(b 1620; bur. London, 22 June 1684). English apothecary, poet and amateur composer. His father, also Valentine, had him educated at Cambridge. According to Anthony Wood he was ‘an Apothecary in the Blackfriars in London in the time of the rebellion’. He published a poem in praise of the Restoration, and contributed to other collections, including Alexander Brome's Songs and other Poems (London, 1664). He was made a Cambridge Doctor of Medicine by the king's warrant on 6 October 1671, and became an honorary member of the College of Physicians in 1680. He was buried in St Helen Bishopsgate. Apart from two two-part suites in Playford's Court Ayres (RISM 16555), all of his music is found in a Bodleian Library manuscript (GB-Ob Mus.Sch.G.612; for details see DoddI), which Edward Lowe noted was ‘given mee by the Author 24th march 1659 [?1660] at ye Legge in Kings-Street Westminster’. It contains four suites for two trebles and bass, a fifth for three trebles and bass, the bass part of a sixth, and a seventh suite of three-part ‘ayres alamode made in ye yeare 1674’ added later by Lowe. Lowe copied the first six suites into another manuscript (Och Mus.382–4), and the 1674 suite also appears elsewhere (Ob Mus.Sch.C.44 and E.451). Oldis's music is fluent and attractive in an old-fashioned idiom reminiscent of Jenkins's lighter middle-period works.
J.D.Shute: Anthony à Wood and his Manuscript Wood D 19(4) at the Bodleian (diss., International Institute of Advanced Studies, Clayton, MO, 1979)
Oldman, C(ecil) B(ernard)
(b London, 2 April 1894; d London, 7 Oct 1969). English librarian and bibliographer. He read Greats at Oxford and entered the British Museum in 1920 as an assistant keeper in the Department of Printed Books, working there until his retirement in 1959. Through general scholarship and an outstanding capacity for administration, he rose to be head of the department, as principal keeper, for the last 12 years of his service.
Oldman’s early interest in music brought him to the notice of Barclay Squire, who encouraged him to specialize in the bibliography of music, especially the music of Haydn, Mozart and Beethoven. Of Mozart in general he ultimately acquired an encyclopedic knowledge, and his work was recognized in 1950 by the award of the silver medal of the Internationale Stiftung Mozarteum. One of the most notable results of Oldman’s intensive study was ‘Musical First Editions’ (1934), an exceptionally lucid statement of principles and aims, with particular reference to the Classical period. But the pressures of departmental work grew continually in the 1930s and the problems that arose through war damage and postwar reconstruction made it difficult for him to complete any substantial work. He was however generous in sharing his knowledge with others working in the same field.
During his term as principal keeper, Oldman acted as honorary curator of the Royal Music Library, for which he was appointed CVO in 1958. For his work as principal keeper he received the CB in 1952, and his services to musical scholarship were recognized by an honorary doctorate from Edinburgh University in 1956. From 1945 to 1969 he guided the affairs of the British Union-Catalogue first as treasurer and from 1951 onwards as chairman. From 1962 until his death he was chairman of the UK committee for RISM. He was on the council of the Central Music Library in London from its foundation in 1946, and its chairman from 1964. He gave 37 years’ service to the Royal Musical Association, as a member of its council and later as a vice-president, and was honorary librarian of the Royal Philharmonic Society from 1947 to 1969.
‘J.A. André on Mozart’s Manuscripts’, ML, v (1924), 169–76
‘Thomas Attwood’s Studies with Mozart’, Gedenkboek aangeboden aan Dr. D.F. Scheurleer (The Hague, 1925), 227–40
‘Mozart’s Violin Concerto in E flat’, ML, xii (1931), 174–83
with O.E.Deutsch: ‘Mozart-Drucke: eine bibliographische Ergänzung zu Köchels Werkverzeichnis’, ZMw, xiv (1931–2), 135–50, 337–51
‘Mozart and Modern Research’, PMA, lviii (1931–2), 43–66
‘Collecting Musical First Editions’, New Paths in Book-Collecting, ed. J. Carter (London, 1934), 93–124; pubd separately, with corrigenda and addenda (London, 1938)
ed.: ‘Extracts from the Letters of Constanze Mozart to Johann Anton André’, The Letters of Mozart and his Family, trans. E. Anderson (London, 1938), iii, 1451–1513
with C.Hopkinson: ‘Thomson’s Collections of National Song, with Special Reference to the Contributions of Haydn and Beethoven’, Edinburgh Bibliographical Society Transactions, ii/1 (1940), 1–64 [addenda et corrigenda, iii/2 (1954), 123–4]
‘Watermark Dates in English Paper’, The Library, 4th ser., xxv (1944–5), 70–71
with P.Hirsch: ‘Contemporary English Editions of Beethoven’, MR, xiv (1953), 1–35
‘Constanze Nissen: Four Unpublished Letters from Mozart’s Widow’, MR, xvii (1956), 66–70
‘Panizzi and the Music Collections of the British Museum’, HMYB, xi (1961), 62–7
‘Mozart’s Scena for Tenducci’, ML, xlii (1961), 44–52
‘Cipriani Potter’s Edition of Mozart’s Pianoforte Works’, Festschrift Otto Erich Deutsch, ed. W. Gerstenberg, J. LaRue and W. Rehm (Kassel, 1963), 120–27