Allen A. Brown Collection (Boston Public Library).

Catalogue of the Allen A. Brown collection of music in the Public library of the city of Boston (Volume 1) online

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^^.,, JiBRARY OF

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Date Due




Allen A. Brown Collection

of Music



Vol. 1
A— Hezekiah






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St 67

The Public Library of the City of Boston: Printing Department.


The Allen A. Brown Musical Library owes its existence to the collector whose name it bears, Mr.
Allen A. Brown, of Boston. Mr. Brown began to collect musical productions many years ago without
the definite intention of forming such a library ; but as his acquisitions steadily increased in importance
and in representative character, he realized that a permanent location for them was desirable, where
they could not only be preserved but also made available for public use. He therefore presented the
large and valuable collection to the Boston Public Library in 1894, and a room was set apart for its re-
ception in the new library building in Copley Square, which was then approaching completion. Since
that time important additions have been made, and are being made from year to year, largely through
the generosity of Mr. Brown, but occasionally by gifts from others or by expenditures from the Public
Library funds.

It must be remembered that any printed catalogue represents a library as it is at a definite moment,
and since the process of printing is slow, and new material is received while the catalogue is moving
through the press, no such catalogue is ever complete. In spite of this unavoidable limitation the
present volume will show how rich a collection is here open to the student, the professional musician or
the dilettante: a collection containing not only the principal works of the great composers — the founda-
tion and the essentials of any musical library — but also many specimens of the large number of lighter
or ephemeral works of which a complete collection is impossible. Many of these lighter M-orks may not
deserve a place in such a library, but a just estimate of the musical tastes and standards of any particu-
lar period is impossible without the inclusion of a fairly liberal number of such compositions.

A collection such as this is more or less incomplete, but as the library is constantly growing, the
deficiencies may be in part supplied by new material bought as its worth is perceived. The addition of
contemporary productions is one of the collector's problems. The gaps in all libraries are usually the
result of a failure to purchase on its appearance, the first and seemingly unimportant work of an un-
known writer, whose merit may be afterward established, and whose early productions are then found
difficult to obtain. Such compositions, however, frequently find their way into a library through those
friends of the author who have confidently preserved the examples of his youthful labors.

While the contents of the Allen A. Brown collection are here .shown at length, only a careful study
of the catalogue will disclose some of the most interesting aspects of the library ; for this reason they
may be dwelt upon briefly in this place. It will be seen that, although every form of music is more or
less fully represented — in symphonies, symphonic poems, oratorios, cantatas, operas, songs and all de-
scriptions of chamber music — particular attention has been paid to securing orchestral scores; this,
indeed, may be called the special feature of the collection, and must prove a great stimulation to stu-
dents of orchestration.

Many of the volumes, which are attractively and harmoniously bound, contain insertions that
greatly enhance their value. These insertions sometimes contain accounts of the composer whose work
appears in the volume ; sometimes they are devoted to criticisms of the work and of its rendering as
viewed by different critics at different times, or even at the same performance : thus furnishing impor-
tant side-lights on many a musical career, as well as on the art itself.


There are, too, many bound volumes of programmes which represent performances in different
parts of the world — memoranda that might seem of the slightest and briefest significance. Yet once
preserved, they are not negligible as records of when and how certain musical works were produced ;
they form a real part of the material from which history is written.

In 1894 this collection comprised 6,990 volumes, including musical scores and the literature of
music. Mr. Brown has made continuous additions to his library, and it contains today about 11,000
volumes. This figure, however, gives no adequate idea of the actual number of works here gathered,
since it has been Mr. Brown's practice to bind in one volume several compositions by the same writer,
or productions of the same character by several composers. If these had been separately bound, the total
number of volumes would exceed 50,000.

No phase of music has been neglected in these accessions, although the number of orchestral
scores has been more largely augmented than any other side of the collection. The literary section
including periodicals, is practically of the same extent as in 1894. Most of the important musical
literature published since 1895, not found in this catalogue, may be obtained from the general musical
collection of the Public Library. This general collection, at the time of Mr. Brown's gift, numbered
about 4,000 volumes; of the 7,000 volumes which have since been added, some 5,000 are single pieces of
piano music, mostly acquired by gift, and separately bound.

An Appendix will contain new material received too late to be entered in the main body of the
catalogue, and any titles found to have been omitted through oversight.


The catalogue has been arranged in dictionary form — '- author, title and subject entries together
forming a single main alphabet, with sub-alphabets under the subjects and titles — mainly in accordance
with the design of the late Edward Browne Hunt, sometime Chief Cataloguer of the Library. The use
of certain arbitrary methods, both in arrangement and in type display, made necessary by the nature of
the material and the exigencies of linotype composition, needs some brief explanation which here
follows. Some inconsistencies of treatment will doubtless be observed, but they are almost inevitable
in a publication that has been long preparing for the press, and the copy for which has been the work
of many hands.


The main body of the work is in ordinary roman type, from which certain departures have been
made in accordance with the following general plan. The catch-words in the main alphabet and the
shelf -numbers, by which the works cited may be called for, have been put in a heavier and blacker face.
The catch-words in the sub-alphabets are printed in small capitals : a sub-alphabet under each title entry
being assumed, for the sake of uniformity, even though this collection may contain but a single work
bearing that title. Italic type has been used for such words or phrases, extraneous to the title, as
characterize or describe persons, places, or compositions. A few minor and self-explanatory variations
will be found, but the classes named above give the key to the general method of display adopted.


It has been the intention to make under the author's name, a full entry, including place of publica-
tion, publisher and date, for each of his separate works, and full contents have been given for any
collection, great or small, of which he is the author or the editor. A separate entry, however, under
the author, has not been made for works which appear only in these collections.

If, for example, one is looking for Abt's "Abends am Rhein," he will not find it in its alphabetical
place among Abt's separate works, but in the contents under Abt's "Leichte Mannerchore." The
necessity for a double entry -under the author is believed to have been obviated by the fulness of the
title entries.

A large proportion of the songs catalogued have been published (so far as the Brown Library
is concerned) only in miscellaneous collections, and the more popular songs have appeared in a great


many of these compilations. In such cases, the main entry under the author's name gives the title and
shelf-number of the first collection only (alphabetically regarded) in which a song is to be found, while
the other collections are indicated in a note immediately below.


Every work in the Brown Collection which has a distinct title, should appear under that title in the
main alphabet. When such a work has been published only in the collected works of the author that
fact is stated; if, however, the work has also been published separately, or in some incomplete collection
of the author's works, the copy in the complete collection is ignored except in the shelf-number, to
which the letters "etc." are attached. In other words, "etc." added to a shelf-number indicates that
the Brown Collection includes at least one other copy of the work indexed, and that it may be found
under the author's name, either in its alphabetical place or in the table of contents following some
collection which the author has composed or edited. For example :

Abschied, Der. Sony. Beethoven. Werke. Serie 23. M.413.1.23
Annie Lee. Part-song. Barnby. No. i in M.IS8.23.; etc.

In the first case the title will be found under Beethoven only in the contents of his works ; in the
second case the title will be found under Barnby as a separate entry, with this and an additional shelf-
number, and it will also be found among the contents of the author's "Eight four-part songs."

A troublesome factor in the preparation of this catalogue has been that of dealing with a title which
has been used for several distinct compositions by the same author. Robert Franz wrote at least six
different songs entitled "Auf dem Meere," and the only practicable method of distinguishing one from
the other has seemed to be the use of a dash to denote a repetition of the author's name, followed by the
first words of each song and the opus number, if there is one. For example :

Abendlied. Part-song. Hauptmann, M. Ich stand auf Berges
Halde. Sechs vierstimmige Lieder. No. 2 in M. 157.22

— Die Nacht ist gekommen. Sechs geistliche Gesangc.

No. 3 in M.157.22

Auf dem Meere. Song. Franz, R. .^n die blaue Himmels-

decke. Sechs Gesange. Op. 6. No. 46 in M.244.5.7

— An die bretterne Schiffswand. [Op. 25.]

No. 66 in M.244.5.2

Under the author, the first of these will be found in the collection entitled "Sechs vierstimmige Lieder";
the second, in that entitled "Sechs geistliche Gesange."

The word "same" has been used in cases where two or more entries are necessary for different
words accompanying the same music, either as title or text. Many editions of the same work published
in different languages, or translated into English under different titles, are thus grouped together
under the title of the original work. For example :

Barnett, John Francis.
The ancient mariner. Cantata, written by S. T. Coleridge.
Composed ... by J. F. Barnett. [Accomp. for piano-
forte.] London. Hutchings & Romer. [1867?] M. 154.33
Same. (Der alte Matrose.) \ cantata for solo voices, cho-
rus, and orchestra. The words by S. T. Coleridge. The
German translation by Ferdinand Freiligrath. Composed
by John Francis Barnett. Full score [and ad lib. part for
organ]. London. Xovello, Ewer & Co. [187-?] M.227.1
The same words set to music by different composers are so indicated under the name of the librettist.

The treatment of operas under their titles has given rise to great differences of opinion. Many of
the operas in the Brown Collection appear in such a variety of forms, from full scores to ordinary
librettos, that a full entry in more than one place seemed out of the question ; at the same time it was
often impossible to discriminate regarding the relative importance of these various forms. There are
two editions of "Lucia di Lammermoor," one without words and with orchestral score; the other with
Italian words, and with piano accompaniment ; for either of these there might well be an equal enquiry.


It is obvious that the bulk of the catalogue would have been unwarrantably increased by detailed entries
in two places, and the user of the catalogue has therefore been referred, in each case, to the name of
the composer for all information regarding music of this character, — cantatas, oratorios and some
incidental music as well as operas.

It has been by no means uncommon for several authors to use the same title for an opera or oratorio.
Only one entry has been made under the title, and the composers are grouped alphabetically under this
one entry, as in the case of "Don Quixote."

The word Partition indicates the full score. Under such headings as Chamber music this arrange-
ment is to be understood, unless some other form is specified.

It will be noticed that shelf -numbers do not always show the place of a particular work in the
volume of which it forms a part. Volumes so treated contain indexes to which reference may easily

be made.

The books in the Brown Collection may not be taken from the Library, but the majority of those

in the general collection are for home circulation.
September i, 1910.




A * * * , A.

L'incendio di Babilonia, opera seria.
A .... t.

Standchen an Luise. [Mannerchor.]

pp. S8, S9-)
Still! Still! [Mannerchor.]

Wer seinen Wein in einer
[t. t. b. b.]. {In Orpheus.

Musique de A. de

(In Orpheus. Band 6,

No. 211 in M.i2ga.43.6

(/n Orpheus. Band 6, pp. 54,

No. 208 in M.i29a.43.6

Ecke trinkt allein. Trinklied

Band 6, pp. 44-47-)

No. 204 in M. 1293.43.6

ABC. Part-song. Hopp, J. No. 94 in M.204.39

Sattler. No. 93 in M.204.39

ABC Dario musico. Bath. 1780. No. i in M.107.19

A satire on the musicians of that time.

ABC Quadrille. Part-song. Neumann, E. No. 24 in M.392.19
A basso porto. Opera. For the Music see Spinelli. For the

Libretto see Checchi.
A Berenice e Vologeso. Aria. Mozart. Werke. Serie 6,

Band I. No. 4 i" M-3iS-i-6.i

A bientot. Song. Schubert, F. P. Melodies. Vol. 7. M.327.4.7
A bon chat, bon rat. Clement, J. P. M.i29a.s

A ce matin. Part-song. Lassus. Sammtliche Werke. Band 12.

A che tenderm'. Amor. Part-song. Lassus. Sammtliche

Werke. Band 8. M.8o4oa.67.8

A chi more per dio. [Madrigal, a. x. t. b.] (In Hawes. Col-
lection of madrigals. Pp. i33-i35) No. 24 in M.235.12
A Clichy. Opera. For the Music see Adam, Adolphe C. For

the Libretto see Philippe, A.
A demain les peines. Song. Schubert, F. P. Melodies. Vol. 5.

A deux de jeu. Opera. For the Music see Vandenesse. For

the Libretto see Sonnois.
A deux pas du bonheur. Opera. For the Music see Godefroid,

D. J. G. F. For the Libretto see Bully.
A Dieu ma voix j'ay haussee. Psalm. Sweelinck. Werken.

Deel 3. M.413.2.3

A G. Donizetti. Cantata. For the Music see Ponchielli. For

the Libretto see Ghislanzoni.
A huitaine. Opera. For the Music see Japy.
A Jenny. Song. Schubert, F. P. Melodies. Vol. 4. M.327.4.4
A rfitre infini. Song. Schubert, F. P. Melodies. Vol. 6.

A I'ocean. Song. Schubert, F. P. Melodies. Vol. 6. M.327.4.6
A la brisc. Song. Gounod. Vingt melodies, se recueil.

No. II in M.157.36.5
A la Madone. Song. Gounod. Vingt melodies. 4e recueil.

No. 8 in M.IS7.36.4
A la m6moire d'un heros. For orchestra. Gi.azunov.

No. I in M.412.4
A la merl Song. Vaucorbeil. Melodies. M.213.35


A la paix. Part-song.
A la plus belle. Song.

Jaeger. No. 7 in M.130.7

Blum, C. L. Lyre fiir Damen.

No. 32 in M. 221.30
la source. Song. Vaucorbeil. Melodies. M.213.2S

la Villa Medicis. Suite. Busser. M.404.74

ma lyre. Song. Schubert, F. P. Melodies. Vol. 3. M.327.4.3
ma voix naissez, animaux. Song. Haydn, F. J.

No. I in M.193.21.2
miei prieghi arrise il cielo. Song. Donizetti.

No. 2 in M.364.10
Mignonne. Song. Massenet. No. 3 in M.391.28.2

minuit. Song. Schubert, F. P. Melodies. Vol. 3. M.327.4.3
mirarvi io son intento. Duet. Handel. Werke. Lieferung
32. M.313.1.32

mon CQEur. Song. Schubert, F. P. Melodies. Vol. 6.

mon fils. Song. Schubert, F. P. Melodies. Vol. 7.

morire. Cantata. Carissimi. Six cantatas. No. 2 in
peine un instant ta jeunesse. Cavatina. Glinka. Romances.

No. 3 in M.244.8

A Pio IX. Part-song. Morini. No. 2 in M.202.29

A propos d'opera comique! Lardin. No. 6 in M.372.20

A questo seno. Aria. Mozart. Werke. Serie 6, Band i.

No. 22 in M.315.1.6.1
A qui le bebe? Opera. For the Music see Pericaud.
A quinze ans. Tyrolienne. Weckerlin. Chants des Alpes.

No. I in M.158.44
A sa fontaine. Song. Schubert, F. P. Melodies. Vol. 5.

A Santa Lucia. Opera. For the Music see Tasca. For the

Libretto see Golisciani.
A se tu dormi. Duet. Vaccaj. No. 51 in M. 157.39

A solis ortus cardine. Hymn. Palestrina. Werke. Band 8.

A son rosier. Song. Schubert, F. P. Melodies. Vol. 8.

A table. Song. Schubert, F. P. Melodies. Vol. 8. M.327.4.8
A' the syghes that come fro my hart. Song. (In Smith.

Musica antiqua. P. 27.)
Ancient song of the 15th century,

A toi. Song. Schubert, F. P.

A Toi je crie, o Jesus Christ.
Werke. Band 16.
toi mon coeur.


with a bass part added.

Melodies. Vol. 3. M.327.4.3

Anthem. Lassus. Sammtliche


A toi mon coeur. Song. Gounod. Vingt melodies. 3e recueil.

No. 3 in M.157.36.3

A toi, mon seul bonheur. Trio. Panseron. Collection de

40 morceaux. No. 17 in M.260.13

A Toy, mon Dieu, mon coeur monte. Psalm. Sweelinck.

Werken. Deel 3. M.413.2.3

A Toy, 6 Dieu, qui es la haut aux cieux. Psalm. Sweelinck.

Werken. Deel 2. M.413.2.2


A travers



A travers chants. Criticism. Berlioz, L. H. M.129.15

A travers rAmerique. Travels. Kowalski. M.113.7

A une bourse. Song. Gounod. Vingt melodies. 2e recueil.

No. 13 in M. 157.36.2
A une etoile. Song. Choudens, A. 20 melodies.

No. 2 in M.285.14
A une jeune fille. Song. Gounod. Vingt melodies. 2e re-
cueil. No. I in M.1S3.36.2
Meyerbeer. 40 melodies. No. i in M. 157.38
A une reveuse. Song. P^navaire. Vingt melodies.

No. 3 in M.287.6
Aarons, Alfred E.

A China doll. A musical comedy. Book & lyrics by Harry

B. and Robt. B. Smith. Music by Alfred E. Aarons. Vocal

score [with pianoforte accomp.]. New York. Witmark.

1904. M.397.1

His Honor the Mayor. Book & lyrics by Chas. J. Campbell

and Ralph M. Skinner. Music by Julian Edwards and

Alfred E. Aarons. Vocal score. No. I in M.389.31

Ab Oriente venerunt magi. Anthem. Sweelinck. Werken.

Deel 6. M413.2.6

Abbandono, L'. Song. Mariani, A. XXII melodie.

No. I in M. 158.28
Abbe Stadler. Canon. Beethoven. Werke. Serie 23. M.413.1.23
Abbia da te quel misero. Song. Mercadante. No. 2 in M.364.10
Abbiate, Louis.

Quatuor en fa majeur pour 2 violons, alto et violoncelle.
Partition. Paris. Enoch & cie. [189-?] No. i in M.405.69
Abbott, Emma.

Martin, S. E. The life and professional career of Emma
Abbott. Minneapolis. 1891. Portraits. M.143.25

Abbott, Ernest Hamlin.

Hamlet, or the sport, the spook, and the spinster. Musical
score of the '93 Hasty Pudding play. Music by Percy Lee
Atherton and Ernest Hamlin Abbott. Words by Samuel
Francis Batchelder. [Accomp. for pianoforte.] Boston.
Miles & Thompson. 1893. No. 2 in M.245.14

Abdallah, the last Moorish king. Cantata. For the Music see

Gilbert, .\.
Abdul und Erinieh. Opera. For the Music see Curschmann.

For the Libretto see Hardt.
A Beckett, Mrs. G. A. See A Beckett, Mary Anne.
A Beckett, Gilbert Abbott.

Agnes Sorel. The music by Mrs. G. A. a Beckett. M.251.1
Captain Therese. Opera comique, lyrics by F. C. Burnand
and Gilbert a Beckett. Music by Robert Planquette.

A Beckett, Gilbert Arthur.

The Canterbury pilgrims. Opera. Composed by C. Villiers

Stanford. M.323.6

Signa. Opera. The libretto by Gilbert a Beckett, H. Rudall

and F. E. Weatherly. The music by Frederic H. Cowen.

A Beckett, Gilbert Arthur, translator.

Jonas, E. The two Harlequins. M.253.6

A Beckett, Mary Anne.

Agnes Sorel. [A collection of songs, duets, choruses, etc.,

in the opera. The words by G. A. a Beckett. Accomp. for

pianoforte.] London. Mori & Lavenu. [1836.''] M.251.1

Abeilard a Heloise. Song. Poniatowski. No. ii in M.391.28.2

Abeille, Johann Christian Ludwig.

Amor und Psyche. Ein Singspiel in 4 Aufziigen, von F. K.
Hiemcr, in Musik gesetzt, und fur das Klavier eingcrichtet
von L. Abeille. Augsburg. Gumbart. [1801.] M. 230.1
Komm, stiller Abend. [Mannerchor.] {In Orpheus. Band i,
pp. 8, 9.) No. 7 in M. 1293.43. 1

Peter und Annchen. Singspiel in i Aufzuge. Klavieraus-
zug. Leipzig. Breitkopf & Hartel. [1809?] M.230.2

The libretto was written by F. C. Hiemer after Harmontel and

Abeilles et Bourbons. Opera. For the Music see Laurent de

Rille. For the Libretto see Rocheblave, E. R.
Abelard. Glee. Callcott, J. W. Collection of glees.

No. 13 in M.234.1.1
See also Webbe, S. Delusive, sightless god.

Abenceragen, Die. Opera. For the Music see Cherubini. For

the Libretto see Etienne, V. J.
Abencerraghi, Gli, ed i Zegrindi. Opera. For the Libretto see

Abend, Der. Part-song. Abt, F. 4 Gesange fiir vier Manner-

stimmen. No. 19 in M. 392.1

— [s. T. B. B.] No. 18 in M.392.3
Jouret. No. 32 in 11.392.12
Kretzschmar. No. 26 in M.392.36
Krug, a. No. 5 in M.333.9
Lachner, F. Morgen . . . No. 18 in M. 194.16
ScHULZ, J. P. C. No. 55 in M.213.9
Strauss, R. Zwei Gesange. No. 7 in M.380.25
Zerlett. No. 33 in M.203.20

Abend, Der. Song.

Curschmann. Curschmann-.-Vlbum. No. i in M. 157.37

HiLLER, F. Zwolf Lieder. No. 20 in M. 192.3

RiGHiNi. Zwolf deutsche Lieder. No. 27 in M.221.33

Schubert, F. P. Der Abend bliiht, Teir.Jra gliiht. Werke.
Serie 20, Band 2. M.317.1.20.2

— I'urpur malt die Tannenhtigel. Werke. Serie 20, Band i.

Abend am Meer. Part-song.

Blumner. Drei Lieder. No. 2 in M.392.S

Leu, F. No. 4 in M.392.16

Wolff, C. No. 3 in M.370.30

Abend am Meere. Part-song. Schultz, E. No. 11 in M.203.16

Abend am Toro-See. Part-song. Rheinberger, J. G. See-

bilder. No. 3ain M.392.37

Abend im Hochgebirge. For string orchestra. Grieg. Zwei

lyrische Stiicke. No. 3 in M.4I0.32

Abend im Walae, Der. Opera. For the Music see Wolf, E. W.

For the Libretto see Heermann, G. E.
Abend sinkt, Der. Part-song. Bergt. No. 33 in M. 1293.43.1

Abendandacht. Part-song. Gernsheim. No. 19 in M.392.10

Abendandacht der Schopfung. Part-song. Schultz, E.

No. 5 in M.212.16

Abendbiid. Part-song. Debois. No. 32 in M.3g2.6

Raff. Sanges-Frtihling. Heft i. No. i in M.192.4

Abendbilder. Song. Schubert, F. P. Werke. Serie 20,

Band 6. M.317.1.20.6

Abenddaemmerung. Song. Brahms. Fiinf Lieder. Op. 49.

No. 12 in M.380.40.1
Abendempfindung. Song. Mozart. Werke. Serie 7, Band i.

No. 30 in M.315.1.7.1; etc.
Abendfantasie eines Liebenden. Song. Gruber, G. W. Gott-
fried August Btirgers Gedichte. Vol. i. No. 25 in M.130.9.1
Abendfeier. Part-song. Baumgartner, W. No. 3 in M.130.7
Heim, M. C. Drei Lieder. No. 52 in M.3g2.8

Kreutzer, C. No. 207 in M.147.4

Naret-Koning. Vier Lieder fiir Mannerchor.

No. 10 in M.392.ig
Abendfriede. Part-song. Lachner, F. No. 7 in M.392.46; etc.
Abendfrieden. Part-song.

Abt, F. Op. 146, No. 4. No. 10 in m. 392.1

— Op. 408. Vier Lieder fiir s. a. t. b. No. 10 in M. 158.22
Becker, R. No. 20 in M.392.3
FucHS, O. No. 27 in 11.392.19
Menager. 2 Lieder. No. 24 in M.392.17

Abendgebet. Part-song. Haeser, J. Vier Lieder.

No. 14 in
Abendgebet. Song.

RiTTER, F. L. Zehn Kinder-Lieder. No. 7 in M.iga.4

Taubert, C. G. W. Fiinf Lieder. No. 3 in M.192.7

Abendgefuehl. Song. Cornelius. Werke. Band i. M.414.20.1
Abendgelaeute. Part-song. Storch. No. 23 in M.392.39

Abendgesang. Part-song. Burkhardt, S. No. 234 in 11.1293.43.7
Abendglocke, Die. Part-song. Kalliwoda, J. W.

No. 43 in 11.393.11
Abendglocke, Die, auf dam Berge. Part-song. Belcke.

No. 197 in M. 1293.43.6
Abendglocken, Die. Part-song. Abt, F. No. 8 in M.130.7

— Vier vierstimmige Mannergesange. No. 5 in M.392.2
Becker, R. No. 18 in M.393.3




Abendglocken, Die. (Continutd.)
Jahn, a. No. 2 in M.370.30

Mueller, W. ^'o- 9 in M.130.7

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