Dangos 132 canlyniad

Ink score with pencil annotations, for the part of Horn 4 in Opus 48: 'Princes of Gwynedd' [1979].

Ink score with pencil annotations, for the part of Celeste in Opus 48: 'Princes of Gwynedd' [1979].

Ink score with pencil annotations, for the part of Trombone 3 in Opus 48: 'Princes of Gwynedd' [1979].

1 ink score with pencil annotations, for the part of Trumpet 1 in Opus 48: 'Princes of Gwynedd'. Dated 6 August 1979.

1 ink score with pencil annotations, for the part of Trumpet 2 in Opus 48: 'Princes of Gwynedd' [1979].

Ink score with pencil annotations, for the part of Trombone 1 in Opus 48: 'Princes of Gwynedd' [1979].

Ink score with pencil annotations, for the part of Trombone 2 in Opus 48: 'Princes of Gwynedd' [1979].

1 ink score with pencil annotations, for the part of Timpani in Opus 48: 'Princes of Gwynedd' [1979].

Facsimile copy of ink score with pencil annotations, dated 24th September 1955 and titled ‘Suite for Children’. Composed for piano by William Mathias.

Facsimile copy of ink score with pencil annotations, titled 'Culhwch and Olwen: An Entertainment', and including notes listing all instrument parts and performers; instructions for narrator, choral speech, chorus, percussion, and piano duet; and pronunciation of Welsh names. Composed by William Mathias and originally commissioned for the 1967 Royal National Eisteddfod of Wales, Bala.

Original ink score, titled 'Opus 3: Incidental Music to Antigone', and based on Jean Anouilh's version of Sophocles' tragedy 'Antigone', translated from the French by Lewis Galantière. The work is in two parts: 'Overture', dated 28 October-6 November 1953; and 'Introduction to Act II', dated 6-10 November 1953. Commissioned by the University College of Wales Dramatics Society, for a production at Aberystwyth of Jean Anouilh’s ‘Antigone’, November 1953, and recorded at Aberystwyth on 13th November, 1953, performed by: A.B. Thomas & J. Cynan Jones (horns); Hugh Jones (bassoon); Delwyn Tibbott (trombone); Jayne Filer (timpani); Edward Bor (violin 1); Jeffrey Francis (violin 2); Raymond Jeremy (viola); John Clapham (cello); and William Mathias (piano).

Facsimile copy of ink score with some annotations in blue biro ink, dated December 1961 and titled 'Toccata alla Danza for Piano'. Composed by William Mathias and originally commissioned by the Welsh Committee of the Arts Council.

Draft score in ink and pencil, titled 'Opus 7: Epithalalium for Two Violins' and consisting of three parts: part 1, 'Fanfare and Wedding March' dated 1956; part 2, 'Hymn' dated 7 January 1961; and part 3, 'Dance' dated 11 January 1961. The manuscript also includes a typewritten biographical note (undated).

Original ink score with pencil annotations, titled 'Canticle for Tenor and Strings' and arranged into parts for violins 1 and 2, viola, cello, and double bass. The score includes three parts based on Harries' work 'Words by 20th-century Anglo-Welsh Poets': Part 3, 'Lie Still, Sleep Becalmed' by Dylan Thomas, dated 24 July 1957; Part 6, 'In the Grass Gold Rings' by Roland Mathias, dated 10 May 1957; and Part 7, 'There is No Time' by Raymond Garlick, dated 24 January 1961. Parts 1, 2, 4 and 5 are wanting.

Original ink scores with pencilled notes inside the cover and pencil annotations, containing two versions of Opus 17: ‘Variations for Clarinet and Piano’ (dated February-11 April 1963), and 'Variations for Viola (or Clarinet) and Piano’ (undated); and a draft score in pencil, titled ‘Opus 17: Variations for Clarinet & Piano’ (dated 11 April 1963). The manuscript also contains a typed programme for the 99th Weekly College Concert of the University College Wales Department of Music, session 1963-64, held on 11th November 1963. The programme includes David Harries’ 'Opus 17: Variations for Viola and Piano' (1963); and 'Opus 5: Sonatina for Piano' (1955).
Originally commissioned for the Guild for the Promotion of Welsh Music, 1963.

Original ink score, dated 5 April 1964 and titled 'Opus 24: Christ Child: Carol for Unaccompanied Chorus'. Dedicated to Catrin and Ceri.

Original ink score, including separate score for violin part, titled 'Opus 21: Divertimento for Violin and Piano'. The score consists of four parts: part 1, 'Intrada' (dated 28 March 1965); part 2, 'Toccata' (dated 14 April 1965); part 3, 'Cantilena' (dated 15 April 1965); and part 4, 'Burlesca' (dated 11 April 1965). Dedicated to Leonard James.

Facsimile copy of ink score for all instrument parts with pencil annotations, dated 25 October 1964 and titled 'Opus 20: Quintet for Piano and Strings'. The file also includes the score written as separate parts for violins 1 and 2, viola, and cello, in ink with pencil annotations. Commissioned for the Aberystwyth Arts Festival, 1964.

Original ink score, dated March 1965 and titled 'Opus 19: Piano Sonata'. Originally commissioned for Bangor Arts Festival, 1965.

Original ink score, dated 23 May-8 June 1966, and titled 'Opus 23: A Little Cantata: Ten Traditional Rhymes for Children’s Voices and Piano'. The score consists of parts based on the rhymes 'Blow, Wind, Blow' (dated 23 May 1966); 'Wine and Cakes' (dated 24 May 1966); 'Peter' (dated 23 May 1966); 'Terence McDiddler' (dated 26 May 1966); 'Tommy Trot' (dated 26 May 1966); 'Three a-bed' (dated 5 June 1966); 'Pipe, Cat' (dated 5 June 1966); 'Grey Goose' (dated 8 June 1966); 'Barber' (dated 7 June 1966); and 'Four Winds' (dated 8 June 1966). Dedicated to Catrin and Ceri.