^{page 60 note 1} ‘Louis Andriessen: Polity, Time, Speed, Substance’, in Tempo 187 (12 1993), pp.7–13 Google Scholar.

page 67 note * Stanford, Charles Villiers, Pages from an Unwritten Diary, pp.58–59 Google Scholar.

^{page 67 note 1} Dibble, Jeremy, C. Hubert H. Parry: His Life and Music (Oxford University Press, 1992), p.98 Google Scholar.

^{page 67 note 2} BMS Newsletter, no.72, Dec. 1996, pp.287–8.

^{page 67 note 3} Dibble, , Parry, p. 136. Dibble clearly considers the A major sonata the first of the two whereas the notes to the Goldstone recording give the F major as No.lGoogle Scholar.

^{page 68 note 4} Though poor Parry, when put to the task by his friends, could not determine exactly how many variations there were.

^{page 68 note 5} v. programme booklet; but cf. Dibble, op.cit, p.165 Google Scholar.

^{page 68 note 6} Schenker paid scant attention to variation sets but this is one he should have looked at.

^{page 68 note 7} A black mark to Priory for labelling the composer ‘Sir Charles [sic] Parry’!

^{page 68 note 8} It was Jane Clarke who first pointed this out to me in connexion with the celebrated Brahmsian cross-rhythms. Brahms had ample leisure to absorb Couperin's style when he assisted Friedrich Chrysander with his Couperin edition.

^{page 69 note 9} Berlin, Simrock, 1921. The theme is described by the composer as a paraphrase of the passacaglia theme from the finale of Brahms's E minor symphony – yet another baroque connexion. Karel's piece dates from 1910, just six years before Hands across the Centuries.

^{page 69 note 1} ASV CD DCD 457, winner of the Grand Prix du Disque de l'Académie Charles Cros. Still available. See Rickard's, Guy brief review in 'Tempo 186, p. 44 Google Scholar.

^{page 70 note 2} Columbia 33cx 1295 (UK); Angel 35296 (USA). Columbia 33QCX 10145 (Italy). LP mono; no longer available.

^{page 70 note 3} Dischi Ricordi CRMCD 1024.