Elisabeth Lutyens

In 1945, William Walton was able to repay the service Clark had rendered him in relation to the premiere of his Viola Concerto in 1929. Lutyens approached Walton for an introduction to Muir Mathieson with a view to getting some film music work. He readily agreed to pass on her name, but he went a step further: He invited her to write any work she liked, then dedicate it to him, and he would pay her £100 sight unseen. The work she wrote was The Pit.[5] Edward Clark conducted The Pit at the 1946 ISCM Festival in London, along with her Three Symphonic Preludes.[6]

She found success in 1947 with a cantata setting Arthur Rimbaud's poem Ô saisons, Ô châteaux. The BBC refused to perform it at the time because the soprano range was thought to go beyond the bounds of the possible, but the BBC was nevertheless the organisation that gave first performances to many of her works from the 1940s to the 1950s. Her work in this period included incidental music for a number of poetry readings, such as Esmé Hooton's Zoo in 1956.[7] The BBC began playing her music again when her friend William Glock became Director of Music. Lutyens is remembered for her intolerance of her better-known contemporaries among English composers including Vaughan Williams, Holst, Ireland and Bax.[8] She dismissed them as "the cowpat school" in a lecture she gave at the Dartington International Summer School in the 1950s, disparaging their "folky‐wolky melodies on the cor anglais".[8]

Edward Clark had resigned from the BBC in 1936 amid much ill-feeling. He was still doing contract work for the BBC as well as freelance conducting, but those opportunities dried up and he was essentially unemployed from 1939 until his death in 1962. He was involved with the ISCM and other contemporary music promotional organisations, but always in an unpaid capacity. Lutyens paid the bills by composing film scores for Hammer's horror movies and also for their rivals Amicus Productions. She was the first female British composer to score a feature film, her first foray into the genre being Penny and the Pownall Case (1948).[9] Her other scores included Never Take Sweets from a Stranger (1960), Don't Bother to Knock (1961), Paranoiac (1963), Dr. Terror's House of Horrors (1965), The Earth Dies Screaming (1965), The Skull (1965) (a suite from this was issued on CD in 2004), Spaceflight IC-1 (1965), The Psychopath (1966), Theatre of Death (1967) and The Terrornauts (1967). Lutyens did not regard her film scores as highly as her concert works, but she still relished being referred to as the "Horror Queen", which went well with the green nail polish she habitually wore.[10] She also wrote music for many documentary films and for BBC radio and TV programmes, as well as incidental music for the stage.[1]

By the late 1960s her music was in greater favour and she received a number of important commissions, including Quincunx for orchestra with soprano and baritone soloists (1959–60), which was premiered at the 1962 Cheltenham Music Festival and uses a quartet of Wagner tubas in the orchestra. The work was well received and recorded at the time, but didn't receive a live performance in London until 1999.[11] Her Symphonies for solo piano, wind, harps and percussion was a commission for the 1961 Promenade Concerts. In 1969 she was made a Commander of the Order of the British Empire (CBE). And Suddenly It’s Evening (1966) for tenor and ensemble, setting a translation of words by Salvatore Quasimodo, was commissioned by the BBC in 1967 and performed at the Proms in 1967, 1974 and 1976.[11]

Her autobiography A Goldfish Bowl, describing life as a female musician in London, was published in 1972. She once said that she hated writing the book and only did so to record her husband Edward Clark's earlier achievements.[12]

Elisabeth Lutyens died in London in 1983, aged 76.[13]

• String Quartet I, Op. 5, No. 1 (1937) – withdrawn
• String Quartet II, Op. 5, No. 5 (1938)
• String Trio, Op. 5, No. 6 (1939)
• Chamber Concerto I, Op. 8, No. 1, for 9 instruments (1939–40)
• String Quartet III, Op. 18 (1949)
• Concertante for five players, Op. 22 (1950)
• String Quartet VI, Op. 25 (1952)
• Valediction, for clarinet and piano, Op. 28 (1953–54) – dedicated to the memory of Dylan Thomas
• Capriccii, for 2 harps and percussion, Op. 33 (1955)
• Six Tempi, for 10 instruments, Op. 42 (1957)
• Wind Quintet, Op. 45 (1960)
• String Quintet, Op. 51 (1963)
• Wind Trio, Op. 52 (1963)
• String Trio, Op. 57 (1963)
• Music for Wind, for double wind quintet, Op. 60 (1963)
• Oboe Quartet: Driving out the Death, Op. 81 (1971)
• Plenum II, for oboe and 13 instruments, Op. 92 (1973)
• Plenum III, for string quartet, Op. 93 (1973)
• Clarinet Trio, Op. 135 (1979)

• Ô saisons, Ô châteaux! – cantata after Rimbaud, Op. 13 (1946)
• Requiem for the Living, for soli, chorus and orchestra, Op. 16 (1948)
• Stevie Smith Songs, for voice and piano (1948–53)
• Motet: Excerpta Tractatus-logico-philosophicus, for unaccompanied chorus, Op. 27 (1951) – text by Ludwig Wittgenstein
• Nativity, for soprano and organ (1951)
• De Amore for soli, chorus and orchestra, Op. 39 (1957) – text by Geoffrey Chaucer
• Quincuncx, see full orchestra
• Motet: The Country of the Stars, Op. 50 (1963) – text by Boethius translated Chaucer
• Magnificat and Nunc Dimittis (SATB), Op. ?? (February 1965)
• The Valley of Hatsu-Se, for soprano, flute, clarinet, cello and piano, Op. 62 (1965) – on early Japanese poetry
• And Suddenly It's Evening, for tenor and 11 Instruments, Op. 66 (1965) – text by Salvatore Quasimodo
• Epithalamion, for soprano and organ, Op. 67 No.3 (1968)
• Essence of Our Happinesses, for tenor, chorus and orchestra, Op. 69 (1968) – texts by Abu Yasid, John Donne and Rimbaud
• In the Direction of the Beginning, for bass and piano, Op. 76 (1970) – text by Dylan Thomas
• Anerca, for speaker, 10 guitars and percussion, Op. 77 (1970) – on Eskimo poetry
• Requiescat, for soprano and string trio, in memoriam Igor Stravinsky (1971) – text by William Blake
• Voice of Quiet Waters, for chorus and orchestra, Op. 84 (1972)

• 5 Intermezzi, for piano, Op. 9 (1941–42)
• Suite for organ, Op. 17 (1948)
• Sinfonia for organ, Op. 32 (1955)
• Piano e Forte, for piano, Op. 43 (1958)
• Five Bagatelles, for piano, Op. 49 (1962)
• The Dying of the Sun, for guitar, Op. 73 (1969)
• Plenum I, for piano, Op. 87 (1972)
• Temenos, for organ, Op. 72 (1972)
• Plenum IV, for two organs, Op. 100 (1975)
• Five Impromptus, for piano, Op. 116 (1977)
• Seven Preludes, for piano, Op. 126 (1978)
• The Great Seas, for piano, Op. 132 (1979)
• La natura dell'Acqua, for piano, Op. 154 (1981)
• Echo of the Wind, for solo viola, Op. 157
• ‘’Encore-Maybe’’, for piano, Op. 159

• Chamber Concerto II, for clarinet, tenor sax, piano and strings, Op. 8, No. 2 (1940)
• Chamber Concerto III, for bassoon and small orchestra, Op. 8, No. 3 (1945)
• Chamber Concerto IV, for horn and small orchestra, Op. 8, No. 4 (1946)
• Chamber Concerto V, for string quartet and chamber orchestra, Op. 8, No. 5 (1946)
• Chamber Concerto VI (1948) was withdrawn
• Six Bagatelles, Op. 113, for six woodwind, four brass, percussion, harp, piano (doubling celeste) & five solo strings (1976)

• Three Pieces, Op. 7 (1939)
• Three Symphonic Preludes (1942)
• Viola Concerto, Op. 15 (1947)
• Music for Orchestra I, Op. 31 (1955)
• Chorale for Orchestra: Hommage a Igor Stravinsky, Op. 36
• Quincunx, for orchestra with soprano and baritone soli in one movement, Op. 44 (1959–60) – text by Sir Thomas Browne
• Music for Piano and Orchestra, Op. 59 (1963)
• Novenaria, Op. 67, No. 1 (1967)

• Infidelio – seven scenes for soprano and tenor, Op. 29 (1954)
• The Numbered – opera in a Prologue and four acts after Elias Canetti, Op. 63 (1965–67)
• Time Off? Not the Ghost of a Chance! – charade in four scenes, Op. 68 (1967–68)
• Isis and Osiris – lyric drama after Plutarch, Op. 74 (1969)
• The Linnet from the Leaf – music-theatre for singers and two instrumental groups, Op. 89 (1972)
• The Waiting Game – scenes for mezzo, baritone, actor and small orchestra, Op. 91 (1973)