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Peggy Glanville-Hicks (1912-1990): Works

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This is an updated version of the list of works appearing in Deborah Hayes, Peggy Glanville-Hicks: A Bio-Bibliography (1990). Where possible, works appear here in chronological order, although dates for works composed before 1944 cannot be determined with certainty. Timings of works are approximate.

1931

Ireland
to the poem by David McKee Wright, from “Dark Rosaleen,” in An Irish Heart, 1918
for unaccompanied female choir (SAA)
first performance: 17 June 1931, Conservatorium Students’ Concert, Albert St Conservatorium, Melbourne; Conservatorium Ladies’ Choir, cond. Fritz Hart
Score: MS in Oiseau-Lyre archives, Monaco

Jerusalem
[William Blake?]
for choir
first performance: 30 November 1931, Conservatorium Students’ Concert, Assembly Hall, Melbourne; Conservatorium Ladies’ Choir, cond. Fritz Hart
Score: lost

1932

He Reproves the Curlew
to the poem by W.B. Yeats, from The Wind among the Reeds, 1899
for voice (soprano) and piano
first performance: 2 June 1932, Town Hall, Melbourne; Beatrice Oakley (voice) and Peggy Glanville-Hicks (piano)
Score: MS in Oiseau-Lyre archives, Monaco

Prelude for a Pensive Pupil
for solo piano (3 mins)
first performance: (possibly as one of the Three Preludes for piano) 2 June 1932, Town Hall, Melbourne; Peggy Glanville-Hicks (piano)
Score: Published in New Music for Piano, selected by Joseph Prostakoff (New York: Lawson-Gold, 1963), 82–3 and Frauen Komponieren: 22 Klavierstücke des 18–20 Jahrhunderts, ed. Eva Rieger (Mainz: B. Schott’s Söhne, 1985), 56–57

To the Moon
to Percy Bysshe Shelley, “Fragment ‘To the Moon’”, 1822
for voice (soprano) and piano
first performance: 2 June 1932, Town Hall, Melbourne; Beatrice Oakley (voice) and Peggy Glanville-Hicks (piano)
Score: lost

A Widow Bird
to the poem by Percy Bysshe Shelley, from Charles I, published as “A Song”, 1824
for voice (soprano) and piano
first performance: 2 June 1932, Town Hall, Melbourne; Beatrice Oakley (voice) and Peggy Glanville-Hicks (piano)
Score: lost

[violin fantasy]
for solo violin
first performance: 2 June 1932, Town Hall, Melbourne; Gertrude Healy (violin)
Score: lost

They Are Not Long
to the poem by Ernest Dowson, from Vitae Summa Brevis, 1896
song for voice and piano
first performance: 29 November 1932, Assembly Hall, Melbourne; Kathleen Castles (voice)
Score: MS in Oiseau-Lyre archives, Monaco

Sheiling Song
to the poem by Fiona MacLeod [William Sharp], From the Hills of Dream, 1896
song for voice and piano
first performance: unknown
Score: MS in Oiseau-Lyre archives, Monaco

1934

Be Still You Little Leaves
to the poem by Mary Webb, from The Spring of Joy, 1917
for medium voice and piano (2 mins)
first performance: 20 June 1935, Mayone Avis and George Loughlin, Royal College of Music, London
Score: published Monaco: Editions de L’Oiseau-Lyre, 1938

Frolic
to the poem by AE [George Russell], no. 18 of Collected Poems, 1913
for high voice and piano (2 mins)
first performance: 20 June 1935, Mayone Avis and George Loughlin, Royal College of Music, London
Score: published Monaco: L’Oiseau-Lyre, 1938

Rest
to the poem by AE [George Russell], no. 24 of Collected Poems, 1913
for high voice and piano (2 mins)
first performance: 20 June 1935, Mayone Avis and George Loughlin, Royal College of Music, London
Score: MS in MS 7783, National Library of Australia, Canberra; published Monaco: Editions de L’Oiseau-Lyre, 1938

Ardan Mór
to the poem by Francis Ledwidge, from Anthology of Irish Verse, 1922
song
first performance: unknown
Score: lost

Come Sleep
to the poem by John Fletcher, from The Woman Hater, 1607, as published in The Oxford Book of English Verse, 1919
for high or medium voice and piano
first performance: unknown
Score: published Monaco: Editions de L’Oiseau-Lyre, 1938; Selected Songs by Australian Composers, vol. 2 (Melbourne: Allans, 1987)

Poem (John Fletcher or John Donne)
for chorus and orchestra (10  mins)
first performance: unknown
Score: lost

Trio for Pipes, I and II
for treble, alto and tenor recorders
two movements: 1. Fairly slowly; 2. Fairly slow
first performance: unknown
Score: published Monaco: Editions de L’Oiseau-Lyre in Arthur Benjamin et al., Melbourne Centenary Music Book (1934), 6–9.

1935

Hylas and the Nymphs
ballet for flute, harp, strings, percussion after the painting by John William Waterhouse (15 mins)
first performance: unknown
Score: lost

Music for Robots [The Robot: Music for an Abstract Film]
film score for orchestra
first performance: unknown
Score: lost

Sinfonietta in D minor for small orchestra [Symphonetta No. 1 for orchestra]
in three movements
first performance: Eric Fogg, Empire Orchestra, details unknown
Score: MS full score in MLMSS 6394/52/2, Mitchell Library, State Library of NSW, Sydney

1936

Pastoral
to a text by Rabindranath Tagore, from Fruit Gathering, 1916
for unaccompanied women’s chorus, SSAA, clarinet, or English horn (6 mins)
first performance: 4 May 1938, 3LO broadcast; ABC Chorus, Kathleen Castles (voice), Edmund Richmond (oboe)
Score: published New York: Weintraub, 1951

Spanish Suite
for string orchestra and oboe (rev. 1937)
Five movements: Pavane in the Lion’s Court; 2. Serenade: Three Donkeys; 3. Siesta: Afternoon Impressions; 4. Fandango: Traditional Movements of the Dance; 5. The Low Sky: A Nocturne
first performance: unknown
Score: lost

Caedmon
opera in one act (three scenes) for three soloists, chorus and orchestra, taken from Bede’s Historia Ecclesia Gentis Anglorum, Book IV, Ch. XXIV, to a libretto by Glanville-Hicks
first performance: by unnamed touring company, conducted by Glanville-Hicks (according to letter to Carleton Sprague Smith, 1956)
Score: MS full score (dated Jan. – June 1935–36) in MLMSS 6394/51/1, Mitchell Library, State Library of NSW, Sydney

In Mid-Wood Silence
to the poem by John Clare, “In Hilly-Wood”
for soprano, oboe and string quartet
first performance: 16 July 1936, Royal College of Music, London
Score: lost

Song in Summer
[John Fletcher?]
for chorus and orchestra
first performance: unknown           
Score: lost

Concerto No. 1
for piano and orchestra (20 mins)
first performance: unknown
Score: lost

Pastoral
for piano (2 mins)
first performance: 2 September 2001, National Festival of Women’s Music, National Library of Australia, Canberra. Stephanie McCallum (piano)
Score: MS (dated “Vienna Oct 1936”) in MLMSS 6394/52/2, Mitchell Library, State Library of NSW, Sydney

1937

Prelude and Scherzo
for large orchestra
Score: lost

Choral Suite
to poems by John Fletcher, from The Power of Music, 1623
for women’s chorus SAA, oboe and strings (20 mins)
Five movements: 1. Great God Pan 2. Aspatia’s Song 3. Fair Cupid! 4. Weep No More 5. Song in the Wood
first performance: 20 June 1938 (movements 1. and 4. only), ISCM Festival Concert, Broadcasting House, London, Sir Adrian Boult (conductor) with BBC Singers and Joy Boughton (oboe)
Score: MS (dated Paris, September 1937) in MS 13547/3, State Library of Victoria, Melbourne; MS (copyist) score and parts in MS 13547, State Library of Victoria, Melbourne; miniature score published Paris: Editions de Oiseau-Lyre, 1938

Concerto for solo flute and small orchestra
revised c. 1948 (19 mins)
first performance: unknown
Score: lost

String Quartet No. 1
Score: lost

Three Preludes for piano
Score: lost

[Song]
Score: lost

Postman’s Knock
ballet for chamber orchestra
after the painting of The Wedding Party by Henri-Julien-Félix Rousseau, 1904–05 in L’Orangerie, Paris
first performance: unknown
Score: lost

1938

Sinfonietta No. 2
Score: lost

Clouds
film score produced in London
Score: lost

Glacier
film score
Score: lost

1939

Sonatina for treble recorder (or flute and piano)
In three movements: 1. Animato assai 2. Lento recitative 3. Vivace (10 mins)
first performance: 23 June 1945, London; Carl Dolmetsch (recorder), and Joseph Saxby (harpischord)
Score: published London: Schott, 1941

1944

Five Songs [Five Songs from Housman or Last Poems]
poems from A.E. Housman, “More Poems” and “Additional Poems” in Collected Poems, 1939
for mezzo-soprano and piano (7 mins)
Score dated “N.Y.C. 1944”
1. Mimic Heaven; 2. He Would Not Stay; 3. Stars; 4. Unlucky Love; 5. Homespun Collars
first performance: at undated New York concert in 1945 (according to Con Amore 12 [1945], unverified); Romolo de Spirito (tenor)
Score: published New York: Weintraub, 1952

1945

Aria  Concertante
to a text by Mario Monteforte-Toledo
for tenor, four-part women’s chorus, oboe, piano and gong
first performance: unknown
Score: lost

Profiles from China
to a text by Eunice Tietjens from Profiles from China: Sketches in Free Verse of People and Things Seen in the Interior, 1917
five songs for mezzo-soprano and piano (7 mins)
1. Poetics 2. A Lament of Scarlet Cloud 3. The Dream 4. Crepuscule 5. the Son of Heaven
first performance: Stromberg-Carlson radio broadcast, 26 September 1945 (according to Con Amore 12 [1945], but unverified); 30 August 1946, radio 6WN [Australia], Margaret Sutherland (piano) and Elsa Haas (voice)
Score: published New York: Weintraub, 1951. MS of version for tenor, piano, string quartet and bass in MLMSS 6394/52/5, Mitchell Library, State Library of NSW, Sydney; published New York: Weintraub, 1951; Australian Music Centre, Sydney, 1999.

Concertino da Camera
for flute, clarinet, bassoon and piano (9 mins)
In three movements: 1. Allegretto; 2. Adagio; 3. Finale: Allegro
first performance: 30 August 1946, radio 6WN, Margaret Sutherland (piano),  Thomas White (clarinet), Richard Chugg (flute), Fred Morgan (bassoon), Elsa Haas (voice)
Score: MS in Oiseau-Lyre archives, Paris (dated 1946); facsimile of MS (dated 1942) in MLMSS 6394/50/7, Mitchell Library, State Library of NSW, Sydney; published Monaco: Editions de L’Oiseau-Lyre, 1950

1947

Killer-of-Enemies, op. 21
to a text by Erick Hawkins
dance cantata for narrator, tenor, speaking and singing chorus and orchestra
first performance: unperformed
Score: MS full score (Act 1 only) in MLMSS 6394/52/4, MS short score (dated 1946–47) in MLMSS 6394/50/1, Mitchell Library, State Library of NSW, Sydney

Ballade
from “Ballad,” by Paul Bowles, 1929
for medium voice and piano (4 mins)
1. yet in no sleep; 2. how in this garden; 3. but no! a slow unchanging circle
first performance: unknown
Score: published by Hargail Music Press, 1949, with a cover by Bowles

Sidi Amar in Winter
to a text by Paul Bowles, beginning “But I have never seen your face,” 1935
for voice and piano (2 mins)
first performance: unknown
Score: facsimile of MS (dated 1946–7) at MLMSS 6394/52/7, Mitchell Library, State Library of NSW, Sydney; Paul Bowles Collection, Harry Ransom Humanities Research Center, University of Texas at Austin

1948

Thirteen Ways of Looking at a Blackbird
to the poems by Wallace Stevens from Harmonium, 1917
thirteen songs for medium voice and piano (12 mins)
first performance: 24 October 1948, McMillin Theater, Columbia University, New York, Joseph Riley (tenor) and Maro Ajemian (piano)
Score: published by Weintraub, 1951

1949

Obeisance to a Lucite Spectrum
for solo piano (2 mins)
“For John Cage on his birthday 5 September 1949”
first performance: unknown
Score: MS in Music Library, Northwestern University, Evanston; published in John Cage, Notations (New York, Something Else Press, 1969)

Thomsoniana (Virgil Thomson)
five excerpts from the daily press by Virgil Thomson
for tenor or soprano, flute, horn, piano and string quartet (11 mins)
“A Birthday Offering to Virgil Thomson”
in five movements: 1. Stravinsky; 2. Ansermet; 3. Schoenberg; 4. Satie; 5. Clifford Curzon
first performance: private performance, probably 3 December 1949; “spring broadcast”  unverified, 1950; 4 August 1950, Colorado Springs, Colorado: Josephine Vadala (soprano), et al.
Score: MS piano-vocal score and parts in MS 13547/6, State Library of Victoria, Melbourne; facsimile of MS full and short scores in MLMSS 6394/52/6, Mitchell Library, State Library of NSW, Sydney; published New York: CFE, 1952; in Soundings 14–15 (Santa Fe, NM, 1986) 195–223, and New York: Peggy Glanville-Hicks, 1985; Sydney: Australian Music Centre, 1999

Tulsa
documentary film score made by US State Department for circulation in occupied territory
for small orchestra
Score: MS full score in MLMSS 6394/50/15, in Mitchell Library, State Library of NSW, Sydney

1950

Tel
film score for animated cartoon made by Film Graphics, Inc.
for clarinet, trumpet, trombone, piano, two violins and cello
Score: MS full score in MLMSS 6394/50/14, Mitchell Library, State Library of NSW, Sydney

Sonata for Harp
Dedicated to Nicanor Zabaleta
1. Saeta; 2. Pastorale; 3. Rondo (11 mins)
first performance: 25 February 1951, Caracas, Venezuela; Nicanor Zabaleta (harp)
Score: published New York: Weintraub, 1953

1951

Sonata for Piano and Percussion
for piano, xylophone, timpani, suspended cymbal, gongs, tam tam, tomtom and bass drum, 10 mins
1. Allegro; 2. Lento sombreroso; 3. Presto
first performance: 6 May 1952, Museum of Modern Art, New York; William Masselos (piano), Al Howard (timpani), Elden Bailey, Phil Krause, Walter Rosenberger (percussion)
Score: published New York: ACA, 1952; New York: AMP, 1954

1952

Letters from Morocco
to a text by Paul Bowles, taken from unpublished letters to Glanville-Hicks
for tenor and orchestra (14 mins)
in six movements, with additional spoken movement
first performance: 22 February 1953, Museum of Modern Art, New York; William Hess (tenor), Leopold Stokowski (conductor)
Score: facsimile of MS in MS 13547/6, State Library of Victoria, Melbourne; published New York: ACA, CFE, 1952; New York: Peters, 1953 (rental)

1953

Sinfonia da Pacifica [Sinfonia Pacifica]
for orchestra
Dedicated to Sir Bernard Heinze
In three movements: 1. Allegro; 2. Lento tranquillo; 3. Allegro giocoso (13 mins)
first performance: 30 March 1954, Barcelona; Carlos Surinach (conductor)
Score: [facsimile of?] MS in Symphony Australia Collection, A/C PGH 33, National Library of Australia, Canberra; published New York: ACA, CFE, 1953; AMP 1953 (rental)

The Transposed Heads
opera in six scenes for three soloists (soprano, tenor, baritone), speaking voice, SATB chorus and orchestra to a libretto by the composer, after Thomas Mann, Die vertauschten Köpfe (1949), trans. Helen Lowe-Porter (80 mins)
Dedicated to Theo Flynn
Commissioned by the Louisville Philharmonic Society with a grant from the Rockefeller Foundation
first performance: 3 April 1954, Kentucky Opera Association, Louisville; Monas Harlan (Shridaman), William Pickett (Nanda), Audrey Nossaman (Sita), Moritz Bomhard (conductor)
Score: MS piano-vocal score and full score of Interlude at MLMSS 6394/51/4, Mitchell Library, State Library of NSW, Sydney; MS full score at Kentucky Opera Association archives at University of Louisville, Louisville; facsimile of MS full score in MS 13547/7, State Library of Victoria, Melbourne; piano-vocal score published New York: Schirmer, 1953; New York: AMP 1958; Sydney: Australian Music Centre, 2001. Also rental from AMP.

Three Gymnopédies
for oboe, harp, celeste, strings
1. Lento tranquillo for oboe, harp and strings 2. Molto tranquillo alla siesta for harp, celeste and strings 3. Allegretto semplice for harp and strings (14 mins)
first performance: 20 March 1954 (“Gymnopédie 1”), Society for the Second Performance of New Music, New School for Social Research, New York; Robert Mandell (conductor)
Score: facsimile of MS in Library of Congress (complete) and Australian Music Centre, Sydney (No. 1 only); published New York: AMP, CFE, 1953. Also rental from AMP.

1954

Etruscan Concerto
for piano solo and chamber orchestra, after D.H. Lawrence, Etruscan Places, 1932
For Carlo Bussotti
In three movements: 1. Promenade; 2. Meditation; 3. Scherzo (14 mins)
first performance: 25 January 1956, Grace Rainey Rogers Auditorium, Metropolitan Museum of Art, New York; Carlo Bussotti (piano), Carlos Surinach (conductor)
Score: facsimile of MS full score in MS 13547/6, State Library of Victoria, Melbourne; facsimile of MS short score in MLMSS 6394/50/5 (dated 13 July 1954), Mitchell Library, State Library of NSW, Sydney; published New York: ACA, 1954; New York: Peters, 1985 (rental)

1955

Concertino Antico [Concerto Antiqua]
for harp and string quartet (12 mins)
Written for, and dedicated to, Edna Phillips [Rosenbaum]
Commissioned by Samuel Rosenbaum
In three movements: 1. Ceremony; 2. Ritual Lento e molto misterioso; 3. Roundelay Giocoso tranquillo (12 mins)
first performance: 17 January 1958, Coolidge Auditorium, Library of Congress, Washington D.C.; Edna Phillips (harp), Juilliard String Quartet
Score: MS short score (first movement only) in MLMSS 6394/50/3, Mitchell Library, State Library of NSW, Sydney; MS full score (incomplete) and facsimile of MS full score (dated 6 July 1955) in MLMSS 6394/50/6, Mitchell Library, State Library of NSW, Sydney; published New York: ACA, 1955; Chicago: Lyon & Healy, c. 1995

Six Madrigals
to poems by Wallace Stevens
for SATB
1. [unknown]; 2. The night is the color of a woman’s arm; 3. [unknown]; 4. [unknown]; 5. Not all the knives of the lamp posts; 6. Rationalists! Wearing square hats
first performance: unknown
Score: MS  (Nos 2, 5 and 6 only; no. 2 dated 15 November 1955) in MLMSS 6394/50/2, Mitchell Library, State Library of NSW, Sydney

1956

Three of Our Children [The African Story]
film score for United Nations
for piccolo, marimba, timpani, tomtom, wood block, triangle, maracas and three pedal drums (approx. 8 mins)
Score: facsimile of MS in MLMSS 6394/50/12, Mitchell Library, State Library of NSW, Sydney

Concerto Romantico
for solo viola and orchestra
For Walter Trampler
In three movements: 1. Maestoso; 2. Lento Moderato, e molto espressivo; 3. Molto spiritoso (22 mins)
first performance: 19 February 1957, Grace Rainey Rogers Auditorium, Metropolitan Museum of Art, New York; Walter Trampler (viola), Carlos Surinach (conductor)
Score: facsimile of MS full score in MS 13547/6, State Library of Victoria, Melbourne; facsimile of MS short score in Australian Music Centre, Sydney; published New York: C.F. Peters, 1957 (rental EP 66123R);

The Glittering Gate
opera (“curtain raiser”) in one act for two soloists (tenor and bass) and orchestra, and electronic tape of “unearthly laughter” (by Vladimir Ussachevsky), to a libretto by the composer after The Glittering Gate (1909) by Lord Dunsany (Edward John Moreton Drax Plunkett) (30  mins)
first performance: 14 May 1959, Kaufman Concert Hall, 92nd Street Y, New York; Robert Price (Bill), David Smith (Jim), Newell Jenkins (conductor). Staged by James Price, designed by Robert Mitchell, lighting by Nicola Cernovich, produced by The Artists Company.
Score: facsimile of MS full score, MS 13547/5,  State Library of Victoria, Melbourne; facsimile of MS piano-vocal score published Sydney: Australian Music Centre, 2001; published (rental) New York: Franco Columbo/Belwin-Mills, 1957

1957

Musica Antiqua No. 1
for two flutes, harp, marimba, timpani, percussion
Six  movements: 1. Prelude. From Cuxco; 2. Intermezzo. From Punjab; 3. Allegretto; 4. Canzonetta. From the Congo; 5. Andantino. From Kenya; 6 Presto. From Lima, Peru  (18 mins)
first performance: 1982?
Score: published New York: CFE, 1957; Sydney: Australian Music Centre, 1999

Prelude and Presto for Ancient American Instruments [Pre-Columbian Prelude and Presto]
for piccolo, flute, pan pipes, whistles (player 1), flute 2, owl, armadillo (player 2); maracas, scraaper, split drums (player 3); conch, drum (player 4); and handclapping (6 mins)
Commissioned by the Andre Emmerich Gallery, New York, to accompany the exhibition “Music before Columbus”
first performance: unknown
Score: facsimile of MS score (dated 24 June 1957) in MLMSS 6394/50/11, Mitchell Library, State Library of NSW, Sydney

1958

The Masque of the Wild Man
“after a thirteenth-century Italian tapestry”
ballet for flute, trumpet, celeste, harp, piano, two percussionists and strings (18 mins)
Commissioned by John Butler for Festival of Two Worlds, Spoleto, 1958
first performance: 10 June 1958, Festival of Two Worlds, Spoleto. John Butler, choreographer; Rouben Ter Arutunian, sets and costumes; Robert Feist, conductor; Glen Tetley, Buzz Miller, Carmen de Lavallade, Charles Saint-Amant, Tina Ramirez, Coco Ramirez (dancers)
Score: published New York: CFE, 1958 (available from C.F. Peters, rental EP 66128R)

Tapestry for Orchestra
for orchestra, harp, celesta, piano and percussion (18 mins)
orchestral version of The Masque of the Wild Man
first performance: unknown
Score: published New York: ACA; New York: Peters (rental EP 66130R)

Triad
segment of ballet for small instrumental ensemble
Commissioned by John Butler for Spoleto 1958
first performance: 10 June 1958, Caio Melisso Theatre, Festival of Two Worlds, Spoleto. John Butler (choreography); Jac Venza (set and costumes); Robert Feist (conductor); Glen Tetley, Buzz Miller, Charles Saint-Amant, Carmen de Lavallade (dancers).
Score: lost (probably one movement from the Three Gymnopédies)

1959

Drama for Orchestra
for clarinet, trumpet, piano, percussion and strings
orchestral version of Saul and the Witch of Endor (17 mins)
first performance: 12 February 1960, WNYC American Music Festival, Town Hall, New York City; NAACC Festival Orchestra, Alfredo Antonini (conductor)
Score: published New York: C.F. Peters, 1961 (rental EP 66124R)

Saul and the Witch of Endor
ballet, for trumpet, percussion and strings (29 mins)
Commissioned by CBS-TV
first performance: 7 June 1959, “Camera Three”, CBS-TV. Karl Genus (director), Pamela Ilott (producer), John Butler (choreography), Jac Venza (sets), Ann Eckert (costumes), Glen Tetley (Saul), Carmen de Lavallade (Witch), Buzz Miller (Samuel) with Carol Payne, Jim Gardner and Bob Powell.
Score: lost; motion picture in New York Public Library *MGZHB 12-881.

1960

A Scary Time
film score for clarinet, violin and percussion
Directed by Shirley Clarke and Robert Hughes for UNICEF (10  mins)
Score: facsimile of MS score in MLMSS 6394/50/13, Mitchell Library, State Library of NSW, Sydney; published New York: CFE, 1960

Nausicaa
opera in three acts for solo soprano, contralto, three tenors, baritone, two basses and bass-baritone, chorus and orchestra, harps, piano and percussion to a libretto by Alastair Reid and Peggy Glanville-Hicks, after Homer’s Daughter by Robert Graves (1955) (120 mins)
first performance: 19 August 1961, Herodes Atticus Theatre, Athens, for the Athens Festival. Teresa Stratas (Nausicaa), John Modenos (Aethon), Edward Ruhl (Phemius), George Tsantikos (Clytoneus), Sophia Steffan (Arete), Spiro Malas (Alcinous), Michalis Heliotis (Antinous, Priest), George Moutsios (Eurymachus), Vassilis Koundouris (Messenger). John Butler (stage director), Andreas Nomikos (sets and costume designer), Elli Nikolaidu (chorus mistress), Carlos Surinach (conductor).
Score: facsimile of MS full score (dated 27 May 1960) in MS 13547/8, State Library of Victoria, Melbourne; MS piano-vocal score (Interlude I only), MLMSS 6394/51/2, Mitchell Library, State Library of NSW; facsimile of piano-vocal score (dated 30 April 1960) available from Franco Colombo/Belwin-Mills; facsimile of MS piano-vocal score published Sydney: Australian Music Centre, 2001

1963

Sappho
opera in three acts for two sopranos, two mezzo-sopranos, lyric tenor, dramatic tenor, baritone, bass-baritone, bass, chorus, orchestra, harp and percussion to a libretto by the composer, after Sappho, A Play in Verse by Lawrence Durrell (1950) (135 mins)
Commissioned by San Francisco Opera Company with funding from the Ford Foundation
revised 1965
first performance: 14 July 2001 (final aria only), Opera Theatre, Sydney Opera House. Suzanne Johnston (mezzo-soprano), Australian Opera and Ballet Orchestra, Simone Young (conductor)
Score: facsimile of MS full score and piano-vocal score in MLMSS 6394/51/3 (Act I), Mitchell Library, State Library of NSW, Sydney; facsimile of complete MS piano-vocal score in UC Berkeley M1503.G477 S3 1965; facsimile of MS full score published Sydney: Australian Music Centre, 2002

1964

Meditation
for orchestra
“A ‘Quiet Piece’” commissioned by Edward B. Benjamin for the New Orleans Symphony Orchestra (12 mins)
first performance: 9 February 1994, Eugene Goossens Hall, Sydney. Sydney Symphony Orchestra, William Southgate (conductor)
Score: MS full score (dated 1964) in MLMSS 6394/52/1; published New York: Composers Facsimile Editions, 1965

1966

Jeptha’s Daughter [Tragic Celebration]
ballet, for orchestra
Commissioned by CBS TV (28 mins)
first performance: 6 November 1966, “Lamp unto My Feet”, CBS TV. John Butler (choreography), Tom John (sets), Ann Eckert (costumes), Carmen De Lavallade, John Butler, Buzz Miller (dancers), Alfredo Antonini (conductor), CBS Orchestra
Score: facsimile of MS at Australian Music Centre, Sydney; film at *MGZIA 4-4854 (colour),
*MGZHB 12-885 (b&w), Dance Division, New York Public Library, New York; published Sydney:  Australian Music Centre, c. 1985

1967

Rimbaud: A Ballet in 9 Stanzas [A Season in Hell]
ballet, for orchestra and percussion, after the poem “Une saison en Enfer” by Artur Rimbaud
Commissioned by the Harkness Ballet (20 mins)
first performance: 15 November 1967, Broadway Theater, New York City. Lawrence Rhodes (Rimbaud), Dennis Wayne (Verlaine), Brunilda Ruiz (Woman), John Butler (choreography), Rouben Ter Arutunian (sets and costumes), Jennifer Tipton (lighting).
Score: two MS scores in JPB 87-32, Harkness Ballet Foundation collection, Music Division, New York Public Library, New York

1978

Girondelle for Giraffes
for piccolo, flute, trombone, double bass, drum, suspended cymbal to accompany exhibition by Pam Boden at Australian Music Centre, Sydney and Tolarno Gallery, Melbourne
first performance: 13 May 1978, Australian Music Centre, Sydney
Score: published Sydney: Australian Music Centre, 1999

ABBREVIATIONS

ACA: American Composers’ Alliance
CFE: Composers Facsimile Editions

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