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Home , Albert Herring, Baritone, Charles VI (opera), Clara Butt, Contralto, Countertenor

DEFINING THE VOICE THROUGH THE REPERTOIRE

OF

Sarah M. Daniels, B.M., M.M.

Dissertation Prepared for the Degree of

DOCTOR OF MUSICAL ARTS

UNIVERSITY OF NORTH TEXAS

May 2014

APPROVED:

Jeffrey Snider, Major Professor Stephen F. Austin, Committee Member Paula Homer, Committee Member Stephen F. Austin, Chair of the Division of Vocal Studies Benjamin Brand, Director of Graduate Studies in the College of Music James . Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Daniels, Sarah M. Defining the Contralto Voice through the Repertoire of Ralph

Vaughan Williams. Doctor of Musical Arts (Performance), May 2014, 41 pp., 32 musical examples, bibliography, 62 titles.

At the beginning of the twentieth century, the recognition of the contralto had reached its apex in . Throughout the remainder of the century, the number and popularity of recorded has decreased alongside the rise of the mezzo- voice type. Due to the contralto’s decline and the lack of repertoire composed specifically for the voice, the definition of “contralto” remains somewhat ambiguous. The large contralto repertoire of English composer Ralph Vaughan Williams displays a unique sensitivity to the contralto, particularly with regards to , flexibility, , and sustainability. These works thus suggest a new perspective for the voice type. The scope of Vaughan Williams’s oeuvre examined includes each of his operatic roles for contralto and choral works featuring the contralto. Also examined will be the compositional techniques implemented within these pieces which demonstrate the strengths and weaknesses of the contralto voice. A workable definition of the voice type for the pedagogue and performer is included. Copyright 2014

by

Sarah M. Daniels

ii ACKNOWLEDGEMENTS

I would like to thank my committee members Dr. Stephen F. Austin and Ms. Paula

Homer for serving on my DMA committee. I greatly appreciate their assistance with this topic, as well as the professional and musical guidance each has given me during my doctoral studies.

I offer gratitude to Dr. Richard Sparks, who helped me during the initial phase of this project and encouraged me to explore the contralto voice and for his assistance in the performance of for contralto solo and women’s chorus by Ralph Vaughan Williams.

I would like to give special thanks to my major professor, Dr. Jeffrey Snider. Thank you for your invaluable support and encouragement during my time at UNT and especially throughout this dissertation. Your guidance has helped me become a better musician, singer, and teacher.

To my parents, Tom and Sharon Daniels, and my sister, Laura Stansberry, thank you for your constant love and support. Thanks also to E. Justin Simone for your continued love and assistance throughout this dissertation.

iii TABLE OF CONTENTS

Page

ACKNOWLEDGEMENTS ...... iii

Chapters

1. INTRODUCTION ...... 1

2. DEFINING THE CONTRALTO VOICE ...... 6

3. ENGLISH CONTRALTO REPERTOIRE ...... 11

4. THE ISSUES: TESSITURA, FLEXIBILITY, SUSTAINABILITY, AND EXPLOITATION OF THE LOWER RANGE...... 14

5. CONCLUSION ...... 35

APPENDIX: THE CONTRALTO ROLES OF RALPH VAUGHAN WILLIAMS...... 36

BIBLIOGRAPHY ...... 38

iv CHAPTER 1

INTRODUCTION

For centuries, composers have written music for all voice types. However, there is more musical literature composed for certain voice types (e.g. , , and ) than for others.1 A number of writers who recount the history and literature of the different voice types have forged a narrative that accurately portrays the contralto as a voice type that has been largely neglected by composers of the Western art tradition. For example, author and music critic Pitts

Sanborn discusses the plight of the contralto: “The causes of the disease have always been the same, the narrowness of the contralto repertory and the fact that a soprano is notoriously more

‘worthy’ in the treasurer’s book.”2 The contralto voice type flourished in England from the end of the nineteenth century through the first half of the twentieth century. Journalist Percy Scholes discusses the rise of the contralto in The Mirror of Music and lists seventy-seven contraltos as members of the Huddersfield Choral Society in 1902, outnumbering male (19), tenors (72), and basses (71).3 Scholes also states that sixteen well-known British contraltos thrived from

1892-1936, most notably and .4 However, several authors claim that the classification of the contralto voice and the identification of singers as such have rapidly declined since the turn of the twentieth century. J.B. Steane writes about the vanishing contralto in his book Voices, Singers and Critics: “One searches for the really deep voices and they seem to be an almost extinct species.”5

1 Berton Coffin, The Singer’s Repertoire (New Brunswick, NJ: Press, 1956). 2 Pitts Sanborn, “The Doom of the Contralto,” The Scrap Book, Vol. 4 part I, (1907), 799. 3 Percy A. Scholes, The Mirror of Music (: Oxford University Press, 1947) 57-58. 4 Scholes, 278-279. 5 J.B. Steane, Voices, Singers, and Critics (Portland, Oregon: Amadeus Press, 1992), 47. critic Rupert Christiansen takes up the matter of voice teachers favoring the development of singers into mezzo-sopranos over

1 Two challenges that the “species” face are a decreased number of women who classify themselves as contraltos and a limited repertoire for the voice type (largely due to works being misidentified for mezzo-soprano).

Operatic repertoire for the contralto voice is limited within the Western art tradition. The few operatic roles that exist for contraltos are mostly supporting roles6. Most of the that feature a leading contralto, including (1871) by and (1875) by

Georges Bizet, feature what was sometimes referred to as a “mezzo-contralto.” A mezzo- contralto is “a role that could be sung by either a mezzo-soprano or a contralto and the term is also used for a voice that is not as high as a mezzo-soprano and not as deep as a contralto.”7 The lead contralto roles in both Verdi’s (1858) and Meyerbeer’s Le Prohète

(1849) are examples of mezzo-contralto roles and require the “contralto” to sing above the staff and sustain a high tessitura.8 Therefore, mezzo-sopranos are more apt to be cast in these mezzo- contralto roles, significantly decreasing the contralto repertoire.

Contraltos assuredly have a limited repertoire from which to select, however the English tradition provides a substantial oeuvre composed for the voice type. A broad range of composers that represent the history of English music written for contralto include , George

Frederick Handel, , Charles Hubert Hastings Parry, Charles Villiers Stanford,

Edward Elgar, and . Regardless of these contributions to the contralto repertory, they feature two prominent challenges: (a.) requiring demanding melismatic passages and (b.) sustaining a high tessitura. contraltos in “Where have all the contraltos gone?” (2010). Eric Myers also recognizes the “category” of the contralto as being “at the moment … on the verge of extinction” in “Sweet and Low” (1996). 6 Representative examples include Arnalta from L’incoronazione di Poppea and Shepard from L’ by Monteverdi, Gherardino from by Puccini, Ragonde from Il comte Ory by Rossini, Annina from by Strauss, Ninetta from by Verdi. 7 Richard Boldrey, Guide to Operatic Roles and (Dallas, TX: Pst. Inc., 1994), 26. 8 Phyllis Brenner, “The Emergence of the English Contralto,” (PhD Diss., Columbia University Teachers College, 1989), 153.

2 The current trend of contralto repertoire, especially within the oratorio genre, presents the contralto with an additional problem. For example, currently the contralto solos in G. F. Handel’s are frequently performed by countertenors instead of contraltos even though in the first performance of Messiah both voice types were utilized.9

Having to “share” oratorio/opera roles with countertenors further limits the contralto’s repertoire.

Moreover, the majority of contralto repertoire is composed for a flexible voice that can execute technically demanding passages.10 The size and makeup of those voices that are best classified as “contralto,” e.g. Clara Butt and Kathleen Ferrier,11 tend to lack such technical agility. Singer and Sabilla Novella stated that “Contralto (and voices) are usually the most unmanageable, in which the transition from one register to another is abrupt, and its position uncertain.”12 In other words, difficult transitions between the low, middle and high registers make it challenging for most contraltos to move their voices with ease. This is not necessarily true of all contraltos, but generally speaking, these voices are more suited towards sustained vocal lines rather than quick melismatic passages. Similarly, Richard Boldrey, author of Guide to Operatic Roles and Arias, also discusses the lack of flexibility in contraltos, claiming that most contralto voices are not as agile as their mezzo-soprano or soprano counterparts: “[The contralto] is in most cases less flexible and less warm as well.”13

Additionally, a significant amount of the contralto repertoire has been composed in a higher tessitura and is more adequately suited for the mezzo-soprano voice. For example, the title role in Benjamin Britten’s (1946) was specifically composed for contralto

9 Peter Giles, The History and Technique of the Counter- (Cambridge, England: University Press, 1994), 5. 10 Refer to the contralto repertoire of Handel (e.g. the faster, melismatic passages in “Se in fiorito ameno prato”, from ). 11 Percy Scholes, The Mirror of Music 1844-1944, Vol. 1 (London: Novello and Company Limited and Oxford University Press, 1947), 279. 12 Sabilla Novella, “Voice and Vocal Art,” The Musical Times and Singing Circular, Vol. 8, No. 191 (January 1859), 370. 13 Boldrey, 26.

3 Kathleen Ferrier; however, the tessitura of the role turned out to be too high for her at times.

Britten substituted F#5 for the originally composed A5 in the role, because it appeared to be “out of her reach.”14 The contralto and mezzo-soprano repertoire are almost always included together in vocal collections and anthologies.15 However, most of the pieces in these anthologies are composed in a higher tessitura more apt for mezzo-sopranos than contraltos. Other collections, e.g. Sing Solo Contralto16 and Contralto Songs,17 are not specific to the contralto voice. The repertoire contained in these collections can be sung by contraltos but were not all composed with this voice type in mind.18 For example, “Voi che sapete” from Le nozze di Figaro is featured in Sing Solo Contralto, however, the role of Cherubino (who sings the “Voi che sapete”) is listed as a soprano role in the score and is performed today by mezzo-sopranos or sopranos due to its high tessitura (ranging from D4 to F5). By combining the music of both these voice types, the contralto has become somewhat of an anomaly. All things considered, there is a significant need for music that defines the contralto voice and gives it an identity all its own, without combining it with the repertory of other voice types.

Ralph Vaughan Williams (1872-1958) is regarded as one of the most prominent English composers of the twentieth century. His vocal writing has been praised by many scholars and historians among his overall compositional output.19 Vaughan Williams’s compositional writing for the voice is generally designed for a specific voice type. Vaughan Williams was aware of the strengths and weaknesses of each kind of voice. His vocal compositions include individual songs, song cycles, operas, and choral works featuring solo voices. Like most English

14 J. B. Steane, Voices: Singers and Critics (Portland, OR: Amadeus Press, 1992), 52. 15 Refer to Kurt Adler, compiler., Operatic Anthology: Celebrated Arias for Mezzo-soprano and , vol. II (New York: G. Schirmer, 1954) and Oratorio Repertoire for Alto Voice (Bryn Mawr, PA: Theodore Presser, 1923). 16 Constance Shacklock, ed., Sing Solo Contralto (Oxford: Oxford University Press, 1986). 17 Sydney Northcote, ed.,Contralto Songs: The New Imperial Edition (London: Boosey and Hawkes, 1950). 18 There is no Sing Solo volume for the mezzo-soprano voice, only for soprano, contralto, , and tenor. 19 Sergius Kagen. Music for the Voice; A Descriptive List of Concert and Teaching Material (Bloomington, IN: Indiana University Press, 1968).

4 composers, the majority of the voices he composed for include baritone/basses, tenors, and sopranos. While the success and vast output of his compositions for men’s voices is well known

(e.g. , On Wenlock Edge, and ), the repertoire for the contralto voice has been largely overlooked. However, Vaughan Williams composed a few unique works featuring the contralto voice. Vaughan Williams’s music gives ample opportunities to the contralto without requiring the voice to sustain a high tessitura or perform demanding melismatic passages. His contralto repertoire is almost always performed by a female contralto and not a .20

The remainder of this dissertation demonstrates that Ralph Vaughan Williams, through his eight works featuring the contralto, exhibits an acute understanding of both the limitations and strengths of that voice type. Vaughan Williams has defined the term “contralto” through his musical compositions geared specifically to the contralto voice and in turn, has given the voice type a new identity.

20 Perhaps in large part, due to the fact that Vaughan Williams’s contralto repertoire features female characters.

5 CHAPTER 2

DEFINING THE CONTRALTO VOICE

Today it is rare to find a woman classified as a contralto. These singers are usually put into the general category of “mezzo-soprano.” The , for example, “does not list contraltos on its register, classifying female singers as soprano or mezzo-soprano.”21 Women who identify themselves as “contralto” face the challenge of being considered for a limited number of operatic roles. Eric Myers discusses in his article, “Sweet and Low,” how the contralto voice “was always a rare bird” or, at the very least, was much fewer in number than sopranos and mezzo-sopranos.22 The repertoire of Ewa Podles, one of today’s leading contraltos, is made up of both contralto and mezzo-soprano repertoire (e.g. Dorabella in Mozart’s Cosi fan tutte, Giulio Cesare in Handel’s Giulio Cesare in Egitto, and Klytaemnestra in by

Strauss).23 The combination of such repertoire is reminiscent of the “mezzo-contralto” voice type. Such examples of mezzo-contralto repertoire includes: Azucena (), Amneris

(Aida) Leonore (La Favorita) Catarina () Odette (Charles VI) Fidès (Le

Prophète) and Dalila ( et Dalila).24

The mezzo-contralto falls under a voice category that lies between the mezzo-soprano and the contralto. The following definition of the mezzo-contralto from James Frederick

Crowest’s book Advice to Singers explains the voice type:

It is by no means an uncommon voice, and if used with discrimination is an effective and useful one. Both in compass and quality, it lies between the contralto and the mezzo- soprano. Heavier in tone, less resonant, and less flexible than the mezzo-soprano, it is yet lighter than the contralto. Pure contralto voices are so rare that many mezzo-contralto

21 Owen Jander, "Contralto," Grove Music Online. Oxford Music Online. 9 Mar. 2012. . 22 Eric Myers, “Sweet and Low,” Opera News, Vol. 61, No. 7 (1996), 18. 23 Myers, 20. 24 Examples of well-known mezzo-contraltos include: Lucy Arbell, , Eleonora Grossi, , Maria Waldmann, , and .

6 singers appear as exponents of contralto music, and by paying chief attention to the lower register of their voices, they become fair imitations, and more than passable substitutes, for the real article.25

A considerable amount of the lead contralto roles outside of England are made up of these “mezzo-contralto” roles and therefore can be performed by both mezzo-sopranos and contraltos.

As previously stated, most low-voiced females are usually classified as mezzo-sopranos.

But what category does the woman fit into whose deep voice has an extended low range but struggles to sing pitches above the staff? Over the years, the classification of the contralto voice has almost disappeared and although there may be voices that fall under that category, the definition of the contralto voice has become somewhat unclear. There are several conflicting definitions for the contralto voice. Perhaps the lack of understanding of this voice type and its capabilities has added to the decline of the contralto. Therefore, one definition that addresses all possible aspects of the contralto voice is essential.

Many scholars and vocal pedagogues have different perspectives regarding the contralto voice. Music dictionaries have several definitions for the contralto voice. For example, Owen

Jander states in Grove Music Online that, “the term contralto is an abbreviation for the term contratenor altus and can be traced back to sixteenth-century polyphony referring to the voice that lies above the tenor.”26 Originally contralto was considered to be a male voice type and was often associated with the castrati; however, “in later English usage, when castrati were no longer on the musical scene, contralto came to refer always to a woman, as distinct from a male alto (a

25 James Frederick Crowest, Advice to singers from singers (London: Guildford, 1878), 35. 26 Owen Jander, "Contratenor altus," Grove Music Online, Oxford Music Online 9 Mar. 2012. .

7 boy alto, or a falsettist).”27 This definition provides a historical aspect that distinguishes between the male alto voice type and the female contralto.

The Harvard Dictionary of Music defines the contralto as follows:

Originally the alto was a high male voice, which through the use of nearly reached the range of the female voice (contralto). This type of voice, also known as countertenor, was cultivated especially in England, where the church music of the sixteenth century and seventeenth century definitely implies its use.28

This definition seems to imply that countertenors and contraltos are synonymous.

Similarly, Thomas Busby’s A Dictionary of Music Theoretical and Practical, defines the contralto as “Countertenor. A voice between the tenor and .”29 These definitions seem rather vague and make no distinction between the contralto and countertenor.

Prior to the nineteenth century, soprano and contralto were generally considered the prominent female voice types. With the increased usage of the term ‘mezzo-soprano’ (a voice type capable of singing within both the ranges of the soprano and the contralto) in the nineteenth century, the contralto voice was used less frequently. Vocal pedagogue Robert Rushmore writes about the difference between the mezzo-soprano and contralto: “The distinction between the mezzo-soprano and the contralto is often ill-defined. The range of the contralto, however, is much lower. A true contralto has a dark, sometimes lugubrious sounding voice.”30

Pedagogues and voice teachers have different ideas of what elements constitute distinct characteristics of the “contralto” voice type. Range is an important factor in the definition of the contralto and is the element most utilized by these vocal specialists. simply

27 Owen Jander, "Contralto," Grove Music Online. Oxford Music Online. 9 Mar. 2012. . 28 Don Michael Randel, ed., Harvard Dictionary of Music, 4th ed. (Cambridge, : Belknap Press of Harvard University Press, 2003), 212. 29 Thomas Busby, A Dictionary of Music, Theoretical and Practical, 4th ed. (London: Richard Phillips and Co., 1823), 68. 30 Robert Rushmore, The Singing Voice (New York: Dembner Books, 1971), 79.

8 states that the contralto is “the lowest of the female voices and can sing F3 below middle C with full tone with a range including all of the treble staff.” He also discusses the importance of tessitura, “the part of the range in which the voice performs best,” when classifying a contralto voice.31 Another celebrated pedagogue, Dr. James McKinney, states that the range of the contralto can be divided into three categories: “The ‘practical’ twelfth that the singer can probably handle 75 percent of the literature for that classification, the ‘ideal’ two octaves which will cover 90-95 percent of it, and finally the extreme ranges which are sometimes demanded.”32

Although range differs between each individual singer, it is unquestionably a relevant component in a definition of the contralto voice. For example, if a voice does not have strength below the staff (e.g. lower extension in ), it would be difficult to classify the singer as a contralto. A dark and rich is one of the more distinct characteristics of the contralto voice, and lends itself to, operatic roles involving older female characters, such as La zia Principessa in

Giacomo Puccini’s Suor Angelica (1917). While the size of a voice does not determine specific voice type, it is another component in classifying the contralto voice. The contralto is often considered a large voice, especially compared to the other female voice types.33 Berton Coffin defines the contralto as “the lowest female voice, large in extensity and dark in color. It has a range of G3-Ab5.”34 According to Myers, “the sound of a true contralto is huge and plummy, with organ-like tones covering a range from F below middle C to A above the treble , often with extensions at either end.”35

31 William Vennard, Singing; The Mechanism and the Technic (New York: Carl Fischer Inc, 1967), 263. 32 James C. McKinney, The Diagnosis and Correction of Vocal Faults (Nashville: Broadman Press, 1982), 114. McKinney was an established voice teacher/performer and is considered a highly respected expert in the field of . This source, in addition to You Can Read Music (1970), Vocal Fundamentals Kit (1976) and Five practical lessons in singing (1982), among others, are considered his best sources for vocal pedagogical issues. 33 Boldrey, 27. 34 Berton Coffin, The Singer’s Repertoire (New Brunswick, NJ: The Scarecrow Press, 1956), 7. “G3 to Ab5” was edited by Daniels to reflect alternative nomenclature. 35 Myers, 18.

9 As stated in the introduction, flexibility is a concern in the standard contralto repertoire.

Many scholars believe that contraltos do not have the natural flexibility necessary to sing some of the repertoire (e.g. the works of Purcell and Handel), as Owen Jander addresses:

Similarly, as the knowledge of Handel’s operas has grown, and with it the frequency of performance, the need for flexible voices in the lower female range has favoured the mezzo, who is thought more likely to be skilled in the performance of rapid runs over a wide range.36

The contralto voice is ill-defined as a whole. The following definition implements all possible characteristics that have been previously discussed to clarify the meaning of contralto.

The contralto is the lowest female voice,37 characterized by a dark, rich timbre, a general range of two octaves (G3-G5, with tessitura sitting at approximately A3-E5), and the distinct capabilities of projecting below the treble clef staff in chest voice and with full voice to the top of the staff.38 The contralto easily sustains long vocal lines but generally struggles with technical flexibility, especially between changes. The contralto’s strong lower register is the chief distinction between the contralto and other female voice types.

36 Elizabeth Forbes et.al.,“Contralto,” The New Grove Dictionary of Opera, Vol. 1 (1992): 934. 37 For the purpose of this definition, male altos, who are generally now considered countertenors, are excluded. 38 Of course, the range may vary depending on each individual voice and can be extended on either end.

10 CHAPTER 3

ENGLISH CONTRALTO REPERTOIRE

Several English composers wrote music for the contralto voice, but much of this repertoire remains challenging for that voice type due to issues of vocal flexibility and high tessitura.39 Henry Purcell (1659-1695) and (1685-1759) were the earliest composers in England to use the female contralto voice in their works. Purcell’s works include the masques/semi-operas The Rival Sisters (1695), Don Quixote (1695), The Indian Queen

(1695), The Libertine (1692), and King Richard II (1681), as well as his opera

(1689). Handel’s thirteen oratorios – Arminius (1736), Athaliah (1733), (1744),

Deborah (1733), Ester (1732), (1732), (1744), Israel in Egypt (1739),

(1751), (1747), Judas Maccabaeus (1746), Messiah (1742), and Theodora (1749) – all contain music for female contraltos, but are sometimes performed by countertenors.40 Five of his operas – (1726), (1735), Giulio Cesare (1724), (1731), and

(1743) – also utilize the contralto voice. Many of Handel’s roles center around the need for strong agility, a characteristic not generally associated with the contralto voice.41

Arthur Sullivan (1842-1900) wrote for contralto in his one opera – (1891) – and seven – H.M.S. Pinafore (1878), Pirates of Penzance (1879), (1889),

Iolanthe (1882), (1887), (1881), and (1885). The majority of his operettas provide contraltos with supporting comic roles, essentially neglecting the inclusion of more substantive roles.

39 As discussed in the previous chapter, contraltos generally struggle with flexibility and passages that remain in a high tessitura. 40 According to Eric Myers, the tradition of countertenors singing contralto solos in oratorios became a popular tradition in the 1980’s and 1990’s (Myers, 19). 41 However, in Handel’s time (1685-1759) contraltos were trained in flexibility which may explain why this repertoire requires such strong vocal agility.

11 Two leading English composers at the turn of the twentieth century, Charles Hubert

Hastings Parry (1848-1918) and Charles Villiers Stanford (1852-1924), provide limited repertoire for the contralto voice in several sacred works: Parry’s two oratorios (1888) and

King (1894); and Stanford’s Eden (1890) and (1896). This music requires the contralto to sing above its intended tessitura and sustain higher pitches more appropriate for a mezzo-soprano.

Edward Elgar (1857-1934), a contemporary of Vaughan Williams, composed two works in which the contralto voice is featured. The song cycle (1899) was composed for the English contralto Clara Butt. However, some of the songs include excerpts that lie in an uncomfortably high tessitura for a contralto42. Similarly, Elgar’s choral work The Dream of

Gerontius (1900) contains the contralto role of Angel, which could also be performed by a mezzo-soprano due to sustained notes in a high tessitura.

Benjamin Britten (1913-1976) was a leading composer of music for the contralto voice in the latter half of the twentieth century. He wrote six dramatic works containing contralto roles:

Albert Herring (1947), A Midsummer Night’s Dream (1960), (1949), Paul

Bunyan (1941), (1945), and The Rape of Lucretia (1946). A Midsummer Night’s

Dream contains two “contralto” roles, and Hippolyta, but Oberon was written for countertenor and subsequently has most often been performed by a countertenor.

He also composed a children’s opera, The Little Sweep, and an , , which feature contralto roles as well.43 The title role in The Rape of Lucretia, written for Kathleen

42 No complete recording of Sea Pictures featuring Clara Butt exists to prove that the cycle was too high for her, however passages found in “Sabbath Morning at Sea” (mm. 56-85) and “The Swimmer” (mm. 37-47) would greatly challenge the technical limits of any contralto performer. 43 Miss Baggott in The Little Sweep and the contralto part of from Paul Bunyan.

12 Ferrier, is perhaps the most significant, contralto role in all of English opera, but also one of the most challenging.

Each of these composers has contributed to the overall canon of repertoire for the contralto voice. The opus of Ralph Vaughan Williams during the first half of the twentieth- century uniquely provides opportunities for the contralto that avoid the recurring issues of sustained high tessitura and highly-demanding vocal flexibility. His operas

(1924), (1930), (1936), Riders to the Sea (1936), and The

Pilgrim’s Progress (1949),44 and his choral works Magnificat (1932), Tudor Portraits (1935), and to Music (1938) will serve as the contralto repertoire discussed in the next chapter.

44 Some scholars indicate that The Shepherds of the Delectable Mountains is also an opera; however Vaughan Williams generally considered it an oratorio rather an opera.

13 CHAPTER 4

THE ISSUES: TESSITURA, FLEXIBILITY, SUSTAINABILITY AND EXPLOITATION OF THE LOWER RANGE

Ralph Vaughan Williams is highly regarded by scholars as a talented vocal composer, particularly adept at recognizing the strengths and weaknesses of each voice type and reflecting them throughout his compositions. In order to write music effectively for the contralto, he utilized specific compositional techniques sensitive to the singer’s range, flexibility, sustainability, and tessitura, among other factors:

(a.) melismatic passages featuring triplets or dotted rhythms (b.) faster rhythms, principally sixteenth-note figures, under the tempo senza misura (c.) shorter rhythmic values on notes sung near the top of the contralto’s range (d.) descending vocal lines and/or rests following higher-pitched sustained passages (e.) exploitation of lower pitches in the singer’s range (f.) frequent sustained vocal lines (throughout the contralto’s range)

Throughout this chapter, these techniques, which contribute to defining the contralto voice type in light of Vaughan Williams’s operas and choral works, will be discussed.

Tessitura is of vital importance when composing for the contralto voice. James

McKinney discusses the matter in his book The Diagnosis and Correction of Vocal Faults, stating, “Singing above your best tessitura keeps your vocal cords under a great deal of tension for long periods of time.”45 Therefore, having to sustain passages above the intended tessitura can be harmful to any voice type, including the contralto. Contraltos struggle with vocal lines that require fluid within a sustained high tessitura. Vaughan Williams adequately demonstrates sensitivity towards this issue in his works for contralto. Examining several operatic roles and solos within choral compositions will illuminate his skill in creating pieces exceptionally well-suited for the contralto voice.

45 McKinney, 121.

14 The range of the role of Aunt Jane (Hugh the Drover) is C4-F5, which defines an appropriate range for a contralto. The tessitura generally sits from D4-E5, with no demanding high pitches outside of the typical contralto range. She sings two arias in the opera: “Life must be full of care” (range: c4-d5) and “Stay with us, Mary” (range: Eb4-F5). The higher register of the contralto’s range is scarcely utilized throughout Hugh the Drover. Rests or a descending vocal contour tend to follow such occurrences (Ex. 1). Aunt Jane’s aria, “Stay with us Mary” features a sustained Eb5, followed by a descending three-note pattern (Ex. 2).

Example 1, Hugh the Drover, Act 2 finale, mm. 2602-2604

15 Example 2, Hugh the Drover, “Stay with us, Mary” mm. 3049-3050

The issue of tessitura is addressed as well in the role of (Sir John in

Love). Her aria, “Sigh no more ladies”, requires the entire range of the role but treats the higher pitches – coinciding with the peak of the contralto’s range – in a different manner. In Ex. 3, these notes are approached from below, and the line descends quickly after the ascent is completed.

The aria is also in a quicker tempo (Allegro) and therefore makes it easier for the contralto to sing through higher pitches without having to sustain those notes for an extended amount of time.

Example 3, Sir John in Love, Act II, “Sigh no more Ladies” mm. 151-154

16 The Empress (The Poisoned Kiss), whose role contains very dramatic music within a comic operatic atmosphere, sings two arias: “When I was young” and “The Invocation”. Her overall range is B3-F5, and her tessitura for most of the opera sits within Eb4 and Eb5. In Act III, the empress sings, “Just the same old, stale old story”, with the majority of the phrase staying in an appropriate tessitura (Ex. 4). The ascent reaches F5 then immediately returns to the tessitura with which the phrase began.

Example 4, The Poisoned Kiss, Act III, No. 46: Finale: Love has Conquered, mm. 70-71

The role of Maurya (Riders to the Sea) requires a range of C4-F5, with a tessitura generally about E4-E5, thus remaining primarily in the contralto’s middle range during most of the opera. During one passage in Maurya’s lone aria (“They are all gone now”; range: C#4-E5), a rising tessitura lasting several measures constantly returns to Eb5 (Ex. 5). Vaughan Williams marks this section animato, therefore making it easier for the voice to maintain the high tessitura, without straining the voice, while adding an element of drama to the text and music.

17 Example 5, Riders to the Sea, “They are all gone now” mm. 503-505

Throughout the opera, Maurya’s vocal lines tend to slowly ascend to the top of her range.

In her final passage of text in the opera (“No man at all can be living forever”; Ex. 6), the line reaches E5 and descends immediately thereafter to avoid having to sustain near the peak of the range.

Example 6, Riders to the Sea, Finale, mm. 609-612

18 The Pilgrim’s Progress gives several opportunities for the contralto voice through its four small roles: The Shining One (one of three), Heavenly Being (cup-bearer), Pickthank, and

Madam By-Ends. These roles are not as vital to the plot of the opera as other roles that have been and will be discussed. However, these characters perform music equally vital within the contralto repertoire of Ralph Vaughan Williams and highlight the compositional techniques that address both tessitura and flexibility issues.

The Cup Bearer’s range, C4-E5, requires with a tessitura sitting primarily in the middle section of the voice. Similarly, Vaughan Williams avoids sustaining a line at the higher end of Pickthank’s range (D4-Eb5) via descending lines into more appropriate within which the performer may retain an easier vocal production (Ex. 7). Madam By-Ends (range:

Eb4-E5), the biggest contralto role of the opera and whose part consists of chiefly sustained singing, provides an additional example of tessitura manipulation through her excerpt, “your servant”, concluding with a brief half note on her highest pitch, followed by rests before her next entrance (Ex. 8). Both the use of descending lines into a more comfortable tessitura and rests after notes of longer duration at the higher end of the range demonstrates the composer’s shrewd awareness of the specific capacities of the contralto voice.

Example 7, The Pilgrim’s Progress, Act III, Scene I, mm. 1867-1868

19 Example 8, The Pilgrim’s Progress, Act IV, Scene II, mm. 2379-2380

Vaughan Williams further exploits the writing of shorter note values on higher pitches in

Magnificat, e.g. a half-note G5 (“God”) marked fortissimo (Ex. 9). He both precedes and follows this highest pitch of the work with adequate support for the voice. The significantly lower D4, marked portando, allows the singer to move from chest voice to , bypassing the transition marked by the upper end of the tessitura. After the G5, the solo line descends, poco animato, in successive half notes through a more comfortable part of the range.

In another example from Magnificat, Vaughan Williams addresses tessitura in a different manner. The first set of triplets begins on F5, a note high in the contralto’s range, but is followed by a descending line that eventually rises to D5 at the end of the excerpt (Ex. 10). This technique prevents the contralto from having to sustain multiple notes high in the range and assists the voice with completing the phrase.

20 Example 9, Magnificat, m. 58

Example 10, Magnificat for contralto solo and women’s chorus, mm. 45-51

21 The use of shorter note values on high pitches, descending lines or rests following higher passages, are ways that have been discussed to assist the contralto with tessitura issues. An additional technique that Vaughan Williams employs to address tessitura is the use of senza misura. During Romanza: Jane Scroop (“Her Lament for Philip Sparrow”), from Five Tudor

Portraits, the contralto solo’s range spans A3-F5. Vaughan Williams makes use of senza misura at the highest passage of the solo, “Libera me, Domine” (Ex. 11). The fortissimo F5 is followed by a complete measure of sustained singing within a high tessitura. The senza misura allows the voice to sing the passage with freedom from a strict tempo.

Example 11, Five Tudor Portraits, Romanza, mm. 349-353

The second of four short solos composed for contralto in , “Me-thinks it sounds much sweeter than by day”, consists of a long sustained ascending vocal line that incorporates a quarter rest before it reaches F5 (the highest pitch of the piece for any of the individual contralto solos), which is subsequently followed by a descent to C4 (Ex. 12).

Example 12, Serenade to Music, mm. 174-177

22 In addition to tessitura, flexibility is another significant issue that surrounds the contralto voice and makes it challenging for composers to write for them. Vaughan Williams develops compositional tools that address flexibility including the use of senza misura and specific rhythmic considerations (triplet and dotted rhythms) in his operatic and choral compositions for the contralto.

The contralto’s struggle with flexibility renders compositional choices that favor triplets over sixteenth-note patterns, as can be seen in Aunt Jane’s line, “Where are his keys” (Ex. 13).

Although the triplet rhythm occurs seldom in Aunt Jane’s music, the idea is considerably more prominent in Vaughan Williams’s later operas. When sixteenth-note passages arise, senza misura is typically instructed (Ex. 14). Additional freedom of the vocal line is granted through the implementation of minimal accompaniment.

Example 13, Hugh the Drover, mm. 2309-2310

23 Example 14, Hugh the drover, Act I scene, mm. 2207-2208

Vaughan Williams, akin to his music for Aunt Jane, composes with sensitivity to the flexibility of the contralto in his writing for Mistress Quickly. A series of dotted rhythmic patterns are used in Act II, Scene II (Ex. 15) and render a more continuous line (avoiding sixteenth-note Handel-like melismas). Triplet rhythms are performed in Mistress Quickly’s line,

“sweating and blowing” (Ex. 16), providing a forward thrust to the phrase and consequently helping the voice sustain legato through the line.

Example 15, Sir John in Love, from Act II, Scene II, mm. 36-38

24 Example 16, Sir John in Love, Act III, Scene III, mm. 102-104

The use of specific rhythmic devices in aiding the contralto voice is evident. Vaughan

Williams also tends to make use of senza misura tempo markings throughout his opus for contralto during -like sections and whenever additional time is necessary to help the singer articulate faster rhythmic patterns. The freedom of tempo and vocal flexibility are hallmarks of Vaughan Williams’s works for contralto. An Andante moderato (senza misura) tempo, along with successive eighth notes and a triplet figure are implemented in a Mistress

Quickly passage from Act II, Scene II (Ex. 17).

Example 17, Sir John in Love, Act II scene II, mm. 85-86

25 Like Hugh the Drover and Sir John in Love, Riders to the Sea contains recitative-like sections marked with successive sixteenth notes under the tempo marking senza misura. In

“They are all gone now”, the orchestra sustains a dissonant sonority at pianissimo while the voice moves freely, senza misura (Ex. 18).

Example 18, Riders to the Sea, “They are all gone now” m. 513

Like the other operatic contralto roles, much of the Empress’s music contains sustained vocal lines. Similar to the previous examples, Vaughan Williams prefers dotted rhythms over sixteenth-note melismas. In Act III’s Invocation, he writes successive dotted eighth-sixteenth note figures: on the word “fire” in the second stanza (Ex. 19). The contralto is thus assisted in moving through a faster vocal line as well as in providing some movement in otherwise sustained music for the Empress.

26 Example 19, The Poisoned Kiss, The Invocation, Act III, mm. 48-49

The use of “slower” rhythms (triplets, as opposed to sixteenth-note passages) extends to

Maurya’s music in Riders to the Sea. For example, in Maurya’s aria “They are all gone now”

(Ex. 20), the numerous triplet figures generate forward momentum in a line intended to be sung in one breath. The line’s placement in a comfortable tessitura further accentuates Vaughan

Williams’s ability to compose long lines easily executed by the contralto.

Example 20, Riders to the Sea, “They are all gone now”, mm. 500-501

Two of the contralto roles in The Pilgrim’s Progress make use of persistent triplet figures. In Act 2, the Cup Bearer sings these triplets during an ascending vocal line in the middle of a register change, a common problem area in the contralto voice. The use of “slower” triplets makes it easier for the voice to maneuver the register change (Ex. 21).

27 In Act IV, Madam By-Ends sings a solo vocal line of simplicity with the use of dotted and triplet rhythms found within (Ex. 20). This rhythmic technique frequently appears throughout Vaughan Williams’s complete oeuvre adds interest to his folk melodies (like that found in Ex. 22) while simultaneously accounting for the sensitivities applicable to the contralto voice.

Example 21, The Pilgrim’s Progress, Act II Scene II, mm. 1378-1383

Example 22, The Pilgrim’s Progress, Act IV, Scene I, mm. 2367-2368

28 The use of triplets in sustained vocal lines is commonly found both in the contralto roles of Vaughan Williams’s operas and in the contralto solos from his choral compositions. In Five

Tudor Portraits (Ballad), immediately following an E5, the contralto sings the descending triplet

“Alas”, and then returns to the original pitch (Ex. 23). Vaughan Williams effectively uses repetitive triplet rhythms throughout this work, in order to provide the contralto minimal exploitation of her limitations in vocal flexibility.

Example 23, Five Tudor Portraits, Romanza, mm. 210-212

The examples examined in this chapter elucidate Vaughan Williams’s knack for manipulating rhythm without compromising and indeed fostering a dramatic vocal line. The continuous use of triplet rhythms is one of the ways Vaughan Williams addresses the contralto’s limited flexibility. He challenges the singer’s flexibility with melismas featuring triplets but also keeps the vocal line sustained to the ends of phrases.

As Vaughan Williams addresses both flexibility and tessitura in his contralto repertoire, so he exploits two strong characteristics: the ability to sustain long vocal lines and the emphasis of the contralto’s lower range. These two characteristics will be discussed with reference to the same opera roles and contralto solos as in the previous section.

29 The Shining Ones, an off-stage trio, are three separate roles requiring three different female voice types (soprano, mezzo-soprano, and contralto). The contralto part supports the trio by singing several shorter phrases with an emphasis on a legato line (Ex. 24).

Example 24, The Pilgrim Progress, Act I, Scene II, mm. 430-433

As with the other choral works, in addition to the issues of tessitura and flexibility, sustainability is addressed in Serenade to Music. The first contralto solo (Ex. 25) “Music! Hark!

It is your music of the house”, focuses on a sustained vocal line with limited motion.

Example 25, Serenade to Music, mm. 167-173

The third solo “Silence bestows that virtue on it”, is perhaps the most sustained solo excerpt of the work (Ex. 26). However, it does require limited flexibility by using eighth notes within the sustained vocal line. These eighth notes propel the line forward while maintaining the integrity of the legato line.

30 Example 26, Serenade to Music, mm. 178-181

Maintaining a high tessitura can be challenging for contraltos; conversely, the low tessitura represents one of the singer’s strengths. The range for the role of Aunt Jane (C4-F5) does not extend as low as other contralto roles (e.g. refer to Maurya and Empress); however

Vaughan Williams provides numerous passages for Aunt Jane that exploit the bottom segment of the range. In “Life must be full of care” (Ex. 27), Aunt Jane’s aria from Act I, the phrase descends to the lowest part of the tessitura (anchored by C4), which is then maintained through the cadence, avoiding any abrupt shift in vocal register.

Example 27, Hugh the Drover, “Life must be full of care” mm. 684-688

31 Vaughan Williams was aware that one of the greatest assets of the contralto voice is the strong lower extension of the range. Therefore, he uses lower pitches in specific places that will not only be easily sung by the contralto but also add to the dramatic effect of the music. The empress sings the command, “bow before my will imperious,” a place in the opera where the audience would expect great strength in the voice (Ex. 28). He executes this by text painting on the word “imperious” and by a descending octave (C5-C4) on two half notes marked on a fortissimo dynamic.

Example 28, The Poisoned Kiss, Act III, No. 40 “Invocation”, mm. 56-58

The biggest asset of the contralto voice is the ability to sing and sustain lower pitches in one’s range. Vaughan Williams prominently showcased this part of the tessitura in his contralto repertoire. In the final two measures of the contralto solo in Magnificat (Ex. 29), Mary’s text “be it unto me according to thy word”, is syllabically set to eleven pitches spanning G3 to Db4.

Vaughan Williams also marks this example senza misura to give the contralto flexibility with this phrase and how it is technically executed by the contralto voice.

32 This example is one of the many in this work featuring a senza misura marking. Vaughan

Williams uses it as a way to support the voice without requiring extreme agility while still providing a vocal line with movement.

Example 29, Magnificat mm. 251-252

Similarly in Five Tudor Portraits (Romanza) the vocal line sits between C3-Eb3 in a chant-like rhythm on a soft dynamic (Ex. 30). This excerpt shows off the lower part of the contralto’s range and the ability the voice has to sing a soft dynamic low in the range.

Example 30, Five Tudor Portraits, Romanza, mm. 386-388

Vaughan Williams uses the contralto’s lower range as a strength of the voice type and to his advantage. In the last section of her solo, the vocal line begins low in the voice and uses that note as a springboard to move into the middle register of the voice (Ex. 31).

33 For instance, the text ‘Then began she to weep’ starts on a C3 and leaps up a perfect fifth into the middle register of the voice. This movement aids the contralto in reaching the middle notes (Ab-A-Ab-G) without singing through the rough transition between the chest and middle vocal registers. This technique makes it easier for the voice to keep the line sustained through the end of the last phrase.

Example 31, Five Tudor Portraits, Ballad, mm. 385-387

The final contralto solo in Serenade to Music explores the contralto’s lower range (Ex.

32). The first half of the phrase begins in a medium high range while the latter half descends and sustains in the lower part of the voice. This technique addresses the power of the contralto’s low range while keeping it in an appropriate tessitura for the voice type.

Example 32, Serenade to Music, mm. 191-196

34 CHAPTER 5

CONCLUSION

The contralto voice remains one of the most unacknowledged and rare voice types today.

The number of women listing themselves as ‘contralto’ has significantly decreased over the last

century and has almost disappeared on today’s opera stage. Also, the continual use of the

counter-tenor voice instead of the contralto has also added to the issue at hand. The presence of contralto repertoire solely in collections and anthologies that include mezzo-soprano works adds to the identity crisis suffered by contraltos and their voice type. The definition of ‘contralto’ has consequently become somewhat vague. However, the contralto repertoire of Ralph Vaughan

Williams offers a unique body of music designed for the contralto voice and specifically addresses the issues of flexibility and tessitura and the strengths of sustained singing throughout the voice’s range and especially within the lower register. Nevertheless, this repertoire is not easily accessible for singers and voice teachers, as is evident by the absence of any anthology of

Vaughan Williams’s contralto arias or solos. Vocal scores are the main source of this music, however even some scores are not widely available or do not provide the complete work (e.g. The

Poisoned Kiss, a score which omits the Empress’s aria, “When I was young”). Despite these difficulties, specific recordings of these works may prove useful to singers and voice teachers

wanting to explore the repertoire.46 Educators, students, and pedagogues may examine the solo opportunities illustrated in this study to garner a greater understanding of the voice type’s

repertoire and how it best exemplifies and illuminates the capabilities of the contralto.

46 Riders to the sea, with contralto, Sarah Walker, Hugh the Drover with contralto, Helen Watts, The Shepherds of the Delectable Mountains, Magnificat, A Song of Thanksgiving, Psalm 100, Three Choral Hymns with contralto, Catherine Wyn-Rogers, and Vaughan Williams Five Tudor Portraits with contralto, .

35 APPENDIX

THE CONTRALTO ROLES OF RALPH VAUGHAN WILLIAMS

36 Opera/Choral Work Role Range

Hugh the Drover Aunt Jane C4-F5

Sir John in Love Mistress Quickly B3-F# (Ab5)

The Poisoned Kiss Empress C4-F5

Riders to the Sea Maurya C4-F5

The Pilgrim’s Progress Pick Thank D4-Eb5

Madam By-Ends Eb4-E5

Cup-bearer E4-E5

The Shining Ones (Contralto) E4-E5

Magnificat Choral Solo G3-G5

Five Tudor Portraits Choral Solo B3-F5

Serenade to Music Choral Solo A3-F5

37 BIBLIOGRAPHY

Books

Adams, Byron, and Robin Wells, ed. Vaughan Williams Essays. Burlington, VT: Ashgate Publishing Company, 2003. Blom, Eric. Music in England. London: Pelican Books, revised edition, 1947. Boldrey, Richard. Guide to Operatic Roles and Arias. Dallas, TX: Pst. Inc., 1994. Brook, Donald. Singers of Today. Liverpool, England: Charles Birchall & Sons LTD, 1958. Busby, Thomas. Dictionary of Music, Theoretical and Practical. 4th edition. London: Richard Phillips and Company, 1823. Coffin, Berton. Coffin’s Sounds of Singing; Principles and Applications of Vocal Techniques with Chromatic Vowel Chart. London: Scarecrow Press, 1987. Coffin, Berton. The Singer’s Repertoire. New Brunswick, NJ: Scarecrow Press, 1956. Crowest, James Frederick. Advice to singers. London: Warner and Co., 1895. Day, James. Vaughan Williams. New York: Oxford University Press, 1998. Day, James, The Master Musician Series, Vaughan Williams. London: J M Dent & Sons LTD, 1961. Foss, Hubert. Ralph Vaughan Williams: A Study by Hubert Foss. London: George G. Harrap & Company LTD, 1950. Frogley, Alain, ed. Vaughan Williams Studies. New York: Cambridge University Press, 1996. Giles, Peter. The History and Technique of the Counter-Tenor. Cambridge, England: University Press, 1994. Heffer, Simon. Vaughan Williams. London: Weidenfeld & Nicolson, 2000. Holden, Amanda, ed. The New Penguin Opera Guide. London: Penguin Books, 2001. Howes, Frank Stewart. The Dramatic Works of Ralph Vaughan Williams. London: Oxford University Press, 1937. Howes, Frank Stewart. The Later Works of R. Vaughan Williams. London: Oxford University Press, 1937. Kagen, Sergius. Music for the Voice: A descriptive list of concert and teaching material. Bloomington: Indiana University Press, 1968.

38 Kennedy, Michael. The Works of Ralph Vaughan Williams. London: Oxford University Press, 1964. Klein, Hermann. Great Women-Singers of My Time. New York: E.P. Dutton & Company, 1931. Manning, David, ed. Vaughan Williams on Music. London: Oxford University Press, 2008. McKinney, James C. The Diagnosis and Correction of Vocal Faults. Nashville: Broadman Press, 1982. Pleasants, Henry. The Great Singers. New York: Simon & Schuster, 1966. Rushmore, Robert. The Singing Voice. New York: W.W. Norton and Co., 1984. Sadie, Stanley, ed. The Grove Book of Operas. New York: Oxford University Press, 2006. Sadie, Stanley, ed. The Grove Dictionary of Opera. London: Macmillan Press Ltd., 1992. Sanborn, Pitts. The Doom of the Contralto. New York: Frank A. Munsey Company, 1907. Scholes, Percy A. The Mirror of Music. London: Oxford University Press, 1947. Steane, J. B. Voices: Singers and Critics. Portland, OR: Amadeus Press, 1992. Vaughan Williams, Ursula. R. V. W. A Biography of Ralph Vaughan Williams. London: Oxford University Press, 1964. Vennard, William. Singing; The Mechanism and the Technic. New York: Carl Fischer Inc, 1967. Walker, Ernest. A History of Music in England. London: Oxford University Press, 1939.

Articles/Dissertations

Adrian, Walter. "The Contralto Voice." Musical Times, Vol. 74, No. 1085 (1933): 636. Brenner, Phyllis Ann. “The Emergence of the English Contralto.” PhD Diss., Columbia University Teachers College, 1989. Forbes, Elizabeth, Owen Jander, and J.B. Steane. “Contralto.” The New Grove Dictionary of Opera, Vol. 1 (1992): 933-935. Freer, Dawson. “The Composer and the Larynx” Musical Times, Vol. 68, No. 1011 (May 1927): 419-422. Kennedy, Michael. "The Unknown Vaughan Williams." Proceedings of the Royal Musical Association. Vol. 99 (1973): 31-41.

39 Myers, Eric. “Sweet and Low: The case of the vanishing contralto.” Opera News. Vol. 61, No. 7 (1996): 18-21. Ottaway, D. Hugh. "Riders to the Sea." Musical Times. Vol. 1314 (1952): 358-360. Presser, Theodore. “The Appeal of the Contralto.” The Etude Music Magazine. Vol. 40 (1922): 807. Sanborn, Pitts. “The Doom of the Contralto.” The Scrap Book Vol. 4, Part 1 (1907): 795-800.

Internet Resources Christiansen, Rupert, “Where have all the contraltos gone?” 25 Feb. 2010. . Jander, Owen, "Contralto." Grove Music Online. Oxford Music Online. 9 Mar. 2012. . Jander, Owen, "Contratenor altus." Grove Music Online. Oxford Music Online. 9 Mar. 2012. . Jander, Owen, "Mezzo-soprano." Grove Music Online. Oxford Music Online. 9 Mar. 2012. . Jones, David L., “Training the contralto voice.” 2007. .

Scores Douty, Nicholas, ed., Oratorio Repertoire Alto Voice. Bryn Mawr, PA: Theodore Presser Co., 1923. Elgar, Edward. Sea Pictures: A Cycle of Five Songs for Contralto. Piano/Vocal Score. Boca Raton, FL: Master Music Publications, Inc., 1990. Northcote, Sydney, ed., Contralto Songs: The New Imperial Edition. London: Boosey and Hawkes, 1950. Shacklock, Constance, ed., Sing Solo Contralto. Oxford: Oxford University Press, 1986.

Vaughan Williams, Ralph. Hugh the Drover: A Romantic Ballad Opera. Piano/Vocal Score. by Harold Child. London: J. Curwen & Sons Ltd., 1959.

40 Vaughan Williams, Ralph. Magnificat: for Contralto Solo, Women’s Chorus, , and Pianoforte. Piano/Vocal Score. London: Oxford University Press, 1932. Vaughan Williams, Ralph. The Pilgrim’s Progress. Piano/Vocal Score. London: Oxford University Press, 1952. Vaughan Williams, Ralph. The Poisoned Kiss. Piano/Vocal Score. Libretto by Evelyn Sharp London: Oxford University Press, 1936. Vaughan Williams, Ralph, Riders to the Sea. Piano/Vocal Score. Libretto by J. M. Synge. London: Oxford University Press, 1936. Vaughan Williams, Ralph. Serenade to Music. Orchestral Score. London: Oxford University Press, 1961. Vaughan Williams, Ralph. Five Tudor Portraits. Full Score. London: Oxford University Press, 1971. Vaughan Williams, Ralph. Sir John in Love. Vocal/Piano Score. London: Oxford University Press, 1971.

Discography Vaughan Williams, Ralph. Riders to the sea, Household music, . With Linda Finnie, Karl Daymond, Lynne Dawson, Ingrid Attrot, , Philip Dukes. Hickox, Richard, dir. © 1995 by Chandos. CD. Vaughan Williams, Ralph. Riders to the Sea. Directed by Louis Lenton. Kultur Video Inc, 2008. DVD. Vaughan Williams, Ralph. Hugh the Drover. With Sheila Armstrong, Helen Watts, , , Michael Rippen. Royal Philharmonic Orchestra. cond. Sir . © 1979 by Angel SCBX. LP. Vaughan Williams, Ralph. The Shepherds of the Delectable Mountains, Magnificat, A Song of Thanksgiving, Psalm 100, Three Choral Hymns. With Catherine Wyn-Rogers, Corydon Singers. . Best, Matthew, dir. © 1991 by Hyperion. CD.

41