Scores.
Found in 51 Collections and/or Records:
Autograph draft short score of the apparently unpublished piano concerto of Edward Harper.
A leaf is torn out after folio 16.
What appears to be an extract from ‘Variazioni’ by Luciano Berio is written at folio 20.
Autograph musical scores of David Dorward containing sketches and some final versions of works for various combinations of instruments, including voices.
Two of the pieces are dated 1961 and 1967. The remainder, though undated, appear to have been written at about the same period.
Autograph score, 1953, of ‘Sonata for violoncello and piano’ by Hans Gál.
The score bears a few corrections, one of which is written on a scrap of paper (folio 13) pasted to folio 14. Folio 15 consists of two leaves pasted together.
Autograph score of 'Quintet No 1' for pianoforte and strings by Cyril Scott.
Apparently unpublished, this is not the ‘Quintet’ published, 1926, as part of the Carnegie collection of British Music.
A leaf is cut out after folio 6 and a few more after folios 49.
Autograph score of the overture “Tam o' Shanter”, Opus 51, by Malcolm Arnold, bearing several marks from use in performance.
Autograph score of 'Three Songs of Night' for baritone and strings, composed by Leon Coates from ‘Pomes Penyeach’ by James Joyce, for the Music Society of St Peter's College, Oxford.
Autograph score of 'Two invocations for tenor and piano', opus 25, by John Joubert, with amendments in coloured inks.
Settings of 'To winter' (folio 2) and 'To spring' (folio 9) by William Blake.
The work was published in 1960 and received its Scottish premiere at the National Library of Scotland, 28 August 1969.
Autograph scores of musical compositions by David Stephen, Director of Music to the Carnegie Trust, Dunfermline.
Most of the compositions appear to be unpublished.
Autograph scores of orchestral works by William Wordsworth.
Autograph scores of original compositions and arrangements of William Bowie, organist and music teacher at the Royal High School, Edinburgh.
Autograph second draft with alterations and additions of short score of Concerto for String Orchestra, opus 39, by Kenneth Leighton, when Fellow of Worcester College, Oxford.
Autograph settings by Robin Orr of “The Kimmers o' Cougate” and Three Songs of Innocence by William Blake.
Berlioz's marked copy of a printed score of ‘Iphigénie en Tauride’ by Christoph Willibald von Gluck ([?Paris, ?1779]).
The copy is imperfect, lacking the title page. In addition to the amendments of Berlioz to instrumentation and dynamics, strips of blue paper on which is written an Italian version of the libretto are pasted to the printed pages, covering the French libretto, through the greater part of the volume. The paper covers in which the volume was previously enclosed are bound in at the back (folios i-iv).
Contemporary copy of the score of ‘Il Trovatore’ by Verdi.
Copy in a contemporary hand of the score of ‘Il Trovatore’ by Verdi.
‘Il Trovatore’ by Verdi was first performed in 1853.
Corrected full score of 'Thomas the Rhymer', an opera in four acts by David Johnson.
Correspondence of Ronald Stevenson addressed to Roger Duce, with a composition dedicated to Duce.
'Festival Mass for full orchestra & chorus; a study in instrumentation, composed by William Wallace' (born 1860), in his autograph.
The composer gives a history (folio xiii) of the work, which was composed in 1886-1887 and, in part, scored in 1888 (see dates on various folios). Some parts are incomplete.
Interspersed with the music are unruled leaves, bearing illuminations, manuscript notes of the composer, etc., on folios i-ii, viii, x-xiii, xxv, xxvii verso, xxviii verso, xxxix, xliii, xlvii, li.
Fragmentary full score of ‘Tita’, the first opera by Ladislao Zavertal, composer and conductor.
The opera was produced at Treviso in 1870, and later rewritten and published as ‘Adriana’ (Lago di Como, 1930). The score, in the handwriting of Ladislao Zavertal’s father, Vaclav Hugo Zavertal, then Director of the Istituto Musicale of Treviso, appears to have been undergoing revision, and many pages have been discarded and replaced by others.
Full opera score of Rigoletto by Giuseppe Verdi with German libretto.
Full score of 'Cometh the morrow?' for soli, chorus and orchestra by Robert McLeod.
“Invernessshire grand march compos’d expressly for, and dedicated (by permission) to Lt.-Col. Duff. By M[ichael] Kelly”, arranged in full military band score.
John Rose, full score of "Spem in alium".
Full score including choir part. Entitled "Spem in alium nunquam habui, motet for chorus (dir.), 4 horns, 3 trumpets, 3 trombones, tympani (4) and organ". In the composer's hand, with corrections. Paginated by him, 2-42. Dated at end: 12th June 2001.