Claire’s Choice: on an autumnal theme!


As the mornings grow colder and squirrels are to be seen hoarding conkers for the winter, what better for “Claire’s Choice” than to highlight two songs in the Jerwood Library collection celebrating the venerable chestnut tree.



Written in 1840 by Henry Wadsworth Longfellow, the poem The Village Blacksmith was set to music in 1854 by the English composer and celebrated bass singer Willoughby Weiss. It starts “Under a spreading chestnut tree the village smithy stands…” and continues to describe the blacksmith’s daily life. Weiss offered the copyright of the work to a firm of publishers for the sum of 5 pounds, but when his offer was turned down, he decided to publish it on his own account. As luck would have it, it went on to become a hugely popular Victorian parlour song, earning him and his family a considerable income!


Moving forward into the 20th century, the second song The Chestnut Tree, with words and music by Jimmy Kennedy, Tommie Connor and Hamilton Kennedy, was composed in 1938. This popular novelty song was also inspired by Longfellow’s The Village Blacksmith. However rather than focussing on the virtuous, hard-working, church-going, qualities of the blacksmith, it centres on the blacksmith’s daughter and “the spreading chestnut tree”, the goings-on under which certainly didn’t appear in Longfellow’s poem!

But this was only one aspect of the song. In fact, the writers had been specifically commissioned to come up with something that was going to take dance halls by storm. Indeed the inspiration behind selecting The Village Blacksmith as inspiration came from a photograph of King George VI at a boy scout jamboree in which his, and all the scouts’, hands were held to their heads. Further research unearthed that this was part of a performance in which the scouts recited The Village Blacksmith. With assistance from Adele England (who had choreographed The Lambeth Walk) they devised some steps to go with their song, which are illustrated in the printed edition. It became a huge hit, selling over 10,000 copies per day.

This edition comes from the Jerwood Library’s Rita Williams popular song collection. Rita Williams sang with the Billy Cotton Club, among other groups, and was an avid collector of popular songs. The overall collection comprises some 3000 individual songs dating from Victorian times to the 1970s. It is handlisted here. Do get in touch with us if you’d like to see any other hidden gems in the collection.

Items from the Jerwood library collection:

Weiss, W.H. “The Village Blacksmith”. In The Songs of England, volume 1, edited by J.L. Hatton, 245-249. London: Boosey & Co, 1910

Kennedy, Jimmy, Tommie Connor and Hamilton Kenny, The Chestnut Tree. London: Peter Maurice Music Co, 1938

Exhibition: Experimental Scores from 1950s New York

cabinet-2One of the things that strikes me about the music of John Cage, Morton Feldman, Christian Wolff and Earle Brown in the 1950s is how uneasily it might sit in the library of a conservatoire of music. It represents attitudes to sound, composition and value-judgements like skill, quality, or success and failure which seem to me to be at odds with those of the mainstream of western classical music history. And this seemed to me a good reason to drag it out and examine it under the lights of the library display cabinets.

But first things first – why does this music tend to be grouped together and described as ‘experimental’? Attempts at naming and defining a musical movement seem to me to be doomed to exceptions and over-simplifications, intended as they are to take in the work done by a range of different personalities over a vaguely-defined period of time. Yet, they have their uses. Something new really did seem to happen in the way people were creating and thinking about music in New York City, beginning in the 1950s, and calling this new music ‘experimental’ seems reasonable. At least, John Cage seemed to think so:

“The word ‘experimental’ is apt, providing it is understood not as descriptive of an act to be later judged in terms of success and failure, but simply as of an act the outcome of which is unknown.”  [written in 1955][1]

Cage is the composer most associated with the inception of this new music, but the work of all four men has a further attitude in common; they were all writing music which was at one remove from the person who made it, and thus somewhat distanced from their own tastes and prejudices in favour of a more objective approach to sound. Michael Nyman, in his book on experimental music, also adds that it is music which is somehow distinct from the ‘well-trodden but sanctified path of the post-Renaissance tradition’ of avant-garde composers such as Boulez, Xenakis, Kagel, Berio, Stockhausen, Birtwistle, Bussotti.[2] I’ll come back to that.

John Cage’s famous ‘silent’ piece 4’33’’ was composed and premiered in 1952 and is often the place to start off any discussion about experimental music. Consequently, I almost cringe talking about this piece. It seems to have been picked over again and again, endlessly. However, one of the reasons this is the case is that it’s just such a good example in the way in encapsulates many aspects of the new attitude towards music that began to emerge in the work of a number of composers around the same time in the same place.


John Cage at a drinks reception at the Cage/Cunningham Residency at the Laban Centre, July 1980.  Photo by Peter Sayers (CC BY-NC-ND 2.0)

Cage’s piece grew directly out of his realisation that sounds surround us always, even in the quietest of places, and if we attend to them, and accept both intended and unintended sounds into composition, a new attitude to making and listening to music is born – ‘Happy new ears!’, as he put it.[3] His move was to simply provide a time-frame (the duration of which was generated by chance) in which an audience could attend to all the sounds that surround them. And although 4’33’’ is the idea taken to its logical extreme, the emphasis in this new attitude was not the traditional one of prescribing a defined time-object, the materials and structuring of which were calculated and specified in advance. Instead, these composers were more interested in outlining a certain situation in which sounds then occur. It was an attitude of acceptance rather than craftsmanship; an effort to distance one’s self from the composition; and an attempt to bring art and life closer together:[4]

“When a composer feels a responsibility to make, rather than accept, he eliminates from the area of possibility all those events that do not suggest at that point in time vogue of profundity. For he takes himself seriously, wishes to be considered great, and he thereby diminishes his love and increases his fear and concern about what people will think.


There are many serious problems confronting such an individual. He must do it better, more impressively, more beautifully, etc. than anybody else. And what, precisely, does this, this beautiful profound object, this masterpiece, have to do with Life? It has this to do with Life: that it is separate from it. Now we see it and now we don’t. When we see it we feel better, and when we are away from it, we don’t feel so good. Life seems shabby and chaotic and disordered, ugly in contrast.”[5]

Describing pieces like the graph pieces of Morton Feldman, in which only the number and relative placement of pitches (high, middle, low) are specified within a time-grid, Cage said that ‘the composer resembles the maker of a camera who allows someone else to take the picture.’[6]

“What is, or seems to be, new in this music? One finds a concern for a kind of objectivity, almost anonymity – sound come into its own. The ‘music’ is resultant existing simply in the sounds we hear, given no impulse by expression of self or personality” [7]

It should already seem quite clear how this attitude is very different from that of the European-classical canon, including the work of the avant-garde at the time. In that tradition the responsibility for managing and calculating all of the musical parameters is laid squarely at the feet of the composer. The emphasis there is on integration, organisation and control as opposed to the impersonal techniques used for merely ‘setting sounds in motion’, in which any possibility of drawing events into some kind of pre-calculated image is impossible because so much is left open until the moment of performance. And indeed, it was the uniqueness of the moment, rather than the uniqueness of something preserved, that interested the experimental composers.

So this brings me to the place experimental music might occupy in a conservatoire of music. After all, it’s here that performance students come to hone an extraordinarily refined skill-set over a period of at least 4 years, with the emphasis being on replicating certain unique and preserved master-pieces. It’s hard-work, and success and failure are very real categories. So it seems understandable that the presence of this different attitude to music-making might sit a little uneasily here – who needs a degree when all you’re doing is ‘projecting sounds in time’? How do you accurately rate the performance of a piece that sounds completely different every time it’s performed?

However, my feeling, for what it’s worth, is that music is not just one thing, and students should be able, if so inclined, to take advantage of their time here to explore it in all its variety. Surely, this is one of the main things the library is here to facilitate. Whether this music seems exciting to one person or empty to another depends ultimately on their temperament, but either way, having it in the collection increases its scope. After all, let’s not forget that this music is hardly ‘new’. In fact, it’s now just about old enough to qualify for a free bus pass.

It’s refreshing that people tend to find the arch-modernist style-police amusing for the vitriol with which they denounced anyone who didn’t plow their particular furrow in the mid-twentieth-century, and this opening-up and moving away from an unhealthy obsession with style can only be a good thing. I know that when I learnt about what was happening in 1950s New York for the first time it opened my ears to new ways of thinking about and listening to music. It didn’t stop me practicing my scales, but it did give me a different take on listening to all the sounds that we normally do our best to ignore; or wondering whether we can, or why we might want to, remove our tastes and prejudices from the things we make. Being exposed to a diversity of values and approaches to music only enriches things.

However, as a final thought, I’ll leave Morton Feldman to muddy the waters. For all this talk of a diversity of approaches, perhaps this supposedly brand-new attitude wasn’t really all that separate from the mainstream avant-garde after all? It seems a good example of how parts of a culture that seem unconnected at the time, when seen in perspective can shed light on each other in interesting ways. All the more reason to welcome this kind of music into the conservatoire library, I’d say.

“What rhapsodizes in today’s ‘cool’ language is its own construction. The fact that men like Boulez and Cage represent opposite extremes of modern mythology is not what is interesting. What is interesting is their similarity. In the music of both men, things are exactly what they are  – no more, no less. In the music of both men, what is heard is indistinguishable from its process. In fact, process itself might be called the zeitgeist of our age.”[8]



[1] John Cage, Silence (London: Marion Boyars, 1978), 13

[2] Michael Nyman, Experimental Music: Cage and Beyond, 2nd ed. (Cambridge: Cambridge University Press, 1999), 1

[3] John Cage, A Year From Monday: Lectures and Writings (Marion Boyars: London, 1968), 30

[4] Michael Nyman, Experimental Music: Cage and Beyond, 2nd ed. (Cambridge: Cambridge University Press, 1999), 4

[5] John Cage, Silence (London: Marion Boyars, 1978), 130

[6] John Cage, Silence (London: Marion Boyars, 1978), 11

[7] Christian Wolff, quoted in Michael Nyman, Experimental Music: Cage and Beyond, 2nd ed. (Cambridge: Cambridge University Press, 1999), 30

[8] Morton Feldman, Give my Regards to Eighth Street: Collected Writings of Morton Feldman ed. B.H.Friedman (Cambridge, MA: Exact Change, 2000), 109

James’ Choice: Antonio de Almeida’s score of Iannis Xenakis’ Metastasis

a photograph of Antonio de Almeida's copy of Xenakis' Metastasis

Antonio de Almeida’s markings on Xenakis’ Metastasis

This month the library item I’ve decided to highlight is the score for Iannis Xenakis’ (1922-2001) Metastasis from the printed music collection of the conductor Antonio de Almeida (1928-1997), complete with his performance markings. There are a number of reasons for my choice. As well as being a landmark piece of twentieth-century modernism, it’s a visually-striking score on account of its size and intricacy. Moreover, Antonio de Almeida’s pencil markings are a fascinating insight into the practical considerations required for performing a piece like this. It’s also an excellent example of Xenakis’ unique approach to composition, and one with a very explicit connection to his work as an architect.


Written in 1953-4, and premiered at the Donaueschingen Festival in 1955, Metastasis is Xenakis’ first major work after the completion of his studies with Olivier Messiaen. In this piece, Xenakis lays down the foundation for many of the approaches and attitudes to music composition that were to occupy him for the rest of his career. The work combines an idiosyncratic system for controlling pitch material and an approach to sound best described when he says ‘the sonorities of the orchestra are building materials, like brick, stone and wood […] The subtle structures of orchestral sound masses represent a reality that promises much’.[1] In this piece, each orchestral player has a separate part, and Xenakis combines, on the one hand, the continuous evolution of enormous glissando structures and, on the other, the discontinuous permutation of pitches.

 ‘I was interested in two things in those years. One: I wanted to write a kind of dodecaphonic music with the help of computation – a music whose macroform emerges from a few basic principles. In Metastasis I made computations based on the permutations of intervals, with the help of the axiomatic approach known in mathematics.

Two: I was interested in the continuous changes of chords. […] How to make that change a continuous one? So long as one remains in the same scale, the only solution is a glissando. […] That was the basic idea.’[2]


Metastasis is also the first work in which Xenakis’ compositional planning for the piece involved using a two-dimensional projection. Here, time is on the x-axis and pitch on the y-axis, and ruled straight-line paths are bent into curved surfaces.

Composition sketch for Xenakis metastasis showing the basis for the hyperbolic paraboloids of the Philips Pavillion

Image scanned from Bálint András Varga, Conversations with Iannis Xenakis, (London: Faber and Faber, 1996), 74

Xenakis also employed this technique in later compositions (such as Stratégie and Syrmos), but it’s particularly fascinating how it was also translated directly into his work as an architect. The connection is immediately obvious with how these curves built from multiple straight-line paths (hyperbolic paraboloids) were incorporated into the distinctive shape of his design for the Philips Pavilion for the 1958 Brussels Exposition Universelle, built during his time working in the office of Le Corbusier. Incidentally, the pavillion had another connection to musical modernism in that it formed the setting for performances of Edgard Varèse’s Poème électronique.[3]

expo again

Image by Wouter Hagens, accessed from, licensed under Creative Commons CC BY-SA 3.0

The score on display was plucked from the personal printed music library of Antonio de Almeida, housed in the Jerwood Library’s special collections. Consisting of 5,456 volumes, including scores acquired by him from the collections of Charles Munch and Pierre Monteux, it’s a wide-ranging collection, reflecting his own diverse musical interests. Alongside the Xenakis score, the collection ranges from other leading lights of twentieth-century modernism, via more mainstream orchestral repertoire of the 19th and 18th century, to composers such as Carlos Chavez, André Grétry, Howard Hanson, Hans Pfitzner and Henri Serpette. Not to mention works by Offenbach and Boccherini, in whom de Almeida had a particular interest. Described by Grove as ‘a conductor of elegance and fastidious detail’, he was also awarded the French Ordre des Arts et des Lettres and the Légion d’Honneur.[4]



[1] Iannis Xenakis quoted in Peter Hoffmann, ‘Xenakis, Iannis’ in Grove Music Online. Oxford Music Online <; (Accessed August 25th, 2016)

[2] Iannis Xenakis quoted in Bálint András Varga, Conversations with Iannis Xenakis, (London: Faber and Faber, 1996), 72.

[3] Peter Hoffmann, ‘Xenakis, Iannis’ in Grove Music Online. Oxford Music Online <; (Accessed August 25th, 2016)

[4] Noël Goodwin, ‘Almeida, Antonio (Jacques) de’ in Grove Music Online. Oxford Music Online <; (Accessed August 23rd, 2016)









Trinity College of Music Archive Online

Following many months of dust, sweat, and toil, we are pleased to announce that the archive of the former Trinity College of Music (TCM) has been catalogued online and is now fully accessible to researchers for the first time. Thanks to special funding from Trinity Laban and former principal Derek Aviss, we had six months to sort out a lot of boxes…


These boxes were all held in storage, unlisted, and were therefore inaccessible to researchers. We appraised and arranged all the records in a sensible order before describing them on the Archives Hub. Finally, everything was moved into the library’s closed-access storage area, and re-housed in nice new boxes…


The archive covers the period from the foundation of the college in 1872 to 2005 (when TCM merged with the Laban Dance Centre). Records relating to the administration of local examinations and diplomas are included up until 1992 when Trinity College London was established as a separate company. Materials include minutes of meetings, student records, calendars and prospectuses, photographs, concert programmes, and much more…

20160825_16234620160825_15374820160825_162459 (2)Concert programmes re-housed in archival-standard enclosures

Anyone is welcome to view material from the archive, but please bear in mind that some records are closed in accordance with legal requirements. Please contact us in advance of your visit to make an appointment.

New music for singers

The third phase of the library’s printed music strategy got underway this year. Having built up our collection of jazz, full scores, and opera, it was time to focus our attention on solo songs and collections. Look out for new works by contemporary composers such as Michael Finnissy, Giacinto Scelsi, Robin Holloway, Thomas Ades, Piers Hellawell, Tansy Davies, Roxanna Panufnik, Joanna Lee, Lynne Plowman, and Sally Beamish, as well as new additions from the Baroque, Classical, Romantic, and modern repertoires.

This year we are looking to develop our collection of music for violinists (solo music and accompanied), so if you have any recommendations please let us know. Requests for specific pieces – in any category – can be made by completing a purchase request form, available at the enquiry desk or on Moodle.

The library’s most recent printed music acquisitions are listed here, please keep checking for updates!

Cover images are reproduced with the kind permission of Boosey & Hawkes and Hal Leonard.

Item of the Month: Stanley Black’s film music for “The Young Ones” starring Cliff Richard

20160805_114218This summer’s Item of the Month features items from our Stanley Black archive relating to his music for the Cliff Richard film The Young Ones for which he wrote the music.

A pianist, conductor, composer and arranger, Stanley Black was known primarily for his many film music scores, his jazz and popular music arrangements and his work for the BBC as conductor and presenter of light music programmes. This collection comprises hundreds of autograph manuscript scores as well as ephemeral material including concert programmes, correspondence, contracts and photographs. The majority of the scores are listed separately on the library’s online catalogue – to browse a list of them, choose Stanley Black collection from the source option.

His filmography includes:

It Always Rains on Sunday (1948)
Too Many Crooks (1958)
Make Mine a Million (1959)
Jack the Ripper (1959)
The Battle of the Sexes (1959)
Hand in Hand (1960)
The Flesh and the Fiends (1960)
Sands of the Desert (1960)
The Siege of Sidney Street (1960)
House of Mystery (1961)
The Day the Earth Caught Fire (1961)
Valentino (1977)

The image above shows a close up of part of the score for reel “5M1” of The Young Ones. The scores give a fascinating glimpse of the working practices involved in producing film music: notice the penciled-in remark concerning the violin solo – possibly made by an arranger or sound engineer.

Web chat support trial

This term, we are trialling web chat support for library users via the Jerwood Library catalogue. This live web chat is staffed by library staff during library opening hours only.

Screenshot showing web chat button on Jerwood Library catalogu

To use the chat, look for the Need help? button at the bottom-right of the catalogue page, then enter your name and send us a message!

So far users have asked us for help with a variety of topics including details of specific services we offer, finding repertoire and accessing online subscription resources.

I was inspired to try out a web chat service in the Jerwood Library after visiting the Royal Conservatoire of Scotland’s Whittaker Library in Glasgow last summer (you can check out their pioneering blog for yourself – Whittaker Live). They have been using web chat successfully for some time and have found certain groups of library users prefer to make contact in this way rather than in person or by phone or email. Of course we will continue to welcome enquiries made in these ways as well!

The Jerwood Library will review the web chat service after the summer 2016 term to decide whether or not to continue with it. If you’ve used the chat and have any feedback, let us know.

Item of the Month: May 2016

Though it may seem surprising to us now, Richard Strauss’s symphonic poem Also Sprach Zarathustra op.30 caused a great deal of controversy when it premiered in 1896. Based on Nietzsche’s novel, in which the title character, Zarathustra, descends from the mountains after ten years of solitude to enlighten his fellow man, this philosophical allegory (itself the subject of some controversy) was thought inappropriate by many concert goers. A number of critics went as far as to accuse Strauss of musical philosophising. However, the composer said that his intention had not been to translate Nietzsche’s philosophical ideas into music. Rather, the inspiration was derived from Nietzsche’s overarching concept; the progress of mankind from its earliest origins through to what Zarathustra presents as humanity’s ultimate goal, a perfect being or “superman”.

There are certainly parallels between Strauss’s claims for his project in Zarathustra and Wagner’s similar claim for Der Ring des Nibelungen. Notwithstanding the difference in scale, both claim to represent the movement of human history from its origins to the critical point that divides the old world from the new; the watershed being the end of the 19th century and the ushering in of the 20th. The arresting motif which opens Also Sprach Zarathustra, announcing the dawn of this new age, is perhaps one of the most striking in all music. It was used to great effect in Stanley Kubrick’s film 2001 A Space Odyssey, extending the appeal of Strauss’s music beyond concert audiences.

We have a number of recordings in the library and on our online streaming services. However, if you would prefer the excitement of seeing a live performance, Also Sprach Zarathustra is being performed by the Trinity Laban Symphony Orchestra at Cadogan Hall on 16th June.

A display about Also Sprach Zarathustra is in the small display case next to the library enquiries desk until the end of May.

Trinity Laban Faculty of Music Composers’ series: Luke Styles

The Jerwood Library is very pleased to present a display highlighting the work of Luke Styles, who teaches at Trinity Laban’s very successful Junior Department.

Luke began his composition training with a Bachelor of Music (composition) degree at the Royal Academy of Music London (graduating with honours in 2005, in 2015 Luke was made an Associate of the Royal Academy of Music). Following this Luke went on to postgraduate studies with Wolfgang Rihm, George Benjamin, and with Detlev Müller-Siemens. He is currently working on a PhD on the topic of Collaboration and Embodiment as Compositional Process; a Transdisciplinary Perspective at Trinity Laban.

Career, awards and commissions
Luke has collaborated with many of the world’s top soloists and his music has featured at festivals including the Wien Modern, Aldeburgh, Glyndebourne and Darmstadt International and at major performance venues such as the Sydney Opera House, Glyndebourne, the Queen Elizabeth Hall and others.

Luke has been the recipient of numerous awards and commissions including a carol for the Financial Times, the Wolfgang-Rihm Scholarship, an Association for Cultural Exchange Study Tours Scholarship, DAAD scholarship, commissions from PRS New Works, RVW Trust, Britten-Pears Foundation, Sonic Arts Network Expo 2005. He was a winner in the Mosco Carner Composition Award; came 2nd place in the Moscow International Schnittke composition competition in 2002, etc.

Luke has been awarded scholarships to take part in various courses throughout Europe and Asia where he has worked with composers such as Brian Ferneyhough, Harrison Birtwistle, Marco Stroppa and Gunnar Eriksson, and is Artistic Director of Ensemble Amorpha.

Handspun & Macbeth
The Jerwood Library exhibition focuses on two of Luke’s works: Handspun for aerialist and cellist, and Macbeth, scored for chamber orchestra and produced at Glyndebourne in 2015.

“the orchestral writing is crisp and incisive, conjuring up with imagination the successive atmospheres required for the tragedy’s trajectory.”
George Hall on Macbeth in The Guardian

“. . . Luke Styles’s effective score, a sort of modern take on the musique parlante, or ‘speaking music’ that ballet composers went in for in the 19th century.”
Giannandrea Poesio on Handspun in The Spectator

Luke Styles’ website is a useful resource. Find his works list, details of forthcoming performances, video clips of his work, photos and reviews.

Luke Styles in the Jerwood Library collection

Macbeth (vocal score); shelf mark: 780.7 STY

Handspun (score); shelf mark: 781.35 STY

CD: Tangled Pipes by Consortium5 featuring Three Stages by Luke Styles

Access E-STREAM via the Library Links menu on Moodle.
Click here to hear BBC’s Radio 3 Hear and Now broadcast from 12/7/2014 featuring his The Girls Who Wish to Marry Stars with the Juice Vocal Ensemble. Alternatively search for “Luke Styles”. This recording is only accessible to current TL students and staff in the UK.

Wind, Brass and Percussion Music in Special Collections

Today we have a post aimed at encouraging wind, brass and percussion players to make more of our special collections. Whilst it’s true that much of the collections comprise voice and string-based repertoire, this is by no means exclusively the case. So, here are some choice picks to help you explore further (NB non-WBP players may also find something of interest here!).

Printed music

The Bridge Memorial Library (the historic library of the former Trinity College of Music) is full of rare and unusual printed music from the classical and romantic periods.


Carl Reissiger’s Vier Gesänge for soprano, horn and piano 780.3 REI

Of relevance here, there are several out-of-print works of chamber music involving wind or brass instruments. For instance, we have a set of quartets by C. F. Baumgarten for oboe and strings – we featured them a few years ago in this blog post here. Then there is Henri Brod’s Cinquième Fantaisie for piano, oboe and bassoon. Or how about Reissiger’s Vier Gesänge for soprano, horn and piano.

bound volume

Nineteenth-century volume of clarinet trios including Heinrich Lannoy, Grosses Trio für Pianoforte, Clarinett und Violoncello 782.7029 LAN

Clarinettists may want to delve into this volume of trios, originally for various different instrument combinations but bound together clearly with the intention of being played by a clarinet trio. It even includes some manuscript arrangements for the clarinet part – a great insight into nineteenth-century performance practice.

We also hold first or early editions of better-known works, useful for comparing with performance directions in later editions. For instance, see this 1820s edition of Spohr’s Octet.

Manuscript music

As well as rare printed music we also hold many unique manuscript scores of works written for wind, brass or percussion instruments.

Several of these can be found in our Carey Blyton collection which came to us in 2006. Blyton was a former TL student and professor, and a prolific composer. Relevant items include a brass quintet, woodwind trio and song cycle for voice, clarinet, horn and piano.

Another manuscript by one of our former composition professors is Arnold Cooke’s autograph score of Divertimento for flute, oboe, violin, cello and piano (or harpsichord). Cooke taught at the conservatoire between 1947 and 1978.

Lastly, so as not to neglect our percussionists, there are the three autograph manuscript scores by Simon Bainbridge, David Bedford, and John Woolrich which together comprise Songs, Sketches and Tall Stories, a work for narrator, clarinet, piano and percussion. This was composed for a schools music theatre project at Blackheath Concert Halls (now owned by Trinity Laban) in March 1989.

Accessing the collections

If you’d like to discover more, all our special collections are described here on our website. And many collections are catalogued at item level on our catalogue.

When you’ve found something you’d like to see, please contact us to make an appointment so we can have the material ready for you. Our special collections are available to all researchers, whether members of Trinity Laban or not. Please note that copies can only be made in compliance with copyright law – we can advise on specific items.