MS Mus. 1745/2/9

(1). For works subsequently published:

• ff. 1-4. Piano Concerto in C minor.
• ff. 5-9. Early material and sketches for Lebenstanz and for Paris.
• ff. 10-20. Sketches for Sea Drift, including some pages marked Cynara.
• ff. 21-30. Two Pieces for Small Orchestra. Sketches and drafts for 'On Hearing the First Cuckoo in Spring' and for 'Summer Night on the River'.
• ff. 31-40. Sonata No. 1 for violin and pianoforte.
• ff. 41-56. Miscellaneous sketches, including material relating to: Cello Sonata (f. 41); Fennimore and Gerda (f. 42); Lebenstanz (f. 43); In a Summer Garden (f. 43v-44); sketch headed 'Gerda?' (ff. 45-46); 'The song of midday' - an early sketch for A Mass of Life, II/3 (f. 47); Appalachia ('O honey') and 'End Tanz Lied', also from A Mass of Life (f. 47v); Appalachia (f. 48v); Eventyr and 'Avant que tu ne t'en ailles' (f. 49); unidentified material (for piano and violin?) and Lebenstanz (ff. 50-51); various pencil sketches (several of which marked 'good') including material for Dance Rhapsody No. 2, 'Eventyre' [sic], and Dance for Harpsichord (ff. 52-55).

(2). For the inconcluded work provisionally titled 'On the Moors' and/or 'Impressions of Nature':

• ff. 57-58. Bifolium, cut down to oblong format. On the recto of f. 57 and on f. 58v, a 3-stave draft (ink) headed in pencil 'on the moors' and 'Impressions of Nature'. On the two inner pages of the bifolium, a pencil sketch for the choral version of Appalachia.
• f. 59v. 'End of Moors'.
• f. 60. Ink draft, followed by pencil on the verso.
• f. 61. Ink, including motives from Over the hills and far away.
• ff. 62-63. Bifolium headed 'On the moors (Impressions of Nature) / 4 pieces' (f. 62), and 'Sunday morning on the moors' (f. 63). In the margin (f. 63v), in pencil: 'Nils Lyne'.
• ff. 64-69. Draft score (ink) on 3 bifolia. Pencilled across f. 8: 'Nils Lyne'. On f. 69v, the heading 'Mountain poem' and , lower down the page among short score notes, 'See over the hills'.
• ff. 70-71. Bifolium, paginated pp. 9-12. A pencil-sketched score relating to 'Nils Lyne'. For continuous material paginated pp. 5-8, see MS Mus. 1745/1/39.
• f. 72. The lower portion of a folio containing a pencilled sketch score including the 'Celesta & Harp' motive.
• f. 73. The lower portion of a folio, headed 'on the moors' with harp and celesta motive (ink); on the verso (inverted), 'Summer night' (ink), the title pencilled-over by the heading 'Niels Lyne'.

(3). For works of the later period:

• ff. 74-80. Sketches for a Piano Concerto (not the published Concerto), beginning (f. 74) with a sketch (ink) in two-piano format, 'orchestra' indicated; ff. 77-80 are pencil sketches, in Delius's later hand, headed 'Piano Concerto'.
• ff. 81-82 (1 bifolium, f. 9v blank). Pencil score for 'Lament' for cello and piano (in Eric Fenby's hand), comprising the penultimate draft for the Elegy (Threlfall, VII/8). Every fifth bar is numbered in red crayon. Two extra bars (later deleted) occur between bars 21 and 22 of the printed version.
• f. 83. Sketches in Delius's late hand (pencil) including a 15-bar 2-stave sketch of the music ('good' in the margin) which later became the Caprice (up to bar 19 of the published work). On f. 83v, pencilled sketches for cello and piano ('slow movement' written in the margin), material not found elsewhere.
• f. 84. Headed 'good' on recto and verso, pencil sketches for the Elegy (on two staves, no indication of solo instrument). Some notes reminiscent of the Violin Concerto.
• f. 85. Pencil sketches, including the melody which appears on p. 50 of the published score of the Requiem.
• ff. 86-87. Headed 'Cortege Funebre', 2- and 3-stave pencil drafts of the whole Elegy (no indication of instrumentation). Further sketch material follows, (marked 'good'), resembling the 'Valse' from Five Piano Pieces.
• ff. 88-101. Sketches for Songs of Farewell (Threlfall, II/9), made [1920 or 1921], although the material that forms item (b) is written on the verso of a bill dated 1904 (W. Straker Ltd, General Steam Printers, Kensington).
• f. 88. A narrow strip of plain paper (35 x 180 mm) on which Delius has noted (ink) a 3-bar motive in 3/4 used in Movement I.
• ff. 89-90. An early pencilled draft in choral score of movement I. (1 bifolium, 20-stave 360 x 280 mm.)
• f. 91. Upper portion of a folio of manuscript paper (13 staves) containing sketch material (pencil) that includes the cello introduction to movement II. (145 x 255 mm.)
• ff. 92-93. A bifolium originally used for a 2-stave pencil sketch for part of Poem of Life and Love, then inverted and reversed and used for a 3-stave draft of movement II, words and harmonies only with voice notes drafted up to 'sea and sky'. (1 bifolium, 16-stave 360 x 266 mm.)
• ff. 94-95. A later pencil draft of movement II. Includes Fenby's indication of instruments on f. 19. (1 bifolium, 16-stave 360 x 266 mm.)
• ff. 96-97. The orchestral ending to movement II (in 2-stave pencil), followed by 'Now finale to the shore' (movement V). On f. 97v, 'The garden of the Caliph's Palace' (i.e. Hassan, Prelude to Act 3), almost identical to bars 27-32 and 12-17 of Songs of Farewell - these bars do not appear in ff. 89-90 above but they are included in the draft full score in MS Mus. 1745/2/13/5. (1 bifolium, 16-stave 360 x 266 mm.)
• f. 98. Pencil draft of movement III, words added by Fenby. Without the cello counterpoint. The draft continues as bars 122-145 of the work. Then, to bar 154, Fenby overwrites and drafts the harmony, adding the words. Bars 155-156 do not appear. (1 folio, 16-stave 360 x 266 mm.)
• f. 99. A pencil draft in Fenby's hand of the climax and ending of movement III from bar 157 onwards, soprano line and accompaniment only. On f. 24v, the date '17.6.27' (ink) in Jelka Delius's hand, noting (in pencil) a ?violin line, 10 bars, 4/4. (1 folio, 14-stave 304 x 230 mm.)
• f. 100. Pencil draft (9 bars) of movement IV, from the beginning to bar 186. With Fenby's annotation '3 bars' in the lower right margin. Verso blank.
• f. 101. On the verso of a bill for paper and envelopes received from W. Straker Ltd, Kensington (5 December 1904), a 2-stave notation (pencil) of material used in movements IV-V. (210 x 135 mm)

(4). ff. 102-106. For Fantastic Dance

• ff. 102-104. Autograph draft full score (pencil, no title), for the first 20 bars. Folios 104v and the next folio are blank. (2 bifolia, 24-stave 362 x 265 mm.)
• ff. 105-106. In addition to autograph pencil sketch material for the middle section of Fantastic Dance on f. 106v (inverted), ff. 105v and 106r contain a draft for a piano piece (not otherwise seen) and also material for the Dance for Harpsichord. The recto of f. 105 contains miscellaneous pencil sketch material. (1 bifolium, 20-stave 360 x 265 mm.)
• The completed full score and piano-conductor part (both in Fenby's hand) are MS Mus. 1745/3/16.