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Charles Villiers Stanford
Person · male · Ireland · Dublin · born 1852 · died 1924 · recording since 1980
Irish composer, music teacher, and conductor (1852–1924)
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Also known as C. V. Stanford · Charles V. Stanford · Charles Villiers Stanford · Karel Drofnatski · 查尔斯·维利尔斯·斯坦福
Timeline
59 events▣ Album 55◦ Birth 1✦ Award 1† Death 1★ Debut release 1
1850s
1880s
1920s
1980s
· Debut release
Debut release: Stanford: Clarinet Concerto / Finzi: Clarinet Concerto
First documented Album in the MusicBrainz discography.
source: musicbrainz
1990s
· Album
Album: Symphony no. 7 in D minor / Irish Rhapsody no. 3 / Concert Piece
Album
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· Album
Album: Symphony no. 1 in B flat major / Irish Rhapsody no. 2 "The Lament for the Son of Ossian"
Album
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· Album
Album: Finzi: Clarinet Concerto / 5 Bagatelles / Stanford: Clarinet Concerto / 3 Intermezzi
Album
source: musicbrainz
· Album
Album: Parry: Songs of Farewell / Stanford: Three Motets / Stanford: Eternal Father / Stanford: Magnificat
Album
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· Album
Album: The Romantic Piano Concerto, Volume 12: Parry: Piano Concerto in F-sharp major / Stanford: Piano Concerto no. 1 in G major
Album
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· Album
Album: Piano Concerto no. 2 / Concert Variations on "Down Among the Dead Men"
Album
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2000s
· Album
Album: The Romantic Violin Concerto, Volume 2: Violin Concerto in D, op. 74 / Suite for Violin and Orchestra, op. 32
Album
source: musicbrainz
· Album
Album: The Revenge: A Ballad of the Fleet / Songs of the Sea / Songs of the Fleet
Album
source: musicbrainz
2010s
· Album
Album: Piano Concerto no. 2 / Variations on "Down Among the Dead Men"
Album
source: musicbrainz
· Album
Album: The Romantic Cello Concerto, Volume 3: The Complete Works for Cello and Orchestra
Album
source: musicbrainz
· Album
Album: Morning Service in C / Three Motets / Lighten Our Darkness / For Lo, I Raise Up / Eternal Father / O for a Closer Walk With God / Magnificat for Eight-Part Chorus / St Patrick's Breastplate
Album
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· Album
Album: A Song of Agincourt / Overture in the Style of a Tragedy / Verdun / A Welcome March / Fairy Day
Album
source: musicbrainz
2020s
· Album
Album: Songs of the Sea / Songs of the Fleet / Symphony No. 3 "Irish"
Album
source: musicbrainz
Biography
English biography6,660 words · 16 sectionssource: wikipedia-en · licence CC BY-SA 4.0 · revision 1370777012
Biography
Sir Charles Villiers Stanford (30 September 1852 – 29 March 1924) was an Anglo-Irish composer, music teacher, and conductor of the late Romantic era. Born to a well-off and highly musical family in Dublin, Stanford was educated at the University of Cambridge before studying music in Leipzig and Berlin. He was instrumental in raising the status of the Cambridge University Musical Society, attracting international stars to perform with it.
While still an undergraduate, Stanford was appointed organist of Trinity College, Cambridge. In 1882, aged 29, he was one of the founding professors of the Royal College of Music, where he taught composition for the rest of his life. From 1887 he was also Professor of Music at Cambridge. As a teacher, Stanford was sceptical about modernism, and based his instruction chiefly on classical principles as exemplified in the music of Brahms. Among his pupils were rising composers whose fame went on to surpass his own, such as Gustav Holst and Ralph Vaughan Williams. As a conductor, Stanford held posts with the Bach Choir and the Leeds Triennial Music Festival.
Stanford composed a substantial number of concert works, including seven symphonies, but his best-remembered pieces are his choral works for church performance, chiefly composed in the Anglican tradition. He was a dedicated composer of opera, but none of his nine completed operas has endured in the general repertory. Some critics regarded Stanford, together with Hubert Parry and Alexander Mackenzie, as responsible for a renaissance in music from the British Isles. However, despite his conspicuous success as a composer in the last two decades of the 19th century, his music was eclipsed in the 20th century by that of Edward Elgar as well as former pupils.
Early years
Stanford was born in Dublin, the only son of John James Stanford and his second wife Mary, née Henn. John Stanford was a prominent Dublin lawyer, Examiner to the Court of Chancery in Ireland and Clerk of the Crown for County Meath. His wife was the third daughter of William Henn, Master of the Court of Chancery in Ireland and his wife Susanna Lovett of Liscombe House, Buckinghamshire, and granddaughter of the judge William Henn. Both parents were accomplished amateur musicians; John Stanford was a cellist and a noted bass singer who was chosen to perform the title role in Mendelssohn's Elijah at the Irish premiere in 1847. Mary Stanford, "a lady of great charm", was an amateur pianist, capable of playing the solo parts in concertos at Dublin concerts.
The young Stanford was given a conventional education at a private day school in Dublin run by Henry Tilney Bassett, who concentrated on the classics to the exclusion of other subjects. Stanford's parents encouraged the boy's precocious musical talent, employing a succession of teachers in violin, piano, organ and composition. Three of his teachers were former pupils of Ignaz Moscheles, including his godmother Elizabeth Meeke, of whom Stanford recalled, "She taught me, before I was twelve years old, to read at sight. ... She made me play every day at the end of my lesson a Mazurka of Chopin: never letting me stop for a mistake. ... By the time I had played through the whole fifty-two Mazurkas, I could read most music of the calibre my fingers could tackle with comparative ease." One of the young Stanford's earliest compositions, a march in D♭ major, written when he was eight years old, was performed in the pantomime at the Theatre Royal, Dublin three years later. At the age of seven, Stanford gave a piano recital for an invited audience, playing works by Beethoven, Handel, Mendelssohn, Moscheles, Mozart and Bach. One of his songs was taken up by the University of Dublin Choral Society and was well received.
In the 1860s Dublin received occasional visits from international stars, and Stanford was able to hear famous performers such as Joseph Joachim, Henri Vieuxtemps and Adelina Patti. The annual visit of the Italian Opera Company from London, led by Giulia Grisi, Giovanni Matteo Mario and later Thérèse Tietjens, gave Stanford a taste for opera that remained with him all his life. When he was ten, his parents took him to London for the summer, where he stayed with his mother's uncle in Mayfair. While there he took composition lessons from the composer and teacher Arthur O'Leary, and piano lessons from Ernst Pauer, professor of piano at the Royal Academy of Music (RAM). On his return to Dublin, his godmother having left Ireland, he took lessons from Henrietta Flynn, another former Leipzig Conservatory pupil of Moscheles, and later from Robert Stewart, organist of St Patrick's Cathedral, as well as from a third Moscheles pupil, Michael Quarry. During his second spell in London two years later, he met the composer Arthur Sullivan and the musical administrator and writer George Grove, who later played important parts in his career.
John Stanford hoped that his son would follow him into the legal profession but accepted his decision to pursue music as a career. However, he stipulated that Stanford should have a conventional university education before going on to musical studies abroad. Stanford tried unsuccessfully for a classics scholarship at Trinity Hall, Cambridge, but gained an organ scholarship, and later a classics scholarship, at Queens' College. By the time he went up to Cambridge in 1870, he had written a substantial number of compositions, including vocal music, both sacred and secular, and orchestral works (a rondo for cello and orchestra and a concert overture).
Cambridge
Stanford immersed himself in the musical life of the university to the detriment of his Latin and Greek studies. He composed religious and secular vocal works, a piano concerto, and incidental music for Longfellow's play A Spanish Student. In November 1870 he appeared as piano soloist with the Cambridge University Musical Society (CUMS), and quickly became its assistant conductor and a committee member. The society had declined in excellence since its foundation in 1843. Its choir consisted solely of men and boys; the lack of women singers severely limited the works that the society could present. Stanford was unable to persuade the members to admit women, and so he staged what The Musical Times called "a bloodless revolution". In February 1872 he co-founded a mixed choir, the Amateur Vocal Guild, whose performances immediately put those of the CUMS singers in the shade. The members of CUMS rapidly changed their minds, and agreed to a merger of the two choirs, with women given associate membership of the society.
The conductor of the combined choir was John Larkin Hopkins, who was also organist of Trinity College. He became ill and handed over the conductorship to Stanford in 1873. Stanford was also appointed Hopkins's deputy organist at Trinity, and moved from Queens' to Trinity in April 1873. In the summer of that year Stanford made his first trip to continental Europe. He went to Bonn for the Schumann Festival held there, where he met Joachim and Brahms. His growing love of the music of Schumann and Brahms marked him as a classicist at a time when many music-lovers were divided into the classical or the modernist camps, the latter represented by the music of Liszt and Wagner. Stanford was not constrained by the fashion for belonging to one camp or the other; he immensely admired Die Meistersinger though he was unenthusiastic about some of Wagner's other works. After leaving Bonn he returned home by way of Switzerland and then Paris, where he saw Meyerbeer's Le prophète.
Hopkins's illness proved fatal, and after his death the Trinity authorities invited Stanford to take over as organist of the college. He accepted with the proviso that he was to be released each year for a spell of musical study in Germany. The fellows of the college resolved on 21 February 1874:
Charles Villiers Stanford (undergraduate of the College) be appointed organist at a salary of £100 p. a. for the next two years in addition to rooms and Commons when in residence. The organist to be allowed to be abroad during the two years mentioned for one term and the vacations for the purpose of studying music in Germany, the college undertaking to find a substitute in his absence.
Two days after his appointment, Stanford took the final examinations for his classics degree. He ranked 65th of 66, and was awarded a third-class degree.
Leipzig
On the recommendation of Sir William Sterndale Bennett, former professor of music at Cambridge and now director of the Royal Academy of Music, Stanford went to Leipzig in the summer of 1874 for lessons with Carl Reinecke, professor of composition and piano at the Leipzig Conservatory. The composer Thomas Dunhill commented that by 1874 it was "the tail-end of the Leipzig ascendancy, when the great traditions of Mendelssohn had already begun to fade." Nevertheless, Stanford did not seriously consider studying anywhere else. Neither Dublin nor London offered any comparable musical training; the most prestigious British music school, the Royal Academy of Music (RAM), was at that time hidebound and reactionary. He was dismayed to find in Leipzig that Bennett had recommended him to a German pedant no more progressive than the teachers at the RAM. Stanford said of Reinecke, "Of all the dry musicians I have ever known he was the most desiccated. He had not a good word for any contemporary composer... He loathed Wagner ... sneered at Brahms and had no enthusiasm of any sort." Stanford's biographer Paul Rodmell suggests that Reinecke's ultra-conservatism may have been unexpectedly good for his pupil "as it may have encouraged Stanford to kick against the traces." During his time in Leipzig Stanford took piano lessons from Robert Papperitz (1826–1903), organist of the city's Nikolaikirche, whom he found more helpful.
Among Stanford's compositions in 1874 was a setting of part one of Longfellow's poem The Golden Legend. He intended to set the entire poem, but gave up, defeated by Longfellow's "numerous but unconnected characters." Stanford ignored this and other early works when assigning opus numbers in his mature years. The earliest compositions in his official list of works are a four-movement Suite for piano and a Toccata for piano, which both date from 1875.
After a second spell in Leipzig with Reinecke in 1875, which was no more productive than the first, Stanford was recommended by Joachim to study in Berlin the following year with Friedrich Kiel, whom Stanford found "a master at once sympathetic and able ... I learnt more from him in three months, than from all the others in three years."
Rising composer
Returning to Cambridge in the intervals of his studies in Germany, Stanford resumed his work as conductor of CUMS. He found the society in good shape under his deputy, Eaton Faning, and able to tackle demanding new works. In 1876 the society presented one of the first performances in Britain of the Brahms Requiem. In 1877 CUMS came to national attention when it presented the first British performance of Brahms's First Symphony.
During the same period, Stanford was becoming known as a composer. He was composing prolifically, though he later withdrew some of his works from these years, including a violin concerto which, according to Rodmell, suffered from "undistinguished thematic material". In 1875 his First Symphony won the second prize in a competition held at the Alexandra Palace for symphonies by British composers, although he had to wait a further two years to hear the work performed. In the same year Stanford directed the first performance of his oratorio The Resurrection, given by CUMS. At the request of Alfred Tennyson, he wrote incidental music for Tennyson's drama Queen Mary, performed at the Lyceum Theatre, London, in April 1876.
In April 1878, despite the disapproval of his father, Stanford married Jane Anna Maria Wetton, known as Jennie, a singer whom he had met when she was studying in Leipzig. She was the daughter of Henry Champion Wetton of Joldwynds in Surrey, who had died in 1870. They had a daughter, Geraldine Mary, born in 1883, and a son, Guy Desmond, born in 1885.
In 1878 and 1879 Stanford worked on his first opera, The Veiled Prophet, to a libretto by his friend William Barclay Squire. It was based on a poem by Thomas Moore with characters including a virgin priestess and a mystic prophet, and a plot that culminates in poisoning and stabbing. Stanford offered the work to the opera impresario Carl Rosa, who refused it and suggested that the composer should try to have it staged in Germany: "Its success will (unfortunately) have much greater chances here if accepted abroad." Referring to the enormous popularity of Sullivan's comic operas, Rosa added, "If the work was of the Pinafore style it would be quite another matter." Stanford had greatly enjoyed Sullivan's Cox and Box, but The Veiled Prophet was intended to be a serious work of high drama and romance.
Stanford had made many useful contacts during his months in Germany, and his friend the conductor Ernst Frank got the piece staged at the Königliches Schauspiel in Hanover in 1881. Reviewing the premiere for The Musical Times, Stanford's friend J. A. Fuller Maitland wrote, "Mr. Stanford's style of instrumentation ... is built more or less on that of Schumann; while his style of dramatic treatment bears more resemblance to Meyerbeer than to that of any other master." Other reviews were mixed, and the opera had to wait until 1893 for its English premiere. Stanford nevertheless continued to seek operatic success throughout his career. In his lifelong enthusiasm for opera he differed strikingly from his contemporary Hubert Parry, who made one attempt at composing opera and then renounced the genre.
By the early 1880s, Stanford was becoming a major figure in the British musical scene. His only major rivals were seen as Sullivan, Frederic Hymen Cowen, Parry, Alexander Mackenzie and Arthur Thomas. Sullivan was by this time viewed with suspicion in high-minded musical circles for composing comic rather than grand operas; Cowen was regarded more as a conductor than as a composer; and the other three, though seen as promising, had not so far made a clear mark as Stanford had done. Stanford helped Parry in particular to gain recognition, commissioning incidental music from him for a Cambridge production of Aristophanes' The Birds and a symphony (the "Cambridge") for the musical society. At Cambridge Stanford continued to raise the profile of CUMS, as well as his own, by securing appearances by leading international musicians including Joachim, Hans Richter, Alfredo Piatti and Edward Dannreuther. The society attracted further attention by premiering works by Cowen, Parry, Mackenzie, Thomas and others. Stanford was also making an impression in his capacity as organist of Trinity, raising musical standards and composing what his biographer Jeremy Dibble calls "some highly distinctive church music" including a Service in B♭ (1879), the anthem "The Lord is my shepherd" (1886) and three Latin motets including Beati quorum via (1888).
In the first half of the 1880s, Stanford collaborated with the author Gilbert à Beckett on two operas, Savonarola, and The Canterbury Pilgrims. The former was well received at its premiere in Hamburg in April 1884, but received a critical savaging when staged at Covent Garden in July of the same year. Parry commented privately, "It seems very badly constructed for the stage, poorly conceived and the music, though clean and well-managed, is not striking or dramatic." The most severe public criticism was in The Theatre, whose reviewer wrote, "The book of Savonarola is dull, stilted, and, from a dramatic point of view, weak. It is not, however, so crushingly tiresome as the music fitted to it. Savonarola has gone far to convince me that opera is quite out of [Stanford's] line and that the sooner he abandons the stage for the cathedral, the better for his musical reputation." The Canterbury Pilgrims had been premiered in London in April 1884, three months before Savonarola was presented at Covent Garden. It had a better reception than the latter, though reviews pointed out Stanford's debt to Die Meistersinger, and complained of a lack of emotion in the love music. George Grove agreed with the critics, writing to Parry, "Charlie's music contains everything but sentiment. Love not at all – that I heard not a grain of. ... And I do think that there might be more tune. Melody is not a thing to be avoided surely." In 1896 a critic wrote that the opera had "just such a 'book' as would have suited the late Alfred Cellier. He would probably have made of it a charming light English opera. But Dr. Stanford has chosen to use it for the exemplification of those advanced theories which we know him to hold, and he has given us music which would incline us to think that Die Meistersinger had been his model. The effect of the combination is not happy."
Professor
In 1883, the Royal College of Music was set up to replace the short-lived and unsuccessful National Training School for Music (NTSM). Neither the NTSM nor the longer-established Royal Academy of Music had provided adequate musical training for professional orchestral players, and the founder-director of the college, George Grove, was determined that the new institution should succeed in doing so. His two principal allies in this undertaking were the violinist Henry Holmes and Stanford. In a study of the founding of the college, David Wright notes that Stanford had two main reasons for supporting Grove's aim. The first was his belief that a capable college orchestra was essential to give students of composition the chance to experience the sound of their music. His second reason was the severe contrast between the competence of German orchestras and the performance of their British counterparts. He accepted Grove's offer of the posts of professor of composition and (with Holmes) conductor of the college orchestra. He held the professorship for the rest of his life; among the best known of his many pupils were Samuel Coleridge-Taylor, Gustav Holst, Ralph Vaughan Williams, John Ireland, Rebecca Clarke, Frank Bridge and Arthur Bliss. Rated by Stanford as his most talented student was the English pianist and composer William Hurlstone.
Stanford was never an easy-going teacher. He insisted on one-to-one tutorials, and worked his pupils hard. One of them, Herbert Howells, recalled, "Corner any Stanford pupil you like, and ask him to confess the sins he most hated being discovered in by his master. He will tell you 'slovenliness' and 'vulgarity.' When these went into the teacher's room they came out, badly damaged. Against compromise with dubious material or workmanship Stanford stubbornly set his face." Another pupil, Edgar Bainton, recalled:
Stanford's teaching seemed to be without method or plan. His criticism consisted for the most part of "I like it, my boy," or "It's damned ugly, my boy" (the latter in most cases). In this, perhaps, lay its value. For in spite of his conservatism, and he was intensely and passionately conservative in music as in politics, his amazingly comprehensive knowledge of musical literature of all nations and ages made one feel that his opinions, however irritating, had weight.
To Stanford's regret, many of his pupils who achieved eminence as composers broke away from his classical, Brahmsian precepts, as he had himself rebelled against Reinecke's conservatism. The composer George Dyson wrote, "In a certain sense the very rebellion he fought was the most obvious fruit of his methods. And in view of what some of these rebels have since achieved, one is tempted to wonder whether there is really anything better a teacher can do for his pupils than drive them into various forms of revolution." The works of some of Stanford's pupils, including Holst and Vaughan Williams, entered the general repertory in Britain, and to some extent elsewhere, as Stanford's never did. For many years after his death it seemed that Stanford's greatest fame would be as a teacher. Among his achievements at the RCM was the establishment of an opera class, with at least one operatic production every year. From 1885 to 1915 there were 32 productions, all of them conducted by Stanford.
In 1887 Stanford was appointed professor of music at Cambridge in succession to Sir George Macfarren who died in October of that year. Up to this time, the university had awarded music degrees to candidates who had not been undergraduates at Cambridge; all that was required was to pass the university's music examinations. Stanford was determined to end this practice, and after six years he persuaded the university authorities to agree. Three years' study at the university became a prerequisite for sitting the bachelor of music examinations.
Conductor and composer
During the last decades of the 19th century, Stanford's academic duties did not prevent him from composing or performing. He was appointed conductor of the Bach Choir, London, in 1885, succeeding its founding conductor Otto Goldschmidt. He held the post until 1902. Hans von Bülow conducted the German premiere of Stanford's Irish Symphony in Hamburg in January 1888, and was sufficiently impressed by the work to programme it in Berlin shortly afterwards. Richter conducted it in Vienna, and Mahler later conducted it in New York. For the Theatre Royal, Cambridge, Stanford composed incidental music for productions of Aeschylus's The Eumenides (1885), and Sophocles' Oedipus Tyrannos (1887). The Times said of the former, "Mr. Stanford's music is dramatically significant, as well as beautiful in itself. It has, moreover, that quality so rare among modern composers – style." In both sets of music Stanford made extensive use of leitmotifs, in the manner of Wagner; the critic of The Times noted the Wagnerian character of the prelude to Oedipus.
In the 1890s, Bernard Shaw writing as a music critic of The World, voiced mixed feelings about Stanford. In Shaw's view, the best of Stanford's works displayed an uninhibited, Irish, character. The critic was dismissive of the composer's solemn Victorian choral music. In July 1891, Shaw's column was full of praise for Stanford's capacity for spirited tunes, declaring that Richard D'Oyly Carte should engage him to succeed Sullivan as the composer of Savoy operas. In October of the same year, Shaw attacked Stanford's oratorio Eden, bracketing the composer with Parry and Mackenzie as a mutual admiration society, purveying "sham classics":
[W]ho am I that I should be believed, to the disparagement of eminent musicians? If you doubt that Eden is a masterpiece, ask Dr Parry and Dr Mackenzie, and they will applaud it to the skies. Surely Dr Mackenzie's opinion is conclusive; for is he not the composer of Veni Creator, guaranteed as excellent music by Professor Stanford and Dr Parry? You want to know who Parry is? Why, the composer of Blest Pair of Sirens, as to the merits of which you only have to consult Dr Mackenzie and Professor Stanford.
To Fuller Maitland, the trio of composers lampooned by Shaw were the leaders of an English musical renaissance (although neither Stanford nor Mackenzie was English). This view persisted in some academic circles for many years.
Stanford returned to opera in 1893, with an extensively revised and shortened version of The Veiled Prophet. It had its British premiere at Covent Garden in July. His friend Fuller Maitland was by this time the chief music critic of The Times, and the paper's review of the opera was laudatory. According to Fuller Maitland The Veiled Prophet was the best novelty of an opera season that had also included Leoncavallo's Pagliacci, Bizet's Djamileh and Mascagni's I Rantzau. Stanford's next opera was Shamus O'Brien (1896), a comic opera to a libretto by George H. Jessop. The conductor was the young Henry Wood, who recalled in his memoirs that the producer, Sir Augustus Harris, managed to quell the dictatorial composer and prevent him from interfering with the staging. Stanford attempted to give Wood lessons in conducting, but the young man was unimpressed. The opera was successful, running for 82 consecutive performances. The work was given in German translation in Breslau in 1907; Thomas Beecham thought it "a colourful, racy work", and revived it in his 1910 opéra comique season at His Majesty's Theatre, London.
At the end of 1894, Grove retired from the Royal College of Music. Parry was chosen to succeed him, and although Stanford wholeheartedly congratulated his friend on his appointment, their relations soon deteriorated. Stanford was known as a hot-tempered and quarrelsome man. Grove had written of a board meeting at the Royal College "where somehow the spirit of the d----l himself had been working in Stanford all the time – as it sometimes does, making him so nasty and quarrelsome and contradictious as no one but he can be! He is a most remarkably clever and able fellow, full of resource and power – no doubt of that – but one has to purchase it often at a very dear price." Parry suffered worse at Stanford's hands with frequent rows, deeply upsetting to the highly strung Parry. Some of their rows were caused by Stanford's reluctance to accept the authority of his old friend and protégé, but on other occasions Parry seriously provoked Stanford, notably in 1895 when he reduced the funding for Stanford's orchestral classes.
In 1898, Sullivan, ageing and unwell, resigned as conductor of the Leeds triennial music festival, a post which he had held since 1880. He believed that Stanford's motive for accepting the conductorship of the Leeds Philharmonic Society the previous year was to position himself to take over the festival. Stanford later felt obliged to write to The Times, denying that he had been party to a conspiracy to oust Sullivan. Sullivan was by then thought to be a dull conductor of other composers' music, and although Stanford's work as a conductor was not without its critics, he was appointed in Sullivan's place. He remained in charge until 1910. His compositions for the festival included Songs of the Sea (1904), Stabat Mater (1907) and Songs of the Fleet (1910). New works by other composers presented at Leeds during Stanford's years in charge included pieces by Parry, Mackenzie, and seven of Stanford's former pupils. The best-known new work from Stanford's time is probably Vaughan Williams's A Sea Symphony, premiered in 1910.
20th century
In 1901 Stanford returned once again to opera, with Much Ado About Nothing, to a libretto by Julian Sturgis that was exceptionally faithful to Shakespeare's original. The Manchester Guardian commented, "Not even in the Falstaff of Arrigo Boito and Giuseppe Verdi have the characteristic charm, the ripe and pungent individuality of the original comedy been more sedulously preserved."
Despite good notices for the opera, Stanford's star was waning. In the first decade of the century, his music became eclipsed by that of a younger composer, Edward Elgar. In the words of the music scholar Robert Anderson, Stanford "had his innings with continental reputation in the latter decades of the nineteenth century, but then Elgar bowled him out." When Elgar was struggling for recognition in the 1890s, Stanford had been supportive of his younger colleague, conducting his music, putting him forward for a Cambridge doctorate, and proposing him for membership of the exclusive London club, the Athenaeum. He was, however, put out when Elgar's success at home and abroad eclipsed his own, with Richard Strauss (whom Stanford detested) praising Elgar as the first progressive English composer. When Elgar was appointed professor of music at Birmingham University in 1904, Stanford wrote him a letter that the recipient found "odious". Elgar retaliated in his inaugural lecture with remarks about composers of rhapsodies, widely seen as denigrating Stanford. Stanford later counter-attacked in his book A History of Music, writing of Elgar, "Cut off from his contemporaries by his religion and his want of regular academic training, he was lucky enough to enter the field and find the preliminary ploughing done."
Though bitter about being sidelined, Stanford continued to compose. Between the turn of the century and the outbreak of the First World War in 1914 his new works included a violin concerto (1901), a clarinet concerto (1902), a sixth and a seventh (and last) symphony (1906 and 1911), and his second piano concerto (1911). In 1916 he wrote his penultimate opera, The Critic. It was a setting of Sheridan's comedy of the same name, with the original text left mostly intact by the librettist, L. Cairns James. The work was well received at the premiere at the Shaftesbury Theatre, London, and was taken up later in the year by Beecham, who staged it in Manchester and London.
Last years
The First World War had a severe effect on Stanford. He was frightened by air raids, and had to move from London to Windsor to avoid them. Many of his former pupils were casualties of the fighting, including Arthur Bliss, wounded, Ivor Gurney, gassed, and George Butterworth, killed. The annual RCM operatic production, which Stanford had supervised and conducted every year since 1885, had to be cancelled. His income declined, as the fall in student numbers at the college reduced the demand for his services. After a serious disagreement at the end of 1916, his relationship with Parry deteriorated to the point of hostility. Stanford's magnanimity, however, came to the fore when Parry died two years later and Stanford successfully lobbied for him to be buried in St Paul's Cathedral.
After the war, Stanford handed over much of the direction of the RCM's orchestra to Adrian Boult, but continued to teach at the college. He gave occasional public lectures, including one on "Some Recent Tendencies in Composition", in January 1921 which was belligerently hostile to most of the music of the generation after his own. His last public appearance was on 5 March 1921 conducting Frederick Ranalow and the Royal Choral Society in his new cantata, At the Abbey Gate. Reviews were polite but unenthusiastic. The Times said, "we could not feel that the music had enough emotion behind it", The Observer thought it "quite appealing even though one feels it to be more facile than powerful."
In September 1922, Stanford completed the sixth Irish Rhapsody, his final work. Two weeks later he celebrated his 70th birthday; thereafter his health declined. On 17 March 1924 he suffered a stroke and on 29 March he died at his home in London, survived by his wife and children. He was cremated at Golders Green Crematorium on 2 April and his ashes were buried in Westminster Abbey the following day. The orchestra of the Royal College of Music, conducted by Boult, played music by Stanford, ending the service with a funeral march that he had written for Tennyson's Becket in 1893. The grave is in the north choir aisle of the Abbey, near the graves of Henry Purcell, John Blow and William Sterndale Bennett. The Times said, "the conjunction of the music of Stanford with that of his great predecessors showed how thoroughly as composer he belonged to their line".
Stanford's last opera, The Travelling Companion, composed during the war, was premiered by amateur performers at the David Lewis Theatre, Liverpool in 1925 with a reduced orchestra. The work was given complete at Bristol in 1928 and at Sadler's Wells Theatre, London, in 1935.
Honours
Stanford received many honours, including honorary doctorates from Oxford (1883), Cambridge (1888), Durham (1894), Leeds (1904), and Trinity College, Dublin (1921). He was knighted in the 1902 Coronation Honours, receiving the accolade from King Edward VII at Buckingham Palace on 24 October that year. In 1904 he was elected a member of the Prussian Academy of Arts, Berlin.
Orchestral
The commentator Richard Whitehouse writes that Stanford's seven symphonies embody both the strengths and limitations of his music, displaying "a compositional rigour and expertise matched only by his older contemporary ... Parry, while seeming content to remain well within the stylistic ambit of Mendelssohn, Schumann and Brahms." Whitehouse comments that although Stanford's symphonic construction is conventional, "an often subtle approach to movement forms and resourceful orchestration make his symphonies worth exploring."
Stanford's first two symphonies (1876 and 1879) were not published and were excluded from his catalogue of works. His Symphony No. 1 was written for a competition offered by the proprietors of the Alexandra Palace. It received second prize but was only performed once in his lifetime.
The Third Symphony in F minor, known as the Irish, was first performed in 1887. It was conducted by Mahler in 1911 in New York (Stanford however did not reciprocate, disliking most 'modern' music, especially Ravel, Debussy and Stravinsky), and the Third remained the most popular of Stanford's symphonies during his lifetime. In his study of Stanford's works, John Porte refers to it as "full of the spirit and tunes of his country ... with its contrasting expressions of jollity and sad beauty". In this, as in many of his works, Stanford incorporated genuine Irish folk tunes. Like Parry and Mackenzie, but unlike Sullivan and Elgar, Stanford liked and respected folk songs.
He generally avoided programmatic music, but his Sixth Symphony, composed in memoriam G. F. Watts, was, Stanford acknowledged, inspired by Watts's sculptures and paintings.
Of Stanford's other orchestral works, his six Irish Rhapsodies all date from the 20th century, the first from 1901 and the last from the year before his death. Two of the sets feature solo instruments along with the orchestra: the third (cello) and the sixth (violin). In Dibble's view some of the concertante works such as the First Piano Concerto (1894) and the Violin Concerto of 1899 are in their orchestration and their lyricism as much in the tradition of Mendelssohn as of Brahms, with whom Stanford's music is often compared.
Chamber works
Stanford's chamber music, which as Dibble notes even Shaw praised, has not entered the general repertoire but is well crafted. Dibble singles out the Three Intermezzi for clarinet and piano (1879), the Serenade (Nonet) of 1905, and the Clarinet Sonata (1911) with its touching lament. Dibble writes that while his Violin Sonata No. 1 was still influenced by Beethoven and Schumann, his Violin Sonata No. 2, composed c. 1898 after studies in Germany including works by Brahms, in "seamless sonata construction gives the impression of a free form". Writing of the First String Quintet, Porte calls it a sonorous and warm-hearted sort of work, constructed on fairly classical lines, and notes that the character and construction are typical of the composer. Porte comments similarly on other chamber works, including the Second Piano Trio: "This is a typical Stanfordian work. It is sonorously scored, classical in outlook, and contains many passages of an expressive and somewhat poetical freshness. There are no very special features to note, but the work is one that makes a useful and interesting item."
Church music
While much of Stanford's music has been forgotten, many of his ecclesiastical works have retained a higher profile. In Music in Britain, one of the few books to deal with Stanford's music in detail, Nicholas Temperley writes that it is due to Stanford that settings of the Anglican church services regained their "full place beside the anthem as a worthy object of artistic invention." Vaughan Williams ranked the Stabat Mater as one of Stanford's works of "imperishable beauty". In Temperley's view, Stanford's services in A (1880), F (1889) and C (1909) are the most important and enduring additions from those years to the cathedral repertory. As with his concert works, Stanford's music is dominated by melody. The bass line, in Rodmell's view, is always important yet secondary and anything in between was regarded as "filling".
Operas
In a 1981 survey of Stanford's operas, the critic Nigel Burton writes that Shamus O'Brien lacks good tunes, and that the only memorable melody in it is not by Stanford but is an English folk song, "The Glory of the West". Burton is more dismissive of The Critic, which he describes as "a poor man's Ariadne auf Naxos". Dibble rates The Critic much higher, considering it to be one of Stanford's two best operas. In 1921, Porte wrote that it contains music that is "remarkably fresh, melodious and thoroughly individual in character and outlook. The vocal and instrumental writing is done with consummate skill." Burton praises Much Ado About Nothing, judging it to contain some of Stanford's best operatic music. He rates the last of the composer's operas, The Travelling Companion, as his finest operatic achievement, though Burton credits much of its power to the brilliant story adapted by Henry Newbolt from Hans Andersen. Porte writes that the music is often solemn and romantic, and curiously impressive. Christopher Webber writes that it has "an atmosphere not quite like any other: The Travelling Companion has timeless qualities ... [which] could go far to enhance Stanford's reputation as an opera composer". A new production of The Critic, celebrating the centenary of Stanford's death, was staged to critical acclaim at the Wexford Opera Festival in 2024.
Recordings
Although much of Stanford's music is neglected in the concert hall, a considerable amount has been recorded. Complete cycles of the symphonies have been issued by the Chandos and Naxos labels, under the conductors Vernon Handley and David Lloyd-Jones. Other orchestral works recorded for CD include the six Irish Rhapsodies, the Clarinet Concerto, the Second Piano Concerto and the Second Violin Concerto. Of the nine operas, only The Travelling Companion is available in a complete performance.
Stanford's church music is well represented on disc. In his 2002 discography, Rodmell lists 14 versions of the Service in B♭, alongside multiple recordings of the Services in A, F and C, the Three Latin Motets Op. 38, and the composer's setting of "The Lord is my Shepherd". A 1926 disc of his Magnificat in G by Choir of St George's Chapel, Windsor Castle was the first recording of a boy soprano soloist using an electrical microphone. His Mass in G major received its world première recording in 2014, featuring the Choir of Exeter College Oxford and the Stapeldon Sinfonia, with Tim Muggeridge (organ) and directed by George de Voil: EMR CD021.
English mixed-voice choir the Cambridge Singers (conducted by John Rutter) released the album Stanford and Howells Remembered
Stanford and Howells RememberedSpotifyYouTube Music (search)Tracklist · 21 tracks · 2 discsDisc 11Evening Canticles in G: Magnificat4:022Evening Canticles in G: Nunc dimittis3:343When Mary Thro’ the Garden Went3:274I Heard a Voice from Heaven4:545Latin Magnificat, op. 16411:116Evening Canticles in B-flat: Magnificat3:337Evening Canticles in B-flat: Nunc dimittis3:058O for a Closer Walk3:179Te Deum in C7:23Disc 21Requiem: Salvator mundi1:502Requiem: Psalm 232:153Requiem: Requiem aeternam (1)3:144Requiem: Psalm 1212:175Requiem: Requiem aeternam (2)3:356Requiem: I Heard a Voice from Heaven4:167The “Gloucester Service”: Magnificat6:278The “Gloucester Service”: Nunc dimittis4:139The Fear of the Lord5:1910Like as the Hart Desireth the Waterbrooks5:2811Long, Long Ago4:4212All My Hope on God is Founded3:18 in 1992, including both sacred and secular works. It was remastered and re-released in 2020. The first CD dedicated to Stanford's partsongs (including the Op. 119 set to poems by Mary Coleridge) appeared in 2013, sung by the Birmingham Conservatoire Chamber Choice, conductor Paul Spicer. He wrote around 60 partsongs in total.
Stanford also wrote some 200 art songs and around 300 folksongs intended for the concert hall. Songs recorded by several artists include "La Belle Dame Sans Merci", performed by Janet Baker among others, "An Irish Idyll", whose interpreters have included Kathleen Ferrier, and Songs of the Sea in recordings by such singers as Thomas Allen. Two more recent recordings dedicated to the songs have been issued: Love's White Flame, with Elisabetta Paglia (mezzo-soprano) and Christopher Howell (piano) in 2020; and Songs of Faith, Love and Nonsense, with James Way (tenor), Roderick Williams (baritone) and Andrew West (piano) in 2021. The song cycle Cushendall, op.118 (1910), was recorded for the first time in 2024 by Sharon Carty and Finghin Collins.
Among the chamber works that have received several recordings are the Three Intermezzi for Clarinet and Piano and the Clarinet Sonata. All eight of the previously neglected string quartets have now been recorded, as have the two string quintets. The first significant recording of piano works included the Three Rhapsodies (alongside Parry's Shulbrede Tunes) in 1978 by John Parry. Peter Jacobs recorded both sets of 24 Preludes, the Characteristic Pieces and the Dante Rhapsodies in the late 1990s. Christopher Howell has since recorded the complete piano music.
Stanford Society
The Charles Villiers Stanford Society was founded in 2007 by a small group of music enthusiasts and academics including John Covell and Stanford biographer, Jeremy Dibble. The society was formed to promote further interest and research into Stanford's works and life, and to support and encourage performances and recordings of some less well-known works by the composer.
The society has supported a number of first performances and recordings of Stanford's works. These include a world premiere recording of Stanford's last opera The Travelling Companion Op.146, dating from 1916.
Discography & profile
Normalised profile
Percentiles are computed over every artist in the database, so a tier-3 artist can still sit in the 95th percentile on a single axis.
| Metric | Value | Percentile |
|---|---|---|
| Wikipedia language versions | 33 | 91.9th |
| Spotify monthly listeners | — | no data |
| Release groups in DB | 63 | 95.7th |
| Studio albums | 57 | 99.4th |
| Awards recorded | 3 | 95.4th |
| Timeline events | 59 | 99.2th |
| Recording span (years) | -56 | 6.3th |
| Genres | 6 | 91th |
Percentiles are computed at render time; missing values mean the artist has no data on that axis.
Discography (63 release groups · 57 studio albums)
Albums · 57
Symphony no. 3 in F minor "Irish" / Irish Rhapsody no. 5
1987 · studio album
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Tracklist · 5 tracks · 56:08
1Symphony no. 3 in F minor "Irish": I. Allegro moderato11:332Symphony no. 3 in F minor "Irish": II. Allegro molto vivace7:263Symphony no. 3 in F minor "Irish": III. Andante con moto12:034Symphony no. 3 in F minor "Irish": IV. Finale: Allegro moderato con fuoco10:375Irish Rhapsody no. 514:29Symphony No. 5 in D Major & Irish Rhapsody No. 4
1988 · studio album
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Tracklist · 5 tracks · 1:01:35
1Symphony No. 5 in D Major, Op. 56, “L’Allegro ed il Penseroso”: I. Allegro moderato9:552Symphony No. 5 in D Major, Op. 56, “L’Allegro ed il Penseroso”: II. Allegretto grazioso7:013Symphony No. 5 in D Major, Op. 56, “L’Allegro ed il Penseroso”: III. Andante molto tranquillo12:034Symphony No. 5 in D Major, Op. 56, “L’Allegro ed il Penseroso”: IV. Allegro molto14:075Irish Rhapsody No. 4, Op. 141, “The Fisherman of Loch Neagh and What He Saw”18:29Irish Rhapsody No. 1 / Symphony No. 6
1988 · studio album
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Tracklist · 5 tracks · 49:53
1Irish Rhapsody No. 1 in D Minor, Op. 7813:442Symphony No. 6 in E‐Flat Major, Op. 94, “In Memoriam G.F. Watts”: I. Allegro con brio8:023Symphony No. 6 in E‐Flat Major, Op. 94, “In Memoriam G.F. Watts”: II. Adagio e molto espressivo12:544Symphony No. 6 in E‐Flat Major, Op. 94, “In Memoriam G.F. Watts”: III. Scherzo and Trio. Presto —3:235Symphony No. 6 in E‐Flat Major, Op. 94, “In Memoriam G.F. Watts”: IV. Moderato e maestoso11:501989 · studio album
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Tracklist · 8 tracks · 53:16
1Nonet in B-flat Major: I. Allegro8:052Nonet in B-flat Major: II. Allegro molto4:453Nonet in B-flat Major: III. Largo5:564Nonet in B-flat Major: IV. Allegro5:335Serenade in F Major, op. 95: I. Allegro7:536Serenade in F Major, op. 95: II. Allegro molto5:257Serenade in F Major, op. 95: III. Andante9:258Serenade in F Major, op. 95: IV. Allegro commodo6:141989 · studio album
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Tracklist · 16 tracks · 52:52
1Sonata for Clarinet and Piano, op. 129: Allegro moderato7:492Sonata for Clarinet and Piano, op. 129: Caoine: Adagio, quasi Fantasia5:513Sonata for Clarinet and Piano, op. 129: Allegretto grazioso6:134Four Short Pieces, op. 6: Prelude: Non troppo allegro0:525Four Short Pieces, op. 6: Scherzo0:356Four Short Pieces, op. 6: Pastoral1:527Four Short Pieces, op. 6: Burlesque: Con spirito1:118Five Bagatelles, op. 23: Prelude3:239Five Bagatelles, op. 23: Romance3:4010Five Bagatelles, op. 23: Carol1:5211Five Bagatelles, op. 23: Forlana2:3612Five Bagatelles, op. 23: Fughetta2:1613Four Characteristic Pieces: Ballade5:5014Four Characteristic Pieces: Croon Song3:0215Four Characteristic Pieces: Intermezzo2:2916Four Characteristic Pieces: Scherzo3:21Symphony no. 7 in D minor / Irish Rhapsody no. 3 / Concert Piece
1990 · studio album
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Tracklist · 6 tracks · 1:04:10
1Symphony no. 7 in D minor, op. 124: I. Allegro7:202Symphony no. 7 in D minor, op. 124: II. Tempo di minuetto (Allegretto molto moderato)5:483Symphony no. 7 in D minor, op. 124: III. Variations and Finale. Andante7:524Symphony no. 7 in D minor, op. 124: III. Variations and Finale. Allegro giusto - Poco più lento - Allegro maestoso (alla breve)7:385Irish Rhapsody no. 3 in D major, op. 13714:126Concert Piece for Organ and Orchestra, op. 18121:20Symphony No. 4, Irish Rhapsody No. 6 & Oedipus Rex Prelude
1990 · studio album
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Tracklist · 6 tracks · 1:04:34
1Symphony No. 4 in F Major, Op. 31: I. Allegro vivace e giojoso12:072Symphony No. 4 in F Major, Op. 31: II. Intermezzo. Allegretto agitato9:063Symphony No. 4 in F Major, Op. 31: III. Andante molto moderato13:404Symphony No. 4 in F Major, Op. 31: IV. Finale. Allegro non troppo8:555Irish Rhapsody No. 6, Op. 19110:176Oedipus Rex, Op. 29: Prelude10:29Symphony No. 2, “Elegiac” / Clarinet Concerto
1991 · studio album
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Tracklist · 7 tracks · 54:59
1Symphony No. 2 in D Minor, “Elegiac”: I. Allegro appassionato10:362Symphony No. 2 in D Minor, “Elegiac”: II. Lento espressivo9:363Symphony No. 2 in D Minor, “Elegiac”: III. Scherzo. Allegro con fuoco4:214Symphony No. 2 in D Minor, “Elegiac”: IV. Adagio - Allegro moderato - Allegro molto ma non presto11:095Clarinet Concerto in A Minor, Op. 80: I. Allegro moderato5:266Clarinet Concerto in A Minor, Op. 80: II. Adante con moto, ma più tranquillo7:497Clarinet Concerto in A Minor, Op. 80: III. Allegro moderato6:02Symphony no. 1 in B flat major / Irish Rhapsody no. 2 "The Lament for the Son of Ossian"
1992 · studio album
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Tracklist · 5 tracks · 1:01:50
1Symphony no. 1 in B-Flat major: I. Larghetto - Allegro vivace16:062Symphony no. 1 in B-Flat major: II. Scherzo: In Landler tempo - Trio 1: Presto8:523Symphony no. 1 in B-Flat major: III. Andante tranquillo9:554Symphony no. 1 in B-Flat major: IV. Finale: Allegro molto11:095Irish Rhapsody no. 2 in F minor, op. 84, "The Lament for the Son of Ossian"15:481992 · studio album
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Tracklist · 8 tracks · 56:18
1Sonata no. 2, op. 39: I. Allegretto con moto moderato8:462Sonata no. 2, op. 39: II. Andante con moto11:233Sonata no. 2, op. 39: III. Allegro giusto7:454Elegy4:325Scherzetto3:026Sonata in G minor: I. Moderato sostenuto9:117Sonata in G minor: II. Poco largamente -6:388Sonata in G minor: III. Con moto e marcato5:01Finzi: Clarinet Concerto / 5 Bagatelles / Stanford: Clarinet Concerto / 3 Intermezzi
1992 · studio album
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Tracklist · 14 tracks · 1:13:28
1Concerto for Clarinet and Strings in C minor, op. 31: I. Allegro vigoroso - Allegro lirico8:052Concerto for Clarinet and Strings in C minor, op. 31: II. Adagio11:383Concerto for Clarinet and Strings in C minor, op. 31: III. Rondo. Allegro giocoso8:054Five Bagatelles for Clarinet and Piano, op. 23: I. Prelude3:575Five Bagatelles for Clarinet and Piano, op. 23: II. Romance4:276Five Bagatelles for Clarinet and Piano, op. 23: III. Carol1:597Five Bagatelles for Clarinet and Piano, op. 23: IV. Forlana3:048Five Bagatelles for Clarinet and Piano, op. 23: V. Fughetta2:199Concerto for Clarinet and Orchestra in A minor, op. 80: Allegro moderato -5:3410Concerto for Clarinet and Orchestra in A minor, op. 80: Andante con moto quasi ma più tranquillo -9:3311Concerto for Clarinet and Orchestra in A minor, op. 80: Tempo 1. Allegro moderato6:0512Three Intermezzi for Clarinet and Piano, op. 13: No. I. Andante espressivo3:3513Three Intermezzi for Clarinet and Piano, op. 13: No. II. Allegro agitato2:2514Three Intermezzi for Clarinet and Piano, op. 13: No. III. Allegretto scherzando2:421992 · studio album
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Tracklist · 18 tracks · 1:14:04
1Magnificat in G4:082Magnificat (from the Gloucester Service)6:343Magnificat in B-flat3:344Nunc Dimittis in B-flat3:125O for a closer walk3:236Like as the hart5:327The fear of the Lord5:268I heard a voice from heaven4:599Requiem: 1. Salvator mundi1:5510Requiem: 2. Psalm 232:2011Requiem: 3. Requiem aeternam (1)3:2012Requiem: 4. Psalm 1212:2413Requiem: 5. Requiem aeternam (2)3:4114Requiem: 6. I heard a voice from heaven4:2715When Mary thro' the garden went3:3216Long, long ago4:5017Te Deum in C7:2618All my hope on God is founded3:21Parry: Songs of Farewell / Stanford: Three Motets / Stanford: Eternal Father / Stanford: Magnificat
1994 · studio album
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Tracklist · 11 tracks · 59:35
1Songs of Farewell: My Soul There Is a Country4:002Songs of Farewell: I Know My Soul Hath Power2:393Songs of Farewell: Never Weather Beaten Sail3:234Songs of Farewell: There Is an Old Belief4:205Songs of Farewell: At the Round Earth's Imagined Corners7:166Songs of Farewell: Lord, Let Me Know Mine End9:517Three Motets, op. 38: Justorum animae3:588Three Motets, op. 38: Coelos ascendit2:019Three Motets, op. 38: Beati quorum via3:5710Eternal Father, op. 1356:3011Magnificat in B-flat, op. 16411:401995 · studio album
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Tracklist · 6 tracks · 1:13:10
1Piano Concerto in F-sharp major: I. Allegro maestoso11:532Piano Concerto in F-sharp major: II. Maestoso9:123Piano Concerto in F-sharp major: III. Allegro vivace13:584Piano Concerto no. 1 in G major, op. 59: I. Allegro comodo15:175Piano Concerto no. 1 in G major, op. 59: II. Adagio molto13:036Piano Concerto no. 1 in G major, op. 59: III. Allegro e giocoso9:47Stabat Mater, Bible Songs & Te Deum laudamus
1997 · studio album
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Tracklist · 12 tracks · 1:14:17
1Stabat Mater, op. 96: I. Prelude8:472Stabat Mater, op. 96: II. Stabat Mater dolorosa (Soprano, Alto, Tenor, Bass, Chorus)11:163Stabat Mater, op. 96: III. Intermezzo3:174Stabat Mater, op. 96: IV. Eja Mater, fons amoris (Soprano, Alto, Tenor, Bass, Chorus)6:585Stabat Mater, op. 96: V. Virgo virginum praeclara (Soprano, Alto, Tenor, Bass, Chorus)12:566Bible Songs, op. 113: I. A Song of Freedom3:297Bible Songs, op. 113: II. A Song of Trust5:028Bible Songs, op. 113: III. A Song of Hope5:489Bible Songs, op. 113: IV. A Song of Peace3:5510Bible Songs, op. 113: V. A Song of Battle2:2311Bible Songs, op. 113: VI. A Song of Wisdom4:3112Te Deum laudamus5:551997 · studio album
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Tracklist · 17 tracks · 1:17:40
1Magnificat in B-flat, op. 103:362Nunc dimittis in B-flat, op. 103:403The Lord is my Shepherd8:274Three Latin Motets, op. 38: Justorum animae3:155Three Latin Motets, op. 38: Coelos ascendit hodie2:016Three Latin Motets, op. 38: Beati quorum via3:477Magnificat in A, op. 126:118Nunc dimittis in A, op. 125:349If thou shalt confess, op. 37 no. 24:3110Magnificat in F, op. 364:1711Nunc dimittis in F, op. 363:1712And I saw another angel, op. 37 no. 15:5213Pater noster4:2614Magnificat in E-flat5:0115Nunc dimittis in E-flat4:1216Jubilate in B-flat, op. 103:1417Te Deum in B-flat, op. 106:191998 · studio album
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Tracklist · 17 tracks · 1:05:40
1Evening Service in G, op. 81: Magnificat4:112Evening Service in G, op. 81: Nunc dimittis3:503Bible Songs and Six Hymns, op. 113: A Song of Freedom3:284Bible Songs and Six Hymns, op. 113: Let Us With a Gladsome Mind1:255Bible Songs and Six Hymns, op. 113: A Song of Trust5:316Bible Songs and Six Hymns, op. 113: Purest and Highest2:447Bible Songs and Six Hymns, op. 113: A Song of Hope6:448Bible Songs and Six Hymns, op. 113: In Thee is Gladness2:359Bible Songs and Six Hymns, op. 113: A Song of Peace4:1410Bible Songs and Six Hymns, op. 113: Pray That Jerusalem2:2311Bible Songs and Six Hymns, op. 113: A Song of Battle2:3312Bible Songs and Six Hymns, op. 113: Praise to the Lord, the Almighty2:0313Bible Songs and Six Hymns, op. 113: A Song of Wisdom4:1914Bible Songs and Six Hymns, op. 113: O for a Closer Walk With God3:3115Morning Service in C, op. 115: Te Deum7:2216Morning Service in C, op. 115: Benedictus5:2817Morning Service in C, op. 115: Jubilate3:191998 · studio album
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Tracklist · 11 tracks · 1:01:01
1Evening Service in C, op. 115: Magnificat5:282Evening Service in C, op. 115: Nunc dimittis2:593Ye Choirs of New Jerusalem, op. 1234:494Gloria in excelsis, op. 1285:205St Patrick’s Breastplate7:556Glorious and Powerful God, op. 135/33:467Eternal Father, op. 135/26:058For Lo, I Raise Up, op. 1457:519Magnificat for Eight-Part Chorus, op. 16410:0910Lighten Our Darkness3:1711How Beauteous Are Their Feet3:22Piano Concerto no. 2 / Concert Variations on "Down Among the Dead Men"
1998 · studio album
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Tracklist · 16 tracks · 1:05:48
1Piano Concerto no. 2 in C minor, op. 126: I. Allegro moderato15:282Piano Concerto no. 2 in C minor, op. 126: II. Adagio molto12:363Piano Concerto no. 2 in C minor, op. 126: III. Allegro molto10:414Concert Variations Upon an English Theme "Down Among the Dead Men", op. 71: Introduction. Lento - Allegro moderato / Thema. Allegro vivace2:235Concert Variations Upon an English Theme "Down Among the Dead Men", op. 71: Variation 1. Tranquillo0:506Concert Variations Upon an English Theme "Down Among the Dead Men", op. 71: Variation 2. Poco più moto1:007Concert Variations Upon an English Theme "Down Among the Dead Men", op. 71: Variation 3. Poco meno mosso1:218Concert Variations Upon an English Theme "Down Among the Dead Men", op. 71: Variation 4. Presto0:399Concert Variations Upon an English Theme "Down Among the Dead Men", op. 71: Variation 50:5210Concert Variations Upon an English Theme "Down Among the Dead Men", op. 71: Variation 6. Poco a poco più sostenuto1:2911Concert Variations Upon an English Theme "Down Among the Dead Men", op. 71: Variation 7. Intermezzo2:1912Concert Variations Upon an English Theme "Down Among the Dead Men", op. 71: Variation 8. Andante tranquilo2:1013Concert Variations Upon an English Theme "Down Among the Dead Men", op. 71: Variation 91:5514Concert Variations Upon an English Theme "Down Among the Dead Men", op. 71: Variation 100:4915Concert Variations Upon an English Theme "Down Among the Dead Men", op. 71: Variation 11. Lento3:4216Concert Variations Upon an English Theme "Down Among the Dead Men", op. 71: Variation 12. Finale. Allegro moderato e deciso7:341999 · studio album
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Tracklist · 13 tracks · 1:18:39
1Violin Sonata no. 1 in D major, op. 11: I. Allegro9:092Violin Sonata no. 1 in D major, op. 11: II. Allegretto moderato - Tempo di menuetto - Tempo I5:113Violin Sonata no. 1 in D major, op. 11: III. Allegretto8:164Caoine 'A Lament', op. 54 no. 16:525Five Characteristic Pieces, op. 93: Cavatina and Scherzo4:306Five Characteristic Pieces, op. 93: Capriccio4:067Five Characteristic Pieces, op. 93: In a gondola5:068Five Characteristic Pieces, op. 93: Arabesques3:169Five Characteristic Pieces, op. 93: L'Envoi4:2310Violin Sonata no. 2 in A major, op. 70: I. Allegro comodo8:0711Violin Sonata no. 2 in A major, op. 70: II. Adagio molto8:0712Violin Sonata no. 2 in A major, op. 70: III. Prestissimo4:5713Violin Sonata no. 2 in A major, op. 70: IV. Allegretto - Animato6:392000 · studio album
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Tracklist · 15 tracks · 1:15:28
1Magnificat, op. 81 no. 14:182Nunc Dimittis, op. 81 no. 24:003For Lo, I Raise Up, op. 1458:224A Song of Peace, op. 113 no. 44:195Pray That Jerusalem, op. 113 no. 42:286Justorum Animae, op. 38 no. 13:177Beati Quorum Via, op. 38 no. 23:388Coelos Ascendit Hodie, op. 38 no. 32:119Postlude in D minor, op. 105 no. 65:0010Magnificat for Double Chorus, op. 16412:1511A Song of Wisdom, op. 113 no. 64:3212O for a Closer Walk With God, op. 113 no. 63:3013Lord Is My Shepherd8:4814Magnificat, op. 115 no. 15:3315Nunc Dimittis, op. 115 no. 23:172000 · studio album
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Tracklist · 26 tracks · 1:17:12
1Tragödie, op. 14 no. 55:182The Clown's Songs from "Twelfth Night", op. 65: O mistress mine1:393The Clown's Songs from "Twelfth Night", op. 65: Come away, death4:074The Clown's Songs from "Twelfth Night", op. 65: The rain it raineth every day1:325The Pibroch, op. 157 no. 1 from Songs of a Roving Celt2:406Phoebe, op. 125 no. 32:097Songs of the Sea, op. 91: Drake's Drum2:388Songs of the Sea, op. 91: Outward Bound3:189Songs of the Sea, op. 91: Devon, O Devon, in Wind and Rain1:5310Songs of the Sea, op. 91: Homeward Bound6:5511Songs of the Sea, op. 91: The Old Superb3:1012For ever mine3:2013Windy Nights, op. 30 no. 40:5314A Lullaby, op. 19 no. 22:1915To the Rose, op. 19 no. 32:0916Songs of Faith, op. 97: No. 4. To the soul4:5917Songs of Faith, op. 97: No. 6. Joy, shipmate, joy!1:5818The Fairy Lough, op. 77 no. 2 from An Irish Idyll in Six Miniatures4:2519Tom Leminn2:5820A Fire of Turf, op. 139: A Fire of Turf3:5721A Fire of Turf, op. 139: The Chapel on the Hill2:5222A Fire of Turf, op. 139: Cowslip Time1:3423A Fire of Turf, op. 139: Scared2:0624A Fire of Turf, op. 139: Blackberry Time2:0925A Fire of Turf, op. 139: The Fair1:4226A Fire of Turf, op. 139: The West Wind4:322000 · studio album
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Tracklist · 8 tracks · 1:06:26
1Suite for Violin and Orchestra, op. 32: I. Ouverture7:512Suite for Violin and Orchestra, op. 32: II. Allemande3:243Suite for Violin and Orchestra, op. 32: III. Ballade6:444Suite for Violin and Orchestra, op. 32: IV. Tambourin3:375Suite for Violin and Orchestra, op. 32: V. Rondo Finale6:426Violin Concerto in D major, op. 74: I. Allegro -17:377Violin Concerto in D major, op. 74: II. Canzona - Andante12:388Violin Concerto in D major, op. 74: III. Allegro moderato7:532003 · studio album
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Tracklist · 18 tracks · 1:11:52
1Morning Service in C, op. 115: Te deum laudamus8:112Morning Service in C, op. 115: Benedictus5:203Justorum animæ3:254Cœlos ascendit hodie2:055Beati quorum via3:356Evening Service in C, op. 115: Magnificat5:137Evening Service in C, op. 115: Nunc dimittis3:288Communion Service in C, op. 115: Kyrie1:559Communion Service in C, op. 115: Credo5:0910Communion Service in C, op. 115: Sanctus1:3511Communion Service in C, op. 115: Benedictus1:4612Communion Service in C, op. 115: Agnus Dei2:3113Communion Service in C, op. 115: Gloria3:2914Prelude in G minor for Organ3:2515Evening Service in G, op. 81: Magnificat4:1116Evening Service in G, op. 81: Nunc dimittis4:2217Postlude in D minor for Organ4:4818For lo, I raise up, op. 1457:242004 · studio album
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Tracklist · 11 tracks · 1:44:02
Disc 11Requiem, op. 63: Introit: Adagio8:032Requiem, op. 63: Kyrie: Allegro tranquillo ed espressivo4:403Requiem, op. 63: Gradual: Larghetto4:384Requiem, op. 63: Sequence – Dies irae: Allegro moderato ma energico30:215Requiem, op. 63: Offertorium: Allegro11:37Disc 21Requiem, op. 63: Sanctus: Allegro non troppo10:072Requiem, op. 63: Agnus Dei et Lux aeterna: Tempo di marcia funebre11:013The Veiled Prophet of Khorassan: Overture7:534The Veiled Prophet of Khorassan: Ballet Music no. 17:205The Veiled Prophet of Khorassan: There's a Bower of Roses5:056The Veiled Prophet of Khorassan: Ballet Music no. 23:17String Quartet no. 1 / String Quartet no. 2 / Horn Fantasy
2005 · studio album
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Tracklist · 9 tracks · 1:07:32
1String Quartet no. 1 in G major, op. 44: I. Allegro assai8:492String Quartet no. 1 in G major, op. 44: II. Poco allegro e grazioso – Presto – Tempo I – Presto4:343String Quartet no. 1 in G major, op. 44: II. Largo con molto espressione10:064String Quartet no. 1 in G major, op. 44: IV. Allegro molto5:245String Quartet no. 2 in A minor, op. 45: I. Molto moderato – Pìù moto – Tempo I – Pìù moto9:366String Quartet no. 2 in A minor, op. 45: II. Prestissimo2:297String Quartet no. 2 in A minor, op. 45: III. Andante espressivo7:288String Quartet no. 2 in A minor, op. 45: IV. Allegro molto7:199Fantasy for Horn Quintet in A minor11:47The Revenge: A Ballad of the Fleet / Songs of the Sea / Songs of the Fleet
2006 · studio album
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Tracklist · 16 tracks · 1:09:40
1Songs of the Fleet, op. 117: I. Sailing at Dawn. Andante molto tranquillo5:202Songs of the Fleet, op. 117: II. The Song of the Sou’Wester. Allegro non troppo, ma con fuoco3:123Songs of the Fleet, op. 117: III. The Middle-Watch. Andante molto tranquillo7:424Songs of the Fleet, op. 117: IV. The Little Admiral. Allegro vivace – Poco meno mosso – A tempo – Slentando – Meno mosso – Accelerando – A tempo3:425Songs of the Fleet, op. 117: V. Fare Well. Quasi adagio – Poco più mosso – Tempo I – Molto adagio6:186The Revenge: A Ballad of the Fleet, op. 24: I. At Flores in the Azores. Allegro giusto e pesante – / II. Then spake Sir Richard Grenville – / III. So Lord Howard pass’d away. Un poco più lento – But Sir Richard bore in hand. Più lento e pesante –4:117The Revenge: A Ballad of the Fleet, op. 24: IV. He had only a hundred seamen. Andante sostenuto – "Shall we fight or shall we fly?…". Poco più mosso – And Sir Richard said again. Tempo I (Allegro giusto) –1:358The Revenge: A Ballad of the Fleet, op. 24: V. Sir Richard spoke and he laugh’d. Allegretto con moto – VI. Thousands of their soldiers look’d down – VII. And while now the great San Philip. Adagio molto – And the battle-thunder broke. Allegro con fuoco – VIII. But anon the great San Philip – IX. And the sun went down – Ship after ship, the whole night long. Allegro con fuoco – X. For he said: "Fight on! Fight on!". Con fuoco –6:059The Revenge: A Ballad of the Fleet, op. 24: XI. And the night went down. Allegro tranquillo ma con moto – And we had not fought them in vain. Più mosso – But Sir Richard cried in his English pride. Allegro giusto – XII. And the gunner said: "Ay, ay". Andante sostenuto – And the lion there lay dying. Adagio molto –4:4710The Revenge: A Ballad of the Fleet, op. 24: XIII. And the stately Spanish men. Allegretto maestoso – But he rose upon their decks. Allegro giusto – "I have fought for Queen and Faith…". Molto maestoso – "…With a joyful spirit I Sir Richard Grenville die!". Più lento – XIV. And they stared at the dead –4:4311The Revenge: A Ballad of the Fleet, op. 24: But they sank his body with honour down. Allegretto maestoso – When a wind from the lands. Allegro moderato – Till it smote on their hulls. Più allegro e con fuoco – And the little Revenge herself went down. Molto moderato e tranquillo4:0312Songs of the Sea, op. 91: I. Drake’s Drum. Tempo di marcia moderato – Largamente3:1213Songs of the Sea, op. 91: II. Outward Bound. Andante espressivo3:1514Songs of the Sea, op. 91: III. Devon, O Devon, in Wind and Rain. Allegro molto1:4515Songs of the Sea, op. 91: IV. Homeward Bound. Andante tranquillo – Più lento6:4216Songs of the Sea, op. 91: V. The Old Superb. Allegro molto – Presto3:082007 · studio album
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Tracklist · 8 tracks · 1:10:48
1Symphony No. 4 in F major, op. 31: I. Allegro vivace e giojoso11:362Symphony No. 4 in F major, op. 31: II. Intermezzo: Allegro agitato, ma moderato in tempo8:243Symphony No. 4 in F major, op. 31: III. Andante molto moderato13:474Symphony No. 4 in F major, op. 31: IV. Finale: Allegro non troppo8:495Symphony No. 7 in D minor, op. 124: I. Allegro7:236Symphony No. 7 in D minor, op. 124: II. Tempo di minuetto (Allegro molto moderato)5:357Symphony No. 7 in D minor, op. 124: III. Variations: Andante7:448Symphony No. 7 in D minor, op. 124: IV. Finale: Allegro giusto7:302007 · studio album
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Tracklist · 8 tracks · 1:14:26
1Symphony no. 2 in D minor "Elegiac": I. Allegro appassionato10:222Symphony no. 2 in D minor "Elegiac": II. Lento espressivo9:013Symphony no. 2 in D minor "Elegiac": III. Scherzo: Allegro con fuoco4:314Symphony no. 2 in D minor "Elegiac": IV. Adagio - Allegro10:535Symphony no. 5 in D major, op. 56 "L’Allegro ed il Penseroso": I. Allegro moderato9:406Symphony no. 5 in D major, op. 56 "L’Allegro ed il Penseroso": II. Allegretto grazioso6:307Symphony no. 5 in D major, op. 56 "L’Allegro ed il Penseroso": III. Andante molto tranquillo10:428Symphony no. 5 in D major, op. 56 "L’Allegro ed il Penseroso": IV. Allegro molto12:47Symphonies nos. 3 "Irish" and 6 "In honour of G.F. Watts"
2008 · studio album
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Tracklist · 8 tracks · 1:20:16
1Symphony no. 6 in E-flat major, op. 94 "In honour of the life-work of a great artist: George Frederick Watts": I. Allegro con brio8:122Symphony no. 6 in E-flat major, op. 94 "In honour of the life-work of a great artist: George Frederick Watts": II. Adagio e molto espressivo14:023Symphony no. 6 in E-flat major, op. 94 "In honour of the life-work of a great artist: George Frederick Watts": III. Presto4:484Symphony no. 6 in E-flat major, op. 94 "In honour of the life-work of a great artist: George Frederick Watts": IV. Poco allegro. Moderato e maestoso10:305Symphony no. 3 in F minor, op. 28 "Irish": I. Allegro moderato12:316Symphony no. 3 in F minor, op. 28 "Irish": II. Allegro molto6:597Symphony no. 3 in F minor, op. 28 "Irish": III. Andante con moto11:588Symphony no. 3 in F minor, op. 28 "Irish": IV. Allegro moderato con fuoco11:16Symphony no. 1 / Clarinet Concerto
2008 · studio album
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Tracklist · 7 tracks · 1:10:36
1Symphony no. 1 in B-flat major: I. Larghetto - Allegro vivace18:212Symphony no. 1 in B-flat major: II. Scherzo: In Landler tempo8:523Symphony no. 1 in B-flat major: III. Andante tranquillo10:034Symphony no. 1 in B-flat major: IV. Allegro molto11:275Clarinet Concerto, op. 80: I. Allegro moderato5:386Clarinet Concerto, op. 80: II. Andante con moto10:027Clarinet Concerto, op. 80: III. Allegro moderato6:13Piano Concerto no. 2 / Variations on "Down Among the Dead Men"
2011 · studio album
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Tracklist · 17 tracks · 1:09:32
1Piano Concerto no. 2 in C minor, op. 126: I. Allegro moderato15:562Piano Concerto no. 2 in C minor, op. 126: II. Adagio molto12:543Piano Concerto no. 2 in C minor, op. 126: III. Allegro molto10:084Concert Variations Upon an English Theme "Down Among the Dead Men" in C minor, op. 71: Introduction. Lento - Allegro moderato0:355Concert Variations Upon an English Theme "Down Among the Dead Men" in C minor, op. 71: Thema. Allegro vivace0:546Concert Variations Upon an English Theme "Down Among the Dead Men" in C minor, op. 71: Var. 1. Tranquillo5:297Concert Variations Upon an English Theme "Down Among the Dead Men" in C minor, op. 71: Var. 2. Poco più moto1:018Concert Variations Upon an English Theme "Down Among the Dead Men" in C minor, op. 71: Var. 3. Poco meno mosso1:409Concert Variations Upon an English Theme "Down Among the Dead Men" in C minor, op. 71: Var. 4. Presto0:4110Concert Variations Upon an English Theme "Down Among the Dead Men" in C minor, op. 71: Var. 5. -0:5411Concert Variations Upon an English Theme "Down Among the Dead Men" in C minor, op. 71: Var. 6.1:3212Concert Variations Upon an English Theme "Down Among the Dead Men" in C minor, op. 71: Var. 7. Intermezzo2:2013Concert Variations Upon an English Theme "Down Among the Dead Men" in C minor, op. 71: Var. 8. Andante tranquilo2:0414Concert Variations Upon an English Theme "Down Among the Dead Men" in C minor, op. 71: Var. 9.2:1415Concert Variations Upon an English Theme "Down Among the Dead Men" in C minor, op. 71: Var. 10. Allegro con fuoco0:4916Concert Variations Upon an English Theme "Down Among the Dead Men" in C minor, op. 71: Var. 11. Lento3:1717Concert Variations Upon an English Theme "Down Among the Dead Men" in C minor, op. 71: Var. 12. Finale. Allegro moderato e deciso7:04The Romantic Cello Concerto, Volume 3: The Complete Works for Cello and Orchestra
2011 · studio album
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Tracklist · 7 tracks · 1:10:07
1Cello Concerto in D minor: I. Allegro moderato12:442Cello Concerto in D minor: II. Molto adagio6:053Cello Concerto in D minor: III. Allegretto non troppo6:544Rondo in F major for Cello and Orchestra8:335Ballata and Ballabile, op. 160: I. Ballata10:496Ballata and Ballabile, op. 160: II. Ballabile8:257Irish Rhapsody no. 3, op. 13716:37I Was Glad: Sacred Music of Stanford and Parry
2012 · studio album
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Tracklist · 12 tracks · 1:07:51
1Evening Service in A, op. 12: I. Magnificat5:582Evening Service in A, op. 12: II. Nunc Dimittis5:153I Was Glad (1911 version)6:514Evening Service in G, op. 81: I. Magnificat4:025Evening Service in G, op. 81: II. Nunc Dimittis4:146Coronation Te Deum in D (1911)14:267Evening Service in B-flat, op. 10: I. Magnificat3:428Evening Service in B-flat, op. 10: II. Nunc Dimittis3:379Blest Pair of Sirens9:1110Evening Service in C, op. 115: I. Magnificat4:3411Evening Service in C, op. 115: II. Nunc Dimittis2:5812Jerusalem3:03British Clarinet Sonatas, Volume 1
2012 · studio album
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Tracklist · 9 tracks · 1:12:56
1Fantasy-Sonata13:192Sonata in F major, op. 129: I. Allegro moderato7:423Sonata in F major, op. 129: II. Caoine. Adagio (quasi fantasia)6:314Sonata in F major, op. 129: III. Allegretto grazioso5:415Pastoral (from Two Pieces)4:206Sonata in D major: I. Molto moderato8:327Sonata in D major: II. Vivace5:028Sonata: I. Con moto11:389Sonata: II. Allegro, ritmico, con brio10:112016 · studio album
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Tracklist · 7 tracks · 1:10:08
1Stabat mater, Op. 96: Prelude9:012Stabat mater, Op. 96: Stabat mater dolorosa12:133Stabat mater, Op. 96: Intermezzo3:044Stabat mater, Op. 96: Eja mater6:385Stabat mater, Op. 96: Finale. Virgo virginum praeclara13:176Songs of Faith, Op. 97: No. 4, Song to the Soul13:347The Resurrection, Op. 512:212016 · studio album
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Tracklist · 9 tracks · 1:06:55
1String Quartet no. 5 in B-flat, op. 104: 1. Allegro moderato9:092String Quartet no. 5 in B-flat, op. 104: 2. Intermezzo – Allegretto (sempre molto temperamente)5:533String Quartet no. 5 in B-flat, op. 104: 3. Adagio pesante10:524String Quartet no. 5 in B-flat, op. 104: 4. Allegro moderato8:575Romance, op. 2 no. 1: Andantino4:296String Quartet no. 8 in E minor, op. 167: 1. Allegro moderato7:507String Quartet no. 8 in E minor, op. 167: 2. Allegretto4:458String Quartet no. 8 in E minor, op. 167: 3. Canzona – Adagio7:159String Quartet no. 8 in E minor, op. 167: 4. Finale – Allegro7:452017 · studio album
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Tracklist · 39 tracks · 1:09:40
1No. XXI in B-flat major: Andante moderato “Carillons”, op. 163 no. 211:542No. VIII in E-flat minor: Allegro “Study”, op. 163 no. 82:073No. XXXVII in G-flat major: Allegro scherzando “Fughetta”, op. 179 no. 131:294No. XXXII in E-flat minor: Allegretto, op. 179 no. 82:345No. XXXVIII in F-sharp minor: Larghetto “Basso ostinato”, op. 179 no. 142:256No. XXII in B-flat minor: Alla marcia solenne “In memoriam M. G.”, op. 163 no. 222:237No. XLIV in A minor: Allegro con fuoco, op. 179 no. 201:038No. XLV in B-flat major: Allegro, op. 179 no. 211:459No. XXXVI in F minor: Allegretto moderato ma con moto, op. 179 no. 122:4910No. XXXV in F major: Allegro moderato, op. 179 no. 111:2611No. VI in D minor: Larghetto, op. 163 no. 62:0912No. XV in G major: Allegretto grazioso, op. 163 no. 151:2813No. I in C major: Moderato maestoso e con moto, op. 163 no. 13:1614No. XXXIX in G major: Allegro con fuoco, op. 179 no. 151:1315No. XXXIV in E minor: Tempo di valse, op. 179 no. 101:3616No. XX in A minor: Allegro giocoso, op. 163 no. 201:1717No. XLIII in A major: Alla sarbando (pesante), op. 179 no. 192:0518No. XXXIII in E major: Alla marcia, op. 179 no. 91:5519No. XVIII in G-sharp minor: Allegretto “Toccata”, op. 163 no. 181:2720No. XLVII in B major: Allegro vivace, op. 179 no. 231:4821No. XXIII in B major: Andante moderato (alla marcia) “En rondeau”, op. 163 no. 231:3222No. XXVI in C minor: Allegro, op. 179 no. 21:2323No. XLI in A-flat major: Alla gavotta, op. 179 no. 171:1324No. XLII in G-sharp minor: L’istesso tempo “Musette”, op. 179 no. 181:0525No. XLI in A-flat major: Alla gavotta, op. 179 no. 17 (reprise, without repeats)0:4926No. III in D-flat major: Allegro appassionato, op. 163 no. 32:0227No. IV in C-sharp minor: Allegretto grazioso, op. 163 no. 41:2128No. IX in E major: Andante giusto “Humoresque”, op. 163 no. 91:2529No. X in E minor: Tempo di valse, op. 163 no. 101:1330No. XXVIII in C-sharp minor: Allegro, op. 179 no. 41:2731No. XXVII in D-flat major: Moderato scherzando, op. 179 no. 31:1432No. XVI in G minor: Adagio (con Fantasia), op. 163 no. 163:0833No. XXX in D minor: Allegretto, op. 179 no. 61:5434No. XII in F minor: Allegro moderato, op. 163 no. 121:2735No. V in D major: Allegro, op. 163 no. 51:5336No. XIV in F-sharp minor: Allegretto moderato, op. 163 no. 141:1737No. XVII in A-flat major: Allegro maestoso, op. 163 no. 171:3738No. XXIV in B minor: Andante appassionato, op. 163 no. 241:5439No. XLVIII in B minor: Adagio molto espressivo “Addio”, op. 179 no. 243:372017 · studio album
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Tracklist · 14 tracks · 1:20:56
1For lo, I raise up, op. 1458:052Te Deum from Service in C major, op. 1157:453Three Motets, op. 38: Justorum animae3:234Three Motets, op. 38: Caelos ascendit hodie1:595Three Motets, op. 38: Beati quorum via3:296Lighten our darkness3:487Benedictus from Service in C major, op. 1155:318O for a closer walk with God, op. 113 no. 6b3:359Jubilate from Service in C major, op. 1153:3410Magnificat for Eight-Part Chorus in B-flat, op. 16411:5111Fantasia and Toccata in D minor, op. 57: Fantasia5:5312Fantasia and Toccata in D minor, op. 57: Toccata6:2113Eternal Father, op. 135 no. 26:2914St Patrick’s Breastplate9:132018 · studio album
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Tracklist · 12 tracks · 1:15:48
1String Quartet no. 3: 1. Allegro moderato ma appassionato6:052String Quartet no. 3: 2. Allegretto semplice5:403String Quartet no. 3: 3. Andante (quasi Fantasia)7:544String Quartet no. 3: 4. Allegro feroce ma non troppo mosso7:015String Quartet no. 4: 1. Allegro moderato9:466String Quartet no. 4: 2. Allegretto vivace4:187String Quartet no. 4: 3. Adagio7:088String Quartet no. 4: 4. Allegro molto vivace6:449String Quartet no. 7: 1. Allegretto ma con fuoco7:2610String Quartet no. 7: 2. Andante6:5711String Quartet no. 7: 3. Allegro molto3:3112String Quartet no. 7: 4. Allegro giusto3:18Mass "Via victrix" / At the Abbey Gate
2019 · studio album
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Tracklist · 6 tracks · 1:19:57
1Mass "Via victrix", op. 173: I. Kyrie eleison11:172Mass "Via victrix", op. 173: II. Gloria14:153Mass "Via victrix", op. 173: III. Credo18:424Mass "Via victrix", op. 173: IV. Sanctus13:035Mass "Via victrix", op. 173: V. Agnus Dei10:336At the Abbey Gate, op. 17712:072019 · studio album
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Tracklist · 13 tracks · 1:15:35
1Blessed City, Heavenly Salem8:492Let All Mortal Flesh Keep Silence3:433The Lamentation8:224Bring Us, O Lord God3:505Strength Ye the Weak Hands6:496Faire is the Heaven5:077Flourish for an Occasion5:218A Song of Wisdom, op. 113 no. 6a4:499O for a Closer Walk with God, op. 113 no. 6b3:0910For Lo, I Raise Up, op. 1457:4811Evening Service in A, op. 12: Magnificat6:2712Evening Service in A, op. 12: Nunc dimittis5:4913Festal Communion Service in B-flat, op. 128: Gloria in excelsis5:32A Song of Agincourt / Overture in the Style of a Tragedy / Verdun / A Welcome March / Fairy Day
2019 · studio album
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Tracklist · 8 tracks · 1:05:28
1Overture in the Style of a Tragedy, op. 908:552Verdun: Solemn March and Heroic Epilogue, op. 151: Solemn March: Adagio molto, tempo di marcia solenne8:273Verdun: Solemn March and Heroic Epilogue, op. 151: Heroic Epilogue: Allegro moderato8:154A Welcome March, op. 875:245Fairy Day, op. 131: Fairy Dawn: Quasi allegro molto moderato7:156Fairy Day, op. 131: Fairy Noon: Larghetto5:187Fairy Day, op. 131: Fairy Night: Allegretto tranquillo6:088A Song of Agincourt, op. 16815:462019 · studio album
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Tracklist · 15 tracks · 1:03:53
1Rest4:162Three Shakespeare Songs: 1. Full Fathom Five3:293Three Shakespeare Songs: 2. The Cloud‐Capp’d Towers2:294Three Shakespeare Songs: 3. Over Hill, Over Dale1:045The Lark Ascending15:346The Drowned Lovers –5:347The Blue Bird, op. 119 no. 33:478Three Choral Songs: I. September2:199Three Choral Songs: II. I Seraillets have2:5010Three Choral Songs: III. Havde jeg, o havde jeg en dattersøn, o ja!1:3311Uti vår hage2:3412Limu, limu, lima1:2613Kung Liljekonvalje3:5314Ich bin der Welt abhanden gekommen6:2815Serenity (O magnum mysterium)6:372020 · studio album
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Tracklist · 11 tracks · 1:19:00
1String Quartet No. 1 in G Major, Op. 44: I. Allegro assai8:422String Quartet No. 1 in G Major, Op. 44: II. Poco allegro e grazioso - Presto5:233String Quartet No. 1 in G Major, Op. 44: III. Largo con molto espressione10:214String Quartet No. 1 in G Major, Op. 44: IV. Allegro molto5:085String Quartet No. 2 in A Minor, Op. 45: I. Molto moderato - Più moto8:296String Quartet No. 2 in A Minor, Op. 45: II. Prestissimo2:397String Quartet No. 2 in A Minor, Op. 45: III. Andante espressivo7:478String Quartet No. 2 in A Minor, Op. 45: IV. Allegro molto7:469String Quartet No. 6 in A Minor, Op. 122: I. Allegro molto moderato8:2410String Quartet No. 6 in A Minor, Op. 122: II. Andante quasi lento7:3811String Quartet No. 6 in A Minor, Op. 122: III. Allegro scherzando6:43Parry: Songs of Farewell / Stanford / Gray / Wood
2020 · studio album
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Tracklist · 13 tracks · 1:04:41
1Three Motets, op. 38: Justorum animae3:222Three Motets, op. 38: Caelos ascendit hodie2:033Three Motets, op. 38: Beati quorum via3:304Magnificat and Nunc dimittis in F minor: Magnificat4:535Magnificat and Nunc dimittis in F minor: Nunc dimittis3:126Magnificat for Eight-part Chorus in B-flat, op. 16412:377Nunc dimittis in B-flat3:178Songs of Farewell: My Soul, There Is a Country3:409Songs of Farewell: I Know My Soul Hath Power to Know All Things2:1910Songs of Farewell: Never Weather-beaten Sail3:2811Songs of Farewell: There Is an Old Belief4:3112Songs of Farewell: At the Round Earth’s Imagined Corners7:3413Songs of Farewell: Lord, Let Me Know Mine End10:15Stanford and Howells Remembered
2020 · studio album
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Tracklist · 21 tracks · 1:31:20
Disc 11Evening Canticles in G: Magnificat4:022Evening Canticles in G: Nunc dimittis3:343When Mary Thro’ the Garden Went3:274I Heard a Voice from Heaven4:545Latin Magnificat, op. 16411:116Evening Canticles in B-flat: Magnificat3:337Evening Canticles in B-flat: Nunc dimittis3:058O for a Closer Walk3:179Te Deum in C7:23Disc 21Requiem: Salvator mundi1:502Requiem: Psalm 232:153Requiem: Requiem aeternam (1)3:144Requiem: Psalm 1212:175Requiem: Requiem aeternam (2)3:356Requiem: I Heard a Voice from Heaven4:167The “Gloucester Service”: Magnificat6:278The “Gloucester Service”: Nunc dimittis4:139The Fear of the Lord5:1910Like as the Hart Desireth the Waterbrooks5:2811Long, Long Ago4:4212All My Hope on God is Founded3:18String Quintets and Intermezzi
2020 · studio album
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Tracklist · 10 tracks · 1:06:30
1Quintet no. 1 in F major: 1. Allegro8:112Quintet no. 1 in F major: 2. Andante7:403Quintet no. 1 in F major: 3. Allegretto – Allegro12:114Three Intermezzi: 1. Andante espressivo – Allegretto leggiero – Tempo I3:155Three Intermezzi: 2. Allegro agitato – Tranquillo2:216Three Intermezzi: 3. Allegretto scherzando2:357Quintet no. 2 in C minor: 1. Allegro molto moderato ma energico10:028Quintet no. 2 in C minor: 2. Andante8:169Quintet no. 2 in C minor: 3. Allegro molto3:2910Quintet no. 2 in C minor: 4. Finale. Adagio – Allegro giusto8:302022 · studio album
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Tracklist · 38 tracks · 1:18:22
1A Child’s Garland of Songs, op. 30: Bed in Summer1:132A Child’s Garland of Songs, op. 30: Pirate Story1:243A Child’s Garland of Songs, op. 30: Foreign Lands1:454A Child’s Garland of Songs, op. 30: Windy Nights0:555A Child’s Garland of Songs, op. 30: Where Go the Boats?1:586A Child’s Garland of Songs, op. 30: My Shadow2:337A Child’s Garland of Songs, op. 30: Marching Song1:218A Child’s Garland of Songs, op. 30: Foreign Children2:319A Child’s Garland of Songs, op. 30: My Ship and Me1:5410Four Songs, op. 112: Spring1:5111Four Songs, op. 112: The Silence3:0012Four Songs, op. 112: The City Child1:3413Four Songs, op. 112: The Vision3:2714Six Songs, op. 175: A Song of the Bow1:2715Six Songs, op. 175: Drop Me a Flower1:4016Six Songs, op. 175: The Winds of Bethlehem3:5517Six Songs, op. 175: The Monkey’s Carol3:1118Six Songs, op. 175: Lullaby3:3719Six Songs, op. 175: The Unknown Sea2:4320Songs from the Elfin Pedlar Book I: Two Little Stars1:5321Songs from the Elfin Pedlar Book I: The Pedlar2:2622Songs from the Elfin Pedlar Book I: Little Snowdrop0:5723Songs from the Elfin Pedlar Book I: The Piper of the Spring1:5024Songs from the Elfin Pedlar Book I: Speedwell1:4225Songs from the Elfin Pedlar Book I: The Dream Ship1:3126Songs from the Elfin Pedlar Book II: Summer1:0827Songs from the Elfin Pedlar Book II: What Do You See?2:3628Songs from the Elfin Pedlar Book II: The Piper2:4729Songs from the Elfin Pedlar Book II: The Secret Place2:2230Songs from the Elfin Pedlar Book II: Night1:3531Songs from the Elfin Pedlar Book II: The Dust-Man1:0132Witches’ Charms1:2933Summer’s Rain and Winter’s Snow1:5034Fairy Lures1:3935The Hoofs of the Horses1:4736A Japanese Lullaby2:2837Worship2:5938The King’s Highway2:232023 · studio album
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Tracklist · 30 tracks · 1:14:24
1Requiem, op. 63: Introit: Requiem aeternam –3:492Requiem, op. 63: Introit: Te decet hymnus –1:493Requiem, op. 63: Introit: Requiem aeternam1:474Requiem, op. 63: Kyrie: Kyrie I –1:555Requiem, op. 63: Kyrie: Kyrie II1:016Requiem, op. 63: Kyrie: Kyrie III1:137Requiem, op. 63: Gradual: Requiem aeternam –1:358Requiem, op. 63: Gradual: In memoria aeterna2:409Requiem, op. 63: Sequence: Dies irae –0:5310Requiem, op. 63: Sequence: Tuba mirum –2:3611Requiem, op. 63: Sequence: Liber scriptus proferetur1:5912Requiem, op. 63: Sequence: Quid sum miser?0:5413Requiem, op. 63: Sequence: Quem patronum rogaturus? –0:5514Requiem, op. 63: Sequence: Rex tremendae maiestatis –1:3315Requiem, op. 63: Sequence: Recordare, Jesu pie2:2716Requiem, op. 63: Sequence: Quaerens me –1:5417Requiem, op. 63: Sequence: Iuste iudex ultionis –2:3918Requiem, op. 63: Sequence: Inter oves locum praesta2:3919Requiem, op. 63: Sequence: Confutatis maledictis –2:2520Requiem, op. 63: Sequence: Lacrimosa dies illa –4:4821Requiem, op. 63: Sequence: Pie Jesu Domine2:1822Requiem, op. 63: Offertorium: Domine Jesu Christe –2:4523Requiem, op. 63: Offertorium: Quam olim Abrahae promisisti2:3224Requiem, op. 63: Offertorium: Hostias et preces tibi –2:1125Requiem, op. 63: Offertorium: Transire ad vitam2:5226Requiem, op. 63: Sanctus: Sanctus –4:0027Requiem, op. 63: Sanctus: Benedictus –4:1628Requiem, op. 63: Sanctus: Osanna1:4929Requiem, op. 63: Agnus Dei et Lux aeterna: Agnus Dei –3:2030Requiem, op. 63: Agnus Dei et Lux aeterna: Lux aeterna6:50Cushendall - Irish Song Cycles
2024 · studio album
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Tracklist · 25 tracks · 1:21:29
1Cushendall, Op. 118: No. 1, Ireland3:212Cushendall, Op. 118: No. 2, Did You Ever?2:593Cushendall, Op. 118: No. 3, Cushendall4:464Cushendall, Op. 118: No. 4, The Crow2:015Cushendall, Op. 118: No. 5, Daddy-Long-Legs3:076Cushendall, Op. 118: No. 6, How Does the Wind Blow?5:107Cushendall, Op. 118: No. 7, Night4:198A Fire of Turf, Op. 139: No. 1, A Fire of Turf3:489A Fire of Turf, Op. 139: No. 2, The Chapel on the Hill2:5110A Fire of Turf, Op. 139: No. 3, Cowslip Time1:3011A Fire of Turf, Op. 139: No. 4, Scared2:0912A Fire of Turf, Op. 139: No. 5, Blackberry Time2:3213A Fire of Turf, Op. 139: No. 6, The Fair1:5314A Fire of Turf, Op. 139: No. 7, The West Wind3:5515A Sheaf of Songs from Leinster, Op. 140: No. 1, Granduer4:2316A Sheaf of Songs from Leinster, Op. 140: No. 2, Thief of the World1:0117A Sheaf of Songs from Leinster, Op. 140: No. 3, A Soft Day2:1918A Sheaf of Songs from Leinster, Op. 140: No. 4, Little Peter Morrissey3:0219A Sheaf of Songs from Leinster, Op. 140: No. 5, The Bold Unbiddable Child1:0320Blarney Ballads: No. 1, The Grand Ould Man4:0321Blarney Ballads: No. 1, The Grand Ould Man7:0022Blarney Ballads: No. 2, The March of the Man of Hawrden3:5223Blarney Ballads: No. 3, The Wearing of the Blue4:0024Shamus O'Brien, Op. 61 (Arr. for Voice & Piano): Where Is the Man That Is Coming?2:4025Shamus O'Brien, Op. 61 (Arr. for Voice & Piano): A Grave Yawns Cold3:45Songs of the Sea / Songs of the Fleet / Symphony No. 3 "Irish"
2024 · studio album
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Tracklist · 14 tracks · 1:28:58
1Songs of the Sea, Op. 91: No. 1, Drake's Drum3:212Songs of the Sea, Op. 91: No. 2, Outward Bound3:093Songs of the Sea, Op. 91: No. 3, Devon, O Devon, in Wind and Rain1:464Songs of the Sea, Op. 91: No. 4, Homeward Bound6:525Songs of the Sea, Op. 91: No. 5, The Old Superb3:126Songs of the Fleet, Op. 117: No. 1, Sailing at Dawn5:207Songs of the Fleet, Op. 117: No. 2, The Songs of the Sou'Wester2:568Songs of the Fleet, Op. 117: No. 3, The Middle Watch6:409Songs of the Fleet, Op. 117: No. 4, The Little Admiral3:2110Songs of the Fleet, Op. 117: No. 5, Fare Well6:2811Symphony No. 3 in F Minor, Op. 28 "Irish": I. Allegro moderato14:2512Symphony No. 3 in F Minor, Op. 28 "Irish": II. Allegro moderato vivace7:0313Symphony No. 3 in F Minor, Op. 28 "Irish": III. Andante con moto12:4214Symphony No. 3 in F Minor, Op. 28 "Irish": IV. Allegro moderato ma con fuoco11:432024 · studio album
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Tracklist · 22 tracks · 1:12:57
1An Irish Idyll in Six Miniatures, op. 77 (version for voice & orchestra): no. 2, A Fairy Lough3:442The Clown’s Songs from “Twelfth Night”, op. 65 (version for voice & orchestra): II. Come Away Death3:343Is it the Wind of the Dawn (version for voices & orchestra)2:434La Belle Dame sans merci (arr. for voice & orchestra)6:4655 Sonnets from “The Triumph of Love”, op. 82 (version for voice & orchestra): no. 4, I Think that We Were Children3:3265 Sonnets from “The Triumph of Love”, op. 82 (version for voice & orchestra): no. 3, When in Solemn Stillness3:5375 Sonnets from “The Triumph of Love”, op. 82 (version for voice & orchestra): no. 5, O Flames of Passion2:308Three Cavalier Songs, op. 17 (version for mezzo‐soprano): I. Marching Along2:339Three Cavalier Songs, op. 17 (version for mezzo‐soprano): II. King Charles2:0110Three Cavalier Songs, op. 17 (version for mezzo‐soprano): III. Boot, Saddle, To Horse1:5711Songs of Faith, op. 97, Set 2 (arr. for voice & orchestra): I. To the Soul3:3112Songs of Faith, op. 97, Set 2 (arr. for voice & orchestra): II. Tears! tears! tears4:4213Songs of Faith, op. 97, Set 2 (arr. for voice & orchestra): III. Joy, Shipmate, Joy!1:5014Irish Songs and Ballads (version for voice & orchestra): Chieftain of Tyrconnell3:2215Songs of Old Ireland (version for voice & orchestra): no. 34, The Foggy Dew2:4016Songs of Old Ireland (version for voice & orchestra): no. 42, When She Answered Me1:4817O Ye Dead (version for voice & orchestra)4:0118Songs of Old Ireland (version for voice & orchestra): no. 6, Battle Hymn1:2119Songs of Old Ireland (version for voice & orchestra): no. 22, Lament for O R O’Neill3:3620Songs of Old Ireland (version for voice & orchestra): no. 2, Emer’s Farewell to Cucullain4:1621Songs of Erin, op. 76 (version for voice & orchestra): no. 22, The Alarm1:3422Bible Songs, op. 113 (version for voice & orchestra): III. A Song of Hope7:03Partsongs, Pastorals and Folksongs
2024 · studio album
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Tracklist · 30 tracks · 1:15:52
1Six Irish Folksongs, Op. 78: No. 1, Oh! Breathe Not His Name2:192Six Irish Folksongs, Op. 78: No. 2, What the Bee is to the Flow’ret1:323Six Irish Folksongs, Op. 78: No. 3, At the Mid Hour of Night2:184Six Irish Folksongs, Op. 78: No. 4, The sword of Erin2:065Six Irish Folksongs, Op. 78: No. 5, It is Not the Tear3:006Six Irish Folksongs, Op. 78: No. 6, Oh, The Sight Entrancing2:257Eight Partsongs, Op. 127: No. 1, Plighted2:078Eight Partsongs, Op. 127: No. 2, Veneta2:209Eight Partsongs, Op. 127: No. 3, When Mary Thro' the Garden Went3:0710Eight Partsongs, Op. 127: No. 4, The Haven3:0911Eight Partsongs, Op. 127: No. 5, The Guest3:3412Eight Partsongs, Op. 127: No. 6, Larghetto2:0813Eight Partsongs, Op. 127: No. 7, Wilderspin3:1314Eight Partsongs, Op. 127: No. 8, To a Tree3:2915Six Elizabethan Pastorals, Set 1, Op. 49: No. 1, To His Flocks2:5116Six Elizabethan Pastorals, Set 1, Op. 49: No. 2, Diaphenia1:5917Six Elizabethan Pastorals, Set 1, Op. 49: No. 3, Damon's Passion3:4418Six Elizabethan Pastorals, Set 1, Op. 49: No. 4, Sweet Love For Me2:5519Six Elizabethan Pastorals, Set 1, Op. 49: No. 5, Corydon, Arise!2:3520Six Elizabethan Pastorals, Set 1, Op. 49: No. 6, Phoebe2:3621Nine Irish Folksongs: No. 1, 'Twas Pretty to be in Ballinderry2:3722Nine Irish Folksongs: No. 2, Come, Rest in This Bosom2:1023Nine Irish Folksongs: No. 3, Silence is in Our Festal Halls3:1924Nine Irish Folksongs: No. 4, Wreathe the Bowl1:5325Nine Irish Folksongs: No. 5, When She Answered Me2:1526Nine Irish Folksongs: No. 6, She is Far From the Land1:5727Nine Irish Folksongs: No. 7, St Mary's Bells2:0728Nine Irish Folksongs: No. 8, Awake, Awake, Fianna1:4429Nine Irish Folksongs: No. 9, Molly Hewson1:3330Five Partsongs: No. 3, Emer's Farewell to Cucullain (Londonderry Air)2:50Brahms: Cello Sonatas / Stanford: Ballata
2025 · studio album
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Tracklist · 8 tracks · 1:05:51
1Cello Sonata no. 1 in E minor, op. 38: I. Allegro non troppo14:492Cello Sonata no. 1 in E minor, op. 38: II. Allegro quasi Menuetto5:513Cello Sonata no. 1 in E minor, op. 38: III. Allegro6:424Cello Sonata no. 2 in F major, op. 99: I. Allegro vivace9:125Cello Sonata no. 2 in F major, op. 99: II. Adagio affettuoso7:306Cello Sonata no. 2 in F major, op. 99: III. Allegro passionato7:027Cello Sonata no. 2 in F major, op. 99: IV. Allegro molto4:458Ballata and Ballabile, op. 160: no. 1, Ballata10:00— · studio album
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Tracklist · 10 tracks · 1:07:45
1Grand Choeur in D4:502Fantasy-Prelude10:043Caprice3:004Sonata Britannica, op. 152: 1st movement9:075Sonata Britannica, op. 152: 2nd movement9:566Sonata Britannica, op. 152: 3rd movement7:397Chorale-Prelude on "Eventide"4:488March Héroïque5:309Adagio6:1210War March of the Priests6:39Twentieth Century English Choral Classics
— · studio album
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Tracklist · 21 tracks · 58:25
1My Love Dwelt in a Northern Land, Op. 18/33:432Full Fathom Five3:183The Cloud-Capp'd Towers2:024Over Hill, Over Date1:025The Bluebird3:156Dashing Away With the Smooting Iron2:477Greensleeves5:408Time1:329Concord2:0610Time and Concord1:1711Country Girls1:0712Rustics and Fishermen0:5713Final Dance of Homage2:0714Ca' the Yowes4:5215I Love My Love4:1016Bushes and Briars3:0917Early One Morning2:5818Lilliburlero1:3919Poortith Cauld5:3420Gwenllian2:5621Yarmouth Fair2:14
Album · 6
| Cover | Year | Title | Notes | First release |
|---|---|---|---|---|
| 1980 | Stanford: Clarinet Concerto / Finzi: Clarinet ConcertoSearch SpotifySearch YouTube MusicTracklist · 6 tracks · 48:50A1Clarinet Concerto in A minor, op. 80: Allegro moderato5:55 A2Clarinet Concerto in A minor, op. 80: Andante con moto9:21 A3Clarinet Concerto in A minor, op. 80: Allegro moderato6:14 B1Concerto for Clarinet and String Orchestra, op. 31: I. Allegro vigoroso7:40 B2Concerto for Clarinet and String Orchestra, op. 31: II. Adagio ma senza rigore11:27 B3Concerto for Clarinet and String Orchestra, op. 31: III. Rondo (Allegro giocoso)8:13 | Compilation | 1980 | |
| 1994 | Stanford: Irish Symphony / Elgar: From the Bavarian HighlandsSearch SpotifySearch YouTube MusicTracklist · 10 tracks · 1:10:001From the Bavarian Highlands, Op. 27: I. The Dance (Sonnenbichl)3:58 2From the Bavarian Highlands, Op. 27: II. False Love (Wamberg)3:55 3From the Bavarian Highlands, Op. 27: III. Lullaby (In Hammersbach)3:59 4From the Bavarian Highlands, Op. 27: IV. Aspiration (Bei Sankt Anton)2:59 5From the Bavarian Highlands, Op. 27: V. On the Alm (Hoch Alp)3:18 6From the Bavarian Highlands, Op. 27: VI. The Marksmen (Bei Murnau)5:58 7Symphony No. 3 in F minor "Irish": I. Allegro moderato14:25 8Symphony No. 3 in F minor "Irish": II. Allegro moderato vivace7:03 9Symphony No. 3 in F minor "Irish": III. Andante con moto12:42 10Symphony No. 3 in F minor "Irish": IV. Allegro moderato ma con fuoco11:43 | Compilation | 1994 | |
| 1994 | Symphonies nos. 1-7Search SpotifySearch YouTube MusicTracklist · 28 tracks · 4:39:21Disc 1 1Symphony no. 1 in B-flat major: I. Larghetto - Allegro vivace16:06 2Symphony no. 1 in B-flat major: II. Scherzo. In Ländler tempo - Trio 1: Presto - Trio 2 (Poco più lento)8:52 3Symphony no. 1 in B-flat major: III. Andante tranquillo9:55 4Symphony no. 1 in B-flat major: IV. Finale. Allegro molto11:10 Disc 21Symphony no. 2 in D minor "Elegiac": I. Allegro appassionato10:36 2Symphony no. 2 in D minor "Elegiac": II. Lento espressivo9:36 3Symphony no. 2 in D minor "Elegiac": III. Scherzo. Allegro con fuoco4:21 4Symphony no. 2 in D minor "Elegiac": IV. Adagio - Allegro moderato - Allegro molto ma non presto11:09 5Symphony no. 3 in F minor, op. 28 "Irish": I. Allegro moderato14:25 6Symphony no. 3 in F minor, op. 28 "Irish": II. Allegro molto vivace7:03 7Symphony no. 3 in F minor, op. 28 "Irish": III. Andante con moto12:42 8Symphony no. 3 in F minor, op. 28 "Irish": IV. Finale. Allegro moderato con fuoco11:43 Disc 31Symphony no. 4 in F major, op. 31: I. Allegro vivace e gioioso12:07 2Symphony no. 4 in F major, op. 31: II. Intermezzo. Allegretto agitato - Tranquillo ma l'istesso tempo9:06 3Symphony no. 4 in F major, op. 31: III. Andante molto moderato13:40 4Symphony no. 4 in F major, op. 31: IV. Finale. Allegro non troppo - Maestoso8:56 5Symphony no. 7 in D minor, op. 124: I. Allegro7:20 6Symphony no. 7 in D minor, op. 124: II. Tempo di minuetto (Allegretto molto moderato)5:48 7Symphony no. 7 in D minor, op. 124: III. Variations and Finale. Andante -7:53 8Symphony no. 7 in D minor, op. 124: III. Variations and Finale. Allegro giusto - Poco più lento - Allegro maestoso (alla breve)7:38 Disc 41Symphony no. 5 in D major, op. 56 "L'allegro ed il pensieroso": I. Allegro moderato9:55 2Symphony no. 5 in D major, op. 56 "L'allegro ed il pensieroso": II. Allegro grazioso7:01 3Symphony no. 5 in D major, op. 56 "L'allegro ed il pensieroso": III. Andante molto tranquillo12:03 4Symphony no. 5 in D major, op. 56 "L'allegro ed il pensieroso": IV. Allegro molto14:07 5Symphony no. 6 in E-flat major, op. 94: I. Allegro con brio8:02 6Symphony no. 6 in E-flat major, op. 94: II. Adagio e molto espressivo12:54 7Symphony no. 6 in E-flat major, op. 94: III. Scherzo and Trio (Presto) -3:23 8Symphony no. 6 in E-flat major, op. 94: IV. Moderato e maestoso11:50 | Compilation | April 1994 | |
| 1997 | Trottin' to the Fair: Sings and Ballads by Sir Charles StanfordSearch SpotifySearch YouTube MusicTracklist · 28 tracks · 1:08:411The chapel on the hill2:30 2Trottin' to the fair1:22 3My Love's an arbutus2:54 4The confession2:57 5The winds of Bethlehem4:48 6The song of the bow1:20 7Jenny2:05 8Colonel Carty1:15 9Londonderry air5:19 10The blackbird and the wren2:06 11The zephyrs blest2:10 12A lament4:06 13The willow tree2:51 14drop me a flower1:37 15Heraclitus2:33 16Blackberry time2:51 17A soft day2:12 18The merry month of may1:37 19The ploughman's whistle4:20 20The monkey's carol3:08 21The irish reel1:27 22The bold unbiddable child0:53 23Witches' charms1:12 24The fairy lough3:40 25More of cloyne2:58 26The poison on the darts1:15 27Thief of the world0:56 28Back to Ireland2:19 | Compilation | 1997 | |
| 2002 | The British Music Collection: Sir Charles Villiers StanfordSearch SpotifySearch YouTube MusicTracklist · 17 tracks · 1:01:561The Bluebird, op. 119 no. 33:23 2Beata Quorum Via, op. 38 no. 33:23 3Songs of the Sea, op. 91: No. 1. Drake's Drum2:51 4Songs of the Sea, op. 91: No. 2. Outward Bound3:24 5Songs of the Sea, op. 91: No. 3. Devon, O Devon in Wind and Rain1:50 6Songs of the Sea, op. 91: No. 4. Homeward Bound6:18 7Songs of the Sea, op. 91: No. 5. The Old Superb3:18 8Service in B-flat, op. 10: Te Deum Laudamus6:14 9Service in B-flat, op. 10: Magnificat3:14 10Service in B-flat, op. 10: Nunc Dimittis3:19 11Service in G, op. 81: Magnificat4:44 12Service in G, op. 81: Nunc Dimittis4:26 13O Sing unto the Lord a New Song3:56 14O Praise God in His Holiness2:08 15Agnus Dei2:47 16The Fairy Lough, op. 77 no. 23:43 17A Soft Day, op. 140 no. 32:58 | Compilation | 4 February 2002 | |
| 2012 | Sacred Choral MusicSearch SpotifySearch YouTube MusicTracklist · 45 tracks · 3:24:21Disc 1 1Magnificat in B-flat, op. 103:36 2Nunc dimittis in B-flat, op. 103:40 3The Lord is my Shepherd8:27 4Three Latin Motets, op. 38: Justorum animae3:15 5Three Latin Motets, op. 38: Coelos ascendit hodie2:01 6Three Latin Motets, op. 38: Beati quorum via3:47 7Magnificat in A, op. 126:11 8Nunc dimittis in A, op. 125:34 9If thou shalt confess, op. 37 no. 24:31 10Magnificat in F, op. 364:17 11Nunc dimittis in F, op. 363:17 12And I saw another angel, op. 37 no. 15:52 13Pater noster4:26 14Magnificat in E-flat5:01 15Nunc dimittis in E-flat4:12 16Jubilate in B-flat, op. 103:14 17Te Deum in B-flat, op. 106:19 Disc 21Evening Service in G, op. 81: Magnificat4:11 2Evening Service in G, op. 81: Nunc dimittis3:50 3Bible Songs and Six Hymns, op. 113: A Song of Freedom3:28 4Bible Songs and Six Hymns, op. 113: Let Us With a Gladsome Mind1:25 5Bible Songs and Six Hymns, op. 113: A Song of Trust5:31 6Bible Songs and Six Hymns, op. 113: Purest and Highest2:44 7Bible Songs and Six Hymns, op. 113: A Song of Hope6:44 8Bible Songs and Six Hymns, op. 113: In Thee is Gladness2:35 9Bible Songs and Six Hymns, op. 113: A Song of Peace4:14 10Bible Songs and Six Hymns, op. 113: Pray That Jerusalem2:23 11Bible Songs and Six Hymns, op. 113: A Song of Battle2:33 12Bible Songs and Six Hymns, op. 113: Praise to the Lord, the Almighty2:03 13Bible Songs and Six Hymns, op. 113: A Song of Wisdom4:19 14Bible Songs and Six Hymns, op. 113: O for a Closer Walk With God3:31 15Morning Service in C, op. 115: Te Deum7:22 16Morning Service in C, op. 115: Benedictus5:28 17Morning Service in C, op. 115: Jubilate3:19 Disc 31Evening Service in C, op. 115: Magnificat5:28 2Evening Service in C, op. 115: Nunc dimittis2:59 3Ye Choirs of New Jerusalem, op. 1234:49 4Gloria in excelsis, op. 1285:20 5St Patrick’s Breastplate7:55 6Glorious and Powerful God, op. 135/33:46 7Eternal Father, op. 135/26:05 8For Lo, I Raise Up, op. 1457:51 9Magnificat for Eight-Part Chorus, op. 16410:09 10Lighten Our Darkness3:17 11How Beauteous Are Their Feet3:22 | Compilation | 29 October 2012 |
Stats & PK
Percentile within all 23,672 published artists.Put Charles Villiers Stanford head-to-head →
| Metric | Value | Percentile |
|---|---|---|
| Wikipedia language versions | 33 | 91.9th |
| Spotify monthly listeners | — | no data |
| Release groups in DB | 63 | 95.7th |
| Studio albums | 57 | 99.4th |
| Awards recorded | 3 | 95.4th |
| Timeline events | 59 | 99.2th |
| Recording span (years) | -56 | 6.3th |
| Genres | 6 | 91th |
Awards & honours
| Year | Award | Category | Result |
|---|---|---|---|
| 1883 | Doctor of Music | won | |
| — | Doctor of Civil Law | won | |
| — | Legum Doctor | won |
Where this record comes from
portrait—Wikimedia Commons · Public domain · retrieved 11 October 2026
https://commons.wikimedia.org/wiki/File:Charles_Villiers_Stanford_c1894bw.jpgaliases/urls—musicbrainz · CC0 · retrieved 10 October 2026
https://musicbrainz.org/artist/ce0b4047-834e-4554-9bb6-e334f26fb30cdiscography—musicbrainz · CC0 · retrieved 10 October 2026
https://musicbrainz.org/artist/ce0b4047-834e-4554-9bb6-e334f26fb30ccore—wikidata · CC0 · retrieved 10 October 2026
https://www.wikidata.org/wiki/Q368264genre—wikidata · CC0 · retrieved 11 October 2026
https://www.wikidata.org/wiki/Q368264seed-list—wikipedia · CC BY-SA 4.0 · retrieved 10 October 2026
https://en.wikipedia.org/wiki/Charles_Villiers_Stanfordbiography—wikipedia-en · CC BY-SA 4.0 · retrieved 10 October 2026
https://en.wikipedia.org/wiki/Charles_Villiers_Stanford
Why this artist is in the database
- List of composers by name
Tier rule: historic figure (33 language versions, career ended)
Image: Unknown author Unknown author (W. & D. Downey) · Public domain · Wikimedia Commons
Wikidata: Q368264 · MusicBrainz: ce0b4047-834e-4554-9bb6-e334f26fb30c
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