DOCSLIB.ORG

Ralph Vaughan Williams. Bucolic Suite

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ralph Vaughan Williams. Bucolic Suite Music Reviews 573 That is to say, the singer who performed cism. The musical text is, as a result, fairly the solos would also have sung with the “clean,” meaning that editorial slurs, articu- choir, the opposite of the impression given lations, dynamics, and so forth, are not dis- by this edition. tinguished typographically. Scheibe’s autograph score does indeed There does exist one recording of this contain a wealth of performance details— work, released on two LPs in 1974 by EMI most significantly, for the solos, it regularly in the series Dansk musik antologi (EMI lists the intended singer(s). Hauge de- DMA 011–012; soloists, with Kungliga scribes the inclusion of singers’ names in Operakören, Collegium Musicum Copen - the score in his introduction, but is unsure hagen, cond. Lavard Friisholm); it is long whether the many changes indicate multi- out of print, and has not been reissued on ple performances, problems with the compact disc. This recording may well have singers, or were merely suggestions (p. xii). been based on the “new full score” from However, in my experience, the primary the 1940s alluded to by Hauge (p. 162); evi- reason for indications in the score is for the dently this score was never published. We copyists: the names of the singers would can hope that this new score will inaugu- thus be given to indicate into which physi- rate an interest in Scheibe’s music, and in cal parts the solo portions should be writ- this work in particular, which will lead to ten. While the names written in for each in- increased performances and recordings. dividual movement are given in the critical Though one can purchase the paperback report, a table in the introduction summa- version for a reasonable price, the entire rizing this information would have been a edition is available from the Danish Royal welcome addition. Library as a free PDF download at http:// Hauge does not needlessly bog down the www.kb.dk/en/nb/dcm/udgivelser/scheibe reader with inconsequential details, and /index.html (accessed 19 November 2014). demonstrates a welcome informality in the Altogether, this edition is well done, and critical commentary, a genre not known for makes a valuable addition to the burgeon- its excitement. He writes, for instance, “In ing field of Scheibe studies. Readers inter- order not to spam the list of emendations ested in the eighteenth-century passion tra- with comments concerning the interpreta- dition, particularly of the nonnarrative, tion of Baroque slurring practice, [the nonliturgical variety, will find this work a slurs] have been changed without com- welcome addition to their libraries, ment” (p. 165). Nevertheless, the list of whether in physical or digital form. emendations is somewhat more verbose than is typical for editions of this type of Evan Cortens music, though that is not necessarily a criti- University of Western Ontario EARLY ORCHESTRAL WORKS OF VAUGHAN WILLIAMS RECOVERED Ralph Vaughan Williams. Bucolic Suite. Study score. Edited by Julian Rushton. Oxford: Oxford University Press, 2012. [Pref., p. iv–v; source, p. vi; textual notes, p. vii–ix; orchestration, p. [x]; score, p. 1–133. ISBN 978-0-19-337955-8. £20.95.] Ralph Vaughan Williams. Serenade in A Minor (1898). Study score. Edited by Julian Rushton. Oxford: Oxford University Press, 2012. [Pref., p. iv–v; source, p. vi; textual notes, p. vii–viii; orchestration, p. [x]; score, p. 1–132. ISBN 978-0-19-337956-5. £20.95.] Ralph Vaughan Williams. Fantasia for Piano and Orchestra. Study score. Edited by Graham Parlett. Oxford: Oxford University Press, 2012. [Pref., p. iv; manuscript, p. v; editorial method, p. v; textual notes, p. vi–vii; or- chestration, p. [viii]; score, p. 1–87. ISBN 978-0-19-338825-3. £15.50.] 574 Notes, March 2015 Ralph Vaughan Williams. Burley Heath. Study score. Edited by James Francis Brown. Oxford: Oxford University Press, 2013. [Pref., p. v; manu- script and textual notes, p. vii; orchestration, p. [viii]; score, p. 1–32. ISBN 978-0-19-339939-6. £7.95.] Ralph Vaughan Williams. Harnham Down. Study score. Edited by James Francis Brown. Oxford: Oxford University Press, 2013. [Pref., p. v–vi; manuscript and textual notes, p. vii; orchestration, p. [viii]; score, p. 1–19. ISBN 978-0-19-339940-2. £6.95.] Ralph Vaughan Williams. The Solent. Study score. Edited by James Francis Brown. Oxford: Oxford University Press, 2013. [Pref., p. v–vi; tex- tual notes, p. vii; score, p. 1–33. ISBN 978-0-19-339941-9. £7.95.] Despite an increasing presence in both score. (The autograph of the Serenade is performance and scholarly domains, it held by Yale University; those of the other seems unlikely that Ralph Vaughan five works are preserved at the British Williams (1872–1958) will be honored with Library.) With but a single source, these a uniform and complete critical edition any editions are straightforward: some regular- time soon. Unlike his younger colleague ization of articulations and dynamics, a William Walton, whose monogamous rela- number of dubious notes emended, and an tionship with a publisher—Oxford Uni - occasional creative rethinking of the origi- versity Press—combined with a fairly short nal notation, but there are no challenging work-list and unusually neat handwriting textual variants to be reconciled. Harnham made the completion of the William Walton Down seems to have required the least in- Edition manageable in less than twenty tervention (“Very little editorial clarifica- years, Vaughan Williams’s spidery script tion was necessary since expression marks and sprawling oeuvre spread across several and dynamics were consistent,” p. vii); publishers’ catalogs (principally Stainer & Burley Heath—breaking off at m. 173 in the Bell, Oxford, and Curwen, with works in surviving source—required the conjectural varying states of international copyright addition of twenty-six measures (adapted protection) pose practical challenges to the slightly from earlier in the work) to provide production of a complete edition. In recent a convincing conclusion. years, Oxford has been steadily churning So what do these works offer? Collec- out new critical editions of a varied selec- tively they yield a more nuanced view of tion of Vaughan Williams works in its Vaughan Williams as orchestral composer. catalog—including Symphonies 5, 6, and 7, They might be regarded as the scaffolding as well as lesser works (e.g., the Tuba Con- that enabled him to reach the level of the certo, and Flos Campi). This worthy initia- Fantasia on a Theme by Thomas Tallis (1910), tive has been the beneficiary of the The Lark Ascending (1914), and the first Vaughan Williams Charitable Trust. The six three symphonies (1903–9; 1911–13; 1916– works reviewed here (all dating between 21)—and, indeed, that equipped others 1895 and 1907) are products of the same similarly engaged on the quest for distinctly initiative, but have remained hitherto un- English orchestral character pieces. Burley published. Although in 1903 he could re- Heath, Harnham Down, and The Solent are as gard these as among his “most important cousins to Gustav Holst’s Two Songs without works” (see letter 31 in Letters of Ralph Words (1906) and George Butterworth’s Vaughan Williams 1895–1958, ed. Hugh three English Idylls (1910–13), and in some Cobbe [Oxford: Oxford University Press, particulars betray a close family resem- 2008], 44), all were subsequently with- blance (particularly in the prominence of drawn by the composer. Indeed, the solo clarinet and the intricate divisi “scrapped” was the word Vaughan Williams string textures). generally used for them, but he did not All of the works reviewed here predate completely discard them. Each of these Vaughan Williams’s study with Maurice works survives only in an autograph full Ravel, and demonstrate a conservative ap- Music Reviews 575 proach to orchestration. The influence of the longest movement in performance, it Vaughan Williams’s prior teachers Hubert begins with a slow, lyrical melody featuring Parry, Charles Villiers Stanford, and Max clarinet, horn, and strings; the second sec- Bruch are very much in evidence here. tion begins with a birdcall-like unaccompa- Adam Carse wrote of Bruch’s music that it nied oboe phrase in alternation with a new “typifies the sound, unoffending, conven- lyrical melody in the strings; the birdcall tional Teutonic orchestration of the pe- gradually permeates the full orchestral tex- riod; orchestration which took no risks, ture, including the bass instruments, and which is not quite so heavy and unbending eventually the first melody returns in coun- as that of Brahms, yet which lacks enter- terpoint with the birdcall figure. This re- prise, lightness and vigor” (Carse, The sembles Holst’s later “Country Song,” the History of Orchestration [London: Kegan first of his Two Songs without Words already Paul, Trench, Trubner; New York: E. P. mentioned, but no other parallel presents Dutton, 1925; reprint, New York: Dover, itself. In performance, the Serenade might 1964], 297); this description applies well to make an interesting companion piece to much of the scoring here. Perhaps signifi- Beethoven’s “Pastoral” Symphony, not as cantly, Harnham Down, the latest of the much because of the unexpected promi- works, has the most inventive orchestration: nence of birdcall, but rather for the uncon- the trio of solo violas which ends the piece ventional reworking of a genre (and in- is a particularly striking idea. deed in five movements), and the very For these works Vaughan Williams ex- similar scoring. pected a very large string section (with up The Serenade seems to be the best work to eight desks apiece for first and second vi- of the group; whether the rest of these can olins), but he requires only pairs of wood- sustain themselves in repertory lists or even winds and trumpets, with at most four on the shelves of music stores is doubtful.
Load more

Recommended publications
  • We Are TEN – in This Issue
    RVW No.31 NEW 2004 Final 6/10/04 10:36 Page 1 Journal of the No.31 October 2004 EDITOR Stephen Connock RVW (see address below) Society We are TEN – In this issue... and still growing! G What RVW means to me Testimonials by sixteen The RVW Society celebrated its 10th anniversary this July – just as we signed up our 1000 th new members member to mark a decade of growth and achievement. When John Bishop (still much missed), Robin Barber and I (Stephen Connock) came together to form the Society our aim was to widen from page 4 appreciation of RVW’s music, particularly through recordings of neglected but high quality music. Looking back, we feel proud of what we have achieved. G 49th Parallel World premieres Through our involvement with Richard Hickox, and Chandos, we have stimulated many fine world by Richard Young premiere recordings, including The Poisoned Kiss, A Cotswold Romance, Norfolk Rhapsody No.2, page 14 The Death of Tintagiles and the original version of A London Symphony. Our work on The Poisoned Kiss represents a special contribution as we worked closely with Ursula Vaughan Williams on shaping the libretto for the recording. And what beautiful music there is! G Index to Journals 11-29 Medal of Honour The Trustees sought to mark our Tenth Anniversary in a special way and decided to award an International Medal of Honour to people who have made a remarkable contribution to RVW’s music. The first such Award was given to Richard Hickox during the concert in Gloucester and more .
    [Show full text]
  • Analysis of the Song Cycle "On Wenlock Edge" by Ralph Vaughan Williams
    eno-%IS ANALYSIS OF THE SONG CYCLE "ON WENLOCK EDGE" BY RALPH VAUGHAN WILLIAMS THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By John Douglas Pummill, B. B. A., B. A. Denton, Texas January, 1965 TABLE OF CONTENTS Page LIST OF TABLES, e . iv LIST OF ILLUSTRATIONS . v Chapter I. INTRODUCTION . I II. THE AESTHETIC PHILOSOPHIES OF RALPH VAUGHAN WILLIAMS AND ALFRED EDWARD HOUSMAN . * . *0. 7 III. ON WENLOCK EDGE - POETIC AND MUSICAL .. 24 ANALYSIS, . * IV. FROM FAR, FROM EVE AND MORNING - POETIC AND MUSICAL ANALYSIS. 47 V. IS MY TEAM PLOUGHING - POETIC AND MUSICAL ANALYSIS. * . * * . 55 VI. OH, WHEN I WAS IN LOVE WITH YOU - POETIC AND MUSICAL ANALYSIS, . * * . * . 71 VII. BREDON HILL - POETIC AND MUSICAL ANALYSIS. 78 VIII. CLUN - POETIC AND MUSICAL ANALYSIS * . * .102 IX. CONCLUSION . * . * .116 BIBLIOGRAPHY. * . , . * . .124 iii LIST OF TABLES Table Page I. Sectional Divisions of the Song, Bredon Hill...................... 85 II. Division of Section C According to Accompanimental~Texture . 96 IlI. Formal Outline of the Song, Clun.... .107 iv LIST OF ILLUSTRATIONS FiQure Page 1. Cyclical element A. 33 2. Cyclical element B.. 34 . .a .a .a .a .a .a .a .a .a .a 3, Cyclical element C.. 0 . ., 34 " .a .a .a .a .a .a .a .a .a .a 4. Cyclical element D.. 35 . .a .a .a .4 ." ." .a .a .a .a 5.a Cyclical element E. 35 . .a. .a. .a. .a. .o. .a. .a. .a. .a. .a. 6. Cyclical element F..# 35 . .a .a .a .a .a .a .a .a .a .a 7.
    [Show full text]
  • Ursula in This Issue
    RVW No.30 June 2004 Final.ps - 6/3/2004 13:37 PM Journal of the No.30 June 2004 EDITOR Stephen Connock (see address below) RVWSociety A Celebration for Ursula In this issue... G The Films of Powell and At a memorable evening on Tuesday 2 March 2004 a packed Recital Hall of the Royal Pressburger – an overview rd College of Music celebrated both Ursula Vaughan Williams’s 93 birthday and the launch of by Rolf Jordan two new books. Each of the new books featured Ursula – There was a time drawing Page . 3 photographs of RVW from her collection and The Complete Poems now including a new short story, Fall of Leaf. G Long association RVW and the WI Dame Janet Ritterman, Principal of the RCM, spoke of Ralph Vaughan Williams’s long association by Lorna Gibson with the College, a relationship that has continued through Ursula. She said that the RCM was Page . 7 thrilled to be hosting the launch ceremony for the RVW Society’s new books and she explained that all the performers were students, or past students, of the College. Stephen Connock then described the new books to the audience, who included many representatives of the press. To G RVW and the early Ursula’s delight he then led the assembled soloists in a superb rendition of Happy Birthday to 20th Century Ursula! by E J Hysom Poetry and Music Page . 15 The concert interspersed Ursula’s poetry with Ralph’s music. Many of the spoken texts were about Ralph – such as Tired and excerpts from The Dictated Theme.
    [Show full text]
  • Ralph Vaughan Williams
    RALPH VAUGHAN WILLIAMS IN this paper it is proposed to speak not of the man, Vaughan Williams—besides, he speaks for himself, in the next article—but of his music, as faithfully as may be, simply from the sound of it Downloaded from and from the pages themselves. Much of the music is printed, but an important part of it is in manuscript. In this fact we stumble at once upon a peculiarity. This composer does not use opus-numbers, those useful dockets : he is not altogether sure in what order he has written things ; here http://ml.oxfordjournals.org/ and there a score has been lost or withdrawn. This is not careless- ness nor indecision ; for when we look at his scores, red pencilled for the conductor's guidance and heavily blue pencilled for omissions, when we count the number of times he has revised a work and re- member his curtailment by ten minutes of the London Symphony between two performances last year, we see that he considers the writing down to be a mere preliminary, subject in all cases to the test of performance; and that though what survives may have been at University of Connecticut on July 7, 2015 written in a certain year, it cannot therefore be said to bear a date, and an opus number would be in so far misleading. Of the MSS. I have not seen— '98 Serenade, for small orchestra. '00 Heroic Elegy. '04 Pianoforte Quintet in C-minor (withdrawn). '05 In the Pen Country (temporarily lost). '06-7 Norfolk Rhapsodies No.
    [Show full text]
  • Paradise Remembered
    Journal of the No.24 June 2002 EDITOR RVW Stephen Connock Society In this issue... Paradise Remembered RVW and Distinguished Conductors The RVW Society is delighted and wonderful times with Ralph and Ursula, honoured to be able to publish Ursula of musical evenings, of RVW premières G Conducting RVW Vaughan Williams’s autobiography and of friends long gone. Lord Paradise Remembered. The 225-page Armstrong added that the book was an by Michael Kennedy . 2 book was launched at a celebratory party ideal accompaniment to Ursula’s held at Cecil Sharp House on Saturday biography of her husband, full of insight G Glory, Pity and Anger: 23 March 2002. Over 80 of Ursula’s and affection. British Conductors in friends and family attended, including her sister Rosemary, Simona Pakenham, Ralph and Ursula the music of RVW Eva Hornstein and Michael and Joyce Ursula completed the autobiography in by William Hedley . 6 Kennedy. 1972. The early chapters of the book deal with her army life, marriage to G Malcolm Sargent, Vivid recollections Captain Michael Wood and the onset of Vaughan Williams and Lord Armstrong, son of the composer war. Her life changed totally after Sir Thomas Armstrong, congratulated meeting Ralph Vaughan Williams in the Ninth Symphony Ursula on writing an autobiography 1938. Their friendship, close artistic by Robin Barber . 8 which he found highly collaboration and subsequent marriage evocative, in 1953 are described with candour, G Stokowski and humour and affection. There are 40 Vaughan Williams illustrations from Ursula’s extensive collection, many appearing in print for by Edward Johnson . 12 the first time.
    [Show full text]
  • Ralph Vaughan Williams Society
    RVW BIBLIO-1996-2015/1 RALPH VAUGHAN WILLIAMS: AN ANNOTATED BIBLIOGRAPHY, 1996 – to the present (2015) Compiled by Paulina Piedzia Colón, Devora Geller, Danya Katok, Imani Mosley, Austin Shadduck, Maksim Shtrykov, and Serena Wang Edited by Paulina Piedzia Colón and Devora Geller Introduction by Allan Atlas INTRODUCTION Until now, there have been three bibliographies devoted to the scholarly literature on Ralph Vaughan Williams. The earliest of these is Peter Starbuck’s compilation of 1967, which lists both writings by and about Vaughan Williams.1 Rather more extensive is Neil Butterworth’s 1990 Ralph Vaughan Williams: A guide to research, which includes 564 items, though some of these are somewhat shaky in terms of scholarly consequence.2 This was followed just a few years later, in 1995, by Ralph Vaughan William: A bibliography, compiled and annotated by Graham Muncy and Robin Barber, and issued as an in-house publication by the Ralph Vaughan Williams Society itself.3 Its seventy-one items consist predominantly of publications by British scholars, while its publication date makes it just slightly too early to include the new wave of Vaughan Williams scholarship that was beginning to emerge.4 1 Peter Richard Starbuck, “Ralph Vaughan Williams, O.M., 1872-1958: A bibliography of his literary writings and criticism of his musical works,” M.A. thesis for Fellowship of the Library Association (1967); this is a revised and expanded version of “Ralph Vaughan Williams: A bibliography,” which had served as Starbuck’s submission for the Diploma in Librarianship, University of London (1962). 2 Neil Butterworth, Ralph Vaughan Williams: A guide to research.
    [Show full text]
  • Booklet-Paginated:Layout 1 7/4/13 4:01 PM Page 1 Solentthe Fifty Years of Music by Ralph Vaughan Williams
    booklet-paginated:Layout 1 7/4/13 4:01 PM Page 1 SolentThe Fifty years of music by Ralph Vaughan Williams Three Impressions for Orchestra: Burley Heath, The Solent and Harnham Down Songs of Travel (Book 1) for baritone and orchestra Four Hymns for tenor, viola and strings Incidental Music to The Mayor of Casterbridge Prelude on an Old Carol Tune Andrew Kennedy (tenor) Roland Wood (baritone) Royal Liverpool Philharmonic Orchestra Paul Daniel booklet-paginated:Layout 1 7/4/13 4:01 PM Page 3 The ABOUT ALBION RECORDS Solent Since its formation in 1994, The Ralph Vaughan Williams Society - a registered charity Fifty years of music by Ralph Vaughan Williams - has sought to raise the profile of the composer through publications, seminars and Ralph Vaughan Williams (1872 – 1958) sponsorship of recordings The Society’s successes include the publication of Ursula Vaughan Williams’ autobiography and the sponsorship of significant performances, THREE IMPRESSIONS FOR ORCHESTRA (world première recording) especially of the operas. More recently, the Society has been closely involved with 1 Burley Heath (completed by James Francis Brown) 5’31 2 The Solent 11’46 important premières including the Cambridge (doctoral) Mass, Willow Wood, and The 3 Harnham Down 6’54 Garden of Proserpine. SONGS OF TRAVEL (BOOK 1) arranged for baritone and orchestra by the composer* With over 1,000 members, the Society’s record label, Albion Records, is devoted to 4 The Vagabond 2’57 recordings of rare RVW. Each Albion CD contains at least one world première 5 The Roadside Fire 2’26 6 Bright is the Ring of Words 1’48 recording, and these abound among the many rare and beautiful songs to be found on FOUR HYMNS FOR TENOR, VIOLA OBBLIGATO AND STRINGS** our early recordings, The Sky Shall Be Our Roof and Kissing Her Hair.
    [Show full text]
  • Vaughan Williams (1872-1958)
    BRITISH AND COMMONWEALTH SYMPHONIES FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs and LPs Prepared by Michael Herman Ralph Vaughan Williams (1872-1958) Born in Down Ampney, Gloucestershire. Generally acknowledged as England’s greatest nationalist composer, Vaughan Williams was taught at the Royal College of Music by Hubert Parry and Charles Stanford and received his musical doctorate at Cambridge. He had additional lessons from Max Bruch and Maurice Ravel. During his long life he prolifically produced music in all forms from chamber music to operas. His 9 Symphonies represent the peak of a large orchestral output that includes Concertos for Piano, Violin, Oboe and Bass Tuba as well as such ever-popular favorites as his "Fantasia on a Theme by Thomas Tallis" and "The Lark Ascending." Symphonies Nos. 1 – 9 Sir Adrian Boult/London Philharmonic Orchestra (rec. 1952–8) DECCA 473 241-2DC5 (5 CDs) (2004) (see individual symphony listings below for further details) Sir Adrian Boult/London Philharmonic Orchestra & New Philharmonia Orchestra ( + English Folk Song Suite, Fantasia on Greensleeves, In the Fen Country, The Lark Ascending, Norfolk Rhapsody No 1, Serenade to Music, Fantasia on a Theme by Thomas Tallis, Concerto for Two Pianos and Orchestra, Job, and The Wasps) EMI 573924-2 (8 CDs) (2000) Sir Andrew Davis/BBC Symphony Orchestra ( + Job - A Masque for Dancing, The Lark Ascending, Fantasia on Greensleeves, The Wasps Overture and Fantasia on a Theme by Thomas Tallis) WARNER CLASSICS 256461730-2 (6 CDs) (2004) Bernard Haitink/London
    [Show full text]
  • The Cambridge Companion to Vaughan Williams Edited by Alain Frogley and Aidan J
    Cambridge University Press 978-0-521-19768-7 - The Cambridge Companion to Vaughan Williams Edited by Alain Frogley and Aidan J. Thomson Frontmatter More information The Cambridge Companion to Vaughan Williams An icon of British national identity and one of the most widely performed twentieth-century composers, Ralph Vaughan Williams has been as much misunderstood as revered; his international impact, and enduring influence on areas as diverse as church music, film scores and popular music, have been insufficiently appreciated. This volume brings together a team of leading scholars, examining all areas of the composer’s output from new perspectives, and re-evaluating the cultural politics of his lifelong advocacy for the music-making of ordinary people. Surveys of major genres are complemented by chapters exploring such topics as the composer’s relationship with the BBC, and his studies with Ravel; uniquely, the book also includes specially commissioned interviews with major living composers Peter Maxwell Davies, Piers Hellawell, Nicola LeFanu and Anthony Payne. The Companion is a vital resource for all those interested in this pivotal figure of modern music. alain frogley has taught at Oxford and Lancaster universities, and since 1994 at the University of Connecticut; in 2008 he was Visiting Professor at Yale. In 2005–6 he was a Fellow of the American Council of Learned Societies. He is the editor of Vaughan Williams Studies (1996) and the author of Vaughan Williams’sNinthSymphony(2001); he has also contributed to the New Grove Dictionary of Music and Musicians and the Oxford Dictionary of National Biography. aidan j. thomson taught at the universities of Oxford and Leeds before being appointed Lecturer in Music at Queen’s University Belfast in 2003.
    [Show full text]
  • No.28 October 2003
    No.28 October 2003 23/9/03 14:55 Page 1 Journal of the No.28 October 2003 EDITOR Stephen Connock (see address below) RVWSociety There was a Time In this issue... A Special Flame – Elgar he RVW Society is proud to announce two new publications closely associated with our and Vaughan Williams TPresident, Ursula Vaughan Williams. The first, called There was a time is a large collection of photographs taken from Ursula’s collection. The editors, Stephen Connock, ● Photographs from the Ursula Vaughan Williams and Robin Wells, have selected many photographs which have not been published before. Other more well known images have been included where these are Conference important to a full appreciation of Vaughan Williams’s life. Well over 150 photographs are Page . 2 - 3 included and we reproduce Tad Kasa’s web-based chronology to provide a framework for the illustrations. Stephen Connock’s narrative from the Exhibition at All Saint’s Church, Down ● Elgar and Vaughan Williams: Ampney, is also included. an overview by Michael The title of the book is taken from Kennedy one of the songs from RVW’s opera Page . 5 The Poisoned Kiss. There was a time... ● The work is divided into six sections: What Have We Learnt from Elgar?: Vaughan Williams ● Early Life alph and the Ambivalance of ● War and its aftermath R Inheritance by Byron Adams ● Achievements and recognition Vaughan Page . 8 ● Uncle Ralph illiams and more . ● W Homes and Places A pictorial journey ● Friends and Family from the collection of CHAIRMAN Ursula Vaughan Williams Stephen Connock MBE 65 Marathon House Fall of Leaf 200 Marylebone Road Our second publication this Autumn is The Complete Poems of Ursula Vaughan Williams.
    [Show full text]
  • The Development of English Choral Style in Two Early Works of Ralph Vaughan Williams
    Connecticut College Digital Commons @ Connecticut College Music Department Honors Papers Music Department 2011 The evelopmeD nt of English Choral Style in Two Early Works of Ralph Vaughan Williams Currie Huntington Connecticut College, [email protected] Follow this and additional works at: http://digitalcommons.conncoll.edu/musichp Part of the Musicology Commons Recommended Citation Huntington, Currie, "The eD velopment of English Choral Style in Two Early Works of Ralph Vaughan Williams" (2011). Music Department Honors Papers. 2. http://digitalcommons.conncoll.edu/musichp/2 This Honors Paper is brought to you for free and open access by the Music Department at Digital Commons @ Connecticut College. It has been accepted for inclusion in Music Department Honors Papers by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. THE DEVELOPMENT OF ENGLISH CHORAL STYLE IN TWO EARLY WORKS OF RALPH VAUGHAN WILLIAMS An Honors Thesis presented by Currie Huntington to the Department of Music at Connecticut College in partial fulfillment of the requirements for Honors in the Major Field and for the Concentration in Historical Musicology Connecticut College New London, Connecticut May 5th, 2011 ABSTRACT The late 19th century was a time when England was seen from the outside as musically unoriginal. The music community was active, certainly, but no English composer since Handel had reached the level of esteem granted the leading continental composers. Leading up to the turn of the 20th century, though, the early stages of a musical renaissance could be seen, with the rise to prominence of Charles Stanford and Hubert Parry, followed by Elgar and Delius.
    [Show full text]
  • CHSA 5002 BOOK.Qxd 12/4/07 2:09 Pm Page 2
    CHSA 5002 Front.qxd 12/4/07 2:07 pm Page 1 CHSA 5002 CHANDOS SUPER AUDIO CD CHSA 5002 BOOK.qxd 12/4/07 2:09 pm Page 2 Ralph Vaughan Williams (1872–1958) premiere recording 1 Norfolk Rhapsody No. 2 9:15 in D minor • in d-Moll • en ré mineur Edited and completed by Stephen Hogger Larghetto – Allegro – Molto tranquillo Lebrecht Collection Lebrecht Pastoral Symphony (Symphony No. 3)* 39:00 2 I Molto moderato – Poco tranquillo – Tempo I – Largamente – Tempo I 10:42 3 II Lento moderato – Poco tranquillo, tempo rubato – Tempo I 10:27 4 III Moderato pesante – Poco animato – A tempo – Presto 6:35 5 IV Lento – Moderato maestoso – Animato – Poco più lento – Tempo I 11:14 6 The Running Set 6:33 Presto 7 Norfolk Rhapsody No. 1 11:25 in E minor • in e-Moll • en mi mineur Adagio – Allegro vivace – Tempo I (Lento) TT 66:26 Rebecca Evans soprano* Ralph Vaughan Williams London Symphony Orchestra Markus Wolf leader Richard Hickox 3 CHSA 5002 BOOK.qxd 12/4/07 2:09 pm Page 4 Army Medical Corps and served in France. Like landscape should be painted in Ravelian Vaughan Williams: Pastoral Symphony/Norfolk Rhapsodies Nos 1 & 2 many others, he never spoke afterwards of the tone-colours and bitonality. Yet, for all the horrors he had witnessed there, but they left apparent tranquillity, the ear will detect darker their mark. He began this symphony shortly undercurrents which allude to the war. The Vaughan Williams wrote three Norfolk Norfolk Rhapsody No. 2 had not been after his return to civilian life and completed it poignant horn solo, accompanied by muted Rhapsodies in 1905– 06, originally intending performed since 1914 until this recording was by June 1921 (the scoring was slightly revised strings, which opens the second movement, is to compose a Norfolk Symphony.
    [Show full text]