# Under rated English composers



## Amy (Aug 3, 2006)

There is a common belief that England has produced few composers of good standing. I do not think that this is really the problem. In fact, the problem is that we are not looking far enough back along the musical map. An entire generation of practically untouched English composers can be found in the 16th century, many of which are masters of their genre. Thomas Tallis is of course the big beast of his day, but what about Thomas Weelkes or Morley? Orlando Gibbons is a personal favourite of mine, please download his "This Is The Record Of John", it's so beautiful. Then there are many, many more composers to be "discovered", as on the tacky "classical" compilations one can buy, (or merely get free out of the "Daily Mail") these are not featured. John Blow is another (particularly his Salvator Mundi) or Dowland, Byrd, Tavener, or Tomkins. In my opinion, these composers kick ***! Is there anyone out there who feels the same way? Most of their pieces are vocal church music, but it certainly strikes a chord within me that nothing else does, and that includes many of the great later romantic giants and classical kings. I think it is because they retain a sense of the medieval bareness, which is in itself spine-tingling, but infuse it with a sense of baroquesque elegance that is, in my opinion, completely unsurpassable!


----------



## vivaciouswagnerian (Jul 21, 2005)

I agree full-heartedly, though I can't say I have much knowlege on the topic. I do recognize all the composers mentioned though I have never heard of The Record of John, but I love early english music. Do u recommend any recordings of it (or anywhere to get it online)? Also, what is "Daily Mail" that you talk about?

PS: Sorry its been a while since I've been on! I've been moving back to Virginia for the year.


----------



## vivaciouswagnerian (Jul 21, 2005)

Wow, I'm sorry, I'm quite dumb. After looking it up, I realize I have actually already sang it. I didn't recognize the title though. Its really an amazing piece. I highly reccomend it!


----------



## Amy (Aug 3, 2006)

Hey, I'm glad to hear someone else shares my enthusiasm! I have a really great recording of it by King's College choir. The Daily Mail is a newspaper in England that sometimes gives away free CD's, which are often classical. However, as you can imagine, the pieces are very often the cliched, over played ones, which are great pieces (Pachabel's Canon etc) but not exactly varied! Lol. I have also performed "This is the Record of John", which I think extended my fondness for it. I always form a much deeper attachment to a piece once I've performed it. I think it's the fact that you can be a part in creating something so amazing!


----------



## vivaciouswagnerian (Jul 21, 2005)

Actually I have a question on this genre of musical history. Do you know any of good early English oratorio? The lesser known ones, lol, dont tell me Messiah or Creation, lol.


----------



## Mr Salek (Apr 11, 2006)

The Mail deliberately gives away "classical favourites" CDs so I'm not surprised you mention Pachelbel's Canon.


----------



## Amy (Aug 3, 2006)

Well, to be honest the Oratorio was just emerging at this time, and as it was founded in Italy and Germany, there aren't really any Oratorio composed by true "early" English composers. There are some great motets though, and magnificats and nunc dimititis's. A really great one is Tallis' "Spem in Alium", which is a 40 part unaccompanied motet. There are also extended pieces by Weelkes and Shepherd, but not really Oratorios, I'm afraid. If you are just interested in early Oratorio generally, though, there are Italian composers such as Palestrina. He composed something called Missa Dum Complerentur, which I really like, even though it's unaccompanied. There is also Monteverdi's "Orfeo", which I think could be classed as an Oratorio, as I don't think it's really grand enough to be classed as an opera. It's accompanied, too, which makes it more Oratorio-ish. Lol. Then there are also the lesser known Bach and Handel Oratorio, such as Bach's St Matthew and Handel's "Judas Maccabes". Anyway, I'll stop babbling now.. Hope that was of some help!


----------



## vivaciouswagnerian (Jul 21, 2005)

A lot of early orotorio, since is was such a new idea, took the form of long masses or weirdly done operas. I love Palestrina and Tallis is amazing, though I have not heard Spem in Alium. I am going to look that up. All of the Bach passions are freakin amazing!!! and anything Handel is worth some praise. Orfeo I think is more operatic even though that was an early time for opera too. ITs hard to figure out at that time what was a opera with a religious theme, or an orotorio, which of course, could be considered both ;-). Oh well, lots of babble for no apparent purpose. Nice topic though. I haven't posted good stuff here in a while ;-). Love ya'll!


----------



## KScott (Mar 19, 2009)

Well, I already posted Elgar's The Dream of Gerontius somewhere else, and though this is his best known work, it still doesn't get programmed a lot - at least not here in America. But the topic *vivacious wagnerian *addressed was early English oratorio, though the real gist of this is site is "Underrated English composers," in which I will do my best to shoot off a few.

I don't know of any early oratorios besides those of Handel's, many of which are magnificent, and should be programmed more. I would sooner hear _Joseph and his Bretheren _before another umpteenth performance of _Messiah_!

But among some of the great choral works that one doesn't hear often, there is Charles Villers Stanford's Requiem, Delius' _Ein Messe des Lebens/A Mass of Life_ (And I would love to hear it in its English translation, though the original German is sufficient enough), the many choral/orchestral works of Samuel Coleridge-Taylor including one of his last works, _A Tale of Old Japan_, Wlifred Joseph's Requiem (which mixes the Hebrew _Kaddish_ alongside parts of the Latin ordinary), Havergal Brian's monumental Gothic Symphony, and his equally astonishing fourth, _Das Sigeslied _(which in turn pays tribute to Brahms' lesser-known _Triumplied_), and George Lloyd's _The Vigil of Venus_, his own pagan take on Carmina Burana with a slice of Delius thrown in for good measure.
I have yet to hear Granville Bantock's epic setting of Omar Khayyam, but knowing his other music, I'm sure it's delicious!

That said, here is my list of underrated British composers:

Granville Bantock
Robert Farnon
George Lloyd
Samuel Coleridge-Taylor (still is, in my book)
Constant Lambert
William Alwyn
Arthur Benjamin (he'll forever be linked to Hitchcock by way of the film _The Man Who Knew Too Much_ - both the original 1934 version and the 1956 Hollywood remake)
Percy Whitlock
George Butterworth
Phyllis Tate
Richard Arnell
William Lloyd Webber (yes, you all read right - the father of Andrew)
Richard Rodney Bennett

And I'm sure I left a few out...


----------



## handlebar (Mar 19, 2009)

KScott said:


> That said, here is my list of underrated British composers:
> 
> Granville Bantock
> Robert Farnon
> ...


I would add:

Wallace,Dyson,Wordsworth,Alice Smith.

Jim


----------



## KScott (Mar 19, 2009)

Forgot about Wallace - one of the best composers of his generation. And I also left out Rutland Boughton, Arnold Cooke, Alun Hoddinot and William Matthias.


----------



## Mr Dull (Mar 14, 2009)

My favorite unappreciated English composers are the brothers William and Henry Lawes who both worked for king Charles the first. William indeed died fighting for the king during the civil war. I have a small collection of CDs (I hope to get the chance to add more) mostly of consort music by William but also some songs by both brothers. All the music is very good and deserves to be more widely heard.


----------



## Lang (Sep 30, 2008)

Mr Dull said:


> My favorite unappreciated English composers are the brothers William and Henry Lawes who both worked for king Charles the first. William indeed died fighting for the king during the civil war. I have a small collection of CDs (I hope to get the chance to add more) mostly of consort music by William but also some songs by both brothers. All the music is very good and deserves to be more widely heard.


Yes, I was going to mention William Lawes, but you beat me to it. I have just been listening to a six-part consort piece of his, which is as unpredictable as Berlioz. A great composer. I don't know the music of Henry, though.


----------



## Tapkaara (Apr 18, 2006)

I'm suprised no one mentioned Havergal Brian. Brian is a bit of an eccentric, and his early symohonies are massive and monsterous. But he was obviously an artist of incredible creativity and imagination.

I would add Gustav Holst to the list as being "under-rated." (What...he's not German?) Yes, everyone knows about his Planets (and what a masterpiece it is), but it seems like this is the curse of the "one hit wonder." Beyond the Planets (figuratively speaking, of course!) is a wealth of music that is indeed very English and well convceived. Check out the tone poem Egdon Heath or Invocation for Cello and Orchestra. This is music of an exceptional high standard that hardly anyone seems to know anything about.


----------



## handlebar (Mar 19, 2009)

Holst composed a delightful Piano trio that should be played more often. Also, his Cotwolds Symphony on the Classico label shows a bit more of his orchestral flair.

Brian was indeed prolific and deserves more time in the concert hall. Other than #1 maybe as the "Gothic" requires Mahlerian forces.

Jim


----------



## PostMinimalist (May 14, 2008)

One of my personal favorite English composers is John Ireland. I consider him to be underrated and not heard enough in concert halls. His Concerino Pastorale is a masterpiece.


----------



## Mr Dull (Mar 14, 2009)

Lang You wont hear much of Henry Lawes I only have one CD of songs. That's about all thats available apart from the odd track on compilation type CD's. It would be great if more was available.


----------



## Lang (Sep 30, 2008)

Ok, you want obscure? Let me throw into the mix the music of Richard Walthew; a contemporary, and indeed friend, of Vaughan Williams, but with a more traditional, and lighter, style. He became fairly popular in the 1920s, but rapidly fell out of favour. His music is very Brahmsian, and he has a gift for creating seemingly effortless melody. Notable works are the Suite in F for clarinet and piano (a wonderful display piece for clarinettists), the Piano Concerto and the String Quartet, although I believe the latter two are out of print.

I have attached two files, and I am hoping this will work.

The first is an example of his lighter music, The Shepherds' Wives' Song. Performers are Alison Horriben and Daniela Kahan, sopranos, and Terry McNamara, piano.

The second is a more substantial work, the Introduction, Air and Jig for piano duet. Played by Terry McNamara, Primo, and me, Secundo.

I think Walthew's music had qualities which one would hope would eventually rescue him from obscurity.


----------



## handlebar (Mar 19, 2009)

How I forgot him I don't know but Robert Simpson never seems to get his due.
I own all of the Symphonies on Hyperion and like most of them. I certainly can hear Bruckner in there!
His brass writing is assured.
Don't forget his splendid book on Bruckner "The Essence of Bruckner" which is a classic and must have for Brucknerians!

Jim


----------



## Lisztfreak (Jan 4, 2007)

I thought Alwyn and Boughton were quite well known...

I like Alwyn's String Quartet No.1 very much, it's the only piece of his I've heard though. And Boughton, I have his Symphony No.3, Oboe Concerto No.1, the two String Quartets and the Oboe Quartet No.1. Very pleasant, tuneful, although very traditional, but there's certainly artistic quality in his works.


----------



## danliex (Apr 11, 2009)

I love 3 pre-classical composers in England.
Thomas Arne , William Boyce , and John Stanley .
Their special interesting things is that their compositions are somewhat between Baroque & Classical .


----------



## JTech82 (Feb 6, 2009)

Tapkaara said:


> I'm suprised no one mentioned Havergal Brian. Brian is a bit of an eccentric, and his early symohonies are massive and monsterous. But he was obviously an artist of incredible creativity and imagination.


Not to be argumentative, but I disagree with you about Brian. I listened to his symphony "Gothic" twice and each time reveals another mess after another. His work really lacked the cohesive structure the piece really needed. This piece is so massive it's almost just too much. I'll leave the big symphonies to the big boys Mahler and Bruckner.


----------



## JTech82 (Feb 6, 2009)

There are four British composers who are masters that are underrated in my opinion: Bax, Bliss, Delius, and Ireland.

Sir Arnold Bax









Sir Arthur Bliss









Frederick Delius









John Ireland


----------



## Guest (Apr 12, 2009)

Well, I guess the following people are under-rated. They at least have not yet been mentioned on this thread, anyway, and I doubt it's because they're too well known!

Humphrey Searle
Alan Rawsthorne
Jonty Harrison
Tim Hodgkinson
Trevor Wishart

And, if you include the Republic of Ireland (and there's no reason you should!),

Gráinne Mulvey
Frank Corcoran

(I do not think that Cornelius Cardew or Jonathan Harvey or Derek Bailey or Chris Cutler or Keith Rowe are underrated. Tim Hodgkinson and Humphrey Searle are questionable.)


----------



## Herzeleide (Feb 25, 2008)

Julian Anderson, Robin Holloway, Oliver Knussen, Robert Saxton, George Benjamin.


----------



## David C Coleman (Nov 23, 2007)

There seems to be two main eras of notable British composers, from Tallis, Byrd and Co. in the 16th centuries through to Purcell at the end of the 17th. And then a huge gap of about two hundred years until a plethora of Brits came along such as Elgar, Holst, Delius etc.
Was there ever a Beethoven Brit contemporary around? Would be interesting to know!...


----------



## Lisztfreak (Jan 4, 2007)

There were Boyce and Field (Field is roughly Beethoven's contemporary).

Boyce is quite generic and uninteresting, while Field is much better. And he invented the solo piano nocturne.


----------



## handlebar (Mar 19, 2009)

Field is Irish if i remember correctly. But he is a delightful composer and I admire not only the nocturnes but the piano concertos as well. After spending so much time in Russia i wish he had developed a wee bit of vodka flavouring LOL

Jim


----------



## Lisztfreak (Jan 4, 2007)

handlebar said:


> Field is Irish if i remember correctly.


Oh gee, you're right, it's probably my colonialist Anglophile subconscious at work 

I've heard concertos 2 & 3, and I like best the Third's rondo. Very energetic, and when played on an old fortepiano, it sounds splendid!


----------



## Elgarian (Jul 30, 2008)

JTech82 said:


>


I think Arnold Bax's resemblance to Patrick Moore has been underrated.

("I'm not happy with what's been happening on Jupiter recently...")


----------



## David C Coleman (Nov 23, 2007)

Lisztfreak said:


> There were Boyce and Field (Field is roughly Beethoven's contemporary).
> 
> Boyce is quite generic and uninteresting, while Field is much better. And he invented the solo piano nocturne.


Goodness!! Field, I forgot about him how bad of me!...I like Boyce, seemed to be heavily influenced by Handel - can't be a bad thing I guess!!...


----------



## TresPicos (Mar 21, 2009)

_The _most underrated English composer would, in my opinion, be William Alwyn. Witty and skillful, equally charming and interesting in every format. A modernist "with a heart". I've never understood why someone like Benjamin Britten is always placed in the front row of the great English composers. The mystery becomes even greater when you spot Alwyn back there in row three.

Another underrated English composer is Frank Bridge. Great as a romanticist, great as a modernist. I think the teacher outshone his pupil.


----------



## emiellucifuge (May 26, 2009)

How About Sir Malcom Arnold, Bainton, Bantock, Bennett, Birtwhistle, Coleridge-Taylor, MAxwell Davies, Dyson, Dowland, Gardner, Gerhard, Goldschmidt, Goehr, Harty, Mackenzie, Moeran, PArry, potter, Rubbra, Sullivan or Wood?


----------



## Mirror Image (Apr 20, 2009)

emiellucifuge said:


> How About Sir Malcom Arnold, Bainton, Bantock, Bennett, Birtwhistle, Coleridge-Taylor, MAxwell Davies, Dyson, Dowland, Gardner, Gerhard, Goldschmidt, Goehr, Harty, Mackenzie, Moeran, PArry, potter, Rubbra, Sullivan or Wood?


Don't forget Boughton.


----------



## David Mayer (Jul 9, 2009)

Bax, Howells, Rubbra, Simpson, and Walton aren't obscure, but each deserves more publicity in my opinion.

(Thanks for the names you guys have offered in this thread; I'm going to have to schedule a trip to the music library! Please keep up the great recommendations.)


----------



## Mirror Image (Apr 20, 2009)

David Mayer said:


> Bax, Howells, Rubbra, Simpson, and Walton aren't obscure, but each deserves more publicity in my opinion.
> 
> (Thanks for the names you guys have offered in this thread; I'm going to have to schedule a trip to the music library! Please keep up the great recommendations.)


This isn't about whether a specific English composer is obscure, but underrated. There's a difference.


----------



## Bach (Jun 2, 2008)

If there's one thing I hate and it's underrated (ie. ****) English composers..


----------



## JAKE WYB (May 28, 2009)

Most underrated english composers are a little ***** - but some are up to scratch above others and why *BAX *is constantly dumbed down among the tiresome company of the likes of moeran and ireland and bantock wjo arent ***** but still none are as evocative and bristling with atmoshpere and poetry and individuality as *BAX.* You know a truly great compaser when you knw who it is when you hear his music right away - English composers who do that are

ELGAR
VW (im not saying elgar and Vw are underrated before you say)
*BAX*

and the more I try and appreciate the othere lesser known rough contemporaries of them nobody seems to be within the league of the above not even Holst.

And given that *BAX*'s symphonies arent seen at thr Proms or anywhere ive experienced even in britian he has to be the ultimate in underrated Enlgish composers not because others arent but because I believe *BAX* deserves to be regarded as every bit as entitled to a standard place in the repertoire and to be called great like Elgar and VW, Holst, Britten. if not quite as great qulity as the first two


----------



## kg4fxg (May 24, 2009)

*Thanks Amy*



Amy said:


> There is a common belief that England has produced few composers of good standing. I do not think that this is really the problem. In fact, the problem is that we are not looking far enough back along the musical map. An entire generation of practically untouched English composers can be found in the 16th century, many of which are masters of their genre. Thomas Tallis is of course the big beast of his day, but what about Thomas Weelkes or Morley? Orlando Gibbons is a personal favourite of mine, please download his "This Is The Record Of John", it's so beautiful. Then there are many, many more composers to be "discovered", as on the tacky "classical" compilations one can buy, (or merely get free out of the "Daily Mail") these are not featured. John Blow is another (particularly his Salvator Mundi) or Dowland, Byrd, Tavener, or Tomkins. In my opinion, these composers kick ***! Is there anyone out there who feels the same way? Most of their pieces are vocal church music, but it certainly strikes a chord within me that nothing else does, and that includes many of the great later romantic giants and classical kings. I think it is because they retain a sense of the medieval bareness, which is in itself spine-tingling, but infuse it with a sense of baroquesque elegance that is, in my opinion, completely unsurpassable!


Amy I love English Composers! Thanks for bringing this to our attention. Dowland and Tavener are wonderful as is Tallis. I was listening to vocal church music during my hour commute this morning - nothing like it I just love my Stile Antico albums.

Of course I will forever love Vaughan Williams.


----------



## Guest (Jul 13, 2009)

A small word for England's end-C18th operatic master, *Stephen Storace* (1762-96). Born in London of Ital0-English parentage, Storace established himself in Vienna, where he wrote three operas for the Imperial Opera, and also became an acquaintance (and billiards-partner) of Mozart's. He returned to England, where he became the most successful opera composer in the country for a short, ten-year period. However, he died young and his great potential went largely unrealised. Sadly for posterity the scores of his operas went up in flames when the Drury Lane Theatre burned down, ten years after his death... but the published piano scores survive. The music is Mozartian with a Romantic twist, and he excelled in writing opeas on "Romantic" subjects - THE HAUNTED TOWER, THE CHEROKEE, THE PIRATES etc. His most enduring work was THE SIEGE OF BELGRADE, which was still being played 30 years after his death. His allegedly "greatest work" was DIDO, QUEEN OF CARTHAGE, but it's completely lost - the music had been "too complex" for the London audiences and it was his single box-office failure.

A couple of other English composers who really deserve more attention: *Lennox Berkeley* has dropped off the radar. *John White's* piano music badly needs to be played more often. For all his outrageous eccentricites, the C17th composer for the viola-da-gamba *Captain Tobias Hume* is worth tracking down 

If the criterion is "neglected" then Michael Tippett is badly neglected - his name is well-known, but he is played less and less, and I really fear that he too will drop off the radar quite soon.


----------



## Mirror Image (Apr 20, 2009)

For me there are only a few English composers I hold in high esteem: Vaughan Williams, Elgar, Delius, Bax, Bliss, John Ireland, and Finzi.

I still need to investigate Parry as I heard he's quite good.


----------



## Bach (Jun 2, 2008)

Then you heard wrong.


----------



## Mirror Image (Apr 20, 2009)

Bach said:


> Then you heard wrong.


Bach, you seem to be pretty dismissive of English composers. Elgarian said I would enjoy Parry since I enjoy Stanford.


----------



## Elgarian (Jul 30, 2008)

Mirror Image said:


> Elgarian said I would enjoy Parry since I enjoy Stanford.


MI, if you don't enjoy Parry (symphonies 2, 3 and 4, the Symphonic Variations, and the suites I mentioned) then I'll be very surprised indeed. (No less surprised, in fact, than I would have been if Bach had been impressed by him.)


----------



## Bach (Jun 2, 2008)

Mirror Image said:


> Bach, you seem to be pretty dismissive of English composers. Elgarian said I would enjoy Parry since I enjoy Stanford.


You're right - I just find English composers so comfy and pleasant that they don't inspire me. I can understand people who don't live here liking them because they might sound foreign and intriguing but to me they sound like a boring stroll in Regent's Park..


----------



## Mirror Image (Apr 20, 2009)

Elgarian said:


> MI, if you don't enjoy Parry (symphonies 2, 3 and 4, the Symphonic Variations, and the suites I mentioned) then I'll be very surprised indeed. (No less surprised, in fact, than I would have been if Bach had been impressed by him.)


Well, I think you wouldn't have recommended Parry if you didn't think I wouldn't be impressed by him. I'm impressed by a lot of English music and I find a lot of inspiration in it even though I don't live there. There's something about Elgar, Vaughan Williams, Holst, Delius, Finzi, Bliss, Bax, etc., that, for me, satisfies me immensely. I imagine Parry's music will satisfy me much these other composers.


----------



## Mirror Image (Apr 20, 2009)

Bach said:


> You're right - I just find English composers so comfy and pleasant that they don't inspire me. I can understand people who don't live here liking them because they might sound foreign and intriguing but to me they sound like a boring stroll in Regent's Park..


You see that's probably the thing right there. We sometimes take for granted the composers from our own countries, but, for me, I enjoy composers from my own country a lot too, because they give me a very nostalgic feeling.


----------



## Mirror Image (Apr 20, 2009)

I feel Herbert Howells is very underrated. Don't you guys? He was an excellent composer.


----------



## Mirror Image (Apr 20, 2009)

Tapkaara said:


> I would add Gustav Holst to the list as being "under-rated." (What...he's not German?) Yes, everyone knows about his Planets (and what a masterpiece it is), but it seems like this is the curse of the "one hit wonder." Beyond the Planets (figuratively speaking, of course!) is a wealth of music that is indeed very English and well convceived. Check out the tone poem Egdon Heath or Invocation for Cello and Orchestra. This is music of an exceptional high standard that hardly anyone seems to know anything about.


Holst never gets any credit around here nor do many of the English composers I like. Anyway, Holst wrote some great music ---- "Double Concerto," "St. Paul's Suite," "Fugal Concerto," "Brook Green Suite," etc. There's more to Holst than just "The Planets" and anyone familiar with Holst knows this.


----------



## Guest (Jul 17, 2009)

Mirror Image said:


> I feel Herbert Howells is very underrated. Don't you guys? He was an excellent composer.


He wrote some fine Church music, although I think you have to be religious to appreciate it.

Probably the main reason he is not appreciated more widely is that he wrote only for churches, and nothing for the concert-hall or theatre.. the main arenas in which he usually hear music. I respect his religious calling, whilst not being able to appreciate it myself. Also the Anglican church has a particular ethos which isn't really shared even by other churches.

Holst wasn't appreciated even in his own lifetime and the situation has never really improved for him.


----------



## Mirror Image (Apr 20, 2009)

Reiner Torheit said:


> He wrote some fine Church music, although I think you have to be religious to appreciate it.
> 
> Probably the main reason he is not appreciated more widely is that he wrote only for churches, and nothing for the concert-hall or theatre.. the main arenas in which he usually hear music. I respect his religious calling, whilst not being able to appreciate it myself. Also the Anglican church has a particular ethos which isn't really shared even by other churches.
> 
> Holst wasn't appreciated even in his own lifetime and the situation has never really improved for him.


You need to do your homework on Howells my friend. He wrote much more than religious music. Check this out:

Mother's Here (incidental music), 1929, collab. G. Jacob, lost
Penguinski (ballet), 1933
The B's, suite, Op. 13, 1914, unpubd
Puck's Minuet, Op. 20 No. 1, 1917
Suite for String Orchestra, Op. 16, 1917, unpubd
Serenade, String Orchestra, 1917 (arr. from op. 16)
Thé Dansant, 1919, lost;
Merry Eye, Op. 20 No. 2, 1920
Procession, Op. 36, 192
Pastoral Rhapsody, 1923, unpubd
Paradise Rondel, op. 40, 1925, unpubd
King's Herald, 1937, unpubd [1st movt of Pageantry, arr. orch]
Concerto for Strings, 1938
Folk Tune Set, 1940, unpubd
Suite for Strings No. 1, 1942
Suite for Strings No. 2, 1942, lost
Fanfare for Schools, for brass, timpani, and strings, 1943, unpubd
Music for a Prince, 1948 (arr. of 2 movements of The B's)
Piano Concerto No. 1, Op. 4, 1913
3 Dances for Violin and Orchestra, Op. 7, 1915
Elegy, for viola, string quartet, and string orchestra, Op. 17, 1917 (arr. from Op. 16)
Piano Concerto No. 2, Op. 39, 1925
Fantasia for Cello and Orchestra, 1937
Threnody for Cello and Orchestra, late 1930s, orch. C. Palmer, 1992;
Vocal/Choral Orchestral
When cats run home (A.L. Tennyson), SS, orch [orig. version 1907]
The Lord shall be my help (fugue), 5vv, str, 1914, unpubd
Sir Patrick Spens (trad.), op.23, Bar, SATB, orch, 1917
Sine nomine: a Phantasy, op.37, S, T, SATB, orch, 1922
The Trial of Jesus (J. Masefield), vv, pf, str, 1926, unpubd
In Green Ways, op.43, S, orch/S, pf, 1928 (reworking of 5 Songs for S and chamber orch, 1915)
Under the greenwood tree (W. Shakespeare)
The goat paths (J. Stephens)
Merry Margaret (J. Skelton)
Wanderer's night song (J.W.v. Goethe, trans. Howells)
On the merry first of May (Parker, Aveling
A Maid Peerless (medieval poem), SSAA, orch, 1931, rev. 1951
A Kent Yeoman's Wooing Song (T. Vautor, T. Ravenscroft), S, Bar, SATB, orch, 1933
Hymnus Paradisi, S, T, SATB, orch, 1938
Behold O God, Our Defender (Ps lxxxiv), SATB, orch, 1952
The House of the Mind (J. Beaumont), SATB, org, str/org, 1954
Missa Sabrinensis, S, A, T, B, SATB, orch, 1954
An English Mass, SATB, orch, 1955
Stabat Mater, T, SATB, orch, 1959-65
Michael: A Fanfare Setting, vv, org, orch, 1970, completed C. Palmer, 1992
Te Deum (Collegium Regale), SATB, orch, 1977 [version of Te Deum, 1944]
Variations for 11 solo insts, op.3, c1913, lost
Lady Audrey's Suite, op.19, String Quartet, 1915
Piano Quartet, op.21, 1916 (extensive revision in 1936)
Phantasy String Quartet, op.25, 1916-17
In Gloucestershire [fantasy string quartet] (String Quartet no.3), 1916-c1935 [1st version lost, rev. 1920, final version early 1930s]
Rhapsodic Qnt, op.31, clarinet, strings, 1919
The Old Mole, Pianoforte Quintet, 1937, unpubd [folktune arr.]
Hunsdon House, Pianoforte Quintet, 1937, unpubd [arr.]
[edit]One or two instruments
Sonata, b, vn, pf, 1911, unpubd
Comedy Suite, op.8, cl, pf, c1913, lost
Prelude no.1, hp, 1915, unpubd
3 Pieces, op.28, vn, pf, 1917
Pastorale
'Chosen' Tune
Luchinushka
Damsons, vn, pf, c1917, unpubd
Phantasy Sonata in E, vn, pf, 1917 (rev. in 1918 as Sonata No. 1, op. 18, vn, pf)
Sonata no.2, E-flat, op.26, vn, pf, 1917, unpubd
Cradle Song, vn, pf, 1918, unpubd
Sonata no.3, e, op.38, vn, pf, 1923
A Country Tune, vn, pf, c1925
A Croon, vn, pf, c1925
Slow Air, vn, pf, c1927
Lambert's Clavichord (3 transcrs), vc, pf, 1929
Sonata, ob, pf, 1942
Minuet (grace for a fresh egg), bn, pf, 1945
Sonata, cl, pf, 1946
A Near Minuet, cl, pf, 1946
2 Pieces, fl, vn, unpubd
Air
Alla Menuetto
Lento, assai espressivo, vn, pf, unpubd
Sonata, c, op.1, 1911
Phantasy Ground Bass, c1915, lost
3 Psalm-Preludes set 1, op.32, 1915-16
Rhapsody, op.17 no.1, 1915
Rhapsody, op.17 no.2, 1918
Rhapsody, op.17 no.3, 1918
Sonata (no.2), 1932
3 Psalm-Preludes set 2, 1938-39
Fugue, Chorale and Epilogue, 1939
Master Tallis's Testament, 1940
Preludio Sine nomine, 1940
Saraband for the Morning of Easter, 1940
Paean, 1940
Intrata (no.2), 1941
Saraband In Modo Elegiaco, 1945
Siciliano for a High Ceremony, 1952
Prelude De profundis, 1958
Rhapsody no.4, 1958
2 Pieces, 1959: Dalby's Fancy, Dalby's Toccata
A Flourish for a Bidding, 1969
Partita, 1971-2
Epilogue, c1971
St Louis comes to Clifton, 1977
6 Short Pieces (1987)
2 Slow Airs (1987)
Miniatures (1983)
4 Romantic Pieces, 1908, unpubd [only no.2 extant]
Marching song, 1909, unpubd
Summer Idylls, 1911, unpubd
Minuet, a, c1915, unpubd;
Snapshots, op.30, 1916-18
The Street Dancer
The Polar Bear
Wee Willie Winkie
Phantasie, 1917, unpubd
Sarum Sketches, op.6, 1917
The Ooce march
The Drudge talks to himself
The Drudge forgotten
Ooce reads 'Arabian nights'
Ooce at leisure
Charades
Procession, op.14 no.1, 1918
Phantasy Minuet, op.27, pianola, 1919
Rhapsody, op.14 no.2, 1919
Jackanapes, op.14 no.3, 1919
The Chosen Tune, 1920
Once upon a time …, suite, 1920
A Lonely Princess
Shepherd Boy
An Angry King
The Dark Forest
Good-Fairy
And They Lived Happy Ever After
Gadabout, c1922
A Mersey Tune, 1924
2 Pieces, 1926
Slow Dance
Cobler's Hornpipe
Country Pageant (London, 1928)
Merry Andrew's Procession
Kings and Queens
There was a most beautiful lady
The Mummer's Dance
A Little Book of Dances (London, 1928)
Minuet
Gavotte
Pavane
Galliard
Rigadoon
Jig
A Sailor Tune (London, 1930)
O Mensch bewein dein Sünde gross (arr. Bach: Chorale prelude,bwv 622)
Triumph Tune, 1934, arr. 2 pf, 1941, unpubd
Promenade for Boys (London, 1938)
Promenade for Girls (London, 1938)
Minuet, 1939, unpubd
Polka, 2 pf, c1939
Puck's Minuet, 2 pf, c1941, unpubd [arr. of 2 Pieces for Small Orch, op.20 no.1]
Musica Sine Nomine, 1959
Pavane and Galliard, 1964, unpubd
Et nunc et semper, 1967, unpubd
Petrus Suite, 1967-73, unpubd
H-plus-H gavotte, 1970, unpubd
Sonatina, 1971
Lambert's Clavichord, op.41, 1926-7
Howells' Clavichord, 1941-61
My Lady Harewood's Pavane, 1949, My Lord Harewood's Galliard, 1949; Finzi: his rest, 1956
Pageantry, suite, brass band, 1934;
3 Figures: Tryptych, brass band, 1960;
Fanfare to Lead into the National Anthem, brass, perc, org, 1977
Missa Sine Nomine (Mass in the Dorian Mode), SATB, 1912
O Salutaris Hostia, SATB (1913)
Even Such is Time (W. Raleigh), SATB, SATB, 1913
Nunc dimittis, SSAATTBB, 1914
4 Anthems to the Blessed Virgin Mary, op.9, SATB, c1915 [only Regina coeli and Salve Regina extant]
Haec Dies, SSATB, c1918
Here is the little door (F. Chesterton), SATB, 1918
Magnificat and Nunc dimittis, G, SATB, org, c1918
A Spotless Rose (14th-century carol), SATB, 1919
Blessed are the dead, SATB, SATB, 1920
Sing Lullaby (F. Harvey), SATB (London, 1920)
Lord, who created man (G. Herbert), 3vv, pf, 1923
My master hath a garden (anon.), SS, pf, 1923
Morning Service, E , unison vv, org, 1924
Evening Service, E , unison vv, org, 1924
Te Deum, E , unison vv, 1924
Communion Service, E , unison vv, org, 1924
When first thine eies unveil (H. Vaughan), T, SATB, org, 1925
My eyes for beauty pine (R. Bridges), SATB, org, 1925
Requiem, S, A, T, B, SATB, 1932
Magnificat and Nunc dimittis, TTBB, org, 1935
Magnificat and Nunc dimittis, TB, org, 1941
4 Anthems, SATB, org, 1941
O pray for the peace of Jerusalem
We have heard with our ears
Like as the hart
Let God arise
Great is the Lord, SATB, org, 1941, unpubd
arr.: Sussex Mummers' Carol, vv, str, org, c1942
God is gone up (Ps xxxxvii), SATB, org, 1944
Te Deum and Jubilate Deo (Collegium Regale), SATB, org, 1944
Magnificat and Nunc dimittis (Collegium Regale), SATB, org, 1945
Magnificat and Nunc dimittis (Gloucester), SATB, org, 1946
Te Deum and Benedictus (Canterbury), SATB, org, 1946
Where Wast thou? (Motet for Canterbury), Bar, SATB, org, 1948
King of Glory (Herbert), SATB, org, 1949
Magnificat and Nunc dimittis (New College, Oxford), SATB, org, c1947
Long, Long ago (J. Buxton), SATB, 1950
Magnificat and Nunc dimittis (Worcester), SATB, org, 1951
Magnificat and Nunc dimittis (St Paul's), SATB, org, 1951
Te Deum and Benedictus (St George's Chapel, Windsor), SATB, org (London, 1952)
Magnificat and Nunc dimittis, b, SATB, org, c1955
Office of Holy Communion (Collegium Regale), SATB, org, 1956
Magnificat and Nunc dimittis (St Peter in Westminster), SATB, org, 1957
Magnificat and Nunc dimittis (Collegium Sancti Johannis Cantabrigiense), SATB, org, 1957
Missa Aedis Christi, SATB, 1958
Aubade for a wedding (Levavi oculos meos) (Ps cxxi), S, org, 1959
A Hymn for St Cecilia (U. Vaughan Williams), SATB, org, 1960
Coventry Antiphon (Bible: Isaiah, Haggai), SATB, org, 1961
A Sequence for St Michael (Alcuin, trans. H. Waddell), SATB, org, 1961
Take him, earth, for cherishing (Prudentius, trans. Waddell), SATB, 1964
God be in my head (Pynson), SATB, 1965, unpubd
Te Deum (St Mary Redcliffe), SATB, org, c1965
Magnificat and Nunc dimittis (Sarum), SATB, org, 1966
Te Deum (Columbia University), SATB, org, 1966
Benedictus es, Domine (Apocrypha), SATB, org, 1967
Jubilate Deo, SATB, org, 1967
Magnificat and Nunc dimittis (Winchester), SATB, org, 1967
Magnificat and Nunc dimittis (Chichester), SATB, org, 1967
Magnificat and Nunc dimittis (St Augustine, Birmingham), SATB, org, 1967
Preces and Responses, SATB, 1967
One thing have I desired of the lord (Ps xxvii), (St Matthew, Northampton) SATB, 1968
The Coventry Mass, SATB, org, 1968
Magnificat and Nunc dimittis (Hereford), SATB, org, 1969
Magnificat and Nunc dimittis (Collegium Magdalenae Oxoniense), SATB, org, 1970
Thee will I love (R. Bridges), SATB, org, 1970
A Grace for William Walton (R. Armstrong), SATB, 1972
Now abideth faith, hope and charity (Bible: 1 Corinthians), SATB, org, 1972
Come my soul (J. Newton), SATB, 1972
Magnificat and Nunc dimittis (York), SATB, org, 1973
Te Deum (West Riding Cathedrals), SATB, org, 1974
Exultate Deo (Pss of David), SATB, org, 1974
Magnificat and Nunc dimittis (Dallas Canticles), SATB, org, 1975
The fear of the Lord (Apocrypha: Ecclesiasticus), SATB, org, 1976
Sweetest of sweets (Herbert), SATB, c1976
Antiphon (Herbert), SATB, c1976
I love all beauteous things (R. Bridges), SATB, org, 1977
Hills of the north, rejoice (Oakley), SSS, org, 1977
Tryste noel (L. Guiney), SATB, pf, c1977
I would be true (H. Walter), SATB, org, c1978
Te Deum (Washington Cathedral), SATB, org, no date (London, 1991) [completed J. Buttrey]
Remember O thou man (Ravenscroft), SATB
Te Deum, Benedictus, Jubilate Deo and Communion Service, G, SATB, org [inc.]
God of our England: Hymn for the Coronation (O God of Britain hear today), 1911, unpubd
St Briavel's (My God, I thank thee who hast made the earth so bright), c1925
Father of Men: a hymn for Charterhouse, 1930
Michael (All my hope on God is founded), c1930
Severn (My God, I thank thee who hast made the earth so bright), c1931
David (Hills of the north, rejoice), 1937, unpubd
Twigworth (God is love, let Heav'n adore Him), c1937
Love divine, all loves excelling, c1962, unpubd
Newnham (Lord Christ when first Thou cam'st to men), c1962
Salisbury (Holy spirit, ever dwelling), c1962
Sancta civitas (O holy city seen of John), 1962
Erwin (Lord by whose breath), 1966
In manus tuas (This world, my God, is held within your hand), c1968
Norfolk (With wonder, Lord, we see your works), c1968
Kensington (To the name of our salvation), c1970
Jesu dulcis memoria (Jesu, the very thought is sweet), unpubd
Jesu, guide our way, unpubd
Urbs beata (Blessed city, heavenly Salem), unpubd
9 Anglican double chants (and several unpublished)
To the owl (Tennyson), SS, pf, 1909
5 Partsongs, op.5, male vv, TTBB, pf, c1914 [nos. 1 and 2 lost]
Love's secret (W. Blake)
Is the moon tired? (C. Rossetti)
Weep you no more (J. Dowland)
The winds whistle cold (D. Terry)
A Dirge (Shakespeare)
The Tinker's song (trad.), SS, pf, c1916
In youth is pleasure (R. Wever), SSATB, 1915
5 Partsongs, op.11, female vv, SA, pf, 1915-17
The shepherd (Blake)
The pilgrim (Blake)
A croon (trad.)
A sad story (trad.)
Come all ye pretty fair maids (trad.)
The Skylark (J. Hogg), SS, pf, 1916
An old man's lullaby (T. Dekker), SS, pf, 1917
3 Songs, op.24, female vv, SS, pf, 1917
Under the greenwood tree (Shakespeare)
A north-country song (trad.)
A true story (T. Campian)
Before me, careless, lying (A. Dobson), SSATB, 1918
A golden lullaby (T. Dekker), SS, pf, c1920
The duel (E. Field), SS, pf (London, 1922)
The wonderful Derby ram (trad.), unison vv, pf, 1922
All in this pleasant evening (trad.), unison vv, pf, 1923
Creep afore ye gang (J. Ballantine), SATB, 1923
The Shadows (S. O'Sullivan), SATB, 1923
Spanish lullaby (trad.), unison vv, pf, 1923
Bells (trad.), SS, pf (London, 1924)
First in the garden (trad.), SS, pf, 1924
Holly song (trad.), unison vv, pf, 1924
Irish wren song (trad.), SS, pf, 1924
Mother Mother (trad.), unison vv, pf (London, 1924)
Robin Hood's song (A. Munday), SS, pf, 1924
Sing ivy (trad.), SS, pf, 1924
Singe lully by, lully (trad.), SS, pf (London, 1924)
Swedish May song (trad.), SS, pf, 1924
The days are clear (C. Rossetti), unison vv, pf, c1925
Eight o'clock the postman's knock (C. Rossetti), unison vv, pf, c1925
Mother shake the cherry tree (C. Rossetti), unison vv, pf, c1925
The Saylor's song (trad.), SS, pf, 1927
Tune thy music (Campion), unison vv, pf, 1927
Good counsel (G. Chaucer), unison vv, pf, 1928
Delicates so dainty (trad.), unison vv, pf, 1931
Sweet content (R. Greene), unison vv, pf, 1931
Bunches of grapes (W. de la Mare), unison vv, pf, 1933
To music bent (Campion), SS, pf (London, 1933)
Sea Urchins (song set for children, G. Balcomb), SS, pf (London, 1935)
A Song of Welcome (F. Harvey), unison vv, pf, 1935
Piping down the valleys wild (Blake), SS, pf, 1938
The History of an Afternoon (Howells), round for 3vv, 1939
A New Year Carol (trad.), SS, pf, 1939
Shadow March (R.L. Stevenson), SS, pf, 1939
The Key of the Kingdom (de la Mare), SS, pf (London, 1948)
Walking in the Snow (Buxton), SATB, 1950
Inheritance (de la Mare), SSAATTBB, 1953
Four Horses (trad.), unison vv, pf (London, 1954)
The Scribe (de la Mare), SATB, 1957
I mun be married a Sunday (N. Udall), unison vv, pf, 1957, unpubd
New Brooms (A. Wilson), unison vv, pf, 1957, unpubd
Pink Almond (K. Tynan), SS, pf, 1957
A Christmas Carol (G. Wither), unison vv, pf (London, 1958)
The summer is coming (B. Guinness), SATB, 1964
The Poet's Song (Tennyson), SS, pf, unpubd
My Shadow (Stevenson), 1909, unpubd
Longing (Mcleod), c1911, unpubd
5 Songs, low v, 1911, unpubd
The twilight people (O'Sullivan)
The devotee (Gore-Booth)
The waves of Breffny (O'Sullivan)
The Sorrow of Love (Keohler)
The Call (Roberts - later included in "op. 7" songs)
5 Songs, "op. 7" (Mcleod), 1913
By The Grey Stone
'St. Bride's Song'
The Valley Of Silence
When The Dew Is Falling
When There Is Peace
The evening darkens over (Bridges), 1913, unpubd
Three Rondeaux, op.12, 1915
Roses (C. Tarelli)
A rondel of rest (A. Symons)
Her scuttle hat (F. Sherman)
Four Songs, op. 22
There was a maiden (W.L. Courtney), 1915
A Madrigal (Dobson), 1916
The Widow Bird (P.B. Shelley), 1915
Girl's Song (W. Gibson), 1916
By the waters of Babylon (Ps cxxxvii), Bar, vn, vc, org, 1917
An Old Man's Lullaby (Dekker), 1917, unpub
Here she lies a pretty bud (Herrick), 1917, unpub
Upon a summer's day (M. Baring), 1917, unpubd
4 French chansons (arr., part of Répétoire Collignon), op.29, 1918
Sainte Catherine
Le Marquis de Maine
Le petit coutourier
Angèle au couvent
Mally O! (trad.) (London, 1918)
Old Skinflint (Gibson), 1918
The Restful Branches (W. Byrne), 1918
By the Hearth-Stone (H. Newbolt), 1919, unpub
Gavotte (Newbolt), 1919
King David (de la Mare), 1919
The Mugger's Song (Gibson), 1919
Peacock Pie (de la Mare), 1919
Tired Tim
Alas alack
Mrs MacQueen
The dunce
Full moon
Miss T
A Garland for de la Mare (de la Mare), 1919-73
Wanderers
The Lady Caroline
Before dawn
The old stone house
The three cherry trees
The old soldier
The song of the secret
Some one
A queer story
Andy Battle
The old house
Goddess of night (Harvey), 1920
O garlands, hanging by the door (Strettell), 1920, unpubd (material used in Oboe Sonata)
The little boy lost (Blake) (London, 1920)
O my deir hert (trad.), 1920
Blaweary (Gibson), 1921
Old Meg (Gibson), 1923
Come sing and dance (trad.), 1927
2 Afrikaans songs (Celliers), 1929
Vrijheidsgees
Eensamheid
arr.: 3 Folksongs, 1931 (no. 3 unpub)
I will give my love an apple
The brisk young widow
Cendrillon
Flood (J. Joyce), 1933
Lost Love Song (Chin., trans. C. Bax) (London, 1934)
Lethe (Doolittle), 1936, unpubd
Sweet Content (R. Greene), unpubd


----------



## Guest (Jul 17, 2009)

More than 60% of this huge list is church music.

More than 15% of the rest of it is unpublished.

I rest my case


----------



## Mirror Image (Apr 20, 2009)

Reiner Torheit said:


> More than 60% of this huge list is church music.
> 
> More than 15% of the rest of it is unpublished.
> 
> I rest my case


You don't have a case. You said he didn't write any music for the concert halls and *you were wrong*. Whether it's published or unpublished, isn't the issue. He wrote many orchestral pieces or else I wouldn't have any recordings of them.

Here is what you said:



Reiner Torheit said:


> The main reason he is not appreciated more widely is that he wrote only for churches, and nothing for the concert-hall or theatre.. the main arenas in which we usually hear music.


As you can see, *you are wrong*, he wrote plenty of music for orchestra. Orchestral work is played by an orchestra and where do we normally hear orchestras? You guessed it, concert halls.


----------



## StlukesguildOhio (Dec 25, 2006)

He wrote some fine Church music, although I think you have to be religious to appreciate it.

That's ridiculous. Does one need to be religious to appreciate Bach's cantatas or Handel's _Messiah_? By the way... I only have a few recordings by Howells... all choral... and I love them.


----------



## StlukesguildOhio (Dec 25, 2006)

By the way... aren't English composers as a whole rather underrated? Perhaps this is to be expected considering the status the English hold in terms of literature.


----------



## Elgarian (Jul 30, 2008)

StlukesguildOhio said:


> By the way... aren't English composers as a whole rather underrated?


Even in England, they are, I'd say. I think it's interesting that a big effort was made during the last couple of decades to get a lot of C19th British orchestral stuff out on record - I'm thinking of composers like Parry, Bantock, Stanford, Mackenzie, Wallace (I extended the description to British to include these last) - but despite that ready availability I get the feeling that they never threatened to reach a wide audience. They haven't entered the concert repertoire (as far as I know), and the recordings seem only to have a small, specialist following, for whom 'British music' is a kind of hobby.

The most gigantic under-rating of a major English work that I know of is Elgar's _The Spirit of England_. Maybe it's because 'For the Fallen' has become somehow 'stuck' by its association with Remembrance Day; but for me, it is the most incomprehensible example of neglect that I'm aware of.


----------



## TresPicos (Mar 21, 2009)

StlukesguildOhio said:


> By the way... aren't English composers as a whole rather underrated?


Yes, I think they are.

Partly because of the Purcell-Elgar gap, which marginalized England on the classical music scene for such a long time. Sure, now you have Elgar, Britten and Vaughan Williams, but on a classical music scene that, in itself, has been marginalized by modern music etc.


----------



## Mirror Image (Apr 20, 2009)

Reiner Torheit said:


> I rest my case


You still haven't responded to my last post. What a surprise.


----------



## Mirror Image (Apr 20, 2009)

Elgarian said:


> Even in England, they are, I'd say. I think it's interesting that a big effort was made during the last couple of decades to get a lot of C19th British orchestral stuff out on record - I'm thinking of composers like Parry, Bantock, Stanford, Mackenzie, Wallace (I extended the description to British to include these last) - but despite that ready availability I get the feeling that they never threatened to reach a wide audience. They haven't entered the concert repertoire (as far as I know), and the recordings seem only to have a small, specialist following, for whom 'British music' is a kind of hobby.
> 
> The most gigantic under-rating of a major English work that I know of is Elgar's _The Spirit of England_. Maybe it's because 'For the Fallen' has become somehow 'stuck' by its association with Remembrance Day; but for me, it is the most incomprehensible example of neglect that I'm aware of.


British music is far from a hobby of mine. I'm passionate about it, probably more than any other country with the exception of France. These two countries I've made a strong effort to research both countries rich musical history.

My collection now has quite a comprehensive survey of England's late Romantic/early 20th Century composers, but my search continues as I start getting into the more obscure composers. A collector's work is never done.

I will checkout "The Spirit of England" soon. I have also ordered a lot of Walton I didn't have as well.


----------



## StlukesguildOhio (Dec 25, 2006)

While I love the English composers (John Field?) my collection is dominated by the Germans/Austrians as it should be. The Italians, French, Russian, English, and everyone else are far behind. But then the Germans dominate music to an extent even greater than what the British and French do in literature or the Italians in art.


----------



## Mirror Image (Apr 20, 2009)

StlukesguildOhio said:


> While I love the English composers (John Field?) my collection is dominated by the Germans/Austrians as it should be. The Italians, French, Russian, English, and everyone else are far behind. But then the Germans dominate music to an extent even greater than what the British and French do in literature or the Italians in art.


Well what you enjoy, isn't what I enjoy, so that's what makes the globe turn. I'm happy listening to an American composer or a Czech composer, that is, if the music is good and I enjoy it.


----------



## Elgarian (Jul 30, 2008)

Mirror Image said:


> British music is far from a hobby of mine.


I used the wrong word because I couldn't think of a better one; I didn't mean to imply by using the word 'hobby' that it was somehow lightweight or unimportant (I know a stamp collector who is very passionate about his stamps). What I mean is that much of the work of the composers I mentioned is outside the mainstream; people have to actively seek it because a specific interest drives them (like yourself, or like me to a much lesser extent) - the general music-lover is unlikely to stumble across it by accident.


----------



## Mirror Image (Apr 20, 2009)

Elgarian said:


> I used the wrong word because I couldn't think of a better one; I didn't mean to imply by using the word 'hobby' that it was somehow lightweight or unimportant (I know a stamp collector who is very passionate about his stamps). What I mean is that much of the work of the composers I mentioned is outside the mainstream; people have to actively seek it because a specific interest drives them (like yourself, or like me to a much lesser extent) - the general music-lover is unlikely to stumble across it by accident.


Oh, yes I see what you mean. Yes, it's true that one must seek out composers like Bainton, Parry, Dyson, etc. These composers certainly aren't performed by my local orchestra: Atlanta Symphony Orchestra.


----------



## StlukesguildOhio (Dec 25, 2006)

Well what you enjoy, isn't what I enjoy, so that's what makes the globe turn. I'm happy listening to an American composer or a Czech composer, that is, if the music is good and I enjoy it.

Don't get me wrong... I have more than a fair sampling of music from around the globe (OK... mostly European... but you get the picture). I probably started exploring the British composers recently because I have been wanting to broaden my collection of late Romanticism and Impressionism... but Bach, Beethoven, Mozart, Schubert, Haydn, Handel, Wagner, Brahms, etc... are still the cornerstone of my collection.


----------



## Mirror Image (Apr 20, 2009)

I have been enjoying Parry's music quite a bit lately. He certainly deserves more credit then he gets. He wrote beautiful music.


----------



## Mirror Image (Apr 20, 2009)

I've really been enjoying Walton's music lately. Great rhythmic intensity in his works.


----------



## Marco01 (Apr 18, 2009)

Not sure if he's been mentioned yet, but Sir Arnold Bax ... completely and utterly underrated, both during his lifetime, and only recently becoming appreciated.


----------



## handlebar (Mar 19, 2009)

Marco01 said:


> Not sure if he's been mentioned yet, but Sir Arnold Bax ... completely and utterly underrated, both during his lifetime, and only recently becoming appreciated.


Mentioned and agreed. A major figure that deserves more concert hall performances.

Jim


----------



## Mirror Image (Apr 20, 2009)

Marco01 said:


> Not sure if he's been mentioned yet, but Sir Arnold Bax ... completely and utterly underrated, both during his lifetime, and only recently becoming appreciated.


Of course Arnold Bax has been mentioned! One of the greatest English composers that ever walked this planet. If you couldn't tell already I'm a big supporter of his music (i. e. my avatar).


----------



## Marco01 (Apr 18, 2009)

Mirror Image said:


> Of course Arnold Bax has been mentioned! One of the greatest English composers that ever walked this planet. If you couldn't tell already I'm a big supporter of his music (i. e. my avatar).


I thought he looked familiar 

I think everyone should listen to this:

*Bax: Orchestral Works, Vol. 3 *










The performances of *The Happy Forest*, *Garden of Fand *and *Tintagel *are quite special ... mysterious and sumptuous. His work really does evoke a whole range of landscapes and fantasy. A great place to start if people are intersted in getting into his work.


----------



## Mirror Image (Apr 20, 2009)

Marco01 said:


> I thought he looked familiar
> 
> I think everyone should listen to this:
> 
> ...


I own the whole nine volume series on Chandos and it's outstanding either Bryden Thomson or Vernon Handley conducting.


----------



## emiellucifuge (May 26, 2009)

Does anyone like Bantock?

I really like his celtic symphony, hope to hear more though.


----------



## Mirror Image (Apr 20, 2009)

emiellucifuge said:


> Does anyone like Bantock?
> 
> I really like his celtic symphony, hope to hear more though.


Yes, I like Bantock and there's a set on the Hyperion UK label with Vernon Handley conducting the Royal Philharmonic that's worth checking out.


----------



## johnfkavanagh (Sep 9, 2011)

Anthony Milner, Anthony Payne, Alan Rawsthorne.


----------



## johnfkavanagh (Sep 9, 2011)

And I almost forgot Alan Bush. Like everyone else seems to.


----------



## unpocoscherzando (Sep 24, 2011)

Judging by the context and without having time at the moment to go back and quote the posts directly, I think its worth clarifying that there is a John Tave*r*ner who is much earlier than the contemporary (and also quite underrated) English composer Sir John Tavener.


----------



## Ravellian (Aug 17, 2009)

A list of English composers I think are not particularly well-known:

- Robert Fayrfax (1464-1521)
- William Cornysh (1470-1523)
- John Taverner (1490-1545)
- Antony Holborne (1545-1602)
- John Bull (1562-1628)
- Giles Farnaby (1563-1640)
- Thomas Campion (1567-1620)
- Thomas Tomkins (1572-1656)
- John Wilbye (1574-1638)
- Thomas Weelkes (1575-1623)
- John Coprario (1575-1626)
- Henry Lawes (1596-1662)
- William Lawes (1602-1645)
- Matthew Locke (1621-1677)
- John Blow (1649-1708)
- Jeremiah Clarke (1674-1707)
- John Gay (1685-1732)
- Thomas Arne (1710-1778)
- William Boyce (1711-1779)
- John Field (1782-1837)
- Sir Hubert Parry (1848-1918)
- Charles Stanford (1852-1924)
- John Alden Carpenter (1876-1951)
- Havergal Brian (1876-1972)
- Roger Quilter (1877-1953)
- Frank Bridge (1879-1941)
- John Ireland (1879-1962)
- George Butterworth (1885-1916)
- Eric Coates (1886-1957)
- Herbert Howells (1892-1983)
- Kaikhosru Sorabji (1892-1988)
- Peter Warlock (1894-1930)
- Gerald Finzi (1901-1956)
- Edmund Rubbra (1901-1986)
- Sir Lennox Berkeley (1903-1989)
- Constant Lambert (1905-1951)
- Elisabeth Lutyens (1906-1983)
- George Lloyd (1913-1998)
- Robert Simpson (1921-1997)
- Malcolm Arnold (1921-)
- Thea Musgrave (192
- Harrison Birtwistle (1934-)
- Nicholas Maw (1935-2009)
- Sir John Taverner (1944-)
- John Rutter (1945-)
- Oliver Knussen (1952-)
- Thomas Adès (1971-)


----------

