Archives Hub feature for February 2018

In 2018 a project will commence to restore and enhance Canterbury Cathedral’s organ, due for completion in time for the 2020 Lambeth Conference, when Anglican bishops from all over the world assemble in Canterbury. The first organ was installed at Canterbury in the 12^th century although it is believed that unlike its modern counter part, it was not viewed as a musical instrument, rather “a producer of cheerful though fairly random noise.”[1] The current organ was built in 1888 and underwent a number of renovations in the twentieth century. To mark the commencement of the Organ Project, funded through the Canterbury Cathedral Trust, here is an enticing overture of musical collections held by Canterbury Cathedral Archives and Library.

Music in the Aisles

There has been a tradition of music as an integral part of worship at Canterbury Cathedral since its foundation over 1,400 years ago and there is evidence of this in both the fabric of the Cathedral itself and the collections it holds. The Cathedral’s medieval archive was added to the UNESCO UK Memory of the World Register in 2016. This outstanding nationally significant collection includes over 8,000 charters, 30 of which date from before 1066. The collection of medieval music of the Cathedral is principally made up of fragments of music manuscripts from the 11^th century onwards. This is partly as a result of the practice of music manuscripts being reused when the music became obsolete during the Middle Ages, and then later due to the Cathedral’s service books being mostly destroyed, dismantled or given away after the Reformation. A number of music fragments were re-used to bind later manuscripts, such as the fragment of 14^th or 15^th century antiphonal music pictured below, which was re-discovered in 1937 as part of the cover of a Court Book (CCA-DCc/AddMs/128/9).

A number of missals are also included in the collections held by the Cathedral Archives and Library. The Plumptre Missal is a particularly fine example of a Sarum Missal containing all the text and music required to celebrate mass and the variations for feast days (CCA-U53/1). Illuminated throughout this mid fourteenth century missal was written at the request of the Stathum family, lords of Morley, Derbyshire, presumably for use in Morley Church. The missal included in the collection of records from St Augustine’s College, a Canterbury based missionary college, is believed to have originally been used by All Saints’ Church, Woodchurch in Kent (CCA-U88/B/6/1). The missal, which is in two columns in red and black ink, with simple illuminated initials in blue and red and a small number of further illuminated borders for certain feast days, is extravagant for a parish church and possibly the gift of a wealthy donor. It shows evidence of having been heavily used since the time it was written circa 1430.

Records relating to the Cathedral Choir are a significant part of the Cathedral’s collection of music. The archive holds the various part books used by the choir from the seventeenth century to the present day (CCA-DCc/MusicMS). These manuscripts include service settings and anthems for contratenor (alto), tenor and bass voices and comprise music for the choir, the organ and, occasionally, other instruments. The records of the Canterbury Cathedral Choir School (CCA-U166) contains accounts, administration files, records relating to pupils and performances and a wonderful series of photographs dating from 1881 onwards. This archive provides an insight into all aspects of the life of a chorister, including worship, musical practice and performance, study and leisure.

Music in the Streets

In addition to the religious music one would expect in a Cathedral archive the collections also contain a surprising range of secular music and music ephemera as part of the wide range of collections held on loan. Examples include handbills and programmes for musical and theatrical performances in the collection of personal diaries, notes and memorabilia of Alfred E. Johnson, a Canterbury based sugar-boiler (CCA-U520/6), and a collection of music hall patriotic song sheets held as part of Furley Solicitors Records (CCA-U51/44), both from the nineteenth and twentieth centuries.

Most notable are the records of the Canterbury Catch Club, a musical members’ only society formed in 1779 (CCA-CC-W/7). The members met every Wednesday evening between October and March until it disbanded in 1865 to indulge in music making, alcohol, tobacco, and a considerable amount of merriment. While all members were expected to participate in the performance of amusing ‘catches’, the more technically challenging ‘glees’ were left to those more adept which would have included musicians employed by Canterbury Cathedral. Further music was provided by an orchestra funded out of the subscription fees, and occasional visiting musical celebrities.  The minute books of the society along with volumes of music performed by the Catch Club form part of the City of Canterbury’s large and varied archive which is housed at the Cathedral.

You can find out more about collections on the Canterbury Cathedral webpage: https://www.canterbury-Cathedral.org/heritage/archives-library/.

Ashleigh Hawkins, Archivist
Canterbury Cathedral Archives and Library

[1] “The Liturgy of the Cathedral and tis Music, c.1075-1642” Roger Bowers, A History of Canterbury Cathedral, P. Collinson, N. Ramsay and M. Sparks 2002, p 417

Related

Records of the Dean and Chapter of Canterbury Cathedral, c800 – [ongoing]

All Canterbury Cathedral Archives collections on the Archives Hub.

All images copyright of the Chapter of Canterbury and reproduced with the kind permission of the copyright holders.

Archives Hub feature for December 2017

As winter rolls in and Christmas looms around the corner, it’s fascinating to reflect on how nostalgia shapes this most memorable of seasons. When it comes to British festive traditions, one stands out more than most: pantomime.

Pantomime is a uniquely British institution – it’s always fun trying to explain it to international friends! Here at the University of Kent, we’re incredibly lucky to be celebrating the arrival of one of the largest collections of historic pantomime material in the UK: our David Drummond Pantomime Collection. We’re working in partnership with our local museum and art gallery, The Beaney House of Art and Knowledge, and one of the most famous producers of pantomime in Kent – The Marlowe Theatre. Between November 2017 and February 2018, all are welcome to come and view material from our newest collection in a very exciting exhibition called ‘Oh yes it is!’, a free display hosted at The Beaney art gallery in Canterbury city centre.

The David Drummond Pantomime Collection explores the development of pantomime from its 17^th century origins in Italy, to its critical period of transformation and popularity in the Victorian era, to the celebrity-filled extravaganzas we know and love today. The collection itself is a goldmine of beautiful illustrations, rare playbills and posters promoting shows and wonderful ephemera including an entire box filled with pantomime badges. Whilst exploring the collection in preparation for The Beaney exhibition, SC&A staff were struck by just how many galleries we could fill just from one collection alone.
What’s equally fascinating to us here at Kent, however, is how well the David Drummond Pantomime Collection complements our existing theatre collections. Rather than spoiling our newest acquisition for you, we thought we’d take a look at how pantomime is explored through our extensive archives of Victorian and Edwardian theatre…

Melville Collection: Walter, Fred and the Lyceum theatre

The Melville collection is the archives of a dynasty of thespians: the Melville family. Spanning two centuries and several generations, there was barely an area of theatre that the Melvilles left untouched: they owned theatres (notably the Prince’s and the Lyceum – now known as the Shaftesbury – in London), wrote and produced plays and acted in productions.

Whilst Walter and Frederick Melville shared an intense sibling rivalry, they are well known for collaborating on moral melodramas about women, widely referred to as ‘the Bad Women plays’. However, they were equally well known in the early 20^th century for their elaborate pantomimes they produced at the Lyceum theatre, which the brothers shared ownership of. Their pantomimes were long – with up to 19 scenes and 4 tableaux in a single performance, audiences certainly got their money’s worth!

The takings books held in the Melville collection show how popular pantomime was, running throughout the Christmas season well into the following year. The exception to this was during the winter of 1916 – 1917, when the popular war drama ‘Seven Days’ Leave’ was such a hit with Lyceum audiences that the brothers skipped the pantomime for that year. The takings books show how much money was generated each week through performances, and the Melvilles certainly did well out of popular theatre – when Fred and Walter died in the early 1930s, they left a fortune of £519,000 – about £19 million in today’s terms.

The other items in the Melville collection provide a unique insight into the theatrical profession: we hold cast lists and playscripts for pantomimes, many photographs of the theatres, the family and the actors, correspondence and promotional programmes.

Pettingell Collection: from Arthur to Frank via Drury Lane

Some of the scripts for the Melville pantomimes can be found in another collection we hold: the Pettingell collection of theatre playscripts. The playscripts in this collection, which total over 4400, show the extent and variation of theatre during the Victorian period. The Pettingell collection has two distinct owners: Frank Pettingell, the collection’s namesake, was an actor who performed in many plays and theatres during the mid-20^th century. He acquired his collection of theatre scripts from the son of Arthur Williams, who was a popular comedian during the Victorian-Edwardian era.

What makes the Pettingell collection unique is the annotations added into each text by Williams, who either saw, was involved in, or had heard about the plays.  The majority of additions take the form of typescript cast lists, but there are also manuscript annotations to be found. Some plays are entirely written in manuscript, providing evidence of how texts were edited as they were rehearsed, and we also have ‘parts’ of plays too – copies given to actors for their individual role.

The Pettingell collection is fascinating because it provides a comprehensive snapshot of what types of theatre were popular with Victorian audiences beyond the Shakespearean type theatre we often think of. There are many versions of Dickens’ novels transformed into dramatic versions relatively quickly, showing how popular he was during the time. Plays by the melodrama writer Dion Boucicault (whose archives we also hold) are well represented – evidence of how audiences would flock to see spectacles on stage. In a time well before the moving picture, the power of the visual still held strong.

Of course, the Pettingell playscripts have an entire section of pantomimes; unlike the majority of plays in the archive, they are bound together to create multiple volumes of works. This decision alone shows how popular pantomime was for Victorians; no other genre of plays in Pettingell gets its own distinct category. The collection includes scripts of famous pantomimes written by E.L. Blanchard performed in London (notably at the Theatre Royal, Drury Lane). Our overview of pantomimes in the Pettingell collection demonstrates how popular some pantomime stories were during the late 19^th century. Unsurprisingly, the well-performed titles are the same fairy tales we use in pantomime today: Aladdin, Dick Whittington, Sleeping Beauty, Jack and the Beanstalk and Robinson Crusoe.

Reading Rayner Collection: biography, memoir and theatre today

How do we account for the success of pantomime during the Victorian-Edwardian era? The answer may well be found in our extensive array of theatre books and programmes donated to us by Jack Reading and Colin Rayner. The collection primarily covers 20^th century performances, but the origins of modern theatre are well accounted for, including biographies of actors and histories of theatres.

The Theatre Royal at Drury Lane is the subject of several publications as writers sought to explore the success of pantomime due to its 1880s-1890s manager, Augustus Harris. Harris exploited the Victorian love of spectacle by creating lavish processions on stage, employing several hundred people for any single show. The risk paid off, and most of Harris’ productions ran for over 100 performances each season.

The Reading-Rayner collection provides a different look at pantomime through secondary sources; it is interesting to note how pantomime is, once again, described separately from the rest of theatre history. It also offers us a look at the world through actors’ eyes as there are many memoirs from performers in the collection. Through Jack Reading’s extensive collection of theatre programmes, we can also chart what plays remained popular from Victorian times to the late-20^th century.

Pantomime as a tradition is certainly not (quite) as popular now as it was in the 1890s, but the University of Kent’s extensive collections evidence that shift. By exploring theatre through the eyes of the audience, the actors and the producers, archives can offer us a unique glimpse of the past that proves how much more there is to pantomime than dames, celebrities and songs. Not that we’d deny, of course, that that’s all part of the fun too – long may it continue!

Joanna Baines
Senior Library Assistant
Special Collections, Templeman Library
University of Kent

Explore on the Archives Hub:

Melville Theatre Collection, c.1800-1987

Victorian and Edwardian Playbills, c.1756-c.1950:

Dion Boucicault Collections, 1813-2002:

Browse on the Archives Hub:

All University of Kent Special Collections and Archives collections

More pantomime collections

More Hub features about Theatre archives

The D’Oyly Carte Archive

The Association of Performing Arts Collections

Variety and Music Hall, National Fairground Archive

Curtain up! The Theatre and Performance Collections at the V&A

All images copyright  University of Kent Special Collections and Archives and reproduced with the kind permission of the copyright holders.

Archives Hub feature for November 2017

The University of Huddersfield Archive Service at Heritage Quay is the home of two significant contemporary classical music collections, the British Music Collection (BMC) and the Huddersfield Contemporary Music Festival archive (HCMF), both of which are celebrating exciting anniversary years in 2017.  Sound and Music, owner of the British Music Collection, are celebrating the 50^th anniversary of the collection in its original form, as the British Music Information Centre.  2017 also marks the 40^th edition of the Huddersfield Contemporary Music Festival, which is the UK’s largest international festival of new and experimental music.

The British Music Collection

The British Music Collection (BMC) is the music library and other records of the British Music Information Centre (BMIC).  The British Music Information Centre (BMIC) opened in London on 7 November 1967 as a place for musicians, composers and the general public to see and hear new classical music. When it closed in 2004 it had collected thousands of scores and recordings and hosted hundreds of performances.  It had been founded by the Composers’ Guild of Great Britain at a time when similar centres were opening around the world. Composers and publishers donated works to make a huge library of British classical music. This library was used by students, composers and performers for inspiration or to select new works for performance. The BMIC also hosted and organised concerts to help promote British artists.

The BMIC’s role was to collect and provide access to cutting edge work by British or British-based composers. Therefore, the collection tells the story of the development of composition and performance in this country during the 20^th and 21^st centuries. It features both published and unpublished materials, including things that are not stored anywhere else. The collection features famous composers such as Benjamin Britten and Ralph Vaughan-Williams but also more obscure people ready for rediscovery.

Following the closure of the BMIC in 2004 the collection was split into three parts. The whole collection was deposited at the university by Sound and Music, the national organisation for new music. Archivists at Heritage Quay reunited the three parts and fully catalogued the collection which is now available for researchers again. The collection continues to add exciting contemporary works through Sound and Music’s New Voices project.  This large collection features over 80,000 scores and recordings of 20th and 21^st century classical music.

Huddersfield Contemporary Music Festival Archive

hcmf// is an annual event celebrating new and experimental music. Since the first festival in 1978 it has hosted some of the most important names in contemporary music, including Karlheinz Stockhausen and John Cage. hcmf// also supports young and up-and-coming composers and performers and inspires local people through its Learning and Participation programme.

The archive covers the history of the festival from its beginnings as a long weekend of performances in October 1978 to its current 10 days in November. During the 2009 Festival, the hcmf// archive was transferred to the University to enable public access and research into this collection.

The archive features a wide range of materials including programmes, posters and administrative records that tell the story of the Festival’s development. It also contains financial and marketing records, performer contracts, musical scores and audio-visual recordings of concerts.  These records chart the exciting history of hcmf// from its modest beginnings to an internationally renowned event on the contemporary music stage.

These collections not only cover the histories of these important institutions. They also reflect the much bigger story of the local, national and international development of new and experimental music throughout the world in the 20th and 21st centuries.   Music forms one of the University archives significant research themes alongside Education, Politics, Art and Design, Theatre and Sport.

Lindsay Ince
Assistant Archivist & Records Manager

Related content on the Archives Hub

Please note: Collection descriptions for the British Music Collection and Huddersfield Contemporary Music Festival Archive are due to be added to the Archives Hub shortly – we’ll add the links to this feature as soon as they become available.

Browse Heritage Quay, University of Huddersfield collections on the Archives Hub.

Previous feature by Heritage Quay, University of Huddersfield : ‘Scrum, Ruck and Tackle: Rugby Football League Archive‘.

Related Links

Sound and Music – The national charity for new music in the UK, and formerly the home of the British Music Information Centre (BMIC), a collection now deposited with the University of Huddersfield.

Huddersfield Contemporary Music Festival – The website of the festival, which takes place in Huddersfield every November.  Includes a guide to the current festival’s programme, and associated public events.

Google Cultural Institute Exhibitions – Exhibitions curated by current composers looking back at the organisational archives.

Related Publications

Gottchalk, Jennie (2016) Experimental music since 1970.  Bloomsbury.  ISBN 978-1-62892-247-9

Metzer, David (2009) Musical Modernism at the turn of the Twenty-First Century.  Cambridge University Press, Cambridge.  ISBN 978-1-107-40280-5

Rupprecht, Philip (2015) British Musical Modernism, The Manchester Group and their Contemporaries.  Cambridge University Press, Cambridge.  ISBN 978-1-316-64952-

Steinitz, Richard (2011) Explosions in November. University of Huddersfield Press, Huddersfield. ISBN 978-1-86218-099-4

All images copyright Heritage Quay, University of Huddersfield and reproduced with the kind permission of the copyright holder.

In July 2017 the University of Portsmouth celebrates 25 years since gaining university status. However, the University of Portsmouth archive reveals that the roots of the institution go back much further than this, to the late 19^th century.

One of the earliest items in the university archive collection is a minute book from the Portsmouth and Gosport School of Science and Art. The school opened on 1st June 1870 and offered a mix of day and evening classes, the latter aimed at local artisans. Both men and women attended the school whose main premises were in the former Crown Sale Rooms in Pembroke Street. Students could receive instruction in a range of skills including practical geometry, artistic anatomy, and architectural and mechanical drawing.

By 1908 responsibility for technical education had been taken over by the local authority. A grand new building opened behind the Guildhall to house the Portsmouth Municipal College. The building is still in use by the university today and has Grade II listed status. The college offered a mix of higher and lower courses, the higher being of university standard. The college also had another role in the wider community as the reference library on the ground floor was open to both local residents and students.

The first edition of student magazine The Galleon was published in autumn 1911, shortly after the establishment of separate female and male student unions. It reported on the formation of a women’s basketball team and bemoaned the state of the common room.  Student media is a fascinating source of information on the daily life of students and many newspapers and magazines survive in the archive.

There has been a succession of name changes among the university’s institutional predecessors. Portsmouth Municipal College became Portsmouth College of Technology in 1953, before developing into Portsmouth Polytechnic in 1969. The collections chart this process of expansion – of both student numbers and buildings – through prospectuses, newsletters, annual reports and more. The university is located right in the heart of the city of Portsmouth and the range of buildings it has utilised over the decades is notable. In addition to creating new buildings of its own, sites include a former sailors home, hotel, building society headquarters, drill hall and barracks, illustrating just how closely the history of the university is related to that of the city as a whole.

The university is also however, the result of the amalgamation of several institutions.  One of the richest collections of material in the archive is from the Day Training College, latterly the College of Education. This teacher training college didn’t merge with Portsmouth Polytechnic until 1976 and was mostly based at its own separate site in the city. The collection includes college admissions registers, correspondence and photographs of staff, students and buildings. The training college was all-female for several decades after its establishment in 1907, and is a valuable resource for women’s history.  Similarly, there is also a separate archival collection from the College of Art which maintained its independence until the 1990s.

In 1992 Portsmouth became a ‘new’ University, but one with a considerable heritage and a long-established connection to the local area. The university archive has an important role in helping to tell this sometimes overlooked aspect of the institution’s history.

Anna Delaney, Archivist
University of Portsmouth

Related

Browse University of Portsmouth collections on the Archives Hub.

All images copyright  the University of Portsmouth and reproduced with the kind permission of the copyright holder.

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