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.

6 Sonata for Piano The top right hand corner of the front cover of the manuscript reads Howard [Ferguson] from Richard 21.IX.54 in RRB’s now characteristic elegant hand. Cast in three movements this is a complex but accessible work. A certain Bartokian influence in the percussive nature of the writing and the irregular, unusual and often-changing time-signatures. Dated July/Sept 54.

Sonatina for Flute Using the 12-tone system but nevertheless popular and accessible. The first performance was given by Andrew Solomon on March 1 1955 at a SPNM concert in London.

1955

A Notebook for Ruth, 8 pieces for piano solo Eight short and strict serial movements (Declamando, Vivo, Tranquillo, Pastorale, Scherzando, Oscuro, Leggiero and Dolce). The row is subdivided into three groups of four notes and is subjected to all the usual transformations. Rhythmically complex. The Ruth in question was Cornelius Cardew’s girl friend (and later wife) Ruth Aaronberg (a very accomplished pianist). Dated February 10.

Gavotte and Musette for two pianos A duet to be played with mother. The two sections have the character and structure of their respective baroque predecessors but are written (perhaps with a little mischief in mind) in strict 12-tone. The piece is marked Allegretto ironico and dated April 19.

Sonata for viola solo This unaccompanied serial work is cast in three movements. The opening Andante contains a short cadenza. RRB’s intimate knowledge of the instrument clearly influenced the fluent and effective writing. Dated July 2.

Four improvisations for Violin First performed by Yfrah Neaman at a SPNM concert at the Wigmore Hall, London. Nicholas Maw comments that the violin is explored in ‘some detail.’

Parallels for trumpet and piano Written for Howard Snell, a fellow student at the Academy and first performed in a RAM New Music Club concert. John Wallace describes the piece as ‘a particularly beautiful score…very perfumed.’

Sonata for Cello Dedicated to cellist Christopher Bunting and in eight connected sections.

Sonata No.1 for Unaccompanied Violin In six linked sections. Received its first performance eight years later (on the BBC) by Manoug Parikian alongside a new work by Wilfred Mellers.

7 Three Songs for Tenor Originally there were four. Text by Jose Garcia Villa.

The Tillaquils Part song for unaccompanied mixed chorus, text by poet Laura Riding. Louis Halsey, for whose Elizabethan singers it was written, remembers it as ‘relatively straightforward to sing.’ Shared its first performance with one by Anthony Milner.

Ricercar A setting of a contemporary Spanish poem for unaccompanied mixed chorus. First performed at the Wigmore Hall conducted by Antony Milner at a SPNM concert.

Composition for Piano Both the title and the music are very much in the Boulez style (every note has it’s own dynamic and most have an articulation marking), this four-movement piece (written in total serialism) was composed in Darmstadt and London from June to September. The notation is extremely neat with all beaming etc ruled out. The visual impact of this music would have been very exciting and cutting edge at the time.

Concerto for Horn and orchestra Inspired by Denis Brain, but never performed by him. The concerto was eventually premiered in 1967 by Ifor James.

1956

Interpol Starring Victor Mature, Anita Ekberg and Trevor Howard (also known variously as Pickup Alley, Half Past Hell and The Most Wanted Woman). Addressed (at the time) the daring subject of drug smuggling. The first collaboration with musical director Muir Mathieson. The flute player William Bennett (for whom RRB was later to write Winter Music) was in the orchestra. He describes Interpol as ‘a marvellous score – Richard has a fantastic ability to set the scene.’

A Face in the Night A crime drama directed by Lance Comfort (released June 1957 and known as Menace in the Night in the US). The musical director was Philip Martell. The two were to work together again later on The Nanny and Yanks.

The World Assured John Hollingsworth employed RRB to write the music for this documentary on the subject of the British Insurance Institute. It was RRB’s composition teacher, Howard Ferguson who made the introduction.

Five Pieces for Orchestra Dedicated to Howard Ferguson.

8 Cycle of pieces for piano Nine pieces begun in 1956 and probably completed in September 1957 (no 8 is dated September 14, the final piece is undated.) No 9 is dedicated to Susan Bradshaw.

1957

Two pieces for trumpet, tenor sax and piano Written in Boulezian total serialism, these two movements were composed in Paris and dated February 11. They are of considerable complexity and dedicated to Howard Snell, Beverley [no surname] and Cornelius Cardew.

The Safecracker Ray Milland starred and directed this yarn about a safecracker turned crook who then goes on a dangerous wartime mission. The second collaboration with musical director Muir Mathieson.

Song of the Clouds A highly acclaimed documentary directed by John Armstrong and made for Shell about the importance of world wide commercial aviation and which takes the viewer on a world-wide tour.

Quintet for flute, oboe, clarinet, horn and bassoon Written in Paris and very much under the influence of Boulez.

Studies for five instruments and percussion For flute, violin, clarinet, bass clarinet and alto saxophone. Composed in Paris in July for a specially commissioned performance at Dartington. The work is cast as a set of variations, each separated by a cadenza for each instrument in turn accompanied by the percussion (whose own unaccompanied cadenza forms the central point of the work.). The first performance was on August 15 with Cornelius Cardew and Margaret Cotton playing the percussion. John Carewe conducted.

Study for trumpet and piano Written in Paris in March for a concert celebrating the work of young composers at the Aldeburgh Festival. It was given its first performance by Howard Snell and Cornelius Cardew.

They took us to the sea A documentary.

Music for two pianos: I-IV No 1 Paris/April; No 2 Richmond/May; No 3 Richmond/May; No 4 July 1958. Commissioned by Susan Bradshaw and John Streets who gave the first performance of two of the four pieces at the Wigmore Hall on June 6.

9 1958

Cycle II for Paul Jacobs (piano) The score is dated Paris, January – April 1958. Paul Jacobs gave the first performance in Paris (April) in the Galerie Claude Bernard, a famous art gallery in the rue des Beaux Arts, still there today.

The Devil’s Disciple Laurence Olivier gave one of his best screen performances as General John Burgoyne in Guy Hamilton’s version of Shaw’s morality tale. Malcolm Arnold was initially engaged to write the score; his secretary Dorothy Morris noted in her diary, “Thought the film a flop in spite of splendid fight.” In fact the film stands up well aided by RRB’s effective score. John Hollingsworth was musical director.

Indiscreet Comedy with Cary Grant and Ingrid Bergman. RRB didn’t care for original song he had to use (music by Jimmy Van Heusen, lyrics by Sammy Cahn and famously sung by Frank Sinatra). Muir Mathieson was musical director.

The Man inside Jack Palance, Nigel Patrick, Anita Ekberg and Anthony Newley star in this thriller produced by Albert "Cubby" Broccoli (who went on to produce James Bond). Muir Mathieson conducted.

1959

The Angry Hills Muir Mathieson’s brother, Dock, was the musical director for this thriller starring Robert Mitchum, Stanley Baker and Gia Scala.

Blind Date The busy Malcolm Arnold was initially engaged to write this score. In the event he passed it on to RRB but still took on the role of musical director. Hardy Krüger and Stanley Baker starred.

The Man who could cheat death RRB’s first film for Hammer starring Anton Diffring and Christopher Lee. Much effective use of timpani, xylophone and brass to create suspense in this dramatic score. The music is mostly atonal and dissonant. John Hollingsworth supervised.

Farewell to Arms For double mixed chorus. Graham Treacher, for whom this work was written recalls: “It was through my London New Music Singers that I commissioned Farewell to Arms – but the concert was cancelled for some reason. I remember the piece as being very clear and clean – not graphically, but the actual sounds – it was a very direct setting.” The score is dated September.

10 Music for an occasion Commissioned by Associated television. A work in three interconnected sections, each in rondo form.

Stanzas for flute An unpublished work that seems to be lost. RRB recalls, ‘It was a totally unplayable extreme-serial piece – it never got played.’

The Approaches of Sleep A cantata for four solos voices and ten instruments. Based on a text by Thomas Browne from ‘The Garden of Cyrus’. Begun in November 1959 and completed in January 1960.

1960

Calendar for Chamber Ensemble Written specifically for the unusual combination of eleven players that made up John Carewe’s New Music Ensemble. Dedicated to Carewe. This 12 minute work is cast in three movements.

Journal for Orchestra A 12 minute ‘quasi-Viennese’ work for large orchestra in five movements. First performed under Norman del Mar and the BBC Symphony Orchestra at Cheltenham Festival and dedicated to Richard Narzony. Stephen Plaistow wrote in the Musical Times, “Richard Rodney Bennett shows a striking ability to calculate orchestral textures to a nicety and to bewitch the ear with colour.”

Lament for Tenor and Guitar Written for Peter Pears and Julian Bream.

Out of Harmony A 14-minute documentary.

A Penny for Your Thoughts A documentary

A Question of Springing 18-minute documentary for Shell. Part of a series on how a car works. Unusually RRB also took on the role of musical director.

Stanzas for organ An unpublished work in the Lutyens style.

This World’s Joie A song dedicated to Josephine Nendick but first performed by Dorothy Dorow at the Mermaid Theatre in London (13 November).

11 Winter Music For flute and piano. Written for William Bennett who describes it as ‘an important piece and a very good work’.

Horniman’s Dividend Tea Jingles written for TV commercials.

The Ledge One-act opera for three singers and a chamber orchestra. Dorothy Dorrow recalls, “Richard wrote The Ledge for me. After the first performance one critic said that the first note - a top B sung to the word name was just too high – and Richard changed it – he was always open to alternative ideas.” (The score is dated December 60 – March 61.)

1961

Satan never sleeps Muir Mathieson was music director in this unintentionally amusing anti-communist yarn.

The Mark Considered by some to be one of the best films of the 1960s. Star Stuart Whitman was nominated for an Oscar. RRB’s sympathetic and thoughtful score (evocative use of the alto flute; in turns romantic and serial, and some jazz) supports the grim subject matter (child molestation). John Hollingsworth was musical director.

Only Two Can Play Comedy with Peter Sellars, based on the novel That Uncertain Feeling by Kingsley Amis. Sidney Gilliat directed from a screenplay by Bryan Forbes. The sixth collaboration with Muir Mathieson as Musical Director.

Childe Rolande to the Dark Tower Came For speaker and piano, text by Robert Browning.

The Purple Stream A documentary for Beecham Foods. John Hollingsworth conducted.

Sonata for Oboe and piano First performed by Philip Jones, an oboeist who was also studying in Paris alongside RRB, William Bennett and Susan Bradshaw (who played the piano at the premiere.)

Suite Francaise for small orchestra Dedicated to Thea Musgrave, this three-movement work for chamber orchestra was originally conceived as a vocal work (settings of popular songs from the 15th and 16th centuries).

12 Three Madrigals For unaccompanied mixed chorus. Still to be neat and The Hour Glass (Ben Johnson) and And can the physician make sick men well? (Anonymous).

Tom O’Bedlam’s song For tenor and cello. Written for Peter Pears and first performed with Joan Dickson at one of the Edinburgh National Gallery concerts arranged by the legendary Tertia Liebenthal who was a great friend of Pears.

A Week of Birthdays Seven short pieces for children. Charming, never predictable and using a colourful but very accessible harmonic language. RRB explains: “It uses a poem based on the old fashioned idea that people were different according to the day they were born.” Nicholas Maw wrote, “Small in design, but large in accomplishment.”

Quintet for Clarinet, String trio and piano First performed in London by the Fine Arts Chamber Ensemble. Lutyensesque and later withdrawn by the composer.

1962

The Wrong Arm of the Law A jazz score (rather in the style of Jazz Calendar) accompanies this lively Peter Sellars farce. John Hollingsworth was musical director.

African Awakening A documentary directed by Peter Hopkinson

Circus Drawings Music for a cartoon by master animator Richard Williams (famous for Who Killed Roger Rabbit.) The score was complete and recorded but the film was never completed.

Curtmantle Incidental music for the Royal Shakespeare production of Christopher Fry’s first historical play covering the years of Henry II’s reign. First produced at the Edinburgh Festival.

Fanfare for brass quintet A two-minute piece written for the legendary Philip Jones Brass Quintet. Score is marked ‘Islington, November 1962.’

Fantasy for piano Dedicated to John Brown, and cast in three connected movements. Though a serial work, notes and chords are repeated allowing for more accessibility. The central slow section is highly expressive.

13 Judith Incidental music for Christopher Fry’s adaptation of Jean Giraudoux’s play.

London Pastoral A cantata for tenor and chamber orchestra in three sections. Commissioned by the Lord Mayor of London for the Festival of the City of London. Received very glittering notices.

The Long Distance Piano Player A parable for radio (broadcast on the Third Programme) by Alan Sharp ‘which comments strongly on modern life’. 26 minutes of incidental music for piano and percussion played by RRB and Denis McCarthy and the BBC Radiophonic workshop.

Nowell, Nowell, Tidings True Commissioned by Novello for the carol collection ‘Sing Nowell’ edited by Louis Halsey.

Seven days a week RRB explains: Seven days a week was written for beginner pianists. They are very short, simple pieces that only use the white notes on the piano. It’s based on a poem: Monday alone, Tuesday together, Wednesday we walk when it's fine weather. Thursday we kiss, Friday we cry, Saturday, hours seem almost to fly. But of all the days in the week, we will call Sunday, the rest day, the best day of all.” Charming and useful pieces.

Three Elegies Three settings, for double mixed chorus, of words by John Webster.

Madrigal “And can the physician” A setting for unaccompanied SATB. (Also set by Peter Warlock).

Nocturnes for chamber orchestra Begun in 1962 but not finished until the following year this three-movement work is dedicated to conductor Meredith Davies.

Five Studies for piano Virtuoso pieces written in severe serial style. 1, 3 and 4 were composed in 1962; 2 and 5 were added in 1964. No. 2 is a study for the right hand alone and No 4 for the left hand. Yonty Solomon (one of the two dedicatees – the other being Paul Jacobs) gave the first public performance at the Wigmore Hall in October 1964.

1963

Billy Liar John Schlesinger’s highly acclaimed comedy of frustrated adolescence. A mixture of pastiche, jazz and the kind of colourful harmonic writing that was to become unmistakable RRB, the score (under the musical direction of John Hollingsworth)

14 contributed to the film’s placing of 12th in Total Film’s list of the greatest British Films of all time.

Heavens Above! The Boulting brothers view of Christianity. Peter Sellars starred together with a gallery of the best British comedy actors. RRB provided a thoroughly professional score under the musical direction of John Hollingsworth.

The Quest for perfection Documentary film about smoking, made for Wills cigarettes.

Hamlet at Elsinore A television adaptation under the musical direction of John Hollingsworth.

The Midnight Thief A story with music for children. Like Malclom Arnold’s Turtle Drum, this was composed for the BBC TV ‘Making Music’ series. And the same team were involved: Ian Serraillier (writer), John Hosier (producer) and James Blades (percussion).

The Mines of Sulphur Dedicated to Britten, RRB’s first full length opera. The libretto was by Beverley Cross (based on his play Scarlet Ribbons). Colin Graham directed the first production.

Oxford Nursery Song Book: arrangements Fifteen traditional songs (Baa-baa black sheep, I saw three ships, The Keel Row etc) in a collection edited by Percy Buck.

Rondo: Reflections on a theme of Benjamin Britten For flute, bassoon, viola and harp. Part of a work written to celebrate Benjamin Britten’s 50th birthday. (Other movements were by Malcolm Williamson and Nicholas Maw). First performed by the Melos Ensemble at the Mahatma Ghandi Hall, 25 October.

Stephen D A BBC television drama under the musical direction of John Hollingsworth based on the writings of James Joyce.

The Tourelle Skull An episode for the BBC TV series Suspense, 48 thrillers broadcast between 1962 and 1963. RRB played the harpsichord and celesta and he made use of the BBC Radiophonic Workshop.

Two Lullabies Two short songs (Dormi Jesu and Balulalow) for unaccompanied SSA. Tonal in outline though a lot of harmony based on seconds and sevenths. The metre is very irregular. First performed at the Wigmore Hall, London, under Richard Sinton.

15 1964

A Jazz Calendar Very popular and highly effective seven movement work for twelve players based on rhyme ‘Monday's Child is Fair of Face’ etc. Originally commissioned by the BBC and later (1968) arranged as a ballet, choreographed by Frederick Ashton and first produced at Covent Garden. Dedicated to Jean Hart.

Doctor Who RRB contributed the incidental music for the sixth Dr Who adventure ‘The Aztecs’ through having worked before with director John Crockett. The four episodes ran from 23 May to 13 June. Highly theatrical (almost Shakespearean). The cast and crew were mostly drawn from the theatre. RRB’s music has moments ranging from the Debussy-esque to Stravinsky to create an Aztec-like ambience. Marcus Dods conducted.

One-way Pendulum A wacky comedy with a host of popular British actors directed by Peter Yates (who went on to direct Bullitt in 1968.) Marcus Dods was musical director.

Aubade for Orchestra RRB’ s critically acclaimed first BBC Prom commission, in memory of John Hollingsworth who had died the previous year. A single movement cast in a simple arch-form.

Conversations for two flutes Published in the Music For Young players series. Five charming duets.

Diversions for piano Seven sophisticated pieces for young players dedicated to ‘To my mother’.

Farnham Festival Overture A delightfully bright and breezy overture. Charming melodies abound and the scoring is crisp and colourful. The Farnham Herald called it ‘an out and out winner!’

Malatesta A BBC production as part of their Wednesday Play series starring Patrick Wymark under the musical direction of Marcus Dods.

String Quartet No.4 First performed by the Allegri Quartet May 6 1965. The Times wrote, “The quartet is strongly dramatic, full of fierce contrasts…melodious, human and impetuous in it’s themes, elaborated as though by dramatis personae.”

Sonata No.2 for solo violin Dedicated to Ralph Holmes. In three movements, the final being a set of variations. Stanley Sadie wrote (in the Musical Times), “Harmonic sweetness is a salient characteristic…it’s a violinistic piece in the best sense.”

16 The Sorrows of Mary An unaccompanied carol for SSATB commissioned by Oxford University Press for their collection Carols of Today.

Trio for three violins or two violins and viola The score is lost.

Verses Three settings of words by John Donne for unaccompanied SATB. Dedicated to Richard Sinton who conducted the first performance at the Wigmore Hall in London. Luminous, tonal and very accessible.

1965

Trio for flute, oboe and clarinet Written for the same combination as Malcolm Arnold’s Divertimento and similarly in six short movements. First performed by Richard Adeney (who also played in the first performance of the Arnold), Peter Graeme and Gervase de Peyer at the 1965 Zagreb Festival of Contemporary Music.

The Nanny RRB’s second film for Hammer. Written and produced by Jimmy Sangster with Philip Martell supervising the sinister music. RRB explained, in an interview with John Caps, “I just wanted to play a little theme which could then appear in very strange contexts later on. A sort of surrealist juxtaposition of something quite bland.”

The Aviary In a letter to Alan Fluck (organizer of the Farnham Festival) RRB describes the cycle as being ‘full of joyous tunes’. A charming setting of five songs for young voices and piano. It was dedicated to composer and conductor Alexander Faris.

The Diary of Nijinsky A dramatisation of the life of the great Russian ballet dancer for BBC radio. The music (28 minutes worth) was performed by the BBC Welsh Orchestra under Marcus Dods.

The Engineers A 26-minute documentary about Hawker Siddeley.

European Tapestry A 23-minute documentary about the British Overseas Airways Corporation.

Hereward the Wake RRB wrote the music for the first (Forfeit For Eternity) of a 16-part series made by the BBC and starring Alfred Lynch. Marcus Dods directed the music.

17 The Insect World Five delightful songs for unison voices (or solo voice) and dedicated to Malcolm and Dolly Williamson. Alan Fluck once tried to make a suggestion, ‘you have written about the aviary and the insects, what about the fish? RRB replied, ‘I couldn’t do that; fish really are so unattractive!’ First performed on BBC radio (along with The Aviary) by Dorothy Dorow (RRB accompanying) in January 1966 with the first live performance a few weeks later by Dan Klein and Antony Saunders.

One evening A song for tenor and guitar with words by W.H.Auden. Dedicated to the great Wilfred Brown (who gave the definitive performance of Finzi’s Dies Natalis) and guitarist John Williams to whom the work was also dedicated.

The R-and-B Man A documentary film.

Little Suite for small orchestra This 10 minute suite is made up of charmingly orchestrated songs from The Aviary (3 songs) and The Insect World (2 songs).

Symphony No.1 A large scale three-movement work with a “Waltonian ring” written for the London Symphony Orchestra. The second movement is dedicated to Dan Klein.

Timon of Athens John Schlesinger directed this Royal Shakespeare production. The scoring included a crumhorn and a lute.

1966

The Witches (aka The Devil’s Own) A third production for Hammer films. A schoolteacher finds herself working in a town infested by witches. The dramatic opening sequence set in an African village inspired some particularly colourful music for an array of tuned and untuned percussion, with the marimba prominent, to suggest African witchcraft. The musical director was Philip Martell.

Crosstalk for two clarinets (or two bassett horns) The clarinettists Thea King and Stephen Trier (both members of the Vesuvius Ensemble) were in residence at Dartington. Thea had been chatting to RRB about the need for more duets one evening and woke up the next morning to discover some sheets of manuscript paper had been slipped underneath her bedroom door. RRB had composed this delightful and inventive four-movement suite for her literally overnight.

18 Epithalamion A cantata for SATB and orchestra. The first performance was given by the London Symphony Orchestra under Istvan Kertesz with Donald Hunt’s Festival Chorus.

Iphigenia in Taurus A BBC Third Programme adaptation of Goethe’s book. Lennox Berkeley had previously written music for a production in 1954.

The Order A TV drama. Marcus Dods directed the music.

A Penny for a song RRB’s second opera for the Sadler’s Wells in two acts. Libretto by Colin Graham. (who also produced it).

1967

Soliloquy A masterpiece written for Cleo Laine. Julian Mitchell, who wrote the words recalls: ‘Richard asked me to do a piece for the first jazz concert at the Queen Elizabeth Hall. Richard wanted a scena – I didn’t know what a scena was, not being an opera fan. But we worked together on it – it turned out a grand piece in the Dankworth manner!’

Billion Dollar Brain Another outing for Len Deighton’s Harry Palmer directed by Ken Russell. Marcus Dods was musical director. A scintillating score helped by the imaginative use of three pianos, harpsichord, celeste, ondes martinot, eleven brass and various percussion.

Far from the Madding Crowd John Schlesinger recreates Hardy’s great novel with Peter Finch, Julie Christie and Alan Bates. Some of the music was based on actual folk music from Hardy’s time. RRB comments, “A lot of people love this score and I have a great attachment to it myself. Schlesinger had attached all sorts of Holst and Vaughn Williams to it before I began working on it.” Musical director Marcus Dods later arranged the music as a concert Suite.

A Canon for Stravinsky For string trio. One of twelve pieces written by British composers to celebrate Stravinsky’s 85th birthday.

Dismissal leading to lustfulness A TV drama, part of The Wednesday Play series, first broadcast in April and directed by Rex Tucker. Buxton Orr was musical director.

19 Five Carols St Matthews Church Northampton is famous for commissioning works from the likes of Malcolm Arnold, Berkeley, Britten, Finzi, Leighton, Tavener and Tippett. This was RRB’s contribution: beautiful and colourfully tonal. First performed by the church choir under Michael Nicholas on September 23rd.

The Music that her echo is Five songs written for and first performed by Dan Klien with RRB at the Purcell Room on 6 October.

Symphony No.2 A single movement work written for Leonard Bernstein and the New York Philharmonic.

Quintet for flute, oboe, clarinet, horn and bassoon RRB’s second wind quintet, commissioned by The Serge Koussevitzky Music Foundation and dedicated to the memory of the great conductor. Cast in four movements, the final being a set of nine variations. William Mann, in The Times, described it as ‘pleasing to listen to.’

1968

Secret Ceremony An extremely imaginative score; the music is sinister and disturbing bringing this psychological thriller vividly to life. Elizabeth Taylor and Mia Farrow star. Marcus Dods directed the music.

All the King’s men A very popular and often performed children’s opera (libretto by Beverley Cross) commissioned by the Coventry Schools’ Music Association. The first performance was given in Coventry and David Squibb and the boys of Trinity School, Croydon gave the first London performance. RRB comments, ‘I’m always in tears when I see it’.

Capriccio For piano, 4 hands. ‘A brilliant, effervescent piece of writing’ wrote Joan Chissell in the Times after the first performance given by RRB and Susan Bradshaw. Serial, with a Stravinskian flavour.

Concerto for piano and orchestra Highly acclaimed work written for Stephen Bishop.

Crazy Jane Three songs written for soprano (Jane Manning: “I liked it very much”), clarinet, cello and piano (members of the Vesuvius Ensemble). Based on a text (Words for Music Perhaps) by W.B.Yeats. Susan Bradshaw was very much the moving force behind this composition.

20 Impromptus for guitar A five-movement serial work written for Julian Bream. It has become a staple repertoire work.

Two Carols (Flower Carol; What Sweeter Music) For unaccompanied SATB. The first written for Louis Halsey, the second for Prime Minister Edward Heath.

Victory RRB’s fourth and final opera. Libretto by Beverley Cross (who also wrote Mines of Sulphur). Dedicated to Hans Werner Henze. ‘It was a beautiful production,’ recalls Anne Howells who sang Lena, but it received damaging reviews. Written between November 1968 and July 1969. First performance was at the Royal Opera House in April 1970.

1969

A Garland for Marjory Fleming Five gorgeous settings of the child poet Marjory Fleming (1803-1811) written for, and first performed by Sasha Abrams and Peter Alexander. Robert Matthew-Walker (in Musical Opinion) wrote, “a haunting work of considerable sensitivity...” RRB has a special place for this work: “This is one of my favourite pieces.”

Impromptu for solo flute Written for the 80th birthday of Dr Alfred Kalmus, director of Universal Edition. A lyrical, partially serial movement, dated 31 March.

Jazz Pastoral A setting of six 17th century poems (from Herrick’s Hesperides) written for Cleo Laine and eleven players.

Twenty-four hours Theme music for the long running BBC late evening news programme which was introduced by Cliff Michelmore.

1970

Concerto for oboe and string orchestra Written for and dedicated to Heinz Holliger who premiered it at Snape in June 1971. Niall O’Loughlin, in the Musical Times, described it as ‘a work of great sensitivity and attraction. The form is individual (Vivo, Adagio) and compelling.’ The great oboist Evelyn Barbirolli described it as ‘a work for the virtuoso player and has moments of real beauty and charm, and great vitality.’

The Buttercup Chain Produced by Leslie Gilliat who worked with Malcolm Arnold on the St Trinian’s films. A moving and subtle score that vividly brings the complex on-screen emotions to life.

21 Figures in a landscape Directed by Joseph Losey. A thriller about two escaped convicts (Robert Shaw and Malcolm McDowell) followed and hounded by a menacing black helicopter. The score (using Xenakis techniques) was singled out and received much acclaim from the critics.

Concerto for guitar and chamber ensemble Written for Julian Bream (who wore out a fingernail at the RCA recording with Previn). Full of alluring colours and moods. William Mann (in The Times, November 20, 1970) wrote, “The work is perfectly and boldly scored for guitar and chamber orchestra. It should be gratefully accepted by guitarists everywhere.”

Intrada for Orchestra One of six short pieces written for Walton’s 70th birthday (other contributions by Arnold, Davies, Maw, Musgrave and Simpson) based on ‘Happy Birthday to You’. About 50 seconds (marked Molto vivo) and based on the first six notes of the tune.

Party Piece For piano and orchestra. ‘I wrote it with great enthusiasm and like it very much, tho’ I say it!’ wrote RRB in a letter to Alan Fluck (organizer of the Farnham Festival for whom it was written). First performed (1971) by Michael Overbury. Dated Baltimore December 18 1970.

Suite Francaise for small orchestra A seven-minute work for chamber orchestra based on old French melodies.

1971

Anagram An electronic work written at Peabody.

Nicholas and Alexandra A lush and tremendously colourful score for this three-hour epic version of the tragic story of Nicholas II, the last Czar of Russia. RRB supplied nearly an hour of music. Marcus Dods was musical director.

The Bermudas A ten-minute cantata (RRB’s first setting of Andrew Marvell’s words) for mixed chorus and orchestra was commissioned by RRB’s old school, Leighton Park, to celebrate the opening of their new hall. First performance was given at the school on May 20 1972.

Four Devotions In a letter to his mother RRB describes this as a ‘big and difficult piece for unaccompanied chorus.’ Settings for SATB of poems by John Donne.

22 The House of Sleepe Commissioned by the Kings Singers. Simon Carrington, who sang in the premiere writes, “A glorious setting of Ovid in time-space notation.”

Tenebrae David Wilson Johnson, who has often sung this cycle of five songs comments, “It’s a fascinating choice of texts and is fully 12-tone. The texts are dense and it’s high but very well written for the voice with interesting big leaps – some an octave and a half! Really go ahead! Also very dramatic, but somehow more grounded than Britten. Though it pushes the boat out stylistically it’s also very practical.”

1972

Lady Caroline Lamb Robert Bolt’s flawed historical drama starring his wife, Sarah Miles, Jon Finch, Richard Chamberlain and John Mills. It received mixed reviews but praised Miles’ performance and Bolt’s direction. “I liked doing this film very much,” recalls RRB who wrote a memorable score that also exists as a beautiful Elegy for Viola and Orchestra.

Commedia I Written for the same combination as Façade. The instruments (in all four Commedias) are visualised as actors in the commedia dell’ arte.

Commedia II For flute, cello and piano. Four ensemble sections envelope a solo and a duo, each written for a different combination of the three instruments or ‘characters’. First performed in New York by the New York Camerata for whom it was written.

Nightpiece For soprano (Jane Manning) and electronic tape. First public performance given at the Roundhouse as part of the Camden Festival. JM has subsequently given a great many performances. “I just loved it!” she explains.

Quietly with bright eyes For voice, piano and electronic tape. Three settings of e. e. cummings written for Karin Krog.

Six Scottish Folksongs Arrangements for soprano, tenor and piano. (See also Flowers of the Forest, 1989).

Sonnet Sequence For tenor and string Orchestra, words by Shakespeare. Philip Langridge gave both first performances (the first at Southwark Cathedral and the revised and extended version at Milton Keynes and the Queen Elizabeth Hall in 1974).

23 1973

Voices RRB recalls: “This was a pretentious and feeble horror movie for which I wrote some terrifying music.” It starred David Hemmings. Marcus Dods was MD.

Alba Originally an organ work (in serial style) dedicated to Britten on his 60th birthday, and later orchestrated as the first movement of the Concerto for Orchestra. Jonathan Bielby, who gave the first performance at Bradford Cathedral, describes it as ‘a gritty work.’

Commedia III Commissioned by the Nash Ensemble and dedicated to Leonard Rosenman. Written for ten instruments, the four main sections frame three cadenza-like passages each for different instrumental combinations.

Commedia IV For Brass Quintet. Commissioned by the Malcolm Sargent Cancer Fund for the Philip Jones Brass Ensemble, and first performed at the Queen Elizabeth Hall on 27th April 1974. All instruments (‘characters’) meet in the six brief ensemble sections which frame five groups of solos, duets and trios.

Concerto for viola and chamber orchestra A restless work written for the Northern Sinfonia and Roger Best (the same coupling were also responsible for Malcolm Arnold’s concerto, three years earlier). First performed under David Atherton in York.

Of Jewels and Gold A 28-minute documentary film.

Scena I for Piano Dedicated to John Philips, this tough virtuoso work was written for The 1973 BBC Piano Competition (the forerunner of the Young Musician of the Year). Philip Fowke was one of twenty-two finalists who collectively gave the ‘first performance’. Fowke recalls, “It was a challenging work and rhythmically complex. The scores were very large and floppy so we all built what became known as ‘Bennett Boards’ to stop the music from flopping backwards over the music desk on the piano!”

Scena II for Cello Judith Mitchell, who gave the first performance at the University of North Wales, recalls, “the audience loved it. It is real cello music - it ‘sings’, has drama and there are some quicksilver moments.” Dedicated to Cecile and Bud Bazelon (composer and author of Knowing the Score - Notes on Film Music.)

Concerto for orchestra RRB writes: “It is a large-scale three movement work which, as the title implies, is intended to display the modern orchestra as a virtuoso body of players. The wind

24 and string groups are normal in size and composition, while the percussion section includes various slightly less conventional colouristic elements. There is an important piano part.”

1974

Murder on the Orient Express A legend in its own lifetime.

Four Piece Suite For two pianos and dedicated to Andre Previn. The first performance was given by RRB and Susan Bradshaw on August 31. In 1976 it was first performed as a ballet by Dance Prism. A piece with what RRB describes as a ‘cute title’, written for fun to celebrate the purchase of RRB’s new second piano.

Time’s Whiter Series For counter-tenor and lute. Written for and dedicated to James Bowman. First performed in June 1975 at the Aldeburgh Festival.

Quartet for oboe and string trio First performed by Peter Graeme and the Melos Ensemble at the 1975 King’s Lynn Festival. Five movements each separated by a cadenza for different combinations of instruments.

Spells Six poems of Kathleen Raine set for soprano, mixed chorus and orchestra. Dedicated to Jane Manning (who gave the first performance) and the choirs of the Three Choirs Festival.

1975

Permission to kill Action-packed spy adventure starring Dirk Bogarde and Ava Gardner. RRB spent some time on location in Austria during the composition of this colourful score.

Concerto for violin and orchestra One of RRB’s most important works, written for Ralph Holmes who gave the first performance in Birmingham on March 25 1976. Deserves frequent performances.

Travel notes 1 Five charming movements for string quartet: A walking tune, In a hearse, On horseback, In a pram, Express train.

25 1976

Zodiac RRB’s ‘Young Person’s Guide to the Modern Orchestra’. A glittering orchestral work dedicated to Elisabeth Lutyens and first performed in Washington under Antal Dorati.

Sherlock Holmes in New York RRB clearly had a lot of fun with this highly engaging Holmes caper with the unlikely Roger Moore cast as the detective and Patrick Macnee rather overdoing it as Watson. Nominated for Best Television Feature in 1977.

Abide with me An acclaimed BBC television adaptation (starring Geoffrey Bayldon and Ann Francis) by Julian Mitchell of Winifred Foley’s A Child in the Forest.

The Little Ghost who died for love For soprano and piano, written for Jane Manning who performed it many times.

Serenade A highly colourful orchestral work written for the Queen’s Silver Jubilee. Three movements dedicated to RRB’s mother.

Survival RRB composed incidental music for two editions of the popular Anglia TV wildlife series. The scoring was appropriately vivid and included harpsichord, harp, cimbalom and an array of percussion.

Telegram Written for Lutyens’s 70th birthday and first performed at the Purcell Room by Richard Deering who recalls: I asked her two "established" composer students - Malcolm Williamson and Richard Rodney Bennett - to write surprise items for her birthday. Richard wrote a miniature setting of "Happy Birthday" with largely atonal harmony and mostly in the top octaves of the piano. We had the front cover of the score disguised as a large telegram and, following the final work of the recital (Debussy's "L'Isle Joyeuse" ) Richard agreed to help keep the applause going so that I could rush back, after 2 or 3 curtain calls, in encore-mode and carry the telegram score to the piano and proceed to play Richard's amusing little piece. Pearl Records released a record of the recital and you can hear the audience's amused chuckling as they slowly realise what the thematic material of Telegram actually is!

Travel Notes 2 Four charming movements for wind quartet: In an air-balloon; In a helicopter; In a bath-chair and Car-chase. Often played.

26 1977

Actaeon (Metamorphosis I) Paul Driver wrote in The Sunday Times in 2006 after RRB’s 70th birthday concert, “The horn concerto, Actaeon, was a dazzling instance of his athletic early style that gave continental modernism a British, distantly Waltonian flavour.” First performed at the Proms by its dedicatee, Barry Tuckwell.

Equus Sidney Lumet directed Peter Shaffer’s screenplay based on his own stage play. The all-star cast was led by Richard Burton. The musical director was Angela Morely.

The Christians RRB took a lot of trouble over this major 13-part TV series.

Eustace and Hilda A BBC TV adaptation of L. P. Hartley’s trilogy which won a BAFTA award. The piano arrangement of the lovely theme has become popular. RRB at his most disarming.

L’Imprecateur A sardonic comedy. RRB (“I did an avante-garde score for them”) was virtually the only Englishman involved in this French production.

Kandinsky Variations The movement titles of this work for two pianos were suggested by paintings and graphic pieces by Wassily Kandinsky. Dedicated to Susan Bradshaw who gave the first performance with RRB in the Wigmore Hall on December 1.

Music for Strings A dark work full of imaginative sonorities commissioned by the Academy of St Martin-in-the-Fields and the Cheltenham Festival, where it was first performed in July 1978 under Sir Neville Marriner. Dedicated to Elizabeth Maconchy

Scena III for clarinet Commissioned for the Park Lane Group’s Young Artist series and first performed by Philip Edwards who recalls, “I enjoyed it and played it several times. It’s atonal in outline and both effective and memorable.” After an arresting opening it develops along slightly Messiaenic lines, inspired by the e.e.cummings quotation found at the start of the music, Then shall I turn my face, and hear One bird sing terribly afar in the lost lands.

1978

The Brinks Job A comedy starring Peter Falk about the 1950 Brink's robbery in Boston. Angela Morely was musical director.

27 Concerto for double-bass and chamber orchestra Commissioned for the Isle of Man International Double-Bass Competition and first performed by Jiri Hudec who won it. ‘I didn’t enjoy writing this work’ recalls RRB.

Let’s go and live in the country Written for Marion Montgomery. Jazz waltz in style. Witty and urbane.

Sonata for horn and piano RRB explains: ‘Although the form of the Sonata is complex in its interrelations between sections, the overall design is basically simple: a scherzo with a slow trio, a slow movement, a fast movement and a cadenza are framed by a declamatory prelude and postlude.’ Written for Barry Tuckwell who gave the first performance with RRB at the Freemason’s Hall in Edinburgh on 8 September.

Sonata for violin and piano Written for Erich Gruenberg and John McCabe who gave the first performance in the Wigmore Hall on 17 January 1979.

I never went away/She reminds me of you Two jazz songs.

Sonnets to Orpheus Commissioned by the Edinburgh Festival. An important work – really a cello concerto. Dedicated to Dan Klein. Begun in December 1978 and completed May 1979. The first performance, at the Usher Hall in Edinburgh, was given by Heinrich Schiff.

1979

Yanks Love during WW2. RRB’s moving score was nominated for the Anthony Asquith Award for Film Music. John Schlesinger directed, Marcus Dods, Philip Martell and Angela Morley were all involved.

Arena: La Dame aux Gladiolas A BBC Arena ‘mockumentary’ on the subject of Dame Edna Everage. RRB contributed a short song and performs it as part of the programme.

Funny Thing/Our own kind of dancing Songs written for Marion Montgomery, words by RRB. First published in 1979, may have been written earlier.

Nonsense Based on words by Mervyn Peake. RRB transcribed the work for SATB and piano duet, the original orchestral version no longer exists. Mike Brewer, who conducted the revised first performance with the National Youth Choir recalls: “Nonsense was a joy. Richard and Susan brilliant in their fluency and fun. We much enjoyed characterising the crazy Victorian humour.”

28 Up Bow, Down Bow, Book 1 Up Bow, Down Bow, Book 2 Very easy pieces for young players of violin (Book 1) and viola (Book 2).

Just friends in print A souvenir publication of the partnership between RRB and Marion Montgomery which included a number of their songs.

Isadora Begun in 1979 and completed following year this two-act ballet based on the life of Isadora Duncan was commissioned by the Royal Ballet and choreographed by Kenneth Macmillan. Merle Park danced the title role. A successful new one-act version was created by Lady Deborah Macmillan in 2009.

1980

Concerto for Harpsichord and orchestra Stephen Pratt in a programme note for this work wrote: “Bennett’s Harpsichord Concerto gives further proof, if it were needed, that is quite possible to write music which combines both elements of serial techniques and accessibility, and confirms its composer as one of the most brilliant craftsmen of the present day.” In three movements it was written for St Louis Symphony Orchestra in celebration of its centenary. RRB was soloist at the first performance.

Metamorphoses Commissioned by the Academy of St Martin-in-the-Fields Chamber Ensemble this work, for double string quartet, was based on a theme from Thea Musgrave’s 1958 String Quartet. In nine continuous sections.

Amazed and Confused from The Jazz Singer RRB contributed this song to Richard Fleischer’s remake of the 1927 classic The Jazz Singer.

Puer Nobis A carol (for SATB) written for and dedicated to the Marchioness of Aberdeen. Written in RRB’s very accessible and more traditional ‘English’ style: tonal, but with a distinctive harmonic colour similar to the Five Carols of 1967.

1981

Impromptu on the name of Haydn A BBC commission as part of a group of Haydn-celebratory pieces for the 250th anniversary of the composer’s death (others were by George Benjamin, Lennox Berekeley, Robert Sherlaw Johnson, John McCabe and Edmund Rubbra.) The theme is based on the letters of Haydn’s name and the accompaniment uses 5-note serial- like patterns. John McCabe gave the first performance.

29 Letters to Lindbergh For SA and piano, four hands. The text was based on letters by Charles Lindberg sent during his solo flight from New York to Paris in 1927. Yvonne Harris, who played one half of the piano-duet, recalls that ‘the music was certainly not easy to play!’

Music for String Quartet Composed for the City of Portsmouth International String Quartet Competition (it was won by the Hagen Quartet from Austria). The fifteen sections of this short piece represent a kind of compendium of string quartet writing.

Noctuary This ballet, which fuses the tonality of Scott Joplin’s music (based on Solace – a Mexican serenade) with RRB’s free serialism, is another marker in his transition towards a more traditional style.

Six tunes for the instruction of Singing-birds Six movements for solo flute commissioned by Lady Margaret Douglas Home and first performed by Susan Milan who “found them very beautiful.”

Sonatina for solo clarinet A highly effective and characteristic work commissioned by Mid-Northumberland Arts Group for the National Clarinet Competition for Young People. The competition was won by Alexander Allen who “had to give a performance on TV after winning the competition. I love the particularly beautiful slow movement.”

Vocalese Four songs dedicated to, and first performed by Jane Manning and John McCabe. Jane Manning has performed the work many times. “It was fun to do,” she recalls.

1982

The Return of the soldier Rebecca West’s powerful story of a shell-shocked soldier’s return from the First World War. Starring Julie Christie, Glenda Jackson and Alan Bates. Marcus Dods was MD.

After Syrinx I For oboe and piano. The first of an important series of compositions based on Debussy’s Syrinx. Dedicated to Malcolm Messiter who thought it too serious for his audience. RRB was very offended. Conversely, American oboeist Gerard Reuter, who has performed the work many times considers “it may be the single greatest piece for oboe and piano: the spectrum of emotion and character is immense. Every aspect of the oboe is explored and the structure is brilliant.”

Anniversaries A large-scale orchestral work commissioned by the BBC for its 60th anniversary. Cast in eleven sections it’s a kind of concerto for orchestra. James Louhran conducted the first performance given by the BBC Symphony Orchestra at the Royal Albert Hall.

30 RRB writes: In a sense the work is a theme and variations, since the melodic and harmonic material is entirely derived from the opening three-note group, G E D. This group has a strong tonal character which colours the entire work. I have used the same musical starting point in two other works, Aubade for orchestra of 1962, and the Five Studies for piano of 1962-4.

Freda’s Fandango One of 16 one-minute variations, each by a different composer, known together as ‘Bouquet for Lennox’ written for Lennox Berkeley’s 80th birthday (based on his Reaper’s Chorus from ‘Ruth’). First performed on 2nd July 1983 in Cheltenham Town Hall by the Philharmonia Orchestra, conducted by Brian Priestman.

Summer Music Three enchanting pieces for flute and piano (Allegro tranquillo, Siesta and Games) to “bridge the gap between starting to learn an instrument and playing 'real' music." First performed November 23rd 1982.

Love songs Five songs forming a quasi-palindromic cycle in which the four outer movements are linked by their tempos (slow-quick/quick-slow) to form a frame to the central Allegro appassionato. The sequential figure of whole tones and minor thirds heard as a descending pattern at the start sets out the material for the whole cycle. Commissioned by the BBC Philharmonic Orchestra and dedicated to Robert Tear, who gave the first performance in Manchester on 4th March 1986.

1983

Concerto for Wind Quintet Commissioned by 4 US instrumental societies, but the first performance (15th August 1984) was given under the auspices of the International Clarinet Congress at the Froebel Institute in London directed by Pamela Weston. The clarinetist on that occasion was Richard Shanley who explains, “It’s a very clever and wonderful work, and very difficult. It’s called a Concerto because there are cadenzas for each instrument which are built around the main thematic material; it’s very concise.”

Memento RRB explains, “Although this is in no sense a jazz work I was conscious of certain features of modern jazz - the rhapsodic freedom of the soloist, the use of pizzicato double-bass solos (heard in the Intermezzo) and the plangent quality of many blues melodies.” The first performance was given by Susan Milan with the London Philharmonic Orchestra on 28th September 1983.

Sea Change The title is taken from Ariel's song in Shakespeare's Tempest. There’s a certain Vaughan Williams influence and RRB uses the colourful octotonic scale (alternate tones and semitones) to great effect in three of the four numbers.

31 Sonata for guitar RRB explains, “Although the Sonata is not a 12-tone piece, the unrelated thematic materials of each movement are treated in a freely serial manner; it is only in the last movement that a synthesis of the various materials is created.” Julian Bream recalls, “He wrote it because he wanted to – no commission! In fact there’s a good story behind it. I was giving the first New York performance of Michael Tippet’s Sonata – the Blue Guitar, and Richard made a note in his diary that he must be there. In the event he missed it and was so furious that he sat down and wrote this Sonata for me!” First performed by Bream at the Cheltenham Festival on 17th July 1985.

1984

The Ebony Tower A gentle tale of the artistic temperament starring Laurence Oliver and Greta Scacchi, and directed by Robert Knights based on a story by John Fowles. RRB provides a beautiful score.

Knockback The first man jailed for life under a 1965 British law falls in love with a woman determined to get him out. Starring Pauline Collins and directed by Piers Haggard.

After Syrinx II Written for marimba player William Moersch. Another work based on Debussy’s Syrinx which though drawing on serial techniques, is nevertheless very audience friendly and employs a kind of impressionist chromaticism. In 6 linked sections. Moersch describes it as “the outstanding work for marimba.”

Five Sonnets of Louise Labé Five powerful love songs set for soprano, wind quartet, harp and string quintet. The work was commissioned by the Chester Festival and first performed at Chester Cathedral on 24th July 1984, by the dedicatee Teresa Cahill.

Lullay mine liking This lovely carol (for unaccompanied SATB) was dedicated to Prime Minister Edward Heath (also, like RRB, born in Broadstairs) who conducted the first performance at the 40th Broadstairs Town Carol concert on 23rd December 1984.

Moving into Aquarius for Orchestra Written in collaboration with Thea Musgrave for Tippet’s 80th Birthday Concert and commissioned by the Royal Philharmonic Society. There are six sections based on fragments taken from works by Tippett. The premiere took place on 23rd January 1985, at the Royal Festival Hall with the London Symphony Orchestra conducted by Richard Hickox.

32 Serenade for Ondes Martenot and Piano A three movement work written for and dedicated to Cynthia Millar who gave the premiere on 11th October in Little Missenden, Buckinghamshire with Elmer Bernstein.

Sinfonietta Scored for Handelian-like trumpets, timpani and strings (with percussion and piano). This is a witty and attractive work with all three movements based on the same melodic material. Commissioned by the National Federation of Music Societies for their 50th anniversary. The premiere was given by the Huntingdonshire Philharmonic Orchestra on the 16th February 1985.

This is the Garden A setting, for voice and piano, of words by e.e.cummings as the test piece for the 1985 English Song Award.

1985

Tender is the night A TV mini-series in six parts directed by Robert Knights (who directed The Ebony Tower) starring Peter Strauss and Mary Steenburgen. The scoring includes a key role for the soprano saxophone which RRB wrote for John Harle. Includes a meltingly delicious title theme.

Nicole’s Theme and Rosemary’s Waltz Atmospheric arrangements from the above film for both piano solo and for ondes Martenot and string quartet.

Duo Concertante For clarinet and piano commissioned by and written for Nicholas Cox and Vanessa Latarche. Nicholas Cox comments, “A good piece which I wanted to play alongside the Weber Duo Concertante. Challenging and quite cutting edge. As difficult for the piano as the clarinet. We rehearsed with Richard at the Royal College of Music and he was very demanding – especially rhythmically!”

Murder with Mirrors RRB’s charming score (particularly the elegant and chirpy opening title music) couldn’t save an under par production despite a high quality cast that included Helen Hayes, Bette Davis, John Mills, Leo McKern and Dorothy Tutin. Instrumentation includes a starring role for ondes Martenot.

Reflections on a theme of William Walton RRB comments, “William Walton was a composer to whose music I always felt very close. The 78s of his Viola Concerto were among the first records given to me by my parents, when I was about 11. Reflections was commissioned by the Guildhall String Ensemble [11 solo strings] and takes as its 'theme' the 12-tone series from the last

33 movement of Walton's Second Symphony - although Reflections is not a 12-tone work.” Premiere, May 20th 1985, Queen Elizabeth Hall.

Romances for Horn and Piano A 4-movement work written for Barry Tuckwell and dedicated to his wife Hilary. First performed in New York on 25th February 1986.

Sonata after Syrinx An atmospheric work written for the Nash Ensemble to mark their celebration of RRBs 50th birthday, and is dedicated to Amelia Freedman. The third work based on Debussy's Syrinx scored for flute, viola and harp (as in Debussy’s own late sonata).

Sounds and Sweet Aires A challenging and arresting 3-movement suite for flute, oboe and piano taking the lines from Shakespeare’s ‘The Tempest’ as its starting point. Often the flute and oboe play alone, cadenza-like. The premiere was at the University of North Carolina on 26th April 1986. The first British performance featured pianist Antony Gray (a year later) who much enjoyed learning the work.

Tango after Syrinx The fourth in the Syrinx series. Written for pianist Yvar Mikhashoff who, as a young man, had been a professional ballroom dancer and persuaded more than a hundred composers each to write a Tango for his collection. Atmospheric and sultry.

Dream Dancing The fifth work based on Syrinx. The unusual scoring is as Debussy had projected for the last of his six sonatas – of which only the first three were completed before his death. There are two movements, with poems by Dylan Thomas and John Keats suggesting the character of each. Written for the London Sinfonietta to celebrate RRBs 50th birthday and is dedicated to Sir Kenneth and Lady Macmillan.

1986

After Ariadne A substantial (20mins) work (in 4 sections) commissioned by Paul Silverthorne (viola), who gave the first performance with RRB at the piano at the 1987 Cheltenham Festival. It is based on the Monteverdi madrigal Lasciate Mi Morire. Music and Musicians called it a “sumptuous, richly lyrical piece.”

And death shall have no dominion A motet for the unusual combination of men’s voices (it was written for the New York City Gay Men’s Chorus) and solo horn. It was first performed in London by the Concord Singers under Malcolm Cottle (the New Yorkers found the work too difficult). Patrick Clements, who played the horn in the first performance, describes the music as, “slow and dark but very approachable.”

34 The Charmer A critically acclaimed 6-part TV series starring Nigel Havers which won 2 BAFTA awards. A saxophone quartet provides the basis of the instrumentation with each episode containing between seven and fifteen minutes of music.

Dream Songs RRB would sometimes surprise friends with an unexpected musical gift. Sasha Alexander recalls, “One day an envelope came through the door and it contained Dream Songs with words by Walter de la Mere. We first performed them in 1990 at the Royal International Concert Hall in Glasgow.” Four atmospheric and gentle songs.

Jumping at the Weekend Five short cartoons advertising forthcoming programmes, commissioned by London Weekend Television and devised by Pat Gavin (who created the iconic title sequence for the TV series Poirot). Scored for a regular big band.

Lamento d’Aianna A second work based on the Monteverdi madrigal Lasciate Mi Morire (see also After Ariadne) written for the Medici Quartet.

Nowell and Lullaby Baby Two unaccompanied carols (for SATB) written for and dedicated to the choir of Kings College Cambridge.

Morning Music Commissioned by Timothy Reynish and first performed at a major wind band conference in Boston (MA). Taking as its inspiration a sonnet by William Wordsworth, Composed upon Westminster Bridge, the work is in RRBs tonal/serial style, accessible but challenging. A Prelude and Finale envelope a central section that explores the sonorities of the symphonic wind band extensively. In preparing to compose this work RRB studied the Stravinsky Octet and Symphonies of Wind Instruments and the work of jazz pianist Gil Evans.

Sonata for soprano saxophone and piano The success of the soprano saxophone in Tender is the Night and his friendship with John Harle brought about this Sonata. In four movements, the third is based on Harold Arlen’s ‘Once I had a Sweetheart’ and the Finale is a rondo in which the episodes refer to the previous movements in sequence. John Harle comments, “The Sonata is now a standard work, I teach it all the time and it’s recorded extensively.” Harle gave the first performance with John Lenehan at the Purcell Room in November 1988.

Sonata for Wind Quintet and piano Gerard Reuter explains, “My quintet, The Dorian Wind Quintet of New York, met Richard at Dartington where we were playing his earlier Quintet. We enjoyed it so much that we commissioned a new work, which turned out to be the Sonata for Wind Quintet and Piano, Richard played it with us a few times including the

35 premiere in New York in April 1987.” In one continuous movement with a cadenza for the quintet followed by a cadenza for the piano towards the end.

Suite for Skip and Sadie Four pieces for piano, 4-hands, Skip and Sadie being RRB’s two cats. Delightful but difficult – to be played to children not by them. RRB performed the second piece (Sadie’s Waltz) with Susan Bradshaw in Barry Gavin’s 1987 film, Crossover.

1987

Poor Little Rich Girl A 5-part TV drama, based on the life of Barbara Hutton, starring Farrah Fawcett. Neil Richardson (who conducted) recalls, “I remember one particular problem where poor Richard was faced with trying to make sense of a shot where an actor was pretending to play the piano. Obviously the actor had no idea what he was doing! Richard did a brilliant job!” The series won a number of awards.

The Attic: The Hiding of Anne Frank Commissioned by Yorkshire Television. A typically poignant theme set variously for cor anglais and saxophone, the scoring also including RRB’s favourite ondes Martinot. Neil Richardson again MD.

Strange Interlude An adaptation of the play by Eugene O'Neill starring Glenda Jackson and Kenneth Branagh. Another collaboration with Neil Richardson.

Talking pictures RRB wrote the title and end music for this 10-part series. His pupil, Chris Gunning was MD. Scored for the colourful combination of brass ensemble, piano, harp and ondes Martinot. The series was written and presented by Barry Norman. (AKA The Story of Hollywood).

Concerto for clarinet and string orchestra Caroline Oakes (RRBs agent) suggested the idea of a concerto for another of her clients, Michael Collins. Though the work has not received many performances, Collins recalls, “I remember having a good time with this work. It was just up my street – plenty of notes to get around!”

Ophelia (Cantata) A setting of Ophélie by Arthur Rimbaud. Male alto Michael Chance commissioned RRB and received this intriguingly scored work for voice, ondes Martenot, harp and nine strings.

Symphony No.3 A masterpiece. Personal and deeply moving, revealing a remarkable structural cohesion. ‘A piece I like very much,’ comments RRB.

36 Concerto for marimba and chamber orchestra The success of After Syrinx II inspired RRB to write a second work for William Moersch. It requires a more traditional technical approach than its predecessor and is in two movements both including a very difficult cadenza.

1988

Concerto for alto saxophone and string orchestra There is much cross fertilization of musical ideas throughout the three connected movements.

Three Romantic pieces for solo piano Composed in 1988 for the 80th birthday of Howard Ferguson, these pieces again show RRBs genius in creating a work of rich diversity growing from economical means. All three pieces develop from the falling thirds of the opening. The music ranges from the tempestuous to the exceptionally beautiful.

The Man Who Lived at the Ritz A TV film starring Joss Ackland and Leslie Caron and based on a novel by A. E. Hotchner, this compelling international thriller is set in the famous Paris hotel where an American art student is caught in World War II Europe's political upheavals. The Ritz is now a seething nest of spies and disinformers and nothing is what it seems.

Concerto for 10 brass players Written for London Brass and in three movements. Andrew Crowley, who played in the first performance comments, “The piece was really well written and showed brass off in a really dynamic way. The audiences were fascinated by the sounds that he created - the flugel solos and the high D trumpet part for example.” The final movement is particularly bold in its unusual structure where various ideas attempt to take hold only to be continually interrupted. Dedicated to Dan Klein on his 50th birthday.

1989

The Flowers of the Forest The second BBC Proms commission. Based on the Scottish folk song The ‘Flowers of the Forest’ which dates from 1513. RRB used the same tune in his Six Scottish Folksongs (1972) for soprano, tenor and piano, and uses that arrangement to form the starting-point of this work for brass band. The work is cast in one continuous movement: an introduction followed by five variation-like sections and a coda. Charles Groves conducted the National Youth Brass Band on August 6.

Diversions A colourful orchestral work, composed for the tercentenary of the Robert Aske Foundation, and first performed by the combined Haberdasher’s Askes’ School Orchestras conducted by Stuart Miles at the Royal Festival Hall. It has been

37 described as ‘almost a one-movement symphony’, far removed from the modesty of its title. Based on a folksong like idea.

Arethusa A difficult and elaborate work for oboe quartet, commissioned by Graham Salter and Emer Calthorpe for the Arethusa Oboe Quartet and first performed at the Purcell Room. Graham Salter describes it as a ‘powerful piece’ and Gerard Reuter, who gave the US premiere, recalls, “I knew the earlier Quartet for oboe and strings, but this is much more harmonically lush – a really gorgeous piece.” In one continuous movement that includes intricate cadenzas for cello and oboe.

1990

Concerto for Stan Getz A seminal work, written for (though never played by) the great Stan Getz (1927-90), who died as the work was nearing completion. John Harle gave the first performance as part of the 1992 Proms season.

Percussion Concerto A four movement concerto for (mostly) unpitched percussion, dedicated to Evelyn Glennie. The soloist is required to improvise at times. The finale refers back frequently to the previous three movements.

Capriccio Written for Charles Dalglish this single movement work for cello and piano begins and ends with a spirited fast waltz enveloping a lively march. Tonal and melodious (also not too rhythmically and technically demanding) so makes for a very accessible addition to the cello repertoire.

Missa Brevis Commissioned for Canterbury Cathedral. RRB comments modestly, ‘I think I did something useful.’

Partridge Pie A set of 12 charming piano teaching pieces (about Grade 6) divided into two books inspired by the popular rhyme The Twelve Days Of Christmas.

1991

Celebration Barry Tuckwell was the founding musical director and conductor of the Maryland Symphony Orchestra and commissioned RRB to write a short orchestral work to celebrate the orchestra’s 10th anniversary. RRB attended the premiere which was very well received.

38 The Four Seasons Another work for wind band (with the addition of piano and harp), commissioned by the Cheltenham Festival. Discreetly serial, with a strong tonal feeling. Lyrical and energetic. The premiere was given at the Cheltenham Town Hall by the RNCM Wind Orchestra, conducted by Clark Rundell.

A Book of Hours Commissioned by the Nash Ensemble and dedicated to Susan Bradshaw on her 60th birthday. It is scored for wind quintet, harp and string quintet. There are five movements, played continuously. The central section of the central movement is a dramatic cadenza for horn and harp.

Sonata for Bassoon and Piano Written for Laurence Perkins who recalls, “Richard wanted to add to the rather restricted recital repertoire for bassoon. It’s a brilliant work, serial, but extremely satisfying to play and to listen to – in fact the audience loved it at the first performance. It’s very demanding and challenging for both players and Richard was very helpful in our rehearsals beforehand.”

Sonata for Cello and Piano This 4-movement work was commissioned by the Harrogate International Festival for its dedicatee, Alexander Baillie who recalls, “It is a beautiful piece: I enjoyed preparing it with Martin Roscoe for the premiere at Harrogate and a BBC recording. It’s full-blooded and satisfying. Richard was pleased with it and acknowledged the influence of Dutilleux’s Concerto for cello, Tout un monde lointain.”

Over the Hills and Far Away A typically invigorating and imaginative take (for piano duet) on some well-known tunes including Bobby Shafto, Golden Slumbers and Pop Goes The Weasel. The upper part is very easy while the lower part might be played by a teacher or more advanced pupil.

1992

Enchanted April Nominated for 3 Academy awards, from the studio that also made Shakespeare in Love. The MD was Neil Richardson. “A gorgeously filmed enchantment.”

Variations on a nursery tune Premiered at the same Prom as the Concerto for Stan Getz, this orchestral work also uses the tune Over the Hills and Far Away (see above). An effective piece of ‘light’ music with various references to other composers. It was commissioned by the BBC to celebrate the 40th birthday of the BBC Concert Orchestra.

Clarinet Quintet A second work for Michael Collins (and a favourite work of the composer’s). Colins recalls, “The Quintet has wonderful long lines and melodies. Really deserves

39 constant performances!” The critics also liked it. Recently recorded by Victoria Soames Samek, the first movement is lyrical and rhythmically complex; the march- like Presto is dazzling in its virtuosity; the Romanza combines 12-tone and Neo- Romantic influences and the final movement draws on RRB’s love of jazz.

Three Sondheim Waltzes Arrangements of three Sondheim tunes: Night Waltz, Barcelona and You Must Meet My Wife for saxophone and piano. Championed by John Harle. Gerard Reuter has also made an arrangement for oboe and piano.

Arabesque A short unaccompanied piece for oboe written in memory of Janet Craxton. Based on a twelve-note sequence (announced at the start) though not strictly serial.

Sermons and Devotions Commissioned by, and dedicated to the King's Singers. For six voices, using many vocal combinations: solos, duos and trios, solo voices against sustained chords and richly contrapuntal textures. The finale resounds with dramatic bell-like sonorities. Simon Carrington, who sang in the first performance, writes, ‘the work displayed RRB’s masterly voicing and sensitivity to the Donne poem’s shifting moods.’

1993

Concerto for Trumpet and Wind Orchestra A work of considerable stature. Tim Reynish, for whom the work was written, recalls, “I went to the RAM to hear a performance of Morning Music. It happened to be my birthday and I wrote a cheque there and then for £1000 and gave it to Richard asking him if he would consider writing a Trumpet Concerto! I expected to wait many months for a response but just a few weeks later it arrived! It’s a really marvellous piece.”

Barcarolle Written for pianist Carol Rosenberger for her album, Singing on the Water. The manuscript arrived bearing a note from RRB in which he describes the work as ‘feverishly romantic.’

Excursions Three highly accessible piano movements sharing stylistic (even some thematic) links with Gershwin’s Three Preludes for piano though longer and much more sophisticated.

1994

Four Weddings and a Funeral Tremendously successful and award winning film directed by Mike Newell. RRB was nominated for a BAFTA Award for Best Film Music. Neil Richardson was MD.

40 Bassoon Concerto In three movements, the first including a dramatic cadenza for the soloist. The final bars of the work quote the opening thus bringing the listener full circle. Not one of RRB’s favourite works.

Saxophone Quartet Written for Rob Buckland and the Apollo Quartet. Buckland writes, “The work is beautifully crafted, and has proved to be a significant addition to the classical quartet repertoire. The two outer movements are characteristically Richard – dynamic and spirited - and the inner slow movement is an astonishingly beautiful, brooding masterpiece in it's own right.” Premiered at the Cheltenham Festival.

Impromptu on a theme of Henri Dutilleux Ravel was an influence on early Dutilleux and is apparent here too. Dutilleux was delighted with this little piano homage and the two composers became friends.

Calico Pie A setting for unaccompanied chorus of five poems by Edward Lear commissioned by and written for Stephen Wilkinson and his William Byrd Singers, premiered in May 1995 at the Royal Northern College of Music. Stephen Wilkinson and RRB met in a pub in Bolton to discuss the work. “Richard must have enjoyed himself enormously writing it!” Wilkinson writes.

A History of the Thé Dansant Evocative settings of three poems from 'Selves' by M R Peacocke (RRBs sister, Meg) written for and first performed by Barbara Rearick and Martin Jones in Burnham Market in August 1994.

1995

Partita A masterpiece that synthesizes and encapsulates RRB’s musical language.

1996

Swann Ann Scott (also responsible for Enchanted April) produced this thought-provoking and measured thriller. RRB provided a suitably thoughtful strings-only score.

Three Piece Suite An arrangement (for saxophone and piano) of three movements from Four Piece Suite for John Harle who comments, “I love these great miniatures”.

41 1997

Rondel Test piece for the 1997 Lionel Tertis International Viola Competition which was won by German viola player Roland Glassl.

1998

The Tale of Sweeney Todd Winds and harpsichord (Stravinsky-like) are perfect to represent this dry and heartless version of the tale under the direction of John Schlesinger. John Harle worked with RRB on this very effective score.

1999

Reflections on a 16th Century Tune Commissioned by the European String Teachers Association. A richly moving and very playable work that looks to Vaughan Williams for its sonorities. Based on the French song A l’ombre d’un Buissonet (1536). There is also an arrangement for double wind quintet.

Fanfare on a 16th Century Tune For 8 brass (4tpt.4tbn) and first performed by the Wallace Collection at the Newbury Spring Festival. Based on a French popular tune, Au bois, au bois, Madame. Also exists in a version for two pianos.

Rondel for large jazz ensemble Commissioned by the London Sinfonietta in tribute to Duke Ellington. The third work in a row based on a 16th century tune, this time Je fille quand Dieu me donne de quoy, also quotes from Duke Ellington’s ‘I’m gonna go fishin’, from the 1959 film ‘Anatomy of a Murder’. John Walters, in The Independent, wrote, "A virtuosic piece of orchestration, a busy jazz waltz that recalled British big bands of the pre- Westbrook/Gibbs era.”

A Contemplation Upon Flowers Text by Henry King (yet another link with the 16th century), written for SAATB in memory of RRB’s friend and piano-duo partner, pianist John Phillips. RRB describes the poem as ‘ravishing’. Resplendently tonal.

A Good-Night Robin Wells (Director of Music at Charterhouse) recalls: A Garland For Linda was sponsored by the VW society and so I was very much at the heart of the project. It was inspired by the Garland for the Queen in 1953 where ten leading British composers (including VW, Bax and Bliss all contributed new works). We commissioned eight composers, including McCartney himself, to write a work in memory of Linda McCartney and the performances took place in Charterhouse Chapel on a beautiful summer’s day (18th July 1999). Richard’s piece, A Good-Night,

42 is a beautiful miniature – very understated. All nine composers came to the performance including Paul McCartney. His attendance meant that we had to have an extraordinary amount of security – as much as we did when we had a visit from the Queen!

On Christmas Day to my heart A luminescent and vigorous 4-minute carol commissioned by King's College, Cambridge, first performed under Stephen Cleobury at the Festival of Nine Lessons and Carols, 1999.

Taking a Line For a Walk A delightful miniature (lasting just over a minute) commissioned by Thalia Myers as part of the Spectrum project for the Associated Board. A single melodic line (in octaves) weaves its delicate but determined way forward. It is joined by some colourful chordal writing towards the end and finishes with petite flourish.

2000

Gormenghast An outstanding score (certainly RRB’s finest for the small screen) very much in the style of Partita (1996). Nominated for many BAFTA awards including Best Original Television Music. John Wilson did the orchestrations.

Seven Country Dances Seven tunes from Playford’s ‘The English Dancing Master’ given the RRB treatment. Written originally for Nicholas Daniel (oboe) who gave the first performance with the Britten Sinfonia. Also arranged for John Harle’s soprano saxophone and four arranged for oboe/sop saxophone and piano.

Carol A dark and poignant carol with words by Irish poet W.R.Rodgers (whom RRB had set before, see Put Away the Flutes). Commissioned by the BBC for a BBC Singers Christmas album.

The Glory and the Dream A large scale choral work for mixed voices and organ, Commissioned by Simon Carrington and the New Cambridge Singers at the University of Kansas. A setting of Wordsworth’s Ode ‘Intimations of Immortality’.

2001

Country Dances Five Playford arrangements, three from Seven Country Dances and two new ones. For chamber orchestra. ‘Country Dances proved to be natural successors to Peter Warlock’s Capriol Suite’ wrote Keith Potter in The Independent.

43 Anniversary Variations Commissioned by Gerard Reuter to celebrate the 40th anniversary of The Dorian Wind Quintet. 5 composers contributed to a set of variations on the melody from the slow movement of the Reicha’s Eb Quintet, Op 88 No 2. RRB wrote the first variation, Con eleganza. Echoes of Travel Notes 2.

Partita for Solo Cello Commissioned by Raphael Wallfisch. Variations on a tune from Playford’s Dancing Master (‘A Morisco’).

A Farewell to Arms A second work to use this title (see 1959). Commissioned by Philip Brunelle (founder and conductor of VocalEssence) for mixed choir and cello to programme alongside Giles Swayne’s The Silent Land for the same combination. Brunelle comments, ‘it’s an amazing work. We loved doing it.’

2002

Suite Francaise RRB writes, “Suite Française is dedicated to all the flute players who have played my 'Summer Music', especially the group of young players who played me the slow movement, 'Siesta' in unison and from memory.” Based on French popular songs, written between the 15th and 19th centuries. (Two versions: flute and piano and flute and orchestra)

Songs before Sleep Six nursery rhyme texts beautifully set for voice and piano or voice and strings. Sophisticated, serious and deeply felt.

Town and Country For unaccompanied SATB. Written for David Matthews and the Deal Festival (of which RRB was the President). Two settings, The Sun has long been set (Wordsworth) and Town and Country Life (Morris) linked thematically.

2003

Six Country Dances One new Playford dance arrangement (All in a Garden Green) to add to various chosen from the previous collections (see 2000 and 2001), this time for violin (viola or cello) and piano. Dedicated to RRB’s friend Charles Hart.

The Ballad of Sweet William This work was composed for the Young People's Chorus Of New York, and based upon an18th Scottish ballad, Sweet William's Ghost. For children’s chorus and piano duet. RRB played (with Scott Dunn) at the premiere on 25th April 2004. Francisco Nunez, who commissioned the piece comments, ‘It’s very haunting and beautiful and

44 the piano part is very sophisticated. Richard was lovely to work with and the children enjoyed it very much.’

This Day Written for Philip Brunelle for the 35th anniversary of VocalEssence. A regal-like choral fanfare set to words by John Donne.

Voyage For mezzo soprano and piano, commissioned by David McCleery to celebrate the wedding of John Chambers and Rachel Fisher at St Aengus Church, Burt, Co Donegal on 27 December 2003.

2004

Reflections on a Scottish Folk Song Richly textured and firmly rooted in the mainstream English style. Commissioned on behalf of HRH the Prince of Wales, in memory of his grandmother, Her Majesty Queen Elizabeth the Queen Mother.

2005

Ballad in Memory of Shirley Horn For clarinet and piano. Commissioned by Nigel Hinson who gave the first performance on Artie Shaw’s clarinet which he’d recently purchased. Composed in memory of jazz singer Shirley Horn. Hinson writes, “I love the harmonic language and the piece is very programmatic – you can hear Shirley Horn actually dying at the end.” Saxophonist Andy Scott worked with RRB on a Tenor Saxophone version.

Time For seven-part (SAATTBB) unaccompanied choir. In RRBs characteristic and accessible tonal style. Dramatic.

2006

Troubadour Music A vibrant, colourful and vigorous set of three short variations, much in RRB’s ‘film- music’ style, for clarinet and piano based on a 13th century minstrel song, volez vous que je cous chant, written for Christopher Richards. Premiere was at the Wigmore Hall on July 25, 2008. There is also an orchestral version commissioned to mark conductor John Mauceri’s final concert with the Hollywood Bowl Orchestra.

The Garden, A Serenade to Glimmerglass Commissioned by and dedicated to Nick Russell of Glimmerglass Opera who asked for a work in the same guise as Vaughan Williams A Serenade to Music (16 solo voices) to mark the retirement of Stewart Robertson who had both conducted and recorded Mines of Sulphur. Russell describes it as “absolutely exquisite; soaring lyricism with glorious cluster chords within a tonal and romantic framework.”

45

Verses on Saint Cecilia's Day For unaccompanied SATB. Malcolm Archer (who conducted the first performance) was dining with Jane Manning and mentioned how much he would like RRB to write for the traditional Saint Cecilia's Day service at St Paul’s Cathedral. She acted as a go-between and the composer (who was delighted at the commission) came over for the performance.

I Saw Three Ships Unaccompanied carol for SATB with a modal flavour. Commissioned by Gloucester Cathedral.

2007

Lilliburiero Variations Nearly sixty years on, RRB returns to the popular 17th century march tune ‘Lilliburlero’ (see 1949) and again it inspires a set of variations. Originally for two- pianos (commissioned by the Dranoff Two Piano Foundation for its 2008 International Competition and won by Russian duo Irina Silivanova & Maxim Puryzhinskiy) it was later reworked for full orchestra and premiered at a Prom in July 2009. There are six engaging variations in a variety of styles.

Four Poems of Thomas Campion Fourth BBC Proms commission. RRB wrote the very short programme note which simply detailed the source of the texts. He requested that no description of the music should be included. George Hall, (The Independent on Sunday) wrote: “Bennett comes up with a huge range of striking colours and translucent textures to match words perfectly designed for music. The scoring for unaccompanied choir is hugely imaginative.” Premiere given by the BBC Symphony Chorus, conducted by Stephen Jackson on August 5.

Serenades Five short poems by fifteenth century Poet Laureate John Skelton set for unaccompanied SATB.

These Three Anthem for unaccompanied SAATTB. Commissioned by the Dean and Chapter of Westminster to mark the Diamond Anniversary of the marriage of the Queen and Duke of Edinburgh. First performed by the Westminster Abbey Choir, directed by James O’Donnell, at a service in Westminster Abbey on 19 November 2007. O’Donnell comments, ‘It’s a very direct setting, very accessible.”

2008

I Wonder as I Wander

Jonathan Manners (who conducted the premiere) explains: “We wanted a new work to be the central pillar in our Cancer Research UK Carol Service and I decided to go

46 to the top, not expecting Sir Richard to say yes! It’s such a beautiful carol, rhythmically interesting, unusually in seven-four. It worked perfectly.” First performed 22 December 2008.

My Dancing Day Commissioned by Jerry Johnson (a member of VocalEssence) in memory of his mother but also written to celebrate the 80th birthday of Thea Musgrave. Philip Brunelle, who conducted the first performance (7th December 2008) describes is as ‘A fabulous piece and the next embodiment of the setting of the same words by Gustav Holst.’

2009

Chelsea Reach An arrangement of a movement from Seven Country Dances (2000), for String Orchestra.

A Song at Evening For unison voices and piano. In RRB’s inimitable tonal style; delicate and simple. Written for Christopher Berriman (who describes it as ‘wonderful – a little piece of whimsy’), to mark his retirement as Director of Music at Northbourne Park School (originally Betteshanger where RRB was as a boy). First performed by the school choir on June 20th at Berriman’s farewell party.

2010

Memento for piano and violin

Remember, O thou man For Coro and their conductor Mark Griffiths on the occasion of the choir's tenth anniversary, December 2010

Coventry Carol Commissioned and first performed by YiRu Hall and the Portsmouth Grammar School Chamber Choir at Portsmouth Cathedral on 14th December 2011

Four American Carols Scored for unison voices and strings or piano. Gently and undemanding stylistically.

Gloria, Gloria A short carol in typical RRB Christmas style.

The Holly and the Ivy and The Shepherd’s carol Another carol, this time commissioned by the Friends of All Saints’ Music, Northampton, for Lee Dunleavy and the Choirs of All Saints' Church, Northampton

47 In the Bleak Mid-Winter Yet another carol.

2011

Birthday Music A short work (one minute) for orchestra

Three Duets for two violas Teaching pieces for pupil and teacher.

A Song at Evening For voices and small orchestra was commissioned by Jesus College Cambridge, and first performed at St John's Smith Square by the Choirs of Jesus College Cambridge and Britten Sinfonia, directed by Mark Williams, on 26th June 2011.

2012

Colloquy with God A 3-minute choral work with piano commissioned by the Swaledale Festival for a performance by the Royal Holloway Choir and Acoustic Triangle in Richmond, North Yorkshire on 26th May 2012.

Introit: One Equal Music A short (two and a half minutes) choral work commissioned by the Frank Clarke- Whitfeld Trust and the Three Choirs Festival for the choir of Hereford Cathedral and Geraint Bowen. First performed at the Three Choirs Festival Eucharist on 22 July 2012 at Hereford Cathedral, by the choir of Hereford Cathedral, conducted by Geraint Bowen.

48