The Roger Doucet Collection consists of over 1000 pieces of sheet music (including scores), 45 manuscripts, and one scrapbook containing photographs and newspaper clippings related to his career as the singer of “O Canada” during professional sports games.

The Julius Schloss Collection consists of Julius Schloss’s complete portfolio of published and unpublished compositions, sketches, studies and analyses. In addition, it contains documentary artefacts, including correspondence, newspaper, magazine and journal clippings, concert and competition programs, media reviews, and photographs, that chronicle both the early life of this German-Jewish composer in Europe and his later days in exile in Shanghai and the United States.
The content of the collection pertains to several lines of historical research: First, Schloss’s close relationship with Alban Berg as a personal assistant and chief copy editor, as well as his interaction with other contemporaries in Vienna during the 1920s, may offer new insight in studies of the Second Viennese School. The items of Bergiana, including a handwritten Baudelaire poem by Berg which served as a “secret program” to the Lyric Suite and a selection of correspondence surrounding Berg’s last wishes for the Lyric Suite score, are particularly valuable. Second, Schloss’s ten-year exile in Shanghai, documented in assorted correspondence, programs, reviews and miscellaneous artefacts, may provide a new account of the Shanghai generation. Finally, the continuation of Schloss’s life in the United States as a struggling composer and teacher bears witness to the difficult conditions for the American émigré population after World War II.

The Montreal Mendelssohn Choir Collection comprises several volumes of sheet music from the Choir’s library. The choral folios were compiled and bound into eight volumes at the time of their donation to McGill University in 1895. The estate of D. Torrance Fraser, a former Choir member, donated another four volumes of choral music in 1926 and 1927. Three volumes contain second copies of the pieces from the Choir’s library donated thirty years prior; the fourth volume donated in 1927 contains a number of pieces performed by the Choir but not found in the seven extant volumes from the Choir’s library.