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Music manuscripts of the composer David Harries, 1952-1995, comprising mainly drafts and scores of chamber and instrumental music, orchestral music, choral and organ, and voice and piano arrangements.

The music manuscripts of the composer David Harries, 1952-1995, comprising mainly drafts and scores of chamber and instrumental music, orchestral music, choral and organ, and voice and piano arrangements.
A second donation made in August 2021 contains further music manuscripts of David Harries, 1953-1993, and includes works by Harries' contemporary William Mathias (1934-1992) in addition to Harries' own compositions of chamber and instrumental music, orchestral music, choral and organ, and voice and piano arrangements.

Ink score with pencil annotations, dated April-May 1952, titled Opus 1: 'Introduction (Quasi Notturno) and Allegro Scherzoso for String Quintet', based on the Welsh folk melodies ‘Hun Gwenllian’ and ‘Hela’r 'Sgyfarnog’. The score includes parts for violins 1 and 2, viola, and cellos 1 and 2. A title note added indicates that this piece was first performed at the University College of Wales, Aberystwyth, March 1953, and was awarded a prize at the National Eisteddfod, Aberystwyth, 1952. Dedicated to Grace Williams.

Music manuscripts collected by the composer David Harries, 1953-1993, including works by William Mathias in addition to his own compositions of chamber and instrumental music, orchestral music, choral and organ, and voice and piano arrangements.

Music manuscripts of the composer David Harries, 1953-1995, comprising of drafts, sketches and scores of compositions including chamber and instrumental music, orchestral music, choral and organ, and voice and piano arrangements.

Full score and parts, in ink and pencil, 1953, titled Opus 3: 'Incidental Music to Antigone: a tragedy by Jean Anouilh, translated from the French by Lewis Galantière'. The full score includes Part 1, 'Overture' (dated 28th October – 6th November 1953); Part 2, 'Introduction to Act II' (dated 6th-10th November 1953); and Part 3, 'Introduction to Act I Scene VIII' (dated 11th November 1953). The instrument parts include violins 1 and 2, and viola for Parts 1 and 2 (dated 11th November 1953), and for Part 3 (dated 6th November 1953); cello for parts 1, 2 and 3 (dated 6th November 1953); horns for Parts 1, 2, 3, and 4 ([1953]); bassoon for Part 1 (dated 6th November 1953) and Part 2 ([1953]); trombone for Part 1 (dated 6th November 1953) and Part 2 ([1953]); timpani for Part 1 (dated 6th November 1953) and Parts 2, 3, and 5 ([1953]); and piano for Parts 1, 2, 3, and 4 (dated 12th November 1953).

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).

Original ink scores and parts, facsimile copies, and published works, 1952-[1995], of chamber orchestra and instrumental music.

Draft score in ink and pencil, dated 23 August 1953, titled Opus 2: 'String Quartet No.1 in G'. The score includes parts for violins 1 and 2, viola, and cello.

Draft score in ink with pencil annotations, dated 26 February-8 May 1955, titled Opus 5: 'Sonatina for Piano', and with a note in the hand of David Harries stating that this piece was performed by the composer at University College Wales Music Club, March and May 1955; and at Gregynog for the Congress of the Guild for Promotion of Welsh Music, June 1955.

Works of William Mathias collected by the composer David Harries, consisting of facsimile copies of scores with annotations, 1955-[1967] (with gaps).

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

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).

Facsimile copy of ink score, dated 1956-1961, titled Opus 10: 'Canticle for Voice and Piano', and incorporating 'Words by Twentieth-Century Anglo-Welsh Poets'. Consisting of Part 1, 'Lean on the Rail' by Randal Jenkins, dated 12 January 1957; Part 2, 'I Will Give you a Golden Flower' by David Harries, dated16 December 1956; Part 3, 'Lie Still, Sleep Becalmed' by Dylan Thomas, dated 24 July 1957; Part 4, 'When I Was a Child' by R. S. Thomas, dated 24 November 1959; Part 5, 'Is There a Cause?' by Vernon Watkins, dated 21 April 1960; 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.

Ink score with pencil annotations, dated 1956-1961 and titled Opus 10: 'Canticle for Tenor and Piano: Words by 20th-century Anglo-Welsh Poets'. The score is in seven parts: Part 1, 'Lean on the Rail' by Randal Jenkins, dated 12 January 1957; Part 2, 'I Will Give you a Golden Flower' by David Harries, dated 16 December 1956; Part 3, 'Lie Still, Sleep Becalmed' by Dylan Thomas, dated 24 July 1957; Part 4, 'When I was a Child' by R. S. Thomas, dated 24 November 1959; Part 5, 'Is There a Cause?' by Vernon Watkins, dated 21 April 1960; Part 6, 'In the Grass Gold Rings' by Roland Mathias, dated 10 May 1957; Part 7, 'There is No Time' by Raymond Garlick, dated 24 January 1961.

Bound facsimile copy of a rough score, dated July 1956-March 1959, titled Opus 9: 'Sinfonia da Camera (Horae Canonicae) For Chamber Ensemble' and including a typewritten note (unsigned). The rough score incorporates parts for flute, clarinet, bass clarinet, oboe, cor anglais, bassoon, trumpet, horn, trombone, violin, viola, and violoncello. Dedicated to Professor and Mrs Ian Parrott.

Facsimile and ink scores, and parts, 1956-1995, of music for voice and piano.

Facsimile copy of rough score in ink, dated July 1956 - March 1959, titled Opus 9: 'Sinfonia da Camera (Horae Canonicae) for Chamber Ensemble', incorporating flute, clarinet, bass clarinet, oboe, cor anglais, bassoon, trumpet, horn, trombone, violin, viola, and violoncello. Dedicated to Professor and Mrs Ian Parrott.

Draft score in ink with pencil annotations, dated 1956-1961 and titled Opus 10: 'Canticle for Tenor and Piano: Words by 20th-century Anglo-Welsh Poets'. The score is in six parts: Part 1, 'Lean on the Rail' by Randal Jenkins, dated 1 - 12 January 1957; Part 2, 'I Will Give you a Golden Flower' by David Harries, dated 16 December 1956; Part 3, 'Lie Still, Sleep Becalmed' by Dylan Thomas, dated 24 July 1957; Part 4, 'When I was a Child' by R. S. Thomas, dated 24 November 1959; Part 5, 'Is There a Cause?' by Vernon Watkins, dated 21 April 1960; and Part 7, 'There is No Time' by Raymond Garlick, as a loose page draft pencil partial score, dated 24 January 1961. Part 6 is wanting.

Two copies, consisting of one ink score and one draft score in ink and pencil, 1956, both titled Opus 6: 'Sonata for Percussion'. Includes parts for cymbal, tambourine, triangle, side drum, timpani 1 and 2, and bass drum.