Collections

This volume contains pre-printed music staves, on which Jane Patton wrote musical notes and lyrics for compositions ranging from light opera to popular songs. Most of the works are instrumentals, but a number of vocal pieces are present. Some of the titles include "Hewitt's Quick Step" by T. Rebhun, "Listen to the Convent Bells," "La Poule," Kathleen Mavoreen," and "Oh! Dinna Ask Me," as well as a few pieces by Thomas Haynes Bayley, such as "Isle of Beauty, Fare Thee Well." Some tunes have manuscript notations such as "from Harriet Taylor" or "from Harriet Scott." The printed pages are marked "ORRS' IMPROVED."

This volume contains pre-printed music staves, on which Jane Patton wrote musical notes and lyrics for compositions ranging from light opera to popular songs. Most of the works are instrumentals, but a number of vocal pieces are present. Some of the titles include "Hewitt's Quick Step" by T. Rebhun, "Listen to the Convent Bells," "La Poule," Kathleen Mavoreen," and "Oh! Dinna Ask Me," as well as a few pieces by Thomas Haynes Bayley, such as "Isle of Beauty, Fare Thee Well." Some tunes have manuscript notations such as "from Harriet Taylor" or "from Harriet Scott." The printed pages are marked "ORRS' IMPROVED."

The E. L. Diedrich Collection is a selection of manuscript items compiled by his son Duane Norman Diedrich and dedicated to his memory. The content of these letters, documents, and other manuscripts reflect the life and interests of E. L. "Bud" Diedrich (1904-1988), most prominently subjects pertinent to government, business, and patriotic music.

The E. L. Diedrich Collection is a selection of manuscript items compiled by his son Duane Norman Diedrich and dedicated to his memory. The content of these letters, documents, and other manuscripts reflect the life and interests of E. L. "Bud" Diedrich (1904-1988), most prominently subjects pertinent to government, business, and patriotic music. Items include correspondence from early United States politicians, discussing aspects of the developing Federal government and political parties; letters respecting the U.S. Presidency; holograph manuscripts and correspondence respecting patriotic music, such as the Battle Hymn of the Republic; and much more.

The collection is comprised of over 50 letters, documents, manuscript songs, and photographs, and other items. For a comprehensive inventory and details about each item in the collection, please see the box and folder listing below.

The Manuscript Sheet Music collection is made up of manuscript music scores, correspondence, and composers' autographs.

The Manuscript Sheet Music collection (approximately 140 items) contains manuscript music scores and composers' autographs, as well as correspondence and other items.

The bulk of the collection is comprised of around 80 music scores, which range in length from one line to several pages; some are complete works, and some are fragments. Most of the brief melodies are accompanied by the composers' signatures and may have been intended as autograph gifts. The longer works are mainly piano and/or vocal scores, and some include lines for violin with piano accompaniment. Lyrics, when present, are written in English and German. Some of the scores are dated and signed, and a few were written in German cities. The cover of the score for "Barcarola" includes an engraving of "The Great Western crossing the Atlantic," and Harry Keyser's "Two Etudes for Pianoforte" is accompanied by a letter by the composer. A manuscript music book belonging to "Th. Hämb, Junior" contains several short pieces with lyrics in a Nordic language.

Additional autographed items include 25 autograph cards, 8 autograph musical quotations, 10 sheets of paper (some with inscriptions), and a photograph of violinist A. Rivarde. Many of the autographed cards, which are the size of business cards or visiting cards, are dated at Chicago in the mid- to late 1880s. The collection's 8 letters (in English, German, and Italian) include one man's opinion of a performance of "Wanda" and a letter illustrated with lines of music. Additional items are a program for a Manchester, New Hampshire, performance of the comic opera Jonah, an ink drawing of a decaying stone building, and lines of poetry or musical lyrics.

Owen Lovejoy (1811-1864), brother of Elijah Parish Lovejoy, was a prominent abolitionist and congressman who staunchly supported President Lincoln during the Civil War. His papers primarily contain correspondence, speeches, and writings related to his family life, ministerial duties, and congressional activities, with additional materials from his descendants.

The Owen Lovejoy papers primarily consist of the correspondence, speeches, and writings of Owen Lovejoy, with additional material from his descendents. The collection contains 170 letters, 13 land records and indentures, a diary, 3 documents and 10 checks, 27 speeches and writings, 3 images, 11 commemorative items, and 26 newspaper clippings. The correspondence of Owen Lovejoy includes 71 letters written by him, mostly to his wife and children, and 40 letters received from family and friends. The other correspondence in the collection is primarily that of his son, Elijah Parish Lovejoy, II.

The earliest letters, from Owen Lovejoy’s student days at Bowdoin College, include affectionate advice from his parents and news from his siblings. He received 8 letters from his parents between 1830 and 1837. His mother’s letters are filled with religious references, and her strong faith is clear from her writing. She wrote passionately against the “crying sin of slavery,” and also supported the temperance cause (14 July 1836). Sister-in-law Sarah Moody Lovejoy wrote two letters to him in 1836, filled with news of the family and church. His sister Elizabeth, who ran a school, kept him informed about her endeavors and news of the family in three letters from 1836. Brothers Joseph and John also wrote occasional letters to Owen. The collection also contains three love letters written by Owen Lovejoy as a young man, including a poem he wrote entitled “Autumn pale fading autumn.”

The family was worried about Elijah Parish Lovejoy, the eldest brother, whose antislavery activities were becoming increasingly dangerous. His mother wrote to Owen in 1836, “you doubtless know what outrages they have committed in regard to destroying the types in that affair” (14 July 1836). His sister Elizabeth wrote, “E.P. does not write us at all why not I cannot divine & I wish I was there now” (30 July 1836).

A number of friends came to the aid of the Lovejoy family after Elijah Parish Lovejoy’s death in November 1837. Rev. Edward Beecher, the son of Lyman Beecher and brother of Harriet Beecher Stowe, wrote a letter to Owen Lovejoy, in which he urged him to “collect and file all documents which have a relation to you brother’s life & efforts since he acted upon his course as editor…They will be read with interest in future ages” (14 November 1837). In 1838, Beecher wrote his best-known work, Narrative of Riots at Alton, on the subject. Owen and Joseph Lovejoy, meanwhile, were working on their own book commemorating their brother. Joseph wrote to Owen in December 1837, “The death of P. has made a very deep & strong sensation through this & indeed through all the country. A great many sermons have been preached & meetings are held in almost every village through the land” (7 December 1837). Owen also corresponded with his other siblings during this time.

Correspondence from a later period in Owen Lovejoy’s life reflects his growing involvement in politics. A letter from Abraham Smith in 1846 describes the activities of the Liberty party, of which Owen Lovejoy was a leader. Owen also corresponded with Gerrit Smith, an abolitionist and founding member of the Liberty party.

Owen Lovejoy’s letters from 1854 onward were addressed to his wife and children, while he was away from home on political business, usually in Washington, D.C. From October to November 1861, he wrote a number of letters to his family from the Missouri battlefield, having received a commission as colonel under General Frémont in the Western Department of the army. After returning to Washington, D.C., he wrote to his younger children of the death of Abraham Lincoln's son: "I have just been up to the White House to see the President. He feels very much the loss of his little boy Willie who is about the age of Parish…His father says he was a very gentle and amiable boy" (23 February 1862).

The correspondence of Elijah Parish Lovejoy, II, Owen Lovejoy's son, includes 36 letters written and received by him regarding his genealogical research on the Lovejoy family. He received a number of inquiries from others about his family history, and also conducted his own research. A number of his letters are correspondence with C.E. Lovejoy, the author of The Lovejoy Genealogy with Biographies and History, 1460-1930, published in 1930. He assisted C.E. Lovejoy with research and loaned him some materials from his own collection for the publication. The miscellaneous correspondence series includes the letters of other Lovejoy family members, as well as a few apparently unrelated letters. (For a listing of Owen and Elijah Lovejoy's correspondents, see the Additional Descriptive Data.)

The Butler Denham business papers contain 12 records of land purchases and an indenture contract with a young boy. Denham was the first husband of Eunice Storrs Denham, who married Owen Lovejoy after Denham's death in 1841.

A small pocket diary, dated 1857, contains appointments, expenses, personal notes, and what appear to be notes for a speech. The documents series includes Owen Lovejoy's call from the Hampshire Colony Church in 1839, his certificate of admission to the Illinois Bar in 1857, a note to his son E.P. Lovejoy for five dollars, and several checks written in 1862 and 1863.

Speeches and writings by Owen Lovejoy comprise three sermons, pamphlets of six political speeches, several printed copies of "An Agricultural Poem," written in 1859, and a copy of his last public prayer in Princeton from 1863. Excerpts from all of these have been republished in a comprehensive collection of his speeches entitled His Brother's Blood: Speeches and Writings, 1838-64. A draft of a poem entitled "The Wild Horses," is also included. The collection also contains writings about Owen Lovejoy, including articles and speeches written after his death, such as "Addresses on the Death of Hon. Owen Lovejoy" and "The Great Anti-Slavery Agitator Hon. Owen Lovejoy as a Gospel Minister." Also included are the recollections of Parker Earle on the nomination of Owen Lovejoy to Congress.

The scrapbook (29 disbound pages) includes newspaper clippings, articles, pamphlets, memorials, and manuscripts pertaining to various members of the Lovejoy family, particularly Elijah Parish Lovejoy (1802-1837) and Owen Lovejoy (1811-1864). The items about Elijah P. Lovejoy concern his death, his religious beliefs, and his memorial at Alton, Illinois. The scrapbook also has contemporaneous articles about Owen Lovejoy's abolitionist work and about Illinois politics around the time of the Civil War. Other articles, biographies, speeches, memorial programs, and memorial poems concern the lives and deaths of Owen G. Lovejoy, Lucy Lovejoy, Charles P. Lovejoy, Eunice Storrs Lovejoy, and members of allied families. One article describes Helsinki, Finland.

The collection is rounded out by three printed images of Owen Lovejoy, materials regarding memorials and commemorations for Owen Lovejoy and his brother Elijah Parish Lovejoy, and newspaper clippings about Owen Lovejoy and his descendents. Several of the commemorative materials pertain to the Lovejoy Monument Association, including a booklet of music for the dedication ceremonies of the Lovejoy Monument. The Lovejoy papers also contain correspondence and an inventory regarding the Lovejoy collection located at the Bureau County Historical Society of Illinois.

The collection of composer Rudolf Friml (1879-1972) contains correspondence, documents, manuscript and printed sheet music, drafts of plays, and other miscellaneous material related to Friml and his frequent lyricist, Dailey Paskman (1897-1979).

The papers of Rudolf Friml are made up of 27 letters and documents, 34 photographs, printed sheet music and musical manuscripts related to over 60 works, drafts and notes for plays, theater ephemera, and other miscellaneous materials.

The 27 letters and documents of the Rudolf Friml collection follow two primary threads: Legal issues surrounding Rudolf Friml and Dailey Paskman's music, and the business, activities, and thoughts of Friml (expressed through letters to Paskman). The former topic is represented by documents regarding copyright and motion picture rights sales for High Jinks and Katinka to MGM; Annina to G. Schirmer; and Hawaiian Melody to Robbins Music Corporation, and a plagiarism claim pertaining to Kiss Me, Kate!

Three of seven documents, dated in the early months of 1949, relate the following information: Paskman and Friml suggested writing a musical version of Shakespeare's Taming of the Shrew in 1946 and proceeded to write a script. This script was submitted to Lee Shubert with the title Kiss Me, Kate! In 1948, another play entitled Kiss Me, Kate! opened on Broadway (with music and lyrics by Cole Porter). According to an LA Times article of January 9, 1949, the idea for this second Kiss Me, Kate! was conceived of and partly produced by Arnold Saint Subber, an ex-office boy of Lee Shubert. Despite the suggestion that Subber stole the idea for the play, legal council Edward C. Raftery informed Friml and Paskman that they could not prosecute the newer production based on copyright law.

In 18 letters and postcards from Rudolf Friml to Dailey Paskman (dated from 1954 to 1968), Friml discusses a variety of personal and business subjects. He considers difficulties encountered while writing Vagabond King (1954) and ideas for Rendezvous in Paris (1956). He also talks about Rose-Marie and Firefly. Some of the letters were written on personal stationary and a few contain musical quotations. Rudolf Friml authored the bulk of this correspondence while on different trips to Spain, France, Germany, and Switzerland. In one letter he stresses the importance of the sincerity of love in musical theatre (particularly regarding a proposed script in which the King of Wales loses his ring):

Take my advice and 'dickup' something where music predominate with beautiful Background -- and where love is sincere -- even thow disapointing -- in some parts -- with happy ending -- We all like happy ending -- It must be about something which is dear to us -- friendship love -- sacrifice -- forgiveness -- appreciation -- and not just 'a ring.' (October 3, [1950s?])

The 34 photographs of the Friml Collection include three items of particular significance: One signed cabinet card portrait photograph of Rudolf Friml as a young man (taken by H. Eckert in Prague); one undated group photograph of the American Society of Composers, Authors and Publishers (ASCAP), signed by Victor Herbert, Irving Berlin, Rudolf Friml, and others; and one 8x10 group photograph of U.S. Senator Roman Hruska (Neb.), Rudolf Friml, Kay Friml, Danny Kaye, Dailey Paskman, and an unidentified man. This third photograph is signed by Hruska, the Frimls, and Paskman. The remaining images include a photograph and enlargement of Rudolf Friml and Dailey Paskman standing on the grounds of Friml's home in Palm Desert, California; one photograph and enlargement of Friml signing photographs at Smetana Concert Hall in Prague, November 1959; one photo enlargement of Rudolf and Kay Friml (undated); 21 professional promotional photographs (most of them taken after radio broadcast by Voice of America in Washington, D.C.); and 5 other professional portraits.

The Rudolf Friml collection contains over 60 different songs and manuscript musical quotations, written from 1901 to the 1960s. Many of these pieces are present in multiple copies, illustrating various stages of the music writing process. A number of the works are represented only by Friml's manuscript music, while others also have words penciled in. Manuscript lyric notes by Paskman accompany many of the sheets and some are present only as final published copies. A selection of titles include: Jen trochu lásky, I Know the Loveliest of the Lovely, Darling, Je Vous Adore, A Happy New Year to You, Adorable (aka Lovely You), Amour Coquet, Swanee The River Road to Heaven, Holiday for Love, Somewhere in My Heart, Never Say Good-Bye, Valse Christine, and others. Two published collections of music and three technique books (by Friml) are also included.

Drafts and notes for two plays by Dailey Paskman and Rudolf Friml are present in the collection. Related to Kiss Me, Kate!: Notes on Shakespeare's The Taming of the Shrew, a 97-page manuscript draft of the Paskman and Friml's Kiss Me, Kate!, and typed copies of the final draft (c. 1947-1948). These manuscripts are especially significant, given the plagiarism accusations of Friml and Paskman as outlined above. The papers also include 173 pages of manuscript notes for The Friml Story: Love Everlasting by Dailey Paskman, and a 42-page typed and registered copy of the re-named Love Everlasting, based on the Life and Music of Rudolf Friml.

Miscellaneous additional material in the collection includes five printed theater programs and souvenir books with performances of Friml's music, 1914-1962. Among the pieces performed: Exodus to Hong Kong, Tarantella: Slavonic Rhapsody, High Jinks, Rose-Marie, The Three Musketeers, and The Vagabond King. A Variety magazine advertisement celebrates Friml's 50 years with ASCAP. Three printed catalogues list copyrighted musical works (from Irving Berlin, Inc., ABC Standard Music Publications, and Leo Feist, Inc.).

This collection is made up of correspondence, documents, photographs, printed items, and ephemera related to the ancestors, descendants, and extended family of Merwin P. Snell and his first wife, Minnie Gilbert Andrews Sprague. The bulk of the materials pertain to the Snell, Andrews, Hallock, McLaughlin, and Barney families.

This collection is made up of correspondence, documents, photographs, printed items, and ephemera related to the ancestors, descendants, and extended family of Merwin P. Snell and his first wife, Minnie Gilbert Andrews Sprague.

The Correspondence series (106 items) contains personal letters addressed to members of the Snell family. The earliest materials pertain to Merwin Porter Snell and his first wife, Minnie Sprague Snell. In the late 19th and early 20th centuries Merwin P. Snell exchanged letters with his cousins. He sent a lengthy letter about comparative religion to Reverend O'Connell of the Catholic University of America on May 25, 1903. Additional family letters are scattered throughout the series.

The bulk of the correspondence relates to Merwin P. Snell; his second wife, Minnie Louise Snell; and their daughters Margaret and Priscilla. From around 1910 to the early 1920s, Merwin and Minnie exchanged letters with their daughters, who sometimes commented on their studies at St. Joseph's Academy in Adrian, Michigan. Some of the family's letters contain illustrations, including drawings that Margaret and Priscilla made as young children. On May 31, 1929, Priscilla Snell wrote to Charles E. Stimming of Loyola University Chicago about women's personal engagement with religion and the necessity of educating women.

In the summer of 1937, Minnie L. Snell visited San Francisco, California. While there, she frequently exchanged letters with her daughters, who lived with Margaret's husband, Leslie Drew Barney, in Detroit, Michigan. Margaret and Priscilla Snell shared news of their life in Detroit, while their mother described her experiences in California (often related to social outings). The series includes several picture postcards depicting San Francisco scenery. In 1947 and 1948, Priscilla Snell, who had taken holy orders under the name Sister Marie Virginia, described her life in Puerto Rico, where she joined a convent. She wrote about her fellow nuns, religious life, travels within Puerto Rico, and leisure activities. Priscilla enclosed a newsletter titled The Barry Bulletin in her letter of August 4, 1957.

The correspondence also includes a few later letters to Margaret Snell Barney from a cousin regarding their shared genealogy, picture postcards of Detroit scenes, and personal letters from friends and family members.

The Documents series consists of two subseries. Legal and Financial Documents (10 items, 1910-1980) include birth, death, and marriage certificates, a will, and other items related to Merwin P. Snell, Minnie L. Snell, and Margaret Snell; some of these items are later or replacement copies. Two receipts concern expenses related to Merwin P. Snell's funeral in September 1921. A subseries of 6 St. Joseph's Academy Report Cards pertains to the academic progress of Priscilla and Margaret Snell in the 1920s.

The Writings, Notes, and Drawings series contains a narrative essay, three groups of poems, drawings of children and a moose, a watercolor painting of a castle tower, a cutout of a bird pasted onto a black, and plot notes for a one-act play.

The first item is a typed copy of "Thrilling Adventures of a Sailor Boy," an essay about E. Watson Andrews (7 pages, January 12, 1859). On April 2, 1858, Andrews boarded the ship Courser for a voyage from China to the United States. The ship was destroyed soon after its departure. Andrews and others boarded a lifeboat, which soon met with a fleet of Chinese pirates. After a violent encounter with the pirates and their subsequent rescue, Andrews and other survivors safely made it to Hong Kong, where Andrews complained of harsh treatment by the United States consul.

The poetry includes manuscript and published verses by Marie LeBaron (15 items), Minnie Sprague Snell (10 items), and various members of the Snell, Long, and Andrews families (13 items). The poems concern topics such as nature, religion, the Civil War, and family. Some items are printed on newspaper clippings.

The Photographs series (approximately 230 items) documents multiple generations of the Snell, Andrews, Hallock, McLaughlin, Wellington, Barney, Snetsinger, and Hames families from around 1861 to 1978. The images, some of which are framed, include black-and-white and color prints, cartes-de-visite, cabinet cards and other card photographs, tintypes, photographic postcards, newspaper clippings, and photo-illustrated Christmas cards. The pictures include formal individual and group portraits, schoolchildren, and a wedding party. Several items depict Priscilla Snell in a nun's habit, and a few show Spanish-American War-era and early 20th century soldiers in uniform. A small number show the interior of an office or residence. Many of the photographs were taken in cities in Connecticut, Michigan, and Ohio.

The Scrapbook is a repurposed account book, with newspaper clippings pasted in over most of the original financial records. Pages 1-35 contain scrapbook material, and pages 36-66 contain financial records dated 1875-1877. Most of the clippings are poems and articles written by Marie LeBaron (or Le Baron) in the 1870s, including articles about Washington, D.C., and Congressional politics. Visual materials include a painting of a flower against a colored background resembling stained glass, a painting of a pear, an illustrated poem, and a group of faces (drawn into the back cover). One article concerns LeBaron's interest in theosophy. Two articles concern the 1980 Nobel Prize in Physiology or Medicine, awarded to George D. Snell.

The Printed Items and Ephemera series (53 items) is made up of newspaper clippings, published volumes, and other items. Twenty-seven newspaper clippings and obituaries relate to relatives and friends of the Snell family. Some articles concern marriages and other social news. Two articles concern the longevity and early recollections of Diana McLaughlin and Minnie L. Snell; the article about Snell largely concerns her father's work as a lumberman in northern Michigan.

Additional items include memorial cards for Merwin P. Snell, Minnie L. Snell, Leslie Drew Barney, and Marie L. Wellington; a reward of merit; a photographic postcard of Detroit and a painting of "Mrs. Andrews"; a musical score for "Brotherhood Song" by Joseph Mansfield Long, signed by the composer; and invitations for commencements at St. Joseph's Academy (1931) and the Catholic University of America ([1947?]). Personal ephemera items include a silk pouch made by Eliza Allen's mother in 1805, containing small paintings by Eliza's friend, Caroline Mayhew (1818), and a carte-de-visite portrait of Eliza Hallock (née Allen) taken in 1864; a baby book with notes about the first months of Margaret LeBaron Snell (1911); Marie LeBaron Barney's diploma from Saint Theresa High School in Detroit, Michigan, with a tassel and 3 photographs (June 7, 1953); and two pieces of embroidery with floral designs, done with thin yarn (undated).

• Le Baron, Marie. The Villa Bohemia (1882, housed in the Book Division)
• The New Testament of Our Lord and Saviour Jesus Christ: Translated Out of the Original Greek and with the Former Translations Diligently Compared and Revised (New York: American Bible Society, 1889)
• The New Testament of Our Lord and Saviour Jesus Christ (Combination Self-Pronouncing Edition, 1897)
• Hallock, Charles. Hallock Ancestry, 1640-1906 (1906)
• The Guide to Nature magazine (July 1910 and October 1921)

The Genealogy series (11 items) is made up of notes and a family tree related to the Snell, Long, LeBaron, and McLaughlin families, as well as a memorandum printed in memory of Gerard Hallock Snell.

Musical score for Michigan Union Opera production of "Froggy Bottom" used originally by Sumner Howard.

Willis C. Patterson, the first African American professor at the University of Michigan's School of Music, was an active faculty member from 1968 to 1999. He was a professor of voice and associate dean for academic affairs. Patterson directed the Men's Glee Club from 1969 and 1975 and spent summers as a faculty member at the National Music Camp at Interlochen, Michigan. While maintaining an active concert career and fulfilling teaching duties, Patterson organized a Black American Music Symposium and compiled several works on African American composers. Patterson played an active role in securing funding and mentorship for students of color and disadvantaged students both at Michigan and in the Ann Arbor community. The collection includes some biographical material, but focuses mainly on his professional career, musical career, and collection of works by African American composers. It includes correspondence, research, photographs, clippings, publications, and topical files.

The Willis C. Patterson papers include some biographical material, but focuses mainly on his professional career, musical career, and collection of works by African American composers. The collection includes correspondence, publications and research material, photographic material, posters, student records, clippings, and topical files.