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TREVOR HOLD

1939 – 2004

CATALOGUE OF COMPOSITIONS

Performance material enquiries should be sent to 9 St Christopher’s Drive, Oundle, Peterborough PE8 4HU

Obituary March 2004 -Lewis Foreman

Contents

Foreword by Lewis Foreman

Orchestral

Instrumental

Keyboard

Vocal

Choral

Dramatic

For children

Arrangements

Other publications

Chronological list of works

Alphabetical list of works

 

Foreword

The composer Trevor Hold was born at Northampton on 21 September 1939. He read music at Nottingham University and afterwards was Head of Music at Market Harborough Grammar School, before becoming assistant lecturer in music at Aberystwyth (1963-5). Lecturer in Music at Liverpool University from 1965 to 1970, he returned to the East Midlands in 1970 as Lecturer and Staff Tutor in Music in the Department of Adult Education at the University of Leicester, later becoming Senior Lecturer. With his family he lived at Wadenhoe for more than 30 years. He became widely-known in the world of East Midlands’ music, composing for local schools and choirs, conducting, accompanying and running adult education classes. Like Britten, one of Hold’s beliefs was that the composer should be writing for the community in which he lived, and he received many local commissions. This is music that was widely enjoyed in his lifetime and is relished by both performers and audiences alike.

Hold identified closely with the county of his youth. ‘I was born at Northampton, the town where the poet John Clare spent the last 23 years of his life’ he said. ‘Clare was my local poet, writing about a landscape I knew, in a dialect I myself used. When he walked down hollow and up hill to the village of Kingsthorpe, he took the same road that I took every day to and from primary school. The asylum where he lived was next door to the grammar school that I attended.’

Hold enjoyed a succession of BBC performances of his latest works, notably his song cycles, given with leading artists more or less as they appeared. In fact because his name has tended to be associated with his many song cycles we may not realise the extent of his output, now documented for us in the present catalogue. Individual songs from these can certainly be sung separately, and I would like to nominate my favourite for a Hold encore, the jazzy ‘Lout’ from Gathered From the Field. There are many others. His song cycle The Image Stays, written to his own words during the summer of 1974, deals with various aspects of love, some directly some more obliquely, rounded by ‘His Portrait’ and ‘Her Portrait’. ‘Solo vocal music is my natural métier’ he concluded, confessing in a programme note ‘I am a hopelessly compulsive songwriter – perhaps I should say ‘song cycle-writer’, for I have written very few separate solo songs…to me, the song cycle is as important a medium as the instrumental sonata’.

Hold’s output included rewarding piano music, chamber music, orchestral, choral music and dramatic music. He also wrote much worthwhile music for school and local performance, remarking ‘When I got into adult education in 1970, I wanted to bridge this terrible gap between modern music and the local audience.’ He certainly succeeded.

His orchestral works – and there are nineteen of them – as well as several song cycles with orchestral accompaniment all repay attention. Overtures, music for strings, orchestral works including two symphonies, a piano concerto and two short concertante works for violin (Sestina) and for organ (Time Passes) mean that conductors looking for something new and approachable will find material rewarding for both audience and performers. If in doubt why not start with one of the two delightful suites of folk-tune arrangements for strings, taken from The Lilford Owl, or Folksongs from Sark for full orchestra. There were other orchestral works; try the prize-winning overture My Uncle Silas, as well as the witty Lucky Jim and Keele Overture. Northampton commissions include the concentrated Chaconne for orchestra and the atmospheric Twelfth Night: Music for an Imaginary Masque, both commissioned and performed by the Northampton Symphony Orchestra, and the twelve-minute Concerto for String Orchestra, commissioned by Northampton Borough Council to mark Malcolm Arnold’s 70th birthday. Among this varied catalogue the two compact and persuasive symphonies stand out as eloquent examples of the British symphony in their time. When the First Symphony was produced by the BBC Philharmonic Orchestra conducted by Odaline de la Martinez in 1988, it was apparent that here was a personal sound-world that had something to say and successfully embraced a language to reach a wide audience without compromising his vision. In the traditional four movements, its lyricism owes much to the use of ideas from his song cycle The Image Stays. Odaline de la Martinez highlighted ‘a wonderful scherzo – full of life, this continual sense of rhythmic pulse which is changing all the time’.

Hold’s large catalogue of instrumental works includes music for violin (Sonata, Kemp’s Jig), viola (The Weathercock) and cello (Canticle, Two Diversions, Three Folksongs from Sark). For cello there are also ensemble works: the Variations on a Popular Song for two cellos and the Triptych for 8 cellos. Although written for the concert hall Hold’s music for woodwind is repertoire that amateurs will enjoy playing. This engagement with his players is immediately apparent in the pieces for recorders – the busy overture Rutterkin for 7 recorders and Gammer Gurton’s Garland for treble recorder and piano written for the celebrated player John Turner. Equally attractive are the pieces for flute (Pastoral and Caprice), oboe (Air and Dance, and with guitar the late Variations on ‘Caleno Custurame’) and flute/oboe duet, seven short Inventions. Perhaps he most related to the clarinet, producing not only various short pieces (The Blue Firedrake, Solemn Blues and Canonic Boogie, and A Winter Firedrake for unaccompanied clarinet) but also a full-blown clarinet quintet, one of his most outstanding works. Inhabiting much the same world is the Tango and Charleston for alto sax (in homage to the Czech composer Martinů) and a Lullaby that should be on every saxophonist’s list of encores. For bassoon and piano Hold wrote the Dovecote Suite, five delightful movements evoking the family home at Dovecote House in Wadenhoe.

For non-instrumentalists perhaps Hold’s piano music is the best starting point for exploring his music. With its personal voice and varied technical difficulty there is something for everyone. As well as four sonatas and his best known work Kemp’s Nine Daie’s Wonder there are also easier pieces including the folk-tune preludes The Lilford Owl. Kemp’s Nine Daie’s Wonder is published in a handsome edition by Basil Ramsay. Hold’s piano music, notably championed by the pianist Peter Jacobs, encompassed four sonatas on which he was engaged in the last two years of his life, revising his first sonata written in 1959 and producing the third and fourth sonatas, remarkable for their concision and eloquent voice.

With his vast knowledge of English literature, particularly of regional poets, and long experience of vocal settings it is no surprise to find that Hold wrote a substantial catalogue of works for choir, both unaccompanied and with organ, piano or small ensemble. There are also a number of very attractive pieces for children’s voices.

Hold’s dramatic music includes much practical music for church performance and for schools and children’s groups. One must draw attention to possibly his most potentially important work, unfortunately not yet produced, his full length opera The Second Death. Running a little over an hour and a half this would make an ideal focus of a summer festival. The Second Death concerns time and the break in time, with alternating scenes set in the twentieth century and the civil war. Here Hold’s lifelong obsession with character and with communication found a persuasive synthesis in haunting music and imagery of a very personal vision.

It had been inevitable that he would move towards opera as the song cycles became more dramatic, like little monologues. ‘I can see actual characters’ he said, adding ‘rather than a singer in a monkey suit’. Most of his operas were practically conceived for known performers, including The Falcon for church performance, the Christmas opera The Two Nativities after a Wakefield Mystery play and Through the Secret Gate for Northampton High School for Girls. Later came the children’s opera Ask No Questions, commissioned by Eastern Arts for the 1985 Broadland Junior Singers Children’s Camp. Shorter works for children’s groups include Lark Rise, an atmospheric setting of texts by Flora Thompson, Herrick and Clare and Jabberwocky after Lewis Carroll and Edward Lear.

This is a remarkable life’s work which, now that we are able to see it as an entity, something not possible in the composer’s lifetime, reveals a distinctive personality with a loveable view of Hold’s corner of England yet of universal appeal. Although he found a quite personal low key colloquial voice, he was capable of embracing the big moment and in his inimitable way celebrated places, people and history, notably the local poet John Clare and his wife, Sue, the subject of many love poems.

 

Lewis Foreman, 2007

Orchestral

RONDO (1964)

for string orchestra

a suite in 6 movements: Prelude – Waltz – Foxtrot – Galop – Nocturne - Finale

26 minutes

OVERTURE, MY UNCLE SILAS (1967)

for small orchestra

(3222/2100/timp/perc/harp/strings)

5 minutes

A KEELE OVERTURE (1971)

for orchestra

(2222/4231/timp/S.D./piano/strings)

7 minutes

commissioned for its 21st anniversary by University of Keele

CALENDAR (1965-72)

for orchestra

(2222/2221/perc.(3)/strings)

in 12 linked sections

30 minutes

TIME PASSES (1972)

for small orchestra and organ

(2222/2200/perc./strings/organ)

in 3 movements

18 minutes

SYMPHONY (1974-77)

for orchestra

(3333/4331/perc.(4)/harp/piano/strings)

in 4 movements

25 minutes

THE LILFORD OWL (1977)

for string orchestra

a suite of 5 folk-tune preludes

9 minutes

CLARE’S GHOST (1978)

for small orchestra

(2222/2000/perc.(1)/strings)

10 minutes

CHACONNE (1982)

for orchestra

(3223/4231/timps/perc.(3)/celesta/strings)

11 minutes

commissioned by Northampton Symphony Orchestra

OVERTURE, LUCKY JIM (1963/1983)

for orchestra

(222sax2/4231/timp/perc.(4)/harp/str)

11 minutes

OVERTURE IN THE ENGLISH STYLE (1986)

for string orchestra

8 minutes

commissioned by Corelli Strings

TWELFTH NIGHT: MUSIC FOR AN IMAGINARY MASQUE (1986-92)

for orchestra

(3222/4231/timp/perc.(4)/celesta/harp/str)

15 minutes

commissioned by Northampton Symphony Orchestra

FOLKSONGS FROM SARK (1987)

for orchestra

(2222/4231/perc.(3)/celesta/harp/str)

9 minutes

SESTINA (1988)

for solo violin and string orchestra

6 minutes

commissioned by Corelli Strings

CONCERTO FOR STRING ORCHESTRA (1990)

for string orchestra

12 minutes

commissioned by Northampton Borough Council for Malcolm Arnold’s 70th birthday

PIANO CONCERTO (1992)

for piano and orchestra

(3333/4231/timp/perc.(2)/str)

30 minutes

FOUR LANDSCAPES (SYMPHONY No. 2)

(1993-95)

for orchestra

(3333/4231/perc.(6)/harp/str)

25 minutes

BERCEUSE (1997)

for string orchestra

3 minutes

MY ROBIN IS TO THE GREENWOOD GONE (2000)

for string orchestra

3 minutes

THE LILFORD OWL, SUITE 2 (1977/2001)

for string orchestra

a suite of 5 folk-tune preludes

10 minutes

 

Instrumental

VIOLIN SONATA (1964)

for violin and piano

10 minutes

THE WEATHERCOCK (1965)

for viola and piano

Theme and Variants

12 minutes

STRING QUARTET (1965/revised 1982)

in 4 movements

25 minutes

TAPESTRY (1966)

for flute (piccolo), oboe, violin, cello,

guitar and percussion

in 3 movements: The Falcon – Minstrels –

Tournament

15 minutes

RUTTERKIN (1968)

an overture for recorders

(descant, 2 treble, 2 tenor, 2 bass)

4½ minutes

commissioned by the Nene Consort

pub. Tomus Publications

THE BLUE FIREDRAKE (1969)

for clarinet and piano

8 minutes

CINQUEFOILS (1970)

for piano and string quartet

in 5 movements: Rainbow Arc – Cinque – Colloquy – Foil – Grainger-in-the-Sands, or Mock-Mock-Morris

20 minutes

Commissioned by University of Lancaster

KEMP’S JIG (1972)

for violin and piano

6 minutes

THE FOX (1972)

divertimento for 2 horns, 2 violins, viola and d.bass

in 3 linked sections

12 minutes

commissioned by Orchestra da Camera

CANTICLE (1973)

for cello and piano

in 4 linked sections: Introduction – Scherzo –

Song – Finale

18 minutes

TWO DIVERSIONS (1974)

for cello and piano: Serenade – Lamentation

7 minutes

WIND QUINTET (1973-5)

for flute, oboe, clarinet, horn and bassoon

in 5 movements: Prelude – Pastoral – Scherzo – Nocturne – Finale

17 minutes

VARIATIONS ON A POPULAR SONG (1975)

for two cellos

7 minutes

pub. Basil Ramsay

INVENTIONS (1976)

for flute and oboe

in 7 short movements

10 minutes

TRIPTYCH (1978)

for 8 cellos

in 3 sections: Prelude – Fugue – Chorale

7 minutes

THE EARLIER SERVICE (1978)

for 2 trumpets, horn, trombone, tuba and organ

5 minutes

PIANO TRIO (1978)

in 3 movements: Sonata – Rondeau – Finale

18 minutes

THE OCTAVE (1980)

for clarinet, bassoon, horn, string quartet and d.bass

13 minutes

CLARINET QUINTET (1983)

in 4 movements: Variations – Scherzo –

Romance – Finale

24 minutes

DOVECOTE SUITE (1985)

for bassoon and piano

in 5 movements: March – Song – Gavotte –

Minuet – Jig

11 minutes

pub: Thames Publishing

TRIANGULAR LODGE (1985)

for 9 players (fl/ob/cl/hn/pf/vln/vla/cello/db)

18 minutes

AIR AND DANCE (1986)

for oboe and piano

5 minutes

pub. Thames Publishing

THREE FOLKSONGS FROM SARK (1987)

for cello and piano

5 minutes

FIREWORKS (1988)

for flute, cor anglais, clarinet and bassoon

8 minutes

TANGO AND CHARLESTON (Homage to Martinů) (1990)

for alto saxophone and piano

5 minutes

pub. Thames Publishing

PASTORAL AND CAPRICE (1992)

for flute and piano

6 minutes

SOLEMN BLUES AND CANONIC BOOGIE (1992)

for clarinet and piano

5 minutes

STRING TRIO (1992)

in 3 movements: Sestina – Madrigal – Finale

13 minutes

STRING QUARTET No. 2 (1992)

in 3 movements: Sestina – Canzona – Danza

14 minutes

THE SHOEMAKER (1995)

variations on a cobbler’s patch for piano trio

8 minutes

commissioned by Kate Bown

GAMMER GURTON’S GARLAND (1996)

suite based on nursery tunes

for treble recorder and piano

10 minutes

commissioned by John Turner

pub. Forsyth Brothers

A WINTER FIREDRAKE (2000)

elegy for solo clarinet

3 minutes

LULLABY (2001)

for alto saxophone and piano

3 minutes

HORN TRIO (1962, rev. 2001)

for violin, horn and piano

in four movements Prologue – Scherzo – Theme and Variations – Finale

21 minutes

VARIATIONS ON ‘CALENO CUSTURAME’ (2001)

for oboe and guitar

4½ minutes

 

Keyboard

VARIATIONS (1963)

for piano duet

16 minutes

WOODCUTS (1967)

3 pieces for piano: Catweazle – The Carp

Pond – Autolycus

8 minutes

CHURCH PRELUDES (1969)

5 pieces for organ: Stained Glass – Gargoyle I (Song of the Green Man) – Effigy –

Gargoyle II (Complaint of the Man with Toothache – Bells

15 minutes

KEMP’S NINE DAIES WONDER (1970)

9 dances for piano

26 minutes

pub. Basil Ramsay

BELFRY MUSIC (1973)

for piano

8 minutes

JIG MUSIC (1974-5)

for piano

11 minutes

PERIOD PIECES (1975)

Rags, Blues, Foxtrots and other dances

and drolleries for piano,

in 4 graded albums

THE LILFORD OWL (1977)

15 folk-tune preludes for piano

21 minutes

pub. Basil Ramsay

SONATINA (1980)

for piano duet

in 3 movements: Sonata – Rondeau – Finale (March)

10 minutes

THE WADENHOE CLAVICHORD BOOK (1987)

21 short pieces for clavichord

30 minutes

FOLKSONGS FROM SARK (1987)

for piano duet

9 minutes

A BIRTHDAY BOUQUET (1988)

for piano

2 minutes

KALEIDOSCOPES (1989)

six sestinas for piano

33 minutes

HYMN-TUNE PRELUDE, ‘RICHMOND’ (1991)

for organ

3 minutes

EPITAPH (for George Ward Hunt) (1993)

for organ [version for brass ensemble and timpani]

3 minutes

PIANO SONATA No. 2 (1994)

in four movements: Sonata – Nocturne 1 – Scherzo –Nocturne 2 – Finale

21 minutes

MEDITATION (1996)

for organ

4 minutes

AFTER HENRY (1996)

a choice collection of lessons, after Henry Purcell

for piano

16 minutes

SONG–TUNE PRELUDE ON Peter Warlock’s ‘Sweet-and-twenty’ (1999)

for organ

3 minutes

pub. Thames Publishing

OLD WINE/NEW BOTTLES (2000)

11 preludes on British folk-tunes

for piano

24 minutes

FOUR-AND-SEVEN BLACKBIRDS (2000)

11 preludes on English nursery-songs

for piano

15 minutes

PIANO SONATA NO.3 (2002)

in 1 movement

12½ minutes

MUSIC FOR A JOYFUL OCCASION (2003)

for organ

6 minutes

PIANO SONATA NO.4 (‘Sonatina’) (2003)

in 3 movements: Fancy (in the manner of a Sestina) – Song (in the style of a Blues) – Dance (in the shape of a Sonata)

8 minutes

 

Vocal

 

THE UNRETURNING SPRING (1962-3)

for soprano, baritone and small orchestra

(1111/1000/strings)

to poems by James Farrar

15 minutes

pub. University of Wales Press

FOR JOHN CLARE (1964)

for tenor and instrumental ensemble

(1111/perc/piano/string quintet)

to poems by John Clare

15 minutes

EARLY ONE MORNING (1966)

5 songs for high voice and guitar

to poems by Edward Thomas

15 minutes

SEVENS (1967)

7 short songs for high voice (or unison voices)

and piano

to poems by Eleanor Farjeon, James Reeves,

Alfred Tennyson and Anon.

10 minutes

LANDSCAPES (1968)

5 songs for baritone and piano

to poems by the composer

14 minutes

THREE COLLECTS (1968)

for high voice and instrumental ensemble (flute, clarinet, horn, harp, violin, viola and d.bass)

to poems by the composer

8 minutes

WINTER’S TALE (1970)

5 songs for soprano and piano

to poems by Lilian Bowes Lyon

12 minutes

IN PRAISE OF MUSIC (1971)

4 songs for baritone and ensemble (clarinet, horn, violin, cello and harp)

to poems by A J Symons, Thomas Campion, Laurence Whistler and the composer

10 minutes

commissioned by the BBC Transcription Service for the 1971 Cheltenham Festival

THREE SONGS FROM ‘THE COMPLEAT ANGLER’ (1971)

for baritone (or tenor) and piano

to poems by Chalkhill, Donne and Basse

9 minutes

SIGH NO MORE, LADIES (1972)

for baritone (or tenor) and piano (or harpsichord)

to the poem by Shakespeare

2½ minutes

ON THE LOSS OF THE ROYAL GEORGE (1973)

for baritone and piano

to the poem by William Cowper

5½ minutes

FOR THE RAIN IT RAINETH (1973)

for tenor and piano

to the poem by Shakespeare

2½ minutes

THE SONG OF THE GREEN MAN (1973-4)

a sequence of 15 songs for tenor and piano

to poems by the composer

40 minutes

THE IMAGE STAYS (1974)

7 love-songs for baritone and piano

to poems by the composer

23 minutes

VOICES FROM THINGS GROWING IN A CHURCHYARD (1974)

for 6 soloists (soprano, mezzo, contralto, tenor,

baritone, bass) and piano

to the poem by Thomas Hardy

12 minutes

GATHERED FROM THE FIELD (1975)

7 songs for tenor and piano

to poems by John Clare

20 minutes

commissioned by West Midland Arts

TWO DRYDEN SONGS (1975)

for tenor and piano

to poems by John Dryden

5 minutes

SONG AT THE YEAR’S TURNING (1976)

for high voice, horn and piano

to poems by Hopkins, Edward Storey, Clare,

Hardy and the composer

17 minutes

SOMETHING RICH AND STRANGE (1976)

3 songs from Shakespeare’s The Tempest

for high voice and piano

5 minutes

pub. Basil Ramsay

GLASGERION (1977)

song-cycle for tenor and harp

to poems by the composer

20 minutes

RIVER SONGS (1978)

song-cycle for soprano, baritone and piano

to poems by the composer

23 minutes

OVERHEARD ON A SALTMARSH (1978)

for soprano and baritone

to a poem by Harold Munro

1½ minutes

WORLD WITHOUT END (1978)

lullaby for mezzo-soprano, flute (or alto flute) and piano

to a poem by the composer

5 minutes

commissioned by the Crispian Trio

OPHELIA (1979)

song-cycle for mezzo-soprano and piano

to poems by the composer

18 minutes

IN SWEET MUSIC (1980)

song for high voice, flute and string orchestra

to a poem by the composer

5 minutes

A JOHN CLARE SONGBOOK (1980)

9 songs for high voice and piano

to poems by John Clare

27 minutes

commissioned by Sylvia Davies .

SONG AT NIGHT (1981)

for medium or high voice and piano (or harpsichord)

to a poem by Norman Nicholson

3 minutes

ECCE PUER (1981)

for tenor and piano

to a poem by James Joyce

2½ minutes

OUT OF BATTLE (1982)

duologue for tenor, baritone and piano

to a poem by the composer

15 minutes

commissioned by John Potter and Alan Fairs

VOICES FROM THE ORCHARD (1983)

Song-cycle for baritone and piano

to poems by the composer

25 minutes

A BOOK OF BEASTS (1984)

songcycle for high voice and piano

to poems by the composer

14 minutes

WHEN THE THORN BLOWS (1985)

songcycle for high voice and piano

to poems by Mary Webb

11 minutes

commissioned by Leasowes Bank Festival

SEVEN TRANSLATIONS OF A LOST POEM (1985)

for bass voice and string quartet

to a poem by George Mackay Brown

11 minutes

commissioned by the Rasumovsky String Quartet

ECHOES (1986)

four songs for high voice and harpsichord (or piano)

to poems by de la Mare, Marot, Hennell and Herrick

12 minutes

commissioned by Warren Hoffer

I’LL SING (1988)

songs and sonnets of e. e. cummings

for baritone and piano

20 minutes

AFTERNOON SERVICE AT MELLSTOCK (1989)

for high voice and piano

to a poem by Thomas Hardy

3 minutes

A LITTLE SONGBOOK FOR JOHN CLARE (1993)

five songs for soprano and piano

to poems by John Clare

14 minutes

VILLANELLE (1994)

for high voice and piano

to a poem by the composer

5 minutes

THE SCHOLAR’S LAMENT (‘Solutions’) (1996)

for tenor and piano

to a poem by Edmund Blunden

2 minutes

commissioned by Gordon Pullin for the Blunden Centenary Concert, Long Melford

THREE CAUSLEY SONGS (1997)

for tenor and piano

to poems by Charles Causley

8 minutes.

TOPSYTURVEY WORLD (1999)

for contralto, viola and piano

to a poem by William Brighty Rands

2 minutes

A DISCOED TAPESTRY (2000)

for speaker and solo oboe

to poems by Edward Storey

9 minutes (music only)

FANFARE FOR THE MAKERS (2001)

for baritone and piano

to a poem by Louis MacNeice

4½ minutes

DAY OF THESE DAYS (2001)

for baritone and piano

to a poem by Laurie Lee

2½ minutes

 

Choral

FOUR SONNETS OF GERARD MANLEY HOPKINS (1965-7)

for unaccompanied mixed chorus

10 minutes

AN INVOCATION TO MUSIC (1967)

for unaccompanied mixed chorus

to words by the composer

2½ minutes

MEASURE FOR MEASURE (1967)

choral suite for SSA, piano duet and percussion (2)

to poems by the composer

18 minutes

LYVEDEN NEW BIELD (1968)

for unaccompanied mixed chorus

4½ minutes

MISSA BREVIS (1969)

for SS and organ

9 minutes

REQUIESCAT (1970)

for mixed chorus, speaker, brass sextet and organ ad lib

to texts by various authors

12 minutes

TRIANGULAR LODGE (1970)

for mixed chorus and organ

2 minutes

LARK RISE (1972-3) [See MUSIC FOR CHILDREN]

OUT IN THE DARK (1974)

for unaccompanied mixed chorus

to the poem by Edward Thomas

1½ minutes

A CANTATA FOR ST CRISPIN (1976)

for mixed chorus and piano duet

to a libretto compiled from various sources by the composer

14 minutes

commissioned by Kettering Chamber Choir

pub. Thames Publishing

THE RIDGEWAY CAROL (1976)

for mixed chorus and organ

to a poem by the composer

3 minutes

pub. Basil Ramsay

WEDDING INTROIT (1963/78)

for mixed chorus and organ

to a poem by the composer

1 minute

MOMENTS IN TIME (1979)

choral-cycle for mixed chorus and organ

to poems by Thomas Hardy

25 minutes

commissioned by Northampton Bach Choir

THE WAKEFIELD CAROL (1979) (Hail, Comely and clean!) from THE TWO NATIVITIES

for mixed chorus and organ

to words from The Second Shepherd’s Play (Wakefield Cycle)

2½ minutes

pub. Basil Ramsay

HOSHORO, SHORO, MY BABY (1980)

a cradle-carol for unaccompanied mixed choir

to words by the composer

2½ minutes

pub. Basil Ramsay

OLD SCARLETT (1981)

cantata for baritone, treble, mixed chorus, semi-chorus and organ (ad lib timps.)

to a libretto by Edward Storey

32 minutes

commissioned by Eastern Arts for the Peterborough Cathedral Organ Week 1982

THE SEASONS OF MAN (1983)

choral-cycle for unaccompanied mixed chorus

to poems by Blake, Eliot, R S Thomas, Skelton, Aldington, Campion and Peele

15 minutes

commissioned by the Cheltenham Bach Choir

CHANTONS NOEL! (1984) [see arrangements]

THE THORNLESS ROSE (1984)

carol for unison voices (or solo voice) and keyboard

to a poem by Mary Webb

2 minutes

pub. Oecumuse

CHARMS AND SPELLS (1985)

choral suite for mixed voices and harp

to poems by George Mackay Brown, Kathleen Raine and Anon.

22 minutes

VERSES FROM ST. MATTHEW (1989)

anthem for mixed chorus and organ

text from St. Matthew (‘Beatitudes’)

3 minutes

commissioned for its 1990 Patronal Festival by St. Matthew’s Church, Northampton

pub. Oecumuse

JABBERWOCK (1991) [see FOR CHILDREN]

THREE LITTLE CANTATAS (1994)

  1. COUNTRY CRIES, for mixed chorus and horn
  2. SUNDIAL MOTTOS, for mixed chorus and piano
  3. GOD’S ACRE, for mixed chorus, horn and piano

to librettos compiled by the composer

(a) 5 minutes (b) 6 minutes (c) 11 minutes

THE DISCOED BELL (2003)

hymn tune (SATB)

AN EPIGRAM (2003)

introit for unaccompanied mixed chorus

to a poem by Ben Jonson

1½ minutes

 

Dramatic

THE FALCON (1970-1)

a dramatic work for church performance

for tenor, baritone, organ, percussion(2) and tape

to a libretto by the composer

40 minutes

THROUGH THE SECRET GATE (1977)

a masque for soprano solo, girls’ chorus, 2 pianos and percussion

to a libretto compiled from various sources by the composer

25 minutes

commissioned by Northampton High School for Girls

THE TWO NATIVITIES (1979)

a nativity opera for soloists, mixed chorus and orchestra

(2121/1100/timps/perc/strings)

to a libretto by the composer based on The Second Shepherd’s Play (Wakefield cycle)

60 minutes

THE SECOND DEATH (1980-3)

opera in 3 acts, for nine soloists and orchestra

(2222/2221/timps/perc(4)/piano (doubling celesta)/strings; off-stage band: flute/clarinet/tenor/sax/perc/d.bass)

to a libretto by the composer

98 minutes

CHANTICLEER (1983)

a comedy for three soloists (mezzo-soprano, tenor, baritone), mixed chorus and piano

to a libretto by the composer based on Chaucer’s ‘Nun’s Priest’s Tale’

20 minutes

commissioned by the Market Harborough Singers

ASK NO QUESTIONS! (1984)

a children’s opera in a prologue and five scenes

for 10 soloists (5 adults/5 children), girls’ choir, male chorus, fl/cl/hn/

str quintet/piano/timps/perc.(4/5 children)

to a libretto by the composer

45 minutes

commissioned by Eastern Arts for the 1985

Broadland Junior Singers Children’s Camp

 

For Children

ORPHEUS WITH HIS LUTE (1962)

for 2 equal voices and piano

to the poem by Shakespeare/Fletcher

2 minutes

pub. Chappell

BAGATELLES (1962)

20 short pieces for young pianists

12 minutes

10 published as FUN WITH 12 NOTES

by Stainer and Bell

FARNDON ANTHEMS (1962)

for SAB chorus unaccompanied

to poems by various authors

8 minutes

3 published as THREE MOTETS by Chappell

THREE SONGS OF THE COUNTRYSIDE (1962)

for 2 equal voices and piano

to poems by ‘BB’, John Clare and the composer

7 minutes

pub. Novello

TWO CAROLS (1963) (1.Mary’s Lullaby 2.Good-day, My Lord!)

for unison voices and piano

to texts by the composer and Anon.

5 minutes

pub. Universal Ed.

A SONG FOR EACH SEASON (1963)

4 songs for unison voices and piano

to poems by Stevenson, Shakespeare and Nashe

8 minutes

SEVENS (1967) [see VOCAL MUSIC]

LARK RISE (1972-3)

for tenor solo, children’s chorus, ensemble (1111/1000/celesta/harp/piano) and tape

to a libretto compiled from texts by Flora Thompson, Herrick, Clare and Anon.

26 minutes

THE PIED PIPER (1973)

an entertainment for children to perform

to a libretto by the composer

20 minutes

ALMANACK (1974) [see KEYBOARD MUSIC]

ANY MORE FOR THE ARK? (1976)

an entertainment for children to perform

to a libretto by the composer

30 minutes

JABBERWOCK (1991)

for children’s chorus and piano

to poems by Lewis Carroll and Edward Lear

13 minutes

commissioned by Leasowes Bank for the Shrewsbury Children’s Chorus

SCARECROW SONGS (1996)

for children’s voices and piano, with ad lib. recorders/perc

to poems by the composer

9 minutes

THE CHRISTMAS TREE CAROL (1997)

for unison voices and keyboard

to a poem by the composer

2 minutes

 

Arrangements

FIVE AIRS FROM ‘THE BEGGAR’S OPERA’ (1975)

for tenor and piano

to texts by John Gay

7 minutes

THREE ENGLISH FOLKSONGS (1977) (1. ‘When I was

young’ 2. ‘Hush, little babbie’ 3. ‘The little ball of yarn’)

for unaccompanied mixed chorus

7 minutes

commissioned by the Market Harborough Singers

TWO ENGLISH FOLKSONGS (1979) (1. ‘The Sprig of

Thyme’ 2. ‘Oliver Cromwell’)

for unaccompanied girls’ choir (SSAA)

5 minutes

CHANTONS NOEL! (1984)

five French Christmas carols

for unaccompanied mixed chorus

9 minutes

pub. Oecumuse

 

Other publications

TIME AND THE BELL Outpost Publications (1971)

poems 1958-70

THE WALLED-IN GARDEN Triad Press (1978)

a study of the songs of Roger Quilter 2nd ed. Thames Publishing

CAUGHT IN AMBER Autolycus Publication (1981)

poems and lyrics

A NORTHAMPTONSHIRE GARLAND Northamptonshire

an anthology of Northamptonshire poets Libraries (1989)

MERMAIDS AND NIGHTINGALES Dovecote House Press (1991)

poems and lyrics

CHASING THE MOON Dovecote House Press (2001)

poems and lyrics

PARRY TO FINZI: TWENTY ENGLISH SONG-COMPOSERS The Boydell Press (2002)

 

A chronological list of works

1962

1. BAGATELLES, for piano solo

2. FARNDON ANTHEMS, for SAB chorus unaccompanied

3. THE UNRETURNING SPRING, a song-cycle for soprano, baritone and small orchestra

4. THREE SONGS OF THE COUNTRYSIDE, for SS and piano

1963

- SONGS AND CAROLS for children

5. VARIATIONS, for piano duet

1964

6. FOR JOHN CLARE, song-cycle for tenor and instrumental ensemble

7. RONDO, suite for string orchestra

- VIOLIN SONATA, for piano and violin

1965

8. THE WEATHERCOCK, for viola and piano

9. STRING QUARTET

1966

10. EARLY ONE MORNING, for high voice and guitar

11. TAPESTRY, for six players

1967

12. SEVENS, 7 songs for high voice (or unison voices) and piano

13. OVERTURE, MY UNCLE SILAS, for small orchestra

14. FOUR SONNETS OF GERARD MANLEY HOPKINS, for unaccompanied mixed chorus

- AN INVOCATION TO MUSIC, for unaccompanied mixed chorus

15. MEASURE FOR MEASURE, choral suite for SSA, piano duet and percussion

16. WOODCUTS, for piano solo

1968

17. LANDSCAPES, song-cycle for baritone and piano

- RUTTERKIN, an overture for recorder consort

18. THREE COLLECTS, for tenor and instrumental ensemble

1969

19. MISSA BREVIS, for SS and organ

20. CHURCH PRELUDES, for organ

21. THE BLUE FIREDRAKE, for clarinet and piano

1970

22. WINTER’S TALE, song-cycle for soprano and piano

23. CINQUEFOILS, for piano and string quartet

24. REQUIESCAT, for mixed chorus, speaker, brass sextet and organ ad lib.

25. LYVEDEN NEW BIELD and TRIANGULAR LODGE, for mixed chorus and organ

26. KEMP’S NINE DAIES WONDER, for piano solo

1971

27. THE FALCON, a dramatic work for church performance

28. IN PRAISE OF MUSIC, four songs for baritone and ensemble

29. THREE SONGS FROM ‘THE COMPLEAT ANGLER’, for baritone (or tenor) and piano

30. A KEELE OVERTURE, for orchestra

- SIGH NO MORE, LADIES, for baritone (or tenor) and piano

1972

32. CALENDAR, for orchestra (begun in 1965)

33. KEMP’S JIG, for violin and piano

34. TIME PASSES, for small orchestra and organ

35. THE FOX, divertimento for 2 horns, 2 violins, viola and d.bass

- SIGH NO MORE, LADIES, for baritone (or tenor) and piano

1973

36. LARK RISE, for tenor, children’s chorus, ensemble and tape

37. BELFRY MUSIC, for piano solo

38. THE PIED PIPER, an entertainment for children to perform

39. ON THE LOSS OF THE ROYAL GEORGE, for baritone and piano

40. CANTICLE, for cello and piano

- FOR THE RAIN IT RAINETH, for tenor and piano

1974

41. THE SONG OF THE GREEN MAN, song-cycle for tenor and piano

42. ALMANACK, 9 piano duets for children

- OUT IN THE DARK, for unaccompanied mixed chorus

43. TWO DIVERSIONS, for cello and piano

44. THE IMAGE STAYS, song-cycle for baritone and piano

45. VOICES FROM THINGS GROWING IN A CHURCHYARD, for 6 soloists and piano

1975

46. JIG MUSIC, for piano solo

47. GATHERED FROM THE FIELD, song-cycle for tenor and piano

48. AT THE SIGN OF THE BLUE FOX, for piano solo

49. TWO DRYDEN SONGS, for tenor (or soprano) and piano

- FIVE AIRS FROM ‘THE BEGGAR’S OPERA’, for tenor and piano

50. WIND QUINTET

51. VARIATIONS ON A POPULAR SONG, for 2 cellos

1976

52. A CANTATA FOR ST CRISPIN, cantata for mixed chorus and piano duet

53. INVENTIONS, for flute and oboe

54. SONG AT THE YEAR’S TURNING, song-cycle for high voice, horn and piano

55. SOMETHING RICH AND STRANGE, for high voice and piano

56. ANY MORE FOR THE ARK?, an entertainment for children to perform

1977

- WHEN I WAS YOUNG, a Bedfordshire folksong arranged for unaccompanied mixed chorus

58. THROUGH THE SECRET GATE, a masque for soprano solo, girls’ chorus, mimers and dancers

59. THE LILFORD OWL (a) 15 folk-tune preludes for piano solo

(b) 5 folk-tune preludes for string orchestra

((c) Suite 2, 5 folk-tune preludes for string orchestra – see 2001)

60. GLASGERION, song-cycle for tenor and harp

61. SYMPHONY, for orchestra (begun in 1974)

- THE LITTLE BALL OF YARN, an English (gypsy) folksong arranged for unaccompanied mixed chorus

- HUSH, LITTLE BABBIE, an English (gypsy) folksong arranged for unaccompanied mixed chorus

1978

62. PIANO TRIO

63. TRIPTYCH, for eight cellos

64. THE EARLIER SERVICE, for brass ensemble and organ

65. RIVER SONGS, for soprano, baritone and piano

- WEDDING INTROIT, for mixed chorus and organ

- OVERHEARD ON A SALTMARSH, for soprano and baritone

66. WORLD WITHOUT END, for mezzo-soprano, flute (or alto flute) and piano

67. CLARE’S GHOST, for small orchestra

1979

- TWO ENGLISH FOLK-SONGS, arr. for unaccompanied girls’ choir (SSAA)

68. THE TWO NATIVITIES, opera for soloists, mixed chorus and orchestra

- THE WAKEFIELD CAROL (Hail, comely and clean!) from The Two Nativities, for mixed chorus and organ

69. OPHELIA, song-cycle for mezzo-soprano and piano

70. MOMENTS IN TIME, choral-cycle for mixed chorus and organ

1980

- HOSHORO, SHORO MY BABY, carol for unaccompanied mixed chorus

72. IN SWEET MUSIC, song for high voice, flute and strings

73. THE OCTAVE, for clarinet, bassoon, horn, string quartet and d.bass

74. SONATINA, for piano duet

75. A JOHN CLARE SONGBOOK, for high voice and piano

1981

76. OLD SCARLETT, cantata for baritone and treble soloists, mixed chorus, semi-chorus and organ (timps ad lib.)

- SONG AT NIGHT, for medium or high voice and piano (or harpsichord)

- ECCE PUER, for tenor and piano

1982

77. OUT OF BATTLE, duologue for tenor, baritone and piano

78. CHACONNE, for orchestra

1983

79. THE SEASONS OF MAN, choral-cycle for unaccompanied mixed chorus

80. THE SECOND DEATH, opera in three acts (begun in 1980)

81. CHANTICLEER, a comedy

82. CLARINET QUINTET

83. VOICES FROM THE ORCHARD, song-cycle for baritone and piano

84. OVERTURE, LUCKY JIM, for orchestra

1984

85. A BOOK OF BEASTS, song-cycle for high voice and piano

86. ASK NO QUESTIONS!, an opera for children and adults

- CHANTONS NOEL!, 5 French Christmas carols

- THE THORNLESS ROSE, carol for solo voice (or unison voices) and keyboard

1985

87. WHEN THE THORN BLOWS, song-cycle for high voice and piano

88. DOVECOTE SUITE, for bassoon and piano

89. CHARMS AND SPELLS, for mixed chorus and harp

90. TRIANGULAR LODGE, for nine players

91. SEVEN TRANSLATIONS OF A LOST POEM, for bass and string quartet

1986

92. ECHOES, four songs for tenor and harpsichord

93. OVERTURE IN THE ENGLISH STYLE, for string orchestra

94. TWELFTH NIGHT: MUSIC FOR AN IMAGINARY MASQUE, for orchestra

- AIR AND DANCE, for oboe and piano

1987

95. THE WADENHOE CLAVICHORD BOOK

96. FOLKSONGS FROM SARK (a) for orchestra (b) for piano duet (c) for cello and piano

1988

97. FIREWORKS, woodwind quartet

98. I’LL SING, songs and sonnets of e. e. cummings for baritone and piano

99. SESTINA, for solo violin and string orchestra

- A BIRTHDAY BOUQUET, for piano solo

1989

100. KALEIDOSCOPES, six sestinas for piano solo

101. VERSES FROM ST. MATTHEW, anthem for mixed chorus and organ

- AFTERNOON SERVICE AT MELLSTOCK, for high voice and piano

1990

102. CONCERTO FOR STRING ORCHESTRA

103. TANGO AND CHARLESTON, for alto saxophone and piano

104. JABBERWOCK, for children’s voices and piano

- HYMN-TUNE PRELUDE, ‘RICHMOND’, for organ solo

1992

105. PIANO CONCERTO

106. PASTORAL AND CAPRICE, for flute and piano

107. STRING TRIO

108. STRING QUARTET No.2

- SOLEMN BLUES AND CANONIC BOOGIE, for clarinet and piano

1993

109. FOUR LANDSCAPES (SYMPHONY No.2)

110. A LITTLE SONGBOOK FOR JOHN CLARE, for soprano and piano

111. EPITAPH FOR GEORGE WARD HUNT (a) for organ solo (b) for brass and timpani

1994

112. THREE LITTLE CANTATAS, for mixed chorus, horn and piano:

(a) Country Cries (b) Sundial Mottos (c) God’s Acre

113. VILANELLE, for high voice and piano

114. PIANO SONATA No.2

1995

115. THE SHOEMAKER, for piano trio

1996

116. SCARECROW SONGS, for unison voices and piano (perc. ad lib)

117. AFTER HENRY, for piano solo

118. GAMMER GURTON’S GARLAND, for treble recorder and piano

- THE SCHOLAR’S LAMENT, for tenor and piano

- MEDITATION, for organ solo

1997

119. THREE CAUSLEY SONGS, for tenor and piano

- BERCEUSE, for string orchestra

- THE CHRISTMAS TREE CAROL, for unison voices and piano

1998

1999

- SONG-TUNE PRELUDE ON PETER WARLOCK’S ‘SWEET-AND-TWENTY’, for organ solo

- TOPSYTURVEY WORLD, for contralto, viola and piano

2000

- A WINTER FIREDRAKE, elegy for solo clarinet

120. OLD WINE/NEW BOTTLES, for piano solo

121 FOUR-AND-SEVEN BLACKBIRDS, for piano solo

- MY ROBIN IS TO THE GREENWOOD GONE, for string orchestra

122. A DISCOED TAPESTRY, for speaker and solo oboe

2001

(59c) THE LILFORD OWL, SUITE 2, 5 folk-tune preludes for string orchestra (see op.59)

2002

125. PIANO SONATA No.3

2003

126. MUSIC FOR A JOYFUL OCCASION, for organ solo

127. PIANO SONATA No.4

- THE DISCOED BELL, a hymn tune

- AN EPIGRAM, for unaccompanied mixed chorus

 

Alphabetical index of compositions

[Note: C = Choral, D = Dramatic, FC = For Children, I = Instrumental, K = Keyboard, O = Orchestral, V = vocal]

After Henry (K) 117.1996

Afternoon Service at Mellstock (V) -, 101/102.1989

Air and Dance (I) -, 94/95.1986

Almanack [All the Year Round] (K) 42.1974

Any More for the Ark? (D/FC) 56.1976

Ask No Questions! (D) 86.1984

At the sign of The Blue Fox (K) 48.1975

Bagatelles (K) 1.1962

Belfry music (K) 37.1973

Berceuse (O) -, 119/120.1997

Birthday Bouquet, A (K) -, 99/100.1988

Blue Firedrake, The (I) 21.1969

Book of Beasts, A (V) 85.1984

Calendar (O) 32.1972

Cantata for St Crispin, A (C) 52.1976

Canticle (I)

Chaconne (O)

Chanticleer (D). 81.1983

Chantons Noel! (C) -, 86/87.1984

Charms and Spells (C) 89.1985

Christmas Tree Carol, The (FC) -, 119/120.1997

Church Preludes (K) 20.1969

Cinquefoils (I) 23.1970

Clare’s Ghost (O) 67.1978

Clarinet Quintet (I) 82.1983

Concerto for String Orchestra (O) 102.1990

Day of These Days (V) -, 124/125.2001

Discoed Bell, The (C) -, 127/ .2003

Discoed Tapestry, A (V) 122.2000

Dovecote Suite (I) 88.1985

Earlier Service, The (I) 64.1978

Early One Morning (V) 10.1966

Ecce Puer (V) -, 76/77.1981

Echoes (V) 92.1986

Epigram, An (C) -, 127. 2003

Epitaph (for George Ward-Hunt) (K/I) 111.1993

Falcon, The (D) 27.1971

Fanfare for the Makers (V) 123.2001

Farndon Anthems (C) 2.1962

Fireworks (I) 97.1988

Five Airs from The Beggar’s Opera (V)

-, 49/50.1975

Folksongs from Sark (O/K) 96.1987

For John Clare (V) 6.1961

For the rain it raineth (V) -, 40/41.1973

Four-and-Twenty Blackbirds (K) 121.2000

Four Landscapes (see Symphony No 2) (O) 109.1993

Four Sonnets of Gerard Manley Hopkins

(C) 14.1967

Fox, The (I) 35.1972

Gammer Gurton’s Garland (I) 118.1996

Gathered from the Field (V) 47.1975

Glasgerion (V) 60.1977

Hoshoro, Shoro, My Baby (C) -, 1980

Hymn-tune Prelude, Richmond (K) -, 104/105.1990

I’ll Sing (V) 98.1988

Image Stays, The (V) 44.1974

In Praise of Music (V) 28.1971

In Sweet Music (V) 72.1980

Inventions (I) 53.1976

Invocation to Music, An (C) -, 14/15.1967

Jabberwock (FC) 104.1990

Jig Music (K) 46.1975

John Clare Songbook, A (V) 75.1980

Kaleidoscopes (K) 100.1989

Keele Overture, A (O) 30.1971

Kemp’s Jig (I) 33.1972

Kemp’s Nine Daies Wonder (K) 26.1970

Landscapes (V) 17.1968

Lark Rise (C/FC) 36.1973

Lilford Owl, The (O/K) 59.1977 and 2001

Little Songbook for John Clare, A (V) 110.1993

Lullaby (I) 124.2001

Lyveden New Bield (C) 25.1970

Measure for Measure (C) 15.1967

Meditation (K) -, 118/119.1996

Missa Brevis (C) 19.1969

Moments in Time (C) 70.1979

Music for a joyful occasion (K) 126.2003

My Robin is to the Greenwood Gone (O) -, 121/122.2000

Octave, The (I) 73.1980

Old Scarlett (C) 76.1981

Old Wine/New Bottles (K) 120.2000

On the Loss of The Royal George (V) 39.1973

Ophelia (V) 69.1979

Orpheus with his Lute (C/FC) 1962

Out in the Dark (C) -, 42/43.1974

Out of Battle (V) 77.1982

Overheard on a Saltmarsh (V) -, 65/66.1978

Overture in the English Style (O) 93.1986

Overture, Lucky Jim (O) 84.1983

Overture, My Uncle Silas (O) 13.1967

Pastoral and Caprice (I) 106.1992

Piano Concerto (O) 105.1992

Piano Sonata No 1 [K]

Piano Sonata No 2 (K) 114.1994

Piano Sonata No3 (K) 125.2002

Piano Sonata No4 (K) 127.2003

Piano Trio (I) 62.1978

Pied Piper, The (D/FC) 38.1973

Requiescat (C) 24.1970

Ridgeway Carol, The (C) 57.1976

River Songs (V) 65.1978

Rondo for Strings (O) 7.1964

Rutterkin (I) -, 17/18.1968

Scarecrow Songs (C) 116.1996

Scholar’s Lament, The (V) -, 118/119.1996

Seasons of Man, The (C) 79.1983

Second Death, The (D) 80.1983

Sestina (O) 99.1988

Seven Translations of a Lost Poem (V) 91.1985

Sevens (V) 12.1967

Shoemaker, The (I) 115.1995

Sigh No More, Ladies (V) -, 35/36.1972

Solemn Blues and Canonic Boogie (I) -, 108/109.1992

Something Rich and Strange (V) 55.1976

Sonatina (K) 74.1980

Song at Night (V) -, 76/77.1981

Song at the Year’s Turning (V) 54.1976

Song for Each Season, A (FC) -, 1963

Song of the Green Man, The (V) 41.1974

Song-tune Prelude on Peter Warlock’s

Sweet-and-Twenty (K) -, 119/120. 1999

String Quartet No 1 (I) 9.1965

String Quartet No 2 (I) 108.1992

String Trio (I) 107.1992

Symphony No 1 (O) 61.1977

Symphony No 2 (Four Landscapes) (O)

Tango and Charleston (Homage to Martinu) (I) 103.1990

Tapestry (I) 11.1966

Thornless Rose, The (C) -, 86/87.1984

Three Causley Songs (V) 119.1997

Three Collects (V) 18.1968

Three English Folksongs, mixed choir (C) -, 57/62. 1977

Three Folksongs from Sark (I) 96.1987

Three Little Cantatas (C) 112.1994

Three Songs from The Compleat Angler (V) 29.1971

Three Songs of the Countryside (C/FC) 4.1962

Through the Secret Gate (D/FC) 58.1977

Time Passes (O) 34.1972

Topsyturvey World (V) -, 119/120.1999

Triangular Lodge (C) (see Lyveden New Bield). 25.1970

Triangular Lodge (I) 90.1985

Triptych (I) 63.1978

Twelfth Night (O) 94.1986

Two Carols (FC) 1963

Two Diversions (I) 43.1974

Two Dryden Songs (V) 49.1975

Two English Folksongs, girls’ choir (C) -, 67/68.1979

Two Nativities, The (D) 68.1979

Unreturning Spring, The (V) 3.1962

Variations on ‘Caleno Custurame’ (I) -, 124/125.2001

Variations for Piano Duet (K) 5.1963

Variations of a Popular Song (I) 51.1975

Verses from St Matthew (C) 101.1989

Villanelle (V) 113.1994

Voices from the Orchard (V) 83.1983

Voices from Things Growing in a

Churchyard (V) 45.1974

Wadenhoe Clavichord Book, The (K) 95.1987

Wakefield Carol, The (C) 1979

Weathercock, The (I) 8.1965

Wedding Introit (C) -, 65/66.1978

When the Thorn Blows (V) 87.1985

Wind Quintet (I) 50.1975

Winter Firedrake, A (I) -, 119/120.2000

Winter’s Tale (V) 22.1970

Woodcuts (K) 16.1967

World Without End (V) 66.1978


 


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