1 It was a Lover and his Lass † * 1:53 Five Mystical Songs * 17:23 2 The Lawyer * 1:50 @ I. Easter 4:38 DDD (with Louisa Fuller, Violin) # II. I got me flowers 2:26 The English Song Series • 3 8.557114 3 The splendour falls † 4:16 $ III. Love bade me welcome 5:05 4 The Water Mill † 3:55 % IV. The call 2:14 5 Tired * 2:07 ^ V. Antiphon 3:01 6 Silent Noon * 4:32 Ralph 7 Searching for Lambs † 2:22 On Wenlock Edge † ‡ 22:35 (with Louisa Fuller, Violin) & I. On Wenlock Edge 3:45 8 Nocturne * 3:50 * II. From far, from eve and morning 1:57 VAUGHAN 9 Joy, Shipmate, Joy! * 1:06 ( III. Is my team ploughing? 4:06 0 Lord, come away † 3:22 ) IV. Oh, when I was in love with you 0:48 WILLIAMS (with John Metcalfe, Viola) ¡ V. Bredon Hall 7:45 ! Come Love, come Lord † 3:55 ™ VI. Clun 4:14 (with John Metcalfe, Viola)

£ Dirge for Fidele † * 3:50 On Wenlock Edge Five Mystical Songs

Anthony Rolfe Johnson, Tenor † • Simon Keenlyside, Baritone * Graham Johnson, Piano

The Duke Quartet ‡ Louisa Fuller & Rick Koster, Violins John Metcalfe, Viola Anthony Rolfe Johnson, Tenor Ivan McCready, Cello Simon Keenlyside, Baritone Graham Johnson, Piano Duke Quartet 8.557114 20 Ralph Vaughan Williams (1872-1958) ‘Tis a long way further than Knighton, Fear no more the lightning-flash, Five Mystical Songs • On Wenlock Edge A quieter place than Clun, Nor the all-dreaded thunder-stone; Where doomsday may thunder and lighten Fear not slander, censure rash; Ralph Vaughan Williams was born in the had by now begun to make a reputation for himself as And little ‘twill matter to one. Thou hast finish’d joy and moan: Gloucestershire village of Down Ampney in 1872, a composer, not least with the first performance in All lovers young, all lovers must the son of a clergyman. His ancestry on both his 1910 of his first symphony, A Sea Symphony, setting £ Dirge for Fidele Consign to thee, and come to dust. father’s and mother’s side was of some intellectual words by Walt Whitman, and his Fantasia on a William Shakespeare distinction. His father was descended from a family Theme of Thomas Tallis in the same year. The even Cymbeline Act IV Scene 2 No exorciser harm thee! eminent in the law, while his maternal grandfather tenor of his life was interrupted by the war, when he Nor no witchcraft charm thee! was a Wedgwood and his grandmother a Darwin. On enlisted at once in the Royal Army Medical Corps as Fear no more the heat o’ the sun, Ghost unlaid forbear thee! the death of his father in 1875 the family moved to a private. 1914 was also the year of the London Nor the furious winter’s rages: Nothing ill come near thee! live with his mother’s father at Leith Hill Place in Symphony and of his rhapsodic work for violin and Thou thy wordly task hast done, Quiet consummation have: Surrey. As a child Vaughan Williams learned the orchestra, The Lark Ascending. Three years later, Home art gone and ta’en thy wages; And renowned be thy grave! piano and the violin and received a conventional after service in Salonica that seemed to him Golden lads and girls all must, upper middle class education at Charterhouse, after ineffective, he took a commission in the Royal As chimney-sweepers, come to dust. which he delayed entry to Cambridge, preferring Garrison Artillery and was posted to France. There he instead to study at the Royal College of Music, where was also able to make some use of his abilities as a his teachers included Hubert Parry and Walter musician. Parratt, later Master of the Queen’s Musick, both After the war Vaughan Williams returned to the soon to be knighted. In 1892 he took up his place at Royal College of Music, now as a professor of Trinity College, Cambridge, where he read History, composition, a position he retained until 1938. In but took composition lessons from Charles Wood. these years he came to occupy a commanding After graduation in both History and Music, he position in the musical life of the country, with a returned to the Royal College, where he studied series of compositions that seemed essentially composition with Stanford, and, perhaps more English, the apparent successor of Elgar, although his significant, became a friend of a fellow-student, musical language was markedly different. The war of Gustav Holst. The friendship with Holst was to prove 1939 brought the challenge of composition for the of great importance in frank exchanges of views on cinema, with notable scores for The 49th Parallel in one another’s compositions in the years that 1940 and a number of other films, culminating in followed. 1949 in his music for the film Scott of the Antarctic, In 1897 Vaughan Williams married and took the the basis of the seventh of his symphonies. Other opportunity to visit Berlin, where he had lessons from works of the last decade of his life included two more The Pilgrim’s Progress Max Bruch and widened his musical experience. In symphonies, the opera , a The text for track 4 (The Water Mill) is reproduced by kind permission of Blackwell Publishing England he turned his attention to the collection of violin sonata and concertos for harmonica and for folk-music in various regions of the country, an tuba, remarkable adventures for an octogenarian. The text for track 5 (Tired) is reproduced by permission of Oxford University Press interest that materially influenced the shape of his His first wife, Adeline, had died in 1951, at the musical language. In 1908 he went to Paris to take age of eighty. In 1953 he married his second wife, The texts for tracks 17-22 (A Shropshire Lad, A. E. Housman) are reproduced by kind permission of lessons, particularly in orchestration, from Ravel, and Ursula Wood, the widow of a Royal Artillery officer, The Society of Authors as the Literary Representative of the Estate of A. E. Housman. 8.557114 2 19 8.557114 And now the fancy passes by, They tolled the one bell only, who had already provided texts for him and was later the basis of the Sea Symphony. In 1925 he published And nothing will remain, Groom there was none to see, to be his biographer. Vaughan Williams died in 1958. settings of three poems by Whitman, the gentle And miles around they’ll say that I The mourners followed after, The death of one who had long seemed a permanent Nocturne in strong contrast with the following Joy, Am quite myself again. And so to church went she, feature of English music was widely mourned and his Shipmate, Joy!, with poet and composer at their most And would not wait for me. ashes were later laid to rest in Westminster Abbey. ebullient. ¡ V. Bredon Hill The maturer songs of Vaughan Williams span a The Four Hymns for tenor, viola and piano date The bells they sound on Bredon, period from the 1890s until the end of his life. His from 1914, commissioned for Worcester, and first In summertime on Bredon And still the steeples hum. setting of It was a Lover and his Lass from performed after the war, in 1920. The first of the set, The bells they sound so clear; ‘Come all to church, good people,’ Shakespeare’s As You Like It, with its running Lord! Come away!, a setting of words by the Round both the shires they ring them Oh, noisy bells, be dumb; accompaniment, was written in 1922 and is for two seventeenth-century divine Bishop Jeremy Taylor, is In steeples far and near, I hear you, I will come. voices, as in the play itself, where it is sung by two of coupled here with the third, a setting of a devotional A happy noise to hear. the banished duke’s pages. The arrangement of The poem from the same period by the Catholic poet ™ VI. Clun Lawyer for singer and solo violin is one of two English Richard Crashaw. Both songs seem to be forerunners Here of a Sunday morning folk-songs from 1935. It is coupled with Searching for of Britten’s remarkable settings of the Holy Sonnets of My love and I would lie, In valleys of springs of rivers, Lambs, also included here. John Donne. And see the coloured counties, By Ony and Teme and Clun, Tennyson’s The splendour falls on castle walls Although Vaughan Williams, in spite of his early And hear the larks so high The country for easy livers, may now be more familiar from Benjamin Britten’s family background, was an agnostic, this did not About us in the sky. The quietest under the sun, evocative setting in his Serenade for tenor, horn and prevent his effective settings of verse of overt We still had sorrows to lighten, strings. The version by Vaughan Williams dates from religious inspiration. His Five Mystical Songs, settings The bells would ring to call her One could not be always glad, about 1896 and was published in 1905. Although the of poems by George Herbert, offer varied possibilities In valleys miles away: And lads knew trouble at Knighton horn-call harmonies suggest the bugles of the text, this of performance, for baritone, optional chorus and ‘Come all to church, good people; When I was a Knighton lad. setting is in general more gently evocative. The orchestra, as here for baritone and piano, or for Good people, come and pray.’ Watermill, with its mill-wheel turning in the piano baritone piano and string quintet. Written in 1911, they But here my love would stay. By bridges that Thames runs under, accompaniment, is one of four settings of poems by were first heard in that year in their fuller version at In London, the town built ill, Fredegond Shove, one of Adeline’s bridesmaids at her the Three Choirs Festival in Worcester. As elsewhere, And I would turn and answer ‘Tis sure small matter for wonder wedding. The songs were written in 1922 and first the composer responds to the words, evoking their Among the springing thyme, If sorrow is with one still. performed three years later. devotional spirit in holy simplicity and with an inner ‘Oh, peal upon our wedding, And if as a lad grows older Tired, with words by Ursula Vaughan Williams, understanding, a foretaste of work to come. The set And we will hear the chime, The troubles he bears are more, was published posthumously in a group of Four Last culminates in the final Antiphon, a hymn of praise. And come to church in time.’ He carries his griefs on a shoulder Songs. Written in 1956, the song is among the most On Wenlock Edge was completed in 1909, a That handselled them long before. moving and effective that Vaughan Williams wrote, setting of six poems by A. E. Housman for tenor, But when the snows at Christmas music and words magically united. It is followed by piano, and string quartet. The cycle was later arranged On Bredon top were strown, Where shall one halt to deliver Silent Noon, written in 1903 and included in the 1904 for tenor and orchestra. The work was first performed My love rose up so early This luggage I’d lief set down? cycle of six settings of poems by Dante Gabriel in London at the Aeolian Hall in November, with the And stole out unbeknown Not Thames, not Teme is the river Rossetti. Among the most effective of his songs, Silent tenor Gervase Elwes. During the period of its And went to church alone. Nor London nor Knighton the town: Noon evokes countryside in summer. composition Vaughan Williams had his meetings with Vaughan Williams retained a particular liking for Ravel, and there are occasional suggestions of the verse of Walt Whitman, whose poems served as contemporary French influence. Particularly moving,

8.557114 18 3 8.557114 as in settings by other composers, is the poignant Dirge for Fidele is a setting of the song Fear no ‘Twould blow like this through bolt and hanger ( III. Is my team ploughing? third of the group, Is my team ploughing?. The tragic more the heat o’ the sun from Shakespeare’s When Uricon the city stood: mood is broken by the following Oh, when I was in Cymbeline. For two voices, it was published in 1922, ‘Tis the old wind in the old anger, ‘Is my team ploughing, love with you, while Bredon Hill captures but has been dated to the 1890s. It breathes an air of But then it threshed another wood. That I was used to drive nostalgically the opening heat of summer and the serenity and optimism, in its apparent simplicity, a And hear the harness jingle tolling bells, to be transformed to the icy cold of perfect ending to an anthology by one of the most Then, ‘twas before my time, the Roman When I was man alive?’ winter and death, and finally to a calmer optimism. English of English composers. At yonder heaving hill would stare: The last song, Clun, brings an air of final resignation The blood that warms an English yeoman, Ay, the horses trample, and tranquillity. The thoughts that hurt him, they were there. The harness jingles now; Keith Anderson No change though you lie under There, like the wind through woods in riot, The land you used to plough. Through him the gale of life blew high; The tree of man was never quiet: ‘Is my girl happy, Then ‘twas the Roman, now ‘tis I. That I thought hard to leave, And has she tired of weeping The gale, it plies the saplings double, As she lies down at eve?’ It blows so hard, ‘twill soon be gone: Today the Roman and his trouble Ay, she lies down lightly, Are ashes under Uricon. She lies not down to weep: Your girl is well contented. * II. From far, from eve and morning Be still, my lad, and sleep.

From far, from eve and morning ‘Is my friend hearty, And yon twelve-winded sky, Now I am thin and pine, The stuff of life to knit me And has he found to sleep in Blew hither: here am I. A better bed than mine?’

Now for a breath I tarry Yes, lad, yes, lad, I lie easy, Nor yet disperse apart I lie as lads would choose; Take my hand quick and tell me, I cheer a dead man’s sweetheart What have you in your heart. Never ask me whose.

Speak now, and I will answer; ) IV. Oh, when I was in love with you How shall I help you, say; Ere to the wind’s twelve quarters Oh, when I was in love with you, I take my endless way. Then I was clean and brave, And miles around the wonder grew How well did I behave.

8.557114 4 17 8.557114 Can there be any day but this, Such a Strength, as makes his guest. Anthony Rolfe Johnson Though many suns to shine endeavour? We count three hundred, but we miss: Come, my joy, my Love, my Heart: One of Britain’s most distinguished singers, Anthony Rolfe Johnson enjoys a busy career that includes concerts with There is but one, and that one ever. Such a joy, as none can move: the major orchestras and festivals in the United Kingdom and in the world’s leading musical centres. He has sung with Such a Love, as none can part: the Chicago Symphony Orchestra under Solti, the Boston Symphony under Ozawa, the New York Philharmonic under $ III. Love bade me welcome Such a Heart, as joys in love. Rostropovich and Masur, the Cleveland Orchestra under Rattle and the Berlin Philharmonic under Levine. Conductors with whom he has worked also include Giulini, Harnoncourt, Rozhdestvensky, Eliot Gardiner, Mackerras, Tennstedt, Love bade me welcome; yet my soul drew back, ^ V. Antiphon Boulez, Haitink and Abbado. He has a vast range of recordings to his name, reflecting his world-wide reputation as Guilty of dust and sin. an interpreter of Bach, Handel, Haydn, Mozart and Britten. Anthony Rolfe Johnson made his international operatic But quick-eyed Love, observing me grow slack Let all the world in every corner sing, début as Fenton at the Glyndebourne Festival. He has since sung an extensive repertoire in the world’s great opera From my first entrance in, My God and King. houses. In London his rôles include Don Ottavio, Tamino, Ferrando, Belmonte, Essex in Britten’s Gloriana, the Male Drew nearer to me, sweetly questioning, Chorus in The Rape of Lucretia, Florestan in Fidelio and the title rôles in Monteverdi’s Ulysses and Orfeo. He has If I lack’d anything. The heavens are not too high, sung the title rôle in Idomeneo at the Salzburg Festival, the Vienna State Opera, the Paris Opéra and the Metropolitan His praise may thither fly: Opera, Aschenbach in Geneva, Edinburgh and the Met, and Peter Grimes at the Savonlinna and Glyndebourne A guest, I answer’d, worthy to be here: The earth is not too low, festivals, in Tokyo, Munich and at the Met. He is a regular guest at the Monnaie in Brussels and with the Netherlands Love said, You shall be he. His praises there may grow. Opera. He was made a C.B.E. in the 1992 Queen’s Birthday Honours. I the unkind, ungrateful? Ah, my dear, I cannot look on thee. Let all the world in every corner sing, Love took my hand, and smiling did reply, My God and King. Simon Keenlyside Who made the eyes but I? Truth, Lord, but I have marr’d them: let my shame The Church with Psalms must shout, Simon Keenlyside was born in London, and studied zoology at Cambridge, and singing with John Cameron at the Go where it doth deserve. No door can keep them out: Royal Northern College of Music in Manchester. He made his operatic début at the Hamburg State Opera as Count And know you not, says Love, who bore the blame? But above all, the heart Almaviva in Le nozze di Figaro. He has since appeared in leading rôles in major opera-houses throughout Europe and My dear, then I will serve. Must bear the longest part. in the United States, including La Scala, Milan, the Paris Opéra, Covent Garden and the Metropolitan Opera in New York. He enjoys extensive concert work, appearing with the Chamber Orchestra of Europe and the Berlin You must sit down, says Love, and taste my meat: Let all the world in every corner sing, Philharmonic under Abbado, the City of Birmingham Symphony under Rattle, the London Symphony Orchestra So I did sit and eat. My God and King. under Colin Davis, the Philharmonia under von Dohnanyi and Sawallisch, the Cleveland Orchestra under Welser- Moest, the Vienna Philharmonic under Muti and the Czech Philharmonic Orchestra under Charles Mackerras. He has % IV. The Call appeared in recital in New York, San Francisco, Lisbon, Geneva, Moscow, Paris, Amsterdam, Ferrara, Rome, On Wenlock Edge Brussels, London, Graz, the Edinburgh Festival, Salzburg and Schubertiade Festivals, at La Scala Milan and both the Come, my Way, my Truth, my Life: A.E.Housman from ‘A Shropshire Lad’ Konzerthaus and Musikverein in Vienna. His recordings include Lieder and the title rôles in Don Giovanni and Billy Such a Way, as gives us breath: Budd. Such a Truth, as ends all strife: & I. On Wenlock Edge Such a Life, as killeth death. On Wenlock Edge the wood’s in trouble; Graham Johnson Come, my Light, my Feast, my Strength: His forest fleece the Wrekin heaves; Such a Light, as shows a feast: The gale, it plies the saplings double, Graham Johnson is recognised as one of the world’s leading vocal accompanists. Born in Rhodesia, he came to Such as Feast, as mends in length: And thick on Severn snow the leaves. London to study in 1967. After leaving the Royal Academy of Music his teachers included Gerald Moore and

8.557114 16 5 8.557114 Geoffrey Parsons. In 1972 he was the official pianist at Peter Pears’ first master-classes at The Maltings, Snape, which 0 Lord! come away! Five Mystical Songs brought him into contact with Benjamin Britten, a link which strengthened his determination to accompany. In 1976 Bishop Jeremy Taylor George Herbert he formed the Songmakers’ Almanac to explore neglected areas of piano-accompanied vocal music; the founder singers were Dame Felicity Lott, Ann Murray, Anthony Rolfe Johnson and Richard Jackson, artists with whom he has Lord! come away! Why dost Thou stay? @ I. Easter established long and fruitful collaborations both on the concert platform and in the recording studio. Some two Thy road is ready; and Thy paths, made straight hundred and fifty Songmakers’ programmes have been presented over the years. Graham Johnson has accompanied With longing expectation, wait Rise, heart; thy Lord is risen. such distinguished singers as Sir Thomas Allen, Victoria de los Angeles, Elly Ameling, Arleen Auger, Brigitte The consecration of Thy beauteous feet! Sing his praise without delays, Fassbaender, Matthias Goerne, Thomas Hampson, Simon Keenlyside, Philip Langridge, Serge Leiferkus, Edith Ride on triumphantly! Behold we lay Who takes thee by the hand, that thou likewise Mathis, Lucia Popp, Christoph Prégardien, Dame Margaret Price, Dorothea Röschmann, Peter Schreier, Dame Our lusts and proud wills in Thy way! With him may’st rise: Elisabeth Schwarzkopf, and Sarah Walker. His relationship with the Wigmore Hall is a special one. He devised and Hosanna, Hosanna, Hosanna! That, as his death calcined thee to dust, accompanied concerts in the hall’s re-opening series in 1994, and in its centenary celebrations in 2001. He has been Welcome to our hearts! His life may make thee gold, and much more, Just. chairman of the jury for the Wigmore Hall Song Competition since its inception. He is Senior Professor of Accompaniment at the Guildhall School of Music and has led a biennial scheme for Young Songmakers since 1985. Lord, here Thou hast a temple too; and full as dear Awake, my lute, and struggle for thy part His achievements include the devising and accompaniment of a set of complete Schubert Lieder on 37 discs for As that of Sion, and as full of sin: With all thy art. Hyperion Records, to be followed by a complete Schumann series, and there is an ongoing French song series to Nothing by thieves and robbers dwell therein; The cross taught all wood to resound his name include the complete songs of such composers as Chausson, Chabrier and Fauré. All these discs are issued with Enter, and chase them forth, and cleanse the floor! Who bore the same. Graham Johnson’s own programme notes. He has also recorded for Sony, BMG, Harmonia Mundi, Forlane, EMI and Crucify them, that they may never more His stretched sinews taught all strings, what key DGG. Awards include the Gramophone solo vocal award in 1989 (with Dame Janet Baker), 1996 (Die schöne Profane that holy place Is best to celebrate this most high day. Müllerin with Ian Bostridge), 1997 (for the inauguration of the Schumann series with Christine Schäfer) and 2001 Where Thou hast chose to set Thy face! (with Magdalena Kozena). He was The Royal Philharmonic Society’s Instrumentalist of the Year in 1998; in June Consort both heart and lute, and twist a song 2000 he was elected a member of the Royal Swedish Academy of Music. He is author of The Songmakers’ Almanac; And then, if our stiff tongues shall be Pleasant and long: Twenty years of recitals in London and The French Song Companion for Oxford University Press. He was made an Mute in the praises of Thy Deity, Or since all music is by three parts vied, OBE in the 1994 Queen’s Birthday Honours list, and in 2002 he was created Chevalier in the Ordre des Arts et Lettres The stones out of the temple wall And multiplied; by the French Government. Shall cry aloud, and call - O let thy blessed Spirit bear a part, ‘Hosanna, Hosanna, Hosanna! And make up our defects with his sweet art. And Thy glorious footsteps greet!’ Duke Quartet # II. I got me flowers ! Come Love, come Lord Louisa Fuller & Rick Koster, Violins Richard Crashaw I got me flowers to strew thy way; John Metcalfe, Viola I got me boughs off many a tree: Ivan McCready, Cello Come Love, come Lord, and that long day But thou wast up by break of day, For which I languish, come away. And brought’st thy sweets along with thee. Acclaimed by audiences and press for their powerful performances both live and recorded, the Duke Quartet has When this dry soul those eyes shall see established itself as one of Britain’s most exciting string quartets. At home with music from Haydn to Heavy Metal, And drink the unseal’d source of Thee, The Sun arising in the East, and sought after by choreographers, they are musicians of the highest calibre working both within and outside the When glory’s sun faith’s shades shall chase, Though he give light, and the East perfume; classical genre, boasting a dynamic style and consummate musicianship that has won a considerable following Then for Thy veil give me Thy face. If they should offer to contest throughout Europe. Recordings by the quartet include releases of works by Barber, Dvofiák, Kevin Volans and Glass. With thy arising, they presume.

8.557114 6 15 8.557114 Oh! clasp we to our hearts, for deathless dower, 8 Nocturne Ralph Vaughan Williams (1872-1958) This close-companion’d inarticulate hour, Walt Whitman Five Mystical Songs • On Wenlock Edge When twofold silence was the song of love. Whispers of heavenly death murmur’d I hear, Ralph Vaughan Williams wurde 1872 in Down großen Werken des Jahres 1910, seiner Ersten Sinfonie 7 Searching for Lambs Labial gossip of night, sibilant chorals, Ampney in der Grafschaft Gloucestershire geboren. Er (A Sea Symphony), nach einem Text von Walt Traditional Footsteps gently ascending, mystical breezes war der Sohn eines Pfarrers und hatte namhafte Whitman, und seiner Fantasia on a Theme by Thomas wafted soft and low, Vorfahren: Sein Vater entstammte einer Familie Tallis, begann sich Vaughan Williams einen Ruf als As I went out one May morning Ripples of unseen rivers, tides of a current angesehener Juristen, sein Großvater mütterlicherseits Komponist zu erwerben. Der Ausbruch des One May morning betime, flowing, forever flowing, war ein Nachfahre des berühmten Kunstkeramikers 1. Weltkriegs unterbrach die soeben begonnene I met a maid from home had strayed (Or is it the plashing of tears? The measureless Wedgwood und seine Großmutter eine Darwin. Als der Karriere: Vaughan Williams wurde zum Royal Army Just as the sun did shine. waters of human tears?) Vater 1875 starb, zog die Familie zu den Eltern der Medical Corps eingezogen. 1914 war auch das Jahr der Mutter nach Leith Hill Place in Surrey. Als Kind spielte London Symphony und seiner Rhapsodie für Violine ‘What makes you rise so soon, my dear, I see, just see sky-ward, great cloud masses, Vaughan Williams Klavier und Violine. Nach seiner und Orchester The Lark Ascending. Drei Jahre später Your journey to pursue? Mournfully, slowly they roll, Schulzeit in Charterhouse ging er nicht, wie zu erwarten wurde er nach einer Dienstzeit in Saloniki, die er als Your pretty little feet they tread so sweet silently swelling and mixing, gewesen wäre, nach Cambridge, sondern zunächst an uneffektiv empfand, zur Royal Garrison Artillery Strike off the morning dew.’ With at times a half-dimm’d sadden’d far-off star, das Royal College of Music in London. Hier studierte er versetzt und nach Frankreich abkommandiert, wo er Appearing and disappearing. unter anderem bei Hubert Parry und bei dem späteren neben dem Militärdienst auch Gebrauch von seinen ‘I’m going to feed my father’s flock, „Master of the Queen’s Musick“ Walter Parratt. 1892 Fähigkeiten als Musiker machen konnte. His young and tender lambs (Some parturition rather, immatrikulierte er sich als Student der Geschichte am Nach dem Krieg kehrte Vaughan Williams an das That over hills and over dales some solemn immortal birth; Trinity College in Cambridge; daneben nahm er Royal College of Music zurück, und zwar als Professor Lie waiting for their dams.’ On the frontiers to eyes impenetrable, allerdings Kompositionsunterricht bei Charles Wood. für Komposition, eine Stelle, die er bis 1938 inne hatte. Some soul is passing over) Nach seinem Abschluss in Geschichte und Musik ging Im Lauf dieser Jahre wurde er immer mehr zur ‘Oh stay, oh stay, you handsome maid, er an das Royal College zurück, wo er Komposition bei beherrschenden Figur des nationalen Musiklebens, vor And rest a moment here, 9 Joy, Shipmate, Joy! Charles Stanford studierte. Vielleicht noch wichtiger in allem mit einer Reihe von Kompositionen mit typisch For there is none but you alone Walt Whitman dieser Zeit war seine Begegnung mit Gustav Holst. Ihre englischem Charakter. Vaughan Williams wurde der That I do love so dear.’ Freundschaft war von großer Bedeutung, indem sie zu legitime Nachfolger Edward Elgars, obwohl sich ihre Joy, shipmate, joy! einem offenen Meinungsaustausch über ihre Musiksprache deutlich unterscheidet. Die Zeit des ‘How gloriously the sun does shine! (Pleased to my soul Kompositionen führte. Zweiten Weltkriegs brachte eine neue Herausforderung, How pleasant is the air! At death I cry,) Im Jahre 1897 heiratete Vaughan Williams und nämlich die Komposition von Soundtracks für den I’d rather rest on a true love’s breast Our life is closed nahm die Gelegenheit wahr, nach Berlin zu gehen, wo Film. Aus seinen zahlreichen Arbeiten für die Leinwand Than any other where.’ Our life begins, er Unterricht bei Max Bruch nahm und wichtige ragen vor allem Der 49. Breitengrad (1940) und Scott of The long, long anchorage we leave, musikalische Erfahrungen sammelte. In England the Antarctic (1949) heraus; letztere bildete die ‘For I am thine and thou art mine The ship is clear at last, she leaps, beschäftigte er sich danach mit der Sammlung Grundlage für seine Siebente Sinfonie, Antarctica. Zu No man shall uncomfort thee. She swiftly courses for the shore. englischer Volkslieder aus verschiedenen Regionen des den anderen Werken aus seinem letzten We’ll join our hands in wedded bands Joy, shipmate, joy! Landes – ein Interesse, das von großer Bedeutung für Lebensjahrzehnt gehören zwei weitere Sinfonien, die And married we will be.’ seine eigene Musiksprache sein sollte. 1908 ging er Oper The Pilgrim’s Progress, eine Violinsonate sowie nach Paris, wo er unter anderem bei Maurice Ravel Konzerte für Mundharmonika und für Tuba – Instrumentation studierte. Nicht zuletzt mit den beiden erstaunliche musikalische Abenteuer für einen

8.557114 14 7 8.557114 Komponisten im neunten Lebensjahrzehnt. Seine erste Williams’ bewegendsten und wirkungsvollsten Liedern. 4 The Water Mill The supper stands on the clean-scrubbed board, Frau, Adeline, war 1951 im Alter von achtzig Jahren Musik und Text sind hier zu einer geradezu magischen Fredegond Shove And the miller drinks like a thirst lord; gestorben; 1953 heiratete er in zweiter Ehe Ursula Einheit verschmolzen. Es folgt Silent Noon, The young men come for his daughter’s sake, Wood, die Witwe eines Offiziers der Royal Artillery, geschrieben 1903 und enthalten in dem 1904 There is a mill, an ancient one, But she never knows which one to take: deren Texte er bereits vertont hatte und die später seine erschienenen Zyklus von sechs Vertonungen von Brown with rain, and dry with sun, She drives her needle and pins her stuff, Biographin werden sollte. Als Vaughan Williams 1958 Texten des Dichters Dante Gabriel Rossetti. Das die The miller’s house is joined with it While the moon shines gold, and the lamp shines starb, hinterließ er eine große Lücke im englischen Atmosphäre eines Sommertages heraufbeschwörende And in July the swallows flit buff. Musikleben, aus dem er nicht mehr wegzudenken Stück gehört zu Vaughan Williams’ schönsten To and from, in and out, gewesen war. Seine Urne wurde später in der Liedkompositionen. Round the windows, all about. 5 Tired Westminster-Abtei beigesetzt . Vaughan Willliams hegte eine besondere Vorliebe Ursula Vaughan Williams Vaughan Wiiliams’ reifere Lieder umspannen eine für die Lyrik des amerikanischen Dichters Walt The mill wheel whirrs and the waters roar Periode von den 1890er Jahren bis zu seinem Whitman, dessen Texte auch die Grundlage seiner Sea Out of the dark arch by the door, Sleep, and I’ll be still as another sleeper Lebensende. Seine Vertonung von It was a Lover and Symphony bilden. 1925 veröffentlichte er die The willows toss their silver heads, holding you in my arms, his Lass aus Shakespeares As You Like It (Was ihr Vertonungen von drei Whitman-Gedichten, wobei das And the phloxes in the garden beds glad that you lie so near at last. wollt) mit ihrer laufenden Begleitung entstand 1922 und zarte Nocturne einen starken Kontrast zum folgenden Turn red, turn grey, with the time of day, ist für zwei Stimmen geschrieben – wie auch im Joy, Shipmate, Joy! bildet, das Dichter und Komponist And smell sweet in the rain, then die away. This sheltering midnight is our meeting place, Schauspiel, wo es von zwei verbannten Sklaven des von ihrer überschwänglichen Seite zeigt. no passion or despair Herzogs gesungen wird. Die Bearbeitung von The Die Four Hymns für Tenor, Viola und Klavier The miller’s cat is a tabby, she or hope divide me from your side. Lawyer für Gesang und Solovioline ist eines von zwei datieren von 1914, wurden aber erst nach dem Is as lean as a healthy cat can be, englischen Volksliedern aus dem Jahr 1935. Das 1. Weltkrieg im Jahre 1920 uraufgeführt. Das erste She plays in the loft, where the sunbeams stroke I shall remember firelight on your sleeping face, andere, hier ebenfalls aufgenommene Lied trägt den Stück, Lord! Come away!, eine Vertonung von Worten The sacks’ fat backs, and beetles choke in the I shall remember shadows growing deeper Titel Searching for Lambs. des im siebzehnten Jahrhundert lebenden Bischofs floury dust. as the fire fell to ashes and the minutes passed. Tennysons The splendour falls on castle walls ist Jeremy Taylor, ist hier mit der dritten Hymne The wheel goes round vielleicht bekannter geworden in Benjamin Brittens gekoppelt, der Vertonung eines Gedichts aus derselben And the miller’s wife sleeps fast and sound. 6 Silent Noon suggestiver Vertonung in seiner Serenade für Tenor, Zeit von dem katholischen Dichter Richard Crashaw. Dante Gabriel Rossetti Horn und Streicher. Vaughan Williams’ Fassung Beide Lieder scheinen Vorläufer von Brittens There is a clock inside the house, entstand 1896 und erschien 1905 im Druck. Obwohl die evokativer Vertonung der Holy Sonnets von John Very tall and very bright, Your hands lie open in the long fresh grass, Hornruf-Harmonien die Bügelhörner des Texts Donne zu sein. It strikes the hour when shadows drowse The finger points look through like rosy blooms: suggerieren, ist diese Vertonung im allgemeinen sanfter Obwohl Vaughan Williams trotz seines frühen Or showers make the windows white; Your eyes smile peace. The pasture gleams im Ausdruck. The Watermill, ein Lied, in dem sich das Familienhintergrunds Agnostiker war, hinderte ihn dies Loud and sweet, in rain and sun, and glooms Mühlenrad des Titels in der Klavierbegleitung dreht, ist nicht daran, eindrucksvolle Vertonungen von religiös The clock strikes, and the work is done. ‘Neath billowing skies that scatter and amass. eine von vier Vertonungen von Gedichten von inspirierten Texten zu produzieren. Seine Five Mystical All around our nest, far as the eye can pass, Fredegond Shove, einer von Adelines Brautjungfern. Songs nach Gedichten von George Herbert existieren in The miller’s wife and his eldest girl Are golden kingcup fields with silver edge, Die Lieder entstanden 1922 und wurden drei Jahre verschiedenen Aufführungsfassungen: für Bariton, Clean and cook while the mill wheels whirl. Where the cow-parsley skirts the hawthorne hedge. später uraufgeführt. Chor ad libitum und Orchester, für Bariton und Klavier The children take their meat to school, ‘Tis visible silence, still as the hour-glass. Tired, nach Worten von Ursula Vaughan Williams, (wie in dieser Aufnahme) sowie für Bariton, Klavier And at dusk they play by the twilit pool; Deep in the sun-search’d growths the dragonfly erschien posthum in einer Gruppe von Four Last Songs. und Streichquintett. Entstanden 1911, erklangen sie Barefoot, barehead, till the day is dead, Hangs like a blue thread loosen’d from the sky: Das 1956 komponierte Stück gehört zu Ralph Vaughan zuerst in großer Besetzung beim Three Choirs Festival And their mother calls them in to bed. So this wing’d hour is dropt to us from above.

8.557114 8 13 8.557114 1 It was a Lover and his Lass ‘I’ll take you up to London town in Worcester. Auch hier reagiert der Komponist mit während Bredon Hill geradezu nostalgisch die Hitze des William Shakespeare And all such lovely places; tiefem Verständnis auf die Worte, indem er ihren Sommers und die Glockenklänge einfängt, bevor sich As You Like It, Act V, Scene 3 I will busk you into a silken gown, devotionalen Geist in Klänge von nachgerade heiliger alles in die eisige Todeskälte des Winters verwandelt. Gold rings and gold chains and laces.’ Schlichtheit fasst. Die Sammlung kulminiert in der Am Schluss obsiegt ein ruhiger Optimismus. Das letzte It was a lover and his lass, abschließenden Antiphon, einem Lobgesang. Lied, Clun, vermittelt ein Gefühl von With a hey, and a ho, and a hey nonino, ‘I’ll have none of your London town On Wenlock Edge, vollendet 1909, ist eine Schicksalsergebenheit und innerer Ruhe. That o’er the green corn-field did pass, And all such lovely places; Vertonung von sechs Gedichten von A. E. Housman für Dirge for Fidele ist die Vertonung des Lieds Fear In spring time, the only pretty ring time, I will not be busked into a silken gown, Tenor, Klavier und Streichquartett, später bearbeitet für no more the heat o’ the summer aus Shakespeares When birds do sing, hey ding a ding, ding; Gold rings and gold chains and laces.’ Tenor und Orchester. Die Uraufführung fand im Cymbeline. Das für zwei Stimmen geschriebene Stück Sweet lovers love the spring. November 1909 in der Londoner Aeolian Hall statt; es wurde 1922 veröffentlicht, entstand aber bereits in den And now she is a poor man’s wife, sang der Tenor Gervase Elwes. Die Entstehung fiel in 1890er Jahren. In seiner äußerst schlichten Faktur This carol they began that hour, Her husband dearly loves her; die Zeit von Vaughan Willams’ Unterricht bei Maurice verbreitet das Lied eine Stimmung von Harmonie und With a hey, and a ho, and a hey nonino, She lives a sweet and contented life, Ravel, und es finden sich stellenweise Anklänge an die Optimismus – der perfekte Abschluss einer Anthologie How that a life was but a flower There’s no lady in town above her. zeitgenössische französische Musik. Besonders eines der englischsten aller englischen Komponisten. In spring time, the only pretty ring time, eindrucksvoll – wie auch in der Vertonung durch andere When birds do sing, hey ding a ding, ding; 3 The Splendour Falls Komponisten – ist das dritte Stück der Gruppe, Is my Sweet lovers love the spring Alfred, Lord Tennyson team ploughing?. Die tragische Stimmung hellt sich im Keith Anderson folgenden Lied, Oh, when I was in love with you, auf, Deutsche Fassung: Bernd Delfs And therefore take the present time, The splendour falls on castle walls With a hey, and a ho, and a hey nonino, And snowy summits old in story: For love is crowned with the prime The long light shakes across the lakes Ralph Vaughan Williams (1872-1958) In spring time, the only pretty ring time, And the wild cataract leaps in glory. When the birds do sing, hey ding a ding ding; Blow, bugle, blow, set the wild echoes flying, Five Mystical Songs • On Wenlock Edge Sweet lovers love the spring Blow, bugle; answer, echoes, dying, dying, dying. Ralph Vaughan Williams naquit dans un village du Parry et Walter Parratt, plus tard Maître de la Musique 2 The Lawyer O hark, oh hear! how thin and clear, Gloucestershire, Down Ampney, en 1872 ; son père de la Reine ; tous deux devaient bientôt être faits Traditional And thinner, clearer, farther going! était pasteur. Du côté de son père comme du côté de sa chevaliers. En 1892, il entra au Trinity College de O sweet and far from hill and scar mère, ses origines étaient d’un niveau intellectuel Cambridge, où il étudia l’Histoire, mais prit aussi des A lawyer he went out one day, The horns of Elfland faintly blowing! assez élevé. Son père descendait d’une famille de cours de composition avec Charles Wood. Après avoir A-riding through the city; Blow, let us hear the purple glens replying: juristes éminents, tandis que son grand-père maternel obtenu ses diplômes d’Histoire et de Musique, il It was there he met with a handsome maid, Blow bugle; answer, echoes, dying, dying, dying. était un Wedgwood et sa grand-mère une Darwin. A la retrouva le Royal College, où il étudia la composition And he thought her so sweet and pretty. mort de son père en 1875, sa famille alla vivre avec le avec Stanford et, fait sans doute encore plus O love, they die in yon rich sky, père de sa mère à Leith Hill Place dans le Surrey. significatif, où il devint l’ami d’un des ses camarades ‘Good morning to you, pretty maid, They faint on hill or field or river: Enfant, Vaughan Williams apprit le piano et le violon d’études, Gustav Holst. Dans les années qui allaient And whither are you going?’ Our echoes roll from soul to soul, et reçut une éducation bourgeoise conventionnelle à suivre, cette amitié avec Holst devait s’avérer très ‘I am going a-down in yonder meadows’, she said, And grow for ever and for ever. Charterhouse, à la suite de quoi il ajourna son entrée à importante lors de francs échanges de vues sur leurs ‘Where my father he is a-mowing.’ Blow, bugle, blow, set the wild echoes flying, Cambridge, préférant étudier au Royal College of compositions mutuelles. And answer, echoes, answer, dying, dying, dying. Music. Il y eut notamment comme professeurs Hubert En 1897, Vaughan Williams se maria et en rendit

8.557114 12 9 8.557114 à Berlin, où il prit des leçons auprès de Max Bruch et Pilgrim’s Progress, une sonate pour violon et des Vaughan Williams appréciait particulièrement la On Wenlock Edge fut achevé en 1909 ; ce sont six développa son expérience musicale. En Angleterre, il concertos pour harmonica et pour tuba, de poésie de Walt Whitman, dont les poèmes servirent de mélodies sur des poèmes de A. E. Housman pour s’attacha à recueillir la musique populaire de diverses remarquables aventures pour un octogénaire. point de départ à sa Sea Symphony. En 1925, il publia ténor, piano, et quatuor à cordes. Plus tard, ce cycle fut régions du pays, intérêt qui eut une influence tangible Sa première femme, Adeline, était morte en 1951, des mélodies sur trois poèmes de Whitman, le tendre arrangé pour ténor et orchestre. Il fut créé à l’Aeolian sur la forme de son langage musical. En 1908, il se à quatre-vingts ans. En 1953, il se remaria ; sa Nocturne contrastant fortement avec l’exubérant Joy, Hall de Londres en novembre, avec le ténor Gervase rendit à Paris pour y prendre des leçons, notamment deuxième épouse fut Ursula Wood, veuve d’un officier Shipmate, Joy! Elwes. Pendant sa composition, Vaughan Williams d’orchestration, auprès de Ravel, et sa réputation de qui lui avait déjà fourni des textes et devait devenir sa Les Quatre Hymnes pour ténor, alto et piano rencontra Ravel, et on y dénote des influences compositeur commençait désormais à s’étendre, plus biographe. Vaughan Williams mourut en 1958. Cette datent de 1914 ; il s’agissait d’une commande pour françaises contemporaines. Comme dans les versions particulièrement grâce à la création en 1910 de sa mort fut longtemps pleurée et ses cendres reposent Worcester et ils furent créés après la guerre, en 1920. d’autres compositeurs, le troisième poème, Is my première symphonie, A Sea Symphony, sur des textes aujourd’hui à l’abbaye de Westminster. Le premier de la série, Lord! Come away!, sur un texte team ploughing?, est particulièrement poignant. de Walt Whitman, et sa Fantaisie sur un Thème de Les mélodies de la maturité de Vaughan Williams du XVIIème siècle de Jeremy Taylor, est couplé ici L’atmosphère tragique est ensuite dissipée par Oh, Thomas Tallis de la même année. La guerre vint couvrent une période allant des années 1890 jusqu’à la avec le troisième, sur un poème de dévotions de la when I was in love with you, tandis que Bredon Hill interrompre le rythme régulier de sa vie, et il fin de sa vie. Sa version de It was a Lover and his même période du catholique Richard Crashaw. Ces évoque avec nostalgie la chaleur d’un début d’été et le s’engagea aussitôt comme soldat dans le corps médical Lass, texte extrait de Comme il vous plaira de deux mélodies semblent annoncer les remarquables son des cloches, qui passe ensuite au froid glacial de de l’Armée royale. 1914 fut aussi l’année de sa Shakespeare, date de 1922 et est écrite pour deux voix, versions des Sonnets sacrés de John Donne par l’hiver et à la mort, pour finir sur une note plus sereine. London Symphony et de son ouvrage rhapsodique pour comme dans la pièce où elle est chantée par deux Britten. La dernière mélodie, Clun, amène la résignation et violon et orchestre, The Lark Ascending. Trois ans pages du duc en exil. L’arrangement de The Lawyer Vaughan Williams était agnostique, ce qui ne l’apaisement. plus tard, après avoir servi à Salonique sans s’être pour voix et violon soliste est l’une des deux chansons l’empêcha pas de mettre en musique des textes Dirge for Fidele est une version de la chanson senti très utile, il accepta une affectation dans la populaires anglaises de 1935. Elle est couplée avec d’inspiration ouvertement religieuse. Ses Five Fear no more the heat o’ the sun, extraite de Garnison de l’Artillerie royale et fut envoyé en France, Searching for Lambs, également incluse ici. Mystical Songs, sur des poèmes de George Herbert, Cymbeline de Shakespeare. Ecrite pour deux voix, elle où il eut également l’occasion de faire usage de ses The splendour falls on castle walls de Tennyson présentent diverses possibilités d’interprétation, pour fut publiée en 1922, mais on estime qu’elle fut talents de musicien. est sans doute plus connu dans la version de Benjamin baryton, chœur optionnel et orchestre, comme ici pour composée dans les années 1890. Sa simplicité Après la guerre, Vaughan Williams rentra au Britten, sa Sérénade pour ténor, cor et cordes. Celle baryton et piano, ou pour piano baryton et quintette à apparente dégage une atmosphère de sérénité et Royal College of Music, devenu professeur de de Vaughan Williams, plus tendrement évocatrice, cordes. Ecrites en 1911, elles furent créées cette d’optimisme, parfaite conclusion pour ce recueil de composition, poste qu’il conserva jusqu’en 1938. date d’environ 1896 et fut publiée en 1905. The année-là au Festival des Trois Chœurs de Worcester. mélodies de l’un des plus anglais des compositeurs Pendant ces années, il en vint à occuper une position Watermill, avec son accompagnement imitant la roue La série culmine avec Antiphon, un hymne de anglais. dominante dans la vie musicale de son pays, avec une du moulin, est l’une de ses quatre mélodies sur des louanges. série d’œuvres qui semblaient essentiellement poèmes de Fredegond Shove, l’une des dames Keith Anderson anglaises, devenant le successeur apparent d’Elgar, d’honneur d’Adeline à leur mariage. Ces mélodies Version française : David Ylla-Somers même si son langage musical était foncièrement furent écrites en 1922 et créées trois ans plus tard. différent. Avec la guerre de 1939 lui fut lancé le défi Tired, sur un texte d’Ursula Vaughan Williams, de composer pour le cinéma, avec de remarquables fut publiée à titre posthume dans l’ensemble des Four bandes sonores pour Le 49ème Parallèle en 1940 et un Last Songs. Ecrite en 1956, cette mélodie est l’une des certain nombre d’autres films, dont l’apogée fut en plus émouvantes de Vaughan Williams. Elle est suivie 1949 sa musique pour le film Scott de l’Antarctique, de Silent Noon, écrite en 1903 et figure dans le cycle point de départ de sa septième symphonie. Parmi les de 1904 de six mélodies sur des poèmes de Dante autres œuvres de la dernière décennie de sa vie Gabriel Rossetti. Silent Noon, l’une de ses mélodies figurent deux autres symphonies, l’opéra The les plus efficaces, évoque la campagne en été.

8.557114 10 11 8.557114 à Berlin, où il prit des leçons auprès de Max Bruch et Pilgrim’s Progress, une sonate pour violon et des Vaughan Williams appréciait particulièrement la On Wenlock Edge fut achevé en 1909 ; ce sont six développa son expérience musicale. En Angleterre, il concertos pour harmonica et pour tuba, de poésie de Walt Whitman, dont les poèmes servirent de mélodies sur des poèmes de A. E. Housman pour s’attacha à recueillir la musique populaire de diverses remarquables aventures pour un octogénaire. point de départ à sa Sea Symphony. En 1925, il publia ténor, piano, et quatuor à cordes. Plus tard, ce cycle fut régions du pays, intérêt qui eut une influence tangible Sa première femme, Adeline, était morte en 1951, des mélodies sur trois poèmes de Whitman, le tendre arrangé pour ténor et orchestre. Il fut créé à l’Aeolian sur la forme de son langage musical. En 1908, il se à quatre-vingts ans. En 1953, il se remaria ; sa Nocturne contrastant fortement avec l’exubérant Joy, Hall de Londres en novembre, avec le ténor Gervase rendit à Paris pour y prendre des leçons, notamment deuxième épouse fut Ursula Wood, veuve d’un officier Shipmate, Joy! Elwes. Pendant sa composition, Vaughan Williams d’orchestration, auprès de Ravel, et sa réputation de qui lui avait déjà fourni des textes et devait devenir sa Les Quatre Hymnes pour ténor, alto et piano rencontra Ravel, et on y dénote des influences compositeur commençait désormais à s’étendre, plus biographe. Vaughan Williams mourut en 1958. Cette datent de 1914 ; il s’agissait d’une commande pour françaises contemporaines. Comme dans les versions particulièrement grâce à la création en 1910 de sa mort fut longtemps pleurée et ses cendres reposent Worcester et ils furent créés après la guerre, en 1920. d’autres compositeurs, le troisième poème, Is my première symphonie, A Sea Symphony, sur des textes aujourd’hui à l’abbaye de Westminster. Le premier de la série, Lord! Come away!, sur un texte team ploughing?, est particulièrement poignant. de Walt Whitman, et sa Fantaisie sur un Thème de Les mélodies de la maturité de Vaughan Williams du XVIIème siècle de Jeremy Taylor, est couplé ici L’atmosphère tragique est ensuite dissipée par Oh, Thomas Tallis de la même année. La guerre vint couvrent une période allant des années 1890 jusqu’à la avec le troisième, sur un poème de dévotions de la when I was in love with you, tandis que Bredon Hill interrompre le rythme régulier de sa vie, et il fin de sa vie. Sa version de It was a Lover and his même période du catholique Richard Crashaw. Ces évoque avec nostalgie la chaleur d’un début d’été et le s’engagea aussitôt comme soldat dans le corps médical Lass, texte extrait de Comme il vous plaira de deux mélodies semblent annoncer les remarquables son des cloches, qui passe ensuite au froid glacial de de l’Armée royale. 1914 fut aussi l’année de sa Shakespeare, date de 1922 et est écrite pour deux voix, versions des Sonnets sacrés de John Donne par l’hiver et à la mort, pour finir sur une note plus sereine. London Symphony et de son ouvrage rhapsodique pour comme dans la pièce où elle est chantée par deux Britten. La dernière mélodie, Clun, amène la résignation et violon et orchestre, The Lark Ascending. Trois ans pages du duc en exil. L’arrangement de The Lawyer Vaughan Williams était agnostique, ce qui ne l’apaisement. plus tard, après avoir servi à Salonique sans s’être pour voix et violon soliste est l’une des deux chansons l’empêcha pas de mettre en musique des textes Dirge for Fidele est une version de la chanson senti très utile, il accepta une affectation dans la populaires anglaises de 1935. Elle est couplée avec d’inspiration ouvertement religieuse. Ses Five Fear no more the heat o’ the sun, extraite de Garnison de l’Artillerie royale et fut envoyé en France, Searching for Lambs, également incluse ici. Mystical Songs, sur des poèmes de George Herbert, Cymbeline de Shakespeare. Ecrite pour deux voix, elle où il eut également l’occasion de faire usage de ses The splendour falls on castle walls de Tennyson présentent diverses possibilités d’interprétation, pour fut publiée en 1922, mais on estime qu’elle fut talents de musicien. est sans doute plus connu dans la version de Benjamin baryton, chœur optionnel et orchestre, comme ici pour composée dans les années 1890. Sa simplicité Après la guerre, Vaughan Williams rentra au Britten, sa Sérénade pour ténor, cor et cordes. Celle baryton et piano, ou pour piano baryton et quintette à apparente dégage une atmosphère de sérénité et Royal College of Music, devenu professeur de de Vaughan Williams, plus tendrement évocatrice, cordes. Ecrites en 1911, elles furent créées cette d’optimisme, parfaite conclusion pour ce recueil de composition, poste qu’il conserva jusqu’en 1938. date d’environ 1896 et fut publiée en 1905. The année-là au Festival des Trois Chœurs de Worcester. mélodies de l’un des plus anglais des compositeurs Pendant ces années, il en vint à occuper une position Watermill, avec son accompagnement imitant la roue La série culmine avec Antiphon, un hymne de anglais. dominante dans la vie musicale de son pays, avec une du moulin, est l’une de ses quatre mélodies sur des louanges. série d’œuvres qui semblaient essentiellement poèmes de Fredegond Shove, l’une des dames Keith Anderson anglaises, devenant le successeur apparent d’Elgar, d’honneur d’Adeline à leur mariage. Ces mélodies Version française : David Ylla-Somers même si son langage musical était foncièrement furent écrites en 1922 et créées trois ans plus tard. différent. Avec la guerre de 1939 lui fut lancé le défi Tired, sur un texte d’Ursula Vaughan Williams, de composer pour le cinéma, avec de remarquables fut publiée à titre posthume dans l’ensemble des Four bandes sonores pour Le 49ème Parallèle en 1940 et un Last Songs. Ecrite en 1956, cette mélodie est l’une des certain nombre d’autres films, dont l’apogée fut en plus émouvantes de Vaughan Williams. Elle est suivie 1949 sa musique pour le film Scott de l’Antarctique, de Silent Noon, écrite en 1903 et figure dans le cycle point de départ de sa septième symphonie. Parmi les de 1904 de six mélodies sur des poèmes de Dante autres œuvres de la dernière décennie de sa vie Gabriel Rossetti. Silent Noon, l’une de ses mélodies figurent deux autres symphonies, l’opéra The les plus efficaces, évoque la campagne en été.

8.557114 10 11 8.557114 1 It was a Lover and his Lass ‘I’ll take you up to London town in Worcester. Auch hier reagiert der Komponist mit während Bredon Hill geradezu nostalgisch die Hitze des William Shakespeare And all such lovely places; tiefem Verständnis auf die Worte, indem er ihren Sommers und die Glockenklänge einfängt, bevor sich As You Like It, Act V, Scene 3 I will busk you into a silken gown, devotionalen Geist in Klänge von nachgerade heiliger alles in die eisige Todeskälte des Winters verwandelt. Gold rings and gold chains and laces.’ Schlichtheit fasst. Die Sammlung kulminiert in der Am Schluss obsiegt ein ruhiger Optimismus. Das letzte It was a lover and his lass, abschließenden Antiphon, einem Lobgesang. Lied, Clun, vermittelt ein Gefühl von With a hey, and a ho, and a hey nonino, ‘I’ll have none of your London town On Wenlock Edge, vollendet 1909, ist eine Schicksalsergebenheit und innerer Ruhe. That o’er the green corn-field did pass, And all such lovely places; Vertonung von sechs Gedichten von A. E. Housman für Dirge for Fidele ist die Vertonung des Lieds Fear In spring time, the only pretty ring time, I will not be busked into a silken gown, Tenor, Klavier und Streichquartett, später bearbeitet für no more the heat o’ the summer aus Shakespeares When birds do sing, hey ding a ding, ding; Gold rings and gold chains and laces.’ Tenor und Orchester. Die Uraufführung fand im Cymbeline. Das für zwei Stimmen geschriebene Stück Sweet lovers love the spring. November 1909 in der Londoner Aeolian Hall statt; es wurde 1922 veröffentlicht, entstand aber bereits in den And now she is a poor man’s wife, sang der Tenor Gervase Elwes. Die Entstehung fiel in 1890er Jahren. In seiner äußerst schlichten Faktur This carol they began that hour, Her husband dearly loves her; die Zeit von Vaughan Willams’ Unterricht bei Maurice verbreitet das Lied eine Stimmung von Harmonie und With a hey, and a ho, and a hey nonino, She lives a sweet and contented life, Ravel, und es finden sich stellenweise Anklänge an die Optimismus – der perfekte Abschluss einer Anthologie How that a life was but a flower There’s no lady in town above her. zeitgenössische französische Musik. Besonders eines der englischsten aller englischen Komponisten. In spring time, the only pretty ring time, eindrucksvoll – wie auch in der Vertonung durch andere When birds do sing, hey ding a ding, ding; 3 The Splendour Falls Komponisten – ist das dritte Stück der Gruppe, Is my Sweet lovers love the spring Alfred, Lord Tennyson team ploughing?. Die tragische Stimmung hellt sich im Keith Anderson folgenden Lied, Oh, when I was in love with you, auf, Deutsche Fassung: Bernd Delfs And therefore take the present time, The splendour falls on castle walls With a hey, and a ho, and a hey nonino, And snowy summits old in story: For love is crowned with the prime The long light shakes across the lakes Ralph Vaughan Williams (1872-1958) In spring time, the only pretty ring time, And the wild cataract leaps in glory. When the birds do sing, hey ding a ding ding; Blow, bugle, blow, set the wild echoes flying, Five Mystical Songs • On Wenlock Edge Sweet lovers love the spring Blow, bugle; answer, echoes, dying, dying, dying. Ralph Vaughan Williams naquit dans un village du Parry et Walter Parratt, plus tard Maître de la Musique 2 The Lawyer O hark, oh hear! how thin and clear, Gloucestershire, Down Ampney, en 1872 ; son père de la Reine ; tous deux devaient bientôt être faits Traditional And thinner, clearer, farther going! était pasteur. Du côté de son père comme du côté de sa chevaliers. En 1892, il entra au Trinity College de O sweet and far from hill and scar mère, ses origines étaient d’un niveau intellectuel Cambridge, où il étudia l’Histoire, mais prit aussi des A lawyer he went out one day, The horns of Elfland faintly blowing! assez élevé. Son père descendait d’une famille de cours de composition avec Charles Wood. Après avoir A-riding through the city; Blow, let us hear the purple glens replying: juristes éminents, tandis que son grand-père maternel obtenu ses diplômes d’Histoire et de Musique, il It was there he met with a handsome maid, Blow bugle; answer, echoes, dying, dying, dying. était un Wedgwood et sa grand-mère une Darwin. A la retrouva le Royal College, où il étudia la composition And he thought her so sweet and pretty. mort de son père en 1875, sa famille alla vivre avec le avec Stanford et, fait sans doute encore plus O love, they die in yon rich sky, père de sa mère à Leith Hill Place dans le Surrey. significatif, où il devint l’ami d’un des ses camarades ‘Good morning to you, pretty maid, They faint on hill or field or river: Enfant, Vaughan Williams apprit le piano et le violon d’études, Gustav Holst. Dans les années qui allaient And whither are you going?’ Our echoes roll from soul to soul, et reçut une éducation bourgeoise conventionnelle à suivre, cette amitié avec Holst devait s’avérer très ‘I am going a-down in yonder meadows’, she said, And grow for ever and for ever. Charterhouse, à la suite de quoi il ajourna son entrée à importante lors de francs échanges de vues sur leurs ‘Where my father he is a-mowing.’ Blow, bugle, blow, set the wild echoes flying, Cambridge, préférant étudier au Royal College of compositions mutuelles. And answer, echoes, answer, dying, dying, dying. Music. Il y eut notamment comme professeurs Hubert En 1897, Vaughan Williams se maria et en rendit

8.557114 12 9 8.557114 Komponisten im neunten Lebensjahrzehnt. Seine erste Williams’ bewegendsten und wirkungsvollsten Liedern. 4 The Water Mill The supper stands on the clean-scrubbed board, Frau, Adeline, war 1951 im Alter von achtzig Jahren Musik und Text sind hier zu einer geradezu magischen Fredegond Shove And the miller drinks like a thirst lord; gestorben; 1953 heiratete er in zweiter Ehe Ursula Einheit verschmolzen. Es folgt Silent Noon, The young men come for his daughter’s sake, Wood, die Witwe eines Offiziers der Royal Artillery, geschrieben 1903 und enthalten in dem 1904 There is a mill, an ancient one, But she never knows which one to take: deren Texte er bereits vertont hatte und die später seine erschienenen Zyklus von sechs Vertonungen von Brown with rain, and dry with sun, She drives her needle and pins her stuff, Biographin werden sollte. Als Vaughan Williams 1958 Texten des Dichters Dante Gabriel Rossetti. Das die The miller’s house is joined with it While the moon shines gold, and the lamp shines starb, hinterließ er eine große Lücke im englischen Atmosphäre eines Sommertages heraufbeschwörende And in July the swallows flit buff. Musikleben, aus dem er nicht mehr wegzudenken Stück gehört zu Vaughan Williams’ schönsten To and from, in and out, gewesen war. Seine Urne wurde später in der Liedkompositionen. Round the windows, all about. 5 Tired Westminster-Abtei beigesetzt . Vaughan Willliams hegte eine besondere Vorliebe Ursula Vaughan Williams Vaughan Wiiliams’ reifere Lieder umspannen eine für die Lyrik des amerikanischen Dichters Walt The mill wheel whirrs and the waters roar Periode von den 1890er Jahren bis zu seinem Whitman, dessen Texte auch die Grundlage seiner Sea Out of the dark arch by the door, Sleep, and I’ll be still as another sleeper Lebensende. Seine Vertonung von It was a Lover and Symphony bilden. 1925 veröffentlichte er die The willows toss their silver heads, holding you in my arms, his Lass aus Shakespeares As You Like It (Was ihr Vertonungen von drei Whitman-Gedichten, wobei das And the phloxes in the garden beds glad that you lie so near at last. wollt) mit ihrer laufenden Begleitung entstand 1922 und zarte Nocturne einen starken Kontrast zum folgenden Turn red, turn grey, with the time of day, ist für zwei Stimmen geschrieben – wie auch im Joy, Shipmate, Joy! bildet, das Dichter und Komponist And smell sweet in the rain, then die away. This sheltering midnight is our meeting place, Schauspiel, wo es von zwei verbannten Sklaven des von ihrer überschwänglichen Seite zeigt. no passion or despair Herzogs gesungen wird. Die Bearbeitung von The Die Four Hymns für Tenor, Viola und Klavier The miller’s cat is a tabby, she or hope divide me from your side. Lawyer für Gesang und Solovioline ist eines von zwei datieren von 1914, wurden aber erst nach dem Is as lean as a healthy cat can be, englischen Volksliedern aus dem Jahr 1935. Das 1. Weltkrieg im Jahre 1920 uraufgeführt. Das erste She plays in the loft, where the sunbeams stroke I shall remember firelight on your sleeping face, andere, hier ebenfalls aufgenommene Lied trägt den Stück, Lord! Come away!, eine Vertonung von Worten The sacks’ fat backs, and beetles choke in the I shall remember shadows growing deeper Titel Searching for Lambs. des im siebzehnten Jahrhundert lebenden Bischofs floury dust. as the fire fell to ashes and the minutes passed. Tennysons The splendour falls on castle walls ist Jeremy Taylor, ist hier mit der dritten Hymne The wheel goes round vielleicht bekannter geworden in Benjamin Brittens gekoppelt, der Vertonung eines Gedichts aus derselben And the miller’s wife sleeps fast and sound. 6 Silent Noon suggestiver Vertonung in seiner Serenade für Tenor, Zeit von dem katholischen Dichter Richard Crashaw. Dante Gabriel Rossetti Horn und Streicher. Vaughan Williams’ Fassung Beide Lieder scheinen Vorläufer von Brittens There is a clock inside the house, entstand 1896 und erschien 1905 im Druck. Obwohl die evokativer Vertonung der Holy Sonnets von John Very tall and very bright, Your hands lie open in the long fresh grass, Hornruf-Harmonien die Bügelhörner des Texts Donne zu sein. It strikes the hour when shadows drowse The finger points look through like rosy blooms: suggerieren, ist diese Vertonung im allgemeinen sanfter Obwohl Vaughan Williams trotz seines frühen Or showers make the windows white; Your eyes smile peace. The pasture gleams im Ausdruck. The Watermill, ein Lied, in dem sich das Familienhintergrunds Agnostiker war, hinderte ihn dies Loud and sweet, in rain and sun, and glooms Mühlenrad des Titels in der Klavierbegleitung dreht, ist nicht daran, eindrucksvolle Vertonungen von religiös The clock strikes, and the work is done. ‘Neath billowing skies that scatter and amass. eine von vier Vertonungen von Gedichten von inspirierten Texten zu produzieren. Seine Five Mystical All around our nest, far as the eye can pass, Fredegond Shove, einer von Adelines Brautjungfern. Songs nach Gedichten von George Herbert existieren in The miller’s wife and his eldest girl Are golden kingcup fields with silver edge, Die Lieder entstanden 1922 und wurden drei Jahre verschiedenen Aufführungsfassungen: für Bariton, Clean and cook while the mill wheels whirl. Where the cow-parsley skirts the hawthorne hedge. später uraufgeführt. Chor ad libitum und Orchester, für Bariton und Klavier The children take their meat to school, ‘Tis visible silence, still as the hour-glass. Tired, nach Worten von Ursula Vaughan Williams, (wie in dieser Aufnahme) sowie für Bariton, Klavier And at dusk they play by the twilit pool; Deep in the sun-search’d growths the dragonfly erschien posthum in einer Gruppe von Four Last Songs. und Streichquintett. Entstanden 1911, erklangen sie Barefoot, barehead, till the day is dead, Hangs like a blue thread loosen’d from the sky: Das 1956 komponierte Stück gehört zu Ralph Vaughan zuerst in großer Besetzung beim Three Choirs Festival And their mother calls them in to bed. So this wing’d hour is dropt to us from above.

8.557114 8 13 8.557114 Oh! clasp we to our hearts, for deathless dower, 8 Nocturne Ralph Vaughan Williams (1872-1958) This close-companion’d inarticulate hour, Walt Whitman Five Mystical Songs • On Wenlock Edge When twofold silence was the song of love. Whispers of heavenly death murmur’d I hear, Ralph Vaughan Williams wurde 1872 in Down großen Werken des Jahres 1910, seiner Ersten Sinfonie 7 Searching for Lambs Labial gossip of night, sibilant chorals, Ampney in der Grafschaft Gloucestershire geboren. Er (A Sea Symphony), nach einem Text von Walt Traditional Footsteps gently ascending, mystical breezes war der Sohn eines Pfarrers und hatte namhafte Whitman, und seiner Fantasia on a Theme by Thomas wafted soft and low, Vorfahren: Sein Vater entstammte einer Familie Tallis, begann sich Vaughan Williams einen Ruf als As I went out one May morning Ripples of unseen rivers, tides of a current angesehener Juristen, sein Großvater mütterlicherseits Komponist zu erwerben. Der Ausbruch des One May morning betime, flowing, forever flowing, war ein Nachfahre des berühmten Kunstkeramikers 1. Weltkriegs unterbrach die soeben begonnene I met a maid from home had strayed (Or is it the plashing of tears? The measureless Wedgwood und seine Großmutter eine Darwin. Als der Karriere: Vaughan Williams wurde zum Royal Army Just as the sun did shine. waters of human tears?) Vater 1875 starb, zog die Familie zu den Eltern der Medical Corps eingezogen. 1914 war auch das Jahr der Mutter nach Leith Hill Place in Surrey. Als Kind spielte London Symphony und seiner Rhapsodie für Violine ‘What makes you rise so soon, my dear, I see, just see sky-ward, great cloud masses, Vaughan Williams Klavier und Violine. Nach seiner und Orchester The Lark Ascending. Drei Jahre später Your journey to pursue? Mournfully, slowly they roll, Schulzeit in Charterhouse ging er nicht, wie zu erwarten wurde er nach einer Dienstzeit in Saloniki, die er als Your pretty little feet they tread so sweet silently swelling and mixing, gewesen wäre, nach Cambridge, sondern zunächst an uneffektiv empfand, zur Royal Garrison Artillery Strike off the morning dew.’ With at times a half-dimm’d sadden’d far-off star, das Royal College of Music in London. Hier studierte er versetzt und nach Frankreich abkommandiert, wo er Appearing and disappearing. unter anderem bei Hubert Parry und bei dem späteren neben dem Militärdienst auch Gebrauch von seinen ‘I’m going to feed my father’s flock, „Master of the Queen’s Musick“ Walter Parratt. 1892 Fähigkeiten als Musiker machen konnte. His young and tender lambs (Some parturition rather, immatrikulierte er sich als Student der Geschichte am Nach dem Krieg kehrte Vaughan Williams an das That over hills and over dales some solemn immortal birth; Trinity College in Cambridge; daneben nahm er Royal College of Music zurück, und zwar als Professor Lie waiting for their dams.’ On the frontiers to eyes impenetrable, allerdings Kompositionsunterricht bei Charles Wood. für Komposition, eine Stelle, die er bis 1938 inne hatte. Some soul is passing over) Nach seinem Abschluss in Geschichte und Musik ging Im Lauf dieser Jahre wurde er immer mehr zur ‘Oh stay, oh stay, you handsome maid, er an das Royal College zurück, wo er Komposition bei beherrschenden Figur des nationalen Musiklebens, vor And rest a moment here, 9 Joy, Shipmate, Joy! Charles Stanford studierte. Vielleicht noch wichtiger in allem mit einer Reihe von Kompositionen mit typisch For there is none but you alone Walt Whitman dieser Zeit war seine Begegnung mit Gustav Holst. Ihre englischem Charakter. Vaughan Williams wurde der That I do love so dear.’ Freundschaft war von großer Bedeutung, indem sie zu legitime Nachfolger Edward Elgars, obwohl sich ihre Joy, shipmate, joy! einem offenen Meinungsaustausch über ihre Musiksprache deutlich unterscheidet. Die Zeit des ‘How gloriously the sun does shine! (Pleased to my soul Kompositionen führte. Zweiten Weltkriegs brachte eine neue Herausforderung, How pleasant is the air! At death I cry,) Im Jahre 1897 heiratete Vaughan Williams und nämlich die Komposition von Soundtracks für den I’d rather rest on a true love’s breast Our life is closed nahm die Gelegenheit wahr, nach Berlin zu gehen, wo Film. Aus seinen zahlreichen Arbeiten für die Leinwand Than any other where.’ Our life begins, er Unterricht bei Max Bruch nahm und wichtige ragen vor allem Der 49. Breitengrad (1940) und Scott of The long, long anchorage we leave, musikalische Erfahrungen sammelte. In England the Antarctic (1949) heraus; letztere bildete die ‘For I am thine and thou art mine The ship is clear at last, she leaps, beschäftigte er sich danach mit der Sammlung Grundlage für seine Siebente Sinfonie, Antarctica. Zu No man shall uncomfort thee. She swiftly courses for the shore. englischer Volkslieder aus verschiedenen Regionen des den anderen Werken aus seinem letzten We’ll join our hands in wedded bands Joy, shipmate, joy! Landes – ein Interesse, das von großer Bedeutung für Lebensjahrzehnt gehören zwei weitere Sinfonien, die And married we will be.’ seine eigene Musiksprache sein sollte. 1908 ging er Oper The Pilgrim’s Progress, eine Violinsonate sowie nach Paris, wo er unter anderem bei Maurice Ravel Konzerte für Mundharmonika und für Tuba – Instrumentation studierte. Nicht zuletzt mit den beiden erstaunliche musikalische Abenteuer für einen

8.557114 14 7 8.557114 Geoffrey Parsons. In 1972 he was the official pianist at Peter Pears’ first master-classes at The Maltings, Snape, which 0 Lord! come away! Five Mystical Songs brought him into contact with Benjamin Britten, a link which strengthened his determination to accompany. In 1976 Bishop Jeremy Taylor George Herbert he formed the Songmakers’ Almanac to explore neglected areas of piano-accompanied vocal music; the founder singers were Dame Felicity Lott, Ann Murray, Anthony Rolfe Johnson and Richard Jackson, artists with whom he has Lord! come away! Why dost Thou stay? @ I. Easter established long and fruitful collaborations both on the concert platform and in the recording studio. Some two Thy road is ready; and Thy paths, made straight hundred and fifty Songmakers’ programmes have been presented over the years. Graham Johnson has accompanied With longing expectation, wait Rise, heart; thy Lord is risen. such distinguished singers as Sir Thomas Allen, Victoria de los Angeles, Elly Ameling, Arleen Auger, Brigitte The consecration of Thy beauteous feet! Sing his praise without delays, Fassbaender, Matthias Goerne, Thomas Hampson, Simon Keenlyside, Philip Langridge, Serge Leiferkus, Edith Ride on triumphantly! Behold we lay Who takes thee by the hand, that thou likewise Mathis, Lucia Popp, Christoph Prégardien, Dame Margaret Price, Dorothea Röschmann, Peter Schreier, Dame Our lusts and proud wills in Thy way! With him may’st rise: Elisabeth Schwarzkopf, and Sarah Walker. His relationship with the Wigmore Hall is a special one. He devised and Hosanna, Hosanna, Hosanna! That, as his death calcined thee to dust, accompanied concerts in the hall’s re-opening series in 1994, and in its centenary celebrations in 2001. He has been Welcome to our hearts! His life may make thee gold, and much more, Just. chairman of the jury for the Wigmore Hall Song Competition since its inception. He is Senior Professor of Accompaniment at the Guildhall School of Music and has led a biennial scheme for Young Songmakers since 1985. Lord, here Thou hast a temple too; and full as dear Awake, my lute, and struggle for thy part His achievements include the devising and accompaniment of a set of complete Schubert Lieder on 37 discs for As that of Sion, and as full of sin: With all thy art. Hyperion Records, to be followed by a complete Schumann series, and there is an ongoing French song series to Nothing by thieves and robbers dwell therein; The cross taught all wood to resound his name include the complete songs of such composers as Chausson, Chabrier and Fauré. All these discs are issued with Enter, and chase them forth, and cleanse the floor! Who bore the same. Graham Johnson’s own programme notes. He has also recorded for Sony, BMG, Harmonia Mundi, Forlane, EMI and Crucify them, that they may never more His stretched sinews taught all strings, what key DGG. Awards include the Gramophone solo vocal award in 1989 (with Dame Janet Baker), 1996 (Die schöne Profane that holy place Is best to celebrate this most high day. Müllerin with Ian Bostridge), 1997 (for the inauguration of the Schumann series with Christine Schäfer) and 2001 Where Thou hast chose to set Thy face! (with Magdalena Kozena). He was The Royal Philharmonic Society’s Instrumentalist of the Year in 1998; in June Consort both heart and lute, and twist a song 2000 he was elected a member of the Royal Swedish Academy of Music. He is author of The Songmakers’ Almanac; And then, if our stiff tongues shall be Pleasant and long: Twenty years of recitals in London and The French Song Companion for Oxford University Press. He was made an Mute in the praises of Thy Deity, Or since all music is by three parts vied, OBE in the 1994 Queen’s Birthday Honours list, and in 2002 he was created Chevalier in the Ordre des Arts et Lettres The stones out of the temple wall And multiplied; by the French Government. Shall cry aloud, and call - O let thy blessed Spirit bear a part, ‘Hosanna, Hosanna, Hosanna! And make up our defects with his sweet art. And Thy glorious footsteps greet!’ Duke Quartet # II. I got me flowers ! Come Love, come Lord Louisa Fuller & Rick Koster, Violins Richard Crashaw I got me flowers to strew thy way; John Metcalfe, Viola I got me boughs off many a tree: Ivan McCready, Cello Come Love, come Lord, and that long day But thou wast up by break of day, For which I languish, come away. And brought’st thy sweets along with thee. Acclaimed by audiences and press for their powerful performances both live and recorded, the Duke Quartet has When this dry soul those eyes shall see established itself as one of Britain’s most exciting string quartets. At home with music from Haydn to Heavy Metal, And drink the unseal’d source of Thee, The Sun arising in the East, and sought after by choreographers, they are musicians of the highest calibre working both within and outside the When glory’s sun faith’s shades shall chase, Though he give light, and the East perfume; classical genre, boasting a dynamic style and consummate musicianship that has won a considerable following Then for Thy veil give me Thy face. If they should offer to contest throughout Europe. Recordings by the quartet include releases of works by Barber, Dvofiák, Kevin Volans and Glass. With thy arising, they presume.

8.557114 6 15 8.557114 Can there be any day but this, Such a Strength, as makes his guest. Anthony Rolfe Johnson Though many suns to shine endeavour? We count three hundred, but we miss: Come, my joy, my Love, my Heart: One of Britain’s most distinguished singers, Anthony Rolfe Johnson enjoys a busy career that includes concerts with There is but one, and that one ever. Such a joy, as none can move: the major orchestras and festivals in the United Kingdom and in the world’s leading musical centres. He has sung with Such a Love, as none can part: the Chicago Symphony Orchestra under Solti, the Boston Symphony under Ozawa, the New York Philharmonic under $ III. Love bade me welcome Such a Heart, as joys in love. Rostropovich and Masur, the Cleveland Orchestra under Rattle and the Berlin Philharmonic under Levine. Conductors with whom he has worked also include Giulini, Harnoncourt, Rozhdestvensky, Eliot Gardiner, Mackerras, Tennstedt, Love bade me welcome; yet my soul drew back, ^ V. Antiphon Boulez, Haitink and Abbado. He has a vast range of recordings to his name, reflecting his world-wide reputation as Guilty of dust and sin. an interpreter of Bach, Handel, Haydn, Mozart and Britten. Anthony Rolfe Johnson made his international operatic But quick-eyed Love, observing me grow slack Let all the world in every corner sing, début as Fenton at the Glyndebourne Festival. He has since sung an extensive repertoire in the world’s great opera From my first entrance in, My God and King. houses. In London his rôles include Don Ottavio, Tamino, Ferrando, Belmonte, Essex in Britten’s Gloriana, the Male Drew nearer to me, sweetly questioning, Chorus in The Rape of Lucretia, Florestan in Fidelio and the title rôles in Monteverdi’s Ulysses and Orfeo. He has If I lack’d anything. The heavens are not too high, sung the title rôle in Idomeneo at the Salzburg Festival, the Vienna State Opera, the Paris Opéra and the Metropolitan His praise may thither fly: Opera, Aschenbach in Geneva, Edinburgh and the Met, and Peter Grimes at the Savonlinna and Glyndebourne A guest, I answer’d, worthy to be here: The earth is not too low, festivals, in Tokyo, Munich and at the Met. He is a regular guest at the Monnaie in Brussels and with the Netherlands Love said, You shall be he. His praises there may grow. Opera. He was made a C.B.E. in the 1992 Queen’s Birthday Honours. I the unkind, ungrateful? Ah, my dear, I cannot look on thee. Let all the world in every corner sing, Love took my hand, and smiling did reply, My God and King. Simon Keenlyside Who made the eyes but I? Truth, Lord, but I have marr’d them: let my shame The Church with Psalms must shout, Simon Keenlyside was born in London, and studied zoology at Cambridge, and singing with John Cameron at the Go where it doth deserve. No door can keep them out: Royal Northern College of Music in Manchester. He made his operatic début at the Hamburg State Opera as Count And know you not, says Love, who bore the blame? But above all, the heart Almaviva in Le nozze di Figaro. He has since appeared in leading rôles in major opera-houses throughout Europe and My dear, then I will serve. Must bear the longest part. in the United States, including La Scala, Milan, the Paris Opéra, Covent Garden and the Metropolitan Opera in New York. He enjoys extensive concert work, appearing with the Chamber Orchestra of Europe and the Berlin You must sit down, says Love, and taste my meat: Let all the world in every corner sing, Philharmonic under Abbado, the City of Birmingham Symphony under Rattle, the London Symphony Orchestra So I did sit and eat. My God and King. under Colin Davis, the Philharmonia under von Dohnanyi and Sawallisch, the Cleveland Orchestra under Welser- Moest, the Vienna Philharmonic under Muti and the Czech Philharmonic Orchestra under Charles Mackerras. He has % IV. The Call appeared in recital in New York, San Francisco, Lisbon, Geneva, Moscow, Paris, Amsterdam, Ferrara, Rome, On Wenlock Edge Brussels, London, Graz, the Edinburgh Festival, Salzburg and Schubertiade Festivals, at La Scala Milan and both the Come, my Way, my Truth, my Life: A.E.Housman from ‘A Shropshire Lad’ Konzerthaus and Musikverein in Vienna. His recordings include Lieder and the title rôles in Don Giovanni and Billy Such a Way, as gives us breath: Budd. Such a Truth, as ends all strife: & I. On Wenlock Edge Such a Life, as killeth death. On Wenlock Edge the wood’s in trouble; Graham Johnson Come, my Light, my Feast, my Strength: His forest fleece the Wrekin heaves; Such a Light, as shows a feast: The gale, it plies the saplings double, Graham Johnson is recognised as one of the world’s leading vocal accompanists. Born in Rhodesia, he came to Such as Feast, as mends in length: And thick on Severn snow the leaves. London to study in 1967. After leaving the Royal Academy of Music his teachers included Gerald Moore and

8.557114 16 5 8.557114 as in settings by other composers, is the poignant Dirge for Fidele is a setting of the song Fear no ‘Twould blow like this through bolt and hanger ( III. Is my team ploughing? third of the group, Is my team ploughing?. The tragic more the heat o’ the sun from Shakespeare’s When Uricon the city stood: mood is broken by the following Oh, when I was in Cymbeline. For two voices, it was published in 1922, ‘Tis the old wind in the old anger, ‘Is my team ploughing, love with you, while Bredon Hill captures but has been dated to the 1890s. It breathes an air of But then it threshed another wood. That I was used to drive nostalgically the opening heat of summer and the serenity and optimism, in its apparent simplicity, a And hear the harness jingle tolling bells, to be transformed to the icy cold of perfect ending to an anthology by one of the most Then, ‘twas before my time, the Roman When I was man alive?’ winter and death, and finally to a calmer optimism. English of English composers. At yonder heaving hill would stare: The last song, Clun, brings an air of final resignation The blood that warms an English yeoman, Ay, the horses trample, and tranquillity. The thoughts that hurt him, they were there. The harness jingles now; Keith Anderson No change though you lie under There, like the wind through woods in riot, The land you used to plough. Through him the gale of life blew high; The tree of man was never quiet: ‘Is my girl happy, Then ‘twas the Roman, now ‘tis I. That I thought hard to leave, And has she tired of weeping The gale, it plies the saplings double, As she lies down at eve?’ It blows so hard, ‘twill soon be gone: Today the Roman and his trouble Ay, she lies down lightly, Are ashes under Uricon. She lies not down to weep: Your girl is well contented. * II. From far, from eve and morning Be still, my lad, and sleep.

From far, from eve and morning ‘Is my friend hearty, And yon twelve-winded sky, Now I am thin and pine, The stuff of life to knit me And has he found to sleep in Blew hither: here am I. A better bed than mine?’

Now for a breath I tarry Yes, lad, yes, lad, I lie easy, Nor yet disperse apart I lie as lads would choose; Take my hand quick and tell me, I cheer a dead man’s sweetheart What have you in your heart. Never ask me whose.

Speak now, and I will answer; ) IV. Oh, when I was in love with you How shall I help you, say; Ere to the wind’s twelve quarters Oh, when I was in love with you, I take my endless way. Then I was clean and brave, And miles around the wonder grew How well did I behave.

8.557114 4 17 8.557114 And now the fancy passes by, They tolled the one bell only, who had already provided texts for him and was later the basis of the Sea Symphony. In 1925 he published And nothing will remain, Groom there was none to see, to be his biographer. Vaughan Williams died in 1958. settings of three poems by Whitman, the gentle And miles around they’ll say that I The mourners followed after, The death of one who had long seemed a permanent Nocturne in strong contrast with the following Joy, Am quite myself again. And so to church went she, feature of English music was widely mourned and his Shipmate, Joy!, with poet and composer at their most And would not wait for me. ashes were later laid to rest in Westminster Abbey. ebullient. ¡ V. Bredon Hill The maturer songs of Vaughan Williams span a The Four Hymns for tenor, viola and piano date The bells they sound on Bredon, period from the 1890s until the end of his life. His from 1914, commissioned for Worcester, and first In summertime on Bredon And still the steeples hum. setting of It was a Lover and his Lass from performed after the war, in 1920. The first of the set, The bells they sound so clear; ‘Come all to church, good people,’ Shakespeare’s As You Like It, with its running Lord! Come away!, a setting of words by the Round both the shires they ring them Oh, noisy bells, be dumb; accompaniment, was written in 1922 and is for two seventeenth-century divine Bishop Jeremy Taylor, is In steeples far and near, I hear you, I will come. voices, as in the play itself, where it is sung by two of coupled here with the third, a setting of a devotional A happy noise to hear. the banished duke’s pages. The arrangement of The poem from the same period by the Catholic poet ™ VI. Clun Lawyer for singer and solo violin is one of two English Richard Crashaw. Both songs seem to be forerunners Here of a Sunday morning folk-songs from 1935. It is coupled with Searching for of Britten’s remarkable settings of the Holy Sonnets of My love and I would lie, In valleys of springs of rivers, Lambs, also included here. John Donne. And see the coloured counties, By Ony and Teme and Clun, Tennyson’s The splendour falls on castle walls Although Vaughan Williams, in spite of his early And hear the larks so high The country for easy livers, may now be more familiar from Benjamin Britten’s family background, was an agnostic, this did not About us in the sky. The quietest under the sun, evocative setting in his Serenade for tenor, horn and prevent his effective settings of verse of overt We still had sorrows to lighten, strings. The version by Vaughan Williams dates from religious inspiration. His Five Mystical Songs, settings The bells would ring to call her One could not be always glad, about 1896 and was published in 1905. Although the of poems by George Herbert, offer varied possibilities In valleys miles away: And lads knew trouble at Knighton horn-call harmonies suggest the bugles of the text, this of performance, for baritone, optional chorus and ‘Come all to church, good people; When I was a Knighton lad. setting is in general more gently evocative. The orchestra, as here for baritone and piano, or for Good people, come and pray.’ Watermill, with its mill-wheel turning in the piano baritone piano and string quintet. Written in 1911, they But here my love would stay. By bridges that Thames runs under, accompaniment, is one of four settings of poems by were first heard in that year in their fuller version at In London, the town built ill, Fredegond Shove, one of Adeline’s bridesmaids at her the Three Choirs Festival in Worcester. As elsewhere, And I would turn and answer ‘Tis sure small matter for wonder wedding. The songs were written in 1922 and first the composer responds to the words, evoking their Among the springing thyme, If sorrow is with one still. performed three years later. devotional spirit in holy simplicity and with an inner ‘Oh, peal upon our wedding, And if as a lad grows older Tired, with words by Ursula Vaughan Williams, understanding, a foretaste of work to come. The set And we will hear the chime, The troubles he bears are more, was published posthumously in a group of Four Last culminates in the final Antiphon, a hymn of praise. And come to church in time.’ He carries his griefs on a shoulder Songs. Written in 1956, the song is among the most On Wenlock Edge was completed in 1909, a That handselled them long before. moving and effective that Vaughan Williams wrote, setting of six poems by A. E. Housman for tenor, But when the snows at Christmas music and words magically united. It is followed by piano, and string quartet. The cycle was later arranged On Bredon top were strown, Where shall one halt to deliver Silent Noon, written in 1903 and included in the 1904 for tenor and orchestra. The work was first performed My love rose up so early This luggage I’d lief set down? cycle of six settings of poems by Dante Gabriel in London at the Aeolian Hall in November, with the And stole out unbeknown Not Thames, not Teme is the river Rossetti. Among the most effective of his songs, Silent tenor Gervase Elwes. During the period of its And went to church alone. Nor London nor Knighton the town: Noon evokes countryside in summer. composition Vaughan Williams had his meetings with Vaughan Williams retained a particular liking for Ravel, and there are occasional suggestions of the verse of Walt Whitman, whose poems served as contemporary French influence. Particularly moving,

8.557114 18 3 8.557114 Ralph Vaughan Williams (1872-1958) ‘Tis a long way further than Knighton, Fear no more the lightning-flash, Five Mystical Songs • On Wenlock Edge A quieter place than Clun, Nor the all-dreaded thunder-stone; Where doomsday may thunder and lighten Fear not slander, censure rash; Ralph Vaughan Williams was born in the had by now begun to make a reputation for himself as And little ‘twill matter to one. Thou hast finish’d joy and moan: Gloucestershire village of Down Ampney in 1872, a composer, not least with the first performance in All lovers young, all lovers must the son of a clergyman. His ancestry on both his 1910 of his first symphony, A Sea Symphony, setting £ Dirge for Fidele Consign to thee, and come to dust. father’s and mother’s side was of some intellectual words by Walt Whitman, and his Fantasia on a William Shakespeare distinction. His father was descended from a family Theme of Thomas Tallis in the same year. The even Cymbeline Act IV Scene 2 No exorciser harm thee! eminent in the law, while his maternal grandfather tenor of his life was interrupted by the war, when he Nor no witchcraft charm thee! was a Wedgwood and his grandmother a Darwin. On enlisted at once in the Royal Army Medical Corps as Fear no more the heat o’ the sun, Ghost unlaid forbear thee! the death of his father in 1875 the family moved to a private. 1914 was also the year of the London Nor the furious winter’s rages: Nothing ill come near thee! live with his mother’s father at Leith Hill Place in Symphony and of his rhapsodic work for violin and Thou thy wordly task hast done, Quiet consummation have: Surrey. As a child Vaughan Williams learned the orchestra, The Lark Ascending. Three years later, Home art gone and ta’en thy wages; And renowned be thy grave! piano and the violin and received a conventional after service in Salonica that seemed to him Golden lads and girls all must, upper middle class education at Charterhouse, after ineffective, he took a commission in the Royal As chimney-sweepers, come to dust. which he delayed entry to Cambridge, preferring Garrison Artillery and was posted to France. There he instead to study at the Royal College of Music, where was also able to make some use of his abilities as a his teachers included Hubert Parry and Walter musician. Parratt, later Master of the Queen’s Musick, both After the war Vaughan Williams returned to the soon to be knighted. In 1892 he took up his place at Royal College of Music, now as a professor of Trinity College, Cambridge, where he read History, composition, a position he retained until 1938. In but took composition lessons from Charles Wood. these years he came to occupy a commanding After graduation in both History and Music, he position in the musical life of the country, with a returned to the Royal College, where he studied series of compositions that seemed essentially composition with Stanford, and, perhaps more English, the apparent successor of Elgar, although his significant, became a friend of a fellow-student, musical language was markedly different. The war of Gustav Holst. The friendship with Holst was to prove 1939 brought the challenge of composition for the of great importance in frank exchanges of views on cinema, with notable scores for The 49th Parallel in one another’s compositions in the years that 1940 and a number of other films, culminating in followed. 1949 in his music for the film Scott of the Antarctic, In 1897 Vaughan Williams married and took the the basis of the seventh of his symphonies. Other opportunity to visit Berlin, where he had lessons from works of the last decade of his life included two more The Pilgrim’s Progress Max Bruch and widened his musical experience. In symphonies, the opera , a The text for track 4 (The Water Mill) is reproduced by kind permission of Blackwell Publishing England he turned his attention to the collection of violin sonata and concertos for harmonica and for folk-music in various regions of the country, an tuba, remarkable adventures for an octogenarian. The text for track 5 (Tired) is reproduced by permission of Oxford University Press interest that materially influenced the shape of his His first wife, Adeline, had died in 1951, at the musical language. In 1908 he went to Paris to take age of eighty. In 1953 he married his second wife, The texts for tracks 17-22 (A Shropshire Lad, A. E. Housman) are reproduced by kind permission of lessons, particularly in orchestration, from Ravel, and Ursula Wood, the widow of a Royal Artillery officer, The Society of Authors as the Literary Representative of the Estate of A. E. Housman. 8.557114 2 19 8.557114 1 It was a Lover and his Lass † * 1:53 Five Mystical Songs * 17:23 2 The Lawyer * 1:50 @ I. Easter 4:38 DDD (with Louisa Fuller, Violin) # II. I got me flowers 2:26 The English Song Series • 3 8.557114 3 The splendour falls † 4:16 $ III. Love bade me welcome 5:05 4 The Water Mill † 3:55 % IV. The call 2:14 5 Tired * 2:07 ^ V. Antiphon 3:01 6 Silent Noon * 4:32 Ralph 7 Searching for Lambs † 2:22 On Wenlock Edge † ‡ 22:35 (with Louisa Fuller, Violin) & I. On Wenlock Edge 3:45 8 Nocturne * 3:50 * II. From far, from eve and morning 1:57 VAUGHAN 9 Joy, Shipmate, Joy! * 1:06 ( III. Is my team ploughing? 4:06 0 Lord, come away † 3:22 ) IV. Oh, when I was in love with you 0:48 WILLIAMS (with John Metcalfe, Viola) ¡ V. Bredon Hall 7:45 ! Come Love, come Lord † 3:55 ™ VI. Clun 4:14 (with John Metcalfe, Viola)

£ Dirge for Fidele † * 3:50 On Wenlock Edge Five Mystical Songs

Anthony Rolfe Johnson, Tenor † • Simon Keenlyside, Baritone * Graham Johnson, Piano

The Duke Quartet ‡ Louisa Fuller & Rick Koster, Violins John Metcalfe, Viola Anthony Rolfe Johnson, Tenor Ivan McCready, Cello Simon Keenlyside, Baritone Graham Johnson, Piano Duke Quartet 8.557114 20 CMYK N

Originally released as part of The English Song Series on the Collins Classics label, this AXOS recording includes major works by one of the key figures in English vocal music. Although best known today for his larger-scale and symphonic works, Vaughan Williams was throughout his

8.557114 life an enthusiast and collector of English folk music, something that led to a lifelong commitment to writing for voice and piano. The songs here range from the very beginning to the DDD THE ENGLISH SONG SERIES • 3 near end of the composer’s career and include the famous Housman settings On Wenlock Edge. 8.557114 Ralph Playing Time VAUGHAN WILLIAMS 76:55 (1872-1958) 1 It was a Lover and his Lass 1:53 2 The Lawyer 1:50 UGHAN WILLIAMS 3 The splendour falls 4:16 VA 4 The Water Mill 3:55 5 Tired 2:07 6 Silent Noon 4:32 7 Searching for Lambs 2:22 www.naxos.com Made in Canada K Booklet notes and sung texts in English h h

8 Nocturne 3:50 VA ommentar auf Deutsch • Notice en français 9 Joy, Shipmate, Joy! 1:06 & 1996 Lambourne Productions Ltd. UGHAN WILLIAMS 0 Lord, come away 3:22 g ! Come Love, come Lord 3:55 2003 HNH International Ltd. @-^ Five Mystical Songs 17:23 &-™ On Wenlock Edge 22:35 £ Dirge for Fidele 3:50

Anthony Rolfe Johnson, Tenor • Simon Keenlyside, Baritone Graham Johnson, Piano • Duke Quartet Recorded 9th - 11th July, 1996 at Rosslyn Hill Chapel, London

THE ENGLISH SONG SERIES • 3 Producer: Mark Brown • Engineer: Anthony Howell • Booklet Notes: Keith Anderson Steinway Concert Grand provided and maintained by Steinway & Sons, London 8.557114 First issued on Collins Classics in 1996 A complete track list can be found on the last page of the booklet Cover Picture: Travelling Harvesters by Henry Herbert La Thangue (1859-1929)

AXOS (Bridgeman Art Library) N