Mus. 1273

Compositions by R[ichard] T[ownley] Woodman (1888-1947), variously autograph scores, drafts, sketches, printers' proofs and printed editions, spanning the period 1907-c.1932.

Richard ('Dick') Alfred Edward Townley Woodman was born on 12 September 1888, the only son of Edward Pelly Woodman (d. 1901) and Emily Mary Lillie Ferrand, of The Down House, Shawford, Winchester. (In 1907 Woodman's widowed mother married Noel Hanbury CBE (1881-1935) of St Cross Grange, 140 St Cross Road, Winchester.) Woodman was educated at Eton and Christ Church, where he matriculated in 1907, reading for a Pass Degree (attained 1911). At Christ Church he moved in the circle of Adrian Boult, who was junior to him by one year; in 1910 the two men's rooms were back to back. Boult later recalled having sung Woodman's settings of poems by Thomas Lovell Beddoes (see items 3, 6, 10 and 11 below), and provided this cameo portrait of Woodman: 'He is very quiet, but knows a lot about things and has written some beautiful songs' (Michael Kennedy, Adrian Boult (London, 1987), pp. 45-6). He was also an accomplished pianist. After Oxford, Woodman studied music theory and composition at the Royal College of Music in London for the academic year 1911-12. He studied with Charles Harford Lloyd, and took lessons for a while with Gustav Holst. Some of his choral works were broadcast by the BBC. He seems to have lived partly at St Cross Grange (to at least 1931) and partly in London at 61 Cadogan Square SW1 (from c. 1920 onwards); later in life he may have moved within London to 190 Queen's Gate, and at his death his address is recorded as 5 Clarence Terrace, Regents Park. Woodman died on 8 May 1947; the funeral took place at St Marylebone Parish Church on 13 May. An obituary appeared in The Times on 10 May 1947.

Contents of Mus. 1273:

1. Autograph fair copy in ink of Gather ye rosebuds for high voice and piano, to words by Robert Herrick; dated 25 April 1907. Upright format, 305 x 243 mm. Collation: three quired bifolia. Includes revisions, some of which are written on cancel slips. The copy has been marked up by a compositor for printing, but no copy of a printed edition is known to exist.
2. Autograph copy and printed edition of Fair daffodils for high voice and piano, to words by Robert Herrick; dated 13 May [1907?]. Mus. 1273(2A): autograph fair copy in ink. Upright format, 305 x 243 mm. Collation: two adjacent bifolia. Includes pencil markings by the compositor. Mus. 1273(2B): printed edition (London: Joseph Williams, n.d.); titlepage + 4 pp.
3. Two autograph fair copies in ink of Wolfram's dirge ('If thou wilt ease thine heart of love') for high voice and piano, to words by Thomas Lovell Beddoes; dated 24 July 1907. Mus. 1273(3A): copy 1. Upright format 305 x 243 mm. Collation: outer bifolium enclosing a single leaf and a bifolium; 5 leaves in total. Includes a few minor emendations by the composer. Mus. 1273(3B): copy 2 (later than copy 1). Upright format, 337 x 267 mm. Collation: two quired bifolia. Includes a few minor emendations by the composer, and markings added by a performer.
4. Autograph fair copy in ink of Now sleeps the crimson petal (first setting) for high voice and piano, to words by Alfred, Lord Tennyson; undated [c. 1907?]. Upright format, 340 x 270 mm. Collation: two quired bifolia. For another setting of this text, see item 49 below.
5. Autograph fair copy in ink of Requiem ('Red roses be upon thy grave') for high voice and piano, to words by 'I. C.'; dated 29 November 1908. Upright format, 300 x 240 mm. Collation: bifolium, the two leaves now detatched. Includes revisions by the composer.
6. Autograph fair copy in ink of How many times do I love thee, dear? for high voice and piano, to words by Thomas Lovell Beddoes; dated 3 December 1908 and signed 'R T Woodman / Christ Church / Oxford'. Upright format, 300 x 240 mm. Collation: bifolium, torn and repaired with transparent tape. Includes revisions by the composer.
7. Autograph fair copy in ink of The last sonnet ('Bright star, would I were steadfast as thou art') for high voice and piano, to words by John Keats; dated 'Christmas Day 1909'. Upright format, 300 x 240 mm. Collation: three quired bifolia. Includes revisions by the composer and pencil markings by a performer.
8. Autograph draft in ink of Nightingales ('Beautiful must be the mountains whence ye came') for high voice and piano, to words by Robert Bridges; dated 6 March 1910 and signed 'R T Woodman / Ch Ch'. Upright format, 337 x 267 mm. Collation: an outer bifolium enclosing two bifolia and a single leaf; seven leaves in total. Includes extensive revisions by the composer.
9. Autograph fair copy in ink of Indian serenade ('I arise from dreams of thee') for high voice and piano, to words by Percy Bysshe Shelley; undated [1910?]. Upright format, 340 x 267 mm. Collation: two quired bifolia. Includes revisions by the composer.
10. Autograph draft in ink and pencil of The swallow leaves her nest (first setting) for high voice and piano, to words by Thomas Lovell Beddoes; dated 1911. Upright format, 315 x 233 mm. Collation: single leaf. Includes revisions by the composer.
11. Autograph fair copy in ink of The swallow leaves her nest (second setting) for high voice and piano, to words by Thomas Lovell Beddoes; dated 31 August 1911. Upright format, 343 x 267 mm. Collation: bifolium.
12. A booklet containing autograph scores, drafts and sketches, variously in ink and pencil, designated by the composer as 'Book A'. The following occur at what is now designated as the front of the booklet: (a) ff. 1v-2r: Requiem ('Under the wide and starry sky') for high voice and piano, to words by Robert Louis Stevenson; dated 2 April 1912; (b) ff. 2v-4r: Come, cuckoo, come for high voice and piano, to words by Christina Rossetti; dated 27 May 1912; includes extensive revisions, some of which are written on cancel slips; (c) ff. 4v-5r: Bring her again, O western wind for high voice and piano, to words by William Ernest Henley; dated 3 June 1912; includes extensive revisions; for a revised fair copy of this song, see Mus. 1273(14) below; (d) ff. 5v-6v: draft of My eyes for beauty pine for unaccompanied choir (SATB), to words by Robert Bridges; undated; includes extensive revisions; for a revised fair copy of this piece, see Mus. 1273(18) below. The following occur at what is now designated as the rear of the booklet; they include what are probably exercises set at the Royal College of Music: (e) ff. 15v-13r: Minuet and Variations for piano; undated; (f) ff. 12r-11v: draft of a fugue in C major for keyboard; undated; for a revised fair copy of this piece, see Mus. 1273(16) below; (g) ff. 10v-10r: draft of the opening of an untitled piece or exercise for small orchestra; undated; (h) f. 9r: miscellaneous notes and sketches; (i) f. 8v: draft of Let saints on earth in concert sing for unaccompanied choir (SATB), to words by Charles Wesley; undated; includes extensive revisions; (j) ff. 8r-7v: draft of an untexted 'Chorale' in four-part score; undated. Upright format, 353 x 263. Collation: A16 (of which leaf A9 has been excised); foliated in 2010.
13. Three exercise-like pieces, all undated, [1911-12?]; they include what are probably exercises set at the Royal College of Music. Mus. 1273(13A): autograph fair copy in ink of Minuet [and Trio] for string quartet, with suggested emendations added by a tutor; also miscellaneous sketches and drafts, including (at f. 4v) a short 6-voice untexted polyphonic exercise composed against a cantus firmus in the bass. Upright format, 315 x 235 mm. Collation: two quired bifolia. Mus. 1273(13B): autograph draft in pencil of Minuet [and] Scherzo for piano. Upright format, 310 x 235 mm. Collation: bifolium. Mus. 1273(13C): autograph draft in pencil of Sarabanda, apparently for violin and piano. Upright format, 310 x 235 mm. Collation: bifolium.
14. Autograph fair copy in ink of Bring her again, O western wind for high voice and piano, to words by William Ernest Henley; dated 3 June 1912; this is a revision of the version drafted in 'Book A' (see above, Mus. 1273(12), at ff. 4v-5r), and is itself annotated with further revisions by the composer. Upright format, 315 x 233 mm. Collation: bifolium.
15. Autograph score and six copies of Fair pledges of a fruitful tree for small chorus or quartet (SATB) and piano, to words by Robert Herrick; dated 1 July 1912. Mus. 1273(15A): autograph fair copy in ink, with extensive revisions, some of which are copied on slips pasted to the pages. Upright format, 310 x 243 mm. Collation: A8, sewn within wrappers of thin brown paper. Mus. 1273(15B-G): six manuscript copies of the vocal parts in score, made by two unidentified hands.
16. Autograph fair copy in ink of Fugue in C major for piano, dated 5 July 1912; there is a draft of this piece in Mus. 1273(12) above (at ff. 12r-11v). Upright format, 300 x 235 mm. Collation: bifolium.
17. Autograph fair copy in ink of Echoes ('While the west is paling') for high voice and piano, to words by William Ernest Henley; dated 18 August 1912. Upright format, 343 x 267 mm. Collation: bifolium. Includes revisions by the composer.
18. Autograph score and fair copies of My eyes for beauty pine for unaccompanied choir (SATB), to words by Robert Bridges; undated. Mus. 1273(18A): autograph fair copy in ink. Upright format, 310 x 243 mm. Collation: bifolium, sewn within wrappers of thin brown paper. There is a draft of this piece in Mus. 1273(12) above (at ff. 5v-6v). Mus. 1273(18B-D): three manuscript copies, made by two unidentified hands.
19. Autograph draft in pencil of When all the world is young, lad for high voice and piano, to words by Charles Kingsley; dated 17 February 1913. Upright format, 310 x 235 mm. Collation: bifolium.
20. Autograph draft in pencil of Will you sleep these dark hours, maiden for high voice and piano, to words by Thomas Lovell Beddoes; dated 24 February 1913. Upright format, 315 x 235 mm. Collation: bifolium. Includes revisions by the composer.
21. Autograph score, corrected proofs and two printed copies of Falmouth for double unaccompanied chorus (SATB SATB) and piano ad lib., to words by William Ernest Henley; the autograph is dated 3 March 1913. Mus. 1273(21A): autograph draft score in ink and pencil of the choral parts, with sketches of the piano accompaniment; includes revisions by the composer. Upright format, 310 x 235 mm. Collation: A12, paginated by the composer. Mus. 1273(21B): proofs for the printed Novello edition, stamped with the date 15 April 1914; extensively corrected in black and red ink by proof-readers, with additional corrections by Woodman in blue pencil; 29 leaves, printed on the rectos only. Mus. 1273(21C-D): two unannotated copies of the printed edition (London: Novello, 1914). For a review of this work, see The Musical Times for 1914, p. 619.
22. Mus. 1273(22A): autograph draft in pencil of A birthday ('My heart is like a singing bird') for unaccompanied chorus (SATB), to words by Christina Rossetti; dated 20 July 1913. Upright format, 310 x 235 mm. Collation: bifolium. Mus. 1273(22B): autograph fair copy in ink of A birthday ('My heart is like a singing bird') for chorus (SATB) and piano or small orchestra, to words by Christina Rossetti; dated 7 December 1915. Upright format, 310 x 235 mm. Collation: three quired bifolia.
23. Autograph draft in pencil of Thick is the darkness for high voice and piano, to words by William Ernest Henley; dated 28 September 1913. Upright format, 315 x 235 mm. Collation: bifolium.
24. Autograph drafts and fair copies of The World's May Queen (1913) for baritone solo, soprano solo, chorus and orchestra, to words by Alfred Noyes. Mus. 1273(24A): draft short score in pencil, with extensive revisions, dated 25 November 1913. Upright format, 315 x 235 mm. Collation: 30 leaves, variously single or bifolia, partly quired, and partly paginated by the composer. This served as the basis for Woodman's autograph orchestral score, which is now shelved separately as Mus. 1276. Mus. 1273(24B): autograph fair copy of the vocal score, in two fascicles; upright format, 297 x 233 mm. Fascicle 1: collation: A18, paginated by the composer. Fascicle 2: B18, with pagination continuing from that of fascicle 1. Pencil markings by a compositor imply that publication of the vocal score may have been envisaged; no printed copy is known to exist.
25. Mus. 1273(25A): autograph draft in pencil of O my luve's like a red, red rose for unaccompanied chorus (SATB), to words by Robert Burns; dated 25 November 1913. Upright format, 310 x 235 mm. Collation: bifolium. Mus. 1273(25B): autograph fair copy in ink of O my luve's like a red, red rose for chorus (SATB) with optional piano accompaniment, to words by Robert Burns; undated [1913?]. Upright format, 310 x 233 mm. Collation: two quired bifolia.
26. Autograph fair copy in ink of The street sounds to the soldiers' tread for high voice and piano, to words by A. E. Housman; dated 16 August 1914. Upright format, 343 x 270 mm. Collation: two quired bifolia. Includes revisions by the composer.
27. Autograph fair copy in ink of Springtime ('It is the Springtime now!') for high voice and piano, to words by Alfred Noyes; dated 24 September 1914. Upright format, 310 x 233 mm. Collation: two quired bifolia. Includes revisions by the composer. Prefaced with a quotation from Alfred Noyes's epic poem Drake.
28. Autograph full orchestral score of New Forest Rhapsody (completed 28 October 1914): now shelved separately as Mus. 1281 (with a full set of orchestral parts at Mus. 1282). The first page of the score bears a dedication 'to Adrian Boult', who conducted performances in Liverpool and London during the War years.
29. Autograph score and printed copy of Lords of the main for chorus (SATB) and piano (or orchestra), to words by John Murray Bliss; the autograph is dated 29 October 1914. Mus. 1273(29A): autograph short score, extensively revised by the composer (largely using slips of paper cut and pasted into the original), and marked up by a compositor. Upright format, 310 x 235 mm. Collation: outer bifolium enclosing three single leaves. Mus. 1273(29B): printed edition (London: Boosey & Co., 1915).
30. Mus. 1273(30A): autograph score of Orpheus [with his lute] for high voice and piano, to words by Shakespeare; dated 7 February 1915. Upright format, 315 x 230 mm. Collation: bifolium. Mus. 1273(30B): autograph full score of Orpheus [with his lute] for high voice and small orchestra, to words by Shakespeare; dated 10 March 1915. Upright format, 430 x 345mm. Collation: two quired bifolia.
31. Autograph score, piano score and eight printed copies of O mistress mine for unaccompanied female chorus (SSAA), to words by Shakespeare; dated 27 November 1915. Mus. 1273(31A): autograph fair copy in ink. Upright format, 310 x 235 mm. Collation: two quired bifolia, paginated by the composer. Includes revisions by the composer. Mus. 1273(31B): autograph fair copy in ink, marked 'Piano copy'. Upright format, 310 x 235 mm. Collation: bifolium. Mus. 1273(31C-J): eight copies of a privately printed edition (n.p., n.d.), of which Mus. 1273(31C) is annotated 'Corrected copy' and has been emended in red ink by the composer.
32. A booklet containing autograph scores and drafts, variously in ink and pencil. The following occurs at the front of the booklet: (a) ff. 1v-3r: incomplete draft of Who is Silvia? for high voice and piano, to words by Shakespeare; undated. The following occur at the rear of the booklet: (b) ff. 17v-3r: incomplete draft of a piano piece in D flat major; undated; (c) ff. 15r-9r: fair copy of an untitled four-movement suite for piano; the movements are dated 31 May 1916, 2 April 1916, 3 April 1916 and 7 April 1916. Upright format, 300 x 235 mm. Collation: A18 (of which the last leaf is excised); foliated in 2010.
33. Autograph fair copy in ink of The twa sisters of Binnorie, a 'Scotch ballad' for high voice and piano, setting a traditional ballad text; dated 22 January 1918. Upright format, 350 x 270 mm. Collation: three quired bifolia, paginated by the composer.
34. Autograph draft in pencil of A butterfly of gorgeous hue for high voice and piano, setting an untraced text; dated 22 June 1918. Upright format, 315 x 233 mm. Collation: bifolium.
35. Autograph pencil draft of The sun in its splendour is touching the hills for high voice and piano, to words by Ernest Walls; dated 23 July 1918. Upright format, 305 x 245 mm. Collation: two quired bifolia. Encloses a copy of the poem written on a sheet a blue paper, signed at the end 'Ernest Walls. THS / Dovercourt / July 1918'.
36. A booklet containing autograph scores and drafts, variously in pencil and ink. The following occur at the front of the booklet: (a) ff. 1v-2r: incomplete pencil draft of an unidentified piano piece in c minor; (b) ff. 3v-4r: fair copy in ink of Come, my little children for high voice and piano, to words by Robert Louis Stevenson; dated 19 December 1918. The following occur at the rear of the booklet: (c) ff. 8v-7r: pencil draft short score of part of an unidentified orchestral work in B flat minor; incomplete and undated; (d) ff. 7r-4v: sketches and partial draft in ink of I ask good things that I detest for accompanied chorus (SATB), to words by Robert Louis Stevenson; undated. Upright format, 300 x 235 mm. Collation: A8; foliated in 2010.
37. Autograph draft short score and complete full score of Ode on melancholy for small orchestra. Mus. 1273(37A): draft short score in ink and pencil, with many emendations, dated 8 February 1919. Seven miscellaneous leaves of various sizes, paginated by the composer. Mus. 1273(37B): fair copy in ink of the finished score, dated 8 February 1919. Upright format, 337 x 270 mm; collation: A22, partly paginated by the composer; binding of blue buckram over boards. There is a full set of orchestral parts for this work at Mus. 1282. First performed at The Royal College of Music on 13 November 1919 by the London Symphony Orchestra conducted by Adrian Boult; see The Musical Times for December 1919, p. 674.
38. Autograph draft short score and complete full score of Ode on a Grecian urn for small orchestra. Mus. 1273(38A): draft short score in ink and pencil, with many emendations, dated 18 March 1919. Upright format, 360 x 270 mm; collation: two quired bifolia enclosing a single leaf, paginated by the composer. Mus. 1273(38B): fair copy in ink of the finished score, annotated 'Begun 9.4.19' at the start, and dated 27 June 1919 at the end. Upright format, 365 x 275 mm; collation: A18, paginated by the composer; binding of blue buckram over boards. There is a full set of orchestral parts for this work at Mus. 1282.
39. Autograph fair copy in ink of Song from The Merchant of Venice ('Tell me where is fancy bred') for high voice and piano, to words by Shakespeare; dated 8 December 1920. Upright format, 310 x 233 mm. Collation: bifolium.
40. Autograph fair copy in ink of Aubade ('The lark now leaves his wat'ry nest') for high voice and piano, to words by Sir William Davenant; dated 1 May 1921. Upright format, 310 x 235 mm. Collation: two quired bifolia.
41. Autograph draft and revised fair copy of Blow, blow thou winter wind for high voice and piano, to words by Shakespeare. Mus. 1273(41A): draft in ink, dated 29 November 1921 ('Roquebrune'). Single sheet, upright format, 360 x 245 mm. Mus. 1273(41B): fair copy in ink, annotated at end: 'Roquebrune 19.XI.[19]21. Rewritten and altered 5.xii.1930'. Upright format, 310 x 235 mm. Collation: three quired bifolia, paginated by the composer.
42. A booklet containing autograph fair copies in ink of songs. The following are copied at the front of the booklet: (a) pp. 1-5: You say you love for high voice and piano, to words by John Keats; dated 9 December 1922; loose within the booklet is a sheet bearing a copy of the poem, possibly in Woodman's hand; (b) pp. 6-17: When lads were home from labour for high voice and piano, to words by A. E. Housman; dated 9 July 1924; (c) pp. 18-22: [At parting] ('Before her feet behold there lie unseen') for high voice and piano, to words by Geoffrey G. F. Greig; dated 5 February 1925; for another copy of this song, see item 46 below; (d) pp. 23-5: Twilight veils the earth in mist for high voice and piano, to words by Geoffrey G. F. Greig; dated 6 February 1925; for another fair copy and a printed edition of this song, see items 46-7 below. The following is copied at the rear of the booklet: (e) pp. 29-8: Joseph Marx, Wie Einst for high voice and piano, annotated 'Universal Edition' and 'composed 1903'. Upright format, 255 x 170 mm. Collation: A16 (of which A9 has been excised), paginated by the composer.
43. Autograph fair copy in ink of Who is Silvia? for high voice and piano, to words by Shakespeare; dated 16 June 1923. Upright format, 360 x 270 mm. Collation: two quired bifolia.
44. Autograph fair copy in ink of [Fancy's home] ('Tell me, Fancy, sweetest child') for unaccompanied chorus (SATB), to words by William Henry Davies; undated [c.1921-3?]. Upright format, 360 x 263 mm. Collation: bifolium.
45. Autograph draft in ink of On the shore ('How holy is the night') for high voice and piano, to words by Geoffrey G. F. Greig; dated 9 February 1925. Upright format, 300 x 233 mm. Collation: five quired bifolia; the song is copied on ff. 1r-3v only. Annotation on f. 1r: 'published slightly revised'; for the printed edition, see item 47 below.
46. Booklet containing autograph fair copies in ink of two songs for high voice and piano, to words by Geoffrey G. F. Greig: (a) At parting ('Before her feet behold there lie unseen'), dated 5 February 1925; lightly deleted in pencil; for another copy of this song, see item 42 above (at ff. 18-22); (b) Twilight ('Twilight veils the earth in mist') for high voice and piano, to words by Geoffrey G. F. Greig; dated 6 February 1925; marked up by a compositor for publication. For another copy of this song, see item 42 above (at ff. 23-5). The first page of the booklet is annotated 'Three songs. Words by Geoffrey G. F. Greig'; the two songs copied here were evidently partnered with On the shore ('How holy is the night') = item 45 above. The word 'Three' was then deleted and replaced with 'Two'. For the published edition of these two songs, see item 47 below.
47. Mus. 1273(47A-G): seven printed copies of Two Songs. Twilight. On the shore. Words by Geoffrey G. F. Greig (London: Stainer & Bell, 1925). For manuscript copies of these songs, see items 42, 45 and 46 above. The titlepage of one copy is annotated 'from the Composer 1926' and 'Muriel Ferrand'.
48. Autograph full orchestral score, separate 'dance score' and scenario for A rose ballet (dated July 1929): now shelved separately as Mus. 1274(A-C) (with a full set of orchestral parts at Mus. 1282).
49. Mus. 1273(49A-B): two printed copies of Now sleeps the crimson petal (second setting) for chorus (SATB) and piano (or orchestra), to words by Alfred, Lord Tennyson (London: Stainer & Bell, 1929). One copy is stamped 'proof' but contains no manuscript annotations. For another setting of this text, see item 4 above.
50. Autograph draft, amanuensis fair copy and two printed copies of In the highlands for unaccompanied chorus (SATB divisi), to words by Robert Louis Stevenson; the autograph draft is dated 3 May 1931. Mus. 1273(50A): autograph ink draft in short score. Upright format, 355 x 260 mm. Collation: bifolium. Mus. 1273(50B): fair copy in ink of the finished score, with piano reduction 'for practice only', copied by an unidentified amanuensis, and marked up by a compositor for printing. Upright format, 305 x 243 mm. Collation: four quired bifolia, within wrappers of grey paper. Mus. 1273(50C-D): two unannotated copies of the printed edition (London: Murdoch, Murdoch & Co., 1932).
51. Autograph fair copy and one printed copy of Mrs. Stuart's Retirement for unaccompanied chorus (SATB divisi), to words by Henry Carey; the autograph is dated 30 November 1931. Mus. 1273(51A): autograph fair copy in ink, with piano reduction 'for practice only', marked up by a compositor for printing. Upright format, 310 x 235 mm. Collation: eight single leaves, paginated by the composer. Mus. 1273(51B): printed edition (London: Murdoch, Murdoch & Co., 1932).
52. Printed copy of For Empire for unaccompanied unison chorus, piano, and trumpet ad lib.; 'Words and air by F.D.T. / Accompaniment by R.T.W.'; 'Dedicated to the Junior Imperial League' (London: Murdoch, Murdoch & Co., n.d. [c.1932?]).
53. Two unrelated and undated works for voices and small orchestra, both titled The voice of nature and setting an unidentified text. Mus. 1273(53A): autograph draft in ink of an incomplete early setting for chorus and small orchestra; the chorus parts are largely untexted. Upright format, 350 x c.270 mm. Collation: 11 single leaves, foliated by the composer; music copied on the rectos only; incomplete at the end. Mus. 1273(53B): full score of a second (complete) setting for solo voice, chorus, harp and string orchestra, copied in ink by an amenuensis, and possibly used by a conductor in performance; the solo voice part is untexted. Upright format, 340 x 267 mm. Collation: single leaf and six bifolia, stitched together, paginated by the copyist. There is a set of chorus and orchestral parts for this second setting at Mus. 1282.
54. The artist's liturgy, song for high voice, harp and string orchestra, setting an unidentified text; undated. Full score, copied in ink by an amenuensis, and possibly used by a conductor in performance; the solo voice part is untexted. Upright format, 360 x 277 mm. Collation: eight quired bifolia, paginated by the copyist, and stitched into wrappers of thick grey paper. There is a set of instrumental parts for this work at Mus. 1282.

Not included in the standard microfilm edition.