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Richard Rodney Bennett Complete List of Works (1949 – 2012)

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Richard Rodney Bennett Complete List of Works (1949 – 2012) Richard Rodney Bennett Complete list of works (1949 – 2012) Annotated by Paul Harris Richard Rodney Bennett Complete list of works (1949 – 2012) Annotated by Paul Harris Author’s note This book is the result of some research I undertook for a biography of Sir Richard Rodney Bennett. In the event, for reasons of limited space, it was not included. As it contains so much of interest (for example, conversations I had with Richard himself, many of the dedicatees or musicians who gave first performances) I thought I should make it available. I have also brought it up to date. ©Paul Harris June 2012 Richard Rodney Bennett’s works are published by Universal Edition up until 1972 and Novello & Co Ltd from 1972 to the present Copyright © 2012 by Queen’s Temple Publications QT200 All rights Reserved www.qtpublications.co.uk 2 Richard Rodney Bennett Complete list of works (1949 – 2012) 1949 Lilliburlero – a sketch for a Dance Fantasy for orchestra Written in short score for two pianos (though flute, oboe, clarinet, bassoon, horn, piano, strings and percussion are indicated.) This is a confident and quite lengthy set of (unlabelled) variations. For a 13-year-old the writing is fluent and mature and there are emerging signs of imaginative harmony. Dated Jan 14. Variations on a Popular Song for Piano and Small Orchestra Written out in an Augner Ltd 12-Stave manuscript Music Book, this set of five variations and a finale on What shall we do with the drunken sailor display idiomatic piano writing: double octaves, big Raccmaninoff-like chords in both hands, dazzling finger cascades and an effective cadenza. The neat scoring is for 2 flutes, oboe, 2 clarinets, bassoon, trumpet, horn, timpani, percussion and strings. Dated Dec 21. Sonatina No 1 for piano RRB would frequently begin works only to abandon them (often unfinished) usually by stuffing them behind an upright piano in his school music department (Leighton Park in Reading). This was almost certainly the fate of his first piano sonatina. 1950 Sonata for viola and piano RRB’s first sonata was to be for his own instrument and even in his earliest works he is already showing signs of exceptional facility. The first movement is dated September 12 – 14 and the final movement September 17: clearly this substantial work was written very quickly. The three movements (Allegretto, Arioso and Variations and finale) are very melodic, show a grasp of structure and simply though idiomatically written for both instruments. Sonatina No 2 for piano Written for his school friend John Constable. In three movements (Allegretto, Lento, Allegro vivo). Interesting harmonically, rather French in style. 1951 String Quartet No.1 In RRB’s words, ‘consisting of lots of movements all flung together.’ Written in the English pastoral style. 3 Serenade for Small Orchestra Composed first as a piano piece (while on tour in Denmark with the Reading Youth Orchestra in which RRB played percussion) and then arranged for the orchestra. The first performance was at conductor Mark Wigram’s last concert with the RYO in 1952. The Serenade is dedicated to Lindsay Wilson, RRB’s niece, daughter of his sister Anne. Dated February. Concertino for Piano, Strings and Percussion This highly effective single-movement work displays an almost sudden leap of compositional assurance. Though it draws on many traditional romantic-style pianistic conventions, the writing is nevertheless forceful and rhythmically imaginative. Lute-Book Lullaby A charming carol written for his first school, Betteshanger. Scored for two vocal lines and piano accompaniment. RRB’s very neat hand is beginning to emerge. Dated September. 1952 Concertante for Viola and Orchestra Completed on February 19, and lasting about twelve and a half minutes, this is by far RRB’s most substantial work to date. Dedicated to William Primrose (at the time perhaps the greatest living viola player and dedicatee of Bartok’s Concerto) it demonstrates a growing maturity in all departments: structure, writing (for the large orchestra) and melodic and harmonic development and it quotes from both the Walton and Bartok concertos. RRB sent the work to its dedicatee who returned it with a polite and encouraging letter. Lyric Piece for violin and chamber orchestra Strongly dissonant and serial. If by ‘lyric’ RRB was expressing his personal feelings they must have been rather angst-ridden during the composition of this piece. It is dedicated to Maria Lidka, a violinist renowned for her performances of contemporary music. Dated May. Theme and Variations for violin and viola Dated June, this colourful and idiomatic duo is cast in five sections. The theme (Intrada) is stately and rhythmically simple. The variations (entitled Interlude, Alla Marcia, Lament and Finale Quasi Ostinato) make effective use of the instruments. The first performance was given by Nona Liddell (‘I enjoyed it very much,’ she remembers) and Cecil Aronowitz at a SPNM recital in August 1953. Sonatina for piano duet A short one-movement work in D major though tonally fluid. Written ‘for mummy (Leighton Park July)’. 4 Two Songs from Sweeney Agonistes Two effective settings for bass of poems by T.S.Eliot combining chanting and singing. Written for a poetry-reading group production at Leighton Park, it is RRB’s first work to make use of more bluesy harmony. The first is a scintillating vivace and the second a slow foxtrot. Dedicated to Michael Shepley (a school friend) and dated July. Canzona and Capriccio for String Quartet Two short movements (Adagio and Allegro vivace) and an early essay in the 12-tone system. Dedicated to the Macnaghton String Quartet and marked ‘Edinburgh, August.’ Concertante for clarinet, strings and percussion One highly energetic movement of what was clearly intended to be a longer work. Written in 12-tone style. The clarinet writing is idiomatic and quite difficult. Written in just two days: August 2 – 3. L’enfant a dit, Three songs for Soprano Il Pleut (Allegro molto), Dans l’espace (Lento molto tranquillo), Mes amis, (Allegretto con moto) Settings of the French poet Raymond Queneau, the songs have lively and chromatic piano accompaniments, but are rooted in a more tonal style. Dated September 10. Mon cadavre est doux comme un gant A song first performed by soprano Sophie Wyss at the French Institute at South Kensington. Variations for Oboe Written in Edinburgh in September for Joy Boughton who had premiered Britten’s Six Metamorphoses after Ovid the previous year at Aldeburgh. The theme and three variations are fluently written for the oboe. It received some very glowing reviews. RRB sent a copy to Britten who responded enthusiastically. Put Away the Flutes, Cantata for chorus and orchestra Dedicated to E.L. (Elisabeth Lutyens) and the composer signs himself as Richard Rodney Bennett on the front cover of one of the three existing manuscripts (though this may have been added in later years.) The text, by William Robert Rodgers, had previously been set by Humphrey Searle in 1947. Written, in 12-tone style, for mixed chorus, soprano and large orchestra, the cantata lasts about six minutes. A work showing some considerable maturity. Dated October 25 and later revised in December 1953. 1953 Recueillement for soprano and 8 instruments Recueillement (Meditation) is a beautiful and atmospheric setting of words by Baudelaire and scored for string quartet, flute, oboe, clarinet and bassoon. There is 5 an impressionistic feel about the harmony. Simple but highly effective. Dedicated to sister Meg. Dated Feb 3. 3 Pieces for Cello and Piano Written in 12-tone these pieces show an ever increasing knowledge of string- writing devices: pizzicato, portamento, harmonics all add to the overall colour. Dated June. String Quartet No.2 This substantial four-movement work is dedicated to Malcolm Williamson and was written over a three-month period. Each movement is based on a different note-row. Imaginative ideas abound – a highly inventive cascading idea that runs from one instrument to another provides the main first movement material. The scherzo is in an energetic 3/8 and the final movement begins with a powerful Adagio. The quartet was completed on June 15. Howard Ferguson thought it ‘a remarkable effort for someone his age.’ 3 Pieces for Violin and Piano Also titled Sonatina Lyrica these three pieces, like the recent cello work, are also written in serial style, the rhythmic writing however is more sophisticated. The title page indicates that the work may also be played on the clarinet. Dated July. Carol for mixed voices a capella Though clearly written quickly (dated December 23, for a Christmas performance by The [Oxford] University Singers, friends of Meg) this beautiful unaccompanied choral work nevertheless shows no signs of hurry. Using a fifteenth century sacred text it is in the dark key of E flat minor and contains two short solos for soprano and tenor. The harmony is much more traditional than in recent works, but with many poignant dissonances. Dedicated to Meg. String Quartet No.3 A substantial four-movement work which received its first performance in February 1955. Donald Mitchell (writing in the Musical Times) was impressed, ‘Mr Bennett should go far.’ Nicholas Maw considered it ‘the finest of his early works.’ 1954 Incidental Music to Antigone (Sophocles) for organ Four sections (Prologue, Entry of Theban elders, Exit of Antigone, Exit of messenger) make up this collection of organ pieces written for a drama production at Haberdashers’ Aske’s School for Girls. Dissonant and informed by serial thinking (but not strictly in 12-note style). This music would certainly have added a significant gravitas to the performance. Dated March 31. Nocturnall upon St.Lucie’s Day A setting of the poem by John Donne for solo voice accompanied by xylophone, vibraphone, glockenspiel and timpani.
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