The commentaries by Robin
Holloway, linked from this page, are are undergoing continuous
development to include facsimile images and audio recordings (featuring Robin
Holloway's voice and
brief extracts from selected compositions. Most
of the commentary pages are purely text-based at present.
About fifteen of the pages include facsimile images
(beginning with the First Concerto for
Orchestra,
op. 8). |
This website has recently
been updated to include a number of audio recordings in which Robin
Holloway introduces his works with the help of illustrations from
recordings. The works featured in this way are as follows
(click on any title for the corresponding recording):
The audio clips on this site are authorised under PRS LOEL licence
no LE-0001628. |
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Juvenilia |
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 |
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| 1962 |
Garden
Music, op. 1 |
for 9 players |
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| 1964 |
Concertino No
1, op. 2 |
for small orchestra |
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| 1964-5 |
Three Poems
of William Empson, op.
3 |
for mezzo-soprano and ensemble |
|
|
| 1965 |
Music
for Eliot's `Sweeney Agonistes' |
for 5 players and speakers in the play
(3 or 4) |
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|
| |
Missa
Canonica, op. 4 |
(revised 2004) for SATB choir and
organ
 recording
of Sanctus and Agnus
Dei (Signum): Gonville
and Caius College Choir Cambridge, Geoffrey
Webber
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|
|
| 1965-6 |
In Chymick Art, op. 5 |
cantata for soprano, baritone and 9
players (Edward Benlowes) |
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| |
Concerto for
organ and wind, op. 6 |
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| |
Four Housman
Fragments, op. 7 |
for soprano and piano |
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| 1966-9 |
First Concerto
for Orchestra, op. 8 |
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 |
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| 1967 |
Melodrama, op. 9 |
on three poems by Sylvia Plath, for
speaker, small male chorus and ensemble |
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| |
Concertino No
2, op. 10 |
for small orchestra |
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| 1968 |
Divertimento
No 1, op. 11 |
for amateur orchestra and piano |
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| 1968-9 |
Tender Only
to One, op. 12 |
four poems by Stevie
Smith for unaccompanied
soprano |
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| 1970 |
Scenes from
Schumann, op. 13 |
seven paraphrases for orchestra (revised
1986) |
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|
| |
The Wind Shifts, op. 14 |
eight poems of Wallace
Stevens for
high voice and strings |
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| 1971 |
Banal Sojourn, op. 15 |
seven poems of Wallace
Stevens for
high voice and piano |
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|
| |
Fantasy-Pieces
on Schumann's Liederkreis, op. 16 |
for piano and 12 instruments (with
tenor for the songs)
recording
(Hyperion): Nash
Ensemble, Martyn Brabbins (conductor)
and Toby Spence (tenor) |
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| 1972 |
Evening with
Angels, op. 17 |
for 16 players |
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|
| |
Divertimento
No 2, op. 18 |
for wind nonet |
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| |
Georgian Songs, op. 19 |
a cycle of ten songs for baritone and
piano |
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| 1972-3 |
Cantata on the
Death of God, op. 20 |
for soloists, speaker, SATB chorus,
organ and orchestra |
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|
| |
Five Little
Songs about Death, op.
21 |
settings of Stevie
Smith for unaccompanied
mezzo-soprano or contralto solo |
|
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| 1973 |
Five Madrigals, op. 22 |
for unaccompanied chorus |
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| 1973-4 |
Domination of
Black, op. 23 |
symphonic poem for large orchestra |
 |
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| |
Diptych, op. 23a |
Summer Rain and Night
Hunt from Domination
of Black |
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Summer Rain, op. 23b |
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Night Hunt, op. 23c |
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| 1974 |
Lights Out, op. 24 |
four poems of Edward
Thomas for baritone
and piano |
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|
| |
In the Thirtieth
Year, op. 25 |
song cycle on poems by J
V Cunningham for tenor and piano |
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|
| |
Author of Light, op. 26 |
four Jacobean songs for contralto and
piano |
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|
| |
The Leaves Cry, op. 27 |
cantata for soprano and piano on poems
by Wallace Stevens and Christina Rossetti |
|
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| 1974-5 |
Sea-Surface
Full of Clouds, op. 28 |
cantata for soprano, contralto,
counter-tenor, and tenor soloists, small chorus and chamber orchestra,
on Wallace
Stevens' poem
recording
(Chandos): Penelope
Walmsley-Clark (soprano), Margaret Cable (mezzo-soprano), Martyn
Hill (tenor), Charles Brett (counter-tenor), Richard
Hickox Singers,
City of London Sinfonia, conducted by Richard Hickox
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 |
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| 1975 |
Hommage
to Weill: Concertino No 3, op. 29 |
for 11 players |
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| 1976 |
Clarissa, op. 30 |
opera in two acts after Samuel
Richardson's
novel |
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| |
Clarissa Symphony, op. 30a |
for soprano, tenor and orchestra |
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| |
Clarissa Sequence, op. 30b |
for soprano and orchestra (1995) |
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| |
Romanza
for violin and orchestra, op. 31 |
recording
(Chandos): Erich
Gruenberg (violin), City of London
Sinfonia, conducted by Richard Hickox |
|
|
| 1977 |
This is Just
to Say, op. 32 |
song-cycle on poems by William
Carlos Williams for tenor and piano |
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| |
Nursery Rhymes, op. 33 |
for soprano and wind quintet |
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| |
Nursery Rhymes:
Divertimento No 3,
op. 33a |
for soprano and wind quintet |
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Conundrums:
Divertimento No 4, op.
33b |
for soprano and wind quintet (1979) |
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| |
A Medley of
Nursery Rhymes and Conundrums,
op. 33c |
rearrangement from op 33a and op 33b
for mezzo-soprano and piano (1986) |
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|
| |
The Rivers of
Hell, op. 34 |
concertante for 7 players |
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| |
The Blue Doom
of Summer, op. 35/1 |
for high voice and harp, text taken
from The Flower beneath the Foot by Ronald Firbank |
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| |
Willow Cycle, op. 35/2 |
for tenor and harp on traditional lyrics
and Raleigh's ballad of "Walsingham" |
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Hymn for Voices, op. 36 |
for unaccompanied SATB chorus |
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| |
From High Windows, op. 37 |
song-cycle on poems by Philip
Larkin for baritone and piano |
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| |
The Consolation
of Music, op. 38/1 |
setting poems by William
Strode and
Robert Herrick for unaccompanied SATB chorus |
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| 1978 |
He-She-Together, op. 38/2 |
for unaccompanied chorus |
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| |
Killing Time |
three songs for unaccompanied soprano
solo (Auden, Stevie
Smith, Raleigh) |
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| 1978-9 |
The Noon's Repose, op. 39 |
three songs for tenor and harp (Eliot,
Stevens, Marvell) |
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| 1978-9 |
Second Concerto
for Orchestra, op.
40 |
recording
(NMC): BBC
Symphony Orchestra, Oliver Knussen, Stefan
Asbury |
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|
| |
Serenade in C, op. 41 |
for octet
recording
(Hyperion): Nash
Ensemble, Martyn Brabbins |
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| 1979-80 |
First Idyll, op. 42 |
for small orchestra |
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|
| |
Horn Concerto, op. 43 |
recording
(NMC): Barry
Tuckwell, Scottish Chamber
Orchestra, Mathias
Bamert |
 |
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| |
Sonata, op. 43a |
for horn and orchestra |
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Adagio and Rondo, op. 43b |
for horn and orchestra (1979-80) |
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Aria, op. 44 |
for chamber ensemble |
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| 1980 |
Ode, op. 45 |
for four winds and strings |
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| 1980-1 |
Wherever We
May Be, op. 46 |
song-cycle on poems by Robert
Graves for soprano and piano
recording
(Metier): Alison Smart and Katherine Durran |
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| 1981 |
Sonata for Violin
solo, op. 47 |
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|
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Brand, op. 48 |
dramatic ballad after Ibsen for soloists,
chorus, organ and orchestra |
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| |
The Lovers'
Well, op. 49 |
song-cycle on poems from The
Pentecost Castle by Geoffrey Hill for bass-baritone and piano |
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| 1981-2 |
War Memorials, op. 50 |
for brass band |
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Men Marching, op. 50/1 |
for brass band |
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From Hills and
Valleys, op. 50/2 |
for brass band |
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| 1981-94 |
Third
Concerto for Orchestra, op. 80 |
recording
(NMC): London
Symphony Orchestra, Michael Tilson Thomas |
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| 1982 |
Women in War, op. 51 |
revue for 4 female soloists and piano |
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Suite for Saxophone |
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Serenata Notturna, op. 52 |
for 4 horns and small orchestra |
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Since I Believe |
anthem (words by Robert
Bridges)
for unaccompanied chorus
recording
(Avie): New
College Choir, Oxford, Edward Higginbottom |
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| 1982-3 |
Showpiece: Concertino
No 4, op. 53 |
for 14 players |
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Second Idyll, op. 54 |
for small orchestra |
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| 1983 |
Serenade
in E Flat, op. 57 |
for wind quintet and string quintet |
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| 1983-4 |
Seascape and
Harvest, op. 55 |
two pictures for orchestra |
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| |
Viola Concerto, op. 56 |
for viola and small orchestra |
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| 1984 |
Moments of Vision, op. 58 |
cycle for speaker and 4 players |
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Romanza
for oboe and string orchestra, op. 59 |
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On Hope |
cantata on a poem by Craushaw for
soprano and mezzo-soprano soloists and string quartet |
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| |
Souvenirs de
Monsalvat, op. 60a |
for piano: four hands |
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| |
Wagner
Nights, op. 60b |
waltz-sequence on favourite motifs
from Parsifal |
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Since I Believe |
anthem for a cappella choir |
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| 1984-5 |
Ballad, op. 61 |
for harp and small orchestra |
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Bassoon Concerto, op. 63 |
for bassoon and small orchestra |
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| 1985 |
First Partita, op. 62/1 |
for solo horn |
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Second Partita, op. 62/2 |
for solo horn |
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| |
Concertino No 4-and-a-half |
signature tune for BBC
Young Musician of the Year for ensemble |
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| 1986 |
Serenade in
G, op. 64 |
for string septet |
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Serenade in
G, op. 64a |
for string orchestra |
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Serenade in
G, op. 64b |
for string sextet |
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Organ Fantasy, op. 65 |
recording
(Dutton): David Goode |
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Inquietus, op. 66 |
for small orchestra |
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| 1987 |
Brass Quintet:
Divertimento No 5, op.
67 |
for 2 trumpets, horn, trombone, and
tuba
recording (Saydisc): Fine Arts Brass Ensemble |
|
|
| 1988 |
Double Concerto, op. 68 |
for clarinet, saxophone and two chamber
orchestras |
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| 1990 |
The Spacious
Firmament, op. 69 |
for chorus and orchestra |
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| |
Violin Concerto, op. 70 |
recording
(NMC): Ernst
Kovacic, Scottish
Chamber Orchestra, Mathias
Bamert |
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|
| |
Entrance: Carousing:
Embarkation, op.
71 |
for symphonic band |
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|
| |
Hymn to the
Senses, op. 72 |
for large chorus, on poems
by
John Fuller |
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| |
Serenade for
Strings in E, op. 73 |
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|
| 1991 |
Summer Music:
Concertino No 5, op.
74 |
for oboe, clarinet and string quartet |
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|
| |
Lord,
what is man?, op. 77 |
motet for SATB chorus
recording
(Hyperion): St
Paul's Cathedral Choir, John
Scott (conductor),
Andrew Lucas (organ) |
|
|
| 1991-5 |
Boys and Girls
Come Out to Play, op.
75 |
opera buffa in two acts |
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Overture on
a Nursery Rhyme, op. 75a |
for chamber orchestra |
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| 1992 |
Love will find out the way |
for soprano and chamber ensemble |
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| 1992-7 |
Gilded
Goldbergs, op. 86 |
freely re-composed after J.S.Bach for two pianos
recording
(Hyperion): The Micallef-Inanga Piano Duo |
|
|
| 1993 |
Winter Music:
Concertino No 6, op.
76 |
for oboe, clarinet, trumpet, piano,
violin and cello |
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| |
Third Idyll:
Frost at Midnight, op.
78 |
for chamber orchestra |
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|
| |
A Singing Telegram for Amelia Freedman |
for string sextet with optional double
bass |
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|
| |
Berceuse with Burlesque |
piano quartet: for the 50th birthday
of David Matthews |
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| |
Bourée Fantasque |
orchestration of Chabrier's piano original |
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| 1993-2001 |
Missa
Caiensis, op. 93 |
for SATB chorus and organ
recording
(Dutton): Caius
and Clare College Choirs, Cambridge,
Geoffrey Webber (conductor), Timothy
Kennedy (organ) |
|
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| 1994 |
Trio for clarinet,
viola and piano,
op. 79 |
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|
| |
The
Blackbird and the Snail, op. 81 |
a character-study for speaker and piano
after a story by Walter de la Mare |
|
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| 1996 |
Clarinet Concerto, op. 82 |
the Canterbury
Concerto for clarinet
and orchestra |
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| |
Double Bass
Concerto, op. 83 |
for double bass and small orchestra |
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| |
Sonata for Solo
Double Bass, op. 83a |
built on materials from the concerto
in 1999 |
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| |
Song
of Defiance |
for soprano, piano and string quartet
on a poem by Housman |
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|
| 1984-97 |
Peer Gynt, op. 84 |
multi-media (soloists, chorus, orchestra,
actors, mimes, dance, film) World-Theatre on Ibsen's drama |
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Panorama, op. 84a |
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Ocean Voyage, op. 84b |
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| 1997 |
Scenes from
Antwerp, op. 85 |
for orchestra |
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Thema in A Flat |
by Richard
Wagner, extended and cadenced
by Robin Holloway |
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| 1998 |
Cortège Burlesque |
orchestration of Chabrier's piano-duet
original |
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| 1998-9 |
Symphony, op. 88 |
for orchestra |
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| 1999 |
Sonata
for Solo Double Bass, op. 83a |
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Sonata for Viola
Solo, op. 87 |
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| |
Woefully Arrayed, op. 89a |
motet for chorus and organ
recording
(Dutton): Caius
and Clare College Choirs, Cambridge,
Tim Brown (conductor), Nicholas
Rimmer (organ) |
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|
| |
Felicity, op. 89b |
motet for chorus and organ on poems
by Thomas Traherne |
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| |
The
Food of Love |
part song for SATB (a cappella) enclosing
a song for tenor solo, on words by Shelley |
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| |
Five
Haydn Miniatures |
based on on flute-clock originals for
small ensemble |
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| 2000 |
Ballade,
op. 90 i
Nocturne,
op. 90 ii
|
for solo piano
recording
(Uhr): Richard Uttley |
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| 2001 |
Sonata
for Solo Cello, op. 91 |
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|
| |
Serenade in
B Flat, op. 92 |
for wind octet |
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| |
Sonata
for Solo Trumpet, op. 94a |
recording
(BIS): Hakan Hardenberger |
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| |
op. 94b |
arrangement of op 94a for two trumpets |
|
|
| 2002 |
Canzona and
Toccata, op. 94c |
for trumpet and organ
recording
(Deux-Elles): Deborah
Calland (trumpet), William
Whitehead (organ) |
|
|
| |
Christmas Sequence, op. 95 |
for chorus and organ
recording
(EMI): (of extracted separate carol) King's
College Choir, Cambridge, Stephen
Cleobury (conductor) Ashley
Grote (organ) |
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|
| |
En
Blanc et Noir |
orchestration of Debussy's 2-piano
original |
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| |
Praeludium |
for orchestra |
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| 2003 |
Spring Music, op. 96 |
for six players |
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| |
String Quartet
No 1, op. 97 |
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| |
Menuet sur le nom d'Haydn |
instrumentation plus doubles on Ravel's
original piano piece |
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| |
Music for Racine's Phèdre |
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|
| 1999-2004 |
Wedding
Suite, op. 98
1: March (1999)
2: Offertorium (2003)
3: Minuet and Trio (2004)
4: Sortie (2004)
|
for organ
recording
of Wedding March (Dutton): David Goode |
|
|
| 2004 |
Serenade in
D Flat, op. 99 |
for oboe, clarinet, viola and harp |
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| |
String Quartet
No 2, op. 100 |
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| 2005 |
Magnificat & Nunc
Dimittis |
(The Winchester
Service) SATB and organ |
|
|
| 2006 |
A
Page from a Humument |
for soprano and ensemble |
|
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| 2004-5 |
Fourth Concerto
for Orchestra, op.
101 |
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|
| |
Fourth Idyll, op. 102 |
for small orchestra |
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| 2006 |
Quartettino
1, op. 103 i |
for string quartet |
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| 2007 |
Quartettino
2, op. 103 ii |
for string quartet |
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Quartettino
3, op. 103 iii |
for string quartet |
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Quartettino
4, op. 103 iv |
for string quartet |
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Quartettino
5, op. 103 v |
for string quartet |
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Quartettino
6, op. 103 vi |
for string quartet |
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| |
Sonatina for
Solo Violin, op. 103 vii |
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| |
Three Psalms, op. 104
Psalm 39
Psalm 121
Psalm 113 |
for choir SATB and organ |
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|
| |
What
Can It Be? |
a round of of riddles for 6-part vocal
consort |
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| |
Suite for Harp
|
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| |
Suite en Saga |
for solo viola |
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| |
Five Temperaments |
for wind quintet |
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| 2007-8 |
3 Songs for Contralto and Piano |
poems by Edmund Waller |
|
|
| 2008-9 |
a "gap
year": not entirely idle, but not ready yet for listing |
| 2009 |
Partita |
for piano solo, on
canons from J S Bach's addendum to the Goldberg
Variations, BWV
1087 |
|
|
| 2010 |
Reliquary |
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