Cambridge University Library

Arthur Bliss Archive

Amendments to works written between 1955 and 1975 (B. 102-B. 180)

B. 102

Concerto, violin

Copy of full score at MRS.30.155 corrected by the composer (n.d.), and Desmond Ratcliffe (1971)
The [1980] printing “with composer’s final corrections” contains none of the below.

p. 1. Bar 4- 2 5. db. Add ties over barline (to both notes of chord in double bass part).
p. 3. Fig 3 bar last note. db: add “pp” before pizz. “A”
p. 6. Fig. 7 bar 2. Vl. solo: reverse bowing marks to <up bow><down bow>[D.R.] [correct in printed part]
p. 6. Fig. 7 bar 3. Vl. solo: reverse bowing mark on first chord to <up bow>[D.R.] [correct in printed part]
p. 7. Fig. 8 bar 2. Vl. solo: reverse last two bowing marks to <up bow><down bow>[D.R.] [correct in printed part]
p. 23. Fig 22 bar 1. Vl. I: Add “2 desks only” [A.B.]
p. 25. Fig 22 bar 7. Vl. I: Add “Tutti” [A.B.]
p. 35. Fig. 31 bar 1. vl solo: change <down bow> to <up bow>; delete beginning of slur. [D.R.] [correct in printed part]
p. 36. Fig. 31 bar 2. vl solo: Add <down bow> to first note; shorten slur to cover first two notes. [D.R.] [correct in printed part]
p. 40. Fig 35 bar 2. vl solo: Remove slur over last two quavers; add <down bow><up bow> over same notes  [D.R.] [correct in printed part]
p. 40. Fig 35 bar 3. vl solo: Add <down bow> over first quaver; remove slur over quavers 3-4; add <up bow> <down bow> over same notes. [D.R.] [correct in printed part]
p. 45. Fig 42 bar 3. Harp: first two chords should be “G-#C-bB” [A.B.]
p. 45. Fig 42 bar 3. Vl. solo: at end of second minim trill: “add BC grace notes and slur”. [D.R.] [correct in printed part]
p. 54. Fig. 49 bar 4. Vl. Solo: delete “sec.”  [D.R.] [correct in printed part]
p. 54. Fig. 49 bar 5. Vl. Solo: delete “sec.” [D.R.] [correct in printed part]
Movement 2
p. 58. Fig 6 bar 6. Vl. solo: last two quavers: remove triplet marks (i.e. plain quavers) [A.B.] [correct in printed part]
p. 65. Fig 15 bars 9-11. Perc. Add rest signs beneath line. [D.R.]
p. 70. Fig. 22 bar 5-6. Vl. solo: Add slur over (bB-G) across barline. [D.R.] [correct in printed part]
p. 71. Fig 24 bar 1. Vl. solo: Delete second long slur; replace with short slurs over the two pairs of semiquavers. [D.R.] [correct in printed part]
p. 71. Fig 24 bar 2. Vl. solo: Delete long slur; replace with short slurs over the two pairs of semiquavers. [D.R.]  [correct in printed part]
p. 73. Fig. 25 bar 4. Vl. I: Add “pp” [A.B.]
p. 75. Fig. 27 bar 1. Vl. solo: Change <up bow> to <down bow> on first note; shorten slur to cover first two notes only. [D.R.] [correct in printed part]
p. 77. Fig 29 bar 9. “Cut to 40”
p. 80. Fig 34 bar 7. Vl. solo: Add portamento sign between “D”-“F#” [D.R.] [correct in printed part]
p. 81. Fig 36 bar 6-7. vlc & db: Remove slurs; add “pizz.” [A.B.]
p. 81. Fig 37 bar 3. Vl. I(i). Add <natural> to 4th note “C” [A.B.]
p. 81. Fig 38 bar 1 beat 3-bar 3 beat 2. Vl. solo: change slur to cover E-F and G-A. [D.R.] [correct in printed part]
p. 82. Fig 38 bar 4-5. Vl. solo: end first slur at first quaver; add slur over “#C-D” ; delete slur over “D-E”; add slur over “E-F” [D.R.] [correct in printed part]
p. 82. Fig 40 bar 2. Vl. solo: change penultimate note from “A” to “G” [A.B.] [correct in printed part]
p. 83. Fig. 40 bar 8-Fig. 42 bar 2. Vl. solo: remove all dots. Add “legato” [D.R.]  [correct in printed part, “legato” appears only in piano score]
p. 89. Fig. 47 bar 8. ob solo: delete <flat> before “E” [D.R.]
p. 92. Fig 53 bar 1. strings. Change “mf” to “f” [A.B.] [Correct in piano score]

Movement 3
p. 93. Fig 1 bar 2-3. Vl. solo. Remove slur [D.R.] [correct in printed part]
p. 93. Fig 1 bar 3. Vl. solo. Add slur over last three quavers [D.R.] [correct in printed part]
p. 93. Fig 1 bar 4. Vl. solo. Delete slur over first two notes; add slur over last three quavers [D.R.] [correct in printed part]
p. 95. Fig 3 bar 3. Vl. solo. Delete slur over first two notes; add slur over last three quavers [D.R.] [correct in printed part]
p. 95. Fig 3 bar 4. Vl. solo. Delete slur over first two notes; add slur over last three quavers [D.R.] [correct in printed part]
p. 95. Fig 3 bar 5. Vl. solo. Delete slur over first two notes; add slur over last three quavers [D.R.] [correct in printed part]
p. 95. Fig 3 bar 6. Vl. solo. Delete slur over first two notes [D.R.] [correct in printed part]
p. 101. Fig 13 bar 6. Vl. solo. Last note “B” an octave lower. [A.B.] [correct in printed part]
p. 106. Fig. 18 bar 7. Vl. I. clarify “f” sign. [A.B.]
p. 108. Fig 20 bar 1. vlc: add “div.” [A.B.]
p. 109. Fig 21 bar 1. vlc: add “div.” [A.B.]
p. 109. Fig 21 bar 8. vlc: add “unis.” [A.B.]
p. 119. Fig. 34 bar 5. hn1: delete “con sord.” [A.B.]
p. 119. Fig. 34 bar 7. hn1: add “con sord.” ; change “pp” to “p” [A.B.]
p. 120. Fig. 35 bar 9. Vl. solo: last chord: “add lower A” [D.R.] [correct in printed part]
p. 120. Fig. 38 bar 3. Vl. solo: add slur over first two crotchets. [D.R.] [correct in printed part]
p. 120. Fig. 38 bar 4. Vl. solo: add slur over last two crotchets. [D.R.] [correct in printed part]
p. 120. Fig. 39 bar 1. Vl. solo: delete “piu” before “f”. [D.R.] [correct in printed part]
p. 120. Fig. 39 bar 5. Vl. solo:  change <dotted crotchet>-<semiquaver> beat to two quavers. [D.R.] [correct in printed part]
p. 120. Fig. 40 bar 3. Vl. solo: add low grace note “G” and slur before chord. [D.R.] [correct in printed part]
p. 121. Fig 40 bar 10. Vl. solo: add “ponticello” [D.R.] [correct in printed part]
p. 121. Fig 41 bar 3. Vl. solo: delete both “sec.” [D.R.] [correct in printed part]
p. 122. Fig 45 bar 5. Ob. Solo. Delete crotchet “C#”, tie and slur (shorten slur to start with next note) [A.B.]
[To accommodate cut from 45 bar 6 to 49]
p. 125. Fig 49 bar 1-3. Vl. solo: add high “C#” (2 dotted minims and a quaver tied together) [A.B.]

“The composer wishes 2 cuts to be made: - (a) one bar before Fig. 30 to Fig. 40 in the Second movement
(b) from double bar 6 bars after Fig. 45 to Fig 49 in the Third movement.

Amendments the appear in MRS.30.56 (edition said to contain the “composer’s final corrections”) but not in earlier corrected scores:
p. 45. Fig 42 bar 3. Delete whole bar.

Copy of piano score and part at MRS.30.157 contains the following corrections by AB and DR.

p. 18. Fig 28 bar 8. R.H.: penultimate note shold be “#G” [D.R.]
p. 21. Fig 35 bar 2. vl solo: last two quavers: add <down bow><up bow>  [D.R.] [correct in part]
p. 21. Fig 35 bar 3. vl solo: Add <down bow> over first quaver; add <up bow> <down bow> over last two quavers. [D.R.] [correct in part]

Movement 3
p. 57. Fig 17 bar 9. R.H. third chord should have <natural> before “E” (CEBb)
p. 57. Fig. 18 bar 1. R.H. Hole bar an octave higher.
p. 67. Fig. 45 bar 6. Cut to Fig. 49.
p. 69. Fig 49 bar 1-3. Vl. solo: add high “C#” (2 dotted minims and a quaver tied together) [A.B.]

Corrections to part:
p. 5. Fig 14 bar 2. Second chord: delete # before low “A” [D.R]
p. 27. Fig 45 bar 6. Cut to Fig. 49 (alternatively from 47 to 49) [D.R.]
p. 28. Fig 49 bar 1-3. Vl. solo: add high “C#” (2 dotted minims and a quaver tied together) [D.R.]

B. 105

Song of welcome

Copy at MRS.30.163 is corrected:
p. 8. Fig 10 bar 1. Tenor: Add “ff joyously” and musical notes: quaver rest-crotchet C-quaver E.
p. 8. Fig 10 bar 1. Bass: Add “ff joyously” and musical notes: quaver rest-crotchet A-quaver C.
p. 8. Fig 10 bar  2. Tenor & Bass: delet “ff joyously”
p. 22. Fig 20 bar 1-2. Piano: add cue for timp (4 crotchets in each bar, and in the second bar add “colla voce”)
p. 22. Fig 20 bar 2. SATB chorus & piano: delete pause mark.
p. 29. Fig 39 bar 4. Chorus: add hairpin crescendo.
p. 43. Fig 53 bar 5. Solo parts. Add “* if desired, a few of the chorus can sing with the two soloist from here to the end.”

B. 109

Meditations of a theme by John Blow

Copies at MR310.a.95.14 & MRS.30.167 corrected by AB; MR310.a.95.15 has only those corrections noted below.  All these corrections are incorporated into the 1978 reprint “with composer’s final revisions” (and are therefore in italics).
p. 2. Fig. 2 bar 3. Sheep bells.Change “pp” to “p ben marcato” [MRS.30.167 only]
p. 20. Fig. 16 bar 1. Change “<dotted crotchet>=96” to “=88”
p. 20. Fig 16 bar 2-3. ob1 & fl2 & fl1: change “mp” to “mf”
p. 20. Fig 16 bar 2-3. vl1 & vl2: change “mf” to “mp”
p. 21. Fig 16 bar 6. fl2 & fl1: change “mp” to “mf”
p. 21. Fig 17 bar 1. ob1 & ob2: change “mp” to “mf”
p. 83. Meditation IV bar 2. fl1-2, picc, ob1-2, cor a., cl1-2, hn1-4: hairpin diminuendo
p. 83. Meditation IV bar 4. vla. Add “soli”
p. 83. Meditation IV bar 4. vlc & db: Change “ff” to “f”
p. 84. Meditation IV bar 6. vl2. Add “soli”
p. 84. Meditation IV bar 6. vla. Add “f”
p. 85. Fig. 54 bar 1. vl1: add “soli”
p. 85. Fig. 54 bar 1. vl12 add “f”
p. 85. Fig. 54 bar 3. vl1, vla, vlc, db: add “ff”.
p. 95. Fig. 59 bar 1. vla: add “soli”
p. 96. Fig. 59 bar 3. vl2: add “soli”
p. 97. Fig. 59 bar 5. vl1: add “soli”
p. 104. Fig. 64 bar 2. vl1: before 5th quaver add “# to F”
p. 104. Fig. 64 bar 2. vl2: before 2nd quaver F amend “# not <natural>”
p. 106. Fig. 66 bar 1. b cl, fl1, & cl1: change “p” to “pp”
p. 112. Fig. 66 bar 8. cor a, vl1, vl2: change “p” to “pp”
p. 113. Fig 67 bar 3. cor a, & all strings: change “mp” to “p”
p. 113. Fig 67 bar 4. cor a, vl1, vl2: change “p” to “pp”
p. 142. Fig. 82 bar 6. vl1: first note, add “# to C” [also in MR310.a.95.15]
p. 144-145. Fig. 83 bar 5-8. db:  tremolo “crotchets not minims” [D.R.] [not in MRR310.a.95.14-15]
p. 156. Fig. 89 bar 1. hn 2 & hn 4, second beat: change <dotted quaver>+<semiquaver> to <crotchet> [also in MR310.a.95.15]
p. 156. Fig. 89 bar 2. cl1: first note: add “<natural> to G” [also in MR310.a.95.15]
p. 156. Fig. 89 bar 3. hn 1-2 & hn 3-4,  last note should be a semiquaver (add semiquaver bar) [MRS.30.167 only]
p. 159. Fig. 90 bar 7. tpt 1, third note: add “<natural> to G”
p. 166. Fig. 95 bar 2. cl1, second note: add “# to G” [also in MR310.a.95.15]
p. 166. Fig. 95 bar 2. hn3, second note: add “# to B” [also in MR310.a.95.15]
p. 166. Fig. 95 bar 4. Add “rall.”
p. 166. Fig. 95 bar 5. Delete “rall.”
p. 177. Fig. 102 bar 1. tpt2 & tpt3: add “con sord.”
p. 179. Fig. 104 bar 1. sheep bells: change “pp” to “p ben marcato”

B. 116

Discourse

Copy at MRS.30.170 is corrected by the composer, June 1965.
p. 9. Fig. 6 bar 7. Vl1: last minim: add hairpin diminuendo
p. 12. Fig. 8 bar 4. bn1: add “p”
p. 22. Fig. 17 bar 4, last beat: tpt1: add “mf”
p. 24. Fig. 19 bar 6. bn 1-2: add “f”
p. 24. Fig. 30. cl1: add “ff”
p. 28. Fig. 23 bar 1. b trbn: add “f”
p. 28. Fig. 23 bar 4. trbn1: add “f”
p. 29. Fig. 24 bar 3: add “<crotchet>=<crotchet>”
p. 29. Fig. 24 bar 6: add “<crotchet>=<crotchet>”
p. 39. Fig. 34 bar 2. fl, ob, bn: add “<comma>” after the last note of the bar.
p. 39. Fig. 34 bar 6. strings: add “<comma>” after the last note of the bar.
p. 42. Fig. 36 bar 5. bn1-2: add “p”
p. 53. Fig. 45 bar 4. trbn1: add “<accent>” to first note
p. 53. Fig. 45 bar 5. trbn1: add “<accent>” to first note
p. 53. Fig. 45 bar 7. hn2 & hn4: add “<accent>” to first note
p. 56. Fig. 47 bar 3. vl1: eighth note, add “<natural>” to octave “F” semiquaver.
p. 60. Fig. 50 bar 5. bn1: 5th note (quaver A): add “mp”
p. 62. Fig. 51 bar 3. fl1: add “mf”
p. 68. Fig. 57 bar 3. vl1: second beat: add “pp”
p. 71. Fig. 59 bar 5. trbn1, trbn 2 & b trbn: add “mf”
p. 72. Fig. 60 bar 8: add “<crotchet>=<crotchet>”
p. 72. Fig. 61 bar 1: add “<crotchet>=<crotchet>”
p. 73. Fig. 61 bar 5. tpt & trbn: after “mf” add “sub.”
p. 83. Fig. 70 bar 1. After “Tranquillo <dotted minim>=<minim>” add “=60”
p. 83. Fig. 70 bar 1. tpt 1: add “mp”
p. 86. Fig. 71 bar 7. vlc: add “sempre pizz.”
p. 87. Fig. 73 bar 1. Add “<dotted minim>=60”
p. 87. Fig. 73 bar 4. fl1: add “mf”
p. 88. Fig. 73 bar 6. After “Meno mosso” add “<minim>(<dotted minim>)=54-56”

B. 118

Tobias and the angel

MRS.30.173 corrected by AB
p. 6. Fig. 8 bar 13. Voice: add tie over bar line
p. 17. Fig. 22 bar 3. Add “meno mosso”
p. 17. Fig 23 bar 1. Delete “slower” add “ancora meno”
p. 27. Fig 35 bar 5. Over last note (voice & piano R.H.): add “ten.”
p. 29. Fig. 37 bar 1. Add “pesante”
p. 29. Fig 37a bar 5. L.H. beat 2 last semiquaver: delete “Eb” add “G” (G not Eb)
p. 33. Fig 42 bar 1. R.H. beat 2 to first quaver of next bar circled: “this run up should come in the next bar. A.B.”
p. 34. Fig. 43 bar 1. Add “accel.”
p. 38. Fig. 48 bar 5. R.H. Add dot to top note “G” ; change second note to crotchet “A” (same as vocal line)
p. 54. Fig. 73 bar 7. R.H. First chord top note. Add “# to G”
p. 71. Fig. 104 bar 1. Add “poco meno”
p. 83. Fig 124 bar 12. L.H. replace 3 crotchets EDbB with : 4 quavers “EDCbB” up to crotchet “F” (in octaves)
p. 84. Fig. 126 bar 5. L.H. second note: “G not A”
p. 85. Bar 1: Add Fig. “128”
p. 89. Fig 134 bar 8. L.H. second minim chord should be “nDGB” (not nDGA)
p. 92. Fig 138 bar 3. Chorus Alto part: Add “<natural> to A”
p. 94. Fig 139 bar 3. L.H. last quaver should be octaves low Ab (not “F”) (as in Bass chorus part)
p. 94. Fig. 139 bar 9. Chorus Bass and piano L.H. last note: add “<natural>” before “A”
p. 95. Fig, 140 bar 3. Tenor solo, last note: add <natural> before “D”
p. 96. Fig. 141 bar 4. L.H. first note:add <natural> before octaves “D”
p. 107. Fig. 159 bar 4. R.H. “b lifted to A” [?]
p. 107. Fig. 159 bar 9. Add “poco meno”
p. 116. Fig. 173 bar 9. Add <pause> over bar line into Fig. 174.
p. 125. Fig 189 bar 6. Middle system: change chord from “FGB” to “BFB”
p. 133. Fig. 206 bar 5. Raguel (2nd Bass): third note: add <flat> to “B”
p. 141. Fig. 213b bar 7. R.H. third chord: add <natural> to “B”
p. 141. Fig. 213b bar 11. R.H. first chord: add <natural> to “E” (and delete from second)
p. 145. Fig. 218 bar 8. R.H. last chord: add “ten.”
p. 147. Fig. 221 bar 8. R.H. first chord: add <natural> to “D”

B. 127

Beatitudes

Multiplicated “Note for conductor. Corrections to the Beatitudes” (with MRS.30.186) (these corrections also appear the composer’s hand in MRS.30.184 & 187):
p. 13. Fig. 24 bar 5. Change “<crotchet>=c. 56” to “= c. 60”
p. 15. Fig. 28 bar 1. Change “<crotchet>=c. 56” to “= c. 60”
p. 27. Fig. 43 bar 9. Tenor solo. Change crotchet “A” to two quavers “AC”
p. 30. Fig. 47 bar 9. over last quaver pause: delete “(piccolo)”
p. 31. No. 4. bar 1. Change “<crotchet>=c. 72” to “= c. 80”
p. 39. No. 5. bar 1. Change “<crotchet>=63” to “= c. 66”
p. 52. Fig. 82 bar 4. Soprano chorus: “delete <natural>E for 2nd soprano”
p. 67. Fig. 104 bar 2. R.H. Delete minim rest; add minim “B” and “fz”
p. 80. Fig 124 bar 5. Change “<crotchet>=168” to “= 160”

The copy at MRS.30.184 contains the above corrections in holograph, and the ascription of “No. 8 The call” is corrected to “George Herbert”.

Copy at MRS.30.187 is a later printing, with the ascriptions of “No. 8 The call” to “Henry Vaughan” on the contents page and p. 54 corrected to “George Herbert” (but not corrected in the libretto on p. [v]). It is marked “Corrected A.B. May 1971”. It contains all the corrections listed above and the following additional corrections:

p. [v] Change “Henry Vaughan” to “George Herbert”
p. 19. Fig. 34 bar 4. Chorus: change “dot” after second minim to “quaver + quaver rest”
p. 23. Fig. 38 bar 3. Chorus: change first “crotchet” to “quaver + quaver rest”
p. 35. Fig 54 bar 2. Soprano solo: last three quaver triplets and following dotted minim: add “<accent>” to all four.
p. 38. Last bar (G.P.): add “lunga”
p. 67. Fig. 104 bar 6. Chorus: change first “crotchet” to “quaver + quaver rest”
p. 72. Fig. 111 bar 1. Chorus: change first “crotchet” to “quaver + quaver rest”
p. 84. Fig 129 bar 3. Chorus: change first “crotchet tied to quaver” to “quaver + quaver rest + crotchet rest”

B. 132

Mary of Magdala

MRS.30.192 is an early printing of the vocal score, corrected by the composer (unlike AB’s usual practice, these corrections are not marked with a cross in the margin, and the second edition actually includes more corrections than those noted here, e.g. on p. 17 the chorus are marked “p” in the first edition and “mp” in the second edition):
p. [ii]. Add orchestration.
p. [1]. Fig. 1 bar 4. Chorus: change “p” to “mp”
p. 2. Fig. 2 bar 2. Chorus: change “p” to “mp”
p. 3. Fig.3 bar 2. Chorus: change “cobbled” to “trodden”
p. 16. Fig. 17 bar 3. Voice: add <pause> over quaver rest.
p. 16. Fig. 17 bar 4 (recit). Voice: add <pause> over quaver rest (after “name”)
p. 18. Fig. 18 bar 6. Tenor chorus: add “marc[ato]”
p. 18. Fig. 18 bar 7. Alto chorus: add “marc[ato]”
p. 18. Fig. 18 bar 8. Bass chorus: add “marc[ato]”
p. 18. Fig. 19 bar 1. Soprano chorus: add “marc[ato]”
p. 24. Fig. 24 bar 2. Christus: add <accent> over first note (“trou-”)
p. 27. Fig. 28 bar 3. S & A chorus: add <accent> over second note (“dear”)
p. 27. Fig. 28 bar 4. B chorus: add <accent> over second note (“dear”)
p. 33. Fig. 33 bar 7. Voice: add <accent> on first note (“gold”)
p. 37. Fig. 39 bar 3. R.H. change first note (minim high E) to (<semiquavers> high GF <quaver>E tied to <crotchet>E)
p. 39. Fig. 42 bar 6. Voice (recit): after last quaver add minim Eb tied to a quaver over the barline (“way”) (i.e. move the last syllable to the previous bar)
p. 39. Fig. 43 bar 1. Christus: change spoken “Mary” to sung twice.
p. 42. Fig 47 bar 5. Add time signature 4/4; change Christus note to dotted minim; add minim rest to beginning of piano acc. ; add “Maestoso <crotchet>=69”
p. 44. Fig. 50 bar 2. Chorus: add <accent> on first note (“birth”)
p. 50. Fig. 55 bar 3-4. SA chorus: add accents over “Ho”, “Ma”, “Ma” (2nd ed has tenuto marks)
p. 51. Fig. 55 bar 6-7. TB chorus: add accents over “Ho”, “Ma”, “Ma” (2nd ed has tenuto marks)
p. 52. Fig. 56 bar 6. 2nd B chorus: change from low “D” to “G”
p. 54. Fig. 58 bar 2. Chorus: change “f” to “ff”

MRS.30.193 is the second edition, corrected by the composer (with the usual crosses in the margin):
p. [iii]  line 7 of first chorus: change “cobbled” to “trodden”
p. 23. Fig. 22 bar 1. Add “poco accelerando”
p. 47. Fig. 52 bar 4. Piano top line: last three crotchets should be quavers (add bar)

B. 134

Knot of riddles

MRS.30.195-196 (full score, not for sale) amended by the composer (MRS.30.196 includes only amendments on p. 1 and 58):
p. 1. Bar 1. Change “<crotchet>=54” to “<dotted crotchet>=54”
p. 6. Fig. 2 bar 5. Baritone: 9th note should be high “G” not “E”
p. 7. Fig. 3 bar 2. Baritone: first two notes “F’s not D’s”
p. 26. Fig. 12 bar 4. Vlc & db: second beat: remove slurs (i.e. as vl & vla)
p. 34. Fig. 17 bar 5. db: add “mp”
p. 39. Fig. 20 bar 6. vla: add “<natural>” to first note (“B”)
p. 58. fig. 37 bars 5-6. Baritone: add words “And sport with the wind”
p. 66. Fig. 44 bar 3. strings: add hairpin crescendo.
p. 79. Last bar: flute:  “<pause> instead of TEN.”

B. 137

Golden cantata

MRS.30.200 and 201 are both corrected by the composer.
p. [v] Poem VIII second line: add comma at end of line after “sun”
p. [1]. Bar 1. Change “<crotchet>=76” to “= 69”
p. 4. Fig 6 bar 1. Bass chorus: add “<flat>” to last note (“B”)
p. 4. Fig. 6 bar 5. Soprano chorus: add “<flat>” to 4th note (“<dotted crotchet> C”)
p. 10. Fig 13 bar 1. Change “<crotchet>=96” to “= 100” (not in MRS.30.201)
p. 10. Fig 13 bar 3. SA chorus: add “<accent>” over “cry”
p. 12. Fig 15 bar 4. SATB chorus: add hairpin crescendo.
p. 13. Fig. 15 bar 7. L.H. chord on second quaver: add “<flat>” to top note (“A”)
p. 13. Fig. 15 bar 8. SATB chorus & acc.: add “<pause>” over first note (second note of Sop)
p. 15. Fig. 20 bar 2. R.H. change “D# <minim>” to “D#<crotchet>E<quaver>tied to E<crotchet>” (as in Bass chorus part)
p. 16. Fig 21 bar 8. R.H. first chord: “# to C not A”
p. 18. Fig. 23 bar 2. A chorus and acc. L.H.: first note/chord: add <natural> to “B”
p. 20. Fig. 26 bar 3. Soprano I-II: first chord “reverse voices” (i.e. Sop I sings lower note)
p. 21. Fig. 27 bar 9. Tenor: second note: add “<natural>” to “E”
p. 22. Fig 29 bar 1. Add “Piu sostenuto”
p. 22. Fig. 29 bar 3. Add “a tempo”
p. 25. Fig 32 bar 1. Add “poco rit.”
p. 25. Fig 32 bar 4. Soprano: add “#” to “<dotted crotchet> F”
p. 31. Fig. 38 bar 3-4. Bass: add divisi lower octave “<crotchet>B - <semibreve> E”
p. 32. Fig. 39 bar 8. R.H. First note: add “<natural” to lower note “B”
p. 32. Fig. 40 bar 5. Change “<crotchet>=100” to “= 108”
p. 34. Fig. 42 bar 1. SATB chorus: 4th note: add “<natural>” to “F”
p. 34. Fig. 42 bar 3. Soprano: 4th note: add “<natural>” to “F”
p. 35. Fig. 42 bar 6. Change “poco” to “molto”
p. 35. Fig. 42 bar 11. SATB chorus: add “ten.” over second note (“my”)
p. 36. Fig. 43 bar 3. Change “<crotchet>=100” to “= 108”
p. 37. Fig. 44 bar 4. Alto: 5th note: delete “<flat>” from “B”
p. 38. Fig. 44 bar 6. R.H. melody: 4th note add “<natural>” to “F”
p. 39. Fig. 45 bar 5. Delete “a tempo” ; change “poco” to “molto”
p. 41. Fig. 49 bar 5-6. Solo tenor: change first note to high “E<quaver>” ; change second note to high “A<dotted crotchet>” tied to “<crotchet>” tied over bar line to “<minim>” tied to “<quaver>” followed by “<quaver rest>)”
p. 42. Fig. 52 bar 1. Tenor solo: second note, add <natural> to “B”.
p. 44. Fig. 56 bar 5-7. Tenor solo: tie over bar line to “<dotted minim>G” tied over barline to “<crotchet>” tied to “<quaver>” followed by “<quaver>” and “<crotchet>” rests.
p. 45. Fig. 57 bar 4. L.H. First two notes of melody should be equal quavers, not crotchet quaver triplet.
p. 45. Fig. 57 bar 7. L.H. Second note of melody should be high “C” not “B”
p. 47. Fig. 60 bar 2. SATB chorus: add hairpin crescendo over first two crotchet beats.
p. 49. Fig. 64 bars 3-5. R.H. slip of paper gives different disposition of chords for these three bars.
p. 52. Fig 67 bar 6. R.H. first chord top note: add <natural> to “A”
p. 53. Fig. 68 bar 5. S chorus: second chord, add <natural> to “C”
p. 53. Fig. 69. Change “piu sostenuto” to “molto meno mosso”

B. 150

Angels of the mind

Copy at MRS.30.211 is corrected by the composer:
p. 3. System 3 bar 1. Piano acc. beats 2-4: add hairpin decrescendo
p. 4. System 4 bar 3. R.H. : add <accent> below first quaver chord.
p. 5. System 1 bar 3. Piano acc. : add “sempre legato”
p. 7. System 1 bar 1. L.H.: add slur between first two crotchet beats. [Desmond Ratcliffe’s hand?]
p. 7. System 3 bar 2. L.H.: add slur between first two crotchet beats. [Desmond Ratcliffe’s hand?]
p. 9. System 4 bar 1. L.H. : add “8…” – “upward dots must end before 2nd quaver beat” [D.R.?]
p. 15. System 1 bar 4. Below L.H. : add “Ped. (veiled)”
p. 15. System 2 bar 3. Below L.H. : add “*”  (at end of bar)
p. 17. System 2 bar 2. Below L.H. : after “Ped” add “(veiled)”
p. 19. System 1 bar 3. Below L.H. first note: add “simile” ; at side is written: “add 2 <accent>’s / and simile / move Ped. back in / first bar” [not clear what this means]

B. 158

World is charged with the grandeur of God

Copy at MRS.221 is corrected by the composer and marked”Reprinted with corrections done, February 1975”
Back of t.p. line 8. Change “now” to “nor”  
p. 1. Bar 1. Change “<crotchet>=104” to “= 96”
p. 4. Fig 6 bar 1.  Add “<crotchet>=88”
p. 6. Fig. 10 bar 6. After “Tempo primo” add “<crotchet>=96”
p. 6. Fig 11 bar 7. After “slightly slower” add “<crotchet>=88”
p. 8. Fig. 15 bar 3. After “molto meno mosso” add “(solemne) [not in reprint]
p. 9. Fig. 16 bar 9. R.H. Add “2 muted tpts”
p. 9. Fig. 16 bar 14. R.H. Add “nat.”
p. 14. No. 3 bar 1. Change “<crotchet>=100” to “=96”
p. 17. Add after “abeles” “*” and at foot of page “* abeles=white poplars”
p. 21. Fig. 34 bar 6. Change “meno mosso” to “molto meno mosso”

B. 161

Concerto for cello

Score at MRS.30.226 is corrected by the composer:
p. 20. Fig. 11 bar 2. Tpt: 3rd beat: add triplet square bracket over crotchet and quaver (as in oboe part)
p. 25. Fig 14 bar 2. Oboe. Move triplet square bracket to cover second crotchet rest and quaver Eb only.
p. 25. Fig 14 bar 3. Flute 1 & trumpet 1. Move triplet square bracket to cover second crotchet rest and quaver note (Bb) only.
p. 40. Fig. 25 bar 1. (Add <crotchet>=circa 88)  -- not marked on cover.
p. 42. Fig. 26 bar 1. Add “<crotchet>=circa 80”
p. 53. Fig. 32 bar 1. Change “quaver>-92” to “=84-88”
p. 53. Fig. 32 bar 3. Solo cello: first note: change “A” to high “C” (as in piano arrangement)
p. 64. Fig. 38 bar 3. Change “quaver>-92” to “=84-88”
p. 93. Fig. 56 bar 8. Picc. & ob: extend slur over semiquavers to following note (quaver).

 

B. 180

Shield of faith

Copies at MRS.30.240-241 are corrected by the composer
“Cover from an ancient wood cut, a representation of the Greek letters XP denoting Christ (the first two letter of name) X(=Chi + P = Rho), also the symbol of birth & resurrection” – MRS.30.240 only.
p. 25. Fig 18 bar 2. Chorus: replace “Draw” with “Drew”
p. 47. Fig. 37 bar 9. At end of bar add “comma” (before the repeat of the word “God”).
p. 66. Fig. 56 bar 3. SI & SII add “(Children’s Voices)” – MRS.30.240 only.