[7] Their work naturally drew Scott towards the contemporary English scene, and he came to know H. Balfour Gardiner and Arnold Bax, and through them Norman O'Neill, Frederick Delius, Gustav Holst, Percy Grainger, Benjamin Dale, Roger Quilter and others.

[6] In 1926 and 1927 the Oriana joined with the Bach Cantata Club for performances of Bach's Mass in B minor: in 1931 they sang works by Bax, Peter Warlock and Holst at a Festival for the International Society of Contemporary Music, and in 1936 they formed the core of a 100-voice chorus for the first London performance of Gabriel Fauré's Requiem, and for Heinrich Schütz's History of the Resurrection under Nadia Boulanger.

As the live-in organist for the West London Ethical Church in Bayswater Scott remained close to Coit and was a dedicated humanist for the rest of his life.

Later Scott moved to 13 Prince of Wales Terrace where he would stay until his death, the building then housed the Union of Ethical Societies and is still the headquarters of Humanists UK today.

[16] This first appeared at a Philharmonic Society concert in February 1920, to give the first performance of Delius's A Song of the High Hills, and also Bach's Sing Ye to the Lord and Beethoven's 9th Symphony (directed by Scott, under Albert Coates).

The choir contained a large professional element, especially among the tenors, to achieve a high standard of performance: the costs of their employment were met principally by Balfour Gardiner.

On 25 March 1920 they gave the first performance of Holst's The Hymn of Jesus, the composer conducting: they went on to introduce many modern works to London, including Delius's Requiem and Songs of Farewell, César Franck's Psyche: St Patrick's Breastplate, Walsinghame and This Worldes Joie by Bax; Requiem Mass by Sir George Henschel; April by Balfour Gardiner; Psalmus Hungaricus of Zoltán Kodály; San Francesco d'Assisi of Malipiero; The Prison by Ethel Smyth; The Canterbury Pilgrims and In Honour of the City by George Dyson; Ode on a Grecian Urn by Philip Napier Miles; Magnificat and Flourish for a Coronation by Ralph Vaughan Williams; Constant Lambert's Summer's Last Will and Testament, Igor Stravinsky's Oedipus Rex, Sergei Rachmaninoff's The Bells and Paul Hindemith's Mathis der Maler.

[19] The choir played a major part with the London Symphony Orchestra in Sir Thomas Beecham's 'revitalisation' of George Frideric Handel's Messiah in December 1926, and undertook much of the choral work in the Delius Festival of 1929.

It was first assembled in 1922, and gave most of its performances in private houses or for music clubs, though occasionally singing at Queen's Hall in company with other Kennedy Scott choirs.

The choir of the Club consisted of twenty-five singers, mostly professional, while the instrumental work was an ensemble of London players called the Bach Chamber Orchestra.

[28] On 27 November 1929, at the Annual Extra Meeting, a bicentennial performance of the St Matthew Passion, in English, using Dr Troutbeck's version and rejecting the Elgar-Atkin treatment, was given at Westminster with a 90-minute interval for dinner.

The following resources were employed:[29] For the grand event of 1930 the Christmas Oratorio was given complete with Dorothy Silk, Margaret Balfour, Henry Wendon and Keith Falkner.