Berkeley, Sir Lennox (Randall

Francis)
(b Boars Hill, Oxford, 12 May 1903; d London, 26 Dec 1989). English
composer. From the same generation as Walton and Tippett, he has
little connection with national traditions represented by them or by
Elgar and Vaughan Williams earlier. This is partly because of his
French ancestry and temperament which made him closer to Faur,
and to Ravel and Poulenc who were both personal friends. Berkeley
admired Mozart above all, then Chopin, Ravel and the neo-classical
Stravinsky. His own idiom is built from an overt melodic expression,
usually rooted in tonality and allied to a fastidious command of
harmony and orchestral texture. Religious subjects in particular
invariably gave rise to vocal music of unusual spiritual intensity, a
mood also reflected in his instrumental slow movements.
1. Life.
2. Works.
WORKS
WRITINGS
BIBLIOGRAPHY
PETER DICKINSON (text, bibliography), JOAN REDDING (work-list)
Berkeley, Sir Lennox
1. Life.
Berkeley was born into an aristocratic family. His grandfather was
George Lennox Rawdon, Seventh Earl of Berkeley and Viscount
Dursley, who married Cecile, daughter of Edward Drummond, Comte
de Melfort, a family of French and Scottish origin. The composers
father, Captain Hastings George FitzHardinge Berkeley, was the
eldest son, but, born before his parents were able to marry, he was
legally unable to inherit the title and estates to which Lennox, as his
only son, would have succeeded. Berkeleys childhood was spent in
or near Oxford and was affected by listening to his fathers collection
of piano rolls; visits to the family of his mother, Aline Carla Harris, who
lived in France where her father was British consul at Nice; a
godmother who had studied singing in Paris at the turn of the century;
and an aunt who was a salon composer. He attended the Dragon
School, Oxford; Greshams School, Holt, where he was followed by
W.H. Auden and Britten; and St. Georges School, Harpenden, where
one of his first compositions was performed.
Berkeley went to Merton College, Oxford, where he read French, Old
French and Philology, and took the BA in 1926. Then, on the
suggestion of Ravel to whom he showed some of his scores, he
studied with Boulanger in Paris, where he was based until 1932. In
many ways Berkeley was the quintessential Boulanger pupil,
responsive to her passion for music and her rigorous demands in
strict counterpoint; with her he effectively undertook his professional

training; in this context, too, in 1928, he became a Roman Catholic,

which profoundly affected both his life and work. After the prolonged
influence of Boulanger the next landmark was not until Berkeleys
meeting with Britten at the ISCM Festival in Barcelona in 1936. They
immediately collaborated on the orchestral suite, Mont Juic, and
became close friends as well as colleagues. Even though Berkeley
was ten years older the two composers found they had much in
common and they influenced each other. Berkely was the first to set
the poems of his Oxford contemporary, W.H. Auden (early songs now
lost). Britten admired Berkeley's 1930s music and later conducted the
Stabat Mater, which was dedicated to him; Berkeley eagerly awaited
each of Britten's new works. During World War II Berkeley worked at
the BBC in London as an orchestral programme builder and it was
there that he met Elizabeth Freda Bernstein, whom he married in
1946; their happy domestic life proved an ideal background for his
creative work.
From 1946 to 1968 Berkeley was professor of composition at the
RAM, where he exercised an influence on later generations which
was no less significant for being unobtrusive. His later pupils included
Bedford, Bennett, Mathias, Maw and Tavener: they have all paid
tribute to his sensitive guidance and personal generosity. Berkeleys
honours have included the CBE (1957), the Cobbett Medal (1962),
the Ordre National du Mrit Culturel de Monaco (1967), the Papal
Knighthood of St Gregory (1973) and a knighthood (1974). Many
universities and other organizations have granted him honorary status
too, among which doctor of Oxford University (1970), fellow of Merton
College (1974), fellow of the RNCM (1975), professor of Keele
University (19769), member of the American Academy and Institute
of Arts and Letters (1980), Member of the GSMD (1980), Member of
the Acadmie Royale, Belgium (1983) and doctor of City University
(1984). From 1975 to 1983 he was President of Honour of the PRS
and from 1977 to 1983 he was president of the Cheltenham Festival.
Berkeley, Sir Lennox
2. Works.
Berkeley lacked confidence in most of his early works written while he
was studying with Boulanger and many of them disappeared, some to
be rediscovered later. His first published composition, however, had
been written at Oxford, a polished song with piano in G major, Dun
vanneur de bl aux vents. Soon after he reached Paris his style
changed: Tombeaux five songs to poems by Jean Cocteau for
example, draws on bitonality of the kind then fashionable amongst the
composers of Les Six. Berkeley had opportunities for performances of
works on a larger scale too with his orchestral Suite given its
premire in Paris as early as 1928 and at the Proms in London the
following year. He came into greater prominence with the oratorio
Jonah, when it was broadcast by the BBC in 1936 and given at the
Leeds Festival a year later, conducted by Berkeley himself. However,
despite Brittens admiration for the work it received a mixed response,
and Berkeley withdrew it (it was revived in London in 1990). The

score is permeated with Stravinskian neo-classicism in some ways

it seems to anticipate The Rakes Progress and its construction in
separate numbers derives from the Bach passions and cantatas.
Berkeleys first unqualified success was a work for string orchestra,
the Serenade op.12, which has become a mainstay of the British
repertory alongside Brittens Variations on a Theme of Frank Bridge,
which was written just before it, and Tippetts Concerto for Double
String Orchestra which came just after. Its four movements are in
contrasted styles, though not as diverse as the Britten. The opening
Vivace is an exhilarating moto perpetuo recalling the rhythmic energy
of Bachs Brandenburg Concertos; the following Andantino is a
melancholy serenade with pizzicato strings suggesting guitars; the
third movement is a kind of scherzo where, as often in Berkeley, the
material is continuously developed rather than merely repeated; the
final Lento strikes the most personal note. Berkeley began the
Serenade at Snape in Suffolk, where he shared the Old Mill with
Britten. By the time he was writing the last movement the war had
started and the colleague whom he idolized had gone to the USA with
Pears, circumstances which appear to be reflected in the music.
In 1940 Berkeley completed his First Symphony op.16, a spacious
four-movement work lasting half an hour; but perhaps more
characteristic is the Divertimento in B op.18, for small orchestra,
commissioned by the BBC and one of several works the composer
dedicated to Boulanger. The layout of the Divertimento avoids the
formalities of symphonic design. It opens with a Prelude in extremely
compressed sonata form and follows it with a Nocturne, a beautiful
piece of lyrical pacing, leading to the emotional climax of the whole
work. The Scherzo is of larger proportions than either of the two
outside movements, while the vivacious Finale is a cross between
Haydn and Poulenc in Berkeleys own manner.
By the 1940s he had achieved real maturity. In particular, the Four
Poems of St Teresa of Avila op.27, for contralto and string orchestra,
first sung by Kathleen Ferrier, create in their religious intensity a
strong impression; while the Stabat mater op.28, written for Brittens
English Opera Group, is, if rarely heard, a work of comparable
distinction. Of the many piano works from all periods the extended
Sonata op.20 is a true landmark; outstanding too are the Six Preludes
op.23, a kind of Mikrokosmos of Berkeleys compositional technique.
The Concerto in B for piano and orchestra op.29 is one of his most
successful works written in a particularly felicitous form. The thematic
layout of the first movement has a Mozartian elegance, while the
second subject shows a blues influence which can be traced back to
1920s Paris, and which surfaces frequently in his melodic writing. The
second movement, an Andante, is again typical in its introspective
tranquillity and objective passion. The Finale combines the dry
humour of Prokofiev with the high spirits of Les Six but given
Berkeleys inimitable stamp.

In the 1950s he followed Brittens lead into the theatre with three
operas: the grand opera Nelson op.41, a one-act comedy, A Dinner
Engagement op.45 and a biblical tableau, Ruth op.50. Nelson was
well received at Sadlers Wells in 1954 but not revived until a concert
performance in London in 1988. By contrast, the sophisticated, witty
A Dinner Engagement is regularly staged. Ruth is an expansion of the
serious language of the Four Poems of St Teresa into a touching
sacred drama, and, as with A Dinner Engagement, it showed
Berkeley to be more at home with something less ambitious than
grand opera, something more in keeping with his personal reserve.
The later Castaway op.68 is a one-act treatment of the story of
Odysseus and Nausicaa, while at the end of his life illness prevented
the completion of the first act of another grand opera, Faldon Park.
In the early 1960s Berkeley began to show a remarkable ability to
extend his musical language, and like other Boulanger pupils such as
Copland and Carter he moved away from neo-classicism. As Copland
took up 12-note rows, so did Berkeley, if in a much less systematic
way. Aria 1 from the Concertino op.49 has a 12-note ground bass;
there is a similar use of all 12 pitch classes in Boazs recognition aria
near the end of Ruth and in the Lento of the Violin Concerto op.59.
Serial method in the Sonatina for oboe and piano op.61 is minimal,
the row at the opening soon disappearing; but the Third Symphony
op.74, by contrast, derives much of its taut cogency from
manipulating a 12-note set divided into two hexachords. Connections
with such techniques may not have been fundamental; he did, for
example, continue to juxtapose tonal and atonal idioms in song cycles
such as the Chinese Songs op.78, as he had done earlier in the Five
Poems of W.H. Auden op.53. But, as with Copland, serial thinking
had the effect of altering and extending Berkeleys harmonic means.
At a time when tonality was often regarded as exhausted, this was,
then, a productive crisis for him, not least in the Windsor Variations
op.75 which exhibits some of the abstract angularity of late
Stravinsky. The new style is, perhaps, at its most impressive in a pair
of atmospheric orchestral pieces: Antiphon op.85 and Voices of the
Night op.86, as well as his last concerto, for guitar, op.88. In this he
worked closely with Julian Bream, both performer and instrument
being congenial and inspiring.
With his literary interests and melodic gifts, Berkeley naturally wrote
outstanding songs to French as well as English texts: Tant que mes
yeux op.14 no.2, a setting of Louise Lab, for example, is perfectly
realised, as are the two sets of sonnets by Ronsard, op.40 and op.62.
His choral music to religious texts was, like Poulencs, close to the
core of the man and to his faith. He defines his own terms at once in
a simple anthem such as Look up sweet Babe op.43 no.2, to a text by
Richard Crashaw; a liturgical work such as the Missa brevis; or
something more ambitious such as A Festival Anthem op.21, no.2. As
for chamber music, throughout his career it was precisely judged and
idiomatic. The Second String Quartet op.15 is an accomplished
example from the 1940s, as too is the String Trio op.19, while the
String Quartet no.3 op.76 represents the later style. Berkeley wrote

for some of the leading performers of the time, including Dennis

Brain, for whom he composed the Horn Trio op.44; Colin Horsley,
who was associated with much of his piano music; and Janet
Craxton, who gave rise to the Sonatina op.61, the Oboe Quartet
op.70 and the Sinfonia concertante op.84.
Late in life Berkeley struggled against Alzheimers disease and
completed nothing after 1983, but there was a perceptible decline
before that. His Fourth Symphony op.94 lacked the concentration of
his earlier orchestral works although late miniatures, such as the
Sonnet op.102 (to words by Louise Lab again), and choral pieces to
sacred texts remained strong. Though he was at his most distinctive
in the 1940s and 50s, the achievement of his later extended language
is not inconsiderable. His is an enduring, cultivated and imaginative
voice in 20th-century British music.
Berkeley, Sir Lennox
WORKS
dramatic
Ops: Nelson (3, A. Pryce-Jones), op.41, 194954, London, Sadler's Wells, 22 Sept
1954; A Dinner Engagement (1, P. Dehn), op.45, 1954, Aldeburgh, Jubilee Hall, 17
June 1954; Ruth (3 scenes, E. Crozier), op.50, 19556, London, Scala, 2 Oct 1956;
Castaway (1, Dehn), op.68, 1968, Aldeburgh, Jubilee Hall, 3 June, 1967; Falden
Park (2, W. Dean), op.100, c1983, unfinished
Ballet: [untitled], 1932; The Judgement of Paris, London, Sadler's Wells, 1938;
Serenade, op.12, 1939 [choreog. J. Jackson as Common Ground, 1984]; La fte
trange, London Arts Theatre, 1947
Incid music: The Seven Ages of Man/The Station Master (M. Slater), 1938; The
Tempest (W. Shakespeare), 1946; Jig-Saw/Venus Anadyomene, 19458 [for revue
Oranges and Lemons, 1949]; A Winter's Tale (Shakespeare), 1960
Film scores: Sword of the Spirit, 1942; Hotel Reserve, 1944; Out of Chaos, 1944;
The First Gentleman, 19478; Youth in Britain, 1957
Radio scores: Westminster Abbey, 1941; Yesterday and Today, 1942; A Glutton for
Life, c1946; Wall of Troy, 1946; Iphigenia in Taurus, c1954; Seraphina, 1956; Look
Back to Lyttletoun, 1957
orchestral
Suite, 1927; Ov., op.8, 1934, unpubd, withdrawn; Mont Juic, suite of Catalan
dances, op.9, 1937, collab. Britten; Serenade, op.12, str, 1939; Sym. no.1, op.16,
1940; Divertimento, B , op.18, 1943; Nocturne, op.25, 1946; Ov., chbr orch, 1947;
Sinfonietta, op.34, 1950; Variation on an Elizabethan Theme (Sellinger's Round),
str, 1953, collab. others, unpubd; Suite, 1953, unpubd; Suite, op.42, 1955 [from op
Nelson, op.41]; Interlude, c1955 [from op Nelson, op.41]
Sym. no.2, op.51, 19568; Ov., light orch, 1959, unpubd; Suite A Winter's Tale,
op.54, 1960 [from incid music]; Partita, op.66, chbr orch, 1965; Sym. no.3, op.74,
1969; Windsor Variations, op.75, chbr orch, 1969; Palm Court Music (Diana and
Actaeon Waltz), op.81/2, 1971; Antiphon, op.85, str, 1973; Voices of the Night,
op.86, 1973; Suite, op.87, str, 1974; Elegy, op.33/2b, str, 1978 [arr. of Elegy, vn, pf,
1950]; Sym. no.4, op.94, 1978
With soloist(s): Introduction and Allegro, op.11, 2 pf, orch, 1938; Vc Conc., 1939; Pf

Conc., B , op.29, 1947; Conc., op.30, 2 pf, orch, 1948; Fl Conc., op.36, 1952;
Conc., op.46, pf, double str orch, 1958; 5 Pieces, op.56, vn, orch, 1961; Vn Conc.,
op.59, 1961; Dialogue, op.79, vc, chbr orch, 1970; Sinfonia concertante, op.84, ob,
orch, 1973 [arr. of Canzonetta, ob, pf, c1973]; Gui Conc., op.88, 1974
choral
With orch: Ode, SATB, tpt, str, c1932; Jonah, orat, op.3, Tr, T, B, SATB, orch, 1935;
2 pomes de Pindare, solo vv, SATB, orch, c1936; Domini est terra, op.10, SATB,
orch, 1937; Colonus' Praise (W.B. Yeats), op.31, SATB, orch, 1949, unpubd;
Variations on a Hymn by Orlando Gibbons, op.35, T, SATB, str, org, 1951, unpubd;
Batter my heart, three person'd God (cant., J. Donne), op.60/1, S, SATB, ob, hn,
vcs, dbs, org, 1962; Signs in the Dark (L. Lee), op.69, SATB, str, 1967; Mag, op.71,
SATB, orch, org, 1968
With org: Lord, when the sense of Thy sweet grace (R. Crashaw), op.21/1, SATB,
org, 1944; A Festival Anthem (G. Herbert, H. Vaughan), op.21/2, SATB, org, 1945;
Look up, sweet Babe (Crashaw), op.43/2, Tr, SATB, org, 1954; Salve regina,
op.48/1, unison vv, org, 1955; Sweet was the Song (W. Ballet), op.43/3, SATB, org,
c1957; Thou hast made me (Donne), op.55/1, SATB, org, 1960; Missa brevis,
op.57, SATB, org, 1960 [version with Eng. text, c1961]; Hail Holy Queen, vv, org,
1970; Hymn for Shakespeare's Birthday (C. Day Lewis), op.83/2, SATB, org, 1972;
The Lord is my shepherd, op.91/1, SATB, org, 1975; Mag and Nunc, op.99, SATB,
org, 1980
Unacc.: The Midnight Murk (Sagittarius), SATB, 1942, unpubd; There was neither
grass nor corn (F. Cornford), SATB, 1949, unpubd; Ask me no more (T. Carew),
op.37/1, TTBB, c1952; Spring at this hour (P. Dehn), op.37/2, SSATBB, 1953; Crux
fidelis, op.43/1, T, SATB, 1955; Justorum animae, op.60/2, SATB, 1963; Adeste
Fideles, Tr, SSATB, c1964, unpubd; Mass, op.64, SSATB, 1964; 3 Songs (R.
Herrick, R. Bridges), op.67/1, TTBB, 1965; The Windhover (G.M. Hopkins), op.72/2,
SATB, 1968; Grace, SATB, 1971, unpubd; 3 Latin Motets, op.83/1, SATB, 1972;
The Hill of the Graces (E. Spenser), op.91/2, SSAATTBB, 1975; Judica me,
op.96/1, SSATBB, 1978; Ubi caritas et amor, op.96/2, SSATB, 1980; In Wintertime
(B. Askwith), op.103, SATB, 1983
Hymn tunes: Christ is the World's Redeemer, 1963; Hail Gladdening Light, c1963;
Hear'st Thou, My Soul (Crashaw), 1967; 3 nos. in The Cambridge Hymnal (1967)
Other works: La poulette grise, 2 children's chorus, tpt, 2 pf, c1931, unpubd
solo vocal
With orch: 4 Poems of St Teresa of Avila (trans. A. Symons), op.27, A, str, 1947;
Stabat mater, op.28, S, S, A, T, B, B, chbr orch, 1947; 4 Ronsard Sonnets, set 2,
op.62, T, orch, 1963, arr. T, chbr orch as op.62a
Songs for 1v, pf: 3 Early Songs, S/T, pf, 19245: D'un vanneur de bl aux vents (J.
du Bellay), Pastourelle (13th century anon.), Rondeau (C. d'Orlans) [no.1 rev. as
The Thresher, Mez/Bar, pf, 1925]; Tombeaux (J. Cocteau), S/T, pf, 1926; 3 pomes
de Vildrac, Mez/Bar, pf, 1929; How love came in (R. Herrick), S/T, pf, 1935; [7]
Songs (W.H. Auden, F. Garca Lorca, P. O'Malley, L. Lab, J. Passerat), op.14/2,
c193740 [2 unpubd]; 5 Songs (A.E. Housman), op.14/3, S/T, pf, 1940, unpubd;
The Ecstatic (Day Lewis), S/T, pf, 1943, unpubd; Lullaby (Yeats), S/T, pf, 1943,
unpubd; 5 Songs (W. de la Mare), op.26, Mez/Bar, pf, 1946; The Lowlands of
Holland (trad.), Mez/Bar, pf, 1947, unpubd; 3 Greek Songs (Sappho, Antipater,
Plato, all trans. F. Wright), op.38, Mez/Bar, pf, 1951; 5 Poems of W.H. Auden, op.53,
S/T, pf, 1958; So sweet love seemed (R. Bridges), Mez/Bar, pf, c1959, unpubd;

Autumn's Legacy (T.L. Beddoes, L. Durrell, A. Tennyson, Hopkins, W. Davies, H.

Colleridge), op.58, S/T, pf, 1962; Automne (G. Apollinaire), op.60/3, Mez/Bar, pf,
1963; Counting the Beats (R. Graves), op.60, S/T, pf, 1963, rev. 1971; I carry your
heart (e.e. cummings), Mez/Bar, pf, 1970; 5 Chinese Songs, op.78, Mez/Bar, pf,
1971; Another Spring (de la Mare), op.93/1, Mez/Bar, pf, 1977; Four Score Years
and Ten (V. Ellis), 1977, unpubd; Sonnet (Lab), op.102, S/T, pf, 1982
Other works: 4 Ronsard Sonnets, set 1, op.40, 2 T, pf, 1952, rev. 1977; Songs of the
Half-Light (de la Mare), op.65, S/T, gui, 1964; 5 Herrick Poems, op.89, S/T, hp,
19734, rev. 1976; Una and the Lion (Spenser), op.98, S, s rec, b viol, hpd, 1979,
unpubd
chamber and instrumental
38 insts: Prelude-Intermezzo, fl, vn, va, pf, 1927, unpubd; Serenade, fl, ob, vn, va,
vc, c1929; Piece, fl, cl, bn, 1929, unpubd; Suite, fl/pic, ob, vn, va, vc, c1930,
unpubd; Polka, op.5/1, 2 pf, tpt, cym, tambour de basque, triangle, c1934, unpubd,
arr. Polka, op.5, pf; Str Qt no.1, op.6, 1935; Trio, fl, ob, pf, 1935; Str Qt no.2, op.15,
1941; Str Trio, op.19, 1943; Trio, op.44, vn, hn, pf, 1953; Sextet, op.47, cl, hn, str qt,
1955; Concertino, op.49, fl/rec, vn, vc, hpd/pf, 1955; Diversions, op.63, 8 insts,
1964; Ob Qt, op.70, 1967; Str Qt no.3, op.76, 1970; Canon, str trio, 1971; In
memoriam Igor Stravinsky, str qt, 1971; Fanfare, 7 tpt, timp, 1972 [for RAM
banquet]; Quintet, op.90, wind, pf, 1975
2 insts: Minuet, 2 rec, c1924, unpubd; Petite Suite, ob, vc, 1927; Sonatine, cl, pf,
1928, unpubd; Sonata no.1, vn, pf, 1931, unpubd; Sonata no.2, op.1, vn, pf, c1928;
Sonatina, op.13, rec/fl, pf, 1939; Sonatina, op.17, vn, pf, 1942; Sonata, d, op.22, va,
pf, 1945; Elegy, op.33/2, vn, pf, 1950; Toccata, e, op.33/3, vn, pf, 1950; Allegro, 2 tr
rec, c1955; Andantino, op.21/2a, vc, pf, c1955 [after A Festival Anthem, op.21/2,
SATB, org]; Sonatina, op.61, ob, pf, 1962; Introduction and Allegro, op.80, db, pf,
1971; Duo, op.81/1, vc, pf, 1971; Duo, ob, vc, 1971; Canzonetta, ob, pf, c1973, arr.
as Sinfonia concertante, ob, orch, op.84, 1973; Sonata, op.97, fl, pf, 1978, rev. 1983
1 inst: 3 Pieces, cl, 1939; Introduction and Allegro, op.24, vn, 1946; Theme and
Variations, op.33/1, vn, 1950; Sonatina, op.52/1, gui, 1957; Nocturne, op.67/2, hp,
1967; Theme and Variations, op.77, gui, 1970
keyboard
Pf (solo unless otherwise stated): March, pf/hpd, 1924, unpubd; Toccata, 1925; Mr
Pilkington's Toye, pf/hpd, 1926, unpubd; For Vere, pf/hpd, 1927, unpubd; Polka,
op.5/1a, c1934; Polka, Nocturne, Capriccio, op.5, 2 pf, 19348; 3 Impromptus, op.7,
1935; 3 Pieces, op.2, 1935; 5 Short Pieces, op.4, 1936; 4 Concert Studies, set 1,
op.14/1, 1940; Paysage, 1944, unpubd; Sonata, A, op.20, 1945; 6 Preludes, op.23,
1945; 3 Mazurkas (Hommage Chopin), op.32/1, 1949; Scherzo, op.32/2, 1949;
Sonatina, op.39, pf 4 hands, c1954; Concert Study, E , op.48/2, 1955; Sonatina,
op.52/2, 2 pf, 1959; Improvisation on a Theme of Manuel de Falla, op.55/2, 1960;
Theme and Variations, op.73, pf 4 hands, 1968, unpubd; Palm Court Waltz,
op.81/2a, pf 4 hands, 1971; 4 Concert Studies, op.82, 1972; Prelude and Capriccio,
op.95, 1978; Bagatelle, op.101/1, 1981; Mazurka, op.101/2, 1982
Org: Impromptu, 1941, unpubd; 3 Pieces, op.72/1, org, 19668; Fantasia, op.92,
org, 1976; Andantino, op.21/2b, 1981 [arr. of A Festival Anthem, op.21/2, SATB, org,
1945]
Other kbd: Suite, hpd, 1930; Prelude and Fugue, op.55/3, clvd, 1960, unpubd

Principal publisher: Chester

Berkeley, Sir Lennox

WRITINGS
Articles in MMR (192934)
Nadia Boulanger as Teacher, MMR, lxi (1931), 4 only
Britten and his String Quartet, The Listener (27 May 1943)
Open Forum: Variations on a Theme Tonal or Atonal?, Music
Today, i (1949), 145 only
Britten's Spring Symphony, ML, xxxi (1950), 21619
The Light Music, Benjamin Britten: a Commentary on his Works
from a Group of Specialists, ed. D. Mitchell and H. Keller
(London, 1952/R), 287ff
The Sound of Words, The Times (28 June 1962)
Britten's Characters, About the House, i/5 (19625), 14
Concert-Going in 1963, Sunday Times (30 Dec 1962)
Francis Poulenc, MT, civ (1963), 205 only
Boulanger the Dedicated, Piano Teacher, viii/2 (1965), 67
Nocturnes, Berceuse, Barcarolle, Frederic Chopin: Profiles on the
Man and the Musician, ed. A. Walker (London, 1966, 2/1973 as
The Chopin Companion), 17086
Truth in Music, Times Literary Supplement (3 March 1966)
Berkeley Describes his Setting of the Magnificat, The Listener (4
July 1968)
Lili Boulanger, The Listener (21 Nov 1968)
Charles Burney's Tour, The Listener (5 March 1970)
Berkeley Writes about Alan Rawsthorne, The Listener (30 Dec 1971)
Alan Rawsthorne, Composer, no.42 (19712), 57
A Composer Speaks, Composer, no.43 (1972), 1719
Walton Yesterday, Performing Right, no.57 (1972), 1819
Views from Mont Juic, Tempo, no.106 (1973), 67
Comments on the 1975 season of Henry Wood Promenade
Concerts, Radio Times (19/25 July 20/26 Sept 1975)
A Composer Looks Back, Two Hundred and Fifty Years of the Three
Choirs Festival, ed. B. Still (Gloucester, 1977), 45 only
Foreword to P. Bernac: Francis Poulenc, the Man and his Songs
(London, 1977), 1112
Maurice Ravel, Adam International Review, xli (1978), 1317
Tribute, Mademoiselle: entretiens avec Nadia Boulanger, ed. B.
Monsaingeon (Luynes, 1980; Eng. trans., 1985), 124 only
Preface to C. Headington: Britten (London, 1981)
Untitled essay, R. Ricketts: Bid the World Goodnight (London, 1981),
1921
Igor Stravinsky: a Centenary Tribute, MT, cxxiii (1982), 395
Tribute, Michael Tippett O.M.: a Celebration, ed. G. Lewis
(Tunbridge Wells, 1985), 21 only
Berkeley, Sir Lennox
BIBLIOGRAPHY

G. Bryan: The Younger English Composers Lennox Berkeley,

MMR, lix (1929), 1612
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