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.
At the end of 2020, Adobe Ltd announced the withdrawal of its support for the Flash Reader plug-in. Many of the audio-visual illustrations in this website were powered by Flash Reader. It is hoped that these may be updated during 2021, using alternative technologies. In the meanwhile, some of the illustrations may be inoperable. |
This website feature a number of audio guides in which Robin
Holloway introduces his works with the help of illustrations from
recordings. |
|
Juvenilia |
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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 |
|
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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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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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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 |
 |
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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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|
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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)
recording
(Delphian): Kate Symonds-Joy & Edward Rushton
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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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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
recording
(Delphian): Simon Wallfisch & Edward Rushton
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1981-2 |
War Memorials, op. 50 |
for brass band
recording
(NMC): Cory Band, Philip Harper
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|
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Men Marching, op. 50/1 |
for brass band
recording
(NMC):Cory Band, Philip Harper
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From Hills and
Valleys, op. 50/2 |
for brass band
recording
(NMC): Cory Band, Philip Harper
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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 |
recording (Da Vinci Classics) Valentina Renesto (saxophone) & Giuseppe Bruno (piano) |
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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
recording
(Sheva): Benjamin Harris (speaker), Rebecca Raimondi (violin), Urska Horvat (cello), Alessandro Viale (piano), Peter Britton (percussion)
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Romanza
for oboe and string orchestra, op. 59 |
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On Hope |
cantata on a poem by Crashaw for
soprano and mezzo-soprano soloists and string quartet |
|
|
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Souvenirs de
Monsalvat, op. 60a |
for piano: four hands
recording
(Delphian): Edward Rushton & William Vann
|
 |
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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
recording
(Sheva Contemporary): Ondřej Vrabec
|
|
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Second Partita, op. 62/2 |
for solo horn
recording
(Sheva Contemporary): Ondřej Vrabec
|
|
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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
|
|
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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 |
 |
 |
|
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 |
|
 |
|
Lord,
what is man?, op. 77 |
motet for SATB chorus
recording
(Hyperion): St
Paul's Cathedral Choir, John
Scott (conductor),
Andrew Lucas (organ)
|
|
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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
|
 |
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1993 |
Winter Music:
Concertino No 6, op.
76 |
for oboe, clarinet, trumpet, piano,
violin and cello |
|
 |
|
Third Idyll:
Frost at Midnight, op.
78 |
for chamber orchestra |
|
 |
|
A Singing Telegram for Amelia Freedman |
for string sextet with optional double
bass |
|
 |
|
Berceuse with Burlesque |
piano quartet: for the 50th birthday
of David Matthews |
|
|
|
Bourée Fantasque |
orchestration of Chabrier's piano original |
|
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The Wayside Daisy |
Recital Pieces Vol. 1: Treble Recorder, publ. Forsyth 1993 (ISMN 9790570503261)
recording (Heritage 2016) John Turner (recorder), Peter Lawson (piano)
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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 |
recording
(Sheva Contemporary): Rest Ensemble |
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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 |
|
 |
|
Double Bass
Concerto, op. 83 |
for double bass and small orchestra |
|
 |
|
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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|
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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 |
 |
 |
|
Thema in A-flat |
by Richard
Wagner, extended and cadenced
by Robin Holloway |
|
 |
|
Grand Heroical March |
six hands at three pianos, in memory of Malcolm Smith
recording (Naxos): John Lill (piano), Leslie Howard (piano), Mark Bebbington (piano)
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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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|
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Sonata for Viola
Solo, op. 87 |
recording
(Sheva Contemporary): Henrietta Hill |
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 |
|
Sonata for two trumpets - Melody with Echo |
for two trumpets |
|
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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
recording
(Delphian): Clare Lloyd-Griffiths, Kate Symonds-Joy, James Robinson, Simon Wallfisch & William Vann
|
|
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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
see also 2012: Scherzo alla ciaconna, op 90 iii |
|
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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 |
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|
|
Sumer Is Icumen In |
variations, co-written with Oliver Knussen & Robert Saxton
recording (NMC) BBC SO, Jac Van Steen
|
|
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2002 |
Canzona and
Toccata, op. 94c |
for trumpet and 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)
|
|
 |
|
En
Blanc et Noir |
orchestration of Debussy's 2-piano
original
recording
(Naxos): Orchestre National de Lyon conducted by Jun Märkl
|
 |
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|
Praeludium |
for orchestra |
|
 |
2003 |
Spring Music, op. 96 |
for six players |
 |
 |
|
String Quartet
No 1, op. 97 |
|
 |
 |
|
Menuet sur le nom d'Haydn |
instrumentation plus doubles on Ravel's
original piano piece |
|
 |
|
Music for Racine's Phèdre |
oboe / cor anglais |
|
|
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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2004-5 |
Fourth Concerto
for Orchestra, op.
101 |
|
 |
 |
2004-6 |
Unfinished Finished |
completion of the scherzo begun by Schubert for his B minor symphony (the Unfinished)
and a completely new finale (where there's no indication of what Schubert might have intended): composed 2004-5 in provizional version for two pianos: orchestration completed 2006 |
|
|
2005 |
Magnificat & Nunc
Dimittis |
(The Winchester
Service) SATB and organ |
|
 |
|
Fourth Idyll, op. 102 |
for small orchestra |
|
 |
2006 |
A
Page from a Humument |
for soprano and ensemble |
|
 |
2006-7 |
Six Quartettini, op. 103 i-vi |
for string quartet |
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op. 103 i |
|
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op. 103 ii |
|
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op. 103 iii |
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op. 103 iv |
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op. 103 v |
|
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op. 103 vi |
|
 |
|
Sonatina for
Solo Violin, op. 103 vii |
|
 |
|
|
String Quartet No. 3, op. 104 |
|
|
|
|
Five Temperaments, op. 105 |
for wind quintet |
 |
 |
|
What
Can It Be?, op. 106 |
a round of of riddles for 6-part vocal
consort |
 |
 |
|
Suite for harp, op. 107 |
|
|
|
2007-8 |
Three Songs for Mezzo-Soprano and Piano |
to poems by Edmund Waller
recording
(Delphian): Kate Symonds-Joy & Edward Rushton
|
 |
 |
2008 |
Three Psalms, op. 108 |
Psalm 39, Psalm 121 & Psalm 113 for choir SATB and organ |
 |
 |
|
Suite en Saga |
for solo violin |
|
|
|
Brahms Orchestration |
orchestration of Brahms' Piano Quintet, op. 34 & Sonata for Two Pianos, op. 34b (in effect, Symphony in F minor) |
 |
 |
2009 |
Fifth Concerto for Orchestra, op. 109 |
|
 |
 |
|
Hommage to Haydn |
a framing hommage for Haydn's last, unfinished String Quartet op. 103, marking the conclusion of the Haydn Quartet project, for the centenary of his birth. |
 |
 |
|
2009-10 |
Partita, op 110a |
for piano solo, on
the additional canons by J S Bach using the opening notes of his Goldberg
Variations, BWV
1087 |
 |
 |
|
Partitina, op. 110b |
for piano solo - a shortened version of the Partita, omitting the canons and adding new material in their place |
|
 |
2010 |
Reliquary, op 111 |
Scenes from the life of Mary Queen of Scots, enclosing an instrumentation of Robert Schumann's Gedichte der Königen Maria Stuart (1852); for mezzo-soprano and small orchestra, op. 111 |
 |
 |
|
Portae Eternales - Eternal Gates |
motet to celebrate the 400th anniversary of the birth of John Caius, for choir and organ |
|
|
|
Gold on Bronze, op. 112 |
fantazia upon the ancient melody St Patrick's Breastplate for school or amateur orchestra |
|
 |
|
Andante and Variations |
Schumann's Andante and Variations, op.46, transcribed and amplified from the original for 2 pianos, 2 celli and horn, in hommage to the bicentenary of his birth |
 |
|
2010-11 |
Trio, op. 113 |
for horn, cello and piano
recording
(NMC): Richard Watkins, Paul Watkins & Huw Watkins
|
|
 |
|
Blooms of Passion, op, 114 |
version for string orchestra of Wagner's Wesendonck-Lieder, with new prologue, epilogue and interludes |
|
 |
2011 |
6 Canons for Pedal-Piano |
Schumann's 6 Canons for Pedal Piano (op. 56) as arranged for two pianos by Debussy, scored for small orchestra |
|
|
|
Trio, op. 115 |
for oboe, violin and piano
recording
(Sheva Contemporary): Rest Ensemble
|
 |
 |
|
String Quartet no. 4, op. 116 |
|
|
|
|
Lebensstürme |
orchestration of Schubert's piano duet Lebensstürme |
|
|
|
Responses for Evensong |
unaccompanied choir |
|
|
|
Voluntary |
for organ solo |
|
 |
2012 |
In China, op 117 |
for orchestra |
 |
 |
|
Scherzino |
for organ: fifth in a series of dedicated voluntaries for friends' weddings (for others, see Wedding Suite, op.98) |
|
 |
|
Scherzo alla ciaconna, op 90 iii |
for piano: third in an ongoing series of extended piano pieces beginning with the Ballade (2000) and Nocturne (2001) |
|
|
|
Birthday Tributes |
80 Notes for Hugh Wood's 80th (2012)
80 Bars for Sandy Goehr's 80th (2012)
60 phrases for Olly Knussen's 60th (2012)
70-note Melody for David Matthews' 70th (2013) |
 |
|
|
Suite in Baroque Style |
for piano: completion of an unfinished project by Mozart, incorporating also several other of his isolated keyboard movements |
 |
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C'est l'extase, op. 118 |
for soprano and orchestra: ten settings of Verlaine by Debussy, newly grouped, linked, scored, with a newly composed Epilogue - Envoi / Envol - for orchestra alone, to conclude |
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How Long, O Lord? |
anthem: a setting of Jeremy Taylor for choir and organ, written in celebration of the 400th anniversary of his birth (2013) |
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2013 |
Wedding Pieces |
Two Rivers Meet (organ) for the wedding of Will Gormley & Rosie Francis
Acrostic-Cipher Piece (piano)
Sarabande-Scherzo-Song for Henry Parkes |
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Lament |
for four horns
recording
(Sheva Contemporary): Ondřej Vrabec, Hana Sapáková, Michaela Vincencová & Daniela Roubíčková
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Acrostic-Cipher Piece |
(piano) for Cheryl Frances-Hoad |
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Sarabande-Scherzo-Song |
(piano) for Henry Parkes |
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On a Drop of Dew, op. 119 |
anthem for St Cecilia's Day and the Britten Centenary - choir & organ |
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Silvered Schubert, op. 120 |
elaboration of Schubert's Fantasie in C (violin & piano) for two pianos |
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Europa & the Bull,
op. 121a |
scena / concertante for tuba & orchestra |
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Europa-Sequence, op.121b |
for solo tuba |
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Precious Stones, op. 122 |
six miniature partsongs to poems of Walter de la Mare, for chorus a cappella |
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2014 |
Autumn Music, op. 123 |
completing set of 4 Seasons -- each a concertante-piece for 6 players, different in each case, all dedicated to fellow-composers "pictured within"- this one is Ryan Wigglesworth (see also opp. 74, 76 & 96 |
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The Day's Deep Midnight, op. 124a |
partita for guitar |
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The Day's Deep Midnight, op. 124b |
piano version (different enough to stand in its own right) |
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String Quartet No. 5, op. 125 |
written for the 70th birthday of Amira Goehr; at its heart, another portrait-piece, evoking a dear friend in all her complex & contradictory variety of moods; in a wider context of the classical 4-movement string quartet |
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Splendour of the Father's Glory |
introit for the Feast of the Transfiguration; choir and organ; text by St Augustine & St Bernard of Clarivaux
recording (Rubicon 2017) Exon Singers, Jonathan Vaughn & Richard Wilberforce
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Sine Nomine |
for piano solo, for the 70th birthday of Graeme Mitchison |
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32 bars of Tango |
for piano solo, for the 70th birthday of Michael Tilson Thomas |
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2015 |
Thou Art There |
anthem on verses from Psalms 8, 103 & 109 |
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For Ever Singing As They Shine, op.126 |
concertante for organ & orchestra. |
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String trio |
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Champagn'd Chabrier |
valse-sequence for two pianos |
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Intermezzo/Capriccio |
for solo piano, for Caroline Elam's 70th Birthday |
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2016 |
Serenade in A, for piano, op. 127 |
a wedding gift for friends on the occasion of their marriage: a double-portrait of James & Kitty Fox |
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Smaller piano pieces |
... In the same spirit, several other smaller piano pieces from these years--- birthday & wedding presents/portrayals for/of friends: Sebastian Wybrew; Silvina Milstein; Laura Keynes; Judith Weir; Anne Keynes. |
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Retreats & Advances |
song cycle on poems by John Tessimond for baritone & piano |
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Corale-prelude on 'Alle Menschen müssen sterben' |
for organ |
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Epithalamion |
for the marriage of Ryan Wigglesworth & Sophie Bevan: piano solo; scored for chamber orchestra summer 2021 |
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Epithalamium for Seb |
for piano solo |
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Music for Yodit |
for string orchestra
 recording (Toccata Classics) Kodály Philharmonic Orchestra, Paul Mann |
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2017 |
..in the dusky valley of man... |
cycle for declamation for bass voice on texts from Paul Klee's notebooks |
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Grande Marche Hungroise |
for piano-duet |
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Zodiac-Song |
for soprano, contralto, tenor, baritone & piano, on a text by John Ruskin
recording
(Delphian): Clare Lloyd-Griffiths, Kate Symonds-Joy, James Robinson, Simon Wallfisch & William Vann
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esquisse ornée |
for piano---hommage, on motifs from his d'un cahier d'esquisses, to Debussy for the centenary of his death in 2018 |
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Transcriptions of chorale-preludes from Bach's Orgelbüchlein |
for two pianos |
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2017-20 |
6 Terzettini for string trio, op 128 |
also portrait/tributes: including Sandy Goehr, Hugh Wood,Gordon Crosse @ 80, & Colin Matthews @ 70. |
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2017-8 |
Piano trio, op. 129 |
recording (Sheva): Avant Trio: Rebecca Raimondi (violin), Urska Horvat (cello), Alessandro Viale (piano) |
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...full of new wine... (Acts 2:13) |
Whitsunday toccata for organ |
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2018 |
A Musical Offering, op.130 |
fantasy-hommage on JSB for GM: two pianos. |
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Sine nomine |
study on two interlinked Schumann songs in memory of Graeme Mitchison: piano duet |
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Quick March |
for a wedding: organ |
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Phaeton’s Journey: Son of the Sun, op. 131 |
concertante for trumpet & orchestra |
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Serenade in F-sharp op. 132 |
for 12 instruments (begun 2016; completed August 2018) |
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2019 |
Cello Concerto, op. 133 |
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Un grand sommeil noir |
three early Ravel songs with new links (prologue-interlude-epilogue) & scored for chamber ensemble |
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2020 |
Anthem Contra Coronus |
for chorus SATB; words by Helen Waddell |
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Six Chansonettes, op.134 |
for girls' voices; texts by Charles d'Orlean & Christine de Pisan. |
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Miniatures |
many miniatures for piano for friends' weddings, birthdays, or simply tributes based upon the musical letters of their names, including Edward Rushton, Peter Seabourne, Misha Mullov-Abbado & Geoffrey Howard |
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Quintet for horn & string quartet, op. 135 |
recording (Sheva): Ondřej Vrabec (horn), with the Pavel Bořkovec Quartet |
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Quintet for clarinet and strings, op. 136 |
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Quintet for oboe and strings, op. 137 |
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Orchestration of Britten's Winter Words |
for high voice and chamber orchestra |
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Orchestration of The Lovers' Well |
(see 1981) |
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2021 |
Verlaine songs |
four Verlaine songs by Debussy, linked with a prologue and epilogue, for Mary Bevan
soprano & piano quartet |
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The Fair Magelone |
expansion of Brahms' Die schöne Magelone song-cycle to link the songs and provide the narrative framework which they lack
soli soprano, contralto, tenor & bass |
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Birthday Tributes & Portraits |
for Misha Mullov-Abbado (double bass);
Harrison Birtwistle (winds);
Patrick Hammerlé (piano);
Alda Dizdari (violin);
Christopher Edwards (clarinet) |
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Quartet for flute and string trio, op. 138 |
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Work for string orchestra (as yet untitled), op. 139 |
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The Dwarf of Battersea |
ballad by Mervyn Peake, set for voice and piano (to be instrumentated?) |
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Quintet for bassoon and string quartet, op. 140 |
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Crossings,op. 141 |
scena from Bunyan's Pilgrim's Progress, for chorus and instriuments |
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Romanza & Scherzo |
clarinet & piano, for Michael Collins' 60th Birthday |
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