Scope and Contents From the Series: Most of the compositions of G W Crawford are written on a large scale and the collection consists chiefly of full scores, piano reductions and orchestral parts. There are very few drafts or sketches: almost all the compositions are in their final form, and many are in the hands of copyists. Most of the works are undated. Those dates that appear (usually on the last page or leaf) range from 1892 to 1941, but it is rarely clear whether these are of composition, revision or performance. Almost...

Scope and Contents From the Series: Most of the compositions of G W Crawford are written on a large scale and the collection consists chiefly of full scores, piano reductions and orchestral parts. There are very few drafts or sketches: almost all the compositions are in their final form, and many are in the hands of copyists. Most of the works are undated. Those dates that appear (usually on the last page or leaf) range from 1892 to 1941, but it is rarely clear whether these are of composition, revision or performance. Almost...

Scope and Contents From the Series: Most of the compositions of G W Crawford are written on a large scale and the collection consists chiefly of full scores, piano reductions and orchestral parts. There are very few drafts or sketches: almost all the compositions are in their final form, and many are in the hands of copyists. Most of the works are undated. Those dates that appear (usually on the last page or leaf) range from 1892 to 1941, but it is rarely clear whether these are of composition, revision or performance. Almost...

Scope and Contents Most of the compositions of G W Crawford are written on a large scale and the collection consists chiefly of full scores, piano reductions and orchestral parts. There are very few drafts or sketches: almost all the compositions are in their final form, and many are in the hands of copyists. Most of the works are undated. Those dates that appear (usually on the last page or leaf) range from 1892 to 1941, but it is rarely clear whether these are of composition, revision or performance. Almost...

Scope and Contents The manuscript is dated Pesaro, 8 March 1717. This is a composite work, being a collection of arias by various north Italian composers, interspersed with anonymous recitatives. The names of the composers and various alterations to the text have been added in a different hand, possibly that of G M Ruggieri, maestro di cappella at Pesaro. Fifteen of the arias are by Agostino Tinazzoli, otherwise known only by two small works in manuscript. Other composers named are Tommaso Albinoni, Floriano...

Scope and Contents From the Sub-Series: The manuscript is dated Pesaro, 8 March 1717. This is a composite work, being a collection of arias by various north Italian composers, interspersed with anonymous recitatives. The names of the composers and various alterations to the text have been added in a different hand, possibly that of G M Ruggieri, maestro di cappella at Pesaro. Fifteen of the arias are by Agostino Tinazzoli, otherwise known only by two small works in manuscript. Other composers named are Tommaso Albinoni, Floriano...

Scope and Contents From the Sub-Series: The manuscript is dated Pesaro, 8 March 1717. This is a composite work, being a collection of arias by various north Italian composers, interspersed with anonymous recitatives. The names of the composers and various alterations to the text have been added in a different hand, possibly that of G M Ruggieri, maestro di cappella at Pesaro. Fifteen of the arias are by Agostino Tinazzoli, otherwise known only by two small works in manuscript. Other composers named are Tommaso Albinoni, Floriano...

Scope and Contents From the Sub-Series: The manuscript is dated Pesaro, 8 March 1717. This is a composite work, being a collection of arias by various north Italian composers, interspersed with anonymous recitatives. The names of the composers and various alterations to the text have been added in a different hand, possibly that of G M Ruggieri, maestro di cappella at Pesaro. Fifteen of the arias are by Agostino Tinazzoli, otherwise known only by two small works in manuscript. Other composers named are Tommaso Albinoni, Floriano...

Scope and Contents From the Sub-Series:

G W Crawford appears to have set the works of Edward Oxenford in 1919 to lightly revised music which he had originally composed in 1907 for ‘Cleopatra’ with a libretto by Gerald Cumberland (MS.21961, page 88).

Scope and Contents From the Series: Most of the compositions of G W Crawford are written on a large scale and the collection consists chiefly of full scores, piano reductions and orchestral parts. There are very few drafts or sketches: almost all the compositions are in their final form, and many are in the hands of copyists. Most of the works are undated. Those dates that appear (usually on the last page or leaf) range from 1892 to 1941, but it is rarely clear whether these are of composition, revision or performance. Almost...

Scope and Contents From the Series: Most of the compositions of G W Crawford are written on a large scale and the collection consists chiefly of full scores, piano reductions and orchestral parts. There are very few drafts or sketches: almost all the compositions are in their final form, and many are in the hands of copyists. Most of the works are undated. Those dates that appear (usually on the last page or leaf) range from 1892 to 1941, but it is rarely clear whether these are of composition, revision or performance. Almost...

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Many of the songs are traditional airs and of the rest, many are by Robert Burns. There are small numbers of songs or poems by Allan Ramsay, Scott, Tannahill, Hogg, Lady Nairne and others.

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A leaf has been cut out before folio 29.

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Tipped in at the front (folios i-ii) are press cuttings from the 'Scotsman' and the 'Edinburgh Evening News' of 28 January 1890 describing the work and reporting the concert in which it received its premiere.

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Four bars accidentally omitted are written on a strip of paper tipped in at folio 61 and nine bars are written on a sheet tipped in at folio 85.

Scope and Contents From the Series: Most of the compositions of G W Crawford are written on a large scale and the collection consists chiefly of full scores, piano reductions and orchestral parts. There are very few drafts or sketches: almost all the compositions are in their final form, and many are in the hands of copyists. Most of the works are undated. Those dates that appear (usually on the last page or leaf) range from 1892 to 1941, but it is rarely clear whether these are of composition, revision or performance. Almost...

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A composite volume consisting of gatherings of similar sizes bound together.

Scope and Contents The contents are as follows:(i) Portions (possibly specimen) of vocal score for 'Afifah' by Herbert Woodgate (folio 1), preceded (folio i) by a letter, 1931, to G W Crawford declining the music, and some leaves of the libretto;(ii) Vocal score of a song 'O gin my love were yon red rose' from the Head Manuscript, used in 'Cardinal Beaton', the full score of which is MS.21963 (folio 21);(iii) Vocal score of 'Fenella', the full score of which is MS.21964...