Antoinette Kirkwood (26 February 1930 - 28 January 2014) was an English composer born in London, with Irish family connections. [1] She studied with Claud Biggs at the Irish Academy of Music and then piano and composition with Dorothy Howell and cello with Paul Tortelier at the Royal Academy of Music. [2] She often accompanied her mother, the soprano Rome Lindsay. [3] Radio Éireann broadcast her Symphony, op 8, composed in 1953. [2] This "very notable achievement", said one unidentified reviewer, established that Kirkwood "can write a memorable tune in a definite key and can hold the listener’s interest for a considerable time". [4] On 28 April 1960 the conductor Kathleen Merritt organized and conducted a Wigmore Hall concert of 'Contemporary British Women Composers', featuring the music of Kirkwood alongside Ina Boyle, Ruth Gipps, Dorothy Howell, Elizabeth Maconchy and Grace Williams. [5]
Kirkwood was the founder and conductor of the St Columba's Orchestra (associated with the London church) from 1957 until 1961. For four years beginning in 1969, she was a member of the executive committee of the Composers' Guild of Great Britain.
She married the writer Richard Phibbs (1911-1986, author of Buried in the Country, 1947) in 1961 at St Columba's. [6] [7] Her marriage, three children and caring for her mother and husband through their terminal illnesses, led to a complete cessation in her composition activity between 1961 and the late 1980s. [1] During that period they were living at 56 Sutherland Street, London SW1. [8]
On her husband's death in 1986 she raised money to re-publish two of his books (Cockle Button, Cockle Ben, for children, and Harmony Hill, four short stories), as well as resuming her own career as a composer. [9] She died on 28 January 2014, aged 84. [10]
Kirkwood composed orchestral concert works, theatre music and two ballet scores, as well as instrumental and chamber pieces (including a cello sonata and the Rapsodie for harp) and many songs. Marie Fitzpatrick identifies a development in her style from the three folksong based orchestral Fantasies (1958–61), through the six Intermezzos for piano of 1959, showing the influence of Bartok, and also including more technically demanding explorations, such as the Soliloquy for guitar (1985). [11] Her publishers are Curlew & Andresier and Bardic Edition. Selected works include:
Orchestral
Chamber and instrumental
Vocal
A few of her works have been recorded and issued on media, including:
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