Dangos 560 canlyniad

Ink score (transparencies), dated March 1975; together with a rough pencil score and a facsimile of another score, also dated March 1975. A typescript of the words is included, signed by Emyr Humphreys, 10 January 1975; and a programme note.

Ink full score and vocal score, both dated June 1976. Typescript copies of the poems are included, and a photocopy of the full score.

Ink score and typescript copy of text. Words by Emyr Humphreys.

Two ink scores (different keys) of Dwy gân o Forgannwg [= Two songs from Glamorgan].

Ink scores of both baritone-strings and baritone-piano versions; a pencil sketch; and typescript of the English translation of the words.

Ink score and pencil sketch.

A music manuscript book containing pencil sketches for a BBC radio documentary by Ross Cockrill relating to the Antarctic whaling industry; together with a copy of the radio script, [1951].

Pencil sketches of the music for a BBC radio adaptation, by Ross Cockrill, of the novel by Ronald Mitchell; and two radio scripts, one with pencil annotations.

Pencil sketches, 'Completed Feb. 19th [1951]', of music for a BBC radio drama, entitled 'The story of St. David', written and produced by Elwyn Evans; together with a copy of the radio script.

Ink full score, dated May 1956, of incidental music for a radio drama entitled 'The meeting' by Dannie Abse; together with pencil sketches and a copy of the radio script.

Ink full score of incidental music for the theatre play by Federico G. Lorca.

Pencil sketches of incidental music for the feature film entitled 'Sword of Sherwood Forest', produced by Hammer/Yeoman; together with a related letter and a typescript list of timings.

Papers, 1933-2010, relating to the life and work of the composer and comprising mainly correspondence, scrapbooks, programmes and catalogues, articles by him and others, and a small group of accumulated material.

General correspondence, 1947-2010, comprising mainly letters from performers (individuals, ensembles, orchestras, choirs, etc.), composers, librettists, artists, friends and other individuals. They relate to the commissioning and performance of Alun Hoddinott’s work, the commissioning of works by others, publication and recording of works, festivals (including the Cardiff Festival of Twentieth Century Music), working tours and visits. They often contain references of a personal nature and many are addressed to both the composer and his wife. Occasional replies are included.

Correspondents include H. C. Robbins Landon (27), 1971-1984.

Correspondents include Ian Parrott (11), 1952-2007, together with Christmas cards (6), 1953-1985, and a letter to Rhiannon Hoddinott, June 2008; T. H. Parry-Williams (17), [1968?]-1972, together with two related letters, 1971, from Evan Isaac, (Urdd Gobaith Cymru), autograph and typescript drafts of stanzas, and a letter, July 1979, from Amy Parry-Williams; Peter Pears (25), [1971?]-1986; Siân Phillips (4), 1991.

Correspondents include Timothy Salter (7), 1984-1988; Scottish National Orchestra (3), 1976; Humphrey Searle (2), 1972; Simon Shewring (20), 1984-1997; Sirenian Singers (8), 1982-1986, with two replies from the composer; Raphael Sommer (9), 1969-1989; Sergeĭ Stadler (3), [1987?]-1988; Roger Steptoe (7), 1983-1986; Leopold Stokowski, 1954; John Swallow (4), 1976-1986.

Correspondents include William Walton (2), 1967; Gillian Weir (3), 1974.

Correspondence, 1972-1998, mainly relating to commissions and visits by the composer to universities in the United States and Canada.