FRANCIS ROUTH

CONTENTS

  Biographical chronology      

I  Works for Orchestra

II  Chamber Music / Music for Ensemble   

III  Vocal and Choral Works

IV  Keyboard Works

   i Organ Music

   ii Piano Music

V  Chronological list of works with year of completion

VI Redcliffe Recordings Catalogue

VII Works by Samuel Wesley
 
 
  
 
 
 
Cover photograph by Diana Routh
 


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FRANCIS ROUTH   Biographical Chronology


1927 Born Kidderminster, Worcestershire 15 January
1935/40 School at The Old Hall, Wellington, Shropshire
1940/45 School at Malvern College/Harrow School
1945/48 National Service, Royal Naval Volunteer Reserve (RNVR)
1948/51 King’s College, Cambridge
1951/53 Royal Academy of Music
Composition, Piano, Organ
Founds St John’s Wood Choral Society
1954/55 Studies composition with Matyas Seiber
Studies organ with John Dykes Bower
1956 Marries (1) Virginia Raphael
1958- Studies organ works of Olivier Messiaen. Organist St Luke’s Church, Redcliffe Square, London SW 10. Founds Redcliffe Festival Choir.
Plans A Sacred Tetralogy. Redcliffe Festival starts 1959.
1961/73 Organist St Philip’s Church,Earls Court Road, London W8
1962/63 Meets soprano Ilse Wolf, who commissions Shakespeare Songs Op.5,
A woman young and old Op.4.
1963/64 Redcliffe Festival moves to Arts Council,4 St James’s Square, London SW1, under the name Redcliffe Concerts (first concert 4 April 1964).
Elegy Op.6 commissioned and performed by Ilse Wolf.
Organ designed with Noel Mander ,built St Philip’s, Earls Court Road.
International series of organ recitals 1964.
1965/66 A Sacred Tetralogy I (The Manger Throne) first broadcast by Gillian
Weir. Songs of Farewell performed by Ilse Wolf.
Redcliffe Concerts of contemporary music planned in London with funding from The Arts Council of Great Britain.
Assists in the preparation of a music degree course at proposed
New University of Surrey at Guildford.
1967 Redcliffe Concerts open on London, South Bank., funded by the London Orchestral Concert Board (formed jointly by the Arts Council and the Greater London Council) .
Duo first performed and broadcast by Maria Lidka, Peter Wallfisch
Dance Suite for Strings first performed by Amici String Quartet
1968 Redcliffe Concert causes a sensation with the first London concert of
Electronic Music, 15 January
1969 Directs course at Dartington Hall, Devon , for establishing a British Music Centre.
Dialogue for violin and orchestra first performed by Maria Lidka.
First Redcliffe Concerts in association with BBC Radio 3.
Begins writing Contemporary British Music .
1970 A Sacred Tetralogy II (Lumen Christi) first performed by Gillian Weir.
Double Concerto for violin and violoncello commissioned and
performed by Maria Lidka and Christopher Bunting.
Chairs conference (South Bank) on "The patronage and presentation of contemporary music"
1971 Begins teaching at Morley College
A Sacred Tetralogy III (Aeterne Rex Altissime) first performed and
broadcast by Gillian Weir.
1972 Symphony I commissioned by George Baziotopoulos for Athens State Orchestra.
Spring Night first performed and broadcast by Janet Stickland.
Writes Early English Organ Music..
1973 Samuel Wesley’s Confitebor first performed at Redcliffe Concert
15 January.
1974 Forms Redcliffe Ensemble for performance of British music.
Cello Concerto first performed and broadcast by Christopher Bunting.
Award by Composers’ Guild of Great Britain, on the 10th anniversary of Redcliffe Concerts, for "consistent promotion of twentieth-century British music" .
Member of Artists Now panel, enquiring and reporting into public funding of the arts.
1975 Tour of Germany with Christopher Bunting
Performances include Cello Sonata No.1 and Sonata for solo cello 1976 Co-Chairman, with Klaus Schulz,of international seminar held at the
Goethe Institute, London, leading to exchange concerts between UK
and (West) Germany .
Mosaics for two violins commissioned by Klaus Assmann.
Oboe Quartet commissioned by Janet Craxton, London Oboe Quartet.
1977 Redcliffe Concerts celebrate the Queen’s Silver Jubilee with a Gala on 26 September, in the presence of the Minister for the Arts, Lord Donaldson. Performances include Piano Concerto I , with Yonty
Solomon, and the first modern performance of Samuel Wesley’s Ode to St Cecilia.
First Anglo-German exchange concerts arranged by Redcliffe Concerts in association with WDR, the BBC, the Goethe Institute and the British Council.
1978 On jury of 27th International Music Competition, Munich
1979 Plans Scenes for Orchestra I
1980 Fantasy for violin and piano first performed by Ralph Holmes.
Becomes Editor of Composer, the journal of the Composers’ Guild of Great Britain, retaining the editorship until 1987 when the magazine was discontinued.
1981/82 Idea of a Redcliffe Recordings label for British composers first put forward (article in Performance Autumn 1981).
Present at recording in Coventry Cathedral of A Sacred Tetralogy by Christopher Bowers-Broadbent.
Concerto for Ensemble I performed and broadcast on tour of Hungary by the Redcliffe Ensemble.
1982/83 North Camden Schools Orchestra formed from schools in the London Borough of Camden, in association with ILEA. Three concerts promoted by Redcliffe Concerts at South Bank and Camden Festival.
1984/85 Celebration commissioned and toured by Jeffrey Jacob.
Redcliffe Concerts 21st anniversary (The Tippett Generation).
1986 Tragic Interludes for solo oboe commissioned and performed by Robin Canter on tour of Greece.
Starts "University Series" of Redcliffe Concerts, with concerts in Guildford, Wakefield, Oxford.
Oboe Concerto commissioned and toured by L’Orchestre de Picardie,performed by Bernard Philippe, conducted by Alexandre Myrat.
The abolition of the Greater London Council in March brought about the closure of the London Orchestral Concert Board. Thus Redcliffe Concerts lost its financial base on the South Bank.
1987
"University Series" Edinburgh
Concerto for Ensemble II performed by Redcliffe Ensemble
1987/88 Plans Four Marian Antiphons for organ
Constant Lambert’s First Piano Concerto (1924) first performed at
Redcliffe Concert.
1988/89 25th anniversary season of Redcliffe Concerts includes 50th birthday concert for Jonathan Harvey.
Poème Fantastique first performed by Jeffrey Jacob
1989/90 "University Series" Sheffield
Serenade performed by Redcliffe Ensemble
Alma Redemptoris Mater first performed by David Herman in New York St Thomas Church, and Washington Cathedral
1991/92 Marries (2) Diana Cardell Oliver
Concerto for Ensemble (III) first performed and broadcast by Redcliffe Ensemble at Sheffield, Edinburgh, Manchester
Fantasy Duo for violin and piano commissioned and performed by Tasmin Little and Piers Lane.
1993 Woefully Arrayed performed at Dulwich College by Michael Ashcroft
Suite for String Orchestra performed at the Royal Academy of Music.
1994 Touraine - Scenes for Piano II first performed by Piers Lane
"Priaulx Rainier Memorial Concert" presented at the Royal Academy
of Music. Sonata for solo violin first performed by Clio Gould
Plans Capriccio
1995 Clarinet Quintet performed and recorded by Nicholas Cox
1996 On a Deserted Shore performed and recorded by National Youth
Choir of Great Britain, Eileen Hulse and the Redcliffe Ensemble,
conducted by Michael Brewer.
1997 Samuel Wesley’s Missa de Spiritu Sancto (1784) first published byRedcliffe Edition, first performed Dublin, St Patrick’s Cathedral, 10 September ,in association with BBC , RTE.
Plans Suite for Tbilisi – Concerto for Ensemble IV
1998 Divertimento for String Quartet commissioned and recorded by the
Bochmann String Quartet.
Angels of Albion – Scenes for Piano III composed for Jeffrey Jacob
1999 Bretagne – Scenes for Piano IV toured and recorded by Lora Dimitrova
Sonata Festiva – Scenes for Piano V composed for Lora Dimitrova
2000/01 Works by Samuel Wesley published for planned Wesley Festival in Bristol, 2002 – Overture in E, Ave maris stella, Ode to St Cecilia
Angels of Albion toured and recorded by Lora Dimitrova
Andante for piano composed
2002 Agnus Dei Plans A Parish Songbook
Symphonic Variations commissioned by Nicholas Cox
2003/04 Sonata Festiva first performed by Charles Matthews
Symphonic Variations first performed by Nicholas Cox
Rondo Capriccioso for piano composed
Begins Symphony II
   


 
Routh’s style evolved slowly. The first works to achieve professional performance and acceptance were songs. Four Shakespeare Songs were commissioned by the lieder singer Ilse Wolf for a tour of Germany in 1963. This collaboration proved very successful and led to further songs, notably Elegy and Songs of Farewell , as well as the Yeats settings A woman young and old, which were first sung by Wolf’s pupil Noelle Barker. The idiom of these early songs is freely chromatic, the tonality explicit. In the instrumental and orchestral works which followed in the 1970s, freedom in the development of the material tended to lead in one of two directions ; at a fast tempo it led towards the use of semitones in the melodic and harmonic movement , making for short sentences and tautness of structure ; at a slow tempo it led towards the use of whole tones, making for an impressionistic texture and a more measured rate of harmonic change. This resulted in a poetic element of free association and fantasy. Whatever the chosen structure, Routh’s style has always been guided by a strong sense of harmonic direction and movement. Works of this time which colourfully display the characteristics in both these respects are the Cello Concerto and the Double Concerto.

 By the late 1970s, with such brilliant works as Mosaics and the Oboe Quartet, both of which were widely played in Europe, particularly in Germany, his style had reached a turning point. The early freedom , and the expressive qualities to which it gave rise, became more strictly formulated; and the musical language began to be governed by a mode which took into account both the trends mentioned. This mode consisted of nothing other than the whole tone scale, but with the addition of the perfect fourth. Routh first used this mode as such in the piece for solo oboe Tragic Interludes of 1982, in which each short section bases the mode on a different degree of the scale, or tonal centre. It had been foreshadowed in many works before then, such as the organ piece Lumen Christi of 1968 ; but its uncompromising use in Tragic Interludes opened the door to a great wealth of musical opportunities, which led to such major compositions as the Oboe Concerto and Celebration for piano. The acceptance of the discipline implied by the new mode led immediately to greater extension of its use. Further possibilities appeared, chiefly of fresh large-scale structures, and the gradual evolution of a new form of impressionism, based on an extended tonality. These discoveries bore fruit in some of Routh’s large-scale orchestral works of the 1980s, notably Scenes for Orchestra I and Poème Fantastique.

 Many of Routh’s compositions were composed with specific performers in mind, with whom he was in close artistic rapport. The technical accomplishments of particular artists and groups have always been important to him. Virtuosity is not merely something he admires . It is almost something he sees as an integral part of the musical idea itself. A performance which lacks virtuosity will be an inadequate realisation of the composer’s musical vision. The early songs had as their starting point the vocal purity and expressiveness of Ilse Wolf’s lieder singing. Similarly the instrumental works which followed, those for violin and cello, which occupied much of the late 1960s and early 1970s, were inspired by the violin playing of Maria Lidka, and the cello playing of Christopher Bunting, representing as they did the school and tradition of Max Rostal and Pablo Casals respectively.

 The piano, which he studied from an early age, has always been the basis of his composition from the start. Not only does he compose at the piano, but the instrument has been the source of many virtuoso works, both for solo piano and concertos. Fresh musical ideas and the working out of large-scale structures have often found their first outlet in a work for piano. The artists who have chiefly inapired him , and with whom he has worked closely, were in the 1980s the American pianist Jeffrey Jacob, and in the 1990s the Bulgarian pianist Lora Dimitrova. Each combined a stunning technique with sensitivity, the one in the American, the other in the Russian tradition. Routh also uses the piano as a part, and a very individual part, of the orchestral ensemble. Among the prime examples of this are Spring Night , Scenes for Orchestra I and Symphony I. If the origin of this concept lies in the neoclassical aesthetic of Stravinsky, it is to that same composer also that Routh owes the rhythmic articulation and the secco style of piano playing which is called for in many of the ensemble pieces and duos, such as the Diversions for violin and piano, and the Symphonic Variations in their clarinet and piano version. In the Concertos for Ensemble ,which he composed in the 1980s and early 1990s as pieces in Divertimento style for the soloists of the Redcliffe Ensemble, the pianist is called on for just such a distinctive style of playing. The piano in fact is the focal instrument of the group, like the continuo in the baroque period.

 Routh’s organ music stands somewhat apart from the rest of his output. Not only does the instrument itself make special technical demands on the composer, but the resulting structures are unlike his other compositions. From the start, ever since his student days at Kimg’s College, Cambridge, when he first became acquainted with it, he was fascinated by the organ simply as a source of sound, rich and varied at each end of the dynamic spectrum, with a huge range of colour and full of traditional association. Indeed colour and tradition are the distinguishing features of his two chief compositions for organ, A Sacred Tetralogy (1959-1974), four symphonic organ works for the principal seasons of the Church’s year, and Four Marian Antiphons (1988-1989). He uses plainchant in organ composition, not elsewhere. He sees the long tradition of Gregorian plainchant as being appropriate in organ music, and the composer’s function as being to integrate this into the greatly enlarged colour and power of the modern organ, and the extended tonal idiom.

 His organ style has two aspects. First, that of chamber music; the clear, linear texture of a contrapuntal keyboard instrument, full of vitality, colourful registration, and articulation in attack. The prototype of this is the Trio Sonata and Chorale Prelude of the baroque period. Second, that of less direct sonorities, calling for space and a reverberant acoustic. This is the fuller, more remote sound associated with the music of the Romantic period , particularly of the French tradition. Routh mixes both, and in so doing calls for extreme virtuosity on the part of the performer, to say nothing of the right instrument in the right building.

 
 
 
   I WORKS FOR ORCHESTRA


Violin Concerto Op.7 (1965)   dur.22 mins.
           ‘For Yfrah Neaman’
           2.2.2.2 – 4.2.3.0 – timp. perc.(1) - str
           Adagio-Allegro Adagietto Vivace
           1st perf. 29 April 1968 London (Camden Festival)
                      Yfrah Neaman (vl) New Cantata Orchestra cond.James Stobart  Full score, parts for hire
                                   Piano score, solo part for sale  


Dialogue for Violin and Orchestra Op.16 (1968) dur.15 mins.
           ;‘For Maria Lidka’
           1.2.2.2 – 2.0.0.0 – str
           Lento,a tempo moderato Allegro scherzando – Cadenza – Tempo I
           1st perf. 20 May 1969 London (South Bank)
           Maria Lidka (vl) London Mozart Players cond Harry Blech
               Full score,parts for hire
               Piano score, solo part for sale

Double Concerto Op.19 (1970) dur.24 mins.
           For violin, violoncello and orchestra
           2(=picc.).1.2(=b.cl.).1 – 2.1.0.0. – perc.(1).hp.cel. – str
 Allegro moderato Cadenza - Passacaglia
                      1st perf. 11 May 1970 London (South Bank)
                      Maria Lidka (vl) Christopher Bunting (vc) London Mozart Players
                      cond Andrzej Panufnik
                        Full score, parts for hire
                        Piano score, solo parts for sale

 

Spring Night Op.23 (1971)                       dur.22 mins.
                      Concert Aria for mezzo soprano and orchestra
                      ‘For Janet Stickland’
                      1.2.1.1. – 2.1.1.0. – timp. perc.(2) pf. – str
                      Poems by Sidney Keyes
                      Spring Night The lover The crowning
                      1st perf. 13 March 1972 London (South Bank)
                      Janet Stickland (m.sop.) London Mozart Players cond Janos Furst
                        Full score, parts for hire
                        Miniature score, vocal score for sale

Symphony I Op.26 (1973) dur. 25 mins.
                      2(=picc.).2.2.2. – 4.3.3.1. – timp. perc. (3) pf. – str
                      Allegro energico Adagio Vivace
                      1st perf. 22 July 1975 Dublin (RTE)
                      RTE Symphony Orchestra cond Proinnsias O’Duinn
                        Full score, parts for hire
                        Miniature score for sale
 
Cello Concerto Op.27 (1973)                        dur. 16 mins.
                      ‘For Christopher Bunting’
                      0.2.0.0. – 0.1.0.0. – str
                      Vivace energico Slow (alternating with) Vivace
                      1st perf. 20 May 1974 London (South Bank)
                      Christopher Bunting (vc) Belgian Chamber Orchestra
                      cond Francis Routh
                        Full score , parts for hire
                        Piano score, solo part for sale

Piano Concerto I Op.32 (1976) dur. 23 mins.
                      1.2.0.2. – 2.2.1.0. – timp. – str
                      Quick Slow Lively
                      1st perf. 26 September 1977 London (South Bank)
                      Yonty Solomon (pf) Steinitz Bach Players Paul Steinitz
                        Full score, parts for hire
                        Piano score for sale

Scenes for Orchestra I Op.36 (1982) dur. 35 mins.
                      2(=picc).2.2(=b.cl.).2.c-bsn. – 4.3.3.1. – timp.perc.(2) hp.pf.cel. – str
                      Prelude,Fanfare Morning over the city Sunlight and shadow
                      Festive dance of the redeemed To the evening star
                        Full score, parts for hire

Oboe Concerto Op.46 (1984) dur. 19 mins
                      ‘To Alexandre Myrat’
                      ‘1.0.1.1 - 2.0.0.0. - str
                      ‘ Moderato – Vivace Slow Vivace
                      ‘1st perf. 11 December 1986 Amiens,France (Maison de la Culture)
                      ‘ Bernard Philippe (ob.) Le Sinfonietta de Picardie
                      ‘cond Alexandre Myrat

Poème Fantastique for piano and orchestra Op.48 (1988) dur.30 mins
                      ‘ ‘For Jeffrey Jacob’
                      ‘ 2.2(=cor anglais).2.2.c-bsn. – 4.3.3.1. – timp.  ‘ perc.(2) hp. – str
                      ‘ Slow-Vivace Slow Slow-Vivace
                      ‘ 1st perf. 31 January 1989 London (South Bank)
                      ‘ Jeffrey Jacob (pf) London Philharmonic cond Jacek Kasprzyk
                                          ‘  ‘‘Full score, parts for hire
                                           ‘ Piano score for sale

Ciacona (Romance) Op.51 (1989)            dur. 10 mins.
                      Transcribed from Op.50/1
                      i for violoncello and strings
                      ‘For Christopher Bunting’
                      ii for violin and strings
                      ‘For Michael Bochmann’
                      Moderato - Allegro moderato
                        Full scores, parts for hire
                        Piano scores for sale

Suite for String Orchestra Op.59 (1992) dur. 21 mins.
                      Vivace energico Intermezzo Pavan Scherzo Finale
                      1st perf. 11 March 1993 London (Royal Academy of Music)
                      RAM String Orchestra cond David Strange

Capriccio Op.62 (1995) dur. 19 mins
                      2.picc.2.2.b-cl.2. – 4.3.3.1. – timp. perc.(2). pf. - str
                      Con mote energico Slow, sustained (Nocturne) con brio
                        Full score , parts for hire

Scenes for Orchestra II Op.65 (2000 - )
                      2.2.2.2. – 4.3.2.1. – timp. perc.(1) – str
                      Vivace non troppo
                        in progress

Symphony II Op.75 (2005) dur.28 mins.
                      2.2.2.2. – 4.2.2.0. – timp. – str
                      Allegro con brio Adagio Vivace
                        in progress
                       

Works without op. number

Cupid and Death (1974)
                      Suite for orchestra after the Masque (1653) by
                      Matthew Locke and Christopher Gibbons
                      2.1.0.0. – 0.0.0.0. – str quartet str orchestra
                      Sinfonia Saraband Pavan La Volta Galliard Branle
                      Introduction and Air Introduction and Minuet Hornpipe
                      1st perf. 2 February 1974 London (South Bank)
                      Monteverdi Orchestra cond John Eliot Gardiner
                        Full score, parts for hire
                        Miniature score for sale

Romanian Dance (1990)                dur. 5mins.
                      ‘For Anda Anastasescu’
                      0.2.0.0. – 2.0.0.0. – pf – str
                      Allegro – Presto
                      1st perf. August/September 1990 Bucharest (Academy ) and tour
                      Anda Anastasescu (pf) Bucharest Academy Orchestra
                        Miniature score for sale
                        See under ‘Piano Duet’

Triumphal March (1955/1997) dur. 7 mins.
                      2.2.2.2. – 4.3.3.1. – timp. perc.(2) – str
                        Full score,parts for hire
                        See under Organ Music (Works without op.no.)
 
 
 


II  CHAMBER MUSIC  / MUSIC FOR ENSEMBLE


Duo     Op.12 (1967)      dur. 14 mins.
                      ‘ for violin and piano
                      ‘‘For Maria Lidka’
                      ‘ Lento liberamente (theme) Allegro vivace (var. 1-5)
                      ‘ Berceuse Adagio (var. 6-8) Vivace (var. 9-15) Coda
                      ‘ 1st perf. 3 December 1967 London (South Bank)
                      ‘ Maria Lidka (vl) Francis Routh (pf)
                                            ‘Score, part for sale

Dance Suite for String Quartet Op.13 (1967) dur. 15 mins.
                      ‘ ‘For the Amici String Quartet’
                      ‘ Moderato (theme) Piu mosso-presto (var.1-5)
                      ‘ Pavan Lento(var.6-7) Galliard, Trio (var.8-9)
                      ‘ Vivace (var.10-13) Coda (var.14)
                      ‘ 1st perf. 28 November 1968 London (South Bank)
                      ‘ Amici String Quartet
                      ‘ Lionel Bentley, Michael Jones (violins)
                      ‘Christopher Wellington (viola) Peter Halling (violoncello)
                                          ‘  ‘Score, parts for sale

Sonata for Solo Violoncello Op.21 (1971)                       dur. 11 mins.
                      ‘ ‘For Christopher Bunting’
                      ‘ Andante sostenuto-Allegro Andante espressivo Scherzo,Trio Vivace
                      ‘1st perf. 10 October 1971 London (BBC Radio 3)
                      ‘Christopher Bunting (vc)
                      ‘ Score for sale

Piano Quartet Op.22 (1971) dur. 15 mins.
                      ‘Allegro moderato-Allegro Adagio Vivace
                      ‘1st perf. 10 October 1971 London (private house-concert)
                      ‘Maria Lidka (vl) Simon Whistler (vla) Vivian Joseph (vc)
                      ‘Francis Routh (pf)                       ‘                       ‘
                                       ‘Score, parts for sale

Serenade for String Trio Op.24 (1972) dur. 14 mins.
                      ‘ March: Spiritoso Arietta: Andante Scherzo :Vivace
                      ‘ Elegy : Largo Capriccio : Presto
                      ‘ 1st perf. 10 May 1980 Australia (Armidale NSW)
                      ‘New England Ensemble
                      ‘Andrew Lorenz (vl) Robert Harris (vla) Janis Laurs (vc)
                      ‘ ii Elegy (4) transcribed for guitar solo (Op.47/4)
                      ‘iii Elegy (4) transcribed for piano solo (see under piano music)
                      ‘                       ‘Score , parts for sale
 
 
Sonata for Cello and Piano Op.31 (1975) dur.17 mins.
                       ‘For Christopher’
                       Quasi recit. Poco vivace Quasi recit. Vivace scherzando
                      1st perf. 10 November 1975 Germany (Wurzburg, Hochschule)
                      Christopher Bunting (vc) Francis Routh (pf)
                                            Score , part for sale

Mosaics for two violins   Op.33 (1976) dur.14 mins.
                      ‘For Klaus Assmann and Mechthild Boekheler’
                      Prelude,recitative Marziale Piangevole Moderato
                      Sotto voce Scherzo, Trio Allegro energico
                      1st perf. 27 November 1977 London (South Bank)
                      Klaus Assmann Mechthild Boekheler (vls)
                                             Score for sale

Oboe Quartet Op.34 (1977) dur. 10 mins.
                       For oboe, violin, viola, violoncello
                       ‘For Janet Craxton’
                      Allegro moderato – Vivace (var. 1-5) Lento liberamente (var.6-8)
                       Vivace (var. 9-12) A tempo moderato (coda)
                      1st perf. 19 October 1977 Germany (Cologne, British Council)
                       London Oboe Quartet
                       Janet Craxton (ob.) Perry Hart (vl) Brian Hawkins (vla)
                      Charles Tunnell (vc)
                                            Score, parts for sale

Fantasy in one movement Op. 35 (1978) dur. 19 mins.
                      For violin and piano
                       Introduction-Moderato-Andante-Vivace scherzando-Andante-Coda
                       1st perf. 23 Julyt 1980 London (BBC Radio 3)
                       Ralph Holmes (vl) Susan Bradshaw (pf)
                                             Score, part for sale

Concerto for Ensemble I Op.41 (1981) dur. 22 mins.
                       For clarinet, guitar, piano, violin, viola, violoncello
                      Vivace energico Adagio Vivace
                      1st perf. 28 February 1982 Budapest (Zeneakademia) and tour
                      Redcliffe Ensemble
                      Angela Malsbury (cl) Timothy Walker (gtr) Francis Routh (pf)
                       Susan Lynn (vl) Garth Knox (vla) Gillian Thoday (vc)
                                             Score, parts for hire

Tragic Interludes for solo oboe Op.43 (1982) dur. 8 mins.
                      ‘For Robin Canter’
                      Warfare: Vivace Divine refuge: Scherzando Human suffering: slow
                       Doubt: Moderato Decision: Moderato Pity :Vivace, grazioso
                      1st perf. 24 February 1983 London (South Bank)
                      Robin Canter (ob.)
                       ii Scored for flute, harp, violin , viola, violoncello
                                                                    Scores, parts for sale

Concerto for Ensemble II Op.44 (1983) dur. 17 mins.
                      For clarinet, guitar, piano, violin, viola, violoncello
                      Vivace Slow Presto
                      1st perf. 20 November 1985 London (South Bank)
                      Redcliffe Ensemble
                      Angela Malsbury (cl.) Timothy Walker (gtr) Francis Routh (pf)
                      Nicholas Ward (vl) Simon Rawson (vla) Gillian Thoday (vc)
                                              Score, parts for hire

Dance Interludes Op.47 (1985) dur. 9 mins.
                      For flute and guitar
                      Moderato Adaio Vivace Elegy:Largo Allegro molto
                      1st perf. 4 September 1985 Singapore (Australian HC)
                      Judith Hall (fl) Timothy Walker (gtr)
                                              Score for sale

Diversions for solo violin Op.49 (1987/1996) dur. 13 mins.
                      Vivace Andante Lento Vivace
                      1st perf. (I, II) 22 June 1992 London (St Peter’s,Hammersmith)
                        (III, IV) 1 December 1996 London (private house-concert)
                      Michael Bochmann (vl)
                      ii For violin and piano
                      1st perf. 27 November 2002 London (South Bank)
                      Adam Summerhayes (vl) Alan Brown (pf)
                                              Scores for sale

Fantasy Duo Op.54 (1990) dur. 18 mins.
                      For violin and piano
                      ‘For Tasmin Little and Piers Lane’
                      At a moderate speed Slow Quick
                      1st perf. 14 January 1991 London (Wigmore Hall)
                      Tasmin Little (vl) Piers Lane (pf)
                                              Score, part for sale

Concerto for Ensemble III Op.55 (1991) dur. 16 mins.
                      For clarinet, horn, piano, violin, viola, violoncello
                      Vivace energico Andante Larghetto Minuet Vivace energico
                      1st perf. 17 July 1991 Sheffield (Merlin Theatre)
                      Redcliffe Ensemble
                      Nicholas Cox (cl) Peter Francomb (hn) Piers Lane (pf)
                      Nicholas Ward (vl) Richard Muncey (vla) Gillian Thoday (vc)
                                              Score, parts for hire

Sonata for solo violin Op.58 (1992) dur. 15 mins.
                      Ar a moderate speed Slow Quick
                      1st perf. 11 May 1994 London (Royal Academy of Music)
                      Clio Gould (vl)
                                              Score for sale
 

Clarinet Quintet      Op.61 (1994) dur. 19 mins.
                      For clarinet, violin I, violin II, viola, violoncello
                      ‘For Nicholas Cox’                                              
                      Vivace Slow Vivace,con mote Allegro Presto
                      1st perf. 7 August 1995 Bristol (St George’s, Brandon Hill)
                      Redcliffe Ensemble
                      Nicholas Cox (cl) Nicholas Ward (vl) Peter Pople (vl)
                      Ivo-Jan van der Werff (vla) Paul Marleyn (vc)
                                              Score, parts for sale

Divertimento for String Quartet Op.66 (1998) dur. 14 mins.
                      ‘For the Bochmann String Quartet’
                      Andante moderato-Vivace energico Adagio Allegro molto
                      1st perf. 27 September 1998 Chipping Norton (The Theatre)
                      Bochmann String Quartet
                      Michael Bochmann, Mark Messenger (vls)
                      Helen Robarts (vla) Peter Adams (vc)
                                              Score, parts for sale

Suite for Tbilisi (Concerto for Ensemble IV) Op.67 (1977) dur. 20 mins,
                      For clarinet, trumpet, piano, violin, viola, violoncello
                      Vivace Slow Allegro molto Intermezzo Presto
                      1st perf. October 1997 Georgia (Tbilisi Festival)
                      Redcliffe Ensemble Performance cancelled
                                              Score parts for hire

Sonata No.2 for Cello and Piano Op.69 (1999) dur. 14 mins.
                      ‘For Maria Wiesmaier’
                      Vivace Andante Vivace non troppo
                      1st perf. May 2000 Berlin (Humboldt University) and tour
                      Maria Wiesmaier (vc) Timothy Carey (pf)
                                              Score, part for sale

Symphonic Variations Op.73 (2003) dur. 14 mins.
                      For clarinet and piano
                      ‘For Nicholas Cox’
                      I Andante (theme,var.1) Vivace (var.2-10) Andante (var.11)
                      III Adagio (var.12-13)
                      IV Alla Marcia (var.14) Giocoso (var.15-25)
                      1st perf. 20 November 2003 Liverpool (Philharmonic Hall)
                      Nicholas Cox (cl) Ian Buckle (pf)
                                              Score , part for sale
 
 
 
 
 
 
 
III VOCAL AND CHORAL WORKS

Balulalow Op.1 (1955) dur. 3 mins.
                      For choir SATB unaccompanied
                      Words by Wedderburn (16th century)
                      1st perf. Christmas 1955 London (Christ Church, Kensington)
                                              Score for sale

A Woman Young and Old Op.4 (1962) dur. 15 mins.
                      For high voice and piano
                      Poems by W.B.Yeats
                      Father and child Before the world was made For Anne Gregory
                      The fool by the roadside Her triumph Meeting From‘TheAntigone’
                      1st perf. 12 October 1962 London (Leighton House, Kensington)
                      Noelle Barker (sop) Colin Tilney (pf)
                                              Score for sale

Four Shakespeare Songs Op.5 (1963) dur. 13 mins.
                      For high voice and piano
                      ‘For Ilse Wolf’
                      Orpheus with his lute (from King Henry VIII)
                      How should I your true love know (from Hamlet)
                      Sigh no more, ladies ( from Much ado about nothing )
                      Blow, blow thou winter wind (from As you like it )
                      1st perf. 12 November 1963 Germany (Cologne, British Council)

Elegy Op.6 (1964) dur. 9 mins.
                      For high voice, violin, piano
                      Poems St John of the Cross, tr. Roy Campbell
                      Recitative - Upon a gloomy night
                      Passacaglia - Upon that lucky night
                      Andante quasi Adagio - Within my flowering breast
                      1st perf. 1 October 1968 Nottingham University
                      Ilse Wolf (sop) Yfrah Neaman (vl) Martin Isepp (pf)
                                              Score, parts for sale

Songs of Farewell Op.8 (1965) dur. 13 mins.
                      For high voice and piano
                      ‘In memoriam Benjamin 24.ix.59 - 13.viii.60 ‘
                      The Spring (Kathleen Raine) Glycine’s Song (S.T.Coleridge)
                      Comfort to a youth that had lost his love (Robert Herrick)
                      A baby’s epitaph (Algernon Charles Swinburne)
                      A farewell (George Gascoigne)
                       1st perf. 7 May 1965 London (Arts Council)
                      Ilse Wolf (sop) Paul Hamburger (pf)
                                             Score for sale
 
 
 
Songs of Lawrence Durrell Op.10 (1966) dur. 13 mins.
                      For high voice and piano
                      This unimportant morning Water music Nemea Lesbos Echo
                      1st perf. 16 May 1966 London (Arts Council)
                      Noelle Barker (sop) Robert Sherlaw Johnson (pf)
                                              Score for sale

Ode to the Evening Star Op.11 (1967)                       dur. 4 mins.
                      For choir SSAATTBB unaccompanied
                      Poem by William Blake
                      1st perf. 28 April 1967 London (Arts Council)
                      Vaughan Williams Singers cond Francis Routh
                                              Score for sale

Circles Op.18 (1969) dur. 17 mins
                      A Vocal Divertimento                        
                      For high voice, clarinet, viola, piano
                      Words by Stephen Tunnicliffe
                      Introduction - A spinning top Interlude I – The pebble in the pond  Interlude II - The dance
                      1st perf. April 1970 Dartington College and tour
                      Audrey Attwood (sop)
                                              Score, parts for hire

The Death of Iphigenia Op.25 (1972) dur. 15 mins.
                      Words from Aeschylus’ Agamemnon tr. Gilbert Murray
                      i For mezzo soprano and piano
                       ‘For Janet Stickland’
                       1st perf. 14 March 1973 London (Wigmore Hall)
                       Janet Stickland (m.sop) Paul Hamburger (pf)
                      ii For soprano and thirteen instruments
                       flute (=picc),oboe, clarinet, horn, trumpet, trombone, percussion (1)
                       harp, piano, violin, viola, violoncello, bass
                       1st perf. 13 December 1978 London (South Bank)
                       Jane Manning (sop) Redcliffe Ensemble cond Edwin Roxburgh
                                              Score, parts for hire

On a Deserted Shore Op.30 (1975) dur. 36 mins.
                      From a sequence of poems by Kathleen Raine
For soprano solo, semi-chorus (m-s. t.b.), double choir SSAATTBB
                      Two pianos, percussion (3)
                      1st perf. 8 December 1975 London (South Bank)
                      Felicity Lott (sop) Caroline Friend (m.sop) Philip Langridge (tenor)
                      Christopher keyte (bar) BBC Singers Redcliffe Ensemble
                      John Constable, Roger Vignoles (pf) cond John Poole
                                              Score for sale
                                              Score, parts for hire
 
 
Vocalise  Op.38  (1979)   dur. 15 mins.
                      For soprano, clarinet, piano, violin, violoncello
                      Moderate Lively Slow Fast Moderate Lively
                      1st perf. 12 July 1979 London (St Bartholomew’s Festival)
                      Jane Gregson (sop) Redcliffe Ensemble
                                              Score, parts for hire

Songs of Sir Walter Scott  Op.39 (1980) dur. 12 mins.
                      For baritone and piano
                      Norman’s song on the night before battle
                      Funeral song on the death of Duncan Soldier’s song Song
                      1st perf. 22 October 1981 London (South Bank)
                      Andrew Knight (bar) Ian Warson (pf)
                                              Score for sale

Songs of Dachine Rainer   Op.40 (1980) dur. 8 mins.
                      For high voice and piano
                      ‘For Deborah Cook’
                      Older Hymn to winter Night music
                      1st perf. 27 January 1981 London (Wigmore Hall)
                      Deborah Cook (sop) Jonathan Hinden (pf)

Love’s Fool Op.40a (1980/83) dur. 10 mins
                      Older (Dachine Rainer) The fool by the roadside (W.B.Yeats)
                      Du, meine welt (Dachine Rainer)
                      i For soprano, flute, guitar
                       1st perf. 27 May 1981 Berlin (British Centre)
                       Edith Urbanczyk (sop) Marianne Koch-Hoffer (fl) Rolf Kaiser (gtr)
                      ii For soprano, flute, piano
                       1st perf. 24 October 1983 London (South Bank)
                       Japan Music Pool
                       Takako Selby-Okamato (sop) Lyn McLarin (fl)
                       Keiko Tokunaga (pf)
                                              Scores (both versions), parts for sale

Woefully Arrayed Op.52 (1990) dur. 27 mins.
                      Poem by John Skelton (1460-1529)
                      ‘For Michael Ashcroft’
                      For soprano, baritone soli, choir SATB, boys’ choir a2
                      Orchestra 2.2.2.2. – 2.2.1.0. –timp. perc.(1) pf. – str
                      1st perf. 17 January 1993 London (Dulwich College)
                      Mari Williams (sop) David Crown (bar) Vasari Singers
                      Boys’ choir, orchestra of Dulwich College cond Michael Ashcroft
                                              Full score, parts for hire
                                              Vocal score for sale
 
 
Ripeness is all Op.53 (1990) dur. 20 mins.
                      For tenor and piano
                      ‘For George Shirley’
                      Poems by Dachine Rainer
                      Birthday Sonnet January thaw Epithalamium Season
                      Spears and Fiddleheads Encounter August Here summer ends
                      Sonnet on the descent from heaven Death
                      Composed for first performance in August 1994 at Aspen, Colorado
                       George Shirley (tenor) Ann Schein (pf) Performance cancelled
                                              Score for sale

Three Shakespeare Songs Op.57 (1992) dur. 9 mins.
                      For medium voice and piano
                      ‘For Sverrier Gudjonsson’
                      Under the greenwood tree ( from As you like it )
                      Fear no more the heat o’ the sun (from Cymbeline )
                      When that I was and a little tiny boy ( from Twelfth Night )
                      1st perf. 6 February 1994 Reykjavik, Iceland (Opera Hall)
                      Sverrier Gudjonsson (c-tenor) Jonas Ingimundarson (pf)
                                              Score for sale ( with Shakespeare Songs Op.5)

Cantate Domino  Op.60 (1993) dur. 7 mins.
                      For soprano, clarinet and strings
                      1st perf. 26 June 1994 London (St Peter’s , Hammersmith)
                      Mari Williams (sop) Anthony Lamb (cl) Festival Orchestra
                      cond Andrew Wells
                                              Full score, parts for hire
                                              Vocal score for sale

Agnus Dei  Op.72 (2002) dur. 3 mins.
                      For choir SATB and organ
                      Words from the Mass
                      1st perf. 4 August 2002 London (St Peter’s , Hammersmith )                                               Score for sale
 
 
 
Works without op. number
First performed at St Philip’s Church, Earlsa Court Road London W8 1961/72

Festival Anthem for Ascension (1961) dur. 7 mins.
                      For double choir SSAATTBB , organ
                      Words Phil.II, 5-11

In the year that King Uzziah died (1963) dur. 3 mins.
                      For soprano solo, choir SATB , organ
                      Words Isaiah VI , 1-3

O clap your hands (1967) dur. 4 mins.
                      For choir SATB, organ
                      Words Psalm XLVII , 1-4

Wherewith shall I come before the Lord (1967) dur. 4 mins.
                      For contralto solo, choir SATB, organ
                      Words Micah VI, 6-8
                      ‘For the Fountain Street Church Choir, Grand Rapids, Michigan
                      cond Beverly R.Howerton

We will be merry far and wide (1969) dur. 3 mins
                      Easter Carol for choir SATB ,organ
                      Words trad.

Three Christmas Carols dur. 3mins.
                      A Babe is born (1963) SATB, organ, Words trad.14th century
                       ‘For the Bach Choir cond David Willcocks’
                      Make we joy now in this fest (1972) SATB,organ, Words trad
                      Love came down at Christmas (1972) SATB, Words Christina Rossetti
                      
Three Introits  dur. 2 mins.
                      The Children of the Hebrews (1972) SATB, organ Words trad.
                      Praise the Lord in his sanctuary (1992) SATB, organ Psalm CL
                      You are Peter (1992) SATB ,organ Words Matthew XII,18

At the round earth’s imagined corners (1978) dur. 4 mins.
                      For choir S M-S ATB unaccompanied
                      Words John Donne
                      ‘For the North Hertfordshire Guild of Singers’
                      cond John Railton
                                              Score for sale

Two Cautionary Tales (1990)                       Dur. 5 mins.
                      For medium voice and guitar
                      Words by Rhoda Levine
                      Tom Cats Barn Dance

 
IV KEYBOARD WORKS
i organ Music

Fantasia I                       Op.2 (1959)  dur. 13 mins.
                      Allegro con brio - Andante molto espressivo -
                      A tempo maestoso con fuoco – Adagio piacevole – Allegro vivace
                      1st perf. 10 October 1958 London (St Luke’s Church, SW 10)                       Francis Routh (org.)
                                              Score for sale

Sonatina                       Op.9 (1965) dur. 13 mins.
                      Poco maestoso Andante sostenuto Allegro marziale
                      1st perf. 8 December 1965 London (St Philip’s Church , W8)
                      Nicholas Danby (org.)
                                              Score for sale

Fantasia II                       Op.14 (1967) dur. 15 mins.
                      ‘For Christopher Bowers-Broadbent’
                      Prelude Aria Chorale
                      1st perf. June 1971 St Albans (International Organ Festival)
                      Christopher Bowers-Broadbent (org.)
                                              Score for sale

A Sacred Tetralogy I - The Manger Throne Op.3 (1959) dur.21 mins.
                      Mystery : Lento espressivo – piu mosso
                      Peace : Con moto tranquillo
                      Joy :                       Allegro jubilante
                      1st perf. 28 May 1960 London (Holy Trinity, Brompton)
                      Francis Routh (org.)
                                              Score for sale

A Sacred Tetralogy II - Lumen Christi Op.15 (1968) dur. 25 mins.
                      ‘For Gillian Weir’
                      Vivace energico e con brio – Lento espressivo – Vivace assai
                      Agnus Dei : Molto moderato                       Allegro vivace
                      1st perf. 18 January 1970 London (South Bank)
                      Gillian Weir (org.)
                                              Score for sale

A Sacred Tetralogy III - Aeterne Rex Altissime Op.20 (1970) dur.22 mins. ‘For Gillian Weir’
                      Alla breve –Allegro- Vivace Lento liberamente-Andante espressivo
                      Andante - Vivace con brio
                      1st perf. 6 June 1971 London (South Bank)
                      Gillian Weir (org.)
                                              Score for sale

A Sacred Tetralogy IV – Gloria Tibi Trinitas Op.29 (1974) dur. 17 mins.
                      ‘For Christopher Bowers-Broadbent’
                      Senza misura - Allegro poco vivace
                      Lento espressivo Vivace, senza misura
                      1st perf. 9 June 1974 London (South Bank)
Christopher Bowers-Broadbent (org.) Score for sale

Four Marian Antiphons Op.50 (1988/98)
                      I Alma Redemptoris Mater dur. 12 mins.
                      ‘For David Herman’
                      1st perf. 20 May 1990 New York (St Thomas, Fifth Avenue)
                      David Herman (org.)
                                              Score for sale

II Ave Regina Coelorum dur. 8 mins.
                      ‘For Christopher Bowers-Broadbent’
                      1st perf. 9 November 1998 Coventry Cathedral
                      Christopher Bowers-Broadbent (org.)
                                              Score for sale

III Regina Coeli Laetare dur. 8 mins.
                      ‘For Gillian Ward Russell’
                      1st perf. 18 February 1995 Brasted, Kent (St Martin’s Church)
                      Gillian Ward Russell (org.)
                                              Score for sale

IV Salve Regina dur. 5 mins.
                      ‘For Gillian Ward Russell’
                      1st perf. 6 November 1988 London (St Cyprian’s, Clarence Gate)
                      Gillian Ward Russell (org.)
                                              Score for sale
                                              Score for sale i-iv together

Exultet Coelum Laudibus Op.63 (1994) dur.14 mins.
                      ‘For David Herman’
                      Moderate Slow Lively
                      1st perf. 11 February 1996 New York (St Thomas, Fifth Avenue)
                      David Herman (org.)
                                              Score for sale
                      
Works without op.no.

An English Organ Book (1972 - )
                      Aeterne Rex Altissime                       Ascension (1981)
                      Agnus Dei                                              General (2002)
                      Chorus Novae Jerusalem                       Easter                       (1987)
                      Christe qui lex es et dies                       Lent                       (1993)
                      Christe Redemptor omnium                       Christmas (1981)
                      Quelle est cette odeur agreable Christmas (1963)
                      Rorate coeli                                              Advent                       (1987)
Triumphal March (1955/97)                       dur. 7 mins.
                      ‘For Peter and Griselda Barton’ (Wedding March)
                      1st perf. 16 July 1955 London (Christ Church, Kensington)
                      Francis Routh (org.)
                                              See under Works for Orchestra
                                              Scores for sale, parts for hire
 
ii Piano Music

Little Suite Op.28 (1974) dur. 12 mins.
                      Prelude March Pas d’action Waltz Pas de deux Serenade
                      Dance of the shadows The piano lesson Postlude March
                      1st perf. 27 March 1974                       London (South Bank)
                      Francis Routh (pf)
                                              Score for sale

Ballade  Op.42 (1982)  dur. 9 mins
                      Slow  Lively   Slow  Lively
                                              Score for sale

Celebration                       Op.45 (1984) dur. 14 mins.
                      ‘For Jeffrey Jacob’
                      Allegro  - Andante - Vivace
                      1st perf. 27 September 1984                       London (South Bank)
                      Jeffrey Jacob (pf)
                                              Score for sale

Elegy                       no op. no. (1986) dur. 7 mins.
                      ‘In memoriam Benjamin 24.ix.59 – 13.viii.60’
                      Transcribed from Op.24/4 (1972)