including: autograph manuscripts of over 130 compositions, some with autograph parts, mostly signed and dated, including: "In May" Symphonic Overture, 83 pages, 1883; Concert Overture, 88 pages, October 27 1879; 'Hero and Leander', Scena and Aria for contralto and orchestra, 56 pages, 21 June 1879; Andante for orchestra, 46 pages, 29 May 1881; Piano Quartet in F, 69 pages, 22 February 1879; "Devotion", song for tenor, 4 pages, July 1882-September 1907; 'Dance Rhythms' for piano duet, c.43pages, 1887-1917; 'Thirty-one Variations and Derivations' for piano, Op.28, c.53 pages, February 1903; Five Cameos for Miniature Players, Op.29, 8 pages, 1918; A Set of Toys for Piano Youngsters and Oldsters, Op.46, c.10 pages, 1943-45;
together with: autograph manuscripts and corrected typescripts of over 50 lectures and didactic works (including 'An Introduction to Psychology for Music Teachers', 1919, and 'Some First Exercises and Occasional Technics', 1932); 14 numbered autograph musical sketch books; autograph musical exercises and sketches; two autograph volumes of "Maxims and Aphorisms"; five packets of autograph notes entitled "Teaching Problems"; concert programmes; corrected proofs (including of the Piano Quartet Movement in C); an autograph letter to Matthay by Felix Swinstead, 16 January 1940; and including a single Bechstein piano key mechanism
over 7000 pages in all, various sizes, the manuscripts mostly unbound, Clapham, Hazelmere and elsewhere, c.1870-1945, some dust-staining and browning
This is a remarkable and important archive representing, in essence, the creative testament of the English pianist, teacher, writer, and composer Tobias Augustus Matthay (1858-1945), known affectionately to his friends and pupils as "Uncle Tobs". (A list of his pupils includes some of the most distinguished pianists of the twentieth century: Myra Hess, Clifford Curzon, Moura Lympany and Irene Scherer.) A full professor at the Royal Academy of Music from 1880-1925, he founded his own piano school in 1900 as a means of disseminating his influential theories of piano technique, at the heart of which lay an emphasis on muscular relaxation and forearm rotation (TNG).
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