MC:F61MS2 Arrangements and Editions by Bernard Rose
MC:F61/MS2/1 Mar 1939
Arrangement of the Symphony from The Fairy Queen by Purcell for two pianos by Bernard Rose.
Two copies of the score; one appears to be an earlier draft than the other, but has dynamic markings added in pencil which are not on the neater version. Autograph score (ink), with pencil additions, dated “March 1939″ on title page. 10 leaves.
MC:F61/MS2/2 28 Mar 1939
Arrangement of the Chaconne from The Fairy Queen by Purcell for two pianos by Bernard Rose.
Two autograph copies of the score (ink), with pencil additions on both, both dated at end “Arr. Bernard Rose 28/iii/39 Whaddon.” 9 leaves.
MC:F61/MS2/3 Apr 1939
Arrangement of the Overture to The Fairy Queen by Purcell for two pianos by Bernard Rose.
Two copies of the score, although, whereas the scores in MC:F61/MS2/1–2 copied out both piano parts, the second copy here only transcribed the part of the second piano. Autograph score, ink (blue for the full score, black and red for the second piano part), dated at end of full score “Whaddon. April 1939″ 3 leaves.
Note: MC:F61/MS2/4–7 were found together with MC:F61/MS1/20–22, and MC:F61/MS4/1–3 in a folder inscribed “Oflag 79″. See MC:F61/MS1/20 on Rose’s time as a prisoner of war at Oflag 79.
MC:F61/MS2/4 n.d. (Mar/Apr 1945?)
Purcell, “Trumpet Tune and Air”, arranged by Bernard Rose for orchestra.
Autograph full score (pencil), undated, but written on same paper as MS2/5 below, 4 leaves.
MC:F61/MS2/5 1 Apr 1945
Collection of orchestrations by Rose of the following pieces:
Te Deum (setting by Oakley).
“Now thank we all our God” (tune by Cruger).
“Praise, my soul, the King of Heaven” (tune by Goss).
Autograph full score (pencil), all three pieces dated “April 1. 45″, 10 leaves.
At the bottom of fol. 2v is a list of pieces which resembles an order of service. It is therefore likely that these pieces, and MS2/4 above, were all specially arranged by Rose for a service. In the light of the cheerful nature of all this music, it might have been prepared for a service of thanksgiving for a hoped-for victory and liberation at the prisoner of war camp (which was indeed liberated on 12 April).
MC:F61/MS2/6 n.d. (1944/5?)
“Amaryllis” by Caccini, and “Go to bed, sweet Muse”, by Thomas Jones, both arranged by Rose for SATB unacc.
Autograph score (pencil), undated, 2 leaves. The music lines were evidently ruled by Rose himself.
MC:F61/MS2/7 n..d (1944/5?)
“There is a Garden in her face”, B part only.
Autograph score (pencil), undated, 1 leaf.
“Het Wilhelmus (Netherlands)”. For two pianos with suggested extra percussion (possibly this is a short score for an orchestra version?). Accompaniment for the National Anthem of the Netherlands, arranged by Rose. No words are given, but there is a note that there are 15 verses.
Autograph score (black ink, with additions in red), undated. 1 leaf.
For some years Rose was President of the City of Oxford Silver Band (COSB). One of the band’s senior members was Franz Wolf, a Dutchman. The band therefore made several tours in the Netherlands, when, no doubt, this arrangement was played at its concerts.
Arrangement of the carol “Infant Holy, Infant Lowly” for string quartet, with the tune given to the second violin.
Autograph draft score (pencil), undated. 1 leaf.
Accompaniments for “O Little Town of Bethlehem” and “Shepherds in the Fields abiding” for string quartet. The accompaniment for the former sets in the cello part the bass line for the tune “Forest Green” by Vaughan Williams, but creates three new lines above. The accompaniment for the latter leaves the verse for voices only, but adds the instruments for the refrain.
Autograph draft score (pencil), undated. 1 leaf.
Arrangements of Lullaby (“My Sweet Little Darling”) and “An Elegy on the death of Thomas Tallis by William Byrd, made for solo voice and string quartet by Bernard Rose.
Autograph copies of vocal and string parts (ink with some additions in pencil or red biro), undated. 5 leaves.
Vocal lines only of “Thou Poet’s Friend” and “Triumph with pleasant melody”, also by William Byrd, written out by Bernard Rose in the same manner as the vocal line in MS2/11 above, with which it was found.
Autograph (ink with additions in red biro), undated. 1 leaf.
Presumably Rose intended to add an accompaniment for string quartet to these pieces, but it has not been found.
Arrangement of “America the Beautiful”, to the tune “Materna”, for SATB unacc. by Bernard Rose.
Autograph score (ink), undated. 1 leaf.
Arrangement of piece “The Sharpshooters”, by E. Brown, made for wind band by Bernard Rose.
Autograph score (ink), undated. 10 leaves.
Rose had been an officer in the 4th City of London Yeomanry (otherwise known as “The Sharpshooters”) when on active service in North Africa.
Transcription of “Gentil Prince” (anon.) for STB, made by Rose.
Autograph (ink with pencil annotations), undated. 1 leaf.
Transcription of a setting of the Ave Maria for TTBB by Lionel Power, made by Rose and based, as explained in a note at the end, on the text given in John Stainer’s “Old Bodleian Music”.
Autograph (ink and pencil), undated. 1 leaf.
Transcription of “I give you a new commandment” by John Sheppard, for AATB, made by Bernard Rose.
Probably a photostat with pencil annotations in his hand, undated. 1 leaf.
Transcription of “Alleluia. Confitemini Domini” by John Sheppard, for AATB, made by Bernard Rose.
Autograph (ink), undated. 2 leaves.
Transcription of “Flos florum” by Dufay for ATB, to be doubled by violin, cello, and bassoon respectively. In some of the more florid passages, it is recommended that the instruments alone should play.
The parts include two copies of a set of photographs of an edition of the piece, and, in Rose’s hand, a full score (with the names of the six singers and players), a violin part, a cello part, two copies of the tenor and bass parts, all autograph (ink) and undated. 7 leaves.
Photocopy of an eighteenth-century edition full score of a Miserere for choir and string orchestra attributed to Pergolesi which Rose recorded for Argo on 7–8 July 1979.
Rose has been through the photocopy extensively annotating it in pencil (e.g. figuring the bass, adding some dynamics or tempo markings, suggesting bowings and phrasings, and occasionally emending the music or the underlay of the text). Pages 83–4 of this edition were missing, so Rose supplied them himself, presumably from another source.
Papers relating to an edition of six oboe sonatas (which were in fact transcriptions of sonatas originally written for the flute) by Francois Devienne (1759–1803), published in 1798 as Opus 70 and Opus 71, which was made by Peter Bree and Bernard Rose. Devienne only wrote out an oboe part and a single unfigured bass line, and so Bree and Rose filled out the latter to produce a playable piano accompaniment.
These papers include a photocopy of a 1798 edition of all six sonatas, and photocopies of MS transcriptions of the sonatas, written out with a blank line between the oboe line and the bass, into which a realisation of the accompaniment has been written. This realisation was the work of Bernard Rose, while Bree concentrated on editing the oboe line. They also provided an edition of the original bass line, so that the sonatas could be played accompanied just by a cello or bassoon.
Peter Bree, a Dutch concert oboist, was a longstanding friend of Rose.
Collection of further papers relating to Bree and Rose’s edition of six oboe sonatas by Francois Devienne. These comprise neat MS copies and proofs of the realisations of the first two sonatas (in C and F), as well as correspondence about the publication of the edition. It seems that Bree and Rose hoped to publish their edition with Faber Music, but in the end it was published by Nova Music.
Return here to the introduction to this catalogue.