Sir Lennox Randal Francis Berkeley: Copy of his Three Piano Pieces, composed in 1927, with autograph signature, dated 1929, so probably made for Jan Smeterlin, who performed them in that year.
Hector Berlioz: ‘Quel contretemps facheux le Cardinal’, recitative from Benvenuto Cellini
Scope & Content:
Leaf containing a discarded recitative from Benvenuto Cellini, ‘Quel contretemps facheux le Cardinal’. Full score. Undated. Autograph score in ink. 28 staves. Signed by the composer.
Grand March for piano. With Bishop’s inscription on the title page: ‘Composed for & presented to the Royal Society of Musicians, London’. Dated: May 1827. Published in 1867 in an organ arrangement by W. J. Westbrook.
Georges Bizet, Jules Massenet: ‘Simplicité, valse à ne pas danser’, piano duet
Scope & Content:
‘Simplicité, valse à ne pas danser’ for piano duet. The Primo part is by Jules Massenet, the Secondo by Georges Bizet. Massenet’s primo part contains one more bar than Bizet’s secondo. For Marguerite de Beaulieu, a cousin of Bizet’s wife Geneviève.
ff. 1-2. Pages. 37–40 from a vocal score of an unpublished version, containing no. 8 (dated 1943), which became no. 7 in the version published in 1951 by Eichmann. Revisions to the words and their associated note-values adopted in the latter version are lightly sketched in. The text is based on...
Ernest Bloch: ‘Night’ and ‘Trois Paysages’ for string quartet
Scope & Content:
1. ‘Night. A poem for string quartet’. Published as Night in 1925 by Carl Fischer. 2. Trois Paysages (I. North - II. Alpestre - III. Tongatabou. Published as Paysages (Landscapes) in 1925 by Carl Fischer. Signed and dated by the composer, December 1923. Placed in one folder by the composer, ...
Song for high voice and piano, composed in 1892 and first published in 1913 by Rouart, Lerolle & Cie. The words by Gabriel Trarieux (1870 - 1940). The manuscript bears a dedication at the top of the title page to ‘Madame M. Sulzbach’ and a second dedication signed by composer at the bottom to...
For voice and piano. Second version of the song. Further revised and published under the title Adoration (H. 57) in 1917. With the pencil annotation at foot of title page: ‘From the Library of D[enis] Byndon-Ayres (Singer)’. See: P. Hindmarsh, Frank Bridge: a thematic catalogue (1983), p. 37.