[1] In 1933, Lutyens married baritone Ian Glennie; they had twin daughters, Rose and Tess, and a son, Sebastian.

[3] She composed in complete isolation, a process greatly impeded by the drinking and partying at the Clark flat, and the responsibilities of motherhood.

He readily agreed to pass on her name, but he went a step further: He invited her to write any work she liked, then dedicate it to him, and he would pay her £100 sight unseen.

Her work in this period included incidental music for a number of poetry readings, such as Esmé Hooton's Zoo in 1956.

Lutyens is remembered for her intolerance of her better-known contemporaries among English composers including Vaughan Williams, Holst, Ireland and Bax.

Lutyens paid the bills by composing film scores for Hammer's horror movies and also for their rivals Amicus Productions.

She was the first female British composer to score a feature film, her first foray into the genre being Penny and the Pownall Case (1948).

[10] Her other scores included Never Take Sweets from a Stranger (1960), Don't Bother to Knock (1961), Paranoiac (1963), Dr. Terror's House of Horrors (1965), The Earth Dies Screaming (1965), The Skull (1965) (a suite from this was issued on CD in 2004), Spaceflight IC-1 (1965), The Psychopath (1966), Theatre of Death (1967) and The Terrornauts (1967).

Lutyens did not regard her film scores as highly as her concert works, but she still relished being referred to as the "Horror Queen", which went well with the green nail polish she habitually wore.

And Suddenly It’s Evening (1966) for tenor and ensemble, setting a translation of words by Salvatore Quasimodo, was commissioned by the BBC in 1967 and performed at the Proms in 1967, 1974 and 1976.