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This is another version of a drawing mentioned in Tom Phillips: Works Texts To 1974, page 250. The original drawing entitled, "C.Loopseend" (Opus 4) is in the collection of the Tate Gallery. It is stated that the work is a variant of Opus 2 but the piece is not depicted in the book. The Sackner drawing has the Letter 'I' appended to the title. -- Source of annotation: Marvin or Ruth Sackner.

This is Phillips' first musical score (Opus 1). The musical notations are composed of lines and rectangles presented as a constructivitic grid. One side of the print deals with Phillips' instructions for playing the piece. Depicted in Tom Phillips: Works Texts To 1974, page 248. The number is written in red ink adjacent to Phillips' signature on the envelope. -- Source of annotation: Marvin or Ruth Sackner.

This is Phillips' first musical score (Opus 1). The musical notations are composed of lines and rectangles presented as a constructivitic grid. One side of the print deals with Phillips' instructions for playing the piece. Depicted in Tom Phillips: Works Texts To 1974, page 248. This copy is unnumbered. -- Source of annotation: Marvin or Ruth Sackner.

This piece (Opus 5) was originally published by AIA gallery in 1966 in an edition of 100; the current copy was reprinted by Tetrad Press in 1972 in an undisclosed tirage. Depicted in Tom Phillips: Works Texts To 1974, page 250. -- Source of annotation: Marvin or Ruth Sackner.

This work (Opus 7) was included in Exit Magazine issue No.5-6. It is also depicted in Tom Phillips: Works Texts To 1974, page 252. -- Source of annotation: Marvin or Ruth Sackner.

This is the complete score of Phillips' opera, "Irma." -- Source of annotation: Marvin or Ruth Sackner.

This is the score for an Opera that was first published in 1969 as part of Revue Ou. It was then reprinted by Tetrad Press in 1972. This copy is a subsequent printing on better paper with slight touches of color, e.g., light yellow-brown background and greys in the images, printed circa 1985. The opera was first performed at the Ceolfrith Arts Association at the University of Newcastle in 1972. The work is made up entirely of fragments from A Human Document. The piece has been recorded on a 33 1/3 record and a compact disc and both these versions are also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

This is the score for an Opera that was first published in 1969 as part of Revue Ou. It was then reprinted by Tetrad Press in 1972, the current copy. A subsequent printing on better paper with a touch of color, e.g., light yellow-brown background and greys in the image, was printed circa 1985. The opera was first performed at the Ceolfrith Arts Association at the University of Newcastle in 1972. The work is made up entirely of fragments from the book, A Human Document. The piece was recorded on a 33 1/3 record and a compact disc and both these versions are also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The booklet provides documentation of performances of this Opera as well as the libretto. The Sackners were mentioned as one of the project's supporters. -- Source of annotation: Marvin or Ruth Sackner.

The booklet provides documentation of performances of this Opera as well as the libretto. The Sackners were mentioned as one of the project's supporters. -- Source of annotation: Marvin or Ruth Sackner.

Houedard writes next to the title," really to be played on 4 foghorns - one each of 4 islands." Other instructions are for playing with variations of the letters cage and two long bars of notes also based on the name cage. -- Source of annotation: Marvin or Ruth Sackner.

This version is actually unique because the final version was entirely printed. It has been designated as Opus 13. In addition, it includes Phillips' handwritten notations. Depicted in Tom Phillips: Works Texts To 1974, page 259. -- Source of annotation: Marvin or Ruth Sackner.

This print was silkscreened by Dave Pike at Ipswich. This score (Opus 2) consists of wavy black heavy curved lines with thinner red line intersections. Phillips provides directions on one side of the folded print in his own handwriting. The letter to John (Furnival?) describes a broadsheet/poster drawing for publication. He mentions that the musical print is "...something David Bedford asked me to do - an indeterminate piece for any number of people (to use where he teaches) -so, for interest, I enclose that too." Depicted in Tom Phillips: Works Texts To 1974, page 249. -- Source of annotation: Marvin or Ruth Sackner.

Phillips comments about this work in Works and Texts 1992, " Although at its first performance in the Cheltenham Festival (1969) dedicated to Stuart Dempster, it was described by the critic of the Daily Telegraph as providing him with 'the most boring fifteen minutes of my life' (little did he know what the eighties would bring his way). I find it as tense to play in as it hopes to be soothing to hear. The first performance was sung by John Tilbury, Moray Walsh and Tom Phillips on BBC3 Music in Our Time in 1969. -- Source of annotation: Marvin or Ruth Sackner.

Although the colophon is numbered 25/100, Phillips signed the work 14/100. One of the prints is taken from Phillips' opera "Irma" and has Humument imagery. The prints feature stencilled, empty letters characteristic of one of Phillips' styles. These are depicted in Tom Phillips: Works Texts To 1974, page 260-261. Phillips mentions that this wotk was first performed by John Tilbury in 1971. The Humument fragments read "quite high - intonation devine time (top print) and "tr - Low and high divisions - s- the hiss of cheeks (bottom print). -- Source of annotation: Marvin or Ruth Sackner.

This piece (Opus 10) is depicted in Tom Phillips: Works Texts To 1974, page 255. It is stated that the edition size was 100, but this copy indicates that the size was 150. -- Source of annotation: Marvin or Ruth Sackner.

There are fragments of images from "A Human Document" in the design of the record jacket. This is Phillips' first recording. -- Source of annotation: Marvin or Ruth Sackner.

There are fragments of images from "A Human Document" in the design of the record jacket. This is Phillips' first recording. -- Source of annotation: Marvin or Ruth Sackner.