ABSTRACT
Williams and Maconchy wrote frequently to each other during this 12-month period, when both were hard at work on large-scale vocal works: Williams’s Missa cambrensis (1968–71) and Maconchy’s music drama The Jesse Tree (Anne Ridler) (1969–70). Maconchy began to think about a commission for the 1971 King’s Lynn Festival, for which she was to write Ariadne for soprano and orchestra (1970–71). Both women had performances of older works, and Williams was reminded of the past by the re-appearance of her war-time friend Zen. Current affairs, such as the unexpected Conservative victory in the 1970 General Election, continued to occupy them. But they still found time to listen to and assess new music on the radio, as well as continuing to follow the growing success of Maconchy’s daughter Nicola.
