This list of works has been compiled by Monty Adkins with input from Richard Andrewes (Cambridge University Library), Olga Ger (Institut d’Estudis Valls), Samuel Llano, Rachel Mann, Leticia Sánchez de Andrés, Julian White and the composer catalogues of the Biblioteca de Catalunya, Cambridge University Library, Royal Shakespeare Company Archive and BBC.
Title | Date | Instrumentation | Movements | Notes |
---|---|---|---|---|
Lied ‘Still! Mitternacht, ein losgelassner Wind’ | c.1913–14 | Soprano and piano | Text in German, author unknown | |
Sonatine a Carlos | 1914 | Solo piano | ||
Tot ella es una flor y Canço Trista | 1914 | Soprano and piano | Manuscript lost | |
Vom Strande | 1914 | Soprano and piano | Manuscript lost | |
En Camins | 1915 | Soprano and piano | Manuscript lost | |
L’infantament meravellós de Schahrazada | 1916–17 | Soprano and piano | 1. Les roses de les temples de l’amiga 2. Jove flautista 3. Sota l’amplada del teu rostre 4. Si els teus cavells son negres como la nit 5. Perquè la por del soroll l’esgarrifa 6. El repòs del teu rull damunt del front 7. Jo t’he donat el meu cor 8. Jo soc el vas del teu secret 9. Un crit del mercat 10. Igual que la mar fosforescent 11. Melodiós com entre mig d’arbredes 12. Enamorat incaut | Text in Catalan by Josep Maria López-Picó. In a letter to Colin Mason, 31 Jan 1962, Gerhard states that the cycle was ‘written in “a go” during the Spring and Summer of 1916’. However, in an interview in 1929, Gerhard said that he composed these songs in 1917 (Girasol, ‘Una conversa amb Robert Gerhard’, La Publicitat, 3 December 1929). The cycle was premiered in June 1917. |
Festeig | 1916–17 | Soprano and piano | Text by Joan Maragall | |
Mitjanit a la muntanya | 1916–17 | Soprano and piano | Text in Catalan, author unknown | |
Cors bategants | 1916–17 | Soprano and piano | Text by Otto Bierbaum, translated into Catalan by Josep Lleonart | |
Un vianant amb pas lleuger | c.1916–20 | Soprano and piano | Text in Catalan, author unknown | |
Verger de les galanies | 1917–20 | Soprano and piano | 1. Canço d’un doble amor 2. Excelsior | Text in Catalan by Josep Carner |
Piano Trio No. 1 in B major | 1917–18 | Violin, cello, and piano | ||
Piano Trio No. 2 in Ab Major | 1918–19 | Violin, cello, and piano | ||
Dos Apunts | 1922 | Solo piano | ||
7 Hai-kai | 1922, rev. 1958 | Soprano, flute, oboe, clarinet, bassoon, and piano | Text by J. M. Junoy. Revised version for male or female voice and above instruments retitled as 7 Haiku (1958). | |
Divertimento | 1926 | Wind quintet, also version for double wind quintet (both versions incomplete) | ||
Suite for Winds, Strings and Piano | 1927 | Bassoon, horn, trumpet, piano, violin, viola, and cello | 1. Sevillana 2. El conde Sol | |
Canço del goig perdut | 1927 | Soprano and piano | Text in Catalan by Josep Carner. This song was later included in Cançons i Arietes (1936). | |
14 Cançons populars catalanes | 1928-29 | Soprano and piano | 1. La calàndria 2. La mort i la donzella 3. El petit vailet 4. El Cotiló 5. Enemic de les dones 6. Els ballaires dins un sac 7. Cançó del lladre 8. La cinta daurade 9. L’escolta 10. La tornada del pelegrí 11. La cita 12. El carboneret 13. La comtessa de Floris 14. Cançó de batre | Gerhard chose eight of the songs to be premiered as the Vuit Cançons Populars Catalanes by soprano Conxita Badia on 22 December 1929 at the Palau de la Música Catalana in a concert dedicated to Gerhard’s works organized by the Associació de Música da Camera. The songs performed were 1. La comtessa de Floris, 2. L’escolta, 3. La calàndria, 4. Cançó de lladre, 5. Enemic de les dones, 6. La mort i la donzella, 7. El petit vailet, 8. Els ballaires dins un sac. Gerhard chose six for publication as the Sis Cançons populars catalanes. These six songs were later orchestrated in 1931. |
Sonata, for clarinet and piano | 1928 | Clarinet and piano | ||
Wind Quintet | 1928 | Flute, oboe, clarinet, bassoon, and horn | ||
Sardana No. 1 | 1928–29 | Flute, 2 tenoras, 2 fiscorns (bass flugelhorns), 2 trumpets, 2 trombones, and double bass (Cobla ensemble) | ||
Sardana No. 2 | 1928–29 | Flute, tenora, tenor saxophone, bassoon, cornet, horn, fiscorn (bass flugelhorn), trombone, double bass, and percussion (Cobla ensemble) | ||
Andantino | 1928–29 | Clarinet, violin, and piano | ||
Concertino for String Orchestra | 1929 | String orchestra | Arrangement/recomposition of early String Quartet No. 3 (1927–8). Gerhard composed three early string quartets. According to Diego Alonso Tomás the dates for the first two are 1914–17 and early 1920s respectively. However, both were left unfinished and no scores or sketches have survived. The third quartet was composed and completed whilst Gerhard was a student of Schoenberg. | |
Les vídues vulgars | 1930 | Soprano, contralto, and piano | Text in Catalan by Josep Carner | |
La fulla i el núvol | c.1930–33 | Soprano and piano | Text in Catalan by Josep Carner. This work has been assigned as early 1930s. However, the manuscript paper of the Cambridge University Library holograph is on French paper on which Gerhard also wrote Soirées de Barcelone (1936–9), suggesting that Gerhard worked on this in 1938 during his time in Paris before moving to Cambridge. | |
Sis Cançons Populars Catalanes | 1931 | Soprano and orchestra | 1. La calàndria 2. La mort i la donzella 3. El petit vailet 4. El cotiló 5. Enemic de les dones 6. Els ballaires dins un sac | Orchestration of selected poems from earlier work for voice and piano |
Madrigal a Sitges | 1931 | Soprano and piano | Text in Catalan by Josep Carner | |
L’Alta Naixença del Rei en Jaume | 1932 | Soprano, baritone, chorus, and orchestra | Text in Catalan and English by Josep Carner | |
Lassa, mesquina, què faré? | 1932 | Soprano and piano | Text in Catalan by Pere Serafí. Piano part transcribed, in 1996, by Carme Passolas. | |
Ariel | 1934 | Orchestra | Ballet scenario by J. V. Foix, stage designs by Joan Miró. There is a previous draft by Gerhard of this ballet with the title ‘Contrapunct’. | |
Ventall | c.1935 | Soprano and piano | Text in Catalan by Ventura Gassol | |
Cançons i arietes | 1936 | Soprano and piano | Gerhard put the songs ‘Verger’ and ‘Canço del goig perdut’ together giving them the new title Cançons i arietes | |
Albada, Interludi i Dansa | 1936 | Orchestra | ||
Soirées de Barcelone | 1936–39 | Piano | Ballet scenario by Ventura Gassol, original title Le Feux de la Saint Jean. Piano score complete, almost fully orchestrated by Gerhard but abandoned. Orchestration completed by Malcolm MacDonald in 1995–6. | |
Sardana No. 1 | 1940 | Brass band | Arrangement of Sardana No. 1 (1928–29) | |
Don Quixote | 1940–41 | Orchestra | Ballet scenario by Roberto Gerhard after Miguel de Cervantes | |
Don Quixote (Suite No. 1) | 1941 | Orchestra | Orchestra suite from ballet music | |
Alegrias de Jerez | 1941 | 2 pianos | Choreography by Elsa Brunelleschi for one dancer (Sara Luzita). The title is often prefixed with ‘Spanish Dance’. This piece was incorporated into Divertissement. Alegrías de Jerez was commissioned in 1941 by the Ballet Rambert. The specification was that the music should be in the flamenco style (see Cambridge University Library, Robert Gerhard Archive, Gerhard.9.113). The Alegrías de Jerez for two pianos was premiered and received several performances throughout 1941 as part of Divertissements, a collection of arrangements for two pianos of traditional music and Exorcism by Fire (Manuel de Falla). The listings of these works in extant programmes interchange Spanish Dances and Divertissements with different collections of pieces being played at each of the 13 performances between May and September 1941. The ballet Flamenco was developed from the music for Divertissements in August-September 1941 (MS.Gerhard.4.19) with the piano score for the performance (MS.Gerhard.4.41) completed in September 1941. However, it was not until 1943 that Elsa Brunelleschi choreographed Flamenco for seven dancers, in which form it received four performances in July–August 1943. Gerhard’s Alegrías suite for orchestra comprised four movements from the previously composed ballet music and was written in 1942 according to Gerhard’s notes (Cambridge University Library, Robert Gerhard Archive, Gerhard.4.40. The holograph score Gerhard.4.40 bears the title Flamenco changed to Alegrías: divertissement flamenco). Alegrías was first performed on 4 April 1944 for a BBC studio recording in London by the BBC Theatre Orchestra, conducted by Stanford Robinson. | |
Divertissements | 1941 | 2 pianos | Ballet scenario devised for Sara Luzita. Traditional music arranged by Gerhard (includes the Alegrías de Jerez) and arrangement of music by Manuel de Falla. | |
Symphony ‘Homenaje a Pedrell’ | 1941 | Orchestra | ||
Cancionero de Pedrell | 1941 | Soprano and piano | 1. La ximbomba 2. La mal maridada 3. Laieta 4. Soledad 5. Muera yo … 6. Farruquiño 7. Alalá 8. Corrandes | After folksongs collected by Felipe Pedrell |
Cancionero de Pedrell | 1941 | Soprano and 13 instruments | Orchestration of work of the same title for voice and piano | |
Por do Pasaré la Sierra | 1942 | Soprano and piano | Text in Spanish by Gil Vicente | |
Seis Tonadillas | 1942 | Soprano and piano | Texts in Spanish, authors unknown. Arrangements of songs by de Esteve, Laserna, Valledor, Palomino, and Galván. | |
Spanish Madrigals | 1942 | Arrangements of Ribera, Guerrero, Beson, Navarro, Hidalgo, Correa, Patino, and Romero | ||
Siete canciones de vihuela | 1942 | Soprano and piano | Texts in Spanish, authors unknown. Songs composed from pieces by L. de Milán, D. Pisador, E. de Valderrábando, and J. Vásquez. | |
Alegrías (Suite) | 1942 | Orchestra | 1. Preámbulo 2. Jácara 3. Farruca 4. Jaleo | Orchestral version of four dances from Divertissements/Flamenco (1941) |
Pandora | 1942-43 | 2 pianos and percussion | Ballet scenario by Kurt Jooss | |
Concerto for Violin and Orchestra | 1942–5, rev. 1949 | Solo violin and orchestra | ||
Cante Jondo | 1943 | Soprano and piano | 1. Rondeña 2. Boleras sevillanas 3. Malagueña 4. Zapateado | Popular texts in Spanish. The second song is often performed on its own titled ‘Sevillanas’. |
Flamenco | 1943 | 2 pianos | Ballet choreography by Elsa Brunelleschi for seven dancers. See notes on Alegrías de Jerez (1941) for the complex history of this ballet. | |
Cádiz | 1943 | Orchestra | Composed as Juan Serrallonga. Based on a zarzuela by Federico Chueca and Joaquín Valverde. In other texts, Gerhard’s pseudonym appears as Juan de Serrallonga or Joan Serrallonga. Juan Serrallonga is included here as this is how the name was listed in the Radio Times for the BBC Home Service Broadcasts Gerhard was involved in, including Spanish Fantasy first broadcast on 31 December 1941 and Spanish Theatre Music first broadcast on 3 January 1943 – see genome.ch.bbc.co.uk | |
Gigantes y Cabezudos | 1943 | Orchestra | Composed as Juan Serrallonga. Based on a zarzuela by Manuel Fernández Caballero. | |
La Viejecita | 1943 | Orchestra | Composed as Juan Serrallonga. Based on a zarzuela by Manuel Fernández Caballero. | |
Tres Canciones Toreras | 1943 | Voice and piano | 1. Corrida 2. El capeador 3. Elogio al torero Manuel Domínguez | Arrangements from unknown composers. Composed as Juan Serrallonga. |
Tres Canciones Toreras | 1943 | Voice and orchestra | Orchestration of work of the same title for voice and piano. Composed as Juan Serrallonga. | |
Engenho Novo | 1943 | Voice and orchestra | Orchestration of Cinco Canções Nordestinas by Ernani Braga | |
Cristóbal Colón | 1943–44 | Orchestra | Incidental music for radio. Radio play by Salvador de Madariaga. This incidental music also includes Three Pieces for Small Orchestra (1943), orchestration of selected pieces by Franz Schubert including the ‘Rondo’ from the Piano Sonata in D, D.850, ‘March Militaire’ No.1 in D major, D.733, and ‘Marche Caractéristique’ No.1 in C Major, D.886. | |
The Adventures of Don Quixote | 1943-44 | Flute, oboe, clarinet, bassoon, horn, trumpet, trombone, tuba, timpani, percussion, 2 pianos, strings | Incidental music for BBC Radio in seven parts. Arranged for broadcasting by Eric Linklater from incidents by Miguel de Cervantes. | |
Music for Pandora | 1944 | 2 pianos and percussion | Abridged version of original ballet in six movements | |
Six French Folksongs | c.1944–56 | Soprano and piano | 1. Voici le mois de Mai 2. Les cloches de Guérande 3. Un rossignol vint sur ma main 4. La plus jeunette 5. La valse de Lauterbach 6. Me suis mise en danse | Popular texts in French |
Pandora | 1945 | Orchestra | Orchestral version of ballet | |
Pandora (Suite) | 1945 | Orchestra | Orchestral suite in six movements, from original ballet music | |
The Duenna | 1945–47 | Orchestra | Opera in 3 acts based on a play by Richard B. Sheridan | |
Romeo and Juliet | 1947 | Flute, oboe, clarinet, bassoon, horn, trumpet, trombone, timpani, percussion, piano, strings | Incidental music for theatre (play by William Shakespeare) | |
Don Quixote, (Suite No. 2) | 1947–49 | Orchestra | From original ballet music | |
Dances from Don Quixote | 1947 | Solo piano | ||
Sonata, for viola and piano | 1948 | Viola and piano | Reworked as Sonata for Cello and Piano | |
Cymbeline | 1949 | Orchestra | Incidental music for theatre (play by William Shakespeare) | |
Capriccio | 1949 | Solo flute | ||
Background Patterns 1 | c.1950–55 | Harp, celesta, xylophone, and strings | These two works are assigned the shelf number BBC: TO 1438 between Boleras, for soprano and orchestra (except from The Duenna) BBC: TO 1437 and El trébole for soprano, chorus and orchestra BBC: TO 1439. | |
Background Patterns 2 | c.1950–55 | 2 flutes, harp, timpani, tom-toms, and strings | These two works are assigned the shelf number BBC: TO 1438 between Boleras, for soprano and orchestra (except from The Duenna) BBC: TO 1437 and El trébole for soprano, chorus and orchestra BBC: TO 1439. | |
El trébole | c.1950-55 | Soprano, chorus, orchestra, text anon | BBC: TO 1439, probably an orchestration of a song and chorus from Guridi’s zarzuela ‘El caserio’ | |
Three Impromptus | 1950 | Solo piano | ||
Pandora (Suite) | 1950 | Orchestra | Orchestral suite in five movements, from original ballet music | |
Don Quixote | 1950 | Orchestra | Version for performance at Covent Garden, 1950—shorter than the original full ballet, but includes four newly written ‘Interludes’ to cover scene-changes | |
String Quartet No. 1 | 1950–55 | 2 violins, viola, and cello | ||
Concerto for Piano and String Orchestra | 1951 | Solo piano and string orchestra | ||
Study for Secret People | 1951–52 | Clarinet, violin, and piano | ||
Secret People | 1951–52 | Piccolo, oboe, cor anglais, 2 clarinets, bassoon, trumpet, tuba, percussion | Film music (dir. Thorold Dickinson) | |
War in The Air | 1952 | Orchestra | Incidental music for five-part television documentary | |
Symphony No. 1 | 1952–53 | Orchestra | ||
Conquistador | 1953 | Flute, clarinet, horn, trumpet, piano, percussion, violin, cello | Incidental music for radio (radio play by Archibald MacLeish) | |
The Taming of the Shrew | 1953 | Flute, oboe, clarinet, horn, 2 trumpets, harp, guitar, timpani, percussion, strings | Incidental music for theatre (play by William Shakespeare) | |
Pedrelliana (En memòria) | 1954 | Orchestra | Revised version of 3rd movement of Symphony Homenaje a Pedrell (1941) | |
A Midsummer Night’s Dream | 1954 | Incidental music for theatre (Shakespeare) | ||
Spanish Theatre Music | 1954 | Voice and piano | 1. Bailete de comedia del Retiro (anon.) 2. Yo te quiero, Gileta (Sebastián Durón) 3. Buscaba el amor (Juan de Navas) 4. No piense Menguilla (José Marín) 5. Ay qué mal (Francisco Berxés) 6. Bosque frondoso (Antonio Literes) 7. No has que decir el primor (anon.) 8. Tirana del Zarandillo (Pablo Esteve y Grimau) 9. El canapé (José Palomino) 10. Un oficial de guerra (Ventura Galván) | Arrangements of 17th- and 18th-century songs made for the BBC radio programme, Heritage of Spain. It is possible that a number of these arrangements were made before 1954 and their inclusion in the Heritage of Spain, first broadcast on 10 February 1954. Manuscript paper used is the same as that used by Gerhard for other compositions between 1938 and 1943. |
The Akond of Swat | 1954 | Mezzo soprano and 2 percussionists | Text by Edward Lear | |
El Barberillo de Lavapiés | 1954 | Orchestra | Opera arrangement and orchestration of the Zarzuela (1874) by Francisco Barbieri, composed as Juan Serrallonga | |
La Celestina | 1954 | Flute, 2 oboes, cor anglaise, bassoon, heckelphone, horn, timpani, percussion, guitar with songs for soprano (Calisto) and tenor (Sempronio) with guitar | Incidental music for radio (adaption by Peter Duval Smith of the play ‘La Celestina’ or ‘The tragi-comedy of Calisto and Melibea’ by Fernando de Rojas | |
The Prisoner | 1954 | Chamber ensemble and tape | Incidental music for theatre (play by Bridget Boland). In the incidental works Gerhard recorded instrumental and tape ‘cues’. The scores and tapes held in the Cambridge University Library need to be studied in tandem to comprehend the full set of ‘cues’ produced for each work. | |
L’Etranger | 1954 | Flute/piccolo, oboe, cor anglaise, clarinet, bassoon, trumpet, trombone, accordion, timpani, percussion | Incidental music for radio (adaption of book by Albert Camus) | |
Lamparilla | 1954 | Orchestra | Overture written on themes by Francisco Barbieri for the BBC arrangement of El Barberillo de Lavapiés. The title Lamparilla is listed in Gerhard’s copyright assignment of November 1954. | |
King Lear | 1955 | Piccolo, oboe, clarinet, bassoon, horn, trumpet, trombone, timpani, percussion, harp, viola, 3 cellos, double bass, tape | Incidental music for theatre (play by William Shakespeare) | |
A Leak in the Universe | 1955 | Accordion, viola, percussion, piano, tape | Incidental music for radio (radio play by Ivor A. Richards) | |
Separate Tables | 1955 | Incidental music for play, Haymarket Theatre. This incidental music is an arrangement of music from Cymbeline (1949) from which Gerhard also created a suite in 14 sections and released as ‘Music for Theatre’ on the Southern Library Music MQ737 and MQ738 in 1964. | ||
You Know What People Are | 1955 | Incidental music for television production (play by J. B. Priestley) | ||
Concerto for Harpsichord, String Orchestra and Percussion | 1955–56 | Solo harpsichord, percussion, and string orchestra | ||
Sardana No. 1 | 1956 | Flute (or piccolo), 2 oboes, cor anglaise, 2 clarinets, bassoon, 2 horns, trumpet (or cornet), trombone, tuba, percussion | Arrangement of Sardana No. 1 (1928–9) for woodwind, brass, and percussion. In the manuscript of this arrangement at Cambridge University Library it is titled ‘Sardana II’. The original Sardana No. 2 (1928–9) has never been arranged. | |
Sonata for Cello and Piano | 1956 | Cello and piano | Reworking of Sonata for viola and piano (1948) | |
Cantares | 1956 | Soprano and guitar | 1. La Indita 2. El Toro 3. La Ausencia 4. Un Galán y su Morena 5. La Lobada 6. La Muerte y la Doncella 7. Reinas de la Baraja | Seven songs on Spanish popular themes |
Maria Stuart | 1956 | 3 horns, 3 trumpets, 3 trombones, percussion | Incidental music for radio (play by Friedrich Schiller) | |
Good Morning, Midnight | 1956 | Tape | Incidental music for radio (play by Jean Rhys) | |
Nonet | 1956–57 | Wind quintet, trumpet, trombone, tuba, and accordion | ||
Dances from Don Quixote | 1957 | Orchestra | ||
Fantasia | 1957 | Solo guitar | ||
The Unexpected Country | 1957 | Tape | Incidental music for radio (play by Olwen Wymark) | |
The Revenge for Love | 1957 | Guitar, harp, percussion, 3 violins, viola, cello, double bass | Incidental music for radio (play by Wyndham Lewis) | |
Symphony No. 2 | 1957–59 | Orchestra | ||
All Aboard | 1958 | Clarinet, accordion, piano, 2 percussion, tape | Music for animated short film (for Bowater Company) | |
Your Skin | 1958 | Accordion, guitar, percussion, tape | Music for documentary film (for Unilever) | |
Pericles, Prince of Tyre | 1958 | Mezzo soprano, tenor, baritone, chorus, orchestra, tape | Incidental music for theatre (play by William Shakespeare) | |
Audiomobile ‘Capriccio in the Manner of Goya’ | 1958–59 | Tape | ||
Coriolanus | 1959 | Tape | Incidental music for theatre (play by William Shakespeare) | |
Asylum Diary | 1959 | Tape | Incidental music for radio (text by Christine Lavant) | |
Don Carlos | 1959 | Harpsichord, organ | Incidental music for radio (play by Friedrich Schiller) | |
Lament for the death of a Bullfighter | 1959 | Speaker and tape | Radiophonic work, poem by Federico García Lorca, translated by A.L. Lloyd | |
Chaconne | 1959 | Solo violin | ||
Symphony No. 3 ‘Collages’ | 1960 | Orchestra and tape | ||
Audiomobile No. 3 ‘Sculpture’ | 1960–61 | Tape, made from recordings of a sculpture by John Youngman | A final Version II may be later (c.1967) as Gerhard continued to work on the series. Audiomobile 1 only appears once in the tape collection. See tape CUL_OR_0361 On the spool is written ‘Audiomobile 1 (Sculpture) full track 15ips’. However, the materials on the tape are multilevel compounds—a term Gerhard used to indicate the final materials that he would use for a work but before the final assembly—and appear to be recorded at 7.5ips. Although an edited version of this was released (See Roberto Gerhard, Electronic Explorations from his Studio + The BBC Radiophonic Workshop, (Sub Rosa, Belgium, SR378), 2014.) it cannot be considered in the catalogue of Gerhard’s completed works. | |
String Quartet No. 2 | 1960–62 | 2 violins, viola, and cello | ||
The Cherry Orchard | 1961 | Chamber ensemble and tape | Incidental music for theatre (play by Anton Chekhov) | |
The Overcoat | 1961 | Baritone solo, mens chorus, guitar, accordion, violin, tape | Incidental music for radio (radio adaptation of Nikolai Gogol) | |
Woyzeck | 1961 | Soprano solo, baritone solo, soprano chorus, flute/piccolo, oboe, clarinet, bassoon, accordion, horn, trumpet, trombone, tuba, percussion | Incidental music for radio (radio production of play by Georg Buchner) | |
Caligula | 1961 | 3 flutes/piccolos, 3 trumpets, 3 trombones, mandolin, 2 percussionists | Incidental music for radio (radio adaptation of play by Albert Camus) | |
Interludes and Arias from The Duenna | 1961 | Mezzo-soprano and orchestra | From The Duenna (1947) for BBC Proms performance | |
Caligula | 1961 | Tape | Separate electronic piece from material not used in incidental music. Although sharing the same title as the incidental music for the Albert Camus radio play, this is a separate electronic piece most likely made from material not used in incidental music. The final incidental music score for the Camus play is for instruments only. | |
Macbeth | 1962 | Chamber ensemble and tape | Incidental music for theatre (play by William Shakespeare) | |
The Tower | 1962 | Piccolo, trumpet, tuba, guitar, percussion, organ | Incidental music for radio (radio production of play by Hugo von Hofmannsthal’s play) | |
The World’s Great Stage | 1962 | Soprano, contralto, tenor, 2 oboes (2nd doubling cor anglais), trumpet, trombone, harp, percussion, accordion, piano (celesta) | Incidental music for radio (play by Pedro Calderón) | |
Concert for 8 | 1962 | Flute, clarinet, mandolin, guitar, accordion, percussion, piano, and double bass | ||
Hymnody | 1963 | Flute, oboe, clarinet, horn, trumpet, trombone, tuba, 2 percussionists, and 2 pianos | ||
The Philosopher’s Den | 1963 | 2 flutes, 2 horns, 2 bassoons, mandolin, guitar, 2 percussionists & accordion | Incidental music for radio (radio adaptation of play by Zbigniew Herbert) | |
DNA in Reflection | 1963 | Tape | Audiomobile No. 2 ‘DNA’ (audio only version). Extracts from DNA in Reflection were published by Southern Music Library in 1964. Ten extracts (sometimes erroneously titled 10 Pieces for Tape c.1961) were chosen and eight published on the commercial release. | |
This Sporting Life | 1963 | Orchestra | Film music (directed by Lindsay Anderson) | |
The Plague | 1963-64 | Narrator, Chorus and Orchestra | Text in French and English by Albert Camus, translated by Stuart Gilbert | |
The Anger of Achilles | 1963–64 | Soprano solo, Bass solo, Soprano and Alto chorus, orchestra and tape | Incidental music for radio (radio adaptation of play by Robert Graves) | |
Funnyhouse of a Negro | 1964 | Clarinet/bass clarinet, trumpet, percussion, and organ | Incidental music for radio (radio adaptation of play by Adrienne Kennedy) | |
Macbeth | 1964 | 1. The Witches Scene 2. Banquo’s Ghost | Incidental music for two scenes for television anthology (play by William Shakespeare) | |
The Count of Monte Cristo | 1964 | Flute/piccolo, oboe/cor anglais, clarinet, accordion, trumpet, percussion, piano/harpsichord, double bass, 2 sopranos (for one duet only) | Incidental music for television (adaptation of novel by Alexandre Dumas) | |
For Whom the Bell Tolls | 1965 | Solo guitar | Incidental music for radio (radio adaptation of novel by Ernest Hemingway) | |
Concerto for Orchestra | 1965 | Orchestra | ||
Epithalamion | 1966, rev. 1969 | Orchestra | ||
The Man Born to be King | 1966 | Orchestra | Incidental music for radio (radio play by Dorothy L. Sayers) | |
Gemini | 1966 | Violin and piano | Original title was Duo Concertante | |
Claustrophilia, a page for John Cage | 1966 | Harps, radios, and live electronics | ||
Symphony No. 4 ‘New York’ | 1967 | Orchestra | ||
Metamorphoses | 1967–68 | Orchestra | Unfinished reworking of Symphony No. 2 | |
Libra | 1968 | Flute/piccolo, clarinet, guitar, percussion, piano, and violin | ||
Leo | 1969 | Flute/piccolo, clarinet, horn, trumpet, trombone, 2 percussionists, piano/celesta, violin, and cello | ||
Symphony No. 5 | 1968–69 | Orchestra | Unfinished, sketches only |