pay for his fare to London, so that he could attend the ceremony in person. Willan is best known for his sacred choral and organ works, which show evidence of his love for plainsong and Renaissance music. For example, many of his liturgical compositions employ western church modes from a thousand years ago and the modality and harmony of late nineteenth-century Russian Orthodox choral music. His vocal lines are significantly more melismatic, his style more contrapuntal and rhythmically much freer than was the case in the liturgical music of his contemporaries. The lively acoustics at Saint Mary Magdalene allowed the melismatic lines to soar and yet linger at the same time. His larger choral works, however, were very Romantic in nature. His rich harmonic palette and luxuriant, soaring melodies stand as testament to his admiration of both Brahms and Wagner. His music represents a unique and beautiful combination of styles: both an homage to the sacred music of five centuries ago and a reflection of the innovations of the Romantic/post-Romantic period in which he lived. Works A fairly comprehensive listing of his works is given at the International Music Score Library Project. The Giles Bryant Healey Willan Catalogue assigns numbers to (some of) Willan's works, eg B314, Rise up, my love, my fair one. Introduction, Passacaglia and Fugue for Organ in E flat minor (1916) Passcaglia and Fugue Epilogue Andante, Fugue and Chorale for Organ in C sharp minor (1965) Choral works Missae breves Missa brevis No. 1 in E flat Missa brevis No. 2 in F minor Missa brevis No. 3 in F major Missa brevis No. 4 in E major (1934), based on the plainsong hymn, Corde natus ex parentis Missa brevis No. 5 in F sharp minor (1935) Missa brevis No. 6 in F minor (1935) Missa brevis No. 7, "O Westron Wynde" (1936), based on the English folk melody of the same name Missa brevis No. 8 in D minor, "Missa SS Philippi et Jacobi" (1949) Missa brevis No. 9 in A minor, "Missa Sancti Michaelis" (1947) Missa brevis No. 10 in C minor/major (1948) Missa brevis No. 11 in G minor/major, "Missa Sancti Johannis Baptistae" (1953) Missa brevis No. 12 in D major (1956), based on the Christmas plainsong hymn, Christe Redemptor omnium Missa brevis No. 13 in G minor, "Holy Cross" (1960) Missa brevis No. 14, "St Alphege" (1962) Motets How They So Softly