MS Mus. 1801/7/1

(1). ff. 1-8. 'Three Songs' [Three Early Songs, 1924], for mezzo soprano or tenor voice and piano. Undated copyist score, in black ink, with words added by the composer. Outer paper cover (title and signature) enclosing pp. 1-12 (12-stave paper, 310 x 235 mm):

• 'D'un Vannair [sic] de blé aux vents', pp. 1-3, with text written out by composer on p. 4. Dedicated to John Greenidge. Text: Joachim du Bellay (1522-60).
• 'Pastourelle', p. 5 (title-page), and pp. 6-7, with text written out by composer on p. 8. Text: Anonymous (13th century).
• 'Rondeau', pp. 9-11, with text written out by composer on p. 12. Text: Charles d'Orleans (1391-1465).

(2). ff. 9-20. 'Tombeaux: Cinq Chants sur des Poèmes de Jean Cocteau' (Paris, 1926), for voice and piano. Copyist score (on 12-stave paper, 345 x 270 mm) in purple and black ink, with some additions by the composer. Front paper cover with title and including an ink drawing adhered [attributed to John Greenidge], enclosing title-page (ink drawing re-drawn) and pp. 1-14:

• ff. 12-13. 'Le Tombeau de Sapho' [sic], pp. 1-4.
• f. 14. 'de Socrate', pp. 5-6.
• f. 15. 'd'un Fleuve', pp. 7-8.
• f. 16-17. 'de Narcisse', pp. 9-10. Pasted-down correction, f. 17.
• ff. 18-20. 'de Don Juan', pp. 11-14. Pasted-down correction, f. 19. Dated on p. 14: 'Paris. 1926'.

(3). ff. 21-25. '3 Poèmes de Vildrac' (1929), for voice and piano:

• Autograph score, in black ink (12-stave paper, 330 x 270 mm). Outer bifolium enclosing inner bifolium. Title and dedication on front page: 'à Mademoiselle Nadia Boulanger / en toute admiration et gratitude'. Text by Charles Vildrac (1882-1971). Three settings: 'Sur quel arbre du ciel'; 'Ce caillou chaud de soleil'; 'Cet enfant de jadis'. Signed at the head of the first setting, and dated at the end of the score: 'Paris 1929'.
• Copyist score for first setting only (1 bifolium, 12-stave paper, 305 x 235 mm).

(4). ff. 26-35. Four songs from Op. 14, no. 2, for voice and piano:

• ‘The Beacon Barn’. Autograph score, in black ink (1 bifolium, 20-stave paper, 327 x 267 mm). Signed at the head of the score and dated at the end: 'Oct 1938'. Words: Patrick O'Malley.
• ‘Eleven-Fifty’. Autograph score, in black ink (1 bifolium, 20-stave paper, 327 x 267 mm). Signed at the head of the score and dated at the end: 'Oct 1938'. Words: Patrick O'Malley.
• ‘Bells of Cordoba’. Autograph score, in black ink, revised in red ink (1 bifolium, 20-stave paper, 327 x 267 mm). Signed at the head of the score and dated at the end: 'Dec. 1938'. Words: F[ederico] G[arcia] Lorca. Annotated 'Copyright MCMXXXIX by J. & W. Chester Ltd.'.
• ‘Ode du Premier Jour de Mai’. Undated [1940] autograph score, in pencil (2 bifolia, 12-stave paper, 310 x 235 mm). Signed on the front page. Words: Jean Passerat (1534-1602).

(5). ff. 36-57. 'Five Housman Songs', Op. 14, no. 3. Words: A. E. Housman (1859-1936):

• ff. 36-40. First version: 'Four Songs' [songs I-IV]. Autograph score, in black ink. Outer bifolium enclosing 2 bifolia (16-stave paper, 350 x 270 mm). The first lines of the four songs are: 'The half moon westers low, my love'; 'The street sounds to the soldiers tread'; 'He would not stay for me'; and 'Look not in my eyes'. Signed on f. 37r, and dated at the end of the score: 'Jan 1940'.
• ff. 41-46. Words for Songs I-IV translated into French, in Berkeley's hand (6 small blue sheets).
• ff. 47-57. Revised version, dedicated to Peter Fraser. Photocopy score including a fifth song ('Because I like you better than suits a man to say'), pp. 1-11. The score is signed within the copy (p. 1) dated within the copy at the end of the score: 'London 1940'. Some pencil sketch annotations, pp. 1, 2, 9. (N.B. Photocopied from the original score held at the Britten-Pears Library.)

(6). f. 58. [‘Lullaby’], for voice and piano [1943]. Words: 'A Cradle Song' by W. B. Yeats (1865-1939). Untitled and undated autograph score, in black ink, some words in pencil (1 bifolium, 16-stave paper, 340 x 270 mm). Bottom-right corner of second folio has been cut away, no loss of score.

(7). ff. 59-73. 'Five Poems / Walter de la Mare', Op. 26. For voice and piano. Autograph score, in blue ink, some pencil annotations. Outer bifolium (title in pencil) enclosing pp. 1-16 (12-stave paper, 305 x 240 mm). Signed on f. 60, and dated at the end of the score: 'June 1946'. Score annotated as copyright J. & W. Chester Ltd., 1948. Dedicated (in pencil): 'To Pierre Bernac and Francis Poulenc'. Pasted-down corrections: ff. 65, 67, 70-71.

(8). ff. 74-80. ‘The Low Lands of Holland’, for voice and piano. Words: Anon. Copyist score, in black ink (14-stave paper, 358 x 262 mm). Title-page and pp. 1-9. Dated 1947 on title-page, and annotated (f. 74) as copyright J. & W. Chester Ltd., 1952. Together with 2 pages (f. 80) of undated autograph 'corrections' in blue ink.

(9). ff. 81-89. 'Three Greek Poems', Op.38:

• Autograph score, in blue ink with pencil corrections and annotations (22-stave paper, 368 x 275 mm), pp. 1-6. Signed on f. 81, and dated '1951' at the end of the work. Annotated (f. 81) as copyright J. & W. Chester Ltd, 1953. Words: 'Epitaph of Timas' (Sappho); 'Spring Song' (Antipater); 'To Aster' (Plato).
• Published score (J. & W. Chester Ltd., 1953). Light pencil annotation (fingering).