Berkeley, Sir Lennox (Randall Francis) (b Boars Hill, Oxford, 12 May 1903; d London, 26 Dec 1989). English composer. From the same generation as Walton and Tippett, he has little connection with national traditions represented by them or by Elgar and Vaughan Williams earlier. This is partly because of his French ancestry and temperament which made him closer to Fauré, and to Ravel and Poulenc who were both personal friends. Berkeley admired Mozart above all, then Chopin, Ravel and the neo-classical Stravinsky. His own idiom is built from an overt melodic expression, usually rooted in tonality and allied to a fastidious command of harmony and orchestral texture. Religious subjects in particular invariably gave rise to vocal music of unusual spiritual intensity, a mood also reflected in his instrumental slow movements. 1. Life. 2. Works. WORKS WRITINGS BIBLIOGRAPHY PETER DICKINSON (text, bibliography), JOAN REDDING (work-list) Berkeley, Sir Lennox 1. Life. Berkeley was born into an aristocratic family. His grandfather was George Lennox Rawdon, Seventh Earl of Berkeley and Viscount Dursley, who married Cecile, daughter of Edward Drummond, Comte de Melfort, a family of French and Scottish origin. The composer’s father, Captain Hastings George FitzHardinge Berkeley, was the eldest son, but, born before his parents were able to marry, he was legally unable to inherit the title and estates to which Lennox, as his only son, would have succeeded. Berkeley’s childhood was spent in or near Oxford and was affected by listening to his father’s collection of piano rolls; visits to the family of his mother, Aline Carla Harris, who lived in France where her father was British consul at Nice; a godmother who had studied singing in Paris at the turn of the century; and an aunt who was a salon composer. He attended the Dragon School, Oxford; Gresham’s School, Holt, where he was followed by W.H. Auden and Britten; and St. George’s School, Harpenden, where one of his first compositions was performed. Berkeley went to College, Oxford, where he read French, Old French and Philology, and took the BA in 1926. Then, on the suggestion of Ravel to whom he showed some of his scores, he studied with Boulanger in Paris, where he was based until 1932. In many ways Berkeley was the quintessential Boulanger pupil, responsive to her passion for music and her rigorous demands in strict counterpoint; with her he effectively undertook his professional training; in this context, too, in 1928, he became a Roman Catholic, which profoundly affected both his life and work. After the prolonged influence of Boulanger the next landmark was not until Berkeley’s meeting with Britten at the ISCM Festival in Barcelona in 1936. They immediately collaborated on the orchestral suite, , and became close friends as well as colleagues. Even though Berkeley was ten years older the two composers found they had much in common and they influenced each other. Berkely was the first to set the poems of his Oxford contemporary, W.H. Auden (early songs now lost). Britten admired Berkeley's 1930s music and later conducted the Stabat Mater, which was dedicated to him; Berkeley eagerly awaited each of Britten's new works. During World War II Berkeley worked at the BBC in London as an orchestral programme builder and it was there that he met Elizabeth Freda Bernstein, whom he married in 1946; their happy domestic life proved an ideal background for his creative work. From 1946 to 1968 Berkeley was professor of composition at the RAM, where he exercised an influence on later generations which was no less significant for being unobtrusive. His later pupils included Bedford, Bennett, Mathias, Maw and Tavener: they have all paid tribute to his sensitive guidance and personal generosity. Berkeley’s honours have included the CBE (1957), the Cobbett Medal (1962), the Ordre National du Mérit Culturel de Monaco (1967), the Papal Knighthood of St Gregory (1973) and a knighthood (1974). Many universities and other organizations have granted him honorary status too, among which doctor of Oxford University (1970), fellow of Merton College (1974), fellow of the RNCM (1975), professor of Keele University (1976–9), member of the American Academy and Institute of Arts and Letters (1980), Member of the GSMD (1980), Member of the Académie Royale, Belgium (1983) and doctor of City University (1984). From 1975 to 1983 he was President of Honour of the PRS and from 1977 to 1983 he was president of the Cheltenham Festival. Berkeley, Sir Lennox 2. Works. Berkeley lacked confidence in most of his early works written while he was studying with Boulanger and many of them disappeared, some to be rediscovered later. His first published composition, however, had been written at Oxford, a polished song with piano in G major, D’un vanneur de blé aux vents. Soon after he reached Paris his style changed: Tombeaux – five songs to poems by Jean Cocteau – for example, draws on bitonality of the kind then fashionable amongst the composers of Les Six. Berkeley had opportunities for performances of works on a larger scale too with his orchestral Suite given its première in Paris as early as 1928 and at the Proms in London the following year. He came into greater prominence with the oratorio Jonah, when it was broadcast by the BBC in 1936 and given at the Leeds Festival a year later, conducted by Berkeley himself. However, despite Britten’s admiration for the work it received a mixed response, and Berkeley withdrew it (it was revived in London in 1990). The score is permeated with Stravinskian neo-classicism – in some ways it seems to anticipate The Rake’s Progress – and its construction in separate numbers derives from the Bach passions and cantatas. Berkeley’s first unqualified success was a work for string orchestra, the Serenade op.12, which has become a mainstay of the British repertory alongside Britten’s Variations on a Theme of Frank Bridge, which was written just before it, and Tippett’s Concerto for Double String Orchestra which came just after. Its four movements are in contrasted styles, though not as diverse as the Britten. The opening Vivace is an exhilarating moto perpetuo recalling the rhythmic energy of Bach’s ‘Brandenburg’ Concertos; the following Andantino is a melancholy serenade with pizzicato strings suggesting guitars; the third movement is a kind of scherzo where, as often in Berkeley, the material is continuously developed rather than merely repeated; the final Lento strikes the most personal note. Berkeley began the Serenade at Snape in Suffolk, where he shared the Old Mill with Britten. By the time he was writing the last movement the war had started and the colleague whom he idolized had gone to the USA with Pears, circumstances which appear to be reflected in the music. In 1940 Berkeley completed his First Symphony op.16, a spacious four-movement work lasting half an hour; but perhaps more characteristic is the Divertimento in B op.18, for small orchestra, commissioned by the BBC and one of several works the composer dedicated to Boulanger. The layout of the Divertimento avoids the formalities of symphonic design. It opens with a Prelude in extremely compressed sonata form and follows it with a Nocturne, a beautiful piece of lyrical pacing, leading to the emotional climax of the whole work. The Scherzo is of larger proportions than either of the two outside movements, while the vivacious Finale is a cross between Haydn and Poulenc in Berkeley’s own manner. By the 1940s he had achieved real maturity. In particular, the Four Poems of St Teresa of Avila op.27, for and string orchestra, first sung by Kathleen Ferrier, create in their religious intensity a strong impression; while the Stabat mater op.28, written for Britten’s English Group, is, if rarely heard, a work of comparable distinction. Of the many piano works from all periods the extended Sonata op.20 is a true landmark; outstanding too are the Six Preludes op.23, a kind of Mikrokosmos of Berkeley’s compositional technique. The Concerto in B for piano and orchestra op.29 is one of his most successful works written in a particularly felicitous form. The thematic layout of the first movement has a Mozartian elegance, while the second subject shows a blues influence which can be traced back to 1920s Paris, and which surfaces frequently in his melodic writing. The second movement, an Andante, is again typical in its introspective tranquillity and objective passion. The Finale combines the dry humour of Prokofiev with the high spirits of Les Six but given Berkeley’s inimitable stamp. In the 1950s he followed Britten’s lead into the theatre with three : the grand opera op.41, a one-act comedy, op.45 and a biblical tableau, Ruth op.50. Nelson was well received at Sadlers Wells in 1954 but not revived until a concert performance in London in 1988. By contrast, the sophisticated, witty A Dinner Engagement is regularly staged. Ruth is an expansion of the serious language of the Four Poems of St Teresa into a touching sacred drama, and, as with A Dinner Engagement, it showed Berkeley to be more at home with something less ambitious than grand opera, something more in keeping with his personal reserve. The later Castaway op.68 is a one-act treatment of the story of Odysseus and Nausicaa, while at the end of his life illness prevented the completion of the first act of another grand opera, Faldon Park. In the early 1960s Berkeley began to show a remarkable ability to extend his musical language, and like other Boulanger pupils such as Copland and Carter he moved away from neo-classicism. As Copland took up 12-note rows, so did Berkeley, if in a much less systematic way. ‘Aria 1’ from the Concertino op.49 has a 12-note ground ; there is a similar use of all 12 pitch classes in Boaz’s recognition aria near the end of Ruth and in the Lento of the Violin Concerto op.59. Serial method in the Sonatina for oboe and piano op.61 is minimal, the row at the opening soon disappearing; but the Third Symphony op.74, by contrast, derives much of its taut cogency from manipulating a 12-note set divided into two hexachords. Connections with such techniques may not have been fundamental; he did, for example, continue to juxtapose tonal and atonal idioms in song cycles such as the Chinese Songs op.78, as he had done earlier in the Five Poems of W.H. Auden op.53. But, as with Copland, serial thinking had the effect of altering and extending Berkeley’s harmonic means. At a time when tonality was often regarded as exhausted, this was, then, a productive crisis for him, not least in the Windsor Variations op.75 which exhibits some of the abstract angularity of late Stravinsky. The new style is, perhaps, at its most impressive in a pair of atmospheric orchestral pieces: Antiphon op.85 and Voices of the Night op.86, as well as his last concerto, for guitar, op.88. In this he worked closely with , both performer and instrument being congenial and inspiring. With his literary interests and melodic gifts, Berkeley naturally wrote outstanding songs to French as well as English texts: Tant que mes yeux op.14 no.2, a setting of Louise Labé, for example, is perfectly realised, as are the two sets of sonnets by Ronsard, op.40 and op.62. His choral music to religious texts was, like Poulenc’s, close to the core of the man and to his faith. He defines his own terms at once in a simple anthem such as Look up sweet Babe op.43 no.2, to a text by Richard Crashaw; a liturgical work such as the Missa brevis; or something more ambitious such as A Festival Anthem op.21, no.2. As for chamber music, throughout his career it was precisely judged and idiomatic. The Second String Quartet op.15 is an accomplished example from the 1940s, as too is the String Trio op.19, while the String Quartet no.3 op.76 represents the later style. Berkeley wrote for some of the leading performers of the time, including , for whom he composed the Horn Trio op.44; , who was associated with much of his piano music; and Janet Craxton, who gave rise to the Sonatina op.61, the Oboe Quartet op.70 and the Sinfonia concertante op.84. Late in life Berkeley struggled against Alzheimer’s disease and completed nothing after 1983, but there was a perceptible decline before that. His Fourth Symphony op.94 lacked the concentration of his earlier orchestral works although late miniatures, such as the Sonnet op.102 (to words by Louise Labé again), and choral pieces to sacred texts remained strong. Though he was at his most distinctive in the 1940s and 50s, the achievement of his later extended language is not inconsiderable. His is an enduring, cultivated and imaginative voice in 20th-century British music. Berkeley, Sir Lennox WORKS dramatic Ops: Nelson (3, A. Pryce-Jones), op.41, 1949–54, London, Sadler's Wells, 22 Sept 1954; A Dinner Engagement (1, P. Dehn), op.45, 1954, Aldeburgh, Jubilee Hall, 17 June 1954; Ruth (3 scenes, E. Crozier), op.50, 1955–6, London, Scala, 2 Oct 1956; Castaway (1, Dehn), op.68, 1968, Aldeburgh, Jubilee Hall, 3 June, 1967; Falden Park (2, W. Dean), op.100, c1983, unfinished Ballet: [untitled], 1932; The Judgement of Paris, London, Sadler's Wells, 1938; Serenade, op.12, 1939 [choreog. J. Jackson as Common Ground, 1984]; La fête étrange, London Arts Theatre, 1947 Incid music: The Seven Ages of Man/The Station Master (M. Slater), 1938; (W. Shakespeare), 1946; Jig-Saw/Venus Anadyomene, 1945–8 [for revue Oranges and Lemons, 1949]; A Winter's Tale (Shakespeare), 1960 Film scores: Sword of the Spirit, 1942; Hotel Reserve, 1944; Out of Chaos, 1944; The First Gentleman, 1947–8; Youth in Britain, 1957 Radio scores: Westminster Abbey, 1941; Yesterday and Today, 1942; A Glutton for Life, c1946; Wall of Troy, 1946; Iphigenia in Taurus, c1954; Seraphina, 1956; Look Back to Lyttletoun, 1957 orchestral Suite, 1927; Ov., op.8, 1934, unpubd, withdrawn; Mont Juic, suite of Catalan dances, op.9, 1937, collab. Britten; Serenade, op.12, str, 1939; Sym. no.1, op.16, 1940; Divertimento, B , op.18, 1943; Nocturne, op.25, 1946; Ov., chbr orch, 1947; Sinfonietta, op.34, 1950; Variation on an Elizabethan Theme (Sellinger's Round), str, 1953, collab. others, unpubd; Suite, 1953, unpubd; Suite, op.42, 1955 [from op Nelson, op.41]; Interlude, c1955 [from op Nelson, op.41] Sym. no.2, op.51, 1956–8; Ov., light orch, 1959, unpubd; Suite ‘A Winter's Tale’, op.54, 1960 [from incid music]; Partita, op.66, chbr orch, 1965; Sym. no.3, op.74, 1969; Windsor Variations, op.75, chbr orch, 1969; Palm Court Music (Diana and Actaeon Waltz), op.81/2, 1971; Antiphon, op.85, str, 1973; Voices of the Night, op.86, 1973; Suite, op.87, str, 1974; Elegy, op.33/2b, str, 1978 [arr. of Elegy, vn, pf, 1950]; Sym. no.4, op.94, 1978 With soloist(s): Introduction and Allegro, op.11, 2 pf, orch, 1938; Vc Conc., 1939; Pf Conc., B , op.29, 1947; Conc., op.30, 2 pf, orch, 1948; Fl Conc., op.36, 1952; Conc., op.46, pf, double str orch, 1958; 5 Pieces, op.56, vn, orch, 1961; Vn Conc., op.59, 1961; Dialogue, op.79, vc, chbr orch, 1970; Sinfonia concertante, op.84, ob, orch, 1973 [arr. of Canzonetta, ob, pf, c1973]; Gui Conc., op.88, 1974 choral With orch: Ode, SATB, tpt, str, c1932; Jonah, orat, op.3, Tr, T, B, SATB, orch, 1935; 2 poèmes de Pindare, solo vv, SATB, orch, c1936; Domini est terra, op.10, SATB, orch, 1937; Colonus' Praise (W.B. Yeats), op.31, SATB, orch, 1949, unpubd; Variations on a Hymn by Orlando Gibbons, op.35, T, SATB, str, org, 1951, unpubd; Batter my heart, three person'd God (cant., J. Donne), op.60/1, S, SATB, ob, hn, vcs, dbs, org, 1962; Signs in the Dark (L. Lee), op.69, SATB, str, 1967; Mag, op.71, SATB, orch, org, 1968 With org: Lord, when the sense of Thy sweet grace (R. Crashaw), op.21/1, SATB, org, 1944; A Festival Anthem (G. Herbert, H. Vaughan), op.21/2, SATB, org, 1945; Look up, sweet Babe (Crashaw), op.43/2, Tr, SATB, org, 1954; Salve regina, op.48/1, unison vv, org, 1955; Sweet was the Song (W. Ballet), op.43/3, SATB, org, c1957; Thou hast made me (Donne), op.55/1, SATB, org, 1960; Missa brevis, op.57, SATB, org, 1960 [version with Eng. text, c1961]; Hail Holy Queen, vv, org, 1970; Hymn for Shakespeare's Birthday (C. Day Lewis), op.83/2, SATB, org, 1972; The Lord is my shepherd, op.91/1, SATB, org, 1975; Mag and Nunc, op.99, SATB, org, 1980 Unacc.: The Midnight Murk (Sagittarius), SATB, 1942, unpubd; There was neither grass nor corn (F. Cornford), SATB, 1949, unpubd; Ask me no more (T. Carew), op.37/1, TTBB, c1952; Spring at this hour (P. Dehn), op.37/2, SSATBB, 1953; Crux fidelis, op.43/1, T, SATB, 1955; Justorum animae, op.60/2, SATB, 1963; Adeste Fideles, Tr, SSATB, c1964, unpubd; Mass, op.64, SSATB, 1964; 3 Songs (R. Herrick, R. Bridges), op.67/1, TTBB, 1965; The Windhover (G.M. Hopkins), op.72/2, SATB, 1968; Grace, SATB, 1971, unpubd; 3 Latin Motets, op.83/1, SATB, 1972; The Hill of the Graces (E. Spenser), op.91/2, SSAATTBB, 1975; Judica me, op.96/1, SSATBB, 1978; Ubi caritas et amor, op.96/2, SSATB, 1980; In Wintertime (B. Askwith), op.103, SATB, 1983 Hymn tunes: Christ is the World's Redeemer, 1963; Hail Gladdening Light, c1963; Hear'st Thou, My Soul (Crashaw), 1967; 3 nos. in The Cambridge Hymnal (1967) Other works: La poulette grise, 2 children's chorus, tpt, 2 pf, c1931, unpubd solo vocal With orch: 4 Poems of St Teresa of Avila (trans. A. Symons), op.27, A, str, 1947; Stabat mater, op.28, S, S, A, T, B, B, chbr orch, 1947; 4 Ronsard Sonnets, set 2, op.62, T, orch, 1963, arr. T, chbr orch as op.62a Songs for 1v, pf: 3 Early Songs, S/T, pf, 1924–5: D'un vanneur de blé aux vents (J. du Bellay), Pastourelle (13th century anon.), Rondeau (C. d'Orléans) [no.1 rev. as The Thresher, Mez/Bar, pf, 1925]; Tombeaux (J. Cocteau), S/T, pf, 1926; 3 poèmes de Vildrac, Mez/Bar, pf, 1929; How love came in (R. Herrick), S/T, pf, 1935; [7] Songs (W.H. Auden, F. García Lorca, P. O'Malley, L. Labé, J. Passerat), op.14/2, c1937–40 [2 unpubd]; 5 Songs (A.E. Housman), op.14/3, S/T, pf, 1940, unpubd; The Ecstatic (Day Lewis), S/T, pf, 1943, unpubd; Lullaby (Yeats), S/T, pf, 1943, unpubd; 5 Songs (W. de la Mare), op.26, Mez/Bar, pf, 1946; The Lowlands of Holland (trad.), Mez/Bar, pf, 1947, unpubd; 3 Greek Songs (Sappho, Antipater, Plato, all trans. F. Wright), op.38, Mez/Bar, pf, 1951; 5 Poems of W.H. Auden, op.53, S/T, pf, 1958; So sweet love seemed (R. Bridges), Mez/Bar, pf, c1959, unpubd; Autumn's Legacy (T.L. Beddoes, L. Durrell, A. Tennyson, Hopkins, W. Davies, H. Colleridge), op.58, S/T, pf, 1962; Automne (G. Apollinaire), op.60/3, Mez/Bar, pf, 1963; Counting the Beats (R. Graves), op.60, S/T, pf, 1963, rev. 1971; I carry your heart (e.e. cummings), Mez/Bar, pf, 1970; 5 Chinese Songs, op.78, Mez/Bar, pf, 1971; Another Spring (de la Mare), op.93/1, Mez/Bar, pf, 1977; Four Score Years and Ten (V. Ellis), 1977, unpubd; Sonnet (Labé), op.102, S/T, pf, 1982 Other works: 4 Ronsard Sonnets, set 1, op.40, 2 T, pf, 1952, rev. 1977; Songs of the Half-Light (de la Mare), op.65, S/T, gui, 1964; 5 Herrick Poems, op.89, S/T, hp, 1973–4, rev. 1976; Una and the Lion (Spenser), op.98, S, s rec, b viol, hpd, 1979, unpubd chamber and instrumental 3–8 insts: Prelude-Intermezzo, fl, vn, va, pf, 1927, unpubd; Serenade, fl, ob, vn, va, vc, c1929; Piece, fl, cl, bn, 1929, unpubd; Suite, fl/pic, ob, vn, va, vc, c1930, unpubd; Polka, op.5/1, 2 pf, tpt, cym, tambour de basque, triangle, c1934, unpubd, arr. Polka, op.5, pf; Str Qt no.1, op.6, 1935; Trio, fl, ob, pf, 1935; Str Qt no.2, op.15, 1941; Str Trio, op.19, 1943; Trio, op.44, vn, hn, pf, 1953; Sextet, op.47, cl, hn, str qt, 1955; Concertino, op.49, fl/rec, vn, vc, hpd/pf, 1955; Diversions, op.63, 8 insts, 1964; Ob Qt, op.70, 1967; Str Qt no.3, op.76, 1970; Canon, str trio, 1971; In memoriam , str qt, 1971; Fanfare, 7 tpt, timp, 1972 [for RAM banquet]; Quintet, op.90, wind, pf, 1975 2 insts: Minuet, 2 rec, c1924, unpubd; Petite Suite, ob, vc, 1927; Sonatine, cl, pf, 1928, unpubd; Sonata no.1, vn, pf, 1931, unpubd; Sonata no.2, op.1, vn, pf, c1928; Sonatina, op.13, rec/fl, pf, 1939; Sonatina, op.17, vn, pf, 1942; Sonata, d, op.22, va, pf, 1945; Elegy, op.33/2, vn, pf, 1950; Toccata, e, op.33/3, vn, pf, 1950; Allegro, 2 tr rec, c1955; Andantino, op.21/2a, vc, pf, c1955 [after A Festival Anthem, op.21/2, SATB, org]; Sonatina, op.61, ob, pf, 1962; Introduction and Allegro, op.80, db, pf, 1971; Duo, op.81/1, vc, pf, 1971; Duo, ob, vc, 1971; Canzonetta, ob, pf, c1973, arr. as Sinfonia concertante, ob, orch, op.84, 1973; Sonata, op.97, fl, pf, 1978, rev. 1983 1 inst: 3 Pieces, cl, 1939; Introduction and Allegro, op.24, vn, 1946; Theme and Variations, op.33/1, vn, 1950; Sonatina, op.52/1, gui, 1957; Nocturne, op.67/2, hp, 1967; Theme and Variations, op.77, gui, 1970 keyboard Pf (solo unless otherwise stated): March, pf/hpd, 1924, unpubd; Toccata, 1925; Mr Pilkington's Toye, pf/hpd, 1926, unpubd; For Vere, pf/hpd, 1927, unpubd; Polka, op.5/1a, c1934; Polka, Nocturne, Capriccio, op.5, 2 pf, 1934–8; 3 Impromptus, op.7, 1935; 3 Pieces, op.2, 1935; 5 Short Pieces, op.4, 1936; 4 Concert Studies, set 1, op.14/1, 1940; Paysage, 1944, unpubd; Sonata, A, op.20, 1945; 6 Preludes, op.23, 1945; 3 Mazurkas (Hommage à Chopin), op.32/1, 1949; Scherzo, op.32/2, 1949; Sonatina, op.39, pf 4 hands, c1954; Concert Study, E , op.48/2, 1955; Sonatina, op.52/2, 2 pf, 1959; Improvisation on a Theme of Manuel de Falla, op.55/2, 1960; Theme and Variations, op.73, pf 4 hands, 1968, unpubd; Palm Court Waltz, op.81/2a, pf 4 hands, 1971; 4 Concert Studies, op.82, 1972; Prelude and Capriccio, op.95, 1978; Bagatelle, op.101/1, 1981; Mazurka, op.101/2, 1982 Org: Impromptu, 1941, unpubd; 3 Pieces, op.72/1, org, 1966–8; Fantasia, op.92, org, 1976; Andantino, op.21/2b, 1981 [arr. of A Festival Anthem, op.21/2, SATB, org, 1945] Other kbd: Suite, hpd, 1930; Prelude and Fugue, op.55/3, clvd, 1960, unpubd Principal publisher: Chester

Berkeley, Sir Lennox WRITINGS Articles in MMR (1929–34) ‘ as Teacher’, MMR, lxi (1931), 4 only ‘Britten and his String Quartet’, The Listener (27 May 1943) ‘Open Forum: Variations on a Theme – Tonal or Atonal?’, Music Today, i (1949), 145 only ‘Britten's Spring Symphony’, ML, xxxi (1950), 216–19 ‘The Light Music’, : a Commentary on his Works from a Group of Specialists, ed. D. Mitchell and H. Keller (London, 1952/R), 287ff ‘The Sound of Words’, (28 June 1962) ‘Britten's Characters’, About the House, i/5 (1962–5), 14 ‘Concert-Going in 1963’, Sunday Times (30 Dec 1962) ‘’, MT, civ (1963), 205 only ‘Boulanger the Dedicated’, Piano Teacher, viii/2 (1965), 6–7 ‘Nocturnes, Berceuse, Barcarolle’, Frederic Chopin: Profiles on the Man and the Musician, ed. A. Walker (London, 1966, 2/1973 as The Chopin Companion), 170–86 ‘Truth in Music’, Times Literary Supplement (3 March 1966) ‘Berkeley Describes his Setting of the Magnificat’, The Listener (4 July 1968) ‘Lili Boulanger’, The Listener (21 Nov 1968) ‘Charles Burney's Tour’, The Listener (5 March 1970) ‘Berkeley Writes about Alan Rawsthorne’, The Listener (30 Dec 1971) ‘Alan Rawsthorne’, Composer, no.42 (1971–2), 5–7 ‘A Composer Speaks’, Composer, no.43 (1972), 17–19 ‘Walton – Yesterday’, Performing Right, no.57 (1972), 18–19 ‘Views from Mont Juic’, Tempo, no.106 (1973), 6–7 ‘Comments on the 1975 season of Henry Wood Promenade Concerts’, Radio Times (19/25 July – 20/26 Sept 1975) ‘A Composer Looks Back’, Two Hundred and Fifty Years of the Three Choirs Festival, ed. B. Still (Gloucester, 1977), 45 only Foreword to P. Bernac: Francis Poulenc, the Man and his Songs (London, 1977), 11–12 ‘’, Adam International Review, xli (1978), 13–17 ‘Tribute’, Mademoiselle: entretiens avec Nadia Boulanger, ed. B. Monsaingeon (Luynes, 1980; Eng. trans., 1985), 124 only Preface to C. Headington: Britten (London, 1981) Untitled essay, R. Ricketts: Bid the World Goodnight (London, 1981), 19–21 ‘Igor Stravinsky: a Centenary Tribute’, MT, cxxiii (1982), 395 ‘Tribute’, Michael Tippett O.M.: a Celebration, ed. G. Lewis (Tunbridge Wells, 1985), 21 only Berkeley, Sir Lennox BIBLIOGRAPHY G. Bryan: ‘The Younger English Composers – ’, MMR, lix (1929), 161–2 D. Brook: Composers' Gallery (London, 1940) R. Hull: ‘The Music of Lennox Berkeley’, The Chesterian (23 Jan 1948) M. Flothuis: Modern British Composers (Stockholm and London, 1949) A. Frank: Modern British Composers (London, 1953) P. Dickinson: ‘Berkeley on the Keyboard’, Music and Musicians, xi/8 (1962–3), 10–11, 58 P. Dickinson: ‘The Music of Lennox Berkeley’, MT, civ (1963), 327– 30 M. Schafer: British Composers in Interview (London, 1963) P. Dickinson: ‘Lennox Berkeley’, Music and Musicians, xiii/12 (1964– 5), 20–23, 54 F.S. Howes: The English Musical Renaissance (London, 1966) P. Dickinson: ‘Berkeley's Music Today’, MT, cix (1968), 1013–14 M. Berkeley: ‘Lennox Berkeley's Third Symphony’, The Listener (3 July 1969) J. Tavener: ‘Lennox Berkeley at 70’, The Listener (10 May 1973) P. Dickinson: ‘Interview with Sir Lennox Berkeley’, Twenty British Composers (London, 1975), 23–9 P. Dickinson: ‘Berkeley at 75 talks to Peter Dickinson’, MT, cxix (1978), 409–11 R.H. Hansen: The Songs of Lennox Berkeley (DMA diss., U. of North Texas, 1987) P. Dickinson: The Music of Lennox Berkeley (London, 1988) J. Redding: A Descriptive List of the Musical Manuscripts of Sir Lennox Berkeley (thesis, U. of North Carolina, 1988) M. Williamson: ‘Sir Lennox Berkeley (1903–1989)’, MT, cxxxi (1990), 197–9 D. Mitchell and P. Reed, eds.: Letters from a Life: Selected Letters and Diaries of Benjamin Britten (London, 1991, 2/1998) S. Craggs: Lennox Berkeley: a Source Book (London, 2000)