In The Soldier's Tale there were instances of musical parody which could not possibly be elucidated by simple harmonic analysis within the work's own stylistic terms of reference; for example, it was necessary to allude to Bach's style in order to discuss the harmonies of Stravinsky's chorales. While it is not always correct to view neo-classical works as parodies, generically they present a ‘gloss’ on earlier styles—so that it becomes impossible to analyse such works without reference back, sometimes even to a particular work of a particular forerunner. Clearly an extended study of the use of classical harmonic functions in the works of Stravinsky's middle period would be an undertaking worthy of some months of research and several chapters of exegesis. Here I shall content myself with some instances of his use of cadential formulae.

Copland's earlier works seem to invite classification—almost to classify themselves—by virtue of the composer's tendency to attack problems singly, and because the situations that evoked them are clear and definable. In the Third Symphony, written between 1944 and 1946, he is writing to a new specification. For a wider, but partly hypothetical audience, that must be presumed to include both experienced listeners, and a new generation, brought in by radio and recording; emotionally ready, but technically less well equipped to follow where the composer leads. “This is not a time for poignantly subjective lieder but for a large mass-singing”, Copland had written in 1941; by now, he was ready to make the big, all-inclusive statement, in terms acceptable to the unknown public, comprising both expert and casual listeners.

• Nicholas Maw's Sinfonia (Stephen Walsh)

• Rawsthorne's Cello Concerto (Alun Hoddinott)