MUSIC

One page, 16mo, fold mark, good condition. I finish my London season June 21st therefore shall not be able to sing for you. I an extremely sorry.

Letter One: 2 pp, 12mo. 23 lines. Good. Docketed '3.5.26 | copd.' He thanks him for his letters, and has 'sent the verses to Sanderson'. The copies of the 'Quilter publications' that Bennett needed for the writing of an article in the 'Music Teacher' have not arrived. Asks for information on a 'volume of songs by Sibelius'. 'If they are available could they be included in the Quilter parcel'. He is 'writing about Sibelius for publication in July, & want to be as complete as possible'. Letter Two: 2 pp, 4to. 23 lines. Good, with staple holes to one corner.

Programme: 12mo, 4 pp. Bifolium. Printed in green on orange paper. Text clear and complete. On lightly-aged paper with slight wear to extremities. Dargavel's signature is in pencil in the top left-hand corner of the second page: 'Best Wishes, | Bruce Dargavel'.

On neat rectangle of grey paper, roughly 14.5 x 5 cm, laid down on piece of pink paper removed from autograph album. Good, on lightly-aged paper. Firm, bold signature: 'Flora M. Woodman./'

Both signatures on the same side of a light-green leaf removed from an autograph album, roughly 18 x 14 cm. Good, on lightly-aged paper. The first signature is the larger of the two: 'Wilhelm Backhaus | Nov. 20th. 1922.' The second reads 'Lindley Evans. | 20/11/22'.

On one side of a piece of pink paper, roughly 18 x 7.5 cm, cut from an autograph album. In good condition, on lightly-aged paper. At the head James has written ' "The Sun-God" W. G. James', with the opening two bars beneath this, beneath which he has written the words 'I saw the master of the Sun -' In the bottom right-hand corner: 'Yrs Sincerely | William G. James'. James's music for Aubrey de Vere's poem was first published in 1921.

On two slips, both 15.5 cm wide, and totalling 59 cm long. Fair, on aged paper, with minor rust marks from a paperclip. The second slip headed with pagination '48', and running title 'Festschrift in Honour of Benjamin Britten'. He is grateful 'for the eerie fog, for the rain, as for the sixth sense, rich imagination and irrepressible humour of this people, as I am for all that has been absorbed of outlandish and exotic rendered proper, of wisdom and experience rendered intuitive - as I am particularly for their having absorbed and adopted me.' With one of Menuhin's compliments slips.

12mo, 2 pp. 34 lines. Text clear and complete. Fair, on lightly-aged paper. He received Walford's manuscript and 'did free my spirit, as I promised I would, without loss of time'. The matter is now in the hands of the printer of the Daily Telegraph, who, 'at the time of going to press, is master of of the situation, and often delays, from night to night, giving a place to our best-loved paragraphs.' Turner marked his copy with 'a mem to the effect' that it should be shown to 'Mr. Arnold'.

Signatures, with place and date, on one page extracted from an autograph album, left edge rough (detached), minor faint staining but signatures clear. Note: Thibaud was noted not only for his work as a soloist, but also for his performances of chamber music, particularly in a piano trio with the pianist Alfred Cortot and cellist Pablo Casals.

12mo, 1 p. Six lines. Text clear and complete. Good, on lightly-aged paper. She will 'keep January free' for him, and they can 'arrange the details of programme later'. She agrees that 'a wholly-Brahms programme might be rather heavy'. See Florence's obituary, The Times, 7 November 1928.

Three pages, 12mo, in bifolium, black-edged, with original envelope, also black-edged,1.5 inch tear to fold, mainly very good. He explains that his father's illness and death (and consequent complicated affairs) delayed his response to Arkwright's letter. He thanks him for his advice as to my Preface & Introduction to Moore's Melodies [underlined; he edited a new standard edition of Moore’s Irish Melodies, 'The Spirit of a Nation' (1911)].

On rectangle removed from autograph album. In good condition. Reads 'Albert Coates | 1929'.

Black and white studio photograph, postcard format (13 x 8.5 cm). On leaf removed from autograph album. Good, on shiny photographic paper, with margin making dimensions of image 12 x 8 cm, captioned in bottom right-hand corner 'PHOTO | LAIRD | ABERDEEN'. Showing a kindly-looking Coborn seated in country tweeds, with spectacles in hand and paper on his knees. In addition to a facsimile in the bottom-left, the picture has Coborn's genuine dated signature across his chest: 'Charles Coborn | 28/5/29'.

On piece of light-blue paper, removed from an autograph album. Firm signature. In good condition. Reads 'Robert Easton.'

On rectangle removed from autograph album. In good condition. Reads 'Shura Cherkassky | 1929'.

On rectangle of pink paper, removed from autograph album. In good condition. Reads 'Wolfi Schneiderhan | 1930.'

Leaf detached from album, some staining, complete and clear. On one side a photographic portrait of jan Kubelik which he has signed and which has been annotated with the above place and date. Overleaf appear the signatures of Phyllis Neilson-Terry, actress and the Russian tenor, Stefan Bielina, dated by him 9/12 1921.

Page detached from album, some wear and tear but no losses, which contained numerous autographs provided at performances in Stoke mainly in the 1920s. One side of the leaf has the signatures of Agnes Nicholls Harty, Hamilton Harty, an illegible, and Frank Mullings, while overleaf are the signatures of John Booth, Margaret Balfour and Andrew Clayton.

Printed Programme, 4pp., 8vo, blue, not bound, staining on fold marks, mainly good condition. Elena Danieli has signed top left of front cover. It gives the Programme of music with performers and a list of President and Vice-Presidents of the Choir..

Page of album, 17 x 14, good condition, signed as follows: Souvenir from | Luisa Tetrazzini | Stoke on Trent 9th Dec. 1921 [underlined]. On the same page, the signature Ivor Newton [pianist] who accompanied her.

For more information about Stephen Manton Bradbury, or Stephen Manton as he was known professionally, see his obituary in The Times, 8 September 1970. The collection is in good condition, on aged paper. The correspondence from various figures in various BBC music departments, both London and regional, and in a variety of formats from 4to down to 12mo, breaks down to the following number of items per year: 1944, 8; 1945, 5; 1946, 30; 1947, 34; 1948, 32; 1949, 22; 1950, 11; 1951, 15; 1952, 1.

12mo, 2 pp. Bifolium. 12 lines. Text clear and complete. Good, on lightly-aged paper. He would 'much like' to show him a song he has written for 'Exeter Hall', and proposes dinner the following day. In a postscript asks if he has 'learnt anything about R. J. S. Stevens'.

12mo, 1 p. 10 lines. Text clear and complete. Good, on lightly-aged paper. The recipient 'had better be in Town for the Choral Meeting on the 4th. June'. Gives details of when the recipient will 'generally find' Hullah there.

Oval sepia photograph of the head and shoulders of Hullah, looking to his right in double-breasted jacket. Faded and on aged card, with traces of mount adhering to reverse. The sitter - who by comparison with other photographs is definitely Hullah - is named as 'JOHN HULLAH' in a contemporary hand on the card beneath the laid-down photograph, and as 'Mr Hullah' in pencil on the reverse. Not present in the collection of the National Portrait Gallery, which only holds three images of the composer.

4to, 4 pp. Bifolium. 87 lines. Text clear and complete. Fair, on aged paper, with wear to extremities and a spike hole to one corner. Written in ink in a Victorian hand, and with three changes in pencil. Docketed at head 'The art of Vocalization'. Towards beginning writes that the subject is one which he has 'studied many years in close connexion with the most eminent Masters of Italy, most of whom I may rank among my personal friends, and the pith of whose conversations, added to my own experience I propose embodying in a few short essays upon the Formation of the Voice'.

12mo, 8 pp. Fair, on aged laid paper. On four leaves removed from a pocket book, with two leaves numbered in manuscript '41' and '42'. Apparently a first-person draft of information for an appeal by the oldest surviving member (from the inception of the group) for a stipend. Begins 'Depuis le commencement de l'an 1760 que j'ai ete recu a la Musique du Roi, j'ai été en exercice jusqu'en 1792, avec 222. sujets qui s'y sous dont 40 vivant encore au 18 Janvier 1815. [...]'.

Studio portrait photograph on postcard, captioned 'RENA HALL | MUSICAL SPECIALITIES'. Fair, on lightly-aged paper. Depicts Hall in highland costume with bagpipe under her arm and an accordion on a plinth. Inscribed 'To dear Rubye | In memory of Happy days | Love, Rena | 1937'. 'Laddie Cliff and Rena Hall' performed in front of George V and Queen Mary at the Royal Variety Performance, Coliseum Theatre, London, 1923. From the Colleano Family archives.

4to, 3 pp. Loose leaf inserted in bifolium. Good, on lightly-aged paper. Front page printed in black and red. Advertisements on reverse of last leaf.

4to, [i] + 4 pp. On two loose bifoliums, in tan printed wraps. No. 73 of 110 copies (one of the hundred numbered copies and NOT one of the ten copies signed by author and composer). Limitation inside front wrap. Title-page states 'This arrangement is dedicated by the composer to the Berkshire School Musicale Association'. No copy on COPAC.

4to, 4 pp. Bifolium. In light-grey printed wraps with design by Lieberman printed in dark-grey and pink (price on front amended with stamp). Score on central two pages. Last page carries an advertisement for another of Bowles's piano pieces, and a short biographical notice, headed 'ABOUT THE COMPOSER' ('[...] He is best known as composer of music for the theatre. In this medium he has written incidental scores for the two Orson Welles productions: [...] Mr. Bowles has also done several film scores, and the music for two ballets commissioned by the American Ballet Caravan: [...]').