Ce petit ouvrage pour hautbois et trio à cordes a été écrite c.1878, probablement pour des performances à Glee Club Worcester. Il n'a jamais été publiées. Partition et parties. / Hautbois, Violon, Viola, Violoncelle

Cantilena was commissioned by the London Chamber Music Society to celebrate their move to King's Place in October 2008. First performed by Nicholas Daniel and members of the Chilingirian Quartet at King’s Place London on 5th October 2008. The work is a short lyrical piece where an outsider [the oboe] joins the group [a string trio] and adds to their dialogue. At first the newcomer is treated with a mixture of suspicion and agitation but eventually is made welcome. The oboe is invited to share the musical theme that has been established which he then proceeds to embellish and adorn. He leads the harmonic changes that result in the theme being heard in manydifferent keys. He then introduces a new theme. The excitement grows and leads to a climax. A peaceful coda re-establishes the original theme and all ends harmoniously among the integrated quartet.

In his Financial Times review Max Loppert says '. . .the title aptly reflects both the songful character of the musical invention and the relationship of wind solo to string trio. . .a composition of great charm and precise character; its other virtues of well-found proportions distinctive harmonic movement and secure control of incident must not be allowed to sound negative ones.' 9th March 1981

A capricious, lyrical, and nostalgic work, it is often considered to be Vaughan Williams' most successful work in this form. The first movement is pastoral in feeling. The second movement begins with a minuet, light and staccato in nature with a middle section featuring a musette's characteristic long-held drone played by the oboe with the melody in the strings. The third movement is a scherzo and two trios. Duration 17 minutes Difficulty Moderately difficult to Difficult

Work for Oboe Violin Viola and Cello. Parts available: CH56341.This quartet was commissioned by the Institute of Contemporary Arts and written in the autumn of 1967. It is dedicated to Lady Norton and is the second of LennoxBerkeley’s three works written with the oboist the late Janet Craxton in mind the other two being his Sonatina OP 61 and Sinfonia Concertante OP 84.The work begins with a fairly extended introduction leading without a breakinto an Allegro. The whole composition is based on the internal of a third (sometime major sometimes minor) which is heard in the opening phrase of the introduction and again in the main theme of the Allegro though here in atotally different context. The allegro is in more or less traditional sonata form. The middle movement is a kind of Scherzo growing out of a rhythmical figure for the strings and a rapid arpeggio (major and minor chords) forthe oboe. This is a Presto; a more relaxed middle section corresponding to the Trio in a classical work is followed by a much shortened version of the Scherzo. The last movement is brief but very slow all four instrumentstaking up in turn a gently rocking figure that moves to and fro between two notes always a major or minor third apart. The music becomes more animated but returns to the opening figure and dies away each instrument droppingout one after the other leaving the cello alone in the last bar.