language. An example is the 1952 Cello Concerto written for William Pleeth, with its dark and expressive central Chaconne. The later works attracted less public attention, but were highly regarded by musicians. Stevens began to explore a very personal application of 12-note serialism. This is best illustrated in three key works: the String Quartet No 2 (1962), the Symphony No 2 (1964) and the Variations for Orchestra (1964). In these works everything that follows is derived from the opening materials, and (as Malcolm MacDonald has pointed out) the 12 note series employed are used in the context of tonalism "to supply triads, scalic segments, leading notes and other elements of tonal vocabulary". Of the String Quartet No 2, Macdonald says: Towards the end of his life Stevens explored new methods of tonal organization involving correspondence with the I Ching - evident in his final piece of chamber music, Autumn Sequence (1980) for guitar and harpsichord. In recent years most of his major orchestral, chamber and piano works have been recorded. List of works Orchestral Violin Concerto, Op. 4 (1943) Ricercar, Op. 6, for string orchestra (1944) A Symphony of Liberation, Op. 7 (1945) Eclogue, Op. 8, for small orchestra (1946) Fugal Overture, Op. 9, for orchestra (1947) Sinfonietta, Op. 10, for string orchestra (1948) (dedicated to Norman Fulton) Overture East and West, Op. 16, for wind orchestra (1950) Cello Concerto, Op. 18 (1952) Piano Concerto, Op. 26 (1955, rev. 1981) Dance Suite, Op. 28, for orchestra (1957) Adagio and Fugue, Op. 31a, for wind orchestra (1959) Prelude and Fugue, Op. 31b, for orchestra (1960) Symphony No. 2, Op. 35 (1964) Variations, Op. 36, for orchestra (1964) Choriamb, Op. 41 (1968) Introduction, Variations and Fugue on a theme of Giles Farnaby, Op. 47, for orchestra (1972) Opera Mimosa, Op. 15, unfinished opera in 3 acts to libretto by Montagu Slater (1950) The Shadow of the Glen, Op. 50, opera in 1 act to libretto by J. M. Synge (1978–79) Choral and vocal Mass, for unaccompanied double choir (1938–39) The Harvest of Peace, Op. 19, cantata for speaker, soprano, baritone, mixed choir and string orchestra to text by Randall Swingler (1952) The Palatine Coast: Three Folkish Songs, Op. 21, for high voice and piano (1952) The Pilgrims of Hope, Op. 27, cantata for soprano, baritone, mixed choir and orchestra to text by William Morris (1956, rev. 1968) Two Poetical Sketches, Op. 32,