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Miscellaneous items, mostly accumulated by John Thomas, [1850s]-[1870s], including englynion to him by David Griffiths (Clwydfardd), Lewis William Lewis (Llew Llwyfo), Titus Lewis (Titan), and David Williams (Alaw Goch) (ff. 1-5); and sketches and drawings, including those depicting the harp (ff. 11-14), a sketch of Franz Liszt (f. 21), and engravings of Welsh and other views. Also included is a letter, 1830, from the Marquis de Lafayette (f. 17).

Letters and cards, 1842-1910, to John Thomas (Pencerdd Gwalia) reflecting his long career and including references to his early efforts to establish himself as a musician, to his concert tours abroad, and to his compositions.
Among the correspondents are Augusta Ada King-Noel, Lady Lovelace (18) 1844-1847 and n.d., Dr Joseph Parry (1) 1874, Cipriani Potter (6) 1851-1867, Brinley Richards (4) 1862-1864 and n.d., Sir Arthur Sullivan (1) 1873 and Penry Williams (1) 1855. Also included are drafts and copies of letters, 1851-1910, from John Thomas.

Letters, 1843-1901, to Pencerdd Gwalia mainly from friends and acquaintances. Covering the greater part of his career, they contain references to his concerts, compositions and travels, and to musical circles in London and Wales, and include one letter, 1901, granting permission to use the title 'Harpist to the King' (f. 132).
Correspondents include John Gibson (1) 1855, Augusta Hall, Lady Llanover (4) 1851-1853, John Jones (Talhaiarn) (1) 1863, Lewis William Lewis (Llew Llwyfo) (1) 1862, Augusta Ada King-Noel, Lady Lovelace (1) 1847, Lord Mostyn (1) 1893, Thomas Oliphant (1) 1861, John Owen (Owain Alaw) (3) 1861, Cipriani Potter (7) 1843-1861, Brinley Richards (1) 1862, and Maria Jane Williams (Llinos) (1) 1853. Also included are a circular letter, 1862, from John Thomas, inviting subscriptions to his Welsh Melodies (f. 109 verso), and two of his draft replies, 1893, 1901, to correspondents (ff. 130, 135).

A journal of a tour in Germany and to Vienna and Prague undertaken by John Thomas, October 1851-February 1852, in order to advance his career.
Centred mainly upon Vienna, it includes an account of his first concert abroad, February 1852, as well as a critique of concerts attended by him. Leaves found loose inside the volume have been filed seperately (MS 23392iiB).

Leaves found loose inside John Thomas's tour journal (NLW MS 23392iA), containing diary entries for the period 1 January-4 April 1852.

Journals of Joan Denny describing a tour in Germany, France, Switzerland and Italy, August-October 1878 (MS 23404A, pp. 1-80; MS 23405A, pp. 1-130), and a visit to Vienna, Munich and Nuremberg, May 1880 (MS 23405A, pp. 131-154).

Papers, 1830-1930, of or relating to John Thomas (Pencerdd Gwalia), including original musical manuscripts, mainly compositions and arrangements for the harp, 1853-1905; correspondence mainly relating to his concerts, compositions and travels, and to musical circles in London and Wales, 1842-1930; journals of European concert tours, 1851-1883; concert programmes, 1851-1905; papers of his wife, Joan Frances Thomas, 1878-1926, including tour journals, 1878-1883; and passports, 1873, 1885.

Chorus & full orchestral score of 'The march of the men of Harlech'. (Formerly Pencerdd Gwalia MS 1).

Arrangements of 'The Last Rose of Summer', 'The Harp that once thro' Tara's Halls', 'The Minstrel Boy', 'The Blue Bells of Scotland', and 'Home Sweet Home'. (Formerly Pencerdd Gwalia MS 2).

'Come to battle', a duet for two harps or harp and piano. (Formerly Pencerdd Gwalia MS 6).

Welsh melodies for the voice, comprising: 'I'r Awen', chorus, 1862. 'Llwyn onn', arranged as solo and for four voices. 'Codiad yr ehedydd', arranged for four voices. 'Ar hyd y nos', arranged for four voices. 'Hob y deri dando', arranged for four voices. 'Morva Rhuddlan', arranged as solo and for four voices. 'Difyrwch y brenin', arranged as a solo and for four voices. 'Y ferch o'r Scer', arranged as a solo for four voices. 'Y gadlys', arranged as a solo and for four voices. 'Toriad y dydd', arranged as a solo and for four voices. 'Serch hudol', arranged as a solo and for four voices. 'Clychau Aberdyfi', arranged as a solo and for four voices. 'Glan meddwdod mwyn', arranged as a solo and for four voices. 'Rhyfelgyrch gwyr Harlech', arranged as a solo and for four voices, with harp part. 'Merch Megan', arranged as a solo and for four voices. 'Nos Galan', arranged as solo and for four voices. 'Y fwyalchen', arranged as solo and for four voices. 'Codiad yr haul', arranged as solo and for four voices. 'Dafydd y garreg wen', arranged as a solo and for four parts. 'Syr Harri Ddu', arranged as a solo and for four parts. 'Bugeilio'r gwenith gwyn', arranged as a solo and for four voices. 'Difyrrwch Arglwyddes Owain', arranged for four voices. 'Tros y garreg', arranged as a solo and for four voices. 'Y deryn pur', arranged as a solo and for four voices. 'Y bardd yn ei awen', arranged as a solo and for four voices. 'Ffarwel y telynor i'w enedigol wlad', arranged as a solo and for four voices. 'Dewch i'r frwydyr', harp accompaniment. 'Gogerddan', harp accompaniment. 'Merch y melinydd'. 'Hela'r sgyvarnog', harp accompaniment. 'Yr hên Sibyl', harp accompaniment. 'Ymadawiad y brenin', harp accompaniment. 'Mentra Gwen', harp accompaniment. 'Caerphilly', arranged as a solo and for four voices. 'Y bore glas', arranged as a solo and for four voices. 'Eos lais', arranged as a solo and for four voices. 'Pe cawn i hon', arranged as a solo and for four voices. ''Y 'deryn du pig-felyn', arranged as a solo and for four voices. 'Dyffryn Llanberis', arranged as a solo and for four voices, 1873. 'Gyda'r wawr', arranged as a solo and for four voices. 'Triban Morganwg', arranged as a solo and for four voices. 'Cwynfan Prydain', arranged as a solo and for four voices. 'Megan a gollodd ei gardas', arranged as a solo and for four voices. 'Callyn serchus', arranged as a solo and for four voices. 'Y fam a'i baban', arranged as a solo and for four voices, 1874. (Formerly Pencerdd Gwalia MSS 13-14).

'Impromptu' by Schubert, transcribed for the harp by John Thomas, 1896. 'Ave Maria' by Schubert, transcribed for the harp by John Thomas. 'The erl king' by Schubert, arranged for harp and piano by John Thomas. 'Serenade' by Schubert, arranged for harp and piano by John Thomas, 1900. 'The praise of tears' by Schubert, arranged for harp and piano by John Thomas, 1900. 'Marguerite' by Schubert, arranged for harp and piano by John Thomas. 'The wanderer' by Schubert, arranged for harp and piano by John Thomas, 1900. 'Barcarolle' by Schubert, arranged for harp and piano by John Thomas. 'The maiden's lament' by Schubert, transcribed for the harp by John Thomas. 'The promise of spring' by Schubert, transcribed for the harp by John Thomas, 1900. 'L'adieu' by Schubert, transcribed for the harp by John Thomas, 1900. 'The trout' by Schubert, arranged for the harp and piano by John Thomas, 1900. 'The fountain' by Schubert, arranged for harp and piano by John Thomas, 1900. 'The fisher maiden' by Schubert, arranged for harp and piano by John Thomas, 1883. 'The farewell' by Schubert, arranged for the harp and piano by John Thomas, 1883. 'To Sylvia' by Schubert, arranged for harp and piano by John Thomas, 1884. 'Sois toujours mes seules Amours', arranged for harp and piano by John Thomas, 1884. 'Thine is my heart' by Schubert, arranged for harp and piano by John Thomas. 'Adieu to the piano' by Beethoven, transcribed for the harp by John Thomas, 1904. (Formerly Pencerdd Gwalia MS 21).

Mendelssohn's prelude in B flat, arranged for orchestra and band of harps by John Thomas. Prelude by Felix Mendelssohn Bartholdy arranged for harp and violin with an accompaniment for organ or harmonium by John Thomas. Harp part. Two copies. (Formerly Pencerdd Gwalia MS 22).

The editor's own interleaved and annotated copy of Songs of Wales, ed. by John Thomas (London, 1874). (Formerly Pencerdd Gwalia MS 28).

'Deep in my soul', words by Byron, inscribed by composer. Music. (Formerly Pencerdd Gwalia MS 30).

A journal of John Thomas for the period 3 November 1853-8 April 1854, his first season in Paris, including entries of visits made and received, and performances given at concerts and soirées.

Journal entries for the period 1 January-3 March 1859 with further intermittent entries to 11 April, a period spent by John Thomas in Paris (ff. 1-15 verso); accounts of expenditure incurred in connection with his stay in Paris, 16 September 1858-20 January 1859 (ff. 17-22 verso); and two leaves from a diary for 1889 containing entries by John Thomas, 19-25 September and 27-31 December (ff. 25-6).

An album containing mainly pasted-in cuttings from newspapers and journals in English, French, German and Italian, and other miscellaneous items relating to John Thomas, 1852-1916, including concert programmes, a letter by him, 1892, endorsing Erard harps, and eight telegrams of condolence on his death, 1913.

Journals of Joan Denny describing a tour in Austria and to Cortina in Italy, August-September 1883.

Rhapsody for the harp, 1898. 'Eolian sounds', a harp solo, 1891. 'Autumn: reverie for the harp', 1852. 'Winter', a harp solo, 1855. 'Echoes of a waterfall: caprice for the harp', 1882. 'Reverie for the harp', 1882. 'Pensive and joyous', a fantasia for the harp, 1866. 'L'esperance: morceau di Mazurka for the harp', 1853. 'Tyrolienne', a characteristic piece for the harp, 1881. Staccato movement for the harp, 1904. 'The smile', a harp solo, 1854. 'The parting', a romance for the harp, 1854. Harp solo, 1855. 'Adieu my native country', a harp solo, 1852. 'Rákóczy march' for the harp, 1853. (Formerly Pencerdd Gwalia MS 15).