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)
- COUNTRY CRIES, for mixed chorus
and horn
- SUNDIAL MOTTOS, for mixed chorus
and piano
- 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
