of Mésallianz for piano and orchestra. His collaboration with Iannis Xenakis 1974–96 extended from France to the UK, Austria, Italy, and the United States, during which Xenakis dedicated three works to him, as did Rolf Gehlhaar, Takemitsu, Anne Boyd, and Morton Feldman. Performing their works established his reputation as the leading exponent of new music of his time. Steeped in church music and traditional repertoire, Woodward trained throughout his early life to perform established works side by side with more recent music as part of a belief that music was the essential expression of an experimental process. His concerts reflected this belief even though such programming was widely considered unorthodox for the time. He placed new works by Anne Boyd and Richard Meale alongside those of Scriabin, late Beethoven and J.S. Bach at the Edinburgh Festival. In Los Angeles, for the first half of three Los Angeles Philharmonic concerts, he performed Liszt's Totentanz and Xenakis alongside J.S. Bach solo harpsichord concertos with the Tokyo String Quartet. In recital, he often programmed traditional eighteenth- and nineteenth-century repertoire with new, little known, or neglected works such as those he championed by experimental fin de siècle Russian, Ukrainian and early Soviet composers Alexander Scriabin, Alexander Mosolov, Nikolai Roslavets, Ivan Vyshnegradsky, Nikolai Obukhov, Aleksei Stanchinsky. His performances of the complete works of Scriabin attracted exceptional critical reviews. Middle years In 1973, Woodward worked with Stockhausen and on Mantra for two ring-modulated pianos at Imperial College London (Lecture 7 in 3 parts), with Anne Boyd in Sussex, UK, on Angklung, and with Takemitsu on the premiere of For Away, Corona ("London version"), and the recording of his complete piano music to that point in London's Decca studios. That September, he participated in the inaugural celebrations of the Sydney Opera House as soloist for an extended tour with the six principal Australian Broadcasting Commission orchestras and premiered a series of ABC commissions, including a septet, As It Leaves the Bell, by Anne Boyd for piano, two harps and percussion. January 1974 saw Woodward invited by Witold Rowicki on an extensive tour of the US with the Warsaw Philharmonic Orchestra, during which he made his debut at Carnegie Hall. That year, Woodward founded Music Rostrum Australia at the Sydney Opera House where he collaborated with Australian composer Richard Meale and guests Luciano Berio, Cathy Berberian, David Gulpilil and Yuji Takahashi. He began performing with the Cleveland Orchestra