Below is a sortable list of compositions by Frank Bridge . The works are categorized by genre, Hindmarsh catalogue [1] number (H.), date of composition and title. Revised references published in Frank Bridge: The Complete Works, 2016 are given in brackets [see below].
Genre | H. | Date | Title | Scoring | Notes |
---|---|---|---|---|---|
Chamber music | 1 | 1900 | Piano Trio No.1 in D minor | for violin, cello and piano | |
Chamber music | 2 | 1900 | Romance: Une Lamentatione d'amour | for violin and piano | |
Chamber music | 3 | 1900 | String Quartet in B♭ major | for 2 violins, viola and cello | |
Chamber music | 4 | 1900 | 3 Dances
| for violin or cello and piano | revised 1911 |
Vocal | 5 | 1901 | Sonnet: When Most I Wink | for voice and piano | words: Sonnet 43 by William Shakespeare |
Chamber music | 6 | 1901 | Scherzo Phantastick | for 2 violins, viola and cello | |
Chamber music | 7 | 1901 | String Quintet in E minor | for 2 violins, 2 violas and cello | |
Chamber music | 8 | 1901 | Berceuse in B♭ major | for violin or cello and piano | |
Concertante | 8 | 1901 | Berceuse in B♭ major | for violin and string orchestra | original for violin or cello and piano |
Orchestral | 8 | 1901 | Berceuse in B♭ major | for small orchestra | original version for violin or cello and piano |
Piano | 8 | 1901 | Berceuse in B♭ major | for piano | original version for violin or cello and piano; published in 1929 |
Vocal | 9 | 1901 | Berceuse | for soprano and orchestra | words by Dorothy Wordsworth |
Orchestral | 10 | 1901 | Coronation March | for orchestra | written for a competition celebrating the new King Edward VII |
Organ | 11 | c.1901 | Adagio ma non troppo in G minor | for organ | |
Vocal | 12 | c.1901 | If I Could Choose | for voice and piano | words by Thomas Ashe |
Vocal | 13 | c.1901 | The Primrose | for voice and piano | words by James Merrick |
Vocal | 14 | 1902 | The Hag | for baritone and orchestra | words by James Merrick |
Chamber music | 15 | 1902 | Piano Quartet in C minor | for violin, viola, cello and piano | |
Piano | 16 | 1902 | Pensées Fugitives I in F minor | for piano | Only the first of the intended Pensées Fugitives was actually completed; published by Thames Publishing |
Orchestral | 17 | 1902 | Valse Intermezzo à Cordes in E minor | for string orchestra | |
Orchestral | 18 | 1901–1902 | Trois Morceaux d'orchestre (3 Pieces for Orchestra)
| for small orchestra | |
Chamber music | 19 | c.1902 | Scherzetto | for cello and piano (or orchestra) | |
Chamber music | 19a | c.1902 | Scherzo | for cello and piano | revised version of H.19 |
Piano | 20 | 1902 | Scherzettino in G minor | for piano | published by Thames Publishing |
Vocal | 21 | 1903 | A Dirge | for medium voice and piano | words by Percy Bysshe Shelley |
Chamber music | 22 | 1903 | Con Moto | for violin and piano | |
Chamber music | 23 | 1903 | Serenade | for violin or cello and piano | |
Orchestral | 23 | 1903 | Serenade | for orchestra | original version for violin or cello and piano |
Piano | 23 | 1903 | Serenade | for piano | original version for violin or cello and piano |
Orchestral | [24] | 1903 | Dramatic Overture | for orchestra | |
Choral | [25] | 1903 | Autumn | for mixed chorus a cappella | words by Percy Bysshe Shelley |
Vocal | [26] | 1903 | The Devon Maid | for medium voice and piano | words by John Keats |
Vocal | [27] | 1903 | Rising When the Dawn Still Faint Is | for voice and piano | words by Heinrich Heine |
Vocal | [27a] | 1903 | Dawn and Evening | for voice and piano or orchestra | words by Heinrich Heine |
Vocal | [28] | 1903 | 2 Songs after Heine
| for tenor and piano | 2. also for tenor and small orchestra |
Vocal | 28c | c.1903 | The Mountain Voice | for voice and piano | words by Heinrich Heine; incomplete |
Piano | 29 | 1903 | Moderato in E minor | for piano | published by Thames Publishing |
Orchestral | 30 | 1903 | Mid of the Night, Symphonic Poem | for orchestra | |
Vocal | 31 | 1903 | Music When Soft Voices Die | for high voice and piano | words by Percy Bysshe Shelley |
Chamber music | 32 | 1903 | Tempo di Mazurka | for cello and piano | |
Vocal | 33 | 1903 | Blow, Blow Thou Winter Wind | for medium voice and piano | words by William Shakespeare |
Vocal | 34 | 1903 | Go Not, Happy Day | for voice and piano | words by Alfred, Lord Tennyson |
Vocal | [35] | c.1903 | Remembrance | for voice and piano | words by Percy Bysshe Shelley |
Vocal | 36 | 1904 | Night Lies on the Silent Highways | for medium voice and piano | words by Heinrich Heine |
Choral | 37 | 1904 | Music When Soft Voices Die | for mixed chorus a cappella | words by Percy Bysshe Shelley |
Vocal | 38 | 1904 | A Dead Violet | for medium voice and piano | words by Percy Bysshe Shelley |
Chamber music | 39 | 1904 | Sonata in E♭ major | for violin and piano | |
Vocal | 40 | 1904 | 2 Songs
| for voice and orchestra | |
Vocal | 41 | c.1904 | Harebell and Pansy | for voice and orchestra | incomplete |
Vocal | 42 | 1904 | Song Cycle
| for voice and piano | 3. incomplete |
Chamber music | 43 | 1904 | 3 Pieces | for 2 violins, viola and cello | |
Chamber music | 44 | 1904 | 3 Novelletten | for 2 violins, viola and cello | |
Chamber music | 45 | 1904 | Romanze | for violin and piano | |
Vocal | 46 | c.1904 | Cradle Song | for voice and piano | words by Alfred, Lord Tennyson |
Chamber music | 47 | 1904 | Élégie | for cello and piano | |
Chamber music | 48 | 1904 | Souvenir | for violin and piano | |
Chamber music | 49 | 1904–1905 | Piano Quintet in D minor | for 2 violins, viola, cello and piano | original version in 4 movements |
Chamber music | 49a | 1904–1905 1912 | Piano Quintet in D minor | for 2 violins, viola, cello and piano | revised version in 3 movements |
Vocal | 50 | 1905 | Lean Close Thy Cheek against My Cheek | for voice and piano | words by Heinrich Heine |
Vocal | 51 | 1905 | Fair Daffodils | for voice and piano | words by James Merrick |
Piano | 52 | 1905 | Capriccio No. 1 in A minor | for piano | published by Augener |
Chamber music | 53 | 1905 | 2 Pieces
| for viola and piano | 2. incomplete; The coda was completed by Paul Hindmarsh in 1980. |
Piano | 54 | 1905 | 2 Solos for Piano
| for piano | published by Houghton and Co. |
Chamber music | 55 | 1905 | Phantasie String Quartet in F minor | for 2 violins, viola and cello | won second prize in the 1905 Cobbett Chamber Music Competition |
Organ | 56 | 1905 | First Book of Organ Pieces
| for organ | published by Winthrop Rogers |
Vocal | 57 | 1905 | Adoration | for medium voice and piano or orchestra | words by John Keats |
Piano | 58 | 1905 | Étude Rhapsodique in A minor | for piano | published by Thames Publishing |
Chamber music | 59 | 1905 | Amaryllis in D major | for violin and piano | |
Chamber music | 60 | 1905 | Norse Legend in G minor | for violin and piano | |
Piano | 60 | 1905 | Norse Legend in G minor | for piano | original version for violin and piano |
Orchestral | 60 | 1905, 1938 | Norse Legend in G minor | for small orchestra | original version for violin and piano |
Vocal | 61 | 1905 | So Perverse | for medium voice and piano | words by Robert Bridges |
Vocal | 62 | 1905 | Tears, Idle Tears | for medium voice and piano | words by Alfred, Lord Tennyson |
Organ | 63 | 1905 | 3 Pieces for Organ
| for organ | published by Novello |
Chamber music | 64 | c.1905 | 3 Pieces for String Quartet | for 2 violins, viola and cello | |
Vocal | 65 | 1905–1906 | 2 Songs of Robert Bridges
| for high baritone and orchestra | words by Robert Bridges |
Piano | 66 | 1906 | Dramatic Fantasia | for piano | published by Thames Publishing |
Chamber music | 67 | 1906 | 3 Idylls | for 2 violins, viola and cello | movement 2 used as the theme of Variations on a Theme of Frank Bridge by Benjamin Britten |
Piano | 68 | 1906 | 3 Sketches
| for piano | published by Winthrop Rogers |
Orchestral | 68b | 1906, 1936 | Rosemary | for orchestra | orchestration of No. 2 of 3 Sketches for piano, H.68 |
Vocal | 69 | 1906 | The Violets Blue | for voice and piano or string quartet | words by Heinrich Heine |
Chamber music | 70 | 1906 | String Quartet No. 1 in E minor | for 2 violins, viola and cello | |
Vocal | 71 | 1906 | Come to Me in My Dreams | for voice and piano | words by Matthew Arnold |
Vocal | 72 | 1906 | My Pent Up Tears Oppress My Brain | for voice and piano | |
Vocal | [73] | c.1906 | 2 Recitations
| for speaker and piano | 1. words by Robert Browning 2. words by Matthew Gregory Lewis |
Chamber music | 74 | 1906 | The Rag | for 2 violins, viola and cello | |
Chamber music | 75 | c.1904–1906 | Valse Fernholt | for violin, viola, cello and piano | |
Vocal | 76 | 1906–1907 | 3 Songs
| for medium voice, viola obbligato and piano | 1. words by Matthew Arnold 2. words by Heinrich Heine 3. words by Percy Bysshe Shelley |
Vocal | 77 | 1907 | All Things That We Clasp | for voice and piano | words by Heinrich Heine |
Orchestral | 78 | 1907 | Isabella, Symphonic Poem | for orchestra | after John Keats |
Chamber music | 79 | 1907 | Phantasie Piano Trio in C minor | for violin, cello and piano | won first prize in the 1908 Cobbett Chamber Music Competition |
Chamber music | 80 | 1907 | Gondoliera in E minor | for violin and piano | |
Vocal | 81 | 1907 | Love Is a Rose | for voice and piano | words by Leah Durand |
Chamber music | 82 | c.1907–1908 | Allegro Appassionato in B minor | for viola and piano | |
Chamber music | 83 | c.1907–1908 | Morceau Characteristique | for violin and piano | |
Orchestral | 84 | 1908 | Dance Rhapsody | for orchestra | |
Vocal | 85 | 1908 | Dear, When I Look into Thine Eyes | for voice and piano | words by Heinrich Heine |
Chamber music | 86 | 1908 | An Irish Melody | for 2 violins, viola and cello | movement I from Suite on Londonderry Air for string quartet, co-composed with Hamilton Harty, J. D. Davis, Eric Coates and York Bowen |
Orchestral | 86a | 1908, 1938 | An Irish Melody | for orchestra | original version for string quartet; based on The Londonderry Air |
Chamber music | 87 | c.1908 | 3 Miniatures for Piano Trio, Set 1
| for violin, cello and piano | |
Chamber music | 88 | c.1908 | 3 Miniatures for Piano Trio, Set 2
| for violin, cello and piano | |
Chamber music | 89 | c.1908 | 3 Miniatures for Piano Trio, Set 3
| for violin, cello and piano | |
Piano | 90 | c.1906–1908 | ? | for piano | "untitled" work |
Choral | 91 | 1909 | Hilli-Ho! Hilli-Ho! | for mixed chorus a cappella | words by Thomas Moore |
Choral | 92 | 1909 | O Weary Hearts | for mixed chorus a cappella | words by Henry Wadsworth Longfellow |
Orchestral | 93 | 1909–1910 | Suite
| for string orchestra | |
Chamber music | 94 | 1910 | Phantasie Piano Quartet in F♯ minor | for violin, viola, cello and piano | |
Incidental | 95 | 1910 | The Two Hunchbacks: 5 Entr'actes | incidental music for the play by Émile Cammaerts | |
Chamber music | 96 | 1910 | Cradle Song in F major | for violin or cello and piano | |
Orchestral | 97 | 1911 | Coronation March (Animo et Fide) | for orchestra | written for a competition celebrating the new King George V |
Incidental | 98 | 1911 | The Pageant of London | for military band and male chorus | incidental music for the Festival of Empire |
Chamber music | 99 | 1911 | Mélodie in C♯ minor | for cello or violin and piano | |
Orchestral | 100 | 1910–1911 | The Sea, Suite
| for orchestra | |
Chamber music | 101 | 1911–1912 | 2 Pieces
| for 2 violas | 1. incomplete |
Vocal | 102 | 1912 | Isobel | for voice and piano | words by Digby Goddard-Fenwick |
Vocal | 103 | c.1912 | Easter Hymn (Ein frölicher Gesang) | for voice and piano | 17th century German Hymn arrangement |
Choral | 103 | c.1912 | Easter Hymn (Ein frölicher Gesang) | for mixed chorus | original for voice and piano |
Chamber music | 104 | c.1912 | 4 Short Pieces
| for violin or cello and piano | |
Vocal | 105 | c.1912 | O That It Were So | for voice and piano or orchestra | words by Walter Savage Landor |
Organ | 106 | c.1901 1912 c.1901 | Second Book of Organ Pieces
| for organ | originally published in The Organ Loft, Books 100 (December 1913), 103 (March 1914), and 105 (May 1914) |
Chamber music | 107 | 1906–1912 | String Sextet in E♭ major | for 2 violins, 2 violas and 2 cellos | |
Piano | 108 | 1901, 1912 1912 1912 | 3 Pieces
| for piano | published by Augener |
Vocal | 109 | 1913 | Strew No More Red Roses | for voice and piano | words by Matthew Arnold |
Choral | 110 | 1913 | The Bee | for mixed chorus a cappella | |
Orchestral | 111 | 1913 | Dance Poem | for orchestra | |
Piano | 112 | 1913–1914 1913 1914 1914 1914 | 4 Characteristic Pieces
| for piano | published by Winthrop Rogers. First three published as 3 Poems with Arabesque published separately. |
Vocal | 113 | 1914 | Where She Lies Asleep | for voice and piano or orchestra | words by Mary Elizabeth Coleridge |
Vocal | 114 | 1914 | Love Went A-Riding | for voice and piano or orchestra | words by Mary Elizabeth Coleridge |
Chamber music | 115 | 1914–1915 | String Quartet No. 2 in G Minor | for 2 violins, viola and cello | |
Orchestral | 116 | 1914–1915 | Summer, Symphonic Poem | for orchestra | |
Orchestral | 117 | 1915 | Lament (for Catherine, aged 9 "Lusitania" 1915) | for string orchestra | also a version for piano; commemorating the sinking of RMS Lusitania |
Piano | 117 | 1915 | Lament for Catherine | for piano | original for string orchestra; commemorating the sinking of RMS Lusitania |
Brass Band | 117 | 1915 | Lament for Catherine | for brass band (arr. Hindmarsh) | original for string orchestra; commemorating the sinking of RMS Lusitania |
Orchestral | 118 | 1915 | 2 Poems after Richard Jefferies
| for orchestra | |
Chamber music | 119 | 1916 | 2 Old English Songs
| for 2 violins, viola and cello | |
Orchestral | 119 | 1916 | 2 Old English Songs
| for string orchestra | original version for 2 violins, viola and cello |
Piano | 119 | 1916 | 2 Old English Songs
| for piano 4-hands | original version for 2 violins, viola and cello |
Choral | 120 | 1916 | Lullaby | for female chorus and piano or string orchestra | words by Veronica Mason |
Choral | 121 | 1916 | The Graceful Swaying Wattle | for 2-part chorus and piano or string orchestra | words by Veronica Mason |
Choral | 122 | 1916 | For God and King and Right | for unison chorus and piano or orchestra | words by Veronica Mason |
Choral | 123 | 1916 | Peter Piper | for chorus of 3 equal voices a cappella | traditional words |
Vocal | 124 | 1917 | Thy Hand in Mine | for voice and piano or orchestra | words by Mary Elizabeth Coleridge |
Chamber music | 125 | 1913–1917 | Sonata in D minor | for cello and piano | |
Piano | 126 | 1917 | 4 Characteristic Pieces
| for piano | published by Winthrop Rogers |
Piano | 127 | 1917 | 3 Miniature Pastorals, Set 1 | for piano | published by Winthrop Rogers |
Piano | 128 | 1917 | Fairy Tale, Suite
| for piano | published by Augener |
Vocal | 129 | 1917 | To You in France | for voice and piano | words by Helen Dircks; incomplete |
Vocal | 130 | 1918 | So Early in the Morning, O | for high voice and piano | words by James Stephens |
Vocal | 131 | 1918 | Mantle of Blue | for voice and piano or orchestra | words by Padraic Colum |
Vocal | 132 | 1918 | Blow Out, You Bugles | for tenor and orchestra, or piano with optional trumpet | words by Rupert Brooke |
Chamber music | 133 | 1918 | Morning Song | for cello and piano | |
Piano | 134 | 1918 | 3 Improvisations
| for piano left-hand | written for pianist Douglas Fox, who lost his right arm in World War I; published by Winthrop Rogers |
Choral | 135 | 1918 | A Litany | for female chorus with organ ad libitum | words by Phineas Fletcher |
Vocal | 136 | 1918 | The Last Invocation | for voice and piano | words by Walt Whitman |
Choral | 137 | 1918 | Sister, Awake | for female chorus (sopranos) and piano | words by Thomas Bateson |
Vocal | 138 | 1918 | Lay a Garland on My Hearse | for 2-part vocal canon with piano | words by Beaumont and Fletcher |
Organ | 139 | 1918 | Lento (In Memoriam C.H.H.P.) | for organ | originally written for the funeral service of Hubert Parry; published by H.F.W. Deane and Sons (No. 7 of The Little Organ Book) |
Choral | 140 | 1916, 1918 | A Prayer | for mixed chorus and orchestra | words by Thomas à Kempis |
Vocal | 141 | 1918 | 3 Variations on "Cadet Rousselle" | for voice and piano | collaboration with Arnold Bax, John Ireland and Eugene Goossens. Bridge composed verses 1, 3 and 6 of the 12-verse song. |
Orchestral | 141 | 1918 | 3 Variations on "Cadet Rousselle" | for orchestra | original version for voice and piano |
Vocal | 142 | 1919 | When You Are Old | for high voice and piano | words by William Butler Yeats |
Vocal | 143 | 1919 | Into Her Keeping | for voice and piano | words by Henry Dawson Lowry |
Choral | 144 | 1919 | Lantido Dilly | for female chorus and piano | anonymous words (17th century) |
Vocal | 145 | 1919 | What Shall I Your True Love tell? | for voice and piano | words by Francis Thompson |
Vocal | 146 | 1919 | 'Tis But a Week | for voice and piano | words by Gerald Gould |
Piano | 147 | c.1919 | The Turtle's Retort, One-step | for piano | originally published by Winthrop Rogers under the pseudonym John L. More |
Piano | 148 | 1919–1920 | The Hour Glass, Suite
| for piano | published by Augener |
Piano | 149 | 1921 | 3 Miniature Pastorals, Set 2 | for piano | |
Piano | 150 | 1921 | 3 Miniature Pastorals, Set 3 | for piano | |
Piano | 1921 | Miniature Suite
| for piano | assembled by Paul Hindmarsh (including movement titles) from material originally intended for the Miniature Pastorals | |
Piano | 151 | 1921 | Threads: 2 Intermezzi
| for piano | incidental music to the play by Frank Stayton; orchestrated in 1938 |
Incidental | 151 | 1921, 1938 | Threads: 2 Intermezzi
| for orchestra | incidental music to the play by Frank Strayton; original for piano |
Piano | 152 | 1921 | In the Shop, Ballet | for piano 4-hands | |
Choral | 153 | 1922 | Golden Slumbers | for female chorus a cappella | words by Thomas Dekker |
Choral | 154 | 1922 | Hence care | for female chorus a cappella | anonymous words (1595) |
Chamber music | 155 | 1922 | Sir Roger de Coverley: A Christmas Dance | for 2 violins, viola and cello | |
Orchestral | 155 | 1922 | Sir Roger de Coverley: A Christmas Dance | for orchestra | original version for 2 violins, viola and cello |
Orchestral | 155 | 1922, 1938 | Sir Roger de Coverley: A Christmas Dance | for string orchestra | original version for 2 violins, viola and cello |
Choral | 156 | 1922 | The Fairy Ring | for female chorus with optional piano | anonymous words |
Choral | 157 | 1922 | A Spring Song | for unison voices and piano or string orchestra | words by Mary Howitt |
Choral | 158 | 1922, 1924 | Pan's Holiday | for female chorus and piano (1922) or string orchestra (1924) | words by James Shirley |
Choral | 159 | 1922 | Evening Primrose | for female chorus and piano | words by John Clare |
Piano | 160 | 1921–1924 | Sonata | for piano | sketches dated 1921–1922; published by Augener |
Piano | 161 | 1921–1924 1921 1922 1924 | 3 Lyrics
| for piano | published by Augener |
Chamber music | 161a | 1921 | Heart's Ease | for violin and piano | original for piano |
Piano | 162 | 1924 | In Autumn
| for piano | published by Augener |
Chamber music | 163 | 1925 | The Pneu World | for cello and piano | parody on the opening bars of The Star-Spangled Banner |
Vocal | 164 | 1922–1925 1922 1924 1925 | 3 Songs of Rabindranath Tagore
| for voice and piano or orchestra | words by Rabindranath Tagore |
Vocal | 165 | 1925 | Golden Hair | for voice and piano | words by James Joyce |
Piano | 166 | 1925 | Vignettes de Marseille
| for piano | 3 movements also orchestrated as Vignettes de Danse; published by Thames Publishing |
Orchestral | 166 | 1925, 1938 | Vignettes de Danse
| for orchestra | 1938 orchestration of 3 movements from Vignettes de Marseille for piano |
Vocal | 167 | 1925 | Journey's End | for tenor or high baritone and piano | words by Humbert Wolfe |
Piano | 168 | 1925 | Winter Pastoral | for piano | published by Augener |
Piano | 169 | 1926 | Canzonetta (Happy South) | for piano | also orchestrated; published by Hawkes and Sons |
Orchestral | 169 | 1926 | Canzonetta (Happy South) | for small orchestra | original for piano |
Piano | 170 | 1926 | Graziella | for piano | published by Hawkes and Sons |
Piano | 171 | 1926 | A Dedication | for piano | published by Augener |
Piano | 172 | c.1926 | Hidden Fires | for piano | published by Hawkes and Sons |
Orchestral | 173 | 1927 | There Is a Willow Grows Aslant a Brook, Impression | for small orchestra | title taken from Act IV of William Shakespeare's Hamlet; Benjamin Britten transcribed the work for viola and piano |
Orchestral | 174 | 1926–1927 | Enter Spring, Rhapsody (Symphonic Poem) | for orchestra | |
Chamber music | 175 | 1925–1927 | String Quartet No. 3 | for 2 violins, viola and cello | |
Chamber music | 176 | 1928 | Rhapsody Trio | for 2 violins and viola | |
Piano | 177 | 1928 | Gargoyle | for piano | published by Thames Publishing |
Chamber music | 178 | 1928–1929 | Piano Trio No. 2 | for violin, cello and piano | |
Opera | 179 | 1909–1929 | The Christmas Rose | Children's Opera in 3 scenes; libretto by Margaret Kemp-Welch and Constance Cotterell | |
Concertante | 180 | 1929–1930 | Oration, Concerto Elegiaco | for cello and orchestra | |
Piano | 181 | 1931 | Todessehnsucht (Come Sweet Death) | for piano | |
Orchestral | 181 | 1931, 1936 | Todessehnsucht (Come Sweet Death) | for string orchestra | original version for piano |
Concertante | 182 | 1931 | Phantasm, Rhapsody | for piano and orchestra | |
Chamber music | 183 | 1932 | Sonata | for violin and piano | |
Orchestral | 184 | 1934 | A Royal Night of Variety, Finale | for orchestra | |
Chamber music | 185 | 1934 | A Merry, Merry Xmas | for oboe, clarinet, trombone and piano | |
Chamber music | 186 | c.1935–1936 | Sonata | for viola and piano | incomplete, sketches only |
Chamber music | 187 | c.1936 | Movement for String Quartet | for 2 violins, viola and cello | |
Chamber music | 188 | 1937 | String Quartet No. 4 | for 2 violins, viola and cello | |
Chamber music | 189 | 1934–1938 1937 1937 1937 1938 | Divertimenti
| for flute, oboe, clarinet and bassoon | first version dated 1934 |
Organ | 190 | 1939 | 3 Pieces
| for organ | published by J. Curwen |
Orchestral | 191 | 1940 | Rebus, Overture | for orchestra | |
Orchestral | 192 | 1940–1941 | Allegro Moderato | for string orchestra | fragment of a Symphony |
Edward Benjamin Britten, Baron Britten was an English composer, conductor, and pianist. He was a central figure of 20th-century British music, with a range of works including opera, other vocal music, orchestral and chamber pieces. His best-known works include the opera Peter Grimes (1945), the War Requiem (1962) and the orchestral showpiece The Young Person's Guide to the Orchestra (1945).
Sir William Turner Walton was an English composer. During a sixty-year career, he wrote music in several classical genres and styles, from film scores to opera. His best-known works include Façade, the cantata Belshazzar's Feast, the Viola Concerto, the First Symphony, and the British coronation marches Crown Imperial and Orb and Sceptre.
In music, the opus number is the "work number" that is assigned to a musical composition, or to a set of compositions, to indicate the chronological order of the composer's publication of that work. Opus numbers are used to distinguish among compositions with similar titles; the word is abbreviated as "Op." for a single work, or "Opp." when referring to more than one work. Opus numbers do not necessarily indicate chronological order of composition. For example, posthumous publications of a composer's juvenilia are often numbered after other works, even though they may be some of the composer's first completed works.
Sir Malcolm Henry Arnold was an English composer. His works feature music in many genres, including a cycle of nine symphonies, numerous concertos, concert works, chamber music, choral music and music for brass band and wind band. His style is tonal and rejoices in lively rhythms, brilliant orchestration, and an unabashed tunefulness. He wrote extensively for the theatre, with five ballets specially commissioned by the Royal Ballet, as well as two operas and a musical. He also produced scores for more than a hundred films, among these The Bridge on the River Kwai (1957), for which he won an Oscar.
Frank Bridge was an English composer, violist and conductor.
In music, a subject is the material, usually a recognizable melody, upon which part or all of a composition is based. In forms other than the fugue, this may be known as the theme.
Schubert: Thematic Catalogue of all his Works in Chronological Order, also known as the Deutsch catalogue, is a numbered list of all compositions by Franz Schubert compiled by Otto Erich Deutsch. Since its first publication in 1951, Deutsch numbers are used for the unique identification of Schubert's compositions.
Imogen Clare Holst was a British composer, arranger, conductor, teacher, musicologist, and festival administrator. The only child of the composer Gustav Holst, she is particularly known for her educational work at Dartington Hall in the 1940s, and for her 20 years as joint artistic director of the Aldeburgh Festival. In addition to composing music, she wrote composer biographies, much educational material, and several books on the life and works of her father.
The Köchel catalogue is a chronological catalogue of compositions by Wolfgang Amadeus Mozart, originally created by Ludwig Ritter von Köchel, in which the entries are abbreviated K. or KV. Its numbers reflect the ongoing task of compiling the chronology of Mozart's works, and provide a shorthand reference to the compositions.
Hymn to St Cecilia, Op. 27 is a choral piece by Benjamin Britten (1913–1976), a setting of a poem by W. H. Auden written between 1940 and 1942. Auden's original title was "Three Songs for St. Cecilia's Day", and he later published the poem as "Anthem for St. Cecilia’s Day ".
Anthony Edward Payne was an English composer, music critic and musicologist. He is best known for his acclaimed completion of Edward Elgar's third symphony, which subsequently gained wide acceptance into Elgar's oeuvre. Apart from opera, his own works include representatives of most traditional genres, and although he made substantial contributions to orchestral and choral repertoire, he is particularly noted for his chamber music. Many of these chamber works were written for his wife, the soprano Jane Manning, and the new music ensemble Jane's Minstrels, which he founded with Manning in 1988. Initially an unrelenting proponent of modernist music, by the 1980s his compositions had embraced aspects of the late romanticism of England, described by his colleague Susan Bradshaw as "modernized nostalgia". His mature style is thus characterised by a highly individualised combination of modernism and English romanticism, as well as numerology, wide-spaced harmonies, specific intervallic characterisations, and the frequent alternation between strict and fluid rhythmic frameworks.
The T. S. Eliot bibliography contains a list of works by T. S. Eliot.
A Boy Was Born, Op. 3, is a choral composition by Benjamin Britten. Subtitled Choral variations for men's, women's and boys' voices, unaccompanied , it was originally composed from 1932 to 1933. It was first performed on 23 February 1934 as a BBC broadcast. Britten revised the work in 1955. The composer set different texts related to Christmas to music as theme and variations, scored for an a cappella choir with boys' voices.
The Bridge chord is a bitonal chord named after its use in the music of composer Frank Bridge (1879–1941). It consists of a minor chord with the major chord a whole tone above, as well as a major chord with the minor chord a semitone above, which share the same mediant. ) When inverted, both form eleventh chords.
Children's Crusade, Op. 82, subtitled a Ballad for children's voices and orchestra is a composition by Benjamin Britten. He completed it in 1969, setting Bertolt Brecht's poem Kinderkreuzzug 1939 for children's choir with some solo parts, keyboard instruments and an array of percussion, to be performed mainly by children. It was first performed in an English version at St Paul's Cathedral in London on 19 May 1969.
Plymouth Town is a ballet composed by Benjamin Britten in 1931. A typical performance lasts about 25 minutes.