Hubbry Logo
Richard Rodney BennettRichard Rodney BennettMain
Open search
Richard Rodney Bennett
Community hub
Richard Rodney Bennett
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Richard Rodney Bennett
Richard Rodney Bennett
Richard Rodney Bennett
View on Wikipedia
from Wikipedia

Key Information

Sir Richard Rodney Bennett CBE (29 March 1936 – 24 December 2012) was an English composer and pianist. He was noted for his musical versatility, drawing from such sources as jazz, romanticism, and avant-garde; and for his use of twelve-tone technique and serialism.[2][3] His body of work included over 200 concert works and 50 scores for film and television. He was also active in jazz, as a composer, a pianist, and an occasional vocalist.

For his scoring work, Bennett was nominated for a total of 10 BAFTA Awards, winning once for Best Original Music for the film Murder on the Orient Express (1974). He was also nominated for three Academy Awards (Far from the Madding Crowd, 1967; Nicholas and Alexandra, 1971; and Murder on the Orient Express) and three Grammy Awards, among other accolades. He was the International Chair of Composition of the Royal Academy of Music, and was knighted in 1998.[4]

Life and career

[edit]

Bennett was born at Broadstairs, Kent, but was raised in Devon during World War II.[5] His mother, Joan Esther, née Spink (1901–1983)[6] was a pianist who had trained with Gustav Holst.[7][8] His father, Rodney Bennett (1890–1948), was a children's book author, poet and lyricist, who worked with Roger Quilter on his theatre works and provided new words for some of the numbers in the Arnold Book of Old Songs.

Bennett was a pupil at Leighton Park School.[9] He later studied at the Royal Academy of Music with Howard Ferguson and Lennox Berkeley. Ferguson regarded him as extraordinarily brilliant, having perhaps the greatest talent of any British composer in his generation, though lacking in a personal style. During this time, Bennett attended some of the Darmstadt summer courses in 1955, where he was exposed to serialism. He later spent two years in Paris as a student of the prominent serialist Pierre Boulez between 1957 and 1959.[10] He always used both his first names after finding another Richard Bennett active in music.

Bennett taught at the Royal Academy of Music between 1963 and 1965, at the Peabody Institute in Baltimore, United States from 1970 to 1971, and was later International Chair of Composition at the Royal Academy of Music between 1994 and the year 2000. He was appointed a Commander of the Order of the British Empire (CBE) in 1977, and was knighted in 1998.[4]

Bennett produced over 200 works for the concert hall, and 50 scores for film and television. He was also a writer and performer of jazz songs for 50 years. Immersed in the techniques of the European avant-garde via his contact with Boulez, Bennett subsequently developed his own dramato-abstract style. In his later years, he adopted an increasingly tonal idiom.

Bennett regularly performed as a jazz pianist, with such singers as Cleo Laine, Marion Montgomery (until her death in 2002), Mary Cleere Haran (until her death in 2011), and more recently with Claire Martin,[9] performing the Great American Songbook. Bennett and Martin performed at such venues as The Oak Room at the Algonquin Hotel in New York, and The Pheasantry and Ronnie Scott's Jazz Club in London.

In later years, in addition to his musical activities, Bennett became known as an artist working in the medium of collage.[11] He exhibited these collages several times in England, including at the Holt Festival, Norfolk[12] in 2011, and at the Swaledale Festival, Yorkshire, in 2012.[13] The first exhibition of his collages was in London in 2010, at the South Kensington and Chelsea Mental Health Centre, curated by the Nightingale Project, a charity that takes music and art into hospitals. Bennett was a patron of this charity.[14] Bennett is honoured with four photographic portraits in the collection of the National Portrait Gallery, London.

Bennett was gay[15] and in 1995 Gay Times nominated him as one of the most influential gay people in music.[16] He was based in New York City from 1979 until his death there in 2012.[5]

Anthony Meredith's biography of Bennett was published in November 2010.[17] Bennett is survived by his sister Meg (born 1930), the poet M. R. Peacocke, with whom he collaborated on a number of vocal works.

Bennett's cremated remains are buried in Section 112, Plot 45456 at Green-wood Cemetery, Brooklyn. His grave is marked by a grey granite headstone.[18]

Music

[edit]

Despite his early studies in modernist techniques, Bennett's tastes were eclectic. He wrote in a wide range of styles, including jazz, for which he had a particular fondness. Early on, he began to write music for feature films. He said that it was as if the different styles of music that he was writing went on 'in different rooms, albeit in the same house'.[11] Later in his career the different aspects all became equally celebrated – for example in his 75th birthday year (2011), there were numerous concerts featuring all the different strands of his work. At the BBC Proms for example his Murder on the Orient Express Suite was performed in a concert of film music, and in the same season his Dream Dancing and Jazz Calendar were also featured. Also at the Wigmore Hall, London, on 23 March 2011 (a few days before his 75th birthday), a double concert took place in which his Debussy-inspired piece Sonata After Syrinx was performed in the first concert, and in the Late Night Jazz Event which followed, Bennett and Claire Martin performed his arrangements of the Great American Songbook (Cole Porter, George Gershwin, Rodgers and Hart and so on). See also Tom Service's appreciation of Bennett's music published in The Guardian in July 2012.[19]

Film and television scores

[edit]

He wrote music for films and television; among his scores were the Doctor Who story The Aztecs (1964) for television, and the feature films Billion Dollar Brain (1967), Lady Caroline Lamb (1972) and Equus (1977). His scores for Far from the Madding Crowd (1967), Nicholas and Alexandra (1971), and Murder on the Orient Express (1974), each earned him Academy Award nominations, with Murder on the Orient Express gaining a BAFTA award. Later works include Enchanted April (1992), Four Weddings and a Funeral (1994), The Tale of Sweeney Todd (1999) and Gormenghast (2000). He was also a prolific composer of orchestral works, piano solos, choral works and operas. Despite this eclecticism, Bennett's music rarely involved stylistic crossover.

Selected works

[edit]

Orchestral works

[edit]
  • Aubade (1964)
  • Farnham Festival Overture (1964)
  • Symphony No. 1 (1965)
  • Piano Concerto (1968)
  • Symphony No. 2 in one movement (1968) - commissioned by the New York Philharmonic Orchestra
  • Party Piece (1971)
  • Concerto for Orchestra (1973)
  • Viola Concerto (1973) - commissioned by the Northern Sinfonia for Roger Best
  • Violin Concerto (1975)
  • Zodiac (1975-76)
  • Serenade for small orchestra (1976)
  • Music for Strings (1977)
  • Sonnets to Orpheus for cello and orchestra (1978-79)
  • Harpsichord Concerto (1980) - premiere conducted by Leonard Slatkin. St. Louis Symphony Orchestra. Richard Rodney Bennett, harpsichord
  • Anniversaries (1982)
  • Sinfonietta (1984)
  • A Little Suite for chamber orchestra (1986) - based on selections from the song cycles The Insect World and The Aviary
  • Symphony No. 3 (1987)
  • Saxophone Concerto (1988) for alto saxophone
  • Marimba Concerto (1988)
  • Diversions for chamber orchestra (1989)
  • Concerto for Stan Getz (1990) - for tenor saxophone, timpani and strings
  • Percussion Concerto (1990) - commissioned by and first performed at St Magnus Festival, Orkney, soloist Dame Evelyn Glennie, 1990
  • Trumpet Concerto (1993) - for trumpet and wind orchestra
  • Partita for orchestra (1995)
  • Reflections on a Sixteenth Century Tune (1999) - for string orchestra or double wind quintet
  • Troubadour Music (2006)

Instrumental and chamber

[edit]
  • Sonata (1954) - for piano, first published work
  • Impromptus (1968) - for guitar
  • Scena II (1973) - for solo cello; commissioned by the Music Department of the University College of North Wales, Bangor, with funds from Welsh Arts Council, first performed by Judith Mitchell 25 April 1974
  • Sonatina (1981) - for solo clarinet
  • After Syrinx I (1982) - for oboe and piano
  • Summer Music (1982) - for flute and piano
  • Sonata (1983) - for solo guitar
  • After Syrinx II (1984) - for solo marimba
  • Morning Music (1986) - for wind band
  • Over the Hills and Far Away (1991) - for piano 4 hands
  • The Four Seasons (1991) - for symphonic wind ensemble
  • Dream Sequence (1992) - for cello and piano, first performed in December 1994 at the Wigmore Hall, London by Julian Lloyd Webber and John Lenehan (1992)
  • Ballad in Memory of Shirley Horn (2006) - For clarinet and piano, written the year after her death to commemorate her
  • Lilliburlero Variations (2008) - for two pianos, commissioned by the Dranoff 2 Piano Foundation in Miami
  • Fanfare (2012) - for brass quintet

Operas

[edit]

Ballet

[edit]

Choral and vocal works

[edit]
  • Tom o' Bedlam's Song (1961) - voice and cello[20]
  • Two Madrigals: 1. Still to be neat, 2. The hour-glass (1961) – text by Ben Jonson
  • The Aviary, song cycle (1966)
  • The Insect World, song cycle (1966)
  • Soliloquy (1967) - voice and jazz ensemble, text Julian Mitchell, written for Cleo Laine
  • Five Carols: There is No Rose, Out of Your Sleep, That Younge Child, Sweet was the Song, Susanni (1967) - written for St Matthew's Church Northampton
  • Spells (1974) - written for soprano Jane Manning
  • Sea Change (1983)
  • Nonsense (1984) - chorus and piano duet, a setting of the seven poems by Mervyn Peake
  • Missa Brevis (1990)
  • Partridge Pie (1990) for chorus and piano (based on The Twelve Days of Christmas)
  • On Christmas Day to My Heart, (1998) - written for the Festival of Nine Lessons and Carols at King's College Chapel, Cambridge in 1999.
  • A Good-Night (1999)
  • The Glory and the Dream (2000), chorus a cappella and 1 instrument, text Wordsworth
  • A Farewell to Arms (2001)
  • The Garden – A Serenade to Glimmerglass (2006) - commissioned by Nicholas Russell for Glimmerglass Opera in honour of Stewart Robertson for its Young American Artists Program
  • A History of the Thé Dansant for mezzo-soprano and small orchestra (2011)

Recordings

[edit]

Albums

[edit]

Solo:

  • Lush Life (1988) - Ode Records
  • I Never Went Away (1992) - Delos
  • Harold Arlen's Songs (1994) - Audiophile
  • A Different Side of Sondheim (1995) - DRG
  • Take Love Easy (2002) - Audiophile
  • Richard Rodney Bennett: Words And Music (2007) - Chandos

with Marion Montgomery

with Carol Sloane (singer)

  • Love You Madly (1989) - Contemporary

with Chris Connor (singer)

  • Classic (1991) - Contemporary
  • New Again (1991) - Contemporary

with Mary Cleere Haran (singer)

  • This Funny World: Mary Cleere Haran Sings Lyrics By Hart (1995) - Varèse Sarabande
  • Pennies From Heaven: Movie Songs From The Depression Era (1998) - Angel Records
  • The Memory Of All That: Gershwin On Broadway and In Hollywood (1999) - 2011 reissue
  • Crazy Rhythm: Manhattan in the 20s (2002) - Varèse Sarabande

with Claire Martin

Opera

  • The Mines of Sulphur (2005) - Chandos

Orchestral

  • Symphony No. 1 (1968) - with works by Bax and Berkeley, Royal Philharmonic Orchestra, Igor Buketoff, RCA
  • Jazz Calendar; Piano Concerto (1972) - Stephen Bishop-Kovacevich, London Symphony Orchestra, Alexander Gibson, Philips
  • Spells; Aubade (1979) - Jane Manning, Philharmonia Orchestra, David Willcocks, David Atherton, Argo
  • Partita; Four Jazz Songs; Enchanted April Suite (1995) - Britten Sinfonia, Nicholas Cleobury, the composer, Neil Richardson, BBC
  • Diversions; Symphony No. 3; Violin Concerto (1996) - Monte Carlo Philharmonic Orchestra, James DePreist, Koch
  • Bennett: Orchestral Works, Vol 1 (2017) - Celebration; Marimba Concerto; Symphony No. 3; Summer Music; Sinfonietta. BBC Scottish Symphony Orchestra, John Wilson, Chandos
  • Bennett: Orchestral Works, Vol 2 (2018) - Concerto for Stan Getz; Symphony No. 2; Serenade; Partita. BBC Scottish Symphony Orchestra, John Wilson, Chandos
  • Bennett: Orchestral Works, Vol 3 (2019) - Symphony No. 1; A History of the Dansant; Reflections on a 16th Century Tune; Zodiac. BBC Scottish Symphony Orchestra, John Wilson, Chandos
  • Bennett: Orchestral Works, Vol 4 (2020) - Aubade; Piano Concerto; Anniversaries; Country Dances, Book One, Troubadour Music. BBC Scottish Symphony Orchestra, John Wilson, Chandos
  • Bennett: Orchestral Works, Vol 5 (2025) - Concerto for Orchestra; Sonnets to Orpheus, Diversions. BBC Scottish Symphony Orchestra, John Wilson, Chandos

Choral

  • Stuff and Nonsense (1999) - Astounding Sounds for London Oriana Choir
  • Letters to Lindbergh (2013) - Signum UK
  • Sea Change: Choral Music of Richard Rodney Bennett (2013) - The Cambridge Singers, the composer and John Rutter, Collegium Records

Selected TV and filmography

[edit]

References

[edit]

Further reading

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Richard Rodney Bennett

View on Grokipedia
from Grokipedia
Richard Rodney Bennett (29 March 1936 – 24 December 2012) was a prolific and versatile British renowned for his contributions to , film scores, and . Born in , , and raised in , , he began composing at the age of six and studied at the Royal Academy of Music from 1953 to 1957 under and Howard Ferguson, later receiving a scholarship to work with in from 1957 to 1959. His early career marked him as a modernist prodigy, influenced by techniques encountered at summer schools, yet he evolved toward a lyrical style blending with and tonal elements. Bennett's oeuvre includes three symphonies, seventeen concertos, five operas such as The Mines of Sulphur (1965), and numerous chamber works, reflecting his command of diverse forms. Bennett's film music career spanned over fifty scores, earning him three Academy Award nominations for (1967), (1971), and (1974), the latter also securing a BAFTA Award. Collaborating with directors like and , he crafted elegant, atmospheric soundtracks that fused orchestral sophistication with dramatic intensity. In the realm of and , Bennett performed as a and singer, interpreting the alongside artists like , Marian Montgomery, and Claire Martin; notable works include the ballet Jazz Calendar (1963–64) and Dream Dancing. After relocating to New York in 1979, he continued composing and teaching, holding the international chair of composition at the Royal Academy of Music in the . Honored with a CBE in 1977 and knighted in 1998 for his services to , Bennett was celebrated for his refined elegance in both composition and performance, as exemplified in his 2011 tribute. His mother's studies with and his father's literary background instilled a deep appreciation for and , shaping a career that bridged multiple musical worlds without compromise. Bennett died in New York at age 76, leaving a legacy of over 120 published works that continue to influence contemporary composers.

Biography

Early life

Richard Rodney Bennett was born on 29 March 1936 in , , , the youngest of three children to H. Rodney Bennett, an author of children's books and lyricist who collaborated with composers such as , and Joan Esther Bennett (née Spink), a talented pianist, composer, and singer who had studied with at the Royal College of Music. At the outbreak of in 1939, the family relocated from to the safer rural setting of in , where Bennett spent much of his childhood amid the wartime disruptions, including and the general atmosphere of evacuation and rationing that affected many British families. Raised in a highly artistic household, Bennett benefited from his mother's deep connections to the English musical tradition; she had performed in the first professional presentation of Holst's and introduced her son to and other figures in that circle, fostering an environment rich with music from Debussy, Ravel, and contemporary orchestral works heard on the radio or at local cinemas. Bennett received his initial piano lessons from his mother starting around age four or five, sparking his early creative interests in a home where artistic pursuits were central—his father's literary endeavors complemented the musical ones, encouraging Bennett's innate talents. By age five or six, he was already composing short pieces, often tailored to the instruments of school friends, and continued this in his school years with initial works such as carols and sketches that reflected his burgeoning imagination amid the wartime seclusion of . These formative experiences in a supportive, arts-oriented family laid the groundwork for his later formal musical training.

Education

Bennett attended Leighton Park School in , starting in 1949, where he developed his early interest in composition and demonstrated precocious musical talent during his teenage years. The school's Quaker environment encouraged his creative pursuits, laying the foundation for his formal training. In 1953, at the age of 17, Bennett enrolled at the Royal Academy of Music in on a , studying composition primarily with Howard Ferguson and from 1953 to 1957. Under their guidance, he honed his craft in a traditional English style while exploring modern techniques, composing several student works that showcased his versatility. Following his graduation, Bennett secured a French government to study with in from 1957 to 1959. This immersive experience exposed him to avant-garde and twelve-tone techniques, profoundly influencing his early experiments with atonal structures and expanding his stylistic range beyond his conservatory training.

Professional career

Bennett's professional career commenced shortly after his studies, with an appointment as professor of composition at the Royal Academy of Music from 1963 to 1965. In 1965, he received a significant commission from the London Symphony Orchestra for his Symphony No. 1, which premiered the following year and marked a pivotal moment in his orchestral output. He later served as composer-in-residence at the in from 1970 to 1971, where he contributed to the institution's compositional programs. In the 1990s, Bennett returned to the Royal Academy of Music as holder of the international chair of composition for six years, mentoring a new generation of composers. Seeking expanded artistic horizons amid disillusionment with the British music establishment, he relocated to in 1979, where he obtained a with support from and . This move facilitated greater cross-genre exploration, including his longstanding involvement in film scoring, which began in the late 1950s but flourished in the 1960s with acclaimed contributions to films such as Far from the Madding Crowd (1967) and (1971), the latter earning an Academy Award nomination. Over his career, he composed scores for more than 50 films, providing financial stability that supported his classical and endeavors. Bennett's contributions were recognized with the CBE in 1977 and a knighthood in 1998 for services to . He also served as a patron of the Nightingale Project, a charity dedicated to integrating and into hospital environments to support patients and staff. Alongside his musical pursuits, Bennett developed a parallel career in collage , which he took up seriously after moving to New York, drawing inspiration from and American artists; his works became highly collectible.

Personal life and death

Bennett was openly gay and was recognized by Gay Times in 1995 as one of the 20 most influential gay people in British music. He maintained close family ties throughout his life, collaborating with his sister, the poet Meg Peacocke (also known as M.R. Peacocke), on several vocal works. Bennett resided in for much of his early career but relocated to in 1979 following the end of a significant personal relationship, where he made his home until his death and developed strong ties to both British and American cultural communities. In his later years, Bennett experienced a decline in health, culminating in a brief illness. He died peacefully on 24 December 2012 in New York at the age of 76. His remains were interred at in , New York. Following his death, tributes poured in from musical peers, including a personal remembrance by Daryl Runswick highlighting Bennett's and .

Musical style and influences

Early influences and techniques

Richard Rodney Bennett's early compositional style was shaped by the British pastoral tradition, particularly the influences of and , whose modal harmonies and folk-inspired lyricism informed his initial tonal romanticism. Growing up in a musical family—his mother had studied with Holst—Bennett absorbed these elements from a young age, evident in works like (1960), a chamber piece that evokes pastoral serenity through lyrical melodies and subtle rhythmic pulses. Following studies with in from 1957 to 1959, Bennett adopted and twelve-tone row techniques, immersing himself in total serialism and the European . This phase marked a departure from his earlier , as seen in Variations for Orchestra (1962), where strict row derivations structure the variations while retaining melodic expressivity in a neo-romantic vein. Bennett later described this period as an intense indoctrination into Boulez's methods, which he applied rigorously before gradually softening their austerity. Bennett's interest in , sparked in the , began blending with his classical forms during his student years at the Royal Academy of Music. This fusion introduced improvisatory rhythms and blues-inflected harmonies into his palette, complementing serial structures without fully abandoning them, as in early chamber pieces that juxtapose tonal motifs with atonal rows. Among his techniques, Bennett employed to layer disparate styles—romantic, serial, and —creating textured contrasts, notably in The Mark (1961), where quoted fragments enhance dramatic narrative. By the early 1960s, he shifted from pure rigor toward greater accessibility, integrating with communicative lyricism to broaden appeal while preserving technical sophistication.

Evolution across genres

In the mid-1960s, Bennett began transitioning from his earlier serialist experiments toward a more neoclassical and jazz-infused approach, marking a return to while retaining structural sophistication. This shift is evident in works like the 1965 The Mines of Sulphur, where serial techniques blend with emerging and melodic accessibility, reflecting a "neo-Romantic closer to Berg than Webern," as described by musicologist Stephen Walsh. By the late 1960s, this evolution incorporated more prominently, as seen in the 1968 . From the through the , Bennett's style increasingly embraced lyrical , particularly in his vocal and l compositions, prioritizing emotional expressiveness and harmonic warmth over austerity. This period saw a full adoption of tonal idioms, influenced by his 1979 relocation to New York, where immersion in the American scene enriched his output with rhythmic vitality and blues-inflected phrasing. Examples include the 1995 for , which highlights melodic richness and broad appeal, and collaborations with jazz vocalists like Marian Montgomery, further integrating spontaneous structures into works. In his late career, Bennett prioritized accessibility, eschewing strict in favor of tuneful, communicative that bridged concert halls and popular venues, often weaving elements into live performances for greater immediacy. This is apparent in his 1990s -style solo acts and pieces like the Concerto for , which blend sophisticated orchestration with and intimate song forms. Bennett's overall versatility is underscored by his catalog of over 200 works, spanning to popular genres like and , though critics occasionally noted his eclecticism as a potential dilution of depth. This breadth allowed him to navigate diverse influences without rigid adherence to any single idiom, contributing to his enduring reputation as a multifaceted .

Concert works

Orchestral compositions

Richard Rodney Bennett's orchestral compositions encompass symphonies, concertos, and standalone pieces that trace his stylistic journey from to a more tonal . His No. 1, completed in 1965, is a three-movement work that reflects early serial influences while evoking comparisons to Walton and Henze through its dramatic and lightly worn techniques. The second movement is dedicated to his long-term partner Dan Klein, featuring sighing amid the overall angularity. It premiered on 10 February 1966 with István Kertész conducting . Critical reception highlighted its accessibility despite serial elements, with later recordings praising its emotional depth and orchestral color. The No. 2 (1967), in one continuous movement, further explores serial condensation of a four-movement form, blending angular themes with tonal allusions in sections marked Allegro, Moderato, Vivace, and non troppo allegro. Commissioned by the for its 125th anniversary, it received its world premiere there in 1967, followed by a premiere in 1968 under with the London Symphony Orchestra. Dedicated to and the orchestra, the work's unsettled, mood earned acclaim for its intensity and structural ingenuity in subsequent performances. Reviewers noted its peak as Bennett's most experimental phase, yet appreciated the underlying rhythmic vitality. Bennett's later symphonies mark a shift toward and . The Symphony No. 3 (1987), a three-movement for moderate orchestra (Andante - Vivo; Allegretto; Adagio), emphasizes lyrical, monothematic development with a strong tonal foundation. Commissioned by West Midlands Arts for the 1987 Three Choirs Festival with support from the Elgar Foundation, it is dedicated to conductor . Described as deeply personal and moving, it premiered at the festival and received positive reception for its thoughtful balance and emotional resonance, often seen as a maturation of Bennett's style. Recent recordings, such as the Chandos Orchestral Works series (2017–2020) conducted by John Wilson, have revitalized interest in Bennett's symphonies and concertos. Among his concertos, the Piano Concerto (1968) stands as a seminal serial-influenced work in four movements (Moderato; Scherzo: Presto; Lento; Vivo), showcasing virtuosic interplay and dramatic contrasts. Commissioned by the Feeney Trust for the City of Birmingham Symphony Orchestra, it premiered in September 1968 with Stephen Kovacevich as soloist. Dedicated to Kovacevich, it was highly acclaimed for mirroring the pianist's precision and Bennett's Boulez-inspired rigor. The Oboe Concerto (1970), in two movements (Vivo; Adagio), blends serial elements with lyrical expression, premiered in June 1971 at the Aldeburgh Festival (Snape) by dedicatee Heinz Holliger with the English Chamber Orchestra under Paul Sacher. Critics praised its dramatic arc and the oboe's poignant role. The Violin Concerto (1996), in two extended movements inspired by Robert Herrick's poetry, adopts a more tonal, reflective tone; dedicated to Ralph Holmes, it premiered on 25 March 1996 in Birmingham with Holmes as soloist. Reception highlighted its elegiac beauty and orchestral subtlety. Other notable orchestral pieces include (1964), a single-movement arch-form work commissioned for the and dedicated to the memory of conductor John Hollingsworth, which premiered at the Proms and was lauded for its elegiac vitality. The Suite (1974), an adaptation of Bennett's Oscar-nominated into a three- or four-movement orchestral selection, captures suspenseful melodies and exotic textures; orchestrated versions premiered in concert settings, such as the 2011 , receiving praise for their cinematic flair and melodic gift.

Chamber and instrumental music

Richard Rodney Bennett's chamber and instrumental music emphasizes the expressive potential of small ensembles and solo instruments, often demanding technical while fostering intimate dialogue between parts. His works in this genre frequently incorporate serial techniques alongside lyrical melodies, reflecting his broad influences from Boulez to , and prioritize structural clarity and timbral exploration over large-scale drama. These compositions, spanning his career, highlight his skill in crafting pieces that are both intellectually rigorous and emotionally engaging for performers and listeners alike. The Piano Sonata of 1954 marks Bennett's first published work, composed for solo piano during his student years at the Royal Academy of Music and dedicated to his teacher Howard Ferguson. Structured in three movements with percussive textures and irregular rhythms influenced by Bartók, it showcases early experimentation with modernist forms while maintaining a dramatic arc. The sonata received its premiere performance by the himself and has since become a staple in British piano repertoire, noted for its energetic finale. Bennett's string quartets exemplify his evolving approach to chamber writing, with exploring pastoral English elements in a single-movement form that fuses multiple sections into a cohesive whole. Premiered by the Alberni Quartet at the Festival in 1962, it demonstrates his early serial leanings with harmonic interest drawn from French impressionism. , a more mature effort in four movements each based on distinct note-rows, was praised by Ferguson as a "remarkable effort" for its imaginative and structural depth; it received its debut by the Nevine String Quartet and has been performed widely in series. In the , Bennett adapted elements of his score Jazz Calendar for chamber ensemble, originally conceived for twelve players in 1963–64 and premiered at London's in a choreographed version by . This adaptation retains the work's jazz-inflected rhythms and syncopated lines, arranged for flexible small ensemble to highlight idiomatic interplay among winds, strings, and percussion, making it suitable for concert performance beyond the stage. The piece's lively, seven-movement structure underscores Bennett's ability to blend popular and classical idioms in intimate settings. Solo instrumental works further illustrate Bennett's focus on technical demands and coloristic effects. The Five Impromptus (1968) for guitar, commissioned by and dedicated to Julian Bream, employ pandiatonic serialism across five contrasting movements, from lyrical Arioso to rhythmic dances; Bream's premiere recording established it as a core guitar repertoire piece, frequently performed in recitals worldwide. Dream Songs (1970) for solo cello evokes dreamlike atmospheres through extended techniques and microtonal inflections, demanding precise control for its flowing lines; it was first played by British cellists in contemporary festivals during the 1970s. Similarly, Scena (1982) for solo cello, part of Bennett's Scena series, features a continuous form with dramatic gestures and was commissioned for advanced cellists, premiering at university concerts in the UK to acclaim for its "real cello music" character. Ensemble pieces like the Wind Quintet (1967) for , , , horn, and balance contrapuntal rigor with playful exchanges, composed under Boulez's influence during Bennett's Paris studies and lasting about 15 minutes. Premiered by the Melos Wind Ensemble, it has been a frequent choice for wind groups, valued for its clarity and vitality. The Sonata for Viola and (1980), in three movements (Allegretto, , Variations and Finale), explores melodic idiomatic writing for the viola with supportive piano textures; written quickly in response to a commission, it debuted in recitals and highlights Bennett's gift for duo partnerships.

Operas

Richard Rodney Bennett's operatic output, though limited to a handful of full-length works, demonstrated his versatility in blending dramatic narrative with diverse musical styles, from to . His operas often drew on literary sources or plays, exploring themes of mystery, conflict, and human frailty, and were primarily premiered in major British venues during the and . Bennett's debut full-length , The Mines of Sulphur (1963), features a by and unfolds as a gothic mystery set in an 18th-century . The plot centers on the murder of the wealthy landowner Braxton by a trio of vagabonds, with a traveling troupe of actors seeking shelter and staging a play that exposes treachery and deception among the household, leading to a tense climax of revelation and retribution. The premiered on 24 February 1965 at Sadler's Wells Theatre in , where it was widely acclaimed for its atmospheric scoring and dramatic intensity, though it later fell into relative obscurity until a notable revival at Glimmerglass Opera in , in 2004, which highlighted its eerie ghost-story elements and murder-mystery intrigue. This production, directed by David Pountney, toured to the and underscored the opera's enduring appeal through its blend of supernatural tension and psychological depth. In contrast, A Penny for a Song (1966), with by Colin Graham adapted from John Whiting's play, shifts to a lighter yet satirical tone set against the backdrop of preparations in 1940 . The narrative follows three eccentric characters—an admiral, an actor, and a —holed up in a coastal house amid fears of Nazi invasion, debating strategies of defense while grappling with personal illusions and the absurdity of war; their interactions evoke the "dark, mad side of " through whimsical yet poignant exchanges. The opera received its world premiere on 21 December 1967 at Sadler's Wells Opera in , conducted by Bryan Balkwill, and was praised for its freely tonal style and humorous political edge, though it received mixed reviews for its episodic structure. Subsequent productions were limited, but it represented Bennett's exploration of English eccentricity under duress, with no major revisions noted. Bennett's third opera, (1970), also libretted by and adapted from Joseph Conrad's novel, delves into themes of isolation and moral ambiguity on a remote Polynesian island. The story revolves around the reclusive Swedish Axel Heyst, who rescues the vulnerable English singer Lena from exploitation, only for their fragile to be shattered by pursuing gangsters lured by rumors of hidden wealth; Heyst's passivity culminates in tragedy, with Lena's sacrifice and his suicide. It received its world premiere on 13 April 1970 at the Royal Opera House, , earning commendation for Bennett's precise and dramatic pacing but criticism for its emotional restraint and underdeveloped characters. The work saw limited stagings thereafter, with some revisions to enhance its Conrad-inspired , though it has not achieved the revival success of The Mines of Sulphur. Bennett's final opera, All Passion Spent (2012), with libretto by Michael Hastings and based on Vita Sackville-West's novel about a widow reclaiming her independence in , was completed shortly before his death and remained unperformed during his lifetime, reflecting his late interest in intimate, reflective .

Ballets

Richard Rodney Bennett composed several notable scores for , showcasing his ability to integrate influences, elements, and narrative depth within contexts. His works often collaborated with leading British choreographers and companies, emphasizing thematic structures drawn from , , and light-hearted diversion. One of Bennett's most celebrated ballet scores is Jazz Calendar (1964), written for chamber ensemble and commissioned by the Royal Ballet. The music, infused with jazz rhythms, syncopation, and blues harmonies, structures the ballet in five movements inspired by the traditional nursery rhyme "Monday's Child," each representing a day of the week from Monday to Friday. Choreographed by Frederick Ashton, it premiered on 9 January 1968 at the Royal Opera House, Covent Garden, with scenery and costumes by Derek Jarman. The score's playful energy and fusion of jazz and classical elements made it a repertoire staple, with revivals including performances by the Joffrey Ballet in 1977 at New York City Center and by the Sarasota Ballet in recent seasons. Bennett's Isadora (1981) marked a significant biographical , commissioned by Company for choreographer Kenneth MacMillan. The two-act work explores the life of pioneering dancer , with a by , blending of 19th-century composers like Brahms, Liszt, Chopin, and Mendelssohn—music Duncan performed publicly—with Bennett's original compositions for her intimate, emotional scenes. Scored for full orchestra, including distinctive elements like in a , it premiered on 30 April 1981 at the Royal Opera House, . The ballet underwent revisions in 2009 to streamline its narrative, enhancing its formal elegance while retaining the score's magisterial sweep. Among Bennett's other contributions to , his light-hearted orchestral suite Diversions (composed in the , with later adaptations) was repurposed for the stage. In 2000, it served as the basis for Michael Corder's Dance Variations, a one-act premiered by at House. This adaptation highlighted the suite's witty, inventive variations, suitable for small-scale dance works.

Choral and vocal works

Richard Rodney Bennett composed a range of choral and vocal works that emphasized lyrical expressiveness and textual sensitivity, often drawing on English poetic traditions to explore themes of , , and human . His approach to vocal writing blended tonal clarity with subtle harmonic innovations, creating accessible yet sophisticated music for both professional and amateur performers. Among his notable choral compositions is Spells (1975), a setting of six poems by for soprano solo, mixed chorus, and orchestra, commissioned by the Three Choirs Festival and premiered by soprano Jane Manning with the Academy of under Neville Marriner. The work evokes a sense of enchantment and through its evocative and rhythmic vitality, lasting approximately 36 minutes and highlighting Raine's mystical of spells and elemental forces. The Glory and the Dream (2000), an oratorio-like piece for mixed voices and organ, sets William Wordsworth's "Ode: Intimations of Immortality," commissioned for the New Cambridge Singers and reflecting Bennett's affinity for Romantic lyrical style in its expansive, contemplative structure. Performed by the Royal Birmingham Conservatoire Chamber Choir under Paul Spicer with organist Nicholas Morris, the 30-minute work delves into themes of childhood wonder, loss, and eternal glory, showcasing Bennett's mastery of choral texture and emotional depth. Bennett's vocal cycles include The Aviary (1966), a set of five songs for unison voices and piano commissioned by the Festival and dedicated to conductor Alexander Faris, featuring texts by poets such as ("The Bird's Lament") and ("The Owl") to celebrate avian life with lighthearted, tuneful melodies suitable for young singers. The cycle's joyous character and simple yet imaginative harmonies have made it popular for educational ensembles, as heard in performances by the NYCoS National Girls Choir under Christopher Bell. Another early vocal work, Tom o' Bedlam's Song (1961), is a for and based on the traditional text of a mad beggar's lament, premiered by and cellist Joan Dickson at Edinburgh's concerts. This poignant, scena-like piece captures the pathos of isolation and frenzy through its sparse accompaniment and expressive vocal line, later performed by artists including and . Bennett's solo songs often featured literary settings, including works inspired by and . For Auden, One Evening (1965) is a tender song for tenor and guitar, dedicated to tenor Wilfred Brown and guitarist , evoking quiet introspection through its delicate phrasing. Shakespearean influences appear prominently in Sea Change (1983), an unaccompanied choral cycle for mixed voices with optional , commissioned by the Donald Hunt Singers and premiered at the 1984 Three Choirs Festival. Drawing on Ariel's song from alongside texts by ("The Bermudas") and , the four-movement work explores themes of maritime peril, illusion, and transformation using bitonal harmonies and divided voices, as recorded by the Joyful Company of Singers. Additional Shakespeare settings include the (1972) for tenor and , premiered by Langridge, which interprets selected sonnets with intimate, reflective vocal writing.

Film and television scores

Major film scores

Richard Rodney Bennett composed over 50 film scores throughout his career, spanning genres from literary adaptations to thrillers, often blending orchestral grandeur with innovative techniques to enhance narrative tension and emotional depth. His approach frequently incorporated leitmotifs to underscore character development and thematic motifs, while occasional infusions added rhythmic vitality to modern settings. These scores not only supported high-profile productions but also contributed to their commercial success, as seen in the box-office performance of films like the adaptation Murder on the Orient Express, which grossed over $35 million worldwide. One of Bennett's most acclaimed works is the score for (1967), directed by and based on Thomas Hardy's novel, where he earned an Academy Award nomination for Best Original Score. The music employs pastoral elements, including lyrical string passages and folk-inspired melodies, to evoke the rural landscape and the characters' inner turmoil, with harp and woodwinds creating a sense of serene yet foreboding isolation. Tracks like "Bushes and Briars," featuring vocals by Isla Cameron, integrate traditional English folk tunes to ground the adaptation in its 19th-century setting. Bennett's score for (1974), Sidney Lumet's adaptation of Agatha Christie's mystery, secured him a BAFTA Award for Best Film Music and another Oscar nomination. Characterized by lush orchestral themes, it features a motif that captures the opulent, claustrophobic atmosphere of the luxury train, with swelling strings and brass underscoring the unfolding intrigue. The composer's use of recurring motifs, such as a haunting main theme, heightens suspense and mirrors the film's dynamics, contributing to its status as a cinematic classic. Among his other notable contributions, the score for (1967), Ken Russell's spy thriller starring , delivers pulsating rhythms and electronic elements blended with orchestral forces to amplify the film's . Similarly, in Figures in a Landscape (1970), directed by , Bennett's dissonant and sparse composition, dominated by eerie percussion and atonal strings, intensifies the protagonists' desperate flight across a hostile terrain, reflecting the story's existential dread. For Equus (1977), Sidney Lumet's psychological drama, his score earned a BAFTA nomination and employs intense, minimalist motifs to probe themes of passion and madness, with choral undertones enhancing the film's theatrical origins. Several of these film scores were later adapted into concert suites, allowing Bennett's cinematic music to resonate in symphonic contexts.

Television contributions

Richard Rodney Bennett made significant contributions to British television scoring, particularly in the realms of serials, , and documentaries, where his versatile style blended orchestral elements with innovative techniques suited to episodic . His work often emphasized atmospheric tension and thematic continuity across installments, drawing on his broader experience in composition to enhance narrative depth on the small screen. Over the course of his career, Bennett provided music for more than twenty television productions, showcasing his ability to adapt classical influences with modern sonorities for broadcast media. One of Bennett's earliest and most notable television scores was for the 1964 BBC serial : The Aztecs, a four-part historical adventure directed by John Crockett. Composed as , the score incorporated pioneering electronic elements mixed at the , reflecting Bennett's collaboration with the workshop following his 1962 radio play The Long Darkness. This integration of electronic textures with traditional orchestration created an otherworldly ambiance for the story's Mesoamerican setting, marking an early example of Bennett's technical innovation in television . The music's subtle variations across episodes supported the serial's dramatic arcs without overpowering the dialogue-driven format. In the realm of literary adaptations, Bennett scored the 1984 Granada Television miniseries The Ebony Tower, based on John Fowles's novella and directed by Robert Knights. Commissioned specifically for the production, his score featured lyrical string passages and chamber-like intimacy that underscored the themes of artistic isolation and temptation, performed under conductor Marcus Dods. The music's restrained elegance complemented the star-studded cast, including Laurence Olivier and Roger Rees, and highlighted Bennett's skill in crafting cohesive themes for multi-episode narratives. Bennett's television oeuvre extended to fantasy miniseries with his score for the 2000 BBC adaptation of Mervyn Peake's Gormenghast, a four-part production starring and directed by . Collaborating with on choral elements, Bennett composed the orchestral underscore, which evoked the gothic grandeur of the titular castle through sweeping themes, fanfares, and dreamlike motifs. Tracks such as "Song of Titus" and "Burning the Library" demonstrated his use of thematic variations to mirror character developments across episodes, culminating in a soundtrack released by that captured the series' imperial and surreal tone. This late-career work reaffirmed Bennett's prowess in British prestige television. Beyond dramatic serials, Bennett contributed scores to numerous documentaries and educational programs in the 1960s and beyond, including adaptations of classic literature. These works often employed economical yet evocative cues, prioritizing narrative support over elaborate orchestration, and exemplified his role in elevating factual and literary television through musical texture.

Jazz and cabaret

Jazz compositions

Richard Rodney Bennett's jazz compositions demonstrate his versatility in fusing jazz idioms with broader musical structures. A seminal work in this vein is Jazz Calendar (1964), a score centered on elements and commissioned by the , inspired by the "." Scored for a of four saxophones, two trumpets, , horn, , , drums, and bass, it exemplifies Bennett's approach to ensemble writing for mid-sized combos. Bennett produced numerous arrangements of standards, often hybridizing them with classical techniques. His version of Jerome Kern's "," for instance, integrates lush horn lines and improvisation, as featured in collaborative recordings that highlight crossover appeal. Original pieces for big band and small groups further illustrate his jazz output, such as the Concerto for Stan Getz (1990), a celebratory work for saxophone and orchestra that employs jazz harmonies alongside serial elements, originally tailored for the tenor saxophonist . Similarly, Soliloquy (1967) for voice and jazz ensemble draws on phrasing for intimate small-group settings. Another example is Rondel, a lively piece in pure jazz style composed as a homage to . Sheet music for these works, including Jazz Calendar and Soliloquy, has been published by Novello & Co. Ltd. and Universal Edition, facilitating performances by jazz ensembles and specifying instrumentation for big band adaptations or chamber combos.

Performances and collaborations

Bennett established himself as a versatile jazz pianist and baritone singer, particularly in cabaret settings where he interpreted American standards with a throaty, low-keyed delivery that emphasized nuance and emotional depth. His early collaborations in the 1960s included regular performances accompanying singer Cleo Laine, blending his classical training with improvisational jazz flair. From 1976 onward, Bennett formed a longstanding duo with Marion Montgomery, touring extensively across the UK, US, Australia, and Europe with cabaret shows such as Just Friends and Fascinatin' Rhythm, which showcased their chemistry in interpreting torch songs and swing numbers at venues including Edinburgh Festival and London's West End. In the 1990s, following his relocation to in 1979, Bennett expanded his presence in the , partnering with Mary Cleere Haran for the acclaimed show Pennies from Heaven, which enjoyed a sell-out run at the Algonquin Hotel's Oak Room and highlighted his piano accompaniment alongside her vocals on material. He also toured as a solo act during this decade, performing in both the and , where his baritone renditions of standards by Gershwin, Porter, and Arlen drew audiences to intimate venues like London's Ronnie Scott's and New York's circuit. Bennett's partnership with Claire Martin, beginning in 2005, marked a later highlight, with the duo delivering sophisticated duets on classic repertoire during UK festival tours and multiple seasons at London's Pizza on the Park, including their fourth residency in November 2006. Their collaborations extended to engagements, such as a 2011 program at the Algonquin's Oak Room, where Bennett's piano work supported Martin's phrasing while occasionally stepping forward as vocalist. Over decades, these numerous live partnerships and solo outings underscored Bennett's dual role as improviser and interpreter, bridging traditions with theatrical intimacy.

Recordings and recognition

Discography

Richard Rodney Bennett's discography includes over 50 commercial recordings, reflecting his versatility across classical compositions, jazz interpretations, and film soundtracks, with releases continuing posthumously through 2025. His classical works have been extensively documented on labels like Chandos and , often featuring major orchestras and soloists, while jazz albums highlight his piano prowess and collaborations with vocalists. Film scores, both original releases and compilations, underscore his contributions to cinema, performed by ensembles such as the .

Classical Recordings

Bennett's classical output on record emphasizes his orchestral and choral works, with the Chandos series of Orchestral Works standing out for its comprehensive coverage. The series, conducted by John Wilson with the Scottish Symphony Orchestra, began in 2017 and reached Volume 5 in 2025. Key releases include:
Album TitleYearLabelPerformers
Orchestral Works, Vol. 1 ( Concerto; No. 3; Celebration; Summer Music Sinfonietta)2017ChandosColin Currie (), Scottish Symphony Orchestra, John Wilson
Orchestral Works, Vol. 2 (Concerto for ; No. 2; Serenade; Reflections on a 16th-Century Carol)2019Chandos Scottish Symphony Orchestra, John Wilson
Orchestral Works, Vol. 3 ( No. 1; Oboe Concerto; )2020ChandosNicholas Daniel (oboe), Scottish Symphony Orchestra, John Wilson
Orchestral Works, Vol. 4 (; Dream Songs; Reflections on a 16th-Century Carol)2022ChandosLawrence Power (viola), Scottish Symphony Orchestra, John Wilson
Orchestral Works, Vol. 5 (Concerto for Orchestra; Sonnets to ; Aubade)2025Chandos Scottish Symphony Orchestra, John Wilson
Other notable classical recordings feature his choral music, such as Sea Change: The Choral Music of Richard Rodney Bennett (2005, ), performed by the Cambridge Singers under , which includes works like Spells and Choral Works. Additionally, The Glory and the Dream: Choral Music by Richard Rodney Bennett (2018, Somm Recordings) presents pieces like The Glory and the Dream and I Sing of a Maiden, sung by the Vasari Singers with Jeremy Backhouse .

Jazz Recordings

Bennett's jazz discography captures his role as a pianist and arranger, often in intimate settings or with vocal partners, released on labels like ASV, Linn, and DRG. His 1988 album Lush Life, featuring standards arranged for , showcases his elegant style and was recorded with bassist Dave Green and drummer Tony Kinsey on ASV. Collaborations with singer Claire Martin produced a series of acclaimed albums in the , blending jazz standards with Bennett's sophisticated arrangements. Representative examples include:
Album TitleYearLabelPerformers
Lush Life1988ASVRichard Rodney Bennett (piano), Dave Green (bass), Tony Kinsey ()
Say It Isn't So2003LinnClaire Martin (vocals), Richard Rodney Bennett ()
Old Friend: The Songs of Alan & Marilyn Bergman2005LinnClaire Martin (vocals), Richard Rodney Bennett ()
Make This City Ours2008LinnClaire Martin (vocals), Richard Rodney Bennett (), (bass), Sebastian Rochford ()
Witchcraft2010LinnClaire Martin (vocals), Richard Rodney Bennett (), Gary Hammond (guitar, )
Earlier jazz efforts, such as Surprise, Surprise (1977, Cube) and Town and Country (1978, Cube), pair Bennett with vocalist Marian Montgomery, interpreting songs by composers like Gershwin and Kern.

Film Soundtrack Recordings

Bennett composed scores for over 50 films, with several resulting in commercial soundtrack albums, primarily from the to , alongside later compilations. The original soundtrack for (1974), featuring the waltz theme and orchestral cues performed by the London Symphony Orchestra under Marcus Dods, was released on . Other individual releases include (1967, ), capturing the pastoral score with the London Philharmonic Orchestra. Compilations have preserved his film music in concert arrangements:
Album TitleYearLabelPerformers
1974, Marcus Dods
1967MGM
The Film Music of Sir Richard Rodney Bennett (includes , , , etc.)2000Chandos, Rumon Gamba, Philip Dukes (viola)

Awards and honors

Richard Rodney Bennett received numerous accolades throughout his career, reflecting his versatility across classical, , and genres. In 1977, he was appointed Commander of the (CBE) for his services to music. He was knighted in , becoming Sir Richard Rodney Bennett, in recognition of his contributions to music. Bennett's film scores earned significant recognition, including three Academy Award nominations for Best Original Score: for Far from the Madding Crowd in 1967, Nicholas and Alexandra in 1971, and Murder on the Orient Express in 1974. His score for Murder on the Orient Express also won the BAFTA Anthony Asquith Award for Original Film Music in 1975, while he received additional BAFTA nominations for works such as Yanks (1980), Lady Caroline Lamb (1973), and Figures in a Landscape (1971). In the realm of classical music, Bennett was awarded the Ivor Novello Classical Music Award in 2004 by the British Academy of Songwriters, Composers, and Authors. He received an honorary doctorate from the in 2008. Bennett also earned three Grammy Award nominations for Best Score Soundtrack Album for a Motion Picture: for (1973), (1976), and (1982). Following his death in 2012, Bennett was honored with memorial concerts, including one in broadcast by the in July 2013 and another in New York at St. Peter's Church in October 2013, featuring performances of his works by artists such as and Jonathan Lemalu.

References

  1. https://www.theguardian.com/music/2012/dec/26/sir-richard-rodney-bennett
  2. https://www.theguardian.com/culture/2011/jul/22/richard-rodney-bennett-life-music-film
  3. https://www.nytimes.com/2012/12/31/arts/music/richard-rodney-bennett-british-composer-dies-at-76.html
  4. http://www.bruceduffie.com/bennett.html
  5. https://www.hebu-music.com/en/musician/richard-rodney-bennett.1094/
  6. https://www.wisemusicclassical.com/news/2332/A-life-in-music-Richard-Rodney-Bennett/
  7. https://www.the-independent.com/news/obituaries/sir-richard-rodney-bennett-composer-whose-work-encompassed-serialism-tonality-and-popular-music-8431646.html
  8. https://www.britannica.com/biography/Richard-Rodney-Bennett
  9. https://www.encyclopedia.com/people/literature-and-arts/music-history-composers-and-performers-biographies/richard-rodney
  10. https://www.gramophone.co.uk/review/bennett-symphony-no-1-zodiac-wilson
  11. https://www.encyclopedia.com/people/literature-and-arts/music-history-composers-and-performers-biographies/richard-rodney-bennett
  12. https://www.wisemusicclassical.com/composer/100/Richard-Rodney-Bennett/
  13. https://www.thepinknews.com/2012/12/28/obituary-gay-composer-and-pianist-sir-richard-rodney-bennett/
  14. https://www.theguardian.com/music/2012/dec/25/composer-richard-rodney-bennett-dies
  15. https://www.green-wood.com/2013/sir-richard-rodney-bennett-dead-at-76/
  16. https://rigel-lute.squarespace.com/s/RRB-Annotated-Work.pdf
  17. https://www.sarasotaballet.org/composer-sir-richard-rodney-bennet/
  18. http://www.pytheasmusic.org/bennett_richard_rodney.html
  19. https://library.berklee.edu/indexed-people/bennett-richard-rodney
  20. https://repository.arizona.edu/bitstream/handle/10150/195081/azu_etd_2827_sip1_m.pdf?sequence=1&isAllowed=y
  21. https://www.theguardian.com/music/tomserviceblog/2012/jul/02/richard-rodney-bennett-contemporary-music-guide
  22. https://limelight-arts.com.au/reviews/richard-rodney-bennett-symphony-no-1-a-history-of-the-the-dansant-bbc-scottish-so/
  23. https://www.youtube.com/watch?v=l8_Vgfo7xQE
  24. https://www.gramophone.co.uk/review/bennett-orchestral-works-vol-4-john-wilson
  25. http://www.musicweb-international.com/classrev/2018/Oct/Bennett_orchestral_v2_CHSA5212.htm
  26. https://www.classicalsource.com/cd/sir-richard-rodney-bennett-orchestral-works-volume-2-bbc-scottish-symphony-orchestra-john-wilson-with-howard-mcgill-in-concerto-for-stan-getz-chandos/
  27. https://www.edwardseckerson.biz/reviews/gramophone-review-richard-rodney-bennett-orchestral-works-vol-2-bbc-scottish-wilson/
  28. https://www.wisemusicclassical.com/work/8210/Symphony-No-3--Richard-Rodney-Bennett/
  29. http://www.musicweb-international.com/classrev/2018/Mar/Bennett_orchestral_V1_CHSA5202.htm
  30. https://www.chandos.net/composers/Richard_Rodney_Bennett/28836
  31. https://www.youtube.com/watch?v=rVBK4h-uudc
  32. http://www.musicweb-international.com/classrev/2009/Sept09/Richard_Rodney_Bennett_metcd1071.htm
  33. https://www.gramophone.co.uk/review/bennett-complete-works-for-piano-and-orchestra
  34. https://www.universaledition.com/en/Works/Concerto/P0022713
  35. https://www.wisemusicclassical.com/work/8212/Violin-Concerto--Richard-Rodney-Bennett/
  36. https://www.amazon.com/Richard-Rodney-Bennett-Diversions-Orchestra/dp/B000001SJ3
  37. https://www.wisemusicclassical.com/work/14677/Murder-on-the-Orient-Express-Suite--Richard-Rodney-Bennett/
  38. https://www.youtube.com/watch?v=5-ZIPS7cBq0
  39. http://www.musicweb-international.com/stoker/catalogue.htm
  40. https://www.universaledition.com/en/Works/Jazz-Calendar/P0021082
  41. https://www.universaledition.com/en/Works/Impromptus/P0020327
  42. https://www.wisemusicclassical.com/work/11721/Scena-II--Richard-Rodney-Bennett/
  43. https://www.universaledition.com/en/Works/Wind-Quintet/P0041087
  44. https://www.theguardian.com/music/2005/jul/23/classicalmusicandopera.poetry
  45. https://www.universaledition.com/en/Works/The-Mines-of-Sulphur/P0007515
  46. https://www.universaledition.com/en/Works/A-Penny-for-a-Song/P0079237
  47. https://www.cambridge.org/core/journals/journal-of-the-royal-musical-association/article/confronting-opera-in-the-1960s-birtwistles-punch-and-judy/D41D74DB9BA3B508E58C75DDAF1D5837
  48. https://www.nytimes.com/1970/04/26/archives/victorybut-not-for-the-heart-victorybut-not-the-heart.html
  49. https://www.rohcollections.org.uk/work.aspx?work=513
  50. https://frederickashton.org.uk/ballet/jazz-calendar-1968/
  51. https://www.rohcollections.org.uk/work.aspx?work=733
  52. https://www.nytimes.com/1977/11/06/archives/joffrey-offers-jazz-calendar-dancing-excellent-but-ballet-isnt.html
  53. https://www.sarasotaballet.org/jazz-calendar/
  54. https://www.wisemusicclassical.com/work/8192/Isadora--Richard-Rodney-Bennett/
  55. https://www.kennethmacmillan.com/isadora
  56. https://www.rohcollections.org.uk/work.aspx?work=707
  57. https://www.theguardian.com/stage/2009/mar/15/dance
  58. https://www.paulrwjackson.co.uk/bennett/
  59. https://www.hyperion-records.co.uk/dc.asp?dc=D_CSCD521
  60. https://www.prestomusic.com/classical/products/7944419--richard-rodney-bennett-spells
  61. http://www.musicweb-international.com/classrev/2006/Apr06/Maw_Bennett_NMCD085.htm
  62. https://www.gramophone.co.uk/review/bennett-the-glory-and-the-dream
  63. https://www.hyperion-records.co.uk/dc.asp?dc=D_SIGCD325
  64. https://www.hyperion-records.co.uk/dw.asp?dc=W24823_GBLLH2477423
  65. https://www.classicalsource.com/concert/ian-bostridge-steven-isserlis-olli-mustonen-wigmore-hall/
  66. https://www.wisemusicclassical.com/work/11793/Sea-Change--Richard-Rodney-Bennett/
  67. https://moviemusicuk.us/2013/07/31/murder-on-the-orient-express-richard-rodney-bennett/
  68. http://www.classical.net/music/recs/reviews/c/cha09867a.php
  69. https://www.discogs.com/master/479366-Richard-Rodney-Bennett-Far-From-The-Madding-Crowd-Music-From-The-Original-Sound-Track
  70. http://www.filmmusicsociety.org/news_events/features/2013/010413.html
  71. https://www.kritzerland.com/billion.htm
  72. https://www.robertarchibaldshaw.com/figures-in-a-landscape
  73. https://www.bbc.com/articles/c72qjlzg98eo
  74. https://whitefiles.org/rwz/2016_sunday_post.pdf
  75. https://www.wisemusicclassical.com/work/11801/The-Ebony-Tower--Richard-Rodney-Bennett/
  76. https://www.youtube.com/watch?v=3to6HrtL1Jw
  77. https://moviemusicuk.us/2000/06/10/gormenghast-richard-rodney-bennett-and-john-tavener/
  78. https://www.discogs.com/release/2784732-Richard-Rodney-Bennett-John-Tavener-Gormenghast
  79. https://www.discogs.com/release/4467260-Barry-Tuckwell-Richard-Rodney-Bennett-A-Sure-Thing-Music-Of-Jerome-Kern
  80. https://www.wisemusicclassical.com/work/8181/Concerto-for-Stan-Getz--Richard-Rodney-Bennett/
  81. https://www.universaledition.com/en/Works/Soliloquy/P0034118
  82. https://www.nytimes.com/1986/10/20/arts/cabaret-richard-rodney-bennett-at-piano.html
  83. https://www.pcmsconcerts.org/composer/richard-rodney-bennett/
  84. https://www.nytimes.com/2011/06/02/arts/music/claire-martin-and-richard-rodney-bennett-at-oak-room-review.html
  85. https://www.naxos.com/Bio/Person/Richard_Rodney_Bennett/25984
  86. https://www.discogs.com/artist/435388-Richard-Rodney-Bennett
  87. https://www.chandos.net/products/catalogue/CHSA%25205202
  88. https://www.chandos.net/products/catalogue/CHSA%25205230
  89. https://www.chandos.net/products/catalogue/CHSA%25205266
  90. https://somm-recordings.com/recording/the-glory-and-the-dream-choral-music-by-richard-rodney-bennett/
  91. https://www.discogs.com/release/8805909-Richard-Rodney-Bennett-Lush-Life
  92. https://www.discogs.com/master/1157396-Marian-Montgomery-And-Richard-Rodney-Bennett-Surprise-Surprise
  93. https://www.discogs.com/release/1677306-Marian-Montgomery-And-Richard-Rodney-Bennett-Town-And-Country
  94. https://www.discogs.com/release/4348577-Richard-Rodney-Bennett-Agatha-Christies-Murder-On-The-Orient-Express-Original-Soundtrack-Recording
  95. https://www.discogs.com/release/3648933-Richard-Rodney-Bennett-Far-From-The-Madding-Crowd-Music-From-The-Original-Sound-Track
  96. https://www.chandos.net/products/catalogue/CHAN%25209867
  97. https://www.thegazette.co.uk/notice/L-55229-1SI
  98. https://www.oscars.org/oscars/ceremonies/1968
  99. https://www.oscars.org/oscars/ceremonies/1972
  100. https://www.oscars.org/oscars/ceremonies/1975
  101. https://www.bafta.org/awards/film/anthony-asquith-memorial-award/
  102. https://www.bafta.org/awards/film/anthony-asquith-award-for-achievement-in-film-music/
  103. http://news.bbc.co.uk/2/hi/entertainment/3755007.stm
  104. https://www.grammy.com/artists/richard-rodney-bennett/497
  105. https://www.wisemusicclassical.com/news/2811/New-York-Memorial-for-Bennett/
Add your contribution
Related Hubs
User Avatar
No comments yet.