Osma (Julio de) Collection, 1920-1960

Summary

Creators:

Keith W. Johnson

Abstract:

The collection includes over one hundred music manuscripts by Julio de Osma, three publications of his songs, and a couple dozen photocopied documents dealing with his family history and professional life.

Extent:

3 linear ft. (3 boxes)

Language:

Languages represented in the collection: English Spanish

Preferred citation:

Julio de Osma Collection, Courtesy of the Stanford Music Library, Stanford University Libraries, Stanford, California.

Background

Scope and content:

The collection consists mainly of Julio de Osma?s original music manuscripts. The compositions are predominantly light pieces, or ?parlor music? such as Spanish dances for piano, and songs with texts by the Spanish poet Manuel Machado. Osma?s style displays a strong Spanish influence. About half of the programs, from a total of eight, are for benefit concerts. Most of the newspaper clippings are related to Osma?s Russian concert tour. There are a couple of family history documents, and copies of three autographed photographs of famous opera singers.

Biographical / historical:

Julio de Osma was born in Barcelona, Spain in 1888. His mother came from a distinguished Castillian family, and his father was a well known organist. Julio de Osma started his music education as a young child. At 12 years he was performing regularly as an organist. At 17 he received his Bachelor of Arts degree. He studied church music, piano, and composition in Barcelona and Paris. During the late 1920s De Osma toured Russia with the tenor Sergei Radamsky. De Osma founded a conservatory of music in San Jose, Costa Rica. He was married in New York in 1924 to Edra Arlonene. Julio de Osma has been most appreciated for his songs; the Boston Music Company published Esa es (She passed me like a dream), and the set Songs of my Spanish soil.

Acquisition information:

Collection donated by Keith W. Johnson, 1959.

Arrangement:

Series: 1. Documents on the Julio de Osma Collection; 2. Photocopied documents; 3. Musical manuscripts; 4. Printed music.

Physical location:

For current information on the location of these materials, please consult the Library's online catalog.

Rules or conventions:

Finding aid prepared using Describing Archives: a Content Standard

Indexed terms

Subjects:

Songs, Spanish

Names:

Osma, Julio de

Restrictions:

Collection is open for research. Please contact the Music Library to arrange for advance retrieval of materials from off-site storage.

Terms of access:

Property rights reside with the repository. Publication and reproduction rights reside with the creators or their heirs. To obtain permission to publish or reproduce please contact the Head, Stanford Music Library.

Preferred citation:

Julio de Osma Collection, Courtesy of the Stanford Music Library, Stanford University Libraries, Stanford, California.

Location of this collection:

Stanford University, Music Library

Stanford Music Library, Braun Music Center, 541 Lasuen Mall

Stanford, CA 94305-3076, US

Contact:

650-723-1212

muslibref@stanford.edu

Website

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Memorandum concerning the music manuscripts of Julio de Osma. Nov. 14, 1959 ; List of music manuscripts. Both documents were written by Keith W. Johnson, the grand nephew of Julio de Osma.

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Lauri-Volpi, Giacomo, 1892-1979 ; Galli-Curci, Amelita, 1882-1963 ; illeg.

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Renter's contract

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Columbia Phonograph Company, document on copyright fees for Pequeña balada.

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Three versions: for orchestra ; for voice and piano ; for two violins

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For piano. "To Virginia Meyers"

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For voice and piano. Text by Machado, Manuel, 1874-1947

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For voice and piano. Text by Alberola Lerra, Estanislao. (Two versions: April 1931 ; March 1932)

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Que calor. Tango, for voice and piano ; Spanish Dances. Petenera, for piano. Oct. 1924

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Danza Española, for cello and piano ; Zapateado, for piano. New York, Dec. 1924 ; Spanish dances no.II. Jota, for piano ; Spanish Dance, for strings

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For piano

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For piano

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For voice and piano. Text by Alberola Lerra, Estanislao

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Las Mañanitas, for SATB and piano. San Francisco, March 1932 ; El Vito. Polo. Popular Andalusian song. New York, March 1929 ; Señor Alcalde Mayor. Petenera, for voice and piano

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Pregón de flores, duet for soprano and tenor. Text by Machado, Manuel, 1874-1947 ; Mi Patria, for voice and piano. Text by Valredomar, I. "A M. Encarnación Mayoral de Miller. New York, Aug. 1925"

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Este querer que tengo. Text by Machado, Manuel, 1874-1947 ; Bendita sea mi tierra. Text by Machado, Manuel, 1874-1947. New York, April 1924 ; La Ausencia

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Serranilla del Alma ; La pena. March, 1924

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El arroyo busca el rio. Text by Alberola Lerra, Estanislao ; Tiene la que yo quiero, no. 6. New York ; No cuentes tu amor a nadie. Fragment

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Pequeña ballada, for voice, violin obligato, and piano. Aug. 1922 ; Coplas, for voice and piano. New York, Oct 1, 1923. Text by Alberola Lerra, Estanislao ; Dos coplas, for voice and piano. Fragment

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Pierrot y Arlequin ; Cantares. Text by Machado, Manuel, 1874-1947 ; Cuando la penita. Text by Alberola Lerra, Estanislao. New York, June, 1922 [?] "Dedicated to Mme. Margarita L."

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Elogio de la Solear, for voice and piano. Text by Machado, Manuel, 1874-1947. New York, May, 1925 ; Prelude in F sharp, for piano. Málaga Spain, March 1928. "To Maria E. Mayoral de Riggs-Miller"

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For two pianos

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Tienes los ojos grandes, no.18, for voice and piano. Text by Machado, Manuel, 1874-1947. New York, June 1923 ; Impresiones de Málaga. Suite for piano. Málaga, 1929. "To Edra, my wife" ; Untitled, for piano and treble instrument, no. 111. Hollywood, Oct. 1930

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Tango in D major. New York, Jan. 1925 ; Tango in G major. Fragment. Hollywood, Dec. 1930 ; Tango misterioso. Hollywood, Sept. 1930

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Danse Creolle. Passillo, for piano. Hollywood, Oct. 1930 ; Un fiel amigo, for voice and piano. Los Angeles, June 1930 ; Coplas for voice and piano. Málaga, Feb. 1928

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Mutis, for voice and piano. Text by Machado, Manuel, 1874-1947 ; Couplet, for piano. Hollywood, Oct. 1930 ; Mazurka, for piano. Hollywood, Nov. 1930 ; La fiesta de los majos, for piano

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Zortcico. Oakland (three versions) ; Valse. Hollywood, Sep. 1930 ; Minuet y valse ; A little romance with two variations. "Written and dedicated to my wife for personal purposes."

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Minuetto in F à la antica, for piano. Hollywood, Oct. 1930 ; Valses poetiques, for piano ; Villancico Catalán, for organ ; Jesus and Mary, arr. for tenor and bass by De Osma, Julio. Oakland, Oct. 10, 1937

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Beati mortui. Motet, for two voices (for funerals). Oakland, Aug. 1932 ; Faith of our fathers, arr. for organ by De Osma, Julio ; St. Anthony responsory, arr. for voice and organ by De Osma, Julio ; Missa pro defunctis, for two voices and organ ; Missa pro nativitatis. Sketches

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Edited and arranged for SATB by Rev. Rostagno, J. H. St. Mary's church. Oakland, California

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O mother of perpetual help ; Dominica resurrectionis. Introito. Fragment ; Panis angelicus. San Francisco, June 1932 ; Ave Maria. San Francisco, June 1932

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(The birds praise the advent of the savior) Catalan Christmas carol from the 15th century, arr. for SATB by De Osma, Julio

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Lacerdos alter Christus, for voice and organ ; Stabat mater, for organ ; Tantum ergo, for organ ; Holy Lord we praise thy name, for organ

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Palestrina, Giovanni Pierluigi da, 1525?-1594. Motets (1584 : Voices (4)). Adoramus te Christe, arr. ? ; Perosi, Don L. Mass for three voices

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Son las canciones que canto, for voice and piano. New York, April 1923. (Manuscript torn) ; Barrera and Calleja. Granadinas, for piano and treble instrument. Arr. by De Osma, Julio ; Pesante, for piano or organ ; Albßniz, Isaac, 1860-1909. Suite española, no. 2. Sevilla, arr. for piano, violin, violoncello, and bass by De Osma, Julio; Tango de los titeres, for piano. Hollywood

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Maria la O, for SATB (two versions) ; Rimsky-Korsakov, Nikolay, 1844-1908. Ladko. Song of India, arr by De Osma, Julio ; Zortzico [sic]. Guernicaco arbola, for voice and piano. Fragment ; Vito - Pola for piano. Sketch ; Entre el discorde estruendo de la orgia, for voice and pian. Sketches

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Marcha a la luz de la luna, for voice and piano. Sketch ; Pasacalle, for piano. Fragment ; Return to me, for voice and piano. Printed music with annotations from his wife Edra de Osma ; Jota aragonesa, arr. by De Osam, Julio. Fragment ; Paráfrasis sobre Amapola, for piano and orchestra

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Arrangement ? Piano and orchestral parts

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Operetta. Text by Mels, Edgar. Piano score

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Allegretto mosso, for piano ; Canto hondo, for voice and piano ; Valse. El gato, for piano ; Prelude II, for piano ; Danzas españolas, for piano ; Untitled, for piano.

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Adeste fidelis, for SATB ; Dice la guitarra, for voice and piano ; Sevillanas, for piano ; Regret, for voice and piano ; Love has no ending, for voice and piano ; Con moto, for violin, cello, and piano

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Bolero, for piano ; La petite boite a musique, for piano ; Deus meus, for voice and piano ; Rubbr, Edmund. Dormi Jesu, for SATB ; Barcarola, for piano ; Boleras Sevillanas, for piano

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Attende domini, voice part only ; Danza Cubana, for piano ; Allegro assai, for piano ; Granadinas, for piano ; A que me lo decis, for voice and piano ; Laughing eyes, for voice and piano

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Cendal flotante de leve bruma, for voice and piano ; Spanish dance, for piano ; Cuna, for voice and piano ; Scherzo, for piano ; Kyrie, for organ ; Faith of our fathers, for organ ; Stabat Mater, for organ

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Paisaje, for piano ; Sardana, for piano ; Las guitarras mágicas. Cantares, for piano ; The moon, for voice and piano ; Prelude, for piano ; Valses poetiques, for piano

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Variations on a Catalan theme ; Spanish dances ; Allegro molto ; Seguidillas ; Burlesque ; Valse. Dec. 1930

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Nocturne, for piano ; Canon, for piano ; Jota, for piano ; Ad lib. come recitative, for violin and piano ; Jota aragonesa, for piano ; Un fiel amigo, for voice and piano

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La paloma, for voice and piano ; Concierto Español, for piano and orchestra ; Habanera ; Les auges, for piano ; Petite cavatina, for cello and piano ; Guitarra, chords ; Paso doble, for piano

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Bretón, T. En la Alhambra. arr.? for treble instrument and piano ; Molto allegro, for piano ; Allegretto, for voice and piano ; Song. Italy, August 1928 ; Petenera, for voice and piano, arr. De Osma, Julio ; Mírame despacito, for voice and piano ; Manola Manolita, voice part only ; Serenata del impertinente, for piano

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La guitarra y el cantor, for piano ; O mother of perpetual help, for voice and organ ; Panis angelicus, for voice and organ ; Holy God, we praise thy name, for organ ; Jota, for piano ; El cant dels aucells. Catalan Villancico, 15th century, arr. De Osma, Julio ; Fair river in thy bright clear flow, for voice and piano (not Osma's handwriting) ; Introit, vocal part only ; Beati mortui, for voice and organ

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Lacerdos alter Christus, harmonized by De Osmo, Julio ; Introito Pasque, vocal part only ; "For the play Madre." Copla, for voice and piano. Dec. 17, 1923 ; L'amour de moi, treble part and piano ; Andalucia, treble part and piano. Fragment ; Spanish dances, no. 11, for piano ; Albßniz, Isaac, 1860-1909. Suite española, no. 1. Granada, for violins, cello, bass parts. Arrangement?

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Danza Española, for piano ; Porque eres gitana, for voice and piano ; Yo pienso en ti, vocal part only ; Four part writing, piano ; Stabat Mater, for voice and organ

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For piano.

Physical description:

Negatives

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Panis Angelicus ; Ave Maria ; Beati mortui ; Holy God we praise thy name. "Compositions by Julio de Osma, organist of old St. Mary's Oakland, Cal."

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Bound volume

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Songs of my Spanish soil ; No fies mucho en la enmienda ; Esa es