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Home , April Cantelo, A Moorside Suite, Brook Green Suite, Cecil Aronowitz, Choral Symphony (Holst), Elizabeth Maconchy

Catalogue of ’s works

christopher tinker & rosamund strode revised and updated by christopher grogan

Introduction This catalogue sets out to list chronologically IH’s musical output in all its forms. So much of her creative activity involved an element of original work – whether through arrangement, realization or editing – that it has seemed appropriate to deal with all her works together; where desired, the index of works can be used to isolate IH’s entirely ‘original’ compositions from her arrangements and editions. The exceptions to the single chronological sequence relate to the edi- torial and arranging work that she performed for the two composers to whom she dedicated most of her creative energies – and . The piano and vocal scores that she prepared for Britten’s works from 1953 through to 1964 are listed separately as are her editions and arrangements of her father’s compositions. It should be said at the outset that because of the nature of IH’s music-making, and in particular her attitude to music as something to be ‘useful’, this cata- logue can have no pretensions to be complete. IH habitually made editions and arrangements of music to suit the frequently amateur and ad hoc performing forces assembled for a single event, not to mention the transcriptions she made of medieval and for the Purcell Singers. As she was in no sense a hoarder, much of this work will have been dispersed or even destroyed, perhaps irretrievably, although it is hoped that the publication of this cata- logue may in itself help to bring lost items to light. The editors will certainly be very pleased to hear from any readers with additions and emendations. The catalogue is divided into three main sections:

A Compositions, arrangements and editions B Editions of music by Gustav Holst C Vocal and piano scores of music by Benjamin Britten

followed by two indexes:

D Index of first lines and titles E Index of names

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The order of the catalogue is as chronological as has proved possible, given the level of uncertainty surrounding the composition of much of IH’s work. She abandoned the use of opus numbers while still a teenager, after her ‘op. 4’, and the dating of many works has had to be based on stylistic and contextual evidence. In addition, many of her works and collections were assembled over a number of years. For each year, therefore, the following order has been adopted, following the principle of moving from the general to the specific:

1 Works begun in a known year spanning a number of years 2 Works conjecturally assigned to the year (dates in square brackets, with a circa designation), ordered alphabetically 3 Works known to have been written in that year, ordered alphabetically 4 Works known to have been completed on a certain date within the year, ordered by date.

This order has been overridden, however, both at the beginning and the end of the sequence. At the beginning IH’s use of opus numbers gives a clear reading of the chronology; at the end the final two entries comprise works that she left incomplete. In the sections relating to her work on the music of Gustav Holst and Benjamin Britten, the chronological arrangement is by date of publication (or first performance for unpublished works). Details of manuscript holdings are given where known. They are, as might be expected, usually in IH’s hand, but copyists are identified wherever pos- sible. Lost manuscripts, of which there are many, are listed as ‘Whereabouts unknown’, in the hope they may yet reappear. First performance details are given when they have been traceable; press reports are mostly confined to those in the national press and readily available music periodicals. Durations are inevitably approximate, given the paucity of performances of IH’s works, and have only been recorded in the case of works that last for 5 or more min- utes to assist performers in their choice of repertoire. Other commentary has been added where it adds to our understanding of a work and its composition and performance history.

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A Compositions, arrangements and editions

August 1918 1918 Sonata in D minor, op. 1 Duet for and Piano, op. 3 for violin, viola, cello and piano Manuscript non-autograph, 2pp; HF. IH’s One movement only annotation, ‘handwriting unknown’, Manuscript non-autograph; two fair was added at a much later date. copies, both in the hand of Mabel 1920 Rodwell Jones: (a) 4pp, (b) 6pp; HF The Masque of the Tempest, op. 4 Notes Composed at . Mabel 1. Nymphs’ Dance, for fl, cl, tri, strings Rodwell Jones was an ex-pupil of GH, 2. Shepherd’s Dance, for strings and was on the staff of James Allen’s Manuscripts 1. 3pp non autograph; 2. Girls’ School, , one of the 4pp. Sets of parts for both movements schools where he taught. also exist; hands include those of Jane 1918 Joseph (a former pupil of GH at St Four English Christmas Carols, Paul’s Girls’ School and on the music op. 2 staff at Eothen School) and a little by 1. A Christmas Lullaby: Sleep, baby, GH; HF sleep, the mother sings (J. A. Dedication ‘To R.M.’ Symonds) Notes Eothen school magazine for 1920 2. Out of the Orient lists, in the School Calendar of Events, 3. Now thrice welcome Christmas the following entry for 9 July: ‘Dance 4. Gabriel that Angel bright of Nymphs and Shepherds, composed Words Nos. 1–3 from Ancient English and arranged by I. Holst’. At this Christmas Carols, 1400–1700, ed. Edith time IH hoped to be a dancer, so her Rickert (London: Chatto & Windus, talents were combined in this school 1914) performance; as well as arranging Manuscript 2pp, incomplete, separate the dancing, she took the part of first words; HF nymph. GH heard the performance Notes The music consists of and commented: ‘I wish I could have unaccompanied tunes only; the written anything as good at that fourth carol is unfinished. IH’s copy age.’ The style of the ‘Nymphs’ Dance’ of Rickert’s collection is inscribed ‘To reveals the helping hand of a teacher, Imogen to help her do her Opus II the ‘Shepherd’s Dance’ being more and in honour of Opus I from Father, obviously unassisted work. Thaxted, August 1918’. IH continued 1921 to use the book as a source for texts Resonet in Laudibus through her career, calling on it for the Carol arranged for unison voices and last time in December 1968 for Out of small your sleep. The first carol is listed in 1.1.1.0–1.0.0.0–tri–strings the programme for the distribution of Words From Piae cantiones Prizes and Certificates at James Allen’s Manuscript 8pp, incomplete; HF Girls’ School on 19 December 1918.

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Notes Probably written in the autumn May 1926 1921 during IH’s first term at SPGS, the Weathers carol was orchestrated by Nora Day, This is the weather the cuckoo likes one of the music teachers at the school. A for Voice and Piano Words Spring–Summer 1925 Manuscript 4pp; HF An Rhapsody for orchestra and treble October–December 1926 2.2.2.1–2hn–timp–strings; voices in Theme and Variations unison for piano solo Duration 5' Duration 13' Manuscript 22pp, some pencil Manuscript 20pp; HF annotations by GH; HF First performance 5 July 1927, at an RCM First performance 28 July 1925, at St Informal Concert, played by IH Paul’s Girls’ School Speech Day Notes The Holsts had given up their Notes The folk song ‘As I walked out’ on London house as soon as IH left school which this work is based was noted in in 1925, so as a student, she lodged for 1904 by Vaughan Williams. IH wrote some time at Bute House, the boarding this single-movement Rhapsody in house for SPGS, where this work, her last term at SPGS, when she was a comprising eleven variations on an composition pupil of . original theme, was written. After the work’s first outing she was January–March 1927 promised a performance in the USA Mass in A minor by an unnamed American, but nothing for SSATB appears to have come of this. Kyrie August 1925 Gloria Three Credo for treble voice, two violins and cello Sanctus – Osanna – Benedictus 1. The Willow: Leans now the fair – Osanna willow, dreaming Agnus Dei 2. The Fool’s Song: Never, no never, Duration 18' listen too long Manuscript 54pp; HF 3. Exile: Had the gods loved me April 1927 Words Walter de la Mare Suite in F for Strings Manuscript 14pp in all; HF Allegro assai February 1926 Manuscript 21pp; HF Two Four-part Rounds Notes This suite movement, together for equal voices with the one that follows and the 1. Come sit aneath this pine tree (from preceding Mass, would have been The Greek Anthology) written at Bute House as part of IH’s 2. I wander north, I wander south work with , then her (translated from the Chinese) composition professor at the RCM. Manuscript 2pp; HF The two manuscripts are similarly presented; the first is named ‘Suite in

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F for strings – First movement’ and days) believed that the manuscript the second, using augmented forces, was lost or destroyed. Details of the ‘Suite for small orchestra – Slow movements are not recorded. movement’. If there ever were any other July 1928 movements, they do not seem to have Phantasy survived. for string quartet April–May 1927 Duration 9' Suite for Small Orchestra Manuscript 2 scores, both of 23pp; HF 2.2.2.1–2hn–timp–strings First performance 27 February 1929, Moderato RCM, by Reginald Morley, Barbara Manuscript 17pp; HF Pulvermacher, Mary Gladden and Olive Richards 1928 Notes Written as an entry for the 1928 Quintet Cobbett Prize, which it won, with for and strings placed second. The 1. Moderato work was reviewed in the Monthly 2. Allegro assai Musical Record of February 1929 3. Lento and April 1929; two subsequent 4. Allegro performances and a BBC broadcast Manuscript whereabouts unknown in 1930 were reviewed in the Daily Dedication ‘To Sylvia Spencer’ Telegraph (14 July 1930), Daily Mail First performance 3 December 1931, (29 October 1930) (14 Ballet Club Theatre, Ladbroke Road, October 1930) and the Liverpool by Sylvia Spencer and the Macnaghten Post and Mercury (22 October 1930). String Quartet Among those who congratulated IH Notes The first performance took on this achievement was the poet John place as part of the first year of Masefield, who sent her a book of tales the Macnaghten concerts, which on hearing of her success. were to provide a platform for new chamber works by (especially) women Autumn 1928 composers. IH’s Suite for Viola (1930) Suite was also performed in the 1931 series for flute, oboe, clarinet and bassoon of concerts. The Oboe Quintet was 1. Prelude reviewed in The Times on 5 December 2. Contredanse 1931. 3. Minuet and Trio 4. Gigue 1928 Duration 6' Sonata in G Manuscript set of parts only, 23pp in all for violin and piano (not all autograph); HF Manuscript whereabouts unknown First performance probably 3 December First performance 29 May 1928, at an 1928, the County Secondary School, RCM Informal Concert, by Victoria Clapham, by Lilian Cook, Sylvia Reid and IH Spencer, Inez Sworn and Miriam Notes The violinist (later Mrs Ingrams – a Brightman lifelong friend of IH’s since their SPGS

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1929 brought out in 1920. Several Morris Overture ‘Persephone’ dance tunes are introduced during the for orchestra course of the music, including ‘Bonnie 3(3 = picc).2.corA.2.2.dbsn–4.3.3.1–timp– Green Garters’, ‘Shepherd’s Hey’, ‘The perc–cel–hp–strings Rose’ and ‘The Wind Blaws Cauld’. The Duration 12' first known performance of the Suite Manuscript 68pp; HF was given in its string version so that Dedication ‘To E.B.’ [E. B. Worthington] the work could be played at the RCM First performance 5 July 1929, RCM, at a just before IH left in July 1930. Patron’s Fund ‘Rehearsal’, by the New The original brass band version was Symphony Orchestra, conducted by included in a concert of Holst works given in Carlisle on 12 February 1933 to Notes Reviewed in the Daily Mail, the honour the memory of GH’s maternal Daily Telegraph and Manchester uncle, Dr Henry Ambrose Lediard, a Guardian of 6 July 1929, and The local physician; proceeds from the Musical Times, August 1929. concert went towards the Mayor’s Fund for Unemployment. GH himself 1929 conducted St Stephen’s Band in a Suite ‘The Unfortunate Traveller’ performance of his (a) for brass band and, while working out the programme (b) arranged by IH for strings (1930) beforehand with his pianist cousin, 1. Introduction Mary Lediard (who was organizing the 2. Scherzo event) he had suggested that IH’s Suite 3. Interlude for brass band might also be included. 4. March In an interview at the time with a Daily Manuscripts (a) 53pp; HF. (b) 32pp, Mail correspondent IH said, ‘… it is incomplete; lacking the end of the the first time, so far as I know, that a Interlude and the March; HF woman has conducted a brass band at Dedication ‘To St. Stephen’s Band, a public concert … it has been a delight Carlisle’ to rehearse the St Stephen’s Band. It First performance (a) 12 February 1933, was their performance at the Crystal Her Majesty’s Theatre, Carlisle, by St Palace festival that inspired me to write Stephen’s Band, Carlisle, conducted by this Suite, which I have dedicated to IH; (b) 15 July 1930, RCM, by the Strings them.’ of RCM Third Orchestra, conducted by The first performance of the brass W. H. Reed band version was widely reviewed in Notes In the summer of 1930 IH, by the press, including the Daily Mail (13 then a composition student of Gordon February 1933) and a range of regional Jacob, submitted a brass band score to newspapers. the examining professors for her last grading examination at the RCM. The [circa 1930] Unfortunate Traveller was suggested by What Man is He? Thomas Nashe’s picaresque romance for SATB chorus and orchestra of the same title, published in 1594, 2.2.2.2–2.2.1.0–timp–organ ad lib–strings of which a modern edition had been Duration 6'

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Words From Book of Wisdom IX:13–17 Ballet Club Theatre, Ladbroke Road, by Manuscript 19pp; HF Violet Brough Notes The date of this composition is Notes The concert including the first not known for certain, but the musical performance, which also featured style suggests 1930; a later setting of the works by , Patrick same text dates from Spring 1944. Hadley and , was reviewed in the Morning Post and the 1930 Daily Telegraph on 15 December 1931. Ballet: ‘Meddling in Magic’ for orchestra October–November 1930 1(= picc).1.2.1–2.2.1.0–timp–perc–strings Sonata Duration 35–40' for violin and cello Manuscript 161pp; HF 1. Allegro ritmico Notes The Camargo Society was 2. Adagio formed early in 1930 (after the death 3. Presto, molto leggiero of Diaghilev) by Lydia Lopokova, Duration 17' Constant Lambert and others, in Manuscript 31pp; HF order to put on ballet in London; it Notes Written while the composer was to lead to the development of the was visiting Vienna on the travelling Vic-Wells Ballet Company. Meddling scholarship gained at the RCM. There in Magic, based on the story of the is no record of any performance of this Sorcerer’s Apprentice, and with work. choreography by Dorothy Osborne, 1932 was seriously considered by the A Book of Tunes for the Pipes Society in 1930 and 1931, and was collected and arranged by IH even announced in the Daily Mail in September and October 1930; however, part 1: Country Dance Tunes (taken it was never staged. from Playford’s The English Dancing Master) Summer 1930 1. If all the world were paper (2 players) Suite 2. All in a garden green (3) for unaccompanied viola 3. My Lord Byron’s maggot (2) 1. Prelude 4. Jamaica (3) 2. Cinquepace 5. Never love thee more (3) 3. Saraband 6. Argeers (3) 4. Gigue 7. The Dargason (3) Duration 9' 30" part 2: and Part Songs Manuscripts (a) Sent by IH to Bernard 8. Robin-A-Thrush (3) Folk song Shore in 1934, now at the RCM. (b) 9. My bonnie, bonnie Boy (4) Folk song Fair copy, given as a wedding present 10. My Johnny was a shoemaker (3) Folk in June 1932 to Leila Andrews, a friend song and contemporary of IH at SPGS. 11. Now is the month of maying Published Roberton, 1991 (5) Dedication ‘For Leila, with love from 12. Come again, sweet love (4) John Imo, June 1932’ Dowland First performance 14 December 1931,

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13. A measure to pleasure your leisure(5) sixteen. By 1932 she was working as G. B. Martini, arr. GH an occasional member of staff for the 14. Pastoral (3) GH EFDSS, and this Suite formed part of Manuscript whereabouts unknown the broadcast programme celebrating Published Cramer, 1932, under the the coming of age of the Society. It auspices of the Pipers’ Guild. In later consists of a continuous arrangement reprints the title became First Book of four morris dance tunes of Tunes and the original no. 10 (‘My collected by – ‘Bonny Johnny was a shoemaker’) was moved green garters’, ‘I’ll go and enlist’, to the end of the book, giving a more ‘Shepherd’s Hey’and ‘The rose’. The practical page layout to the last five Suite was often performed on later pieces. EFDSS occasions, and was broadcast Notes The Pipers’ Guild was founded twice in the spring of 1934. in 1932, thanks to the activity of 1933 Margaret James, a Eighteenth Century Dances schoolteacher who had for some time selected and arranged for piano, with been teaching children and amateur directions for performance musicians how to make their own 1. The Penelope pipes (fipple flutes) out of bamboo, 2. Whitehall Minuet and then to play them in consort. Her 3. I often for my Jenny Strove classes and demonstrations attracted 4. Manage the Miser many EFDSS musicians, and IH 5. The Tub recognized the value that these home- 6. Joy after Sorrow made instruments could have in the 7. The Cuckoo enjoyment and teaching of music. (All Manuscript whereabouts unknown this was, of course, several years before Published OUP, 1933 mass-produced, inexpensive recorders First performance probably 19 April 1933, became freely available for beginners.) in a BBC Scottish Regional broadcast; Playford’s The English Dancing four titles only, played by IH Master was a favourite source book for Notes IH performed four of these at the IH, who returned to it many times. Summer Festival of the English Folk November 1932 Dance Society at Reading, 1933, playing Morris Suite them on the virginals. (Another title arranged for small orchestra on this programme was ‘The Duchess’, 1.1.2.1–timp–perc–strings which was not to be published until Manuscript 37pp; HF 1937.) The tunes are taken from the First performance 6 December 1932, seventeenth edition of Playford’s The Cecil Sharp House, London, by the Dancing Master and arranged for BBC Theatre Orchestra, conducted by junior grade pianists. New, easy dances Stanford Robinson ‘invented in the style of the older forms Notes IH’s lifelong enthusiasm for folk of country dance’ are substituted for music began even before she became the original ones, which IH felt lacked a member of the EFDS in 1923, when interest for young people. she reached the qualifying age of

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1933 Published Novello, 1935 A Second Book of Tunes for the First performance probably 19 April 1933, Pipes in a BBC Scottish Regional Broadcast, collected and arranged by IH by Peggie Thomson and IH part 1: Country Dance Tunes (taken Notes The work attracted favourable from Playford’s The Dancing Master) reviews in the Monthly Musical Record 1. Milk Maid’s Bobb (2) (May 1935) and The Musical Times 2. Pretty Peggy’s minuet (3) (March 1936); it was the first of IH’s 3. Maiden Lane (3) arrangements to be published by 4. Have at thy coat, old woman (2) Novello. 5. Ginnie Pug or Strawberries and 1934 cream (3) Five Short Airs on a Ground 6. Black and gray (3) for pipes 7. Pity, or I die (3) 1. Quick and light (5 players) 8. The fit’s come on me now (4) 2. Fairly slow (3) part 2: Songs 3. Very quick (3) 9. Wilton Fair (3) Hampshire Folksong 4. Slow and sustained (3) 10. On Monday morning (2) Hampshire 5. As fast as possible (5) Folksong Manuscript whereabouts unknown 11. Thou Shepherd, Whose intentive eye Published Cramer, 1934, under the (3) Henry Lawes auspices of the Pipers’ Guild 12. A Christmas lullaby (3) IH Notes These original airs are prefaced 13. Trip it, trip it in a ring (3) Henry by a note: ‘In each of these pieces Purcell the ‘ground’ is meant to be played by 14. Late in my rash accounting (3) beginners, and can, if necessary, be played on unfinished pipes with only Manuscript whereabouts unknown two holes. The grounds themselves, Published Cramer, 1933, under the different for each Air, are for treble auspices of the Pipers’ Guild pipe in D.’ First performance The first known 1934 performance was on 5 June 1934 in Five Short Pieces the Aeolian Hall, by the Pipers’ Guild for piano solo Quartet at a concert given by the 1. Prelude Oriana Society. 2. March Notes No. 12 appears to be an 3. Canon arrangement of an original 4. Toccata by IH, but no other version has been 5. Nocturne found. Manuscript whereabouts unknown 1933 Published OUP, 1935 (Oxford Piano Two Scottish Airs Series; no. 212. Grade B). A shortened arranged for cello and piano version of no. 4 is included as no. 21 1. My only Joe and dearie of Piano Time Pieces, ed. Pauline Hall 2. Come under my plaidie (OUP 1989). Manuscript whereabouts unknown

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1934 became aware of the living English Four Oxfordshire Folk Songs folksong tradition, 1903–4. arranged for two sopranos with piano 1934 accompaniment Love in a Mist or The Blue Haired 1. Pretty Caroline Stranger 2. Now the winter is gone arranged for orchestra from music by 3. The seeds of love Scarlatti 4. A bunch of green holly and ivy Manuscript whereabouts unknown Manuscript whereabouts unknown First performance 19 January 1935, in the Published Novello, 1936 (separately, in Rudolf Steiner Hall, London, orchestra the series ‘Novellos’s Schools Songs’) conducted by IH. First performance ‘Pretty Caroline’ and Notes One of three folk dance ballets ‘Now the winter is gone’, probably on choreographed on the occasion 3 March 1934, at the Assembly Rooms, of a fund-raising event for the Oxford, the first as a solo song by International Festival of Doris Aldridge of Burford 1935, by Amy Stoddart, a gifted part- Notes Three of the tunes were originally time staff member of the EFDSS who noted by Cecil Sharp; no. 4 was noted taught geography at SPGS. No details by the Revd C. F. Cholmondley and of the Scarlatti pieces used by IH, or Miss Janet Blunt. The concert on 3 of their orchestration, have come to March 1934 was the last that GH ever light. The ballets, which included one attended. to GH’s St Paul’s Suite, were performed 1934 again on 29 February 1936 at Morley Four Folk Songs College under Arnold Foster, in aid of arranged for SSA their Gustav Holst Memorial Fund. 1. Hares on the mountains: If all those The first performance was reviewed young men in the national press, by 2. It’s a rosebud in June (20 January 1935), The Times and the 3. Sweet Kitty: As he was a-riding London Evening News (21 January 1935). 4. The crabfish: There was a little man 1934 Manuscript whereabouts unknown Nowell and Nowell Published Novello, 1934 (separate Folk song. Collected by Cecil J. Sharp and leaflets) arranged for mixed voices [SSATBB] Dedication ‘To the singers at Eothen’ Manuscript whereabouts unknown (no. 4) Published Novello, 1934 (in Musical First performance Folk Music Festival, Times, no. 1102, December 1934) 1936, organized and adjudicated by Dedication ‘To the Westhall Hill Singers’ IH. The first two songs appear on the First performance December 1934, programme. Westhall Hill, Burford. Notes The four songs on which these Notes Westhall Hill, Burford, arrangements are based had been Oxfordshire, was the home of noted by Cecil Sharp when, staying Captain and Mrs W. R. W. Kettlewell, with friends in Somerset, he first influential members of the EFDS since its beginnings and themselves

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enthusiastic musicians and dancers. 4. Go to Berwick Johnnie Their house became the focus for much 5. The auld man musical activity; IH stayed there often, 6. Baloo, loo, lammy to conduct and train a small group of Manuscript whereabouts unknown local singers and to direct the music at Published Lyrebird Press, 1934 occasional weekend gatherings. 1934 This arrangement of a Cornish Traditional Country Dances version of the familiar ‘First Nowell’ arranged variously for the Cecil Sharp carol was written with its Burford House Orchestra and EFDSS dedicatees much in mind – for instance 1. Heartsease the bass pedal notes were for the fine 2. Morpeth rant (Northumberland) bass voice of Eric Reavley, pharmacist. 3. My dear mother (Hungary) In addition to its Burford première 4. The Dargason in December 1934, the carol was also 5. Catching of quails sung that Christmas season in a carol 6. Adson’s sarabande service at Chichester Cathedral, where 7. Queen’s jig the ashes of Gustav Holst had been 8. The round interred the previous June. 9. Juice of barley 1934 10. The slip Six Pictures from Finland Manuscript whereabouts unknown for piano solo First performances no. 1: 20 May 1. On the lake 1934, in a Concert of Folk Music at 2. The dancer in the red skirt the Shakespeare Memorial Theatre, 3. The old woodcutter Stratford on Avon; nos. 2 and 3: 29 4. The spinner’s song November 1934, by the Cecil Sharp 5. A shower among the birch trees Orchestra, conducted by IH. 6. Night piece Notes IH made three 10-inch records Manuscript whereabouts unknown of folk-dance music in March 1934 for Published OUP, 1935 (Oxford Piano the Gramophone Company, including Series; no. 211. Grade A) the last seven titles in the above list. Notes These easy piano pieces were The demand for such arrangements written while IH was teaching at was considerable: on 23 August 1933 Eothen and Roedean Schools. She had Douglas Kennedy had written to visited Finland in September 1933 as her: ‘Can you write me two foxtrots a member of a team from the EFDSS, and a waltz based on “Picking up which had taken part in a British– sticks”, “Morpeth rant” and “A virgin Finnish Trade Week. unspotted”? A blues based on “Death and the Lady” and a rumba written 1934 around and behind “A Gypsum Laddie”. Six Scottish Folk Songs Put your fertile and subtle brain to arranged for voice and pipes with piano the possibilities and tell me what you accompaniment think …’ 1. Cauld blaws the wind 2. I’m owre young to marry yet 3. Ca’ the yowes

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1934 grandiose affair in which it was hoped A Wedding Hymn: ‘Father in Thine that John Barrymore and Katherine Almighty Hand’ Hepburn would appear, with Eugene for SATB Goossens conducting. Words Eleanor Spensley [circa 1935] Manuscript whereabouts unknown Four Easy Pieces Published privately printed by J. Calvert for viola with piano accompaniment Spensley 1. Timothy’s trot First performance 17 March 1934, St 2. A farewell Mary’s Church, Stoke D’Abernon, 3. Mill-Field 4. Jenny is dancing Notes Composed for the marriage of Manuscript whereabouts unknown Jane Schofield (a schoolfriend of IH) to Published Augener, 1935 Henry Fosbrooke. The author of the Dedication ‘For A.F.C.’ [Arthur Caton] words was the bride’s godmother. [circa 1935] July–August 1934 On Westhall Hill The Song of Solomon for small orchestra Incidental music for a Hollywood pageant 1.1.1.1 (ad lib)–timp–perc–strings for full orchestra Duration 5' 15" Words Libretto by Vadim Uraneff Manuscript 22pp; HF 1. Bacchanal Notes A single movement based on two 2. Panic Music folk tunes, not identified. ‘Westhall Manuscript whereabouts unknown Hill’ was the house in Burford where Notes At the time of his death on 25 Captain and Mrs W. R. W. Kettlewell May 1934 GH left unfinished some lived. The date of the work is not incidental music for this projected known, but IH moved to the address pageant. He had written some given on the title-page (54 Ormonde small vocal settings, and somewhat Terrace, nw8) in October 1935, and in reluctantly agreed to the librettist’s later life she herself assigned it to the request that extracts from The ‘mid 1930s’. Evidently a tribute to should also be used, but two Kettlewells, the piece was very likely sections remained unwritten. To fulfil written for one of the many special her father’s obligation, IH herself events for which IH directed the composed the music for the missing EFDSS orchestra at this time. numbers, an Egyptian Bacchanal – a ballet to last about 5 minutes – and a 1935 short linking passage for a ‘moment of Concerto for Violin panic in the palace’, both at the end of and Act I of Vadim Uraneff’s play. On 30 founded on traditional Irish tunes taken August 1934 Uraneff enthusiastically from the Petrie Collection acknowledged the receipt of her 1. Allegro manuscript score, set for full orchestra, 2. Andante molto moderato but nothing further was ever heard 3. Vivace of either the music or the Pageant, a Duration 13' 30"

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Manuscript 43pp; HF 1935 First performance 15 November 1935, at from First Suite in E an RCM Patron’s Fund ‘Rehearsal’, by flat Elsie Avril, with the London Symphony Gustav Holst, arranged for orchestra by Orchestra, conducted by IH. IH Notes Elsie Avril was for many years Manuscript whereabouts unknown principal violinist to the EFDSS. The First performance 24 March 1935, Cecil performance was reviewed in The Sharp House, London, conducted by Times, 16 November 1935. IH. Notes The arrangement was made for a 1935 Gustav Holst Memorial concert given Four Folk Tunes from Hampshire by the EFDSS. IH does not mention it for violins [unison] and piano in her own A Thematic Catalogue of 1. Allegretto grazioso Gustav Holst’s Music. 2. Moderato 3. Andante cantabile 1935 4. Vivace My Bairn, Sleep Softly Now Manuscript whereabouts unknown I saw a sweet and simple sight Published Novello, 1935 (Novello’s Carol for unaccompanied female voices ‘Elementary and School Orchestra (SSSAA) or for soprano voice and pipes Series’, no. 9) Words Anon, taken from Ancient English Notes Novello’s ‘Elementary and School Christmas Carols, ed. Rickert Orchestra Series’, published from 1933 Manuscript whereabouts unknown to 1939, under the general editorship of Published Cramer, 1935, under the W. H. Reed, was primarily concerned auspices of the Pipers’ Guild with violinists. There were four grades First performance The first known of difficulty, with additional parts for performance was on 15 July 1936, by string orchestra available in Grades the Carlyle Singers under Iris Lemare. 3 and 4. IH’s Four Folk Tunes from This occasion was the 25th anniversary Hampshire fall into Grade 2 (‘can be of the foundation of the Society of played in first position’) and are in Women Musicians. two sets of two tunes each, forming 1935 no. 5 (tunes 1 and 2 above) and no. 6 The Virgin Unspotted (tunes 3 and 4) of this grade. The titles Folk song arranged for SSA and provenance of the folk tunes Manuscript whereabouts unknown themselves have not been identified. Published Novello, 1935 In 1959 Four Folk Tunes were reissued, Notes A tune from Shropshire, originally with additional parts by Denis Wright noted by Cecil Sharp in December 1911. for extended school orchestra; these two sets were then renumbered as 1936 no. IX (tunes 1 and 2) and no. X (tunes Canons for Treble Pipes 3 and 4). IH’s original versions for Manuscript whereabouts unknown violins and piano are retained intact in Published Cramer, 1936, under the the full scores. auspices of the Pipers’ Guild Dedication ‘For the Pipers at Eothen’

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Notes Twelve canons, progressing from First performance 15 July 1936, by the two to ten parts, dedicated to IH’s Carlyle Singers under Iris Lemare, on pupils at Eothen School, . IH the occasion of the 25th anniversary had boarded there as a child and taught of the foundation of the Society of at the school from March 1933 to Easter Women Musicians 1939. Notes The dedicatees, Becky Ridley and Kay Freeston, were good friends of IH 1936 at this time. Fly Away Over the Sea Two-part song [for two sopranos and 1936 piano] Twelve Old English Dance Airs Words arranged for pipes … from Playford’s Manuscript whereabouts unknown English Dancing Master Published Cramer, 1936 (Cramer’s 1. Paul’s steeple (3 players) Library of Unison and Part Songs, 2. Rose is white and rose is red (3) no. 130) 3. Kettle drum (3) 4. Millisons jegge (4) 1936 5. Glory of the west (3) Great Art Thou, O Lord 6. Petticoat wag (3) Canon for five equal voices 7. Prince Rupert’s march (4) Words Biblical 8. Skellemesago (3) Manuscript 2pp; HF 9. New new nothing (3) Notes Although this canon is included 10. Crosbey Square (3) on the same publisher’s contract as the 11. Chirping of the nightingale (2) three surrounding songs (all Cramer, 12. Staines morris (4) 1936), in fact it never appeared in print. Manuscript whereabouts unknown 1936 Published Cramer, 1936, under the Lady Daffadowndilly auspices of the Pipers’ Guild Growing in the vale by the uplands hilly Notes All the tunes save one are taken Two-part song for treble voices and piano from Playford’s English Dancing Master Words Christina Rossetti of 1651. The exception (no. 10) comes Manuscript whereabouts unknown from the eleventh edition of 1701. Published Cramer, 1936 (Cramer’s 1936 Library of Unison and Part Songs, Wassail Song no. 123) The wassail, the wassail throughout all 1936 the town Now Will I Weave White Violets Folk song arranged for chorus of men’s Part-song for SSA voices (unaccompanied), from the Words Meleager ‘Romance’; translated original setting for mixed voices by from the Greek by William M. Harding Gustav Holst Manuscript whereabouts unknown Manuscript whereabouts unknown Published Cramer, 1936 (Cramer’s Published Curwen, 1936 (The Apollo Library of Unison and Part Songs, Club, no. 725) no. 122) Notes GH’s setting (H182) was written Dedication ‘For Becky and Kay’ between 1928 and 1931, and is

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dedicated ‘To the Huddersfield Glee A companion volume, A Coronation and Choral Society’, who gave the first Country Dance Book, was published performance. at the same time by the EFDSS; it contains instructions for the seven 1937 easy dances, set to piano arrangements The Cobbler by Arnold Foster, Cecil Sharp and I am a cobbler bold Vaughan Williams. Folk song from Hampshire. Collected by G. B. Gardiner. Arranged for SATB 1937 unaccompanied Nicodemus Manuscript whereabouts unknown A Mystery by Andrew Young with Published Novello, 1937 (Novello’s Part- incidental music by IH for chorus (SATB) Song Book, no. 1496) and orchestra 1.1.1.1–1.1.1.0–(ad lib organ when no 1937 woodwind or brass)–timp–perc– A Cornish Wassail Song strings The mistress and master our wassail 1. Introduction to Scene 1 begin 2. Behold how good a thing it is (Hymn) Collected by Cecil J. Sharp. Arranged for 5. The Lord’s my Shepherd (Hymn) SATB unaccompanied 8. Thou crownest the year Manuscript whereabouts unknown 10. He will not suffer thy foot to be Published Novello, 1937 (Novello’s Part- moved Song Book, no. 1498) 11. I bless the Lord 1937 16. Ye gates, lift up your heads Coronation Country Dances 17. Amen A selection arranged for band by IH and There are 17 short sections in all, the others (instrumental only) are without 1. Norfolk long dance (IH) titles. 2. Speed the plough (IH) Manuscript National Library of Scotland 3. Galopede (GJ) (Andrew Young Collection) 4. Circassian circle (GJ) Published Jonathan Cape, 1937; a short 5. Morpeth rant (GJ) score of the music is included after the 6. Long eight (IH) text of the play 7. Yorkshire square eight (IH) First performance 21 March (Palm Manuscript whereabouts unknown Sunday) 1937, St Andrew’s Presbyterian Notes To celebrate the Coronation of Church, Cheam, where the Revd King George VI on 12 May 1937, the Andrew Young was the minister. The record company Columbia issued an first broadcast performance was given album of ‘Coronation Country Dances’ on 23 January 1944 by a chorus (not selected by the EFDSS. The dances, identified) and the BBC Northern played by the Morris Motors Band Orchestra and BBC Choir, conducted under the direction of Mr S. Wood, are by Julius Harrison. preceded on the recording (db1671–4) by an ‘Opening Flourish’ by Vaughan Williams, and the National Anthem.

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1937 Manuscript whereabouts unknown Six Old English Dances Published OUP, 1937 (in two books) The melodies from Playford’sThe Dancing Notes All the songs are taken from Master. Arranged for pianoforte volume two of English Folk Songs from 1. The Duchess the Southern Appalachian Mountains, 2. Hang sorrow ed. Maud Karpeles (OUP, 1932), 3. Beautiful Clarinda with the exception of no. 6, which 4. Good advice IH describes in a footnote as ‘not a 5. Dearest and fairest traditional folk-song’. 6. Bullock’s hornpipe 5 June 1937 Manuscript whereabouts unknown Little Thinkest Thou, Poore Flower Published Lyrebird Press, 1937 for voice and piano Notes Although published by the Words John Donne Lyrebird Press, this is described in a Manuscript 3pp; HF review as being ‘sponsored by the OUP’, the publishers of IH’s 1933 collection. 1938 The Rival Sisters 1937 Suite for small orchestra by A Sweet Country Life Arranged, from figured bass, for strings Folk song from Gloucestershire. and ad lib woodwind [1.1.1.1.] and Collected by Cecil J. Sharp. Arranged for percussion [timp–perc] SATB unaccompanied Duration 6' Manuscript whereabouts unknown Manuscript whereabouts unknown Published Novello, 1937 (Novello’s Part- Published Novello, 1938 Song Book, no. 1497) Notes This suite of Purcell’s original 1937 music for a play by Robert Gould is in Twelve Songs for Children seven short movements, scored for not from the Appalachian Mountains. very advanced string players. Collected by Cecil Sharp. 1938 Piano accompaniments by IH Ten Appalachian Folk Songs book 1 arranged for voice and piano 1. Bye, bye, baby 1. The Lady and the dragoon 2. Swing a lady 2. , or Fair Sally 3. Sourwood mountain 3. I must and I will get married 4. The frog in the well 4. When Adam was created 5. Putman’s hill 5. The brisk young lover 6. Sing, said the mother 6. Married and single life book 2 7. My dearest dear 7. Snake baked a hoe-cake 8. The Irish girl 8. The Bridle and saddle 9. The chickens they are crowing 9. Sally Anne 10. The Twelve Apostles, or The Ten 10. I wish I was a child again Commandments 11. The mocking bird Manuscripts separate songs, each of 12. The farmyard 2–4 pp; HF

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Notes In the spring of 1938 Maud 1939 ­Karpeles (former colleague and Prelude and Dance executrix of Cecil Sharp) approached for piano solo the OUP with a plan to publish a Manuscript 5pp; HF volume of arrangements for voice and October 1939 piano of thirty-five of theEnglish Folk Eothen Suite Songs from the Southern Appalachians for small orchestra which Sharp had collected in 1916–18. 1.1.1.0–strings Apart from four songs arranged (or 1. March partly arranged) by Cecil Sharp himself, 2. Slow Air the composers involved were Arnold 3. Jig Foster, IH, Michael Mullinar, Ralph 4. Air on a Ground Vaughan Williams and Arnold Walter. Duration 7' However, for some reason the scheme Manuscript 18pp; HF failed, so the ten settings by IH were Notes Written for the orchestra of not published. Eothen School, although IH had ceased No. 10 is an accumulative question- to teach there at Easter 1939. and-answer song for more than one voice. In 1962 IH suggested this song circa 1940–6 to Benjamin Britten, who arranged Six Traditional Carols [First Set] a version of it for tenor, boys’ chorus arranged for SSA and piano for an Festival 1. The holly and the ivy concert. 2. Joys seven 3. A Virgin most pure 1938 4. I saw three ships Three Songs 5. Bedfordshire May Day Carol Pelham Humphrey. Edited and arranged 6. Matthew, Mark, and Luke and John for voice and piano Manuscript whereabouts unknown 1. As Freezing Fountains Published OUP, 1947 2. In Vain does Nature’s Bounteous Notes The first of four similar sets of six Hand Supply carols arranged for unaccompanied 3. A Lover I’m Born female voices. They are prefaced Manuscript whereabouts unknown by the following note: ‘These short Published Lyrebird Press, 1938 simple settings of traditional carols First performance Probably 20 March, are intended for village and 1938, when IH presented a concert of Women’s Institutes where some of the music by Pelham Humphrey in Cecil singers may still be in the early stages Sharp House. Of the performances, of trying to read their notes. Each part The Musical Times wrote: ‘by this is easy enough to be learnt by rote if time it was apparent that Miss Holst’s necessary. Every verse is sung to the enthusiasm for this hitherto neglected same setting so that choirs can learn composer had become infectious and the carols by heart for singing out of there followed a really exquisite song’. doors in the dark.’

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It is not possible to date each of these 1940 arrangements precisely, though no. 4 Come All You Worthy People certainly existed in 1940. Dorset folk carol arranged for SSA Manuscript 6pp; HF circa 1940 Notes Mentioned in a letter to IH in The Cherry Tree Carol October 1940 from Sir Walford Davies, for SATB unaccompanied then based in Bristol with the BBC, in Manuscript copy only; HF connection with a proposed broadcast Notes A single-verse carol probably programme in the ‘Music Makers’ Half written as an exercise for the benefit of Hour’ series. IH’s students. 1940 circa 1940 Five Airs Nymphs and Shepherds by Pelham Humphrey arranged for A pastoral scene arranged for SSA, Recorder Trio strings and optional recorders 1. Charm me asleep The original by Henry Purcell 2. The shady grove Duration 8' 3. The birthday Manuscript string parts in the hand of a 4. Hey down a down copyist; HF 5. Fare thee well circa 1940 Manuscript whereabouts unknown Six Shakespeare Songs Published Schott, 1941 The original Elizabethan melodies Notes The published score includes the arranged for recorder trio following details: ‘The first two Airs are 1. Mistress mine (Twelfth Night) from songs published with unfigured 2. Jog on, jog on (A Winter’s Tale) bass in the late 17th century. The other 3. How should I your true love know? three are from an unpublished Birthday (Hamlet) Ode: Nos. 3 and 4 have figured basses, 4. Tomorrow is St. Valentine’s Day and No. 5 has an unfigured bass’. (Hamlet) April 1940 5. It was a lover and his lass (As you A Hymne to Christ Like it) In what torne ship soever I embarke 6. When that I was and a little tiny boy for SATB chorus (Twelfth Night) Words John Donne, ‘A Hymne to Christ’, Manuscript whereabouts unknown verses 1–2 Published Schott, 1941 Manuscript 5pp; HF Notes The words of each song are printed Published B&H, 1998 with the Recorder 1 part in the score. First performance The first known The Publisher’s Note includes the hope performance was on 25 October 1987, ‘that these settings of Shakespeare in Lincoln Cathedral, by Sedbergh Songs may prove useful to producers of School Choir, directed by Christopher the plays’. Tinker.

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[circa 1941] [circa 1942] Offley Suite Deddington Suite for recorder trio for recorder trio 1. Lament descant (or treble), treble (or descant), 2. Dance in Canon tenor (or treble) 3. Interlude 1. Fairly slow 4. Rondo 2. Quick and light Duration 6' 30" 3. Slow Manuscripts (a) 9pp; HF. (b) Schott 4. Quick Notes Offley Place near Hitchin was Duration 6' used for thirty-five years for weekend Manuscript 9pp; HF (on loan from courses and summer schools put on Schott) by the Hertfordshire Rural Music Published Schott, 1947 School and the RMSA. During World Notes Written for Marjorie Wise, War II the CEMA Music Travellers headmistress of a large school in held conferences there; IH certainly Dagenham evacuated to Deddington attended in the early 1940s, and may in north Oxfordshire during the war. have written the Suite for one of these In London she had studied with IH meetings. at Cecil Sharp House. A friend of the Although IH noted in 1968 that Elmhirsts of , it was she this work had been published by who had introduced IH to Dartington Schott in 1942, it never appeared in in 1938. print. On 1 October 1946 she wrote 1942 to the publisher: ‘I had very nearly As When the Dove forgotten the existence of my “Offley George Frideric Handel, continuo Suite” for recorders. I am wondering realized by IH now whether it is worth publishing. Manuscript HF My second suite for recorders, called the “Deddington Suite” is, I think, 1942 much better. I cannot remember now A Bach Book for the Treble whether you have seen it or not. I am Recorder enclosing a copy … Perhaps you will Twenty passages from the flute parts in let me know what you think about the the church cantatas second Trio and which of the two you Selected and edited by IH prefer to publish.’ In the event, Schott Manuscript copy only; published the Deddington Suite in 1947. Published Cramer, 1942 The work is quite different from IH’s Notes The preface describes the selection later piece of the same name, written as ‘intended as a practice book for for elementary string class. solitary recorder players. Nearly all the tunes are taken from the opening 1941 bars of a fluteobbligato in an aria Nature’s Homily for solo voice … the original key has Song by Pelham Humphrey, arranged for been altered where it does not suit the baritone and pianoforte compass of the recorder.’ Manuscript HF

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1942 1943), Daily Telegraph, Daily Mail, Three Carols from Other Lands Gloucestershire Echo, Liverpool Daily 1. Noel nouvelet (French) Post (all 5 June 1943) and in the RCM 2. Fonteine, moeder (Flemish) Magazine vol. 39 no. 3. 3. Es ist ein Ros’ entsprungen (German: circa 1943–50 Michael Praetorius) [ Exercises] Manuscript whereabouts unknown in two parts First performance probably 20 December Manuscript 5pp; HF 1942, by the Dartington Hall Music Notes Written at Dartington, the Group (three solo singers, string manuscript was annotated thus in the quartet and keyboard) for whom the 1970s by IH: ‘These Ithink I wrote for carols had been arranged, to perform counterpoint exercises for people to on their Christmas seasonal tour that get used to different intervals.’ There year are eleven short, simple tunes over August–September 1942 held bass pedal notes, demonstrating Serenade intervals within the octave. for flute, viola and bassoon circa 1943–8 1. Salutation for a birthday Of a Rosemary Branch Sent 2. Dance in Exile Such green to me as you have sent 3. Lament arranged for SATB with strings 4. Exorcist Manuscript set of parts; HF 5. Nocturne Notes Probably intended for a combined Duration 12' 30" music day; the parts (stamped ‘Arts Manuscript 14pp; HF Department’) indicate that it may date First performance 4 June 1943, Wigmore from c. 1943–8. Hall, London, by Eve Kisch, Jean Stewart and Anne Joseph 1943 Notes Led by Marjorie Wise, some of All Under the Leaves or The Seven the many friends IH had made in the Virgins field of amateur music wrote to her Shropshire folk-carol collected by Cecil in July 1942 to say: ‘We all feel that it Sharp. Arranged for SSA is high time that you had a london Manuscript whereabouts unknown concert, both as a composer Published OUP, 1943 (Oxford Choral and as a conductor, but it must Songs, no. 570) be professional not amateur. We are First performance probably 4 June 1943, prepared to do the work of getting the , London, by the BBC necessary funds and audience.’ More Singers, conducted by IH. See note to than 300 people subscribed, and the the Serenade above. concert given at the Wigmore Hall exclusively of music by IH included first performances of three substantial works, the Serenade, Suite for String Orchestra and Three Psalms. The event was reviewed in The Times (7 June

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1943 September–November 1943 Cherry, Holly and Ivy Theme and Variations Cornish folk-carol. Collected by for solo violin T. Miners and J. Thomas. Arranged for Duration 16' 30" SATB Manuscripts (a) and (b) both of 11pp; Manuscript Dartington Hall Archives HF. (c) Private possession (copy given by IH to Dorothy Elmhirst) Dedication ‘For Joyce’ Published OUP, 1943 (Oxford Choral Notes Written at Dartington for Joyce de Songs, no. 850) Groote. The original theme is followed First performance probably 4 June 1943, by fourteen variations. In 1946 IH gave Wigmore Hall, London, by the BBC a copy to Bor, a departing Singers, conducted by the composer. student, telling him she had ‘written it See note to the Serenade above. as an exercise’. 1943 1944 Suite Concerto for Oboe for string orchestra and orchestra 1. Prelude 1. Prelude 2. Fugue 2. Nocturne 3. Intermezzo 3. Scherzo 4. Jig Manuscript whereabouts unknown Duration 11' 30" First performance 11 February 1945, Manuscript 34pp; HF Wembley Town Hall, by David Tucker First performance 4 June 1943, Wigmore and the Pinner Orchestra, conducted Hall, London, by the Jacques String by Kenneth Tucker. Orchestra, conducted by IH. See note Notes Written for and dedicated to David to the Serenade above. Tucker (a former pupil at Dartington Hall School) in his first year as a March 1943 student at the RCM. The music is lost. Three Psalms for chorus (SSAATB) and string 1944 orchestra First String Trio [minimum no. of players 2.2.2.2.1] for violin, viola and cello 1. Psalm 80: Give ear, O shepherd of 1. Andante Israel 2. Presto 2. Psalm 56: Be merciful unto me, O 3. Un poco lento God 4. Andante 3. Psalm 91: He that dwelleth in the Duration 14' secret place of the most high Manuscript 21pp; HF Words From the Authorized Version of Dedication ‘For the Dartington Hall the Bible (1611) String Trio’ Duration 14' 30" First performance 28 May 1944, Manuscript 33pp; HF Dartington Hall, by Robert Masters, First performance 4 June 1943, Wigmore Nannie Jamieson and Muriel Taylor Hall, London, by the BBC Singers and Notes These three players, the core of Jacques String Orchestra, conducted by the former Dartington Hall Music IH. See note to the Serenade above. Group, continued to work as a trio

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during the war while the pianist Ronald May 1944 Kinloch Anderson was serving in the Four Songs RAF. The London première of IH’s First for soprano and piano String Trio took place on 17 July 1944 1. Brittle beauty at a concert given by 2. Why fearest thou thy outward foe? the dedicatees, who were to play it on 3. Shall I thus ever long? many subsequent occasions. The work 4. As lawrell leaves received its first broadcast on the BBC Words From Tottel’s Miscellany (1557) Third Programme on 28 September Manuscripts 13pp: 1. and 2. HF. 3. 1951. Dartington Hall Archives. 4. in private possession February–March 1944 Notes Written for Mary Williams, one Five Songs of IH’s first Dartington students, who for SSSAA sang the songs there on 12 July 1945. 1. Evening Prayer: Upon my right side I Richard Tottel was a London printer me lay (Anon. 15th century) who published the earliest anthology of 2. Hail be thou, maid, mother of Christ English poems. (Anon. 15th century) 3. O years and age, farewell (Robert circa 1945 Herrick) Cantata no. 79 ‘God the Lord is 4. What man is he that can know the Son and Shield’ counsel of God? (Wisdom IX, 13–17) J. S. Bach, edited for SSA 5. In Heaven it is always Autumn (John Manuscript full score, edited in IH’s Donne) hand; incomplete; HF Manuscript HF (no. 5 only); cyclostyled circa 1945 copies of all five songs in IH’s hand, Hierusalem inscribed ‘For Dorothy with love for eight-part female voice chorus from Imogen March 1944’, are in the Words ‘F.B.P.’, from Tottel’s Miscellany Dartington Hall Archives. HF has (1557) another similar set. Manuscripts (a) 16pp; (b) 12pp. Both HF Published No. 5 only: OUP, 1947 (Oxford Choral Songs, no. 576). Republished circa 1945 with ‘The twelve kindly months’ as Two Offley Suite seasonal part songs for upper voices for elementary string class (Thames, 1998). violins 1, 2, 3 and 4 (open strings), viola Dedication ‘For Dorothy Elmhirst’ (no. 5) (ad lib), cello, double bass (ad lib) Notes Nos. 3 and 5 were performed 1. Prelude at Dartington on 4 February 1945 at 2. Toccata a concert given in memory of Joan 3. Nocturne Lennard, a promising singer, who had Manuscript 10pp; HF died in February 1944. Notes An entirely different work from the 1942 Offley Suite for recorders.

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circa 1945 manuscript. ‘’ contains The Tempest five versions of the traditional Lord Henry Purcell. An arrangement for piano, Bateman tune (from Britain and flute, descant recorder, oboe, clarinet, Kentucky) and four other folk songs are strings also used. Manuscript piano score and parts of 24 circa 1946 bars; Dartington Hall Archives Duet for 2 Treble Recorders circa 1945 Manuscript 5pp; HF (on loan from Three Somerset Folk Songs Schott) arranged for small orchestra; the songs Notes On 1 October 1946 IH wrote collected by Cecil Sharp and published to Schott, enclosing a copy of the by Novello Deddington Suite and also ‘a copy of 1. The crystal spring a more recent recorder piece, a short 2. A-roving Duo for treble recorders’. Schott chose 3. The sailor from the sea to publish the suite, but not the duet. Manuscript Autograph parts (except 1946 two in another hand); Dartington Hall Six Canons for Violin Classes Archives. No score was prepared; the 1. Pastoral conductor was to use the Novello piano 2. Jig edition. 3. Lament November–December 1945 4. Dance Young Beichan 5. Slow Air A Puppet Opera in seven scenes 6. Nocturne for soloists, chorus and orchestra Manuscript HF [1.1.1.1–string quartet–dbass] Published OUP, 1948 Words Libretto by Beryl de Zoete Dedication ‘For Sybil Eaton’ (founded on the traditional ballad of Notes A prefatory note explains that Lord Bateman) ‘these canons in eight parts are intended Duration 65' for graded violin classes where the least Manuscript 99 pp (piano score); experienced players will be able to take Dartington Hall Archives an easy part in contrapuntal music that Dedication ‘For Dorothy with love from is not confined to the familiar tonic Imogen, Dartington, January 1946’ and dominant seventh, while the most Notes An ‘open rehearsal’ of the music experienced players will find several took place at Dartington on 3 June technically difficult passages that need 1946, without puppets, and with practising.’ piano accompaniment, the singers Detailed performance instructions sight-reading their parts. The principal follow. The dedicatee, the violinist singers were , Patrick Sybil Eaton, was very interested in Harvey and Richard Wood. There are the RMSA and its work with amateur no indications that the work was ever string players. She had been the performed again, and no orchestral prime instigator of the CEMA Music score or parts have emerged. A Travellers scheme, and for three years carbon copy of the libretto is with the was herself the senior Traveller. She

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had a serious illness in 1945 and spent Dedication ‘For Dorothy with love from a year recuperating at Dartington; Imogen, January 1947’ she said of IH ‘She taught me how to First performance possibly 24 April 1990, phrase.’ the Baptist Chapel, Aldeburgh, by The Brindisi Quartet (Jacqueline Shave, August 1946 Patrick Kiernan, Katie Wilkinson, Festival Anthem: ‘How Manifold Jonathan Tunnell) are Thy Works’ Notes Although it may have been played A setting of the 104th Psalm through soon after its composition for choir [SSATB] and organ [or piano] there is no record of any performance Duration 14' 30" during IH’s lifetime. The work has since Manuscripts Both of 32pp: (a) been recorded by the Brindisi Quartet Dartington Hall Archives; (b) HF (Conifer cdcf196). Dedication ‘For Dorothy with love and gratitude September 21st 1946’ 1947 Notes The Elmhirsts had a chalet on Folk Songs of the British Isles the cliffs at Portwrinkle, just over the selected and set for piano Tamar into , and lent it to Oh, Yarmouth is a pretty town IH for a quiet holiday, which she used Chevy Chase to write this anthem together with Lord Willoughby the String Quartet no. 1 and the Four Greensleeves Canons for Winsome. The carol A brisk young lad he courted me August 1946 Bedfordshire Mayday carol Four Canons for Winsome The valiant lady for female voices Agincourt song 1. Give not over thy mind to heaviness The gallant poachers (3 voices) (Ecclesiasticus) Portsmouth 2. Let the words of my mouth (4) I must live all alone (Psalm 19) Robin’s last will 3. I sent you out with mourning (4) Robin Adair (Baruch) Loch Lomond 4. Set me as a seal upon thine heart (5) Ye banks and braes (Song of Solomon) Annie Laurie Manuscript 10pp; HF Come o’er the stream, Charlie Notes Written at Portwrinkle. Winsome Milking croon Bartlett taught craft skills and folk O saw ye my wee thing? dancing to the music students at Ca’ the ewes Dartington. The Laird o’ Cockpen August 1946 When the kye come hame String Quartet no. 1 The cockle gatherer 1. Lento The bells of Aberdovey 2. Presto The blackbird Duration 15' The stratagem Manuscripts each of 35pp: (a) Dartington The gallows tree Hall Archives; (b) and (c) HF Londonderry Air

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When Johnny comes marching home 1948 Arran boat song Six Traditional Carols [Second set] Manuscript HF arranged for SSA Published B&H, 1947 1. O little town of Bethlehem Notes Comprising thirty-one song tunes 2. In dulci jubilo in simple arrangements, each one 3. God rest you merry, gentlemen headed by a few lines from the song 4. This endris night itself. French and Spanish translations 5. Lord Jesus hath a garden are provided, by M. du Chastain and C. 6. Joseph dearest Alonso respectively. Manuscript whereabouts unknown Published OUP, 1948 24 August 1947 A Birthday Canon for Winsome 1949 Open me the gates of righteousness Lullay my Liking for four voices, SATB Gustav Holst. Arranged for female voices Manuscript 2pp; HF (for SSA with solo soprano) Note Winsome Bartlett’s birthday fell on Manuscript whereabouts unknown 1 September. Published Curwen, 1950 (Choruses for equal voices, no. 2213) 30 August 1947 A Birthday Part-Song for Winsome 1949 The loppèd tree in time may grow again Six Christmas Carols [Third set] for SSSAA arranged for SSA and SSAA Words Robert Southwell 1. Wassail song Manuscript 6pp; HF 2. Coventry carol Notes The title page claims that this 3. Rejoice and be merry is ‘with/ NO / NO 4. Es ist ein Ros’ entsprungen (from the bar-lines/ NO key-signature/ NO setting by Michael Praetorius) sharps/ NO flats/ NO naturals’. As 5. Little one (from the setting by J. S. an adult beginner, Winsome Bartlett Bach) found difficulty in grappling with the 6. (from the rudiments of music; in 1963 IH’s book hymn by Gustav Holst) An ABC of Music was to be written Manuscript whereabouts unknown with her in mind. Published OUP, 1949 Notes The slight change of title for this circa 1948 collection reflects the inclusion of I stand as still as any stone carols by three named composers. Round for four voices The Praetorius carol had been set Manuscript HF; comprising two small previously by IH for a concert at manuscript copies in the hand of Dartington on 20 December 1942. Winsome Bartlett, annotated by IH (at some point after WB’s death in 1973) 1949 as ‘a round that I wrote for her 25 years String Quartet no. 2 ago’ Largamente, ma appassionato Manuscript parts only, each of 2 or 3pp (11pp in all); HF

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Notes This unfinished piece, of which Published OUP, 1950 (Oxford Choral only the first movement survives, Songs, no. 584) was heard at Dartington on 24 July circa 1950 1949, but the players’ names were not Seventeen Songs of Purcell recorded. IH apparently abandoned the Arranged for piano and two violins and work. cello ad lib 1950–1; rev. 1958–9 1. I resolve against cringing 2. When first Amintas sued for a kiss Henry Purcell, realized and edited by IH 3. There’s nothing so fatal as woman and Benjamin Britten 4. Rashly I swore Manuscript (a) ‘Ah! Belinda’, pencil 5. Sweet tyraness, I now resign composition sketch (Britten); (b) 6. More love or more disdain I crave ‘Witches’ Dance’, ink copyist’s score 7. She who my poor heart possesses (c) Full score, pencil and ink (IH and 8. Cease, O my sad soul, cease to Britten); BPL mourn Published B&H, 1960 (vocal score); 9. Let formal lovers still pursue 1961 (full score and miniature score). 10. Tell me no more Orchestral parts available for hire. 11. Oh! How you protest First performance 1 May 1951, the Lyric 12. No watch, dear Celia Theatre, , by Nancy 13. Though you make no return Evans (Dido), Bruce Boyce (Aeneas), 14. Take not a woman’s anger (The Rival the Chorus and Sisters) Orchestra, conducted by Benjamin 15. Love’s power in my heart Britten. The first staged performance 16. Ask me to love no more of the revised version was on 16 May 17. Now the fight’s done Theodosius( ) 1962, at Drottningholm, Sweden, with Manuscript HF (Dido), John Lawrenson 1950 (Aeneas), the Purcell Singers and I Must Live All Alone the EOG Orchestra, conducted by A folk song arranged for SSA Benjamin Britten. Manuscript whereabouts unknown circa 1950 Published OUP, 1950 (Oxford Choral Four Songs for Recorder Ensemble Songs, no. 585) arranged for recorder ensemble from the Notes IH’s source for this song was Lucy originals of Purcell Broadwood’s English Traditional Songs 1. Silvia, now your scorn give over and Carols (1908). 2. Hail to the myrtle shade July–August 1950 3. Celia, that I once was blest Prometheus 4. I’ll mount to you blue Coelum Incidental music for voices (soprano, Manuscript HF mezzo-soprano and baritone solos, circa 1950 chorus) and viola Greensleeves Words From the Prometheus of Alas, my love, you do me wrong Aeschylus in a translation by Edith arranged for SSA Hamilton Manuscript whereabouts unknown

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Manuscripts (a) solo part (baritone) 6pp 1951 + 3pp; HF. (b) solo part (soprano); in Ten Indian Folk Tunes from the private possession Hill Villages of the Punjab Notes Prometheus formed the First transcribed for solo descant recorder by Image of ‘The Family of Man’, a Prabhakar Chinchore and IH composite dramatic presentation in Manuscript 6pp; HF (on loan from four ‘images’ given at Dartington on 25 Schott) and 26 August 1950 as the culmination Published Schott, 1953 of the American University Theatre Notes These untitled Punjabi folk songs Summer School, which had taken place were collected by Prabhakar Chinchore, there over the previous four weeks. who used them to introduce IH to the IH was a member of the international intricacies of the of staff for the Summer School. Her India when she visited Santiniketan, unaccompanied music for Prometheus the Tagore University of Western is in thirteen numbered sections. Three Bengal, in December 1950 and January additional short movements with 1951. manuscript (a) probably also relate to Spring–Summer 1951 ‘The Family of Man’. Benedick and Beatrice October 1950 A one-act opera in twelve scenes, the Welcome Joy and Welcome Sorrow libretto adapted from Shakespeare’s Six part-songs for female voices (SSA) Much Ado About Nothing, and harp (or piano) for mixed voices (soloists and chorus) 1. Welcome joy and welcome sorrow and speaking parts; violin, viola, cello, 2. Teignmouth piano, f1, 3 treble recs (1 doubling 3. Over the hill and over the dale descant), 2 obs, bsn, hn, tpt, pipe and 4. O sorrow tabor, bells, gong; 3 on-stage violins 5. Lullaby Duration 75' 6. Shed no tear Manuscripts (a) Sketches (marked Words ‘incomplete’ by IH) 112pp; HF. (b) Duration 12' Incomplete performing material (three Manuscript 34pp; in private possession. single-line solo voice parts and cello HF has a photocopy. only); HF. (c) Piano part; HF Published OUP, 1951 First performance 21 July 1951, The Barn Dedication ‘For the ’ Theatre, Dartington Hall, by the staff First performance 9 June 1951, the Jubilee and students of the Arts Department, Hall, Aldeburgh, by the Northgatean with the assistance of Cecil Cope (Don Singers and Enid Simon (harp), Pedro) and Walter Todds (Benedick) conducted by IH and members of the Playgoers’ Society. Notes Written at Dartington, this work Spoken scenes produced by Miriam marked IH’s first direct involvement Adams. The opera produced and with the Aldeburgh Festival, and was conducted by IH. written (at Benjamin Britten’s request) Notes The single performance of this for a Serenade concert given at the opera, given as the second part of fourth Festival. a double bill, took place before an

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invited audience on IH’s last weekend Notes The orchestration was made as Director of Music at Dartington. at Britten’s invitation; its success It involved all her staff and students contributed directly to his asking IH, – the singers included Noelle Barker later in the year, to come to Aldeburgh (Beatrice), Kathleen Kelly (Hero) and and work as his assistant on . Roger Newsom (Claudio) – and, in October–November 1952 three spoken scenes, members of the Sellenger’s Round amateur drama group as Dogberry, transcribed from Byrd’s setting for the Verges, Watchmen etc. IH was adamant Virginals that it should not be performed again. for string orchestra 1952 Manuscript whereabouts unknown; L’Allegro, il Penseroso ed il dyeline copies of IH’s fair copy of the Moderato complete Variations on an Elizabethan George Frideric Handel. A shortened Theme are at the BPL version arranged for equal voices and First performance 16 June 1953, in orchestra (and ad lib soprano and alto a broadcast by the BBC Third soli) Programme from London, conducted Duration 60' by Benjamin Britten Manuscript vocal score, HF Notes IH made this transcription to Published Curwen, 1953. The songs provide the theme for the Variations on ‘Come with native Lustre shine’ and an Elizabethan Theme commissioned ‘These delights if thou canst give’, and from six composers for the coronation the choruses ‘Populous cities please us celebrations during the Aldeburgh then’ and ‘Thy Pleasures, moderation Festival 1953, where the work received give’ were also published separately. two performances. 29 April 1952 circa 1953 Rejoice in the Lamb The Fatal Hour Comes On Benjamin Britten. Festival Cantata, Henry Purcell, realized by IH op. 30, for soloists, chorus and orchestra, Manuscript whereabouts unknown orchestrated IH Notes The song occurs in vol. 2 of 1.1.1.1–1.0.0.0–timp–perc–hp–organ (ad Orpheus Britannicus (London, lib)–strings 1702). IH’s arrangement prompted a Duration 16' conversation between her and Britten, Manuscript whereabouts unknown recorded in her Aldeburgh diary, on Published B&H (score and parts on hire) 2 November 1953, in which Britten First performance IH’s orchestration said that said that ‘he thought my was first performed on 21 June 1952, realisations were better than his (!!) in the Parish Church, Aldeburgh, by because they were a better compromise the Aldeburgh Festival Chorus and between imagination and suitable Orchestra, conducted by Benjamin notes’. Britten.

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1953 1954 By What I’ve Seen I Am Undone March from the Courtly Dances Daniel Purcell, edited and realized by IH from Benjamin Britten’s Gloriana Manuscript whereabouts unknown arranged for orchestra Notes The realization was broadcast in Manuscript whereabouts unknown a recital by and George First performance 24 February 1954, Malcolm on 10 December 1953. Notes IH ‘scored the March for the 1953 Rural Music School’s Adult [Four songs] Founders’ Day concert … it may have Henry Carey, edited and realized for been completed some time before the voice and piano by IH performance, to allow for adequate 1. The beau’s lament for the loss of rehearsal time’ (Banks and Strode, Farinelli ‘Gloriana: A List of Sources’, p. 134). 2. Polly’s birthday 3. Justification for living 1954–9 4. Advice to a friend in love Music for Recorders Manuscripts 1. 3pp + 2pp, including a A series published by B&H between 1954 solo vocal line heavily annotated by and 1959 under the general editorship of Peter Pears; 2. 2pp; 3. 3pp; 4. 4pp Benjamin Britten and IH for which, apart + 1p, including additions by George from the specially written contemporary Malcolm. All BPL pieces and those otherwise noted, all the Notes Nos. 2–4 are all taken from Carey’s detailed editorial work was undertaken Musical Century (1737), and featured in by IH. a BBC broadcast by Pears and George The series was a direct outcome Malcolm on 10 December 1953. of amateur music-making with the Club at which Britten, 1953 taught by IH, would play the descant O Lord, Grant the Queen a Long recorder. He had been a founder-member Life of the Club in 1952. Henry Purcell, edited and realized by IH Manuscript HF Duets for Descant Recorders First performance 20 June 1953, at the Twenty-five Practical Lessons for the Aldeburgh Festival, by the Aldeburgh Beginner Festival Choir and Orchestra, Manuscript whereabouts unknown conducted by IH Published B&H, 1955 (Music for Notes IH prepared the work for Recorders, no. 1) its performance at the opening Notes A publishers’ note about this tutor Coronation Choral Concert of the 1953 reads ‘These little duets are so devised Aldeburgh Festival. Decca recorded the that the less easy part is of interest concert and released it later in the year to the teacher, while the pupil has a on LP as lxt 2798. simple line involving at first only one note, progressing to the full range of two octaves.’

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Folk Songs for Three Descant 6. The message Recorders 7. New Year’s song Thirty-three short arrangements of folk FSR6 songs from different countries in six sets, Four Welsh Folk Tunes 1. Y Gwcw fach (The cuckoo) each set printed on its own playing-score 2. Clycha Aberdyfi (The Bells of leaflet and available separately, or all six Aberdovey) complete in a folder. Published with the 3. Bugail yr Hafod (When I was a reference number ‘FSR’, as below. shepherd) FSR1 Four Scottish Folk Songs 4. Ap Shenkin 1. Robin’s last will Manuscript whereabouts unknown 2. The cockle gatherer Published B&H, 1955 (Music for 3. The blithesome bridal Recorders, no. 3) 4. Ca’ the ewes Recorder Pieces from the 12th to FSR2 Seven French Folk Songs the 20th Century 1. Fais dodo Eighteen numbers in three groups of six, 2. Le rosier each number printed on its own playing- 3. Entrez la belle en vigne score leaflet and available separately, 4. On dit que l’amour or each group complete in a folder. 5. Le nez de Martin Published with the reference number 6. Le chat à Jeanette prefix RP, as below. 7. Mon père avait cinq cents moutons Nos. 1–6 FSR3 Five Norwegian Folk Songs Published B&H, 1955 (Music for 1. The suitor Recorders, no. 2) 2. Norwegian dance RP1 (1955) by Benjamin Britten 3. Will you help me to sing? Scherzo for d, tr, ten, b (or ten 2) 4. Herdsman’s song Dedication ‘To the Aldeburgh Music 5. The bailiff’s fine mare Club’ FSR4 Six Irish Folk Songs First performance 26 June 1955 by the 1. The little red lark dedicatees at an Aldeburgh Festival 2. The breeches on concert conducted by IH; the 3. I lost my love performers were in moored punts on 4. If all the young maidens were Thorpeness Meare. blackbirds and thrushes Notes The first performance of Britten’s 5. Nursery song Alpine Suite for two descants and one 6. Plough whistle treble recorder (published separately in the Music for Recorders series) was FSR5 Seven Flemish Folk Songs given in the same Festival programme 1. The good man as Scherzo. It was composed on a 2. Van Hanselijn Swiss skiing holiday in February 1955 3. Rosalie, will you dance with me? when the dedicatee, the artist Mary 4. Wake up Potter, had injured her leg and needed 5. Under the trees so green distraction.

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RP2 Two Motets RP9 Gavotte Pérotin, transcribed and edited by Arnold Gustav Holst Dolmetsch for d, tr, ten, b 1. Vir perfecte for 2 tr Notes IH’s note on this score reads ‘From 2. Haec dies for 2 tr, ten an unpublished movement for string orchestra’. This was the original second RP3 Air from ‘Persée’ movement of which Jean Baptiste Lully Holst decided to cut (leaving the other for 2d, tr, ten, b (or ten 2) three movements) after hearing an RP4 Five Pieces from ‘Mikrokosmos’ informal performance in March 1934. Béla Bartók RP10 Two Motets for d, tr Gregor Aichinger 1. Dor hangsor / In Dorian mode for 2 d, tr, ten 2. Napkeleten / In Oriental style 1. Jesu, Rex admirabilis 3. Délszlávos / In Yugoslav mode 2. Jesum omnes cognoscite 4. Sípszó / Duet for pipes 5. Népdalféle / In the style of a folksong RP11 Traditional Irish Tunes from the Petrie Collection RP5 Canzonet for descant solo Desus, nostre treille de may 1. A Clare Jig Adrian Willaert 2. The gooseberry blossom for d, tr, ten 3. Jig RP6 Canon 4. Take her out and air her On the death of a nightingale, k229 5. Jig from Cork W. A. Mozart 6. John Dwyre of the Glyn for 3 tr 7. Jig

Nos. 7–12 RP12 Two Chorales Published B&H, 1955 (Music for Johann Walther Recorders, no. 2) for d, tr, ten, b 1. Aus tiefer Not RP7 Allegro 2. Christ lag in Todesbanden Lennox Berkeley for 2 tr Nos. 13–18 Published B&H, 1957 (Music for RP8 Six Rounds Recorders, no. 2) Henry Purcell for 3 tr RP13 Four Chorales 1. Once in our lives J. S. Bach 2. True Englishmen for d, tr, ten, b 3. Since time so kind to us does prove 1. Christ is risen (Erstanden ist der 4. Young Colin heil’ge Christ) 5. Of all the instruments 2. I will not leave Thee, Lord (Von Gott 6. To all lovers of music will ich nicht lassen) 3. Ah God, what sighs (Ach Gott, wie manches Herzeleid)

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4. Lord, now lettest Thou Thy servant The Book of the Dolmetsch (Herr, nun lass in Friede) Descant Recorder with a note on breathing by Peter Pears RP14 Morris Dance from Gloriana Published B&H, 1959 (Music for Benjamin Britten Recorders, no. 6) for 2 d Notes The publishers’ note reads: ‘A fully RP15 Five Rounds illustrated tutor for home and school, , from The Pleasant Musical this book is designed for beginners, Companion and includes the most elementary for 3 tr rudiments of music (which may be Notes The original titles of these rounds omitted by the more experienced pupil), are not given. half-tone photographs, diagrams, and many carefully selected and graded RP16 Two Madrigals music examples.’ The examples include Ludwig Senfl the ‘March’ from Britten’s Gloriana, for 2 tr, ten, b arranged for descant recorder. 1. The fair maid fetching a bucket of water (Es woll’t ein Maidlein Wasser 1954 hol’n) The Second Lute Song of the Earl 2. I mourn the day (Ich klag den Tag) of Essex from Benjamin Britten’s Gloriana RP17 Dance arranged for voice and piano James Butt Manuscript whereabouts unknown for 2 tr, ten Published B&H, 1954 Dedication ‘For Peter Pears’ RP18 Four Pieces Notes ‘The arrangement derives directly P. I. Tschaikowsky from the vocal score except for the for d, 2 tr introduction and piano coda which 1. Folk Song embody some slight recomposition of 2. Old French Song the corresponding music in the opera.’ 3. Russian Song (Banks and Strode, ‘Gloriana: A List of 4. March of the Tin Soldiers Sources’, p. 124) One Hundred Traditional Irish 1955–6 Tunes from the Petrie Collection Choral Dances for descant solo from Benjamin Britten’s Gloriana Published B&H, 1955 (Music for arranged for tenor solo and SATB Recorders, no. 4) 1. Introduction Notes The antiquary and artist George 2. Time (SATB) Petrie (1789–1866) was an important 3. Concord (SATB) early collector of Irish folk music, 4. Time and Concord (SATB) though his volume The Ancient Music 5. Country girls (SA) of Ireland (1853–5) contained only a 6. Rustics and fishermen (TTBB) handful of the 2,148 tunes he had noted. 7. Final dance of homage (SATB) Two of the airs among the hundred Duration 9' selected by IH for this tune book appear elsewhere in the recorder series, as FSR4/5 and RP11; see above.

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Manuscripts (a) MS copy (introduction 1955 only), (b) MS solo part, (c) interim Six Scottish Songs copies and dyelines; BPL arranged for SSA unaccompanied First performance 15 April 1956, the 1. My heart is sair for somebody Victoria and Albert Museum, London, (Robert Burns) by Peter Pears and the Purcell Singers, 2. A Highland lad my love was born conducted by IH. (Robert Burns) Notes ‘Prepared by IH for Peter Pears 3. Afton Water (Robert Burns) for concerts of unaccompanied music 4. The piper o’ Dundee (Anon.) which he gave with the Purcell Singers 5. My boy Tammie (Hector MacNeil) in the later 1950s … most of the solo 6. Bonnie Lesley (Robert Burns) tenor line derives from the role of Manuscript whereabouts unknown Spirit of the Masque, whose solos Published B&H, 1955 connect the dances in the opera, and 1955 accompanies the chorus in the final Traditional Songs of Scotland dance.’ (Banks and Strode, ‘Gloriana: A arranged for SSA unaccompanied List of Sources’, p. 136) 1. Ca’ the ewes to the knowes (Robert circa 1955 Burns) A Christmas Canon 2. Come o’er the stream, Charlie (James arranged for recorder quartet from an Hogg) original by J. S. Bach 3. I’m owre young to marry yet (Anon.) Manuscript HF 4. O, saw ye my wee thing (Hector Notes Probably written for the Aldeburgh MacNeil) Music Club. 5. The winter it is past (Anon.) 6. The birks of Aberfeldy (Robert 1955 Burns) For Ever Blessed Be Thy Holy Manuscript whereabouts unknown Name Published B&H, 1955 George Frideric Handel, realized for First performance no. 6 only: a BBC voice and piano broadcast on 30 December 1955, by the Manuscript 2pp; BPL Purcell Singers, directed by IH 1955 1955 O Can Ye Sew Cushions? Under the Greenwood Tree Benjamin Britten. From Folk Song Thomas Arne, realized for voice and Arrangements, vol. 1 piano arranged for SSA and piano Manuscript 5pp; BPL Manuscript whereabouts unknown Published B&H, 1955 May 1955 Notes Britten’s arrangement of this Lavabo inter innocentes Scottish song (for solo voice and piano) Motet for SSSAA was first published in 1943 by Boosey Words From Psalm 25:6–12 & Hawkes as no. 4 in his Folk Song Manuscript HF Arrangements, vol. I. IH retains his Dedication ‘For S. and M. with love from piano accompaniment unaltered. Imogen’

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Notes Intended as a wedding anthem, but 7. It rains and it hails (Appalachian) the marriage for which it was written 8. Hob y deri dando (I’m a shepherd did not take place. born to sorrow) (Welsh) 9. Maa bonny lad (Northumbrian) 1956 10. Migildi, magildi (Welsh) Sally Brown 11. Plannu coed (Planting trees) (Welsh) arranged for voices and recorders 12. Hinkin, winkin, or The straw cradle Manuscript whereabouts unknown (Manx) First performance 24 June 1956, by the 13. The twelve Apostles (Appalachian) Aldeburgh Music Club singing and playing in punts on Thorpeness Meare unison songs at an Aldeburgh Festival concert 14. Greensleeves (Anon.) conducted by IH. 15. Never weather-beaten sail (Thomas Notes A setting of a sea shanty collected Campion) by Cecil Sharp. 16. It was a maid of my country (Anon.) 17. The songstersor Love in their little 1956 veins (Henry Purcell) 18. Water parted from the sea (Thomas realized from the original by John Blow Arne) Manuscript HF 19. Love will find out the way,or Over First performance 15 June 1956, at the the mountains (Anon.) Aldeburgh Festival, by the English 20. How happy could I be with either Opera Group, with Heather Harper (Anon.) (Venus), Thomas Hemsley (Adonis), 21. Under the greenwood tree (Thomas conducted by , in Arne) a double-bill that also featured GH’s 22. Hey, dorolot (André-Ernest Grétry) . 23. In gentle murmurs (G. F. Handel) Notes For this edition IH used a British 24. The self banished (John Blow) Library manuscript of 1682, and a later 25. As far as east lies from the west (J. S. manuscript in the Bodleian Library, Bach) Oxford. She also used Anthony Lewis’s 26. In dulci jubilo (harm. J. S. Bach) 1949 edition (L’Oiseau Lyre) as a 27. Cradle song () working copy. 28. Hen wlad fy nhadau (Land of our 1957 fathers) (John James) Singing for Pleasure 29. I vow to thee, my country (Gustav A collection of songs edited for female Holst) voices 30. Let us now praise famous men The National Anthem (piano only) () folk songs rounds 1. Jack Jintle (Manchester) 31. Hark! the bells (4-pt) (Hauptmann) 2. Twenty, eighteen (Essex) 32. Where is John? (3-pt) (Anon.) 3. Donnybrook Fair (Essex) 33. Humming round (4-pt) 4. I will give you a paper of pins (E. O’Hanrahan) (Appalachian) 34. Hey ho, nobody at home! (5-pt) 5. Claudy Banks (Hampshire) (Anon.) 6. My boy Billy (Appalachian)

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35 Oh, blow the wind southerly (4-pt) two-part unaccompanied (IH) 63. Make we merry (Anon.) 36. Hot cross buns (5-pt) (Samuel 64. Here is joy for every age (Piae Webbe) cantiones, alto by G. Holst) 37. Derry ding ding dason (3-pt) (Anon.) 65. Up in the morning early (Traditional 38. For us a child (5-pt) (Anon.) Scottish) 39. Lady, come down and see (4-pt) 66. To drive the cold winter away (Anon., (Anon.) 17th century) 40. As I me walked (4-pt) (Anon.) 67. Sigh no more, ladies (Richard 41. Joy in the gates of Jerusalem (6-pt) Stevens) (Anon.) two-part accompanied 42. Praise God from whom all blessings 68. Now O now I needs must part (John flow (8-pt) () Dowland) 43. Happy is he (3-pt) () 69. It was a lover and his lass (Thomas 44. Sanctus (5-pt) (Clemens non Papa) Morley) 45. Praise ye the Lord (3-pt) (Palestrina) 70. Happy, happy we (G. F. Handel, Acis 46. Jerusalem, O that thou had’st known and Galatea) (3-pt) (Anon.) 71. Bring the laurels, bring the bays (G. F. 47. Laudate Deum (3-pt) (Henry Purcell) Handel, Samson) 48. Alleluia (3-pt) (William Boyce) 72. How blest are thy children (J. S. Bach, 49. Death and sleep (4-pt) (Joseph Cantata 184) Haydn) 73. Sing, sing, ye Muses (Henry Purcell, 50. Fa la la (4-pt) (W. A. Mozart) Bonduca) 51. Laugh and be glad (2-pt) (Ludwig van three-part accompanied Beethoven) 74. Welcome home! (Henry Purcell) 52. Oh, welcome, welcome smiling May 75. The Linnet (C. W. Gluck,Alceste ) (3-pt) (Franz Schubert) 76. The cock’s in the yard (J. B. Lully) 53. Pretty bird, sitting in yonder tree (4-pt) () three-part unaccompanied 54. Welcome, sweet pleasure (3-pt) (G. B. 77. Y Gwcw fach (The cuckoo) (Welsh Martini) folk song) 55. One, two, three (3-pt) (Henry 78. Though Philomena lost her love Purcell) (Thomas Morley) 56. Prithee, why so sad? (3-pt) (Henry 79. Tune thy music to thy heart (Thomas Purcell) Campion) 57. My dame has in her hut (3-pt) (Henry 80. Alle, psallite (Anon., 13th century) Purcell) four-part unaccompanied 58. O ever against eating cares (3-pt) 81. While I live will I sing praises (J. S. (Hayes) Bach) 59. Adieu, sweet Amaryllis (3-pt) (Anon.) Manuscript whereabouts unknown 60. He that will an alehouse keep (3-pt) Published OUP, 1957, in collaboration (Anon.) with the National Federation of 61. Oaken leaves in the merry wood Women’s Institutes (3-pt) (Anon.) Notes A wide-ranging collection of 62. Sumer is icumen in (Anon., 13th eighty-one pieces from the thirteenth century) to the twentieth centuries; folk and

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unison songs, rounds, and two-, Carrion crow three- and four-part settings, with and The Derby ram without simple piano accompaniments. Manuscript whereabouts unknown In her foreword IH makes several Published OUP, 1958 helpful suggestions to both the less Notes A note on the title page reads: and the more experienced conductors, ‘The Diamond Jubilee of the Folk singers, and pianists. Song Society, 1898–1958. The songs In her own list of published works in this book reflect the ever-growing (1968) IH wrote: ‘The publisher popularity of the folk songs since the purchased the copyright for £150. I first steps were taken to preserve them ought not to have agreed to this, but sixty years ago. It is to the pioneers I was hard up. It has sold very well of these early days that this book is indeed, and I shall never again make dedicated’. this mistake!’ The Folk Song Society celebrated here merged at the end of 1931 with the 1958 English Folk Dance Society (founded A Jubilee Book of English Folk in 1911) to form the English Folk Dance Songs and Song Society. A true collaboration, selected by Kenneth Loveless this Jubilee Book has a preface by Arranged for unison voices and piano Douglas Kennedy (Director of the sea songs EFDSS from its formation until 1961), The Watchet sailor while the Revd Kenneth Loveless, who Johnny Todd made the selection, was a member Admiral Benbow of the Editorial Board of the EFDSS The coast of the High Barbaree Journal. The Librarian of Cecil Sharp songs of country life House, Sara Jackson, provided fully Roving in the dew informative notes on each song, several The green grass of which had migrated with settlers to carols North America. There is a publisher’s On Christmas night note on the simple alternative guitar Wassail song accompaniments by Patrick Shuldam- Shaw, which are printed only in the love songs small-sized Melody Edition, with a Blow, ye winds, in the morning caution that they ‘are independent of She’s like the swallow the piano accompaniment and use Green bushes different harmonies’. ballads In the Full Edition IH encourages High Germany the pianist in her note: ‘As in some The Barkshire tragedy of Cecil Sharp’s country-dance accompaniments (where the same eight cheerful songs bars may have to be repeated a dozen Stow Fair times), the printed version can be taken The farmer’s curst wife as a starting-point for the player’s own The beggar variations. There are almost endless My boy Willie possibilities for changing the texture of

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the accompaniment while keeping to Preface correctly remarks. Thus, to put its main harmonic structure. All that is it another way, 1959 is the tercentenary needed is courage and an unshakable year of music publishing at Oxford, and familiarity with the words of the song.’ the occasion has been marked by the present publication of this selection of 1958 ten songs … arranged by Imogen Holst Six Traditional Carols [Fourth set] for SSA voices’. arranged for SSA and SSSA The first performance was reviewed unaccompanied in the Yorkshire Post (3 October 1959) 1. Nowell sing we, both all and some and Music and Musicians (December 2. The moon shines bright 1959). 3. The Salutation Carol 4. Quem pastores circa 1960 5. Unto us is born a Son (SSSA) Fifty Tunes for Recorder 6. in Bethlehem (SSSA) Arranged from originals by J. S. Bach Manuscript whereabouts unknown Manuscript Dartington Hall Archives Published OUP, 1958 Notes Compiled for Leonard Elmhirst. Notes In her preface to this fourth and Under IH’s tutelage Leonard Elmhirst final set IH has added ‘schools’ to the had become a keen recorder enthusiast. suggested list of performers. On 6 October 1959 IH wrote to him from Aldeburgh: ‘Your lovely letter 1959 about your recorder progress was a real Ten Songs joy to read. bless you: – I shall never from John Wilson’s Cheerfull Ayres and forget hearing you practising at dead of Ballads (1659). night after all those concerts!’ arranged for SSA voices 1. From the fair Lavinian shore circa 1960 2. Fly hence, shadows [Forty Rounds] 3. Full fathom five Thomas Ravenscroft, prepared for 4. For ever let thy heavenly tapers publication by IH 5. Now the lusty Spring is seen Manuscript HF 6. So have I seen a silver swan circa 1960 7. Come, silent night Ten Bach Tunes 8. Where the bee sucks arranged from originals by J. S. Bach 9. Do not fear Manuscript Dartington Hall Archives 10. Lawn as white as the driven snow Notes Compiled for Leonard Elmhirst Manuscript whereabouts unknown First performance 1 October 1959, by the 1960 Purcell Singers, in a concert for the A Yacre of Land OUP centenary in London Sixteen folk-songs from the manuscript Published OUP, 1959 collection of Ralph Vaughan Williams Notes The publisher’s note reads: ‘It is edited by Imogen Holst and Ursula three hundred years since ‘Cheerful Vaughan Williams. Arranged for unison Ayres or Ballads’ was published, “this voices and piano or for unaccompanied being the first essay … of printing part-singing by IH music that ever was in Oxford”, as the

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1. A yacre of land (SAB) 1961 2. John Reilly (SAB) Nineteen Songs 3. The week before Easter (SAB) from Folk Songs of Europe, edited by 4. Willie Foster (SAB) Maud Karpeles 5. The jolly harin’ (SAB or TBB) for the International Folk Music Council 6. Nine joys of Mary (SAB) arranged, with piano accompaniment 7. Joseph and his wedded wife (SATB) 1. The red rosebud (Denmark) 8. The Lord of life (SSA or SSAB) 2. Flowers red and blue (Sweden) 9. Over the hills and the mountains 3. Hark to the cuckoo (Finland) (SSA) 4. Down by the tanyard side (Ireland) 10. The foxhunt (SSA) 5. The snow-white bird (Netherlands) 11. Come all you young ploughboys 6. All on the grass (Belgium) (SSA) 7. O I did climb a tree-top (Germany) 12. A bold young sailor (SA or SAT) 8. Spin, spin (Germany) 13. The pretty ploughboy (SA) 9. Waltz song (Austria) 14. Seventeen come Sunday (SA) 10. The white chestnut tree (Portugal) 15. It was one morning (SA) 11. Little partridge (Greece) 16. My coffin shall be black (SA) 12. Cretan dance song (Greece) Manuscript whereabouts unknown 13. Military song (Roumania) Published OUP, 1961 14. The cricket takes a wife (Hungary) First performance nos. 6 and 7 only: 13 15. The wedding garland December 1960, Cecil Sharp House, (Czechoslovakia) London, by the Purcell Singers 16. The warrior princess (Poland) conducted by IH, at a concert of 17. River Wisla (Poland) Christmas music given for the Vaughan 18. Girl’s dance song (USSR) Williams Memorial 19. When I was a child (Estonia) Notes An informative introductory note Manuscript whereabouts unknown to this selection by its two editors Published Novello, 1961 (School Song outlines some of the difficulties Book, no. 383) encountered by folk song collectors Notes The publisher’s note identifies and editors: ‘From the large body of the source from which IH worked: collected songs, he [RVW] chose for ‘Folk Songs of Europe (Novello, 1956) publication the ones he considered is an anthology of 183 songs from best; others were printed in the Journal thirty European countries in which of the Folk Song Society. A great the original texts are given as well number remained unpublished and it as metrical English translations is from them that we have chosen these for all songs in foreign languages. sixteen.’ Ursula Vaughan Williams has The melodies are given without since acknowledged that, apart from accompaniment.’ The accompaniments a little translation, IH did all editorial of the nineteen songs in this collection work for the collection. can be used with the original words as well as with the English translations. Only the English texts are printed for these songs and a publisher’s acknowledgement indicates their authors.

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August 1961 taken up by , who learnt Tunes from Kentucky it at IH’s request for an Aldeburgh Appalachian Folk Songs Festival concert in 1977. arranged for equal voices with junior 1962 orchestra The Passion According to Saint Manuscript HF John Notes An incomplete project intended Heinrich Schütz; edited, with English to be ‘a first step in an anti-Orff translation, by Peter Pears and Imogen campaign in experimental school Holst classes’. (IH evidently disapproved of for soloists and chorus (unaccompanied) the approach taken by Carl Orff’s work Manuscript HF in this field.) From several titles she Published OUP, 1963 had selected, only one specimen was Notes This edition arose out of earlier prepared in full; the instrumentation performances for which IH had includes ‘ad lib percussion, home- prepared her own manuscript parts made harps, xylophones etc. with ad based on the Eulenberg miniature lib recorders (descant), bamboo pipes score. Her work on it had begun at and elementary violins’ with detailed least as early as 1953, as the Passion was instructions on how to rehearse. performed under her direction at the 1962 1954 Aldeburgh Festival by the Purcell The Fall of the Leaf Singers, with Peter Pears singing the Three short studies for solo cello on a role of Evangelist. sixteenth-century tune 1962 Theme: Andante meno mosso The Twelve Kindly Months 1. Vivace A kindly good January freezeth pot by 2. Poco adagio the fire 3. Presto for SSA Theme (da capo): Andante molto Words Thomas Tusser c.( 1520–1580) moderato Manuscript whereabouts unknown Duration 9' Published OUP, 1963. Republished with Manuscript in private possession ‘In Heaven it is always Autumn’ as Two Published OUP, 1963 seasonal part songs for upper voices Dedication ‘For Pamela Hind O’Malley’ (Thames, 1998). First Performance 4 February 1963, the Dedication ‘For Valda Plucknett and the Wigmore Hall, by the dedicatee Ipswich Co-operative Girls’ Choir’ Notes The tune, by Martin Peerson, is First performance 8 February 1963 in a taken from the Fitzwilliam Virginal pre-recorded broadcast on the BBC Book. The work was written at the Midland Home Service by the Ipswich request of Pamela Hind O’Malley for Co-operative Girls’ Choir, conducted a piece to include in a Wigmore Hall by Valda Plucknett recital. A pupil at SPGS from GH’s last Notes Valda Plucknett was for several year, she was later to learn much from years a repetiteur for the English Opera IH while herself teaching on the music Group, especially at the Aldeburgh staff at Dartington. The piece was later Festival. The singing of her Ipswich

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Girls’ choir at the 1962 Festival of the Association and its Schools impressed Britten and Pears, and and culminates in a final ‘farewell’ they were invited back to perform statement of the theme. at Aldeburgh in a programme of By the time she retired in 1962 Mary music by Tippett and Schumann. This Ibberson, who had founded the first concert in turn moved IH to write this Rural Music School in Hertfordshire unaccompanied part-song for them, to in 1929, was Director of an Association a text by Thomas Tusser, the sixteenth- of ten similar schools scattered across century Suffolk agriculturalist poet. the southern half of . She recognized the needs of would-be 1962 musicians in (mainly) country areas Variations on ‘Loth to Depart’ long before peripatetic teachers were for string quartet and two string funded by education authorities, and the value of her work was from the Theme: Slow and expressive start appreciated and supported by Var. 1. Cinquepace (‘Sinkapace’) many professional musicians. From – Lively and energetic 1940 to 1943 the CEMA Music Var. 2. Lament – Fairly slow Travellers had been looked after and Var. 3. Pastorale – Flowing. Tranquil helped by the RMS Council and from and unhurried 1943 the RMSA naturally maintained Var. 4. Moto Perpetuo – Quick and a close connection with IH’s training light scheme at Dartington Hall, which was Var. 5. – Fairly slow to provide several outstanding teachers Duration 12' 30" for the expanding RMSA after the war. Manuscript RMSA, Little Benslow Hills TheVariations on ‘Loth to depart’ Published OUP, 1965 was completed in a relatively short Dedication ‘For Mary Ibberson’ space of time during a year in which First Performance 3 November 1962, IH renewed interest in her own RCM Concert Hall, by the RMSA composition following a decade players, conducted by Sir Adrian devoted almost entirely to working Boult, in a concert in honour of Mary for Britten. The first performance was Ibberson. widely noticed, with reviews in the Notes IH was not the original choice Sunday Telegraph (4 November 1962) of composer for the occasion, but The Times(5 November 1962) and offered to write this piece after the Times Educational Supplement (9 Malcolm Arnold had pulled out. The November 1962). sixteenth-century theme, harmonized by Giles Farnaby, is taken from the December 1962 Fitzwilliam Virginal Book. Variation 2 String Trio no. 2 is built on the notes A–D–E (German for violin, viola and cello for ‘Farewell’), and Variation 3 uses 1. Andante a different version of the theme, 2. Allegro published by Thomas Ravenscroft in 3. Adagio Deuteromelia, 1609, as a canon. The 4. Poco lento last movement depicts the activities 5. Presto

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Manuscript violin and cello parts only; in cease to exist as a group after IH gave private possession up conducting it in 1967. Dedication ‘For the Oromonte Trio’ 1964 First Performance 24 June 1963, the That Lord that Lay in Asse Stall Jubilee Hall, Aldeburgh, at the for SATB Aldeburgh Festival, by the Oromonte Words Fifteenth century, from a Trio (Perry Hart, Margaret Major, manuscript in the Bodleian Library, Bruno Schrecker) taken from Religious Lyrics of the XVth Notes The second String Trio was Century, ed. Carleton Brown (Oxford: written for an Aldeburgh Festival OUP, 1938) concert ‘Music in England 1963’, one Manuscript whereabouts unknown of a series of programmes which also Published Cambridge University Press, included the years 1763 and 1863. The 1967 (no. 169 of The Cambridge first performance was reviewed in the Hymnal, ed. David Holbrook and Daily Telegraph (26 June 1963), and The Elizabeth Poston) Times (25 June 1963). Notes One of the many new settings 1964 specially commissioned from twenty As Laurel Leaves that Cease Not to or so contemporary composers for The Be Green Cambridge Hymnal. for SSA [C-T] 1964 Words From Tottel’s Miscellany (1557) A Wee Bird Cam’ to Our Ha’Door Manuscript 4pp; HF Scottish traditional song arranged SSATB Dedication ‘For the Purcell Consort of Manuscript HF Voices’ Dedication ‘For Basil Douglas’ First performance 30 March 1965, the Notes Written for the Purcell Singers to Wigmore Hall, London, by the Purcell celebrate the fiftieth birthday of Basil Consort of Voices Douglas (4 March 1964) at an informal Notes In IH’s copy of Tottel’s Miscellany gathering in his house. He was a keen (Edward Arber’s edition, London, 1897) amateur tenor, and a founder-member this poem by an unknown author is of the Singers. headed ‘The promise of a Constant Lover’. 1965 The founder members of the six- Make Ye Merry for Him that is to voice Purcell Consort (two sopranos, Come counter-tenor, tenor, baritone, bass), Salvator mundi, Domine all of whom had sung with IH in the for SSATB Purcell Singers, formed themselves Words Fifteenth century into a solo group in 1963 under Manuscript whereabouts unknown the direction of the counter-tenor Published OUP, 1965 (no. 14 in Carols of Grayston Burgess. From the start they Today) received IH’s encouragement and Notes The collection of carols by support, and she was very happy that contemporary composers in which this they too should take on Purcell’s name, appears is subtitled ‘Seventeen original which her chamber choir had borne for settings for mixed voices’, although not ten years. The Purcell Singers was to all were in fact new compositions.

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1965 1965 Not Unto Us, O Lord The Passion According to Saint for two choirs of trebles and altos, organ Matthew and optional Heinrich Schütz; edited, with English Words Psalm 115 translation, by Peter Pears and IH Manuscript 11p; HF for soloists and chorus (unaccompanied) Dedication ‘Written for the dedication of Manuscript HF the chapel at Felixstowe College’ Published OUP, 1965 First performance 3 June 1965, Felixstowe Notes This edition arose out of an College, by the school choir with organ, earlier performance for which IH had conducted by Daphne Cornford prepared her own manuscript parts. Notes It was intended that tubular bells Pears’s involvement in the work had should be used at the performance, begun before its performance at the but when they arrived they were a Aldeburgh Festival on 18 June 1952, semitone out, and had to be abandoned. where he had sung the Evangelist in (Thead lib bells part is anyway cued in a performance by The Renaissance for organ.) Singers directed by Michael Howard. 1965 1965 The Passion According to Saint The Sun’s Journey Luke A cantata for sopranos and altos and for unaccompanied voices small orchestra (or piano) edited for performance from anonymous 2 flutes, strings, piano, percussion (1 manuscripts, c. 1440 player) Manuscript HF Words John Ford and Thomas Dekker, First performance 21 June 1965, in adapted from The Sun’s Darling (1623) Aldeburgh Parish Church, at the 1. Recit.: Phoebus, make holiday! (solo Aldeburgh Festival, by Ian Partridge mezzo-soprano or unison semi- (Evangelist), Christopher Keyte chorus. This applies to all ) (Christus), the Purcell Consort 2. Chorus: *Fancies are but streams of Voices and the Purcell Singers, (SSA) conducted by IH 3. Recit. and Chorus: Hark the fair Notes According to the programme hour/ Glorious and bright (canon for note, the work was originally written 4 equal voices) probably for St George’s Chapel 4. Chorus: *Spring song (SSA) Windsor; IH’s source was the British 5. Recit. and Chorus: Music, take Echo’s Library manuscript Egerton 3307. Of voice/*Echo’s song (canon for 2 equal the edition, she wrote: ‘Any twentieth- voices) century performance must be guess- 6. Semi-chorus: *Farewell to Spring work: no two editors are likely to agree (unison sopranos) about which written B natural should 7. Recit.: I’ll bring you to the court of be sung B flat.’ the Sun’s Queen 8. Pastorale: [instrumental, on a 12th- century theme]

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9. Chorus: *Song of summer (SA) and The minimum instrumentation, *Folly’s song (unison) with a string quartet at least, calls 10. Recit. and Semi-Chorus: A health for experienced players, but for most to Autumn’s self!/ *Autumn’s song tutti numbers there are parts for a (SSAA) larger body of strings ‘less experienced 11. Chorus: *Revellers’ song (unison) players’) and ad lib parts for wind 12. Semi-Chorus: *Winter’s song (SA) (recorders, oboe, 2 clarinets, bassoon) 13. Recit. and Chorus: See, what strange and extra percussion. If no orchestra is light appears!/ *The Sun is up! available, piano accompaniment alone (unaccompanied round) may be used, played from the vocal 14. Recit. and Chorus: Thy sands are score. The twelfth-century theme on number’d/ Here in this mirror (SSA) which no. 8 is based comes from an * These songs may be sung as separate ‘Alleluia’ by Leonin. numbers April–May 1965 Duration 25' Trianon Suite Manuscript 42pp; HF for orchestra Published OUP, 1965 2.2.2.2–2.2.2.1–percussion–piano–strings Dedication ‘For the National Union of 1. Fanfare Townswomen’s Guilds’ 2. Dialogue First performance 24 May 1967, the 3. Toccata , London, by Noelle 4. Intermezzo Barker (soprano), Pauline Stevens 5. Nocturne (mezzo-soprano), massed choirs of 6. the National Union of Townswomen’s Duration 8' 30" Guilds and the Jacques Orchestra, Manuscripts (a) 16pp; HF. (b) in private conducted by Imogen Holst possession Notes The Sun’s Journey was written at First performance 18 September 1965, the request of Helen Anderson, then Ipswich School Great Hall, by the National Music Adviser to the NUTG, Trianon Youth Orchestra, conducted who had known IH since 1941, when by Christopher Green they both worked for CEMA. The Notes The enterprising Trianon Music NUTG wanted a work for a National Group for young players and singers Music Festival with a strongly (aged thirteen to twenty-five) was competitive element, so IH provided based in Ipswich. IH heard of the for that when composing a musically group during a stay in hospital, where satisfying whole. The 1967 NUTG one of her nurses was the mother of annual report comments ‘Miss Holst’s the Group’s director, Christopher skilful writing of two-part and three- Green, and she became its President in part pieces of comparable difficulty 1961. The Suite takes all sections of the … enabled choirs of different sizes to orchestra into account, and the third compete on equal terms’. Nine winning movement has an important part for regional choirs (from an initial entry piano solo. of 511) took part in the final in London before joining together in the first performance of the cantata.

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1966 First performance 25 June 1967, the I Will Lift Up Mine Eyes Maltings Concert Hall, Snape, as part Thomas Tudway, realized for soprano and of the Aldeburgh Festival, by soloists continuo by IH including , Alfreda Manuscript HF Hodgson, James Bowman, Peter Pears, First performance 10 June 1966, Owen Brannigan; the Ambrosian Aldeburgh Church, at the Aldeburgh Opera Chorus and the English Festival, by the Purcell Singers, directed Chamber Orchestra, conducted by by IH, in a concert of ‘East Anglian Benjamin Britten. Church Music 1013–1931’, one of a 1967 series of five concerts devised by IH Leiston Suite 1966 for brass quartet O Jesu, Look 1. Entry Music George Kirbye, edited for SSATB 2. Jig Manuscript HF 3. Interlude First performance 9 June 1966, 4. Slow March Framlingham Church, at the Aldeburgh 5. March to the tune of a kettledrum Festival, by the Purcell Singers, directed Duration 5' 45" by IH, in a concert of ‘East Anglian Manuscript HF Church Music 1013–1931’, one of a First Performance 24 June 1967, at the series of five concerts devised by IH Aldeburgh Festival, directed by Hugh Connell 1966 Notes The first performance was Two Fanfares dedicated ‘To the players’ (from 1. For the Grenadier Guards, for three Leiston Modern School) as noted on trumpets, horn, two the programme, which also included 2. For Thaxted, for two trumpets, flute, arrangements by IH of a ‘Prelude’ by bells Pezelius and a ‘Canzona’ by Gabrieli of Manuscript HF which nothing now survives. First performance no. 1: 13 December Leiston Modern School had strong 1966 in a BBC broadcast connections with Aldeburgh. Because Notes A review of the first broadcast it could boast a handbell team and performance appeared in Musical a recorder group, it was invited to Opinion in February 1967. take part in the first performance of 1967 Britten’s Noye’s Fludde, and also made The Fairy Queen recordings and broadcasts. Henry Purcell; shortened version for 1967 concert performance devised by Peter The Passion According to Saint Pears; edited and realized by Benjamin John, bwv245 Britten and IH J. S. Bach, edited by Benjamin Britten Harpsichord part realized by Philip and IH; English translation by Peter Pears Ledger and IH Duration 96' Duration 120' Manuscript whereabouts unknown Manuscript HF Published FM, 1970 Published FM, 1967 (hire only)

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First performance 26 July 1967, Royal 1967 Albert Hall, London, by Peter Pears Twenty Traditional British Folk (Evangelist), Thomas Hemsley (Jesus), Songs Ambrosian Singers, The English arranged for unaccompanied equal voices, Chamber Orchestra, conducted by in two, three and four parts Benjamin Britten 1. I’ve been to France (2 voices) Notes Although not published until 1967, 2. There sits the hand (2) IH’s work on the edition extended back 3. We will all so merry, merry be (2) to her performance at Dartington on 4. Oh shepherd, oh shepherd will you 20 March 1948. IH’s Aldeburgh diary come home? (3) records considerable input into the 5. Of all the horses in the merry green translation and edition by Peter Pears wood (3) and Benjamin Britten, prior to its 6. There was an old woman liv’d in performance on 19 June at the 1954 Athlone (3) Aldeburgh Festival, with Pears as the 7. Shule, shule, shule amogalay (2) Evangelist, and the Aldeburgh Festival 8. My father gave me an acre of land (3) Choir and Orchestra, conducted by IH. 9. Come to the woods (3) 10. There was a wee cooper who liv’d in 1967 Fife (2) Suite from Persée 11. Fine new pickled salmon! (2) edited by IH and from 12. Hi! Shoo all ‘er birrds! (2) the original by Lully 13. Will you buy my sweet lavender? (3) Manuscript score and parts; HF 14. All kinds of fancy chairs (2) First performance Aldeburgh Festival, 21 15. Harf-stones! (3) June 1969, by the Youth Music Centre, 16. Fine and young green watercress! (4) director Kay Hurwitz 17. We have been a-rambling (3) Notes IH wrote in the programme book 18. As I sat under a holly tree (3) that ‘this short suite has been adapted 19. May Day Carol (3) from the 1682 score and specially 20. There was a pig went out to dig (3) arranged for large string orchestra Manuscript whereabouts unknown without harpsichord’. Published FM, 1967 and 1968. The 1967 three carols (nos. 17, 18 and 20) were Three Carol Arrangements published separately in autumn 1967 for three equal voices unaccompanied in time for Christmas, before the 1. As I sat under a holly tree complete volume appeared in 1968. 2. We have been a-rambling Notes The tunes and words of these 3. There was a pig songs were ‘taken from various late Manuscript whereabouts unknown 19th and early 20th century collections Published FM, 1967 in the Journals of the Folk Song Notes Planned for inclusion in the Society and the English Folk Dance Twenty Traditional British Folk Songs and Song Society’. Full details about (see below), these three carols were the singer and source of each tune in published separately in time for this collection are given in IH’s notes Christmas 1967. printed at the end.

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1968 Dedication ‘For John Agate’ How Blest Are They Notes The tune is founded on the Henry Purcell; wedding anthem for plainsong hymn ‘Nunc Sancte nobis mixed voices and soprano and bass soli Spiritus’ for the first Sunday in Advent. with organ. The dedicatee, Dr John Agate (a keen Realized and translated by Philip Ledger amateur singer), was at this time the and Imogen Holst geriatric consultant in East Suffolk, and Manuscript HF had become a friend of IH’s through Published OUP, 1968 his care for her aged mother, Isobel, in her last months. March 1968 Duo for Viola and Piano 1969 in three movements Badingham Chime 1. Allegro molto for handbells 2. Poco lento Manuscript HF 3. Vivace First performance 24 June 1969, by Duration 9' Leiston Modern School, directed by Manuscript 25pp; HF Hugh Connell, in Badingham Church, Dedication ‘For and Suffolk during a ‘church crawl’ which Nicola Grunberg’ took place as part of the Aldeburgh First Performance 26 June 1968, the Festival. The music is marked ‘slow, but Jubilee Hall, Aldeburgh, by the flowing’. dedicatees 1969 Notes This stylistically important work The Glory of the West was written for Cecil Aronowitz and Theme and seven variations for brass his wife for a ‘Musical Families’ at the Aldeburgh Festival, at which Manuscript 39pp, Redbridge Music compositions by five generations School of Holsts were performed. Cecil Dedication ‘For the Redbridge Youth ­Aronowitz, principal viola of the Brass Band’ English Chamber Orchestra, was First Performance 23 March 1970, the associated with the Aldeburgh Festival Fairfield Halls, Croydon from 1949 until his sudden death in Notes The theme is taken from Playford’s 1978. He was the first Director of String English Dancing Master. Studies at the Britten–Pears School for Advanced Musical Studies. 1969 Remember Not, O Lord December 1968 arranged for male voices from the Out of Your Sleep Arise and Wake original by Henry Purcell for unaccompanied mixed chorus Manuscript HF (SSATTB) First performance 27 October 1969, St Text Anon., c. 1450, from Ancient English Sepulchre’s Church, Holborn, by the Christmas Carols, ed. Rickert Baccholian Singers, on the occasion of Manuscript HF the Memorial Service for Isobel Holst Published FM, 1970

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November–December 1969 end of the 1968 Festival and to the Woodbridge Suite concert hall itself, rebuilt just in time for orchestra for the 1970 Aldeburgh Festival after 2.2.2.2–1.2.1.0–timp–perc–strings a disastrous fire the previous summer. 1. Preamble The programme for this final concert 2. Musette of the 1970 Festival also featured IH’s 3. Jig arrangement of Gipsy Davy. 4. Nocturne 1970 5. Homage to Leonin Fantasia on Hampshire Folk Tunes 6. Woodbridge greeting on a ground for string orchestra Duration 7' 1. Eggs in her basket Manuscript 30pp; HF 2. The female farmer Dedication ‘For the Woodbridge 3. The outlandish knight Orchestral Society’ 4. Claudy banks First performance 4 May 1970, Duration 6' Woodbridge, Suffolk, by the Manuscript HF Woodbridge Orchestral Society, First performance 26 June 1983, in a BBC conducted by Bernard Barrell broadcast Notes The first of three works written by Notes Four tunes from an unpublished IH for this amateur orchestra (founded string quartet by Gustav Holst (1916, in 1907), of which she was President h135) revised and arranged by IH at from 1960 until her death. The first the time she was preparing A Thematic movement became a ‘signature-tune’ Catalogue of Gustav Holst’s Music for the orchestra and was used on for publication in 1974. She prepared occasions to open its concerts. An a note on the piece, detailing how arrangement for military band of the the original, for all its ‘unhelpful suite was made by Major (Ret’d) Brian repetition’ and ‘padding’, contained Keeling mbe and first performed on 10 many enjoyable passages, and how October 1992 in the Maltings Concert she decided in the 1960s to ‘revise Hall, Snape, by the Band of the 1st it ruthlessly’ and recast it for string Battalion, The Royal Anglian Regiment, orchestra, enlivening the texture of the conducted by W/O Tim Parkinson. original by introducing contrapuntal 1970 entries, and inventing new variants for Browning several phrases. William Byrd, edited for violin, 2 1970 and 2 cellos Gipsy Davy Manuscript HF It was late in the night when the squire First performance 28 June, 1970, the came home Maltings Concert Hall, Snape, as part English folk-song from the Southern of the Aldeburgh Festival. Appalachian Mountains arranged as a Notes The concert, based on folk music ballad for unaccompanied chorus settings was entitled ‘Up she goes Manuscript 10pp, HF again’, an oblique reference both to Dedication ‘For the Wandsworth School a similar programme given at the Choir and Russell Burgess’

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First performance 28 June 1970, the September–November 1972 Maltings Concert Hall, Snape, by the Hallo My Fancy, Whither Wilt Wandsworth School Choir, conducted Thou Go? by Imogen Holst for SS C-T TBB Notes The first performance of this Words William Cleland arrangement of a tune originally Duration 7' collected by Cecil Sharp in 1916 took Manuscripts (a) 11pp; HF. (b) in private place during the final concert of the possession 23rd Aldeburgh Festival; see note to Dedication ‘For the Purcell Consort of Browning above. Voices’ First performance 21 May 1973, the 1972 Wigmore Hall, London, by the Purcell Iken Fanfare Consort of Voices for school wind band Notes In her programme note for a later Manuscript whereabouts unknown; copy performance of this (given at Snape HF in August 1973) IH remembered: ‘I Dedication ‘For Arthur Harrison and the wrote this part-song in the autumn of IAPS’ 1972, as a tenth birthday present for First performance 22 July, 1972, the the members of the Purcell Consort, in Maltings Concert Hall, Snape, by the gratitude for the many performances IAPS Orchestra we worked at together when they were Notes Arthur Harrison, retired in the Purcell Singers.’ headmaster of a boys’ preparatory school and then living in Snape, 1974 was secretary of the Incorporated Farewell to Rod Association of Preparatory Schools. He for solo voice and continuo had enlisted the support of Britten and Words IH IH in forming the new IAPS orchestra. Manuscript HF The parish of Iken is on the river Alde, First performance 28 June 1974 almost opposite Snape. Notes This short ‘farewell’ was written After the first performance for Roderick Biss (music editor and a somebody remarked that an important director of Faber Music) as he and his tune in the Fanfare was very similar to wife Dorothy were returning to their the programme theme from a weekly native New Zealand after many years regional television series then running. in England. IH was unable to attend Disturbed at the implication of their leaving party, but sent along this plagiarism, IH (who, as the orchestra’s and aria in her place. By way administrator Robin Wilson pointed of mock tragedy and sentimentality, out, ‘lived too far outside the current and with something of Purcell about it, world to possess a television set’ and the piece offers a rare glimpse of IH’s never watched one) withdrew the work. humour in musical terms.

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January 1976 8. August holiday Joyce’s Divertimento 9. September mist for viola and orchestra 10. October vintage 2.2.2.2–1.2.1.0–timp/perc–strings 11. November strikes 1. Entry music 12. December feasts 2. Tide mill Duration 10' 3. New Year’s welcome Manuscript 40pp; in private possession Duration 6' 30" Dedication ‘For the Woodbridge Manuscript in private possession Orchestral Society’ Dedication ‘For Joyce and Bernard First performance 15 May 1978, Barrell and the Woodbridge Orchestra’ Woodbridge, Suffolk, by the First performance 17 May 1976, Woodbridge Orchestral Society Woodbridge, Suffolk, by Joyce Barrell conducted by Bernard Barrell and the Woodbridge Orchestral Society, Notes The last work written by IH for conducted by Bernard Barrell this amateur orchestra. Some of the Notes According to Bernard Barrell, the movements depict the river Deben and work was written for his wife ‘for her its countryside, and ‘November strikes’ being willing to attend to Imo’s washing may perhaps refer to the widespread during a stay in Ipswich Hospital when industrial unrest (and consequent she had a major operation there’. The frustrations) of November 1977. conductor remembered that, as Joyce 1978 Barrell’s mother was also ill and the A Dialogue Between Two Penitents soloist would therefore have little time Pelham Humphrey and John Blow, to practice, ‘with typical understanding, realized for two tenors and continuo Imo produced a most interesting work Manuscript HF that both tested the orchestra suitably, First performance 14 June 1978, the yet gave pleasure in rehearsing’. Maltings Concert Hall, Snape, as part Woodbridge, on the River Deben, has of the Aldeburgh Festival, by Peter a famous ancient tide mill, the subject Pears and Ian Partridge (tenors) and of the second movement. The third is Steuart Bedford (continuo) ‘founded on a traditional dance tune’. Notes The dialogue is taken from the 1714 November–December 1977 edition of the first book ofHarmonia Deben Calendar Sacra or Divine Hymns and Dialogues. for orchestra 1980 1.1.2.1–2.2(2 ad lib).2.0–timp–perc– February Welcome strings for handbells 1. January resolutions Manuscript HF 2. February frost Dedication ‘To Barbara Brook and her 3. March gales handbell ringers’ 4. April rain First performance Easter 1980, 5. May morning Aldeburgh Parish Church 6. June haysel 7. July ebbtide

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Notes Barbara Brook, a former 1981 headmistress of Aldeburgh Primary About Ship School, retired to live in the town Traditional seventeenth-century English after a distinguished career as an dance; arranged for piano duet educationalist. February Welcome was Manuscript HF written at her request for her group First performance Christmas 1981 of junior ringers to play. (A few weeks Notes William Servaes, General Manager later, on 8 June, they were to join in the of the Aldeburgh Festival, retired in opening Festival service in the same 1981. His wife was a good pianist, but church at which John Piper’s memorial Bill was distinctly limited in his skill, window to Britten was dedicated. The hence the simple part for the second service ended with the final hymn player. from Noye’s Fludde, complete with 1982 handbells.) Song for a Well-Loved Librarian February 1980 for soprano, mezzo-soprano, tenor and A Greeting baritone for two sopranos, mezzo-soprano and Words Richard de Bury (1281–1345), piano translated by E. C. Thomas Manuscript 4pp; copy at BPL Manuscript BPL First Performance 20 June 1980, the Dedication ‘For Fred’ Maltings Concert Hall, Snape, by Marie First performance 30 August 1982, the McLaughlin, Heather Harper, Sarah Britten–Pears Library, Aldeburgh, by Walker and Murray Perahia the library staff Notes Devised ‘with the help of several Notes Written for the retirement party composers’ works in the Britten–Pears for Fred Ferry, the founding Librarian and Maltings libraries’, A Greeting was of the Britten–Pears Library. written as a surprise item for the gala 1982 concert given at the 1980 Aldeburgh Festival in celebration of Peter Pears’s for two violins, viola and two cellos seventieth birthday. The sources, as Duration 12' 45" written out by IH herself, are: Manuscript in private possession; copy ‘Accompaniment based on the Welcome HF Scene Act II of Gloriana Published FM, 1984 (score and parts) Tchaikovsky’s part-song in honour of Anton Rubinstein Dedication ‘For the Cricklade Festival’ The Turn of the Screw First performance 2 October 1982, St Bach’s Dramma per Musica ‘Zerresisset, Sampson’s Church, Cricklade, by the zersprenget’ Endellion String Quartet and Steven The birthday chorus in Purcell’sThe Fairy Isserlis, cello Queen’ Notes The cellist Steven Isserlis The inclusion of a Russian text was suggested that IH might write a quintet founded on the expectation that for the 1982 Cricklade Music Festival, a ­Mstislav Rostropovich and Galina choice reflecting his fondness for her Vishnevskaya would be taking part, but earlier work for solo cello, The Fall of in the event they were unable to attend. the Leaf (1963). IH’s note on the piece

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recalled that ‘in their invitation they when GH, during their walks along the mentioned that they wanted a piece to Thames towpath, would point out to mirror some of the characteristics of her Morris’s home, Kelmscott House. the . I was glad to agree The musical tribute to mark the 150th to this request because the music anniversary of Morris’s birth was a festivals I have worked for have always new departure for the Society, and had local roots.’ IH’s death only two weeks before the The performance was recorded first performance greatly saddened by BBC Bristol and broadcast on 20 the concert organizers, who wrote March 1983; it received a report in The in the concert programme: ‘Without Listener on 17 March 1983. her inspiration and help, today’s events could not have taken place. The 1983 willingness with which she responded Seven Tunes to [our] invitation to compose a new Gustav Holst; arranged for easy piano work … the advice and encouragement 1. Jupiter’s theme (The Planets) she gave us in our first venture in 2. Slow dance (St Paul’s Suite) promoting new music’ her help with 3. Carol: A dream of Christmas practical arrangements for the concert; 4. Song (The Coming of Christ) and her generosity in presenting [the 5. Entry tune () manuscript] to the society; these are all 6. Mr Shilkret’s march (Capriccio) characteristic of her, and they place us 7. Air (Brook Green Suite) deeply in her debt.’ Manuscript whereabouts unknown IH originally conceived the work Published FM, 1983 to be for tenor and viola as she had 1984 mistakenly believed Peter Rose to be a Homage to tenor. The choice of string bass came for bass voice and string bass about at Peter Rose’s suggestion. Words From lectures and News from February 1984 Nowhere by William Morris Sextet for Recorders Duration 7' An Anniversary Serenade Manuscripts (a) The William Morris for sopranino, 2 descants, 2 trebles and Society (b) copy, pencil score and tenor recorders sketches; HF 1. Entry Music Published The William Morris Society, 2. Night Piece 1985 3. Dance First performance 24 March 1984, 4. Song without words Institute of Contemporary Arts, 5. Salutation (with tunes from Playford, London, by Peter Rose and Mary Scully, Purcell and Britten) for the 150th anniversary of the birth of Duration 8' 30" William Morris Manuscript HF Notes IH was invited to compose this Dedication ‘For the Society of Recorder work partly because it was known that Players’ her father had held William Morris First performance 12 May 1984, at the in high regard. Her own interest in Guildford Recorder Festival Morris stemmed from childhood,

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Notes The Sextet was commissioned the programme note: ‘When I first by Evelyn Nallen, vice-president of looked at the sketches for the concerto the Guildford branch of the Society it seemed that it might be possible of Recorder Players, in 1983. It was to reconstruct the whole work. But recorded for BBC Radio 3 in September while the first movement, a brief 1984. In a programme note IH wrote: pastoral introduction, and the second ‘The last [movement], Salutation, is a movement, entitled “Lament”, were brief gesture of gratitude to some of nearly complete in the sketch, it the recorder players who have been my soon became clear that the finale, a friends, beginning with Miles Tomalin, buoyant Allegro, was too fragmentary whose playing first converted me to the to put into shape without a great deal recorder as a ‘real’ instrument; he is of composing being necessary. The represented by a Purcell hornpipe. The first movement does not really make second tune, Nonsuch, is a Thankyou sense without the finale to balance it, to the recorder players in my amateur so I have completed and scored the orchestra at Cecil Sharp House half a “Lament” as a separate movement.’ century ago; they taught me to try and 1984 make the sound on music convey the Duo for Violin and Cello feel of the dance. The third tune is a Manuscript sketches only; HF jig from Britten’s Gloriana which he Notes Steven Isserlis has revealed that allowed me to transcribe for the series this duo was intended for the Deal of recorder pieces we were editing Festival (1984) for the violinist Roger together. He used to enjoy playing Raphael and himself. The final word recorder trios during his free evenings should come from IH herself, in the at Aldeburgh, and he was president of form of a quotation from the sketches the Society of Recorder Players from for the second (final) movement of this 1959 until his death in 1976.’ last work; the programme for these 1984 sketches is revealing, and makes a Concerto ­fitting conclusion to this catalogue: for recorder and string orchestra Air wind in leaves, reeds, trees Lament Water stormy sea, rippling stream, fountain Manuscript HF (sketches only) trickling in sunshine First performance 5 October 1984, at Colour-and-sound rainbow, sunlight on dew, sunlight on frost the Cricklade Music Festival, the solo Fire deep under earth creation-warmth recorder played by Evelyn Nallen bringing growth Notes The single-movement ‘Lament’ Living things fishes, insects, birds forms the central movement of Humans children skipping, athletes running, an unfinished Recorder Concerto ballet dancers Old age OAPs hobbling (‘’) intended for the 1984 Cricklade Protest against disintegration climax Music Festival. , who Gradual calming down edited it for performance, wrote in Acceptance

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B Editions of music by Gustav Holst Throughout her composing career IH had occasionally made arrangements of her father’s music, both vocal and instrumental; these are listed in the main catalogue above. Then in 1964, she embarked on the preparation of new and revised editions of his music, for performance and publication, in tandem with her work on A Thematic Catalogue of Gustav Holst’s Music (London: Faber Music, 1974), and including a notable series of facsimile editions, which appeared between 1974 and 1983.

Two Pieces Capriccio for piano for orchestra Edited by IH Study score 1. Nocturne Edited by IH 2. Jig Published FM, in association with G. & I. Published FM, 1965 Holst, 1972

The Harper (1891) Sāvitri, op. 25 for voice and piano an episode from the [Edited by IH for its first performance in Revised edition by IH 1967] Published Curwen: FM, 1973; Eulenburg Unpublished (with foreword by Imogen Holst), 1976

The Autumn is Old (1895) Chamber Operas for SATB 1. Sāvitri, op. 25 [Edited by IH for its first performance in 2. The Wandering Scholar, op. 50 1967] Edited by IH Unpublished Published FM, in association with G. & I. Holst, 1974 [Collected facsimile edition The Planets, op. 32 of autograph manuscripts of the Suite for large orchestra published works; vol. 1] Full orchestral score Revised by IH First , op. 41 Published Curwen, 1969 Vocal score, Full score, Study score Revised 1973 by IH Lyric Movement Published Novello, 1974 for viola and small orchestra Reduction for viola and piano by IH Seven Part-Songs, op. 44 Published OUP, 1971 for female voices and strings Vocal score, Full score The Wandering Scholar, op. 50 Revised 1973 by IH a in one act Published Novello, 1974 Vocal score, Study score Edited by Benjamin Britten and IH Published FM, in association with G. & I. Holst, 1968 (vocal score); 1971 (study score)

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Works for Small Orchestra Published FM, in association with G. & I. 1. St Paul’s Suite, op. 29 no. 2 Holst, 1979 [Collected facsimile edition 2. A Fugal Concerto, op. 40 no. 2 of autograph manuscripts of the 3. Double Concerto, op. 49 published works; vol. 3] 4. Brook Green Suite 5. Lyric Movement First Choral Symphony, op. 41 Edited by IH and Colin Matthews Edited by IH; assistant editor Colin Published FM, in association with G. & I. Matthews Holst, 1983 [Collected facsimile edition Published FM, in association with G. & I. of autograph manuscripts of the Holst, 1977 [Collected facsimile edition published works; vol. 4] of autograph manuscripts of the published works; vol. 2] Wind Quintet in A flat, op. 14/h67 Study score Terzetto (1925) Edited by IH and Colin Matthews for flute, oboe and viola (or clarinet) Published FM, 1983 [Revised by] IH; clarinet adapted from the viola part by R. James Whipple The Lure (1921),h 149 Published Chester Music, 1978 (The Ballet music for orchestra Chester Woodwind Series) Score Introduction by IH and Colin Matthews Nunc Dimittis Published FM, 1984 for SSAATTBB unaccompanied [Revised by] IH; keyboard reduction Four Part-Songs added by Desmond Ratcliffe for unaccompanied chorus Published Novello, 1979 Edited by IH Published Novello, 1988 The Planets, op. 32 Suite for large orchestra The Mystic Trumpeter, op. 18/h71 New edition, prepared by IH and Colin scena for soprano and orchestra Matthews Study score Published Curwen, 1979; B&H, 1983 Edited by Colin Matthews and IH (Hawkes Pocket Scores; 22); Ernst Published Novello, 1989 Eulenburg, 1985 Five Part-Songs, op. 12 The Planets, op. 32 ‘Her eyes the glow-worm lend thee’ Suite for large orchestra completed by IH Edited by IH and Colin Matthews Published FM, 1992 (Choral programme series)

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C Vocal and piano scores of music by Benjamin Britten IH prepared the vocal and piano scores for most of Britten’s major composi- tions from her arrival in Aldeburgh in September 1952 until 1964, when she ceased working for him in order to be able to dedicate her time to editing and cataloguing her father’s music. For the sake of completeness, the list that fol- lows also includes her text adaptation of Psalm 127 for the overture that Britten wrote for the opening of the Maltings Concert Hall, Snape, in 1967, and her much later introductory note to the published full score of . IH’s arrangements and orchestrations of Britten’s music are, however, included in the main catalogue above.

Gloriana, op. 53 Nocturne, op. 60 an opera in three acts for tenor solo, seven obligato instruments [Original version, 1st edition] and string orchestra Vocal score by Imogen Holst Vocal score by Imogen Holst Published B&H, 1953 Published B&H, 1960

Gloriana, op. 53 A Midsummer Night’s Dream, an opera in three acts op. 64 [Original version, 2nd edition] opera in three acts Vocal score by Imogen Holst [1st and 2nd editions] Published B&H, 1954 Vocal score by Imogen Holst and Martin Penny The Turn of the Screw, op. 54 Published B&H, 1960 an opera in a prologue and two acts Vocal score by Imogen Holst , op. 50 Published B&H, 1955 an opera in two acts Revised version, 1961 The Prince of the Pagodas, op. 57 [Vocal score alterations by IH] a ballet in three acts Published B&H, 1961 [Piano reduction by Imogen Holst and Erwin Stein] , op. 66 Published B&H, 1957 (hire only) Vocal score by Imogen Holst Published B&H, 1962 Noye’s Fludde, op. 59 the Chester miracle play … Cantata Misericordium, op. 69 Vocal score by Imogen Holst Vocal score by Imogen Holst Published B&H, 1958 Published B&H, 1964

Cantata Academica, Carmen Symphony, op. 68 Basiliense, op. 62 for cello and orchestra Vocal score by Imogen Holst Reduction for violoncello and piano by Published B&H, 1959 Imogen Holst; cello [part] edited by Mstislav Rostropovitch Published B&H, 1965

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Curlew River, op. 71 Gloriana, op. 53 a parable for church performance an opera in three acts Rehearsal score by Imogen Holst Revised edition 1968 Published FM, 1965 Vocal score by Imogen Holst Published B&H, 1968 The Building of the House, op. 79 overture with or without chorus Curlew River, op. 71 Words Psalm 127, adapted by IH from a parable for church performance The Whole Book of Psalms Full score Published FM, 1968 Introduction by Imogen Holst Published FM, 1983

D Index of first lines and titles References to IH’s works in the main text will be found in the General Index.

References in bold type refer to main entries in the catalogue Names of composers whose music IH has edited, arranged, realized or transcribed appear in italics. The form of the edition, transcription or arrangement appears in parentheses.

Key to collection references BTP A Book of Tunes for the Pipes RVW A Yacre of Land: Folk Songs CDG Choral Dances from Benjamin from the MS collection of Ralph Britten’s Gloriana Vaughan Williams ECD Eighteenth Century Dances SBTP A Second Book of Tunes for the FSBI Folk Songs of the British Isles Pipes FSR Folk Songs for Three Descant SP Singing for Pleasure Recorders (Music for Recorders; SCC3 Six Christmas Carols [Third Set] 3) SSP Seventeen Songs of Purcell IFMC Nineteen Songs from Folk Songs STC1 Six Traditional Carols [First Set] of Europe: International Folk STC2 Six Traditional Carols [Second Music Council Set] JB A Jubilee Book of English Folk STC4 Six Traditional Carols [Fourth Songs Set] JW Ten Songs from John Wilson’s TAFS Ten Appalachian Folk Songs Cheerfull Ayres and Ballads TCD Traditional Country Dances MR Music for Recorders TOED Twelve Old English Dance Airs RP Recorder Pieces from the 12th TSC Twelve Songs for Children to the 20th Century (Music for TT Twenty Traditional British Folk Recorders; 2) Songs

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About Ship (pft duet) 437 As When the Dove Handel (voice, Ach Gott, wie manches Herzeleid J. S. Bach continuo) 406 (d, tr, ten, b rec) MR2/RP13/3 418 Ask me to love no more H. Purcell (pft, Adieu, sweet Amaryllis (3-pt round) SP/59 2 vlns, vcl ad lib) SSP/16 413 422 Auld man, The (voice, pipes, pft) Six Admiral Benbow (unis, pft) JB/3 423 Scottish Folk Songs/5 398 Adson’s sarabande TCD/6 398 Aus tiefer Not Walther (d, tr, ten, b rec) Advice to a friend in love Carey (voice, pft) MR2/RP12/1 418 416 Autumn is Old, The,for voice and piano Afton Water (SSA) Six Scottish Songs/3 420 G. Holst, ed IH 440 Agincourt song (pft) FSBI/p.13 411 Autumn’s song (SSAA, orch) The Sun’s Ah God, what sighs J. S. Bach (d, tr, ten, Journey/10 430 b rec) MR2/RP13/3 418 Air G. Holst (pft) Seven Tunes/7 438 Bacchanal (orch) The Song of Solomon/1 Air from ‘Persée’ Lully (2d, tr, 2 ten or ten, 399 b rec) MR2/RP3 418 Bach Book for the Treble Recorder, A All in a garden green (pipes) BTP/2 394 406 All kinds of fancy chairs (2 voices) Badingham Chime (handbells) 433 TT/14 432 Bailiff’s fine mare, The (3 d rec) MR3/ All on the grass (unis, pft) IFMC/6 425 FSR3/5 417 All under the leaves or The Seven Virgins Ballet: ‘Meddling in Magic’ (orch) 394 (SSA) 407 Baloo, loo, lammy (voice, pipes, pft) Six Alle, psallite (SSA) SP/80 422 Scottish Folk Songs/6 398 Allegro Berkeley (2 tr rec) MR2/RP7 418 Barkshire tragedy, The (unis, pft) JB/13 423 Allegro, il Penseroso ed il Moderato, L’ Be merciful unto me, O God (SSAATB, str Handel (soli ad lib, chorus, orch) 415 orch) Three Psalms/2 408 Alleluia Boyce (3-pt round) SP/48 422 Beautiful Clarinda (pft) Six Old English Amen (SATB, orch) Nicodemus/17 402 Dances/3 403 Annie Laurie (pft) FSBI/p.21 411 Beau’s lament for the loss of Farinelli, The Carey (voice, pft) 416 Ap Shenkin (3 d rec) MR3/FSR6/4 417 Bedfordshire May Day carol (SSA) STC1/5 Argeers (pipes) BTP/6 394 404 A-roving (small orch) Three Somerset Folk Bedfordshire Mayday carol (pft) FSBI/p.11 Songs/2 410 411 Arran boat song (pft) FSBI/p.36 412 Beggar, The (unis, pft) JB/17 423 As far as east lies from the west J. S. Bach Behold how good a thing it is (SATB, orch) (unis, pft) SP/25 421 Nicodemus/2 402 As freezing fountains Humphrey (voice, pft) Bells of Aberdovey, The (pft) FSBI/p.29 411 Three Songs/1 404 Bells of Aberdovey, The (3 d rec) MR3/ As he was a-riding (SSA) Four Somerset FSR6/2 417 Folk Songs/3 397 Benedick and Beatrice (opera for soli, As I me walked (4-pt round) SP/40 422 chorus, orch) 414 As I sat under a holly tree (3 voices) TT/18 Billy Budd Britten (vocal score alterations 432 for revised edition) 442 As I walked out (An Essex Rhapsody) 391 Birks of Aberfeldy, The (SSA) Traditional As Laurel Leaves that Cease Not to Be Songs of Scotland/6 420 Green (SSAC-T) 428 Birthday, The Humphrey (3 rec) Five Airs/3 As lawrell leaves that cease not (S, pft) Four 405 Songs/4 409

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Birthday Canon for Winsome, A (SATB) Ca’ the ewes to the knowes (SSA) 412 Traditional Songs of Scotland/1 420 Birthday Part-Song for Winsome, A Ca’ the yowes (voice, pipes, pft) Six Scottish (SSSAA) 412 Folk Songs/3 398 Black and gray (pipes) SBTP/6 396 Canon on the death of a nightingale Blackbird, The (pft) FSBI/p.30 411 Mozart (3 tr rec) MR2/RP6 418 Blithesome bridal, The (3 d rec) MR3/ Canons for Treble Pipes 400 FSR1/3 417 Cantata no. 79: ‘God the Lord is Son and Blow, ye winds, in the morning (unis, pft) Shield’ J. S. Bach (SSA) 409 JB/9 423 Cantata Academica, Carmen Basiliense Blue Haired Stranger, The (ballet for Britten (vocal score) 442 orchestra) 397 Cantata Misericordium Britten (vocal Bold young sailor, A (unis, pft or SA/SAT) score) 442 RVW/12 425 Canzonet Willaert (d, tr, ten rec) MR2/RP5 Bonnie Lesley (SSA) Six Scottish Songs/6 418 420 Capriccio for orchestra G. Holst, ed. IH Book of the Dolmetsch Descant Recorder, 440 The MR6 419 Carol: A dream of Christmas G. Holst (pft) Book of Tunes for the Pipes, A 394 Seven Tunes/3 438 Boy was born in Bethlehem, A (SSSA) Carrion crow (unis, pft) JB/19 423 STC4/6 424 Catching of quails TCD/5 398 Breeches on, The (3 d rec) MR3/FSR4/2 417 Cauld blaws the wind (voice, pipes, pft) Six Bridle and saddle (unis, pft) TSC/8 403 Scottish Folk Songs/1 398 Bring the laurels, bring the bays Handel Cease, O my sad soul, cease to mourn (SA, pft) SP/71 422 H. Purcell (pft, 2 vlns, vcl ad lib) Brisk young lad he courted me, A (pft) SSP/8 413 FSBI/p.10 411 Celia, that I once was blest H. Purcell Brisk young lover, The (voice, pft) TAFS/5 Four Songs for Recorder Ensemble/3 413 403 Charm me asleep Humphrey (3 rec) Five Brittle beauty (S, pft) Four Songs/1 409 Airs/1 405 Brook Green Suite G. Holst ed. IH and Chat à Jeanette, Le (3 d rec) MR3/FSR2/6 C. Matthews 441 417 Brown Girl, The, or Fair Sally (voice, pft) Cherry Tree Carol (SATB) 405 TAFS/2 403 Cherry, Holly and Ivy (SATB) 408 Browning Byrd (vln, 2 vla, 2 vcl) 434 Chevy Chase (pft) FSBI/p.6 411 Bugail yr Hafod (3 d rec) MR3/FSR6/3 417 Chickens they are crowing, The (voice, pft) Building of the House, The Britten (text TAFS/9 403 selection) 443 Chirping of the nightingale (pipes) TOED/11 Bullock’s Hornpipe (pft) Six Old English 401 Dances/6 403 Choral Dances from Benjamin Britten’s Bunch of green holly and ivy, A (SS, pft) ‘Gloriana’ Britten (T solo, SATB) CDG Four Oxfordshire Folk Songs/4 397 419 By What I’ve Seen I Am Undone Christ is risen J. S. Bach (d, tr, ten, b rec) D. Purcell (voice, pft) 416 MR2/RP13/1 418 Bye, bye, Baby (unis, pft) TSC/1 403 Christ lag in Todesbanden Walther (d, tr, ten, b rec) MR2/RP12/2 418 Ca’ the ewes (3 d rec) MR3/FSR1/4 417 Christmas Canon, A J. S. Bach (4 rec) 420 Ca’ the ewes (pft) FSBI/p.25 411 Christmas Lullaby, A (pipes) SBTP/12 396

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Christmas Lullaby, A (voices) Four English Cricket takes a wife, The (unis, pft) IFMC/14 Christmas Carols, op. 2/1 390 425 Circassian Circle arr. Jacob (brass band) Crosbey Square (pipes) TOED/10 401 Coronation Country Dances/4 402 Crystal spring, The (small orch) Three Clare Jig, A (d rec) MR2/RP11/1 418 Somerset Folk Songs/1 410 Claudy Banks (unis, pft) SP/5 421 Cuckoo, The (3 d rec) MR3/FSR6/1 417 Clycha Aberdyfi (3 d rec) MR3/FSR6/2 417 Cuckoo, The (pft) ECD/7 395 Coast of the High Barbaree, The (unis, pft) Cuckoo, The (SSA) SP/77 422 JB/4 423 Curlew River Britten (vocal score) 443 Cobbler, The (SATB) 402 Cock’s in the yard, The Lully (SSA) SP/76 Dance Butt (2 tr, ten rec) MR2/RP17 419 422 Dancer in the red skirt, The (pft) Six Cockle gatherer, The (3 d rec) MR3/FSR1/2 Pictures from Finland/2 398 417 Dargason, The (pipes) BTP/7 394 Cockle gatherer, The (pft) FSBI/p.28 411 Dargason, The TCD/4 398 Come again, sweet love Dowland (pipes) Dearest and fairest (pft) Six Old English BTP/12 439 Dances/5 403 Come All You Worthy People (SSA) 405 Death and sleep (4-pt round) Haydn SP/49 Come all you young ploughboys (unis, pft 422 or SSA) RVW/11 425 Deben Calendar (orch) 436 Come o’er the stream, Charlie (pft) FSBI/ Deddington Suite (3 rec) 406 p.22 411 Délszlávos Bartók (d, tr rec) MR2/RP4/3 Come o’er the stream, Charlie (SSA) 418 Traditional Songs of Scotland/2 420 Derby ram, The (unis, pft) JB/20 423 Come, silent night Wilson (SSA) JW/7 424 Derry ding ding dason (3-pt round) SP/37 Come sit aneath this pine tree (4-pt round) 422 Two Four-Part Rounds/1 391 Desus, nostre treille de may Willaert (d, tr, Come to the woods (3 voices) TT/3 432 ten rec) MR2/RP5 418 Come under my plaidie (vcl, pft) Two Dialogue Between Two Penitents, A Scottish Airs/2 392 Blow/Humphrey (2T, continuo) 436 Concerto (rec, str orch) 439 Dido and Aeneas H. Purcell, ed. IH and Concerto for Oboe (and orch) 408 Britten 413 Concerto for Violin (with string Do not fear Wilson (SSA) JW/9 424 orchestra) 399 Donnybrook Fair (unis, pft) SP/3 421 Concord Britten (T solo, SATB) CDG/3 Dor hangsor Bartók (d, tr rec) MR2/ 419 RP4/1 418 Cornish Wassail Song, A (SATB) 402 Double Concerto G. Holst ed. IH and Coronation Country Dances (brass band) C. Matthews 441 402 Down by the tanyard side (unis, pft) [Counterpoint Exercises] 407 IFMC/4 425 Country girls Britten (T solo, SATB) Duchess, The (pft) Six Old English Dances/1 CDG/5 419 403 Coventry Carol, The (pft) FSBI/p.9 411 Duet for 2 Treble Recorders 410 Coventry Carol, The (SSA) SCC3/2 412 Duet for pipes (Sípszó) Bartók (d, tr rec) Crabfish, The (SSA) Four Somerset Folk MR2/RP4/4 418 Songs/4 397 Duet for viola and piano, op. 3 390 Cradle song Schubert (unis, pft) SP/27 421 Duets for Descant Recorders MR1 416 Cretan dance song (unis, pft) IFMC/12 425 Duo for Viola and Piano 433

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Duo for Violin and Cello 439 Father, in Thine Almighty Hand (SATB) 399 Echo’s song (canon for 2 voices) The Sun’s February Welcome (handbells) 436 Journey/5 429 Festival Anthem: How Manifold Are Thy Eighteenth Century Dances (pft) 395 Works (SSATB, org or pft) 411 Entrez la belle en vigne (3 d rec) MR3/ Fifty Tunes for Recorder J. S. Bach 424 FSR2/3 417 Final dance of homage Britten (T solo, Entry tune G. Holst (pft) Seven Tunes/5 SATB) CDG/7 419 438 Fine and young green watercress! (4 voices) Eothen Suite (small orch) 404 TT/16 432 Erstanden ist der heil’ge Christ J. S. Bach Fine new pickled salmon! (2 voices) TT/11 (d, tr, ten, b rec) MR2/RP13/1 418 432 Es ist ein Ros’ Praetorius (3 voices, string First Choral Symphony G. Holst, ed. IH quartet, keyboard) Three Carols from and C. Matthews 441 Other Lands/3 407 First Choral Symphony G. Holst, rev. IH Es ist ein Ros’ Praetorius (SSA) SCC3/4 440 412 First String Trio (vln, vla, vcl) 408 Es woll’t ein Maidlein Senfl (2 tr, ten, b rec) First Suite in E flat, Intermezzo G. Holst MR2/RP16/1 419 (arr. orchestra) 400 Essex Rhapsody, An (treble choir, Fit’s come on me now, The (pipes) SBTP/8 orchestra) 391 396 Evening Prayer (SSSAA) Five Songs/1 409 Five Airs Humphrey (3 rec) 405 Exile (treble voice, 2 vlns, vc) Three Songs/3 Five Norwegian Folk Songs (3 d rec) 391 MR3/FSR3 417 Fa la la Mozart (4-pt round) SP/50 422 Five Part-Songs G. Holst, completed by IH Fair maid fetching a bucket of water, The 441 Senfl (2 tr, ten, b rec) MR2/RP16/1 419 Five Pieces from ‘Mikrokosmos’ Bartók Fair Sally (voice, pft) TAFS/2 403 (d, tr rec) MR2/RP4 418 Fairy Queen, The H. Purcell, ed. IH and Five Rounds Blow (3 tr rec) MR2/RP15 419 Britten (soli, chorus, orch) 431 Five Short Airs on a Ground (pipes) 396 Fais dodo (3 d rec) MR3/FSR2/1 417 Five Short Pieces (pft) 396 Fall of the Leaf, The (vcl) 426 Five Songs (SSSAA) 409 Fancies are but streams (SSA, orch) The Flowers red and blue (unis, pft) IFMC/2 Sun’s Journey/2 429 425 Fantasia on Hampshire Folk Tunes Fly Away over the Sea (2S, pft) 401 G. Holst (str orch) 434 Fly hence, shadows Wilson (SSA) JW/2 424 Fare Thee Well Humphrey (3 rec) Five Folk Song Tchaikovsky (d, 2 tr rec) MR2/ Airs/5 405 RP18/1 419 Farewell, A (viola, pft) Four Easy Folk Songs for Three Descant Recorders Pieces/2 399 MR2 417 Farewell to Rod (voice, continuo) 435 Folk Songs of Europe (unison, pft) IFMC Farewell to Spring (unis S, orch) The Sun’s 425 Journey/6 429 Folk Songs of the British Isles (pft) FSBI Farmer’s curst wife, The (unis, pft) JB/16 411 423 Folly’s song (unis, orch) The Sun’s Journey/9 Farmyard, The (unis, pft) TSC/12 403 429 Fatal Hour Comes On, The H. Purcell Fonteine, moeder (3 voices, string quartet, (voice, pft) 415 keyboard) Three Carols from Other Lands/2 407

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Fool’s Song, The (treble voice 2 vlns, vc) Girl’s dance song (unis, pft) IFMC/18 424 Three Songs/2 391 Give ear, O shepherd of Israel (SSAATB, str For Ever Blessed Be Thy Holy Name orch) Three Psalms/1 408 Handel (voice, pft) 420 Give not over thy mind (female voices) Four For ever let thy heavenly tapers Wilson Canons for Winsome/1 411 (SSA) JW/4 424 Gloriana Britten (vocal score) 442, 443 For us a child (5-pt round) SP/38 422 Glorious and bright (canon for 2 voices) The [Forty Rounds] Ravenscroft 424 Sun’s Journey/3 429 Four Canons for Winsome (female voices) Glory of the West, The (brass band) 433 411 Glory of the West (pipes) TOED/5 401 Four Chorales J. S. Bach (d, tr, ten, b rec) Go to Berwick, Johnnie (voice, pipes, pft) MR2/RP13 418 Six Scottish Folk Songs/4 398 Four Easy Pieces (vla, pft) 399 God rest you merry, gentlemen (SSA) Four English Christmas Carols, op. 2 390 STC2/3 412 Four Folk Tunes from Hampshire (vlns, Good advice (pft) Six Old English Dances/4 pft) 400 403 Four Oxfordshire Folk Songs (SS, pft) 397 Good man, The (3 d rec) MR3/FSR5/1 417 Four Part-Songs G. Holst ed IH 441 Gooseberry blossom, The (d rec) MR2/ Four Pieces Tchaikovsky (d, 2 tr rec) MR2/ RP11/2 418 RP18 419 Great art Thou, O Lord (Canon for 5voices, Four Scottish Folk Songs (3 d rec) MR3/ pft) 401 FSR1 417 Green Bushes (unis, pft) JB/11 423 Four Somerset Folk Songs (SSA) 397 Green grass, The (unis, pft) JB/6 423 Four Songs (S, pft) 409 Greensleeves (pft) FSBI/p.8 411 Four Songs for Recorder Ensemble Greensleeves (SSA) 413 H. Purcell 413 Greensleeves (unis, pft) SP/14 421 Four Welsh Folk Tunes (3 d rec) MR3/ Greeting, A (SSM-S, pft) 437 FSR6 417 Growing in the vale by the uplands hilly Foxhunt, The (unis, pftor SSA) RVW/10 (treble voices, pft) 401 425 Frog in the well, The (unis, pft) TSC/4 403 Had the gods loved me (voice, 2 vln, vc) From the fair Lavinian shore Wilson (SSA) Three Songs/3 391 JW/1 424 Haec dies Pérotin/Dolmetsch (2tr, ten rec) Fugal Concerto, A G. Holst ed. IH and MR2/RP2/2 418 C. Matthews 441 Hail be thou, maid, mother of Christ Full fathom five Wilson (SSA) JW/3 424 (SSSAA) Five Songs/2 409 Hail to the myrtle shade H. Purcell Four Gabriel that Angel bright (voices) Four Songs for Recorder Ensemble/2 413 English Christmas Carols, op. 2/4 390 Hallo My Fancy, Whither Wilt Thou Go? Gallant poachers, The (pft) FSBI/p.14 411 (SSC-TTBB) 435 Gallows tree, The (pft) FSBI/p.32 411 Hang Sorrow (pft) Six Old English Dances/2 Galopede arr. Jacob (brass band) 403 Coronation Country Dances/3 402 Happy is he Byrd (3-pt round) SP/43 422 Gavotte G. Holst (d, tr, ten, b rec) MR2/ Happy, happy we Handel (SA, pft) SP/70 RP9 418 422 Ginnie Pug or Strawberries and cream Hares on the Mountains (SSA) Four (pipes) SBTP/5 396 Somerset Folk Songs/1 397 Gipsy Davy (SATB) 434 Harf stones! (3 voices) TT/15 432

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Hark the fair hour (M-S, orch) The Sun’s How happy could I be with either (unis, pft) Journey/3 429 SP/20 421 Hark to the cuckoo (unis, pft) IFMC/3 425 How manifold are thy works (SSATB, org Hark! the bells Hauptmann (4-pt round) or pft) 411 SP/31 421 How should I your true love know? (3 rec) Harper, The, voice and piano G. Holst, ed Six Shakespeare Songs/3 405 IH 440 Humming round O’Hanrahan (4-pt round) Have at thy coat, old woman (pipes) SBTP/4 SP/33 421 396 Hymne to Christ, A (SATB) 405 He that dwelleth in the secret place of the most high (SSAATB, str orch) Three I am a cobbler bold (SATB) 402 Psalms/3 408 I bless the Lord (SATB, orch) Nicodemus/11 He that will an alehouse keep (3-pt round) 402 SP/60 422 I lost my love (3 d rec) MR3/FSR4/3 417 He will not suffer thy foot to be moved I mourn the day Senfl (2 tr, ten, b rec) (SATB, orch) Nicodemus/10 402 MR2/RP16/2 419 Health to Autumn’s self, A (M-S, orch) I must and I will get married (voice, pft) The Sun’s Journey/10 430 TAFS/3 403 Heartsease TCD/1 398 I Must Live All Alone (SSA) 413 Hen wlad fy nhadau James (unis, pft) SP/28 I must live all alone (pft) FSBI/p.16 411 421 I often for my Jenny strove (pft) ECD/3 395 Herdsman’s song (3 d rec) MR3/FSR3/4 417 I resolve against cringing H. Purcell (pft, 2 Here in this mirror (SSA, orch) The Sun’s vlns, vcl ad lib) SSP/1 413 Journey/14 430 I saw a sweet and simple sight (SSSAA, or S, Here is joy for every age (SA) SP/64 422 pipes) 400 Herr, nun lass in Friede J. S. Bach (d, tr, ten, I saw three ships (SSA) STC1/4 404 b rec) MR2/RP13/4 419 I sent you out with mourning (female Hey down a down Humphrey (3 rec) Five voices) Four Canons for Winsome/3 411 Airs/4 405 I Stand as Still as Any Stone (4-pt round) Hey ho, nobody at home! (5-pt round) 412 SP/34 421 I vow to thee, my country G. Holst (unis, Hey, dorolot Grétry (unis, pft) SP/22 421 pft) SP/29 421 Hi! shoo all ’er birrds! (2 voices) TT/12 432 I wander north, I wander south (4-pt round) Hierusalem (8-pt female chorus) 409 Two Four-Part Rounds/2 391 High Germany (unis, pft) JB/12 423 I will give you a paper of pins (unis, pft) Highland lad my love was born, A (SSA) Six SP/4 421 Scottish Songs/2 420 I Will Lift Up Mine Eyes Tudway (S, pft) Hinkin, winkin (unis, pft) SP/12 421 431 Hob y deri dando (unis, pft) SP/8 421 I will not leave thee, Lord J. S. Bach (d, tr, Holly and the ivy, The (SSA) STC1/1 404 ten, b rec) MR2/RP13/2 418 Homage to William Morris (B, string bass) I wish I was a child again (unis, pft) TSC/10 438 403 Hot cross buns Webbe (5-pt round) SP/36 I’ll bring you to the court of the Sun’s Queen 422 (M-S, orch) The Sun’s Journey/7 429 How Blest Are They H. Purcell, ed. IH and I’ll mount to you blue Coelum H. Purcell Ledger (S, B, chorus, org) 433 Four Songs for Recorder Ensemble/4 413 How blest are thy children J. S. Bach (SS, I’m a shepherd born to sorrow (unis, pft) pft) SP/72 422 SP/8 421

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I’m owre young to marry yet (SSA) It was one morning (unis, pft or SA) Traditional Songs of Scotland/3 420 RVW/15 425 I’m owre young to marry yet (voice, pipes pft) Six Scottish Folk Songs/2 398 Jack Jintle (unis, pft) SP/1 421 I’ve been to France (2 voices) TT/1 432 Jamaica (pipes) BTP/4 394 Ich klag den Tag Senfl (2 tr, ten, b rec) Jenny is dancing (vla, pft) Four Easy MR2/RP16/2 419 Pieces/4 399 If all the world were paper (pipes) BTP/1 Jerusalem my happy home (8-pt female 394 chorus) 409 If all the young maidens were blackbirds Jerusalem, O that thou had’st known (3-pt and thrushes (3 d rec) MR3/FSR4/4 417 round) SP/46 422 If all those young men (SSA) Four Somerset Jesu, Rex admirabilis Aichinger (2d, tr, ten Folk Songs/1 397 rec) MR2/RP10/1 418 Iken Fanfare (wind band) 435 Jesum omnes cognoscite Aichinger (2d, tr, In Dorian mode Bartók (d, tr rec) MR2/ ten rec) MR2/RP10/2 418 RP4/1 418 Jig from Cork (d rec) MR2/RP11/5 418 In dulci jubilo (SSA) STC2/2 412 Jig (d rec) MR2/RP11/3 and 7 418 In dulci jubilo harm. J. S. Bach (unis, pft) Jog on, jog on (3 rec) Six Shakespeare SP/26 421 Songs/2 405 In gentle murmurs Handel (unis, pft) SP/23 John Dwyre of the Glyn (d rec) MR2/RP11/6 421 418 In heaven it is always autumn (SSSAA) Five John Reilly (unis, pft or SAB) RVW/2 425 Songs/5 409 Johnny Todd (unis, pft) JB/2 423 In Oriental style Bartók (d, tr rec) MR2/ Jolly harin’, The (unis, pft orS AB/TBB) RP4/2 418 RVW/5 425 In the bleak midwinter G. Holst (SSA) Joseph and his wedded wife (unis, pft or SCC3/6 412 SATB) RVW/7 425 In the style of a folksong Bartók (d, tr rec) Joseph dearest (SSA) STC2/6 412 MR2/RP4/5 418 Joy after Sorrow (pft) ECD/6 395 In vain does Nature’s bounteous Joy in the gates of Jerusalem (6-pt round) hand Humphrey (voice, pft) Three SP/41 422 Songs/2 404 Joyce’s Divertimento (vla, orch) 436 In what torne shop soever I embarke Joys seven (SSA) STC1/2 404 (SATB) 405 Jubilee Book of English Folk Songs, A In Yugoslav mode Bartók (d, tr rec) MR2/ (unis, pft) JB 423 RP4/3 418 Juice of barley TCD/9 398 Intermezzo from First Suite in E flat Jupiter’s theme G. Holst (pft) Seven Tunes/1 G. Holst (arr. orchestra) 400 438 Irish girl, The (voice, pft) TAFS/8 403 Justification for living Carey (voice, pft) It rains and it hails (unis, pft) SP/7 421 416 It’s a rosebud in June (SSA) Four Somerset Folk Songs/2 397 Kettle Drum (pipes) TOED/3 401 It was a lover and his lass (3 rec) Six Kindly good January freezeth pot by the fire, Shakespeare Songs/5 405 A (SSA) 426 It was a lover and his lass Morley (SS, pft) SP/69 422 Lady and the dragoon, The (voice, pft) It was a maid of my country (unis, pft) TAFS/1 403 SP/16 421

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Lady Daffydowndilly (treble voices, pft) Love in a Mist or The Blue Haired 401 Stranger Scarlatti (ballet for Laird o’ Cockpen, The (pft) FSBI/p.26 413 orchestra) 397 Lady, come down and see (4-pt round) Love in their little veins H. Purcell (unis, SP/39 422 pft) SP/17 421 Lament (rec, str orch) completed Love will find out the way (unis, pft) SP/19 C. Matthews 439 421 Land of our fathers James (unis, pft) SP/28 Love’s power in my heart H. Purcell (pft, 2 421 vlns, vcl ad lib) SSP/15 413 Late in my rash accounting Weelkes (pipes) Lover I’m Born, A Humphrey (voice, pft) SBTP/14 396 Three Songs/3 404 Laudate Deum H. Purcell (3-pt round) Lullaby (SSA hp or pft) Welcome Joy and SP/47 422 Welcome Sorrow/5 414 Laugh and be glad Beethoven (2-pt round) Lullay my Liking G. Holst (S solo, SSA) SP/51 422 412 Lavabo inter innocentes (SSSAA) 420 Lure, The G. Holst, introduction by IH and Lawn as white as the driven snow Wilson C. Matthews 441 (SSA) JW/10 424 Lyric Movement for viola and small Leans now the fair willow (treble voice, orchestra G. Holst (piano score) 440 2 vlns, vcl) Three Songs/1 391 Lyric Movement for viola and small Leiston Suite (brass quartet) 431 orchestra G. Holst, ed. IH and Let formal lovers still pursue H. Purcell C. Matthews 441 (pft, 2 vlns, vcl ad lib) SSP/9 413 Let the words of my mouth (female voices) Maa bonny lad (unis, pft) SP/9 421 Four Canons for Winsome/2 411 Maiden Lane (pipes) SBTP/3 396 Let us now praise famous men Vaughan Make we merry (SA) SP/62 422 Williams (unis, pft) SP/30 421 Make Ye Merry for Him that is to Come Linnet, The Gluck (SSA, pft) SP/75 422 (SSATB) 428 Little one J. S. Bach (SSA) SCC3/5 412 Manage the Miser (pft) ECD/4 395 Little partridge (unis, pft) IFMC/11 425 March from the Courtly Dances Britten Little red lark, The (3 d rec) MR3/FSR4/1 (orch) 416 417 March of the tin soldiers Tchaikovsky Little thinkest thou, poore flower (voice, (d, 2 tr rec) MR2/RP18/4 419 pft) 403 Married and single life (voice, pft) TAFS/6 Loch Lomond (pft) FSBI/p.18 411 403 Londonderry Air (pft) FSBI/p.34 411 Masque of The Tempest, The, op. 4 (fl, cl, Long Eight (brass band) Coronation tri, str) 390 Country Dances/6 402 Mass in A minor (SSATB) 391 Loppèd tree, The (SSSAA) 412 Matthew, Mark, Luke and John (SSA) Lord Jesus hath a garden (SSA) STC2/5 412 STC1/6 404 Lord of life, The (unis, pftor SSA/SSAB) May Day Carol (3 voices) TT/19 432 RVW/8 425 Measure to pleasure your leisure, A Lord’s my shepherd, The (SATB, orch) Martini/G. Holst (pipes) BTP/13 395 Nicodemus/5 402 Meddling in Magic (ballet for orch) 394 Lord Willoughby (pft) FSBI/p.7 411 Message, The (3 d rec) MR3/FSR5/6 417 Lord, now lettest thou thy servant J. S. Bach Midsummer Night’s Dream, A Britten (d, tr, ten, b rec) MR2/RP13/4 419 (vocal score) 442 Migildi, magildi (unis, pft) SP/10 421 Military song (unis, pft) IFMC/13 425

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Milk maid’s bobb (pipes) SBTP/1 396 Mystic Trumpeter, The G. Holst, ed. C. Milking croon (pft) FSBI/p.23 411 Matthews and IH 441 Mill-Field (vla, pft) Four Easy Pieces/3 399 Millisons Jegge (pipes) TOED/4 401 Napkeleten Bartók (d, tr rec) MR2/RP4/2 Mistress and master our wassail begin, The 418 (SATB) 402 Népdalféle Bartók (d, tr rec) MR2/RP4/5 Mistress mine (3 rec) Six Shakespeare 418 Songs/1 405 National Anthem, The (pft) SP 421 Mocking bird, The (unis, pft) TSC11 403 Nature’s Homily Humphrey (B, pft) 406 Mon père avait cinq cents moutons (3 d rec) Never love thee more (pipes) BTP/5 395 MR3/FSR2/6 417 Never weather-beaten sail Campion (unis, Moon shines bright, The (SSA) STC4/2 424 pft) SP/15 421 More love or more disdain I crave Never, no never, listen too long (treble, 2 H. Purcell (pft, 2 vlns, vcl ad lib) SSP/6 vlns, vlc) Three Songs/2 391 413 New new nothing (pipes) TOED/9 401 Morpeth rant arr. Jacob (brass band) New Year’s song (3 d rec) MR3/FSR5/7 417 Coronation Country Dances/5 402 Nez de Martin, Le (3 d rec) MR3/FSR2/5 Morpeth rant TCD/2 398 417 Morris Dance from ‘Gloriana’ Britten Nicodemus (incidental music, SATB, orch) (2 d rec) MR2/RP14 419 402 Morris Suite (small orchestra) 395 Night piece (pft) Six Pictures from Mr Shilkret’s march G. Holst (pft) Seven Finland/6 398 Tunes/6 438 Nine joys of Mary (unis, pft or SAB) RVW/6 Music for Recorders MR 416–19 425 Music, take Echo’s voice (M-S, orch) The Nineteen Songs from Folk Songs of Europe Sun’s Journey/5 429 (ed. Karpeles) IFMC 425 My bairn, sleep softly now (SSSAA or S, No watch, dear Celia H. Purcell (pft, 2 vlns, pipes) 400 vcl ad lib) SSP/12 413 My Bonnie, bonnie boy (pipes) BTP/9 394 Nocturne Britten (vocal score) 442 My boy Billy (unis, pft) SP/6 421 Noel nouvelet (3 voices, string quartet, My boy Tammie (SSA) Six Scottish keyboard) Three Carols from Other Songs/5 420 Lands/1 407 My boy Willie (unis, pft) JB/18 423 Norfolk Long Dance (brass band) My coffin shall be black (unis, pft or SA) Coronation Country Dances/1 402 RVW/16 425 Norwegian dance (3 d rec) MR3/FSR3/2 417 My dame has in her hut H. Purcell (3-pt Not Unto Us, O Lord (trebles, A, org, round) SP/57 422 optional bells) 429 My dear mother TCD/3 398 Now is the month of Maying Morley My dearest dear (voice, pft) TAFS/7 403 (pipes) BTP/11 394 My father gave me an acre of land (3 voices) Now O now I needs must part Dowland TT/8 432 (SA, pft) SP/68 422 My heart is sair for somebody (SSA) Six Now the fight’s done H. Purcell (pft, 2 vlns, Scottish Songs/1 420 vcl ad lib) SSP/17 413 My Johnny was a shoemaker (pipes) BTP/10 Now the lusty Spring is seen Wilson (SSA) 394 JW/5 424 My Lord Byron’s Maggot (pipes) BTP/3 394 Now the winter is gone (SS, pft) Four My only Joe and dearie (vcl, pft) Two Oxfordshire Folk Songs/2 397 Scottish Airs/1 396

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Now thrice welcome Christmas (voices) Oh! How you protest H. Purcell (pft, 2 vlns, Four English Christmas Carols, vcl ad lib) SSP/11 413 op. 2/3 390 Oh, welcome, welcome smiling May Now will I weave white violets (SSA) 401 Schubert (3-pt round) SP/52 422 Nowell and Nowell (SSATBB) 397 Oh, Yarmouth is a pretty town (pft) Nowell sing we, both all and some (SSA) FSBI/p.5 411 STC4/1 424 Old French Song Tchaikovsky (d, 2 tr rec) Noye’s Fludde Britten (vocal score) 442 MR2/RP18/2 419 Nunc Dimittis for SSAATTBB Old woodcutter, The (pft) Six Pictures from unaccompanied G. Holst, rev. IH 441 Finland/3 398 Nursery song (3 d rec) MR3/FSR4/5 417 On Christmas night (unis, pft) JB/7 423 Nymphs and shepherds H. Purcell (SSA, On dit que l’amour (3 d rec) MR3/FSR2/4 str, recs) 405 417 Nymphs’ dance (fl, cl, tri, str) The Masque On Monday morning (pipes) SBTP/10 396 of the Tempest, op. 4/1 390 On the lake (pft) Six Pictures from Finland/1 398 O Can Ye Sew Cushions? Britten (SSA, On Westhall Hill (small orch) 399 pft) 420 Once in our lives H. Purcell (3 tr rec) MR2/ O ever against eating cares Hayes (3-pt RP8/1 418 round) SP/58 422 One Hundred Traditional Irish Tunes O I did climb a tree-top (unis, pft) IFMC/7 from the Petrie Collection (d rec) MR4 425 419 O Jesu, Look Kirbye (SSATB) 431 One, two, three H. Purcell (3-pt round) O little town of Bethlehem (SSA) STC2/1 SP/55 422 412 Open me the gates of righteousness (canon O Lord, Grant the Queen a Long Life for SATB) 412 H. Purcell (chorus, orch) 416 Out of the Orient (voices) Four English O saw ye my wee thing? (pft) FSBI/p.24 411 Christmas Carols, op. 2/2 390 O, saw ye my wee thing (SSA) Traditional Out of Your Sleep Arise and Wake Songs of Scotland/4 420 (SSATTB) 433 O Sorrow (SSA harp or pft) Welcome Joy Over the hill and over the dale (SSA, hp and Welcome Sorrow/4 414 or pft) Welcome Joy and Welcome O years and age, farewell (SSSAA) Five Sorrow/3 414 Songs/3 409 Over the hills and the mountains (unis, pft Oaken leaves in the merry wood (3-pt or SSA) RVW/9 425 round) SP/61 422 Over the mountains (unis, pft) SP/19 421 Of a Rosemary Branch Sent (SATB, str) Overture ‘Persephone’ (orch) 393 407 Of all the horses in the merry green wood Panic music (orch) The Song of (3 voices) TT/5 432 Solomon/2 399 Of all the instruments H. Purcell (3 tr rec) Passion According to Saint John, The MR2/RP8/5 418 J. S. Bach, ed. IH and Britten (soli, chorus, Offley Suite (3 rec) 406 orch) 431 Offley Suite (str orch) 409 Passion According to Saint John, The Oh shepherd, oh shepherd, will you come Schütz, ed. IH and Pears (soli, chorus) home? (3 voices) TT/4 432 426 Oh, blow the wind southerly (4-pt round) Passion According to Saint Luke, The SP/35 422 (soli, chorus) 429

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Passion According to Saint Matthew, The Schütz, ed. IH and Pears (soli, chorus) Rashly I swore H. Purcell (pft, 2 vlns, vcl ad 429 lib) SSP/4 413 Pastoral G. Holst (pipes) BTP/14 395 Recorder pieces from the 12th to the 20th Pastorale (orch) The Sun’s Journey/8 429 century MR2 417 Paul’s Steeple (pipes) TOED/1 401 Red rosebud, The (unis, pft) IFMC/1 425 Penelope, The (pft) ECD/1 395 Rejoice and be merry (SSA) SCC3/3 412 Persephone (overture, orch) 393 Rejoice in the Lamb Britten (soli, chorus, Petticoat Wag (pipes) TOED/6 401 orch) 415 Phantasy (str quartet) 392 Remember Not, O Lord H. Purcell (male Phoebus, make holiday! (M-S, orch) The voices) 433 Sun’s Journey/1 429 Resonet in Laudibus (unis, small orch) Piper o’Dundee, The (SSA) Six Scottish 390 Songs/4 420 Revellers’ song (unis, orch) The Sun’s Pity, or I die (pipes) SBTP/7 396 Journey/11 430 Planets, The,suite for large orchestra. Rival Sisters, The H. Purcell (suite, small G. Holst, ed IH 440 orch) 403 Planets, The,suite for large orchestra River Wisla (unis, pft) IFMC/17 425 G. Holst, ed IH and C. Matthews 441 Robin Adair (pft) FSBI/p.18 411 Plannu coed (unis, pft) SP/11 421 Robin’s last will (3 d rec) MR3/FSR1/1 417 Planting trees (unis, pft) SP/11 421 Robin’s last will (pft) FSBI/p.17 411 Plough whistle (3 d rec) MR3/FSR4/6 417 Robin-A-Thrush (pipes) BTP/8 394 Polly’s birthday Carey (voice, pft) 416 Rosalie, will you dance with me? (3 d rec) Portsmouth (pft) FSBI/p.15 411 MR3/FSR5/3 417 Praise God from whom all blessings flow Rose is white and Rose is red (pipes) Tallis (8-pt round) SP/42 422 TOED/2 401 Praise ye the Lord Palestrina (3-pt round) Rosier, Le (3 d rec) MR3/FSR2/2 417 SP/45 422 Round, The TCD/8 398 Prelude and Dance (pft) 404 Roving in the dew (unis, pft) JB/5 423 Pretty bird, sitting in yonder tree Brahms Russian Song Tchaikovsky (d, 2 tr rec) (4-pt round) SP/53 422 MR2/RP18/3 419 Pretty Caroline (SS, pft) Four Oxfordshire Rustics and fishermen Britten (T solo, Folk Songs/1 397 SATB) CDG/6 419 Pretty Peggy’s Minuet (pipes) SBTP/2 396 Pretty ploughboy, The (unis, pftor SA) Sailor from the sea, The (small orch) Three RVW/13 425 Somerset Folk Songs/3 410 Prince of the Pagodas, The Britten (piano St Paul’s Suite G. Holst ed. IH and C. score) 442 Matthews 441 Prince Rupert’s March (pipes) TOED/7 401 Sally Anne (unis, pft) TSC/9 403 Prithee, why so sad? H. Purcell (3-pt round) Sally Brown (voices, recs) 421 SP/56 422 Salutation Carol, The (SSA) STC4/3 424 Prometheus (incidental music; voices, vla) Salvator mundi, Domine (SSATB) 428 413 Sanctus Clemens (5-pt round) SP/44 422 Putman’s Hill (unis, pft) TSC/5 403 Sāvitri G. Holst rev. IH 440 Sāvitri G. Holst ed. IH 440 Queen’s jig TCD/7 398 Scherzo Britten (d, tr, 2 ten or ten, b rec) Quem pastores (SSA) STC4/4 424 MR2/RP1 417 Quintet (ob, str) 392

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Second Book of Tunes for the Pipes, A Since time so kind to us does prove 396 H. Purcell (3 tr rec) MR2/RP8/3 418 Second Lute Song of the Earl of Essex, Sing, said the mother (unis, pft) TSC/6 403 The Britten (T, pft) 419 Sing, sing, ye muses H. Purcell (SS, pft) See, what strange light appears! (M-S, orch) SP/73 422 The Sun’s Journey/13 430 Singing for Pleasure (female voices) SP Seeds of love, The (SS, pft) Four 421–3 Oxfordshire Folk Songs/3 397 Sípszó Bartók (d, tr rec) MR2/RP4/4 418 Self banished, The Blow (unis, pft) SP/24 Six Canons for Violin Classes 410 421 Six Christmas Carols [third set] (SSA/ Sellenger’s Round Byrd (str orch) 415 SSAA) 412 Serenade (fl, vla, bsn) 407 Six Irish Folk Songs (3 d rec) MR3/FSR4 Set me as a seal upon thy heart (5 voices) 417 Four Canons for Winsome/4 411 Six Old English Dances (pft) 403 Seven Flemish Folk Songs (3 d rec) MR3/ Six Pictures from Finland (pft) 398 FSR5 417 Six Rounds H. Purcell (3 tr rec) MR2/RP8 Seven French Folk Songs (3 d rec) MR3/ 418 FSR2 417 Six Scottish Folk Songs (voice, pipes, pft) Seven Part-Songs G. Holst, rev. IH 440 398 Seven Tunes G. Holst (pft) 438 Six Scottish Songs (SSA) 420 Seven Virgins, The, or All under the Six Shakespeare Songs (3 rec) 405 leaves (SSA) 407 Six Traditional Carols [first set] (SSA) Seventeen come Sunday (unis, pft or SA) STC1 404 RVW/14 425 Six Traditional Carols [fourth set] (SSA/ Seventeen Songs of Purcell (pft, 2 vlns, vcl SSSA) STC4 424 ad lib) 413 Six Traditional Carols [second set] (SSA) Sextet for Recorders (sopranino, 2 d, 2 tr, STC2 412 ten) 438 Skellemesago (pipes) TOED/8 401 Shady Grove, The Humphrey (3 rec) Five Sleep, baby, sleep, the mother sings (voices) Airs/2 415 390 Shall I thus ever long? (S, pft) Four Songs/3 Slip, The TCD/10 398 409 Slow dance G. Holst (pft) Seven Tunes/2 She who my poor heart possesses 438 H. Purcell (pft, 2 vlns, vcl ad lib) SSP/7 Snake baked a hoe-cake (unis, pft) TSC/7 413 403 She’s like the swallow (unis, pft) JB/10 423 Snow-white bird, The (unis, pft) IFMC/5 Shed no tear (SSA, hp or pft) Welcome Joy 425 and Welcome Sorrow/6 414 So have I seen a silver swan Wilson (SSA) Shepherd’s dance (str) The Masque of the JW/6 424 Tempest, op. 4/2 390 Sonata (vln, vcl) 394 Shower among the birch trees, A (pft) Six Sonata in D minor, op. 1 (vln, vla, vcl, pft) Pictures from Finland/5 398 390 Shule, shule, shule amogalay (2 voices) TT/7 Sonata in G (vln, pft) 392 432 Song G. Holst (pft) Seven Tunes/4 438 Sigh no more, ladies Stevens (SS) SP/67 Song for a Well-Loved Librarian 422 (SM-STB) 437 Silvia, now your scorn give over H. Purcell Song of Solomon, The(incidental music Four Songs for Recorder Ensemble/1 413 for orch) 399

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Song of Summer (SA) The Sun’s Take her out and air her (d rec) MR2/RP11/4 Journey/9 429 418 Songsters, The or Love in their little veins Take not a woman’s anger H. Purcell H. Purcell (unis, pft) SP/17 421 (pft, 2 vlns, vcl ad lib) SSP/14 413 Sourwood Mountain (unis pft) TSC/3 403 Teignmouth (SSA, hp or pft) Welcome Joy Speed the plough (brass band) Coronation and Welcome Sorrow/2 414 Country Dances/2 402 Tell me no more H. Purcell (pft, 2 vlns, vcl Spin, spin (unis, pft) IFMC/8 425 ad lib) SSP/10 413 Spinner’s song, The (pft) Six Pictures from Tempest, The H. Purcell (d rec, fl, ob, cl, str, Finland/4 398 pft) 410 Spring Song (SSA, orch) The Sun’s Ten Appalachian Folk Songs (voice, pft) Journey/4 429 403 Staines Morris (pipes) TOED/12 401 Ten Bach Tunes (recs) 424 Stow Fair (unis, pft) JB/15 423 Ten Commandments, The (voice, pft) Stratagem, The (pft) FSBI/p.31 411 TAFS/10 403 Strawberries and cream (pipes) 396 Ten Indian Folk Tunes from the Hill Straw candle, The (unis, pft) SP/12 421 Villages of the Punjab (d rec) 414 String Quartet no. 1 411 Ten Songs Wilson (SSA) JW 424 String Quartet no. 2 412 Terzetto for flute, oboe and viola G. Holst, rev. IH 441 String Quintet (2 vln, vla, 2 vcl) 437 (SATB) String Trio no. 2 (vln, vla, vcl) 427 That Lord that Lay in Asse Stall 428 Such green to me as you have sent (SATB, str) 407 Theme and Variations (pft) 391 (vln) 408 Suite (fl, ob, cl, bsn) 392 Theme and Variations There sits the hand (2 voices) TT/2 432 Suite (vla) 394 There was a little man (SSA) Four Somerset Suite (str orch) 408 Folk Songs/4 397 Suite for small orchestra 392 There was a pig went out to dig (3 voices) Suite from ‘Persée’ Lully, ed IH and TT/20 432 Hurwitz (str orch) 432 There was a wee cooper who lived in Fife (2 Suite in F for strings 391 voices) TT/10 432 Suite: The Unfortunate Traveller (brass There was an old woman lived in Athlone (3 band or str) 393 voices) TT/6 432 Suitor, The (3 d rec) MR3/FSR3/1 417 There’s nothing so fatal as woman Sun is up, The (round) The Sun’s Journey/13 H. Purcell (pft, 2 vlns, vcl ad lib) SSP/3 430 413 (cantata for SA, small Sun’s Journey, The This endris night (SSA) STC2/4 412 orch or pft) 429–30 This is the weather the cuckoo likes (voice, Sumer is icumen in (4-pt round) SP/63 422 pft) 391 (SATB) 403 Sweet Country Life, A Thou crownest the year (SATB, orch) Sweet Kitty (SSA) Four Somerset Folk Nicodemus/8 402 Songs/3 397 Thou Shepherd, whose intentive eye Lawes Sweet tyraness, I now resign H. Purcell (pipes) SBTP/11 396 (pft, 2 vlns, vcl ad lib) SSP/5 413 Though Philomena lost her love Morley Swing a lady (unis, pft) TSC/2 403 (SSA) SP/78 422 Symphony for cello and orchestra Britten Though you make no return H. Purcell (piano score) 442 (pft, 2 vlns, vcl ad lib) SSP/13 413 Three Carol Arrangements(3 voices) 432

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Three Carols from Other Lands (3 voices, Two Chorales Walther (d, tr, ten, b rec) str quartet, keyboard) 407 MR2/RP12 418 Three Psalms (SSAATB, str orch) 408 Two Fanfares (1. brass 2. 2tpt, fl, bells) 431 Three ravens, The (unis, pft) JB/14 423 Two Four-part Rounds (voices) 391 Three Somerset Folk Songs(small orch) Two Madrigals Senfl (2 tr, ten, b rec) 410 MR2/RP16 419 Three Songs (treble, 2 vln, vcl) 391 Two Motets Aichinger (2d, tr, ten rec) Three Songs Humphrey (voice, pft) 404 MR2/RP10 418 Thy sands are number’d (M-S, orch) The Two Motets Pérotin/Dolmetsch (2tr, ten Sun’s Journey/14 430 rec) MR2/RP2 418 Time Britten (T solo, SATB) CDG/2 419 Two Pieces for piano G. Holst, ed IH 440 Time and Concord Britten (T solo, SATB) Two Scottish Airs (vcl, pft) 396 CDG/4 419 Two seasonal part songs for upper Timothy’s trot (vla, pft) Four Easy Pieces/1 voices 409, 426 399 To all lovers of music H. Purcell (3 tr rec) Under the Greenwood Tree Arne (voice, MR2/RP8/6 418 pft) 420 To drive the cold winter away (SA) SP/66 Under the greenwood tree Arne (unis, pft) 422 SP/21 421 Tomorrow is St. Valentine’s Day (3 rec) Six Under the trees so green (3 d rec) MR3/ Shakespeare Songs/4 405 FSR5/5 417 Traditional Country Dances (various) 398 Unfortunate Traveller, The(suite, Traditional Irish Tunes from the Petrie brass) 393 Collection (d rec) MR2/RP11 418 Unto us is born a Son (SSSA) STC4/5 424 Traditional Songs of Scotland (SSA) 420 Up in the morning early (SA) SP/65 422 Trianon Suite (orch) 430 Upon my right side I me lay (SSSAA) Five Trip it, trip it in a ring H. Purcell (pipes) Songs/1 409 SBTP/13 396 True Englishmen H. Purcell (3 tr rec) MR2/ Valiant Lady, The (pft) FSBI/p.12 411 RP8/2 418 Van Hanselijn (3 d rec) MR3/FSR5/2 417 Tub, The (pft) ECD/5 395 Variations on ‘Loth to Depart’ (str quartet, Tune thy music to thy heart Campion (SSA) 2 str orchs) 427 SP/79 422 Venus and Adonis Blow (soli, chorus, Tunes from Kentucky (voices, orch) 426 orch) 421 Turn of the Screw, The Britten (vocal Vir perfecte Pérotin/Dolmetsch (2 tr rec) score) 442 MR2/RP2/1 418 Twelve Apostles, The (unis, pft) SP/13 421 Virgin most pure, A (SSA) STC1/3 404 Twelve Apostles, The or The Ten Virgin Unspotted, The (SSA) 400 Commandments (voice, pft) TAFS/10 Von Gott will ich nicht lassen J. S. Bach 403 (d, tr, ten, b rec) MR2/RP13/2 418 Twelve Kindly Months, The(SSA) 426 Twelve Songs for Children (unis, pft) 403 Wake up (3 d rec) MR3/FSR5/4 417 Twelve Old English Dance Airs (pipes) Waltz song (unis, pft) IFMC/9 425 401 Wandering Scholar, The,chamber opera. Twenty Traditional British Folk Songs G. Holst, ed. Britten and IH 440 (voices) TT 432 Wandering Scholar, The, chamber opera. Twenty, eighteen (unis, pft) SP/2 421 G. Holst, ed. IH 440 War Requiem Britten (vocal score) 442

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Warrior princess, The (unis, pft) IFMC/16 While I live will I sing praises J. S. Bach 425 (SSAA) SP/81 422 Wassail Song G. Holst (unacc. male voices) White chestnut tree, The (unis, pft) 401 IFMC/10 425 Wassail song (SSA) SCC3/1 412 Whitehall Minuet (pft) ECD/2 395 Wassail song (unis pft) JB/8 423 Why fearest thou? (S, pft) Four Songs/2 409 Watchet sailor, The (unis, pft) JB/1 423 Will you buy my sweet lavender? (3 voices) Water parted from the sea Arne (unis, pft) TT/13 432 SP/18 421 Will you help me to sing? (3 d rec) MR3/ We have been a-rambling (3 voices) FSR3/3 417 TT/17 432 Willie Foster (unis, pft or SAB) RVW/4 425 We will all so merry, merry be (2 voices) Willow, The (treble, 2 vlns, vcl) Three TT/3 432 Songs/1 391 Weathers (voice, pft) 391 Wilton Fair (pipes) SBTP/9 396 Wedding garland, The (unis, pft) IFMC/15 Wind Quintet in A flat G. Holst ed. IH and 425 C. Matthews 441 Wedding Hymn, A (SATB) 399 Winter it is past, The (SSA) Traditional Wee bird Cam’ to Our Ha’Door, A Songs of Scotland/5 420 (SSATB) 428 Winter’s song (SA, orch) The Sun’s Week before Easter, The (unis, pft or SAB) Journey/12 430 RVW/3 425 Woodbridge Suite (orch) 434 Welcome home! H. Purcell (SSA, pft) SP/74 422 Y Gwcw fach (3 d rec) MR3/FSR6/1 417 Welcome Joy and Welcome Sorrow (SSA, Y Gwcw fach (SSA) SP/77 422 harp or pft) 414 Yacre of Land, A (unis, pft or SAB) RVW Welcome Joy and Welcome Sorrow (SSA, 424–5 harp or pft) Welcome Joy and Welcome Yacre of land, A (unis, pft or SAB) RVW/1 Sorrow/1 414 425 Welcome, sweet pleasure Martini (3-pt Ye banks and braes (pft) FSBI/p.20 411 round) SP/54 422 Ye gates, lift up your heads (SATB, orch) What man is he? (SATB, orch) 393 Nicodemus/16 402 What man is he? (SSSAA) Five Songs/4 409 Yorkshire Square Eight (brass band) When Adam was created (voice, pft) Coronation Country Dances/7 402 TAFS/4 403 Young Beichan (puppet opera, soli, chorus, When first Amintas sued for a kiss orch) 410 H. Purcell (pft, 2 vlns, vcl ad lib) SSP/2 Young Colin H. Purcell (3 tr rec) MR2/ 413 RP8/4 418 When I was a child (unis, pft) IFMC/19 425 When I was a shepherd (3 d rec) MR3/ FSR6/3 417 When Johnny comes marching home (pft) FSBI/p.35 412 When that I was but a little tiny boy (3 rec) Six Shakespeare Songs/6 405 When the kye come hame (pft) FSBI/p.27 411 Where is John? (3-pt round) SP/32 421 Where the bee sucks Wilson (SSA) JW/8 424

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E Catalogue of IH’s works: index of names This index comprises references in the Catalogue of Works to the named authors and composers used as sources by IH in her own compositions and arrangements.

Aeschylus 413 Handel, George Frideric 406, 415, 420, 421, Aichinger, Gregor 418 422 Arne, Thomas 420, 421 Harding, William H. 401 Bach, Johann Sebastian 406, 409, 412, 418, Hardy, Thomas 391 420, 421, 422, 424, 431, 437 Harmonia Sacra or Divine Hymns and Bartók, Béla 418 Dialogues 436 Beethoven, Ludwig van 422 Hauptmann, Moritz 421 Berkeley, Lennox 418 Haydn, Joseph 422 Bible, The 394, 401, 408, 409, 411, 420, 429 Hayes, William 422 Blow, John 419, 421, 436 Herrick, Robert 409 Blunt, Janet 397 Hogg, James 420 Boyce, William 422 Holst, Gustav 395, 400, 401, 412, 418, 421, Brahms, Johannes 422 422, 434, 438, 440–1 Britten, Benjamin 415, 416, 417, 419, 420, Humphrey, Pelham 404, 405, 406, 436 437, 442–3 James, John 421 Broadwood, Lucy: English Traditional Songs Karpeles, Maud J. and Carols 413 English Folk Songs from the Southern Brown, Carleton: Religious Lyrics of the Appalachian Mountains 403, 404 xvth Century 428 Folk Songs of Europe 425 Burns, Robert 420 Keats, John 414 Butt, James 419 Kirbye, George 431 Byrd, William 415, 422, 434 Lawes, Henry 396 Campion, Thomas 421, 422 Lewis, Anthony 421 Carey, Henry 416 Lully, Jean Baptiste 418, 422, 432 Cholmondley, Rev. C. F. 397 MacNeil, Hector 420 Cleland, William 435 Martini, Giovanni Battista 395, 422 Clemens, non Papa 422 Meleager 401 De la Mare, Walter 391 Miners, T. 408 De Zoete, Beryl 410 Morley, Thomas 394, 422 Dekker, Thomas: The Sun’s Darling 429 Morris, William 438 Dolmetsch, Arnold 418 Mozart, Wolfgang Amadeus 418, 422 Donne, John 403, 405, 409 Nashe Thomas:The Unfortunate Dowland, John 394, 422 Traveller 393 Fitzwilliam Virginal Book 426, 427 O’Hanrahan, Edith 421 Ford, John: The Sun’s Darling 429 Palestrina, Giovanni Pierluigi da 422 Gabrieli, Giovanni 431 Pérotin 418 Gardiner, George Barnet 402 Petrie, George: The Ancient Music of Gluck, Christoph Willibald 422 Ireland 399, 418, 419 Greek Anthology, The 391 Pezelius, Johannes 431 Grétry, André-Ernest 421 Piae Cantiones 390, 422 Hamilton, Edith 413

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Playford, John: The English Dancing Spensley, Eleanor 399 Master 394, 395, 396, 401, 403, 433 Southwell, Robert 412 Praetorius, Michael 407, 412 Stevens, Richard 422 Purcell, Daniel 416 Tallis, Thomas 422 Purcell, Henry 396, 403, 405, 410, 413, 415, Tchaikovsky, Pyotr Il’yich 419, 437 416, 418, 421, 422, 431, 433, 437 Thomas, E. C. 437 Ravenscroft, Thomas, 424 Thomas, J. 408 Deuteromelia 427 Tottel, Richard: Tottel’s Miscellany 409, 428 Richard de Bury 437 Tudway, Thomas 431 Rickert, Edith: Ancient English Christmas Tusser, Thomas 426 Carols, 1400–1700 390, 400, 433 Vaughan Williams, Ralph 391, 421, 424 Rossetti, Christina 401 Uraneff, Vadim 399 Scarlatti, Domenico 397 Walther, Johann 418 Schubert, Franz 421, 422 Webbe, Samuel 422 Schütz, Heinrich 426, 429 Weelkes, Thomas 396 Senfl, Ludwig 419 Willaert, Adrian 418 Shakespeare, William 405, 414 Wilson, John 424 Sharp, Cecil 395, 397, 400, 402, 403, 404, Young, Andrew 402 407, 410, 421, 435

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