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Pohjola, 11 Dales Ave, Embsay, Skipton, North Yorkshire BD23 6PE, U.K. Phone: 01756 792968 Mobile: 0798 982 4359

Opus 1 - 30
Opus 31 - 60

Opus 61 -140

The Owl & the Pussy Cat chorus, brass band, jazz group Op. 61 1979 Hansen Ed
14th April 1980 Hjørring, Denmark - Hjørring Music Group

September Morn - symphonic study large orchestra Op. 62 1983 MS
December 2004 Exeter University Orchestra conducted Richard Gonski.

Nex Vulpinus (The Fox) string orchestra Op. 63 1981 MS
12 June 1981 Cotswold Sinfonietta, Cirencester Parish Church

Flamboyance trumpet and piano Op. 64 1977 Vanderbeek
? publisher's commissioned piece

Variations on a theme of Schubert school orchestra Op. 65 1981 MS
15 May 1981 Skipton Girls' High School, Skipton, North Yorkshire

Mancunian Way large wind band Op. 66 1985 MS
10 October 22 June 1985 RNCM Wind Band c. Timothy Reynish. RNCM concert

Leprechauns 2 oboes and cor anglais Op. 67 1978 MS
10th March 2002 Shaftesbury School, Dorset

Beowulf string orchestra Op. 68 1982 MS
23 June 1982 Cotswold Sinfonietta, Cirencester Parish Church

Héjnal trumpet and piano Op. 69 1979 Forsyth
? publisher's commissioned piece

Bubu small ensemble Op. 70 1980 MS
Now retitled as TARKA
Bubu is now Op 107
9th March 1980 Gemini Ensemble at RNCM New Music Weekend

Winter Music brass band or wind band Op. 71a/b 1978 MS
31 January 1979 Queensbury Brass at Ingleborough Community Centre, Ingleton, North Yorkshire

Symphony No. 4 orchestra Op. 72 1986 MS
8 May 1986 BBC Philharmonic c. Bryden Thomson. BBC Radio 3 public concert, Manchester

Piano Trio violin, cello and piano Op. 73 1983 MS
13 July 1983 Music Group of London at Pitville Pump Rooms, Cheltenham Festival Commission

Sonatina violin and piano Op. 74 1979 Vanderbeek
1 October 1988 Martin Milner (violin), Ernest Hall (piano),Grassington Festival, Grassington Town Hall, Yorkshire

Tundra - suite large wind band Op. 75 1979 Vanderbeek
4 November 1984 BASBWE Conference - RNCM Manchester. ILEA Youth Wind Band c. Christopher Morgan

Odin - from the land of fire & ice brass band Op. 76 1986 Smith & Co.
16 July 1986 Black Dyke Mills Band c. Peter Parkes. Victoria Hall, Queensbury. Radio 3 broadcast

Bassoon Concerto (Summer Music) bassoon and orchestra Op. 77 1986 MS
20 June 1987 Alison Birkinshaw (bassoon), Settle Orchestra c. composer. Giggleswick Church, North Yorkshire.

Viola Sonata viola and piano Op. 78 1986 Comus Ed
20 February 1993 Benjamin Payne (viola), Marcus Tilt (piano). Viola Festival, Harlow, Essex.

Five Easy Pieces brass instruments Op. 79 1983 Brass Wind


Publisher's commissioned piece

Scherzo & Canzona bass trombone and brass band Op. 80 1984 MS
11th April 1985 Hjørring Music Centre, Hjørring, Denmark

Three Night Pieces trumpet and piano Op. 81 1987 Brass Wind


Publisher's commissioned piece

Viola Concerto viola and orchestra Op. 82 1993 Comus Edition (
8 December 1993 Peter Lale (viola) BBC Philharmonic Orchestra c. Barry Wordsworth. Radio 3 broadcast.

Keynotes brass instruments Op. 83 1988 Brass Wind


publisher's commission for schools' use

Kendal Clock (Tinnitis Aurium Kendaliensis 1189-1989) carillon Op. 84 1989 MS
9 September 1989 Westmorland Orchestra, Kendal (South Lakeland) Leisure Centre (800th Anniversary Kendal's Charter)

Sinfonia for Brass Maoriana brass band Op. 85 1990 Comus Ed.
10 May 1991 Wormald Brass c. Alan Mackenzie. Auckland, New Zealand

Paean brass band Op. 86 1990 MS
11 December 1990 Desford Brass c. James Watson. Colston Hall, Bristol - BBC Radio 3 concert.

Passacaglia - on a theme of Brahms brass band Op. 87 1991 Comus Ed
10 March 1991 Desford Brass c. James Watson. BBC Radio 3 public concert. Manchester Studio

Northern Light - symphonic study large orchestra Op. 88 1991 MS
18 May 1991 Leeds Symphony Orchestra c. Martin Binks. Leeds High School

Solent Forts - concert overture large orchestra Op. 90 1992 MS
31 August 1991 Wren Orchestra c. Alexander Gibson. Kenwood Concerts, English Heritage.

Quartet brass instruments Op. 91 1992 MS
20 March 1992 Desford Brass Quartet, Wigan Pier Concerts Centre

Suivez la raison - concert march brass band and organ Op. 92 1993 MS
10 December 1993 Ermysted's School Band (Founders' Day Service) Skipton Parish Church.

Trumpet Concerto (Concerto alla Veneziana) trumpet and orchestra Op. 93b 1992 Comus Ed
29 April 2004 Murray Greig (tpt) Orch Opera North (Martyn Brabbins) Huddersfield Town Hall

Concerto alla Veneziana trumpet and brass band Op. 93 1992 Comus Ed.
31 July 1992 Maurice Murphy (trumpet), National Youth Brass Band, Morley Town Hall, Yorkshire

The Great Frost narrator and orchestra Op. 94 1993 MS
not performed not performed

Piano Quintet - symphonic variations piano and string quartet Op. 95 1995 MS

(Ending revised and re-written 1998)

21 June 1995 Privately (Robinson Quintet) at Arncliffe, Yorkshire Dales

Mancunians (Hallé commission) large orchestra and brass band Op. 96 1995 MS
21 September 1995 Hallé Orchestra & Scottish CWS Band c. Kent Nagano at Free Trade Hall, Manchester

Ragnarök concert overture orchestra Op. 97 1995 MS
19 July 1995 Manx Youth Orchestra c. Bernard Osborne. Villa Marina, Douglas, Isle of Man

Cello Concerto cello and orchestra Op. 98 1997 MS
18 January 1997 Rebecca Gilliver (`cello), Slaithwaite Philharmonic Orchestra c. composer. Huddersfield Town Hall

Wedding Music trumpet and organ Op. 99 1996 MS
7 September 1996 William Watson (trumpet), Timothy Gray (organ). Wedding of William Dodds and Rachel Culver, St Wilfred's Church, Harrogate. It was a surprise wedding present to the Groom, performed with great panache at the end of this most impressive musical wedding ceremony

String Quartet string quartet Op. 100 1997 MS
7 February 1997 Serafin Quartet at Giggleswick School Concerts Society. It was revised almost immediately afterwards, and had this revised version performed by the same artists at Hamsey parish church, Lewes, Sussex on 13th June.

Approx 31 minutes. Very English in tradition.

Morris Dancers horn quartet Op. 101 1997 MS
19th May 1997 Huddersfield Summer Concerts
This was written at the behest of the four horns of the Slaithwaite Philharmonic Orchestra, Huddersfield. It is a 'fun' piece, since some of them are also involved in morris dancing. Written for their own amusement, but they did give it a public performance in May. Not to be taken too seriously.

Actaeon's Ride thirteen wind instruments Op. 102 1997 MS
25 October 1997 Mayfield Wind Ensemble, Broomhill Chapel, Sheffield

2 flutes, 2oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, and (either) double bassoon or double bass. A kind of 'black' scherzo evoking the legend of Actaeon.

Saxhorn Sonata in E flat horn and piano Op. 103 1997 Comus Edition (
13th March 1998 Written for tenor horn  students at RNCM, as a serious work to add to the sparse repertoire of this instrument. The tenor horn, essentially a brass band instrument, has virtually no repertoire or solo music of its own, but has traditionaly had to depend on transcriptions from other instruments. The tenor horn is a true saxhorn as opposed to the 'proper' horn in F (still referred to by uninformed novelists as the 'French Horn). Now that the tenor horn along with other brass band instruments, has been admitted to the main conservatories as an instument in its own ight there is a need for 'serious' recital music. This sonata is for horn and piano and can just as effectively be performed on the F-horn (i.e. with the 'french'or orchestral horn).

Music for Wind Instruments Op.104 1998 Comus Edition (
Op.104a TOWER MUSIC for brass
Op.104b YEARS END for woodwind
Op.104c TUDOR COURT MUSIC for mixed wind
    This has been commissioned by the National School Band Association and is intended for GCSE and 'A Level examinations in ensemble playing. There are three short suites: for brass; woodwind; and mixed groups. Essentially educational music, but intended to enhance school pupil's experience and awareness of 'real' music as opposes to easy and often undemanding 'school' music of the more prosaic, jazzy or trivial kind.

Mist on the Marshes A scena for soprano voice, double-bass obligato and piano. Op. 105 1998 Recital Music
        Commissioned by the virtuoso double-bass player, David Heyes and his wife the soprano, Sarah Poole. This atmospheric piece (words by the composer) evokes the melancholy and often forbidding landscape of the lonely marshlands of the Fen Country, with its furtive mists, desolate coastline, and the cry of sea birds. Words by the composer.

Due for premiere on August 2004

Organ Sonata Op. 106 1998 In the earliest stages of being written. The organ has always appealed to me and at one time I yearned to be a cathedral organist, but my keyboard technique is even worse than that of Berlioz (I think he would have got a merit at Grade II of the Associated Board, had there been one in the 1840's!). It has ever been in my mind that, as the saying goes: .... "Brahms confided his last thoughts to the organ" .... and in a way, since perhaps I ought not to expect to 'say' more through the orchestra than I have perpetrated already, it seems an appealing idea to write a good, solid, major organ piece. Morover I have always been atracted to the North German baroque organ music - Buxtehude, Bruhns and others of Bach's predecessors - and the peculiar, though not perhaps so surprising later connection with nordic music, through Sibelius and, even more so, Nielsen.

Bubu Cor Anglais, Viola & Harp Op 107 1999 To be performed Summer 2000

Olicana Variations
(~7 min)
recorders, beginner's violins and cellos, a small string orchestra, about 20 flutes and even more clarinets, three oboes, one bassoon one horn, eight saxophones, ten trumpets, six trombones, two tubas, bass guitar and eight percussionists Op108 18th Dec 1999 Olicana was the ancient Roman name for Ilkley, West Yorkshire. First performance 18th December 1999, King's Hall, Ilkley by the combined forces of Ilkley Saturday Morning Music Centre.

It is an educational work intended to allow al lstudents of whatever age range to come together in a grand finale.

Guitar Concerto
(22 min)
Op. 109 19th Nov 2000 Comus Edition (
      Commissioned by the Leeds Symphony Orchestra for soloist Craig Ogden. It is the intention that the guitar be 'enhaced' by discrete amplification - definitely not through the use of an electric guitar. Notre Dame School, Leeds

The instruments constituting the modern symphony orchestra: strings, wood-wind, brass and percussion, have become standardised throughout the civilised world wherever a symphony or opera house orchestra is to be found. Some instruments however, might be said to have had an especially close association with one particular culture, even to the extent of becoming the symbol of a country the Irish harp, the kantele of Finland, the balalaika of Russia, or gipsy fiddles-playing in Bohemia, the guitar1 although now universal in its appeal, has remained especially symbolic of the musical spirit, ihdeed the very soul of Spain. Its idiosyncratic system of tuning has even brought about a harmonic flavour that has become the most characteristic and recognisable sound of the music of Iberian culture.

Composers from other countries however, have long explored the abilities of the guitar? the universal qualities of baroque music, for example: but in essence it seems to exude most of all its essentia1ly Spanish culture and sound world. Its association with popular dance music of Spanish tradition, evoking associations of vivid colour, the sultry passions of a populace accustomed to living beneath the hot sun of high summer, Jealous rivalries and that sense of family honour said to be characteristic of the Latin races. The very sound of the instrument evokes all these sensations: its capriciousness; sulky, lonesome melancholy, its immense manic vitality and rhythmic verve. In its quieter moments it can also suggest dark, hidden secrets, only to be whispered furtively. Its soul sometimes seems possessed of an age-old symbolism as if a memory of the dark deeds of the Inquisition were still to be evoked.

Such is the opening of this concerto, marked? 'lamentoso". Indeed the movement is not unlike a musical discourse or inquisition in which the guitar is challenged by the sombre forces of the large orchestra. The second movement is a fugitive scherzo for guitar and wind instruments, pursued by the 'cellos and double basses. The third movement reflects, as it were on fate, with the solo instrument self-communing while in the background the strings makes comment much in the same way that they do in the slow movement of Beethoven's Fourth Piano Concerto. The finale allows the guitar a freer rein and with it a more outgoing sense of liberation.

Haworth Moor
(15 min)
Three songs for chorus and piano Op 110 1st July 2000 Comus Edition (
        . Written for the Huddersfield Singers to words by Emily and Anne Brontë including Remembrance

Premiere July 1st 2000. Huddersfield Singers 125th Anniversary Concert, St Paul's Hall, Huddersfield

The Brontë sisters, Emily, Anne and Charlotte in addition to their novels wrote poetry, that of Emily being far superior to the poems of her sisters.
They collaborated in evoking the Land of the Gondals, a romantic childhood creation of their imagination. However, a more immediate - and plausible -source of the imagination was their lonely moorland environment. The aura of the bleak hills, in all seasons of the year were a constant source of fascination, delight, and indeed love of those wild places. This is expressed in the first of these settings, the poem by Anne: "Lines composed in a wood on a windy day" with its exhilaration and evocation of nature.
"Remembrance" by Emily Brontë is a longer and more introspective poem from the Gondal cycle of imaginative writings. Like her sister's poem, it too captures something of the imagery of the moorlands, and the spell it cast over them. However there is a deeper vein of philosophy and insight that has made it one of the more memorable of nineteenth century poetic creations.
"The North Wind" was written by Anne at the end of January 1838 and evokes, as does much of the sisters' nature poetry, the almost ecstatic fascination, amounting even to obsession, they felt for their native harsh and inhospitable moorland.
They all suffered from the climatic conditions; the chill, damp atmosphere insidiously claimed them in turn. However, the legacy of their imaginative insight into life, love and thwarted yearnings have for more than a century and a half captivated generations of us.
Like the Brontës, Arthur Butterworth has long been deeply influenced by the aura and spirit of the northern moorlands. In 1969 he was commissioned by the Arts Council of Great Britain to compose "The Night Wind, Op.38, a set of three poems by Emily Brontë, for the Trinidadian soprano, Miriam Nathaniel, a work first performed at the Calder Valley Festival of that year. Almost all his major orchestral works, notably the four symphonies and the suite for large orchestra "The Moors" Op. 26, contemplate this recurring theme of fascination for the remote moorlands of northern England.

Sinfonia Concertante Euphonium, Baritone and brass Op. 111   Comus Edition (
28 July 2001 Harrogate Festival

Pastorale viola and piano Op. 112   Comus Edition (
5th May 2002 Kendal Arts Centre

Reverie Recorder Piano (or Harpsichord) Op. 113   Forsyth
14th April 1980 Royal Northern College of Music

Schubert Variations piano Op. 114   MS

Symphony No 5 large orchestra Op. 115 2003 Comus Edition (
22 Oct 2003 BBC Philharmonic, Manchester

Mill Town large orchestra Op. 116 2003 MS
15th Nov 2003 Huddersfield Philharmonic

The Sands of Dee Double Bass & Piano Op. 117   Recital Music

Gog and Magog Double Bass and String Ensemble Op. 118   Recital Music

Three Lyric Pieces Tuba and Piano Op. 119a   Comus Edition (
15 Nov 2003 Royal Northern College of Music
Three Lyric Pieces Cello and piano Op. 119b   Comus Edition (
Three Lyric Pieces Double Bass and piano Op. 119c   Comus Edition (

The Gypsy Fiddlers Vn, Db, Pno Op. 120   Recital Music
1st April 2004 Sherborne School, Dorset

Piano Trio No2 Projected New Work Op. 121    

Wild Thyme Recorder Ensemble Op.122   Peacock Music Press

Sebastian March Brass Op.123   Ms

Symphony 6 Op. 124   Comus Edition

Capriccio Pastorale small orchestra Op. 125   Peacock Music Press

Carlow Fair recorder (flute, or oboe, or bassoon) & piano Op. 126   Peacock Music Press

Coruscations for Orchestra Op. 127   MS

Undine flute & piano Op. 128   Comus Edition

Ukko ("Strix Nebulosa") alto flute(or cor anglais) & piano Op. 129   Comus Edition

Entre chien et loup Orchestra Op. 130   MS

Scherzo for small orchestra small orchestra Op. 131   MS

Sonata bass oboe (or hecklephone) & piano Op. 132   MS

Halloween 8 horns Op. 133   EB Edition, Leeds

Grey Moorland concert march for orchestra Op, 134   MS

Martyrs - (In Nomine) large brass ensemble Op. 135   MS

Soliloquy cello and piano Op. 136   MA

Sligo Fair brass quintet (2 Tpts,Hn,Trb,Tuba) Op. 137   MA

Haunting Visions recorder, cor anglais & chamber orchestra Op. 138   MA

Capriccio violin and Orchestra Op. 139   MA

Symphony 7 (2011)   Op. 140   Comus Edition

The Grey Mist on the silent lake (2011) 5 min Flute, piano Op. 141   MS

Tarka (2012) 15 min flute, clarinet in A, bassoon, double string quartet, double bass, ;piano Op. 142   MS

Elegy for Diana (2013)8 min string orchestra Op. 143   Comus Edition

Arthur died in November 2014

Arrangements and transcriptions:

A Diabelli Suite - small brass group    EMI Music
Minuet & Trio (Beethoven) - small brass ensemble    EMI Music
Introduction & Allegro Op. 47 (Elgar)    Novello Edition
Canto Popolare (Elgar) - brass    Novello Edition
Elegy (Elgar) - brass    Novello Edition
The Tempest (Sibelius) - brass    Hansen Edition
Pelleas & Melisande (Sibelius) - brass    MS
Five Songs (Sibelius) - orchestral accompaniment    MS
Variations on a theme of Handel (Brahms,Op 24) - brass    Comus Edition

Opus 1 - 30
Opus 31 - 60

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