for a guinea and a half. Winning a concerto competition with the Hastings Municipal Orchestra began her performance career in earnest. In 1937, she entered the Royal College of Music, where she studied oboe with Léon Goossens, piano with Arthur Alexander and composition with Gordon Jacob, and later with Ralph Vaughan Williams. Several of her works were first performed there. Continuing her studies at Durham University led her to meet her future husband, clarinettist Robert Baker. At age 26, for her work The Cat she became the youngest British woman to receive a doctorate in music. She was an accomplished all-round musician, as a soloist on both oboe and piano as well as a prolific composer. Her repertoire included works such as Arthur Bliss's Piano Concerto and Constant Lambert's The Rio Grande. When she was 33 a shoulder injury ended her performance career, and she decided to focus her energies on conducting and composition. An early success came when Sir Henry Wood conducted her tone poem Knight in Armour at the Last Night of the Proms in 1942. Gipps's music is marked by a skillful use of instrumental colour and often shows the influence of Vaughan Williams, rejecting the trends in avant-garde modern music such as serialism and twelve-tone music. She considered her orchestral works, her five symphonies in particular, as her greatest works. She also produced two substantial piano concertos. After the war Gipps turned her attention to chamber music, and in 1956 she won the Cobbett Prize of the Society of Women Musicians for her Clarinet Sonata, Op. 45. In March 1945, she performed Glazunov's Piano Concerto No. 1 with the City of Birmingham Orchestra as a piano soloist while also, in the same program, performing in her own Symphony No. 1 on cor anglais under the baton of George Weldon. Her early career was affected strongly by discrimination against women in the male-dominated ranks of music (and particularly composition), by professors and judges as well as the world of music criticism. Because of it she developed a tough personality that many found off-putting, and a fierce determination to prove herself through her work. She founded the London Repertoire Orchestra in 1955 as an opportunity for young professional musicians to become exposed to a wide range of music. In 1957, she conducted the Pro Arte Orchestra. She later founded the Chanticleer Orchestra in 1961, a professional ensemble which