I have already mentioned some of his outstanding works for the Sadler’s Wells Ballet. Others include _Nocturne_, to Delius’s _Paris_; _Apparitions_, to a Liszt-Lambert score; _Les Rendez-vous_, to a Constant Lambert score based on melodies by Auber, seen in America in the repertoire of the Sadler’s Wells Theatre Ballet; the delicious _A Wedding Bouquet_, to an original score by Lord Berners and a Gertrude Stein text; _Les Patineurs_, to melodies by Meyerbeer; Constant Lambert’s _Horoscope_; _Dante Sonata_, to Liszt works arranged by Lambert; _The Wise Virgins_, to Bach arranged by Sir William Walton; _The Wanderer_, to Schubert; Walton’s _The Quest_; _Les Sirènes_, by Lord Berners; the César Franck _Symphonic Variations_; the Coronation ballet of 1953--_Homage to the Queen_; and, in a sense, most importantly, the full length _Cinderella_, utilizing the Prokofieff score; and the full length production of Delibes’ _Sylvia_. Actually, I like to think of Ashton as a dance-composer, moving freely with dramatic or symbolic characters. In all my experience of ballet and of choreographers, I do not believe there is any one more conscientious, more hard-working, more painstaking at rehearsals. While his eye misses nothing, he never raises his voice, never loses his temper. Corrections are made firmly, but quietly, almost in seeming confidence. Always he has a good word for something well done. On occasion, I have noticed something to be adjusted and have mentioned it to him. “Yes, yes, I know,” he would say. “Aren’t you going to tell them?” “You tell them,” Ashton would smile. “I can’t tell them. Go on, you tell them.” This was in connection with a musical matter. The conductor in question was taking a portion of the work at a too rapid tempo. It involved “Freddy” telling the conductor the passage was being played too fast. “No,” repeated “Freddy,” “it will work out. He will see it and feel it for himself. I don’t want to upset him.” An extraordinarily conscientious worker, he is equally self-deprecating. Some of this self-deprecation can be found in his work, for there is almost always a high degree of subtlety about all of it. Among all the choreographers I know, there is none his superior or his equal in designing sheer poetry of movement. Ashton is able, in my opinion, to bring to ballet some of that quality of enchantment that, in the old days, we found only with the Russians. This self-deprecating quality of “Freddy’s” is at its strongest on opening nights of his works. It is very real and sincere. “Everything I do is always a flop here in England, you know,” he will say. “They don’t like me.... I’ve done the best I can.... There you are.”