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Miles Kington interview (1982)

Roadrunner, Wildlife on One (1984)

Survivors (1993)

Doctors to Be (1991)

Nautilus (1994)

Signature clips (1985-1996)

BackStage programme (1998)


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King Lear (2002)


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Sound on Sound magazine (2001)


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Elizabeth Parker is a classically trained musician playing both piano and cello. After her music degree at the University of East Anglia she took a Masters in electronic music. She trained at the BBC as a studio manager, and then joined the BBC's Radiophonic Workshop where she worked for 18 years until the BBC shut it down.

At the Workshop, Elizabeth wrote the music for hundreds of BBC productions including Blakes Seven, David Attenborough's ground-breaking 12-part series The Living Planet and music for Dr Who.

The Living Planet illustrated the early use of unlikely sound sources for the score, something covered by BBC Television and Miles Kington at the time.

The Living Planet led to a great body of work for the BBC Natural History Unit including many Natural World and Wildlife on One films the first one of which was Roadrunner. Elizabeth wrote the music for every single one of the BBC's Endangered and Survivors series.

Elizabeth has always relished using musicians – when the budget allows – to combine with her studio music, for example with the music for the BBC series, Doctors to Be.
She wrote for literally hundreds of documentaries at the Workshop for example Nautilus, a BBC2 film on nuclear submarines.

During her time at the Workshop, Elizabeth started a long association with BBC Radios 3 and 4 drama. She composed for Iris Murdock's The Bell and The Sea, The Sea. She did the music for Harold Pinter's Moonlight, for all the plays of Howard Barker produced by Radio 3, Wordsworth's Prelude, The Pallisers and King Lear. She also wrote for a drama about Delia Derbyshire, a legendary figure in early electronic music.

Elizabeth wrote many well-known signature tunes at the Workshop including Points of View, Horizon and Everyman.

When Elizabeth set up on her own following the closure of the Workshop, her studio and work were the subject of a major interview in Sound on Sound magazine.

She was also interviewed by the BBC BackStage programme, who challenged her to play different music on the spot for the same sequence, without any prior notice.