.), 31 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/31cd2e0788057b9c4c3f29bbb8e8b252.pdf 3281da5bdcbb3274f539ac56d687c500 PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_451_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_451_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_451_003.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mein Liebchen hat mich verlassen : Volkslied Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For medium voice and piano. Caption title. Holograph (Ink). Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource [18--] Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 451 ubmu0046_451.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. First line of text: Mein Liebchen die hat mich verlassen Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([3] p.), 35 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/c57e294abb295429c5c88344f7cc185f.pdf 35789a958cc1fb0af7200d9bac49a91c PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_450_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_450_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_450_003.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mary Beaton's song : [from] Chastelar[d] Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For medium voice and piano. Cover title. Holograph (Ink). Sung by the character Mary Beaton in Act I, scene ii in Swinburne's tragedy, Chastelard. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource [18--] Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 450 ubmu0046_450.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. First line of text: Between the sunset and the sea Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([2] p.), 35 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/e91efafc85c5ad5c5307ae3509dd469f.pdf afb92c999983c7895fa06ce01b872558 PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_449_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_449_002.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Man's inconstancy Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For medium voice and piano. Caption title. Holograph (Ink). Caption: London 2 January 1843. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource 1843 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 449 ubmu0046_449.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. First line of text: Dream not of love Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([2] p.), 30 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/0df2202a4174aeaf148b48c5bd648278.pdf 6e254033a1f5c9b8f129475e581d0862 PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_448_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_448_002.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Love's sympathy : song Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For medium voice and piano. Caption title. Manuscript (Ink). Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource [18--] Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 448 ubmu0046_448.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. First line of text: Why must she be the only one Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([2] p.), 30 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/897189cddd81f99eb75651b455f1c96b.pdf b3b6a497c759cffc26a4c1613669f968 PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_447_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_447_002.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Love at first sight Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For medium voice and piano. Caption title. Holograph (Ink). Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource [18--] Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 447 ubmu0046_447.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. First line of text: I saw and loved her at first sight Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([2] p.), 35 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/7539c0fc2ce753dee42090b9995b01a6.pdf ea8c766a99e4ce4ea556b7596626801e PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_446_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_446_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_446_003.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_446_004.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lied der Spinnerin Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For high voice and piano. Caption title. Holograph (Ink). Caption: 1844. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource [1844] Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 446 ubmu0046_446.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. First line of text: Schnurre, schnurre, meine Spindel Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([3] p.), 31 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/dc665118a92e22f6ba8df0d2406103d8.pdf 9d0bb5ff4367e279e70ce4aca6946923 PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_445_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_445_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_445_003.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_445_004.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lied Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For medium voice and piano. Caption title. Indecipherable song text. Holograph (Ink). Incomplete work. Corrections on inserts pasted on p. [2]. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource [18--] Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 445 ubmu0046_445.pdf Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([4] p.), 31 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/805874cc31417647db62134af9e427ff.pdf 61c5817fb6d6209c991f82877b46bfbb PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_444_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_444_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_444_003.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_444_004.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_444_005.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_444_006.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_444_007.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lieb Liebchen legs Händchen Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For medium voice and piano. Manuscript (Ink). "und Fraulein Armbruster freundschaftlich gewidmet"--Caption. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource [18--] Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 444 ubmu0046_444.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Alternate title: Lieb Liebchen legs Händchen aufs Herr Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score (7 p.), 31 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/0c8acbde81be7ce554f6770ebcd41a63.pdf 613791783af1d0afd411217ae663410a PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_443_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_443_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_443_003.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_443_004.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_443_005.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_443_006.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Laub und Lust Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For high voice and piano. Caption title (difficult to decipher, possibly incorrect). Holograph (Ink). Incomplete work. Corrections on inserts pasted on p. [1] , other corrections made in pencil. Caption: London July 1844. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource 1844 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 443 ubmu0046_443.pdf Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([6] p.), 31 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/d28a3ec267f1e686e11f1af814ca29df.pdf 1d28933b90662a106183416e7f1ffda7 PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_442_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_442_002.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource If thou wer't but my own Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For medium voice and piano. Caption title. Holograph (Ink). Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource [18--] Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 442 ubmu0046_442.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. First line of text: If thou wer't but my own Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([2] p.), 31 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/30cfceec3f10ee97fe810c55ccd7a035.pdf 4492db7f6f04a9c2e2329d44bac1fef7 PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_441_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_441_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_441_003.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_441_004.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_441_005.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_441_006.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_441_007.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_441_008.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Frühlingslied Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For high voice and piano. Caption title. Holograph (Ink). Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource [18--] Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 441 ubmu0046_441.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. First line of text: Frühling ich grüsse dich Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score (8 p.), 30 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/c48d3a781ed8fc4ed1cfb045b278c465.pdf 40a2aa5938979f85e336d5613152e549 PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_440_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_440_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_440_003.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_440_004.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Romanze aus der Oper die Bergknappen Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For voice and piano. Caption title. Holograph (Ink). Text from Act I, scene vii of Theodor Körner's libretto Die Bergknappen. Above vocal line: Walther. Some instrument names indicated throughout the piano line. Corrections on inserts pasted throughout. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource [18--] Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 440 ubmu0046_440.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Uniform title: Es kam ein Knappe aus fernem Land First line of text: Es kam ein Knappe aus fernem Land Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([4] p.), 30 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/58764f27ce2d6fa0a8f9359690883a63.pdf 3a81f63439f697fafdea7bf6563193f8 PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_439_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_439_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_439_003.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_439_004.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource England's shore : national song Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For high voice and piano. Caption title. Holograph (Ink). Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource [18--] Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 15 Item 439 ubmu0046_439.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. First line of text: Let others praise be foreign land Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([4] p.), 31 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/72a4261453b879061f2c446a46a86d2f.pdf 2ce98b723e65f4f5452a0b21dad33a5c PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_438_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_438_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_438_003.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Einz'ger Trost Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For high voice and piano. Caption title. Holograph (Ink). Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource [18--] Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 14 Item 438 ubmu0046_438.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. First line of text: Es seutzt im Schilf wie Herzens weh Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([3] p.), 35 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/4c23091fb5d492f100c48ca37f5ccfba.pdf 905c9b81719fe0e339af1ffc2740acd8 PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_437_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_437_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_437_003.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_437_004.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The dying child's request : song Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For medium voice and piano. Cover title. Holograph (Ink). Right side of p. [1] torn. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource [18--] Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 14 Item 437 ubmu0046_437.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. First line of text: And when you see that I am dead Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([3] p.), 31 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/56eafb8d00cf634b27fc6bd022587b99.pdf a208b893d0baee0e114f6ee43a350eef PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_436_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_436_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_436_003.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Deception Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For medium voice and piano. Caption title. Holograph (Ink). Correction on insert pasted on p. [2]. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource [18--] Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 14 Item 436 ubmu0046_436.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. First line of text: We thought the world so full of smiles Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([3] p.), 31 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/eb90f10ac6317b0fdeec800b13a5da28.pdf 55aa98ec887ba71ac8f5ae0b45ceda9f PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_435_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_435_002.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Convivial song Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For medium voice and piano. Cover title. Holograph (Ink). Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource [18--] Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 14 Item 435 ubmu0046_435.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. First line of text: If you will gain old age Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([1] p.), 31 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/3f83699c6b04d1134c95b0f904a9cc9e.pdf 160acaad559f075f035348b567f07a23 PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_434_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_434_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_434_003.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_434_004.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chanson Chastelard Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For medium voice and piano. Cover title. Holograph (Ink). Sung by the character Mary Beaton in Act I, scene i in Swinburne's tragedy, Chastelard. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource [18--] Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 14 Item 434 ubmu0046_434.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. First line of text: Navire est à l'eau Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([3] p.), 31 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/d861bf15f14f944c07b7d2462ad25b2b.pdf a8ae5945a805d6e0029cbb3168704b94 PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_433_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_433_002.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Après tant de jours : Chastelard's song Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For medium voice and piano. Cover title. Holograph (Ink). Sung by the character Chastelard in Act I, scene ii in Swinburne's tragedy, Chastelard. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource [18--] Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 14 Item 433 ubmu0046_433.pdf Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Alternate title: Chastelard's song Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([1] p.), 35 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/f74fa055987fb988af4d094560b55db2.pdf 47f6ebd93897e2d82911d2531b39f56a PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_432_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_432_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_432_003.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The anchor's weighed Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For medium voice and piano. Caption title. Holograph (Ink). Correction on insert pasted on p. [1]. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource [18--] Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 14 Item 432 ubmu0046_432.pdf Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([3] p.), 31 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/cde3b9f110062838f034b1bfba1b8609.pdf 159520d0bf2efb61db3d0d84d3578995 PDF Text Text State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_431_001.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_431_002.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_431_003.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_431_004.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_431_005.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_431_006.jpg �State University of New York at Buffalo. Music Library -- Ferdinand Praeger Collection of Scores, circa 1821-1891 -- Mus. Arc. 46 ubmu0046_431_007.jpg � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ferdinand Praeger Collection of Scores, circa 1829-1891 Subject The topic of the resource Music--Manuscripts Piano music Description An account of the resource <p>The Ferdinand Praeger Collection of Scores, circa 1829-1891, consists of 484 items, all but a few of which are manuscript scores. Due to the fragile condition of some of the scores, not every score was digitized. As a result, there are only 472 digitized scores in this digital collection. Two of the additional documents received with the collection were also digitized and the digital collection includes digital copies of documents, portraits, and correspondence about the Praeger family generously provided by the great, great grandson of Ferdinand Praeger, Andrew Leach.</p> <p>This is the largest collection of Praeger's musical manuscripts in the world. Nearly all the scores are in Praeger's own hand. The majority of the works are for piano, but the collection also includes chamber music for strings, large ensemble works, vocal works, and sketches. Praeger was born in Leipzig on January 22, 1815, to a Dutch father and an English mother. As a child, he studied cello, piano, and violin. His father, Heinrich Aloys Praeger (1783-1854) worked as a musician, composer, and conductor. In 1831, at the age of 16, Praeger became a music teacher at The Hague and continued to study piano, violin, and composition. He moved to London in 1834, working as a teacher and traveling to give piano recitals, many of which included his own works. Praeger became the London correspondent for Robert Schumann's music journal, <em>Neue Zeitschrift für Musik</em>, in 1842. His contributions included highlights of London musical events, reviews of performances, and general discussions about current musical topics.</p> Praeger's compositions were performed in cities across Europe, including Paris, Leipzig, Berlin, Hamburg, and Meiningen. Praeger is perhaps best known today for his connection with Richard Wagner. Following Wagner's death, Praeger wrote the book <em>Wagner, as I Knew Him</em>, which quickly became controversial and was pulled from publication. Wagner followers disputed the book, claiming that Praeger exaggerated his role in Wagner's life and portrayed Wagner in a negative way. <br /><br />The collection has been described in a finding aid available at <a href="http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml">http://purl.org/net/findingaids/view?docId=ead/music/ubmu0046.xml</a> Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Contributor An entity responsible for making contributions to the resource Music Library Rights Information about rights held in and over the resource University at Buffalo Libraries believe this work to be in the U.S. public domain. This work may not be in the public domain in other countries. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Alone on the shore Subject The topic of the resource Music--Manuscripts Songs with piano Description An account of the resource For medium voice and piano. Cover title. Holograph (Ink). Cover: Septembr 1836. Creator An entity primarily responsible for making the resource Praeger, Ferdinand, 1815-1891 Publisher An entity responsible for making the resource available State University of New York at Buffalo. Music Library Date A point or period of time associated with an event in the lifecycle of the resource 1836 Contributor An entity responsible for making contributions to the resource Music Library Format The file format, physical medium, or dimensions of the resource application/pdf Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context Mus. Arc. 46, Box 14 Item 431 ubmu0046_431.pdf Medium The material or physical carrier of the resource. scores (documents for music) Extent The size or duration of the resource. 1 manuscript score ([6] p.), 31 cm. Is Part Of A related resource in which the described resource is physically or logically included. Ferdinand Praeger Collection of Scores, circa 1829-1891 Mus. Arc. 46 LIB-MUS025 Rights Information about rights held in and over the resource <a href="https://library.buffalo.edu/music/about/copyright.html">Copyright Statement for Digitized Materials from the Music Library</a> <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information.