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This file contains only entry forms, the music scores having been returned to the composer. In alphabetical oder:\n\nTrevor Aston; Bernard Barrell; Michael John Bateson; Christopher Beardsley; Rosemanry Beecham; Carey Blyton; Daphne Brown; Mel Clarke; Paul de Aragon; Mary Dennis; Andrew Downe; Bridget Fry; Neil Gardner; Sonja Grossner; Rob Hughes; Jeanette Leport; Christine Le Poidevin; Philip Michael Lloyd; Douglas G. Mason; V. Pearce; T. Pollard; Laura Shur; Robert Kevin Smith; Brian Solomans; Neil Stamp; T.G. Torry; Mark P Whitefield; Alfred William White.\n\n

Contains entry form, correspondence, music score: 'Medieval Dances', description and cassette recording.

Comprises of the minutes, agenda and working papers from the Masterclass Seminars, the competitions' Streering Committee and the Juries committee. These records show how the competition developed from its inception to the awarding of prizes.

Minutes, agenda, notes and correspondence to and from members of the competition streering committee.

File contains a list of members of the Orchestral and Choral juries, correspondence relating to judging competition entries, list of entries and short list and announcement of winners.

This file contains correspondence and working papers detailing the development of the competition from the initial meetings with Classic FM Masterclass to the production of guidelines for the competition and its administrative framework. Includes correspondence relating to the funding of the competition and a possible series of teachers INSET focussed on composition.

Includes a poster advertising the competition and a press release.

A4 poster advertising the Composers' Competition.

RSA Press Release announcing the initiative by the RSA and Boosey & Hawks in partnership with Classic FM.

The Society acquired or were presented ith drawings, etchings, engravings and prints which were not produced as a direct result of the Polite Arts premium scheme

James Barry produced many etchings and engravings of his works. It is believed that the numerous prints of the Great Room Paintings were presented to the Society by James Barry. It is unknown whether he also presented the prints of his other works.

This is a revised detail of the group of legislators that James Barry painted in the 'Elysium and Tartarus' painting in the Soicety's Great Room. In this version Barry substitutes Cecilius Calvert, second Lord Baltimore for William Penn. Barry also introduced other figures, including Benjamin Franklin, into the print surrounding Pope Adrian in the upper left of the drawing.

This print shows Queen Isabella, Magellan and Las Casas who were not originally shown in the James Barry 'Elysium and Tartarus' painting in the Society's Great Room. The print should be viewed as being positioned between 'Reserved Knowledge' and 'The Glorious Sextumvirate'. Las Casa was painted into the Great Room painting in 1801.

This print shows a revision of the Glorius Sextumvirate shown in James Barry's original 'Elysium and Tartarus' painted in the Society's Great Room. The print gives a date of 1 May 1795 but when first published they did not have any lettering (the Society does hold one of these prints). The version which included the inscritption was not ready until 1800. Comparison of the 1795 and 1800 versions shows the changes Barry made.

Detail of the group of scientists that Barry painted in the 'Elysium and Tartarus' painting in the Society's Great Room. The print is dated 1 May 1795 but this version has an inscription at the bottom and these were not produced until 1800.

This is a revised detail of the group of legislators that James Barry painted in the 'Elysium and Tartarus' painting in the Soicety's Great Room. In this version Barry substitutes Cecilius Calvert, second Lord Baltimore for William Penn. Barry also introduced other figures, including Benjamin Franklin, into the print surrounding Pope Adrian in the upper left of the drawing.

Depiction of the fall of Satan with St Michael driving Satan out. James Barry dedicated the drawing to the Dean and Chapter of St Paul's who had approved the plan to decorate the church with history paintings. Although the print is dated 1777 it appears that it may be a later version c1790

This is a detail of the angelic guard and the group of illustrious patrons that James Barry painted as part of the 'Elysium and Tartarus' painting in the Society's Great Room. Unusually there is no inscription under the print. This version appears to be slightly smaller than others in the archive collection.