20th century was the birth of the English Pastoral School of classical music. This paralleled similar developments in most European countries, for instance in the music of Smetana, Dvořák, Grieg, Liszt, Wagner, Nielsen and Sibelius. The movement was particularly influenced by the British folk revival through the work of figures such as Sabine Baring-Gould and Cecil Sharp. Examples include the Australian Percy Grainger's Molly on the Shore (1907), Frederick Delius' Brigg Fair (1908), and Ralph Vaughan Williams' English Folk Song Suite (1923) for brass band, as well as subtler references to folk themes in other works including the works of Arnold Bax, George Butterworth, Gustav Holst, Samuel Coleridge-Taylor and John Ireland. Similar developments could be seen in Scotland in the work of Sir Alexander Mackenzie, who celebrated his native Scotland in three Scottish Rhapsodies for orchestra (1880–81, 1911), and in various concerted works for piano or violin and orchestra composed during the 1880s and 1890s. Similarly, John McEwen's Pibroch (1889), Border Ballads (1908) and Solway Symphony (1911) also incorporated traditional Scottish folk melodies. Twentieth century Under the Anglo-Irish Treaty of 1921, twenty-six of Ireland's thirty-two counties, including the city of Dublin, were formally separated from the United Kingdom. While the two countries continued to share a classical music heritage, they would now develop on different lines. In what was now the United Kingdom of Great Britain and Northern Ireland, the outstanding composers of the century included William Walton, Benjamin Britten, Michael Tippett, Lennox Berkeley, and Havergal Brian. Their individual approaches to music and its part in the national identity differed significantly. Walton's work featured fanfares and patriotic themes, including the ceremonial marches Crown Imperial, written for the coronation of King George VI and Queen Elizabeth, and Orb and Sceptre, for that of Queen Elizabeth II. Britten, on the other hand, made a conscious effort to set himself apart from the English musical mainstream, which he regarded as complacent, insular and amateurish. His works included the operas Peter Grimes (1945), and Billy Budd (1951), as well the instrumental compositions Nocturnal after John Dowland for guitar (1964). It is arguable that this trend may have contributed to the revival of interest in early music which has been led, in Britain, by such figures as Arnold Dolmetsch and David Munrow. Twenty-first century In the present era, classical music in Britain must contend and co-exist with a dominant culture of popular music. Specialist music