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Download Booklet The Songs of RalphVaughanffilliams Poems (settings of words by Fredegond Shove, the rhe steady tread ofosciLlating fifths in the piano left Rubbra's early vocal writing was characterised by an and Edmmd Rubbra composer's niece) were premiered at a conccrt in hand seems to depict a clock, sLowly ticking as 'the effortless rhythmic freedom, The Mysrery (1922) London's Acolian HalL in March 1925. minutes passed' a poignant gesture from a composer alternates imperceptibly between duple and triple The importance offolksong collecting and ananging then in the tu,ilight of his life. time. ln Orpheus with his lute ( 1923 ) the same easy to the development of the distinctive musical ln these , Vaughan Williams experimented with flexibility is reminiscent of Elizabethan lute song, (1872-1958) language of Raiph Vaughan Williams diflcrcnr wa1. si.qt t ing.pce. lr rnllexion. r o mr rric. Vaughan Williams often played works-in-progress an association strengthened by the aryeggiated piancr has long been recognised. The composition of Several features of his mature style were already to colleagues whose critical judgement he valued: chords. The combination ofa fluid vocal line ancl original art songs formed a much smaller part ofhis apparent: in 'The new ghost', modal harmony initially to Gustav Holst; and after Holst's death (in a static, often modal, accompaniment is aLso found career, but one tvhich was not without significance: (curbined with gentle arabesques) creates a sense 1934) to a group of younger composen, including in two settings ofScottish texts, bothconcerned with indeed it was the 1904 cycle Songs o/ Trauei which of other-worldliness, as the recently-departed spirit Edmund Rubbra (1901-1986). The two men, from thc unnoticed passing of 'Christ in the stranger's first brought him to the attention ofcritics and thc ascends heavenwards. Vaughan Williams also made rvidcLy differing backgrornds - Vaughan Williams guisc': Rune ofHospiarlirr (1925) andA Dwof Bma public. His songs were composed during three increasing use ofostinato accompaniments. At the was born into the Cotswold gentry; Ruhbra was the (1928). ln the latter (literally, 'a little song'from distinct periods, alL ofwhich are represented on this opening of'Four nights', this enhances the sense of son of a Northampton cobbler had met through the Hebridean Island ofBarra), the interplay between recording. tranquillity. Elsewhere, rnovement is invokecl: the r line .,f r Holst. one of Rubbra's teachers. hc 'rnger and rhe rop h. n.(,'mlanim(Il gentle l4pping ofwirves in'Motion ancl stillness'; an anticipates Rubbra's later style. 'Silent Noon'dates from 1902, and laterformed part incessantly.turning wheel in his Schuherr-like Rubbra's earliest published song, Rosa Mundi ofthe cycle, The House ofLife. In the choice ofpoet setting of 'The water mill'. But although they (1921), dates from his student days at the Royal From 19J2 onwards, his music bccomes far rnore (D.G. Rossetti), subject matter, and musical language contributed to his stylistic developmeirt, Vaughan College of Music. It greatly impressed Holst, and lrnear. duminat.J l 1 rh1 rhm and. o'rnrcrpoinr in,' (reminiscent of Schumann), it typifies the \{/illiams's'middle-period' songs found little favour Rubbra himself later described it as'the point of neo. la.'i, al mannrr. V 'icc an.l pianr enrer tnr, ' r nineteenth-century Romantic Lied. Above a gently with the contemporary pubLic. Once again, he departure for my future devekrpnent'. Like most of more equal partnership, as heard in Three Psalms pulsing accompaniment, the singer rnellifluously foreook song-writing, this time fur more than a quafter his early songs, it is a spiritual meditation. An ( 1946; dedicated to Kathleen Ferrier). The opening serenades his lover, as they enjoy a'close- ofa century. arching nekrdy, inspired by pLainsong, is supported jrl.bar prelude is repeated throughout 'Psalm VI', companion'd'hour together. Only at the end, with by two gently rocking violins. coloured by subtle changes ofharmony ordynamics. a change from present to past tense, does it become The probable catalyst for his final foruy into the The ostinato overlaps with, md enhances, the singer's .le,rr rhrr rhe poer r. ur"rfully relirrng f, moment genre was his marriage, in Febmary 1953, to poet Unrrstrally, Ruhbra shuns the piano in scveral ofhis anguished petitions. Chromaticisms and jagged from the past. At the point ofrealisation, the singer Ursula Vood. Vaughan liliLliams soon began work early song accompaniments. This is all the more rhythms contribute to a dark musical language, and is left a E mirroring way suspended on high flat the on two cycles ofherpoems. Unfinished at his tlcath, strrprising since hc was a highly accomplished pianist, result in an unusual - yet effective - setting of'Psalm in which rhe scene is indelibly fixed in the poet's they were grouped together posthurn(\rsly irs FoLr carning his living as a pianist and critic rLntil his XXlll'. Although it opens with a brief moment o{ ( nemory. Lmt Songs. The earliest is 'Menelaus' I 95{), wlrosc aff()intrrrcnt irs zr lccturcr at Oxford University, in tendernes, the movcment seems more concemed with text and music were written in a singlc tliry rficr Ilirlph 1947. I krwcver, from his youth Rubbra had been the perils from which the shepherd is protecting his After the song cycles Songs o/Traue land OnWenlocl< and Ursula had read T.E. Lawrcncc's trirnslilti(n of firscinatctl by the 'new sound-world' of the string Ilock. The assurance of a place 'in the house of the Edge (1908), VarLghan Williams tumed his attention The Odyssey. In'Hands, eyes, iucl hcirrt'lnLI 'Tired', quartcr: thc qLlieter attilck and sustained tone of Lord for ever'heralds a new-found confidence. rWilliams to orchestral composition. ln the mid 1920s, having Vaughan recalls thc rnorc lyricirl style of strings (and often harp) were perhaps more suitable before the energetic setting of'Psalm CL- provides a completed three syrphonies and The lzrk Ascending his early songs, in stark contrirst to thc rmrtlcrnism of firr crnvcying ir scnsc of inncr peace. resolrrfe conchrsion. he returned to song. Three cycles including Four 'Procris', the last of the set to he writtcn. ln'Tired', -1 -z- ln his 1955 setting of Two Sonnets by William Les Chmrts de Ralph Vu.qhan Williams Shove, la niEce du compositeur), eut lieu au cours commenga bient6t d travailler sur deux cycles de Alabaster (one of the lesser-known metaphysical d\rn concert donn6 arr Aeolian Hall de I-ondres en podmes 6crits par sa femme. Laiss6s inachev6s d sa et d'EdnumdRubbra poets, and sometime chaplain to James I), Rubbra mars 1925. mort, ils furent regroup6s d titre posthume sous le uses the intelplay between voice and obbligato viola titre Fo[r lat Songs. Le plus ancien est o Menelaus n (1954), to heighten the intemity. In the haunting meditation, IJimportance de recueillir et d'arranger des chants Dans ceux-ci, Vaughan Williams s'essaya aux dont le texte et la musique fi:rent 6cris aprEs parl6es par Ralph et Ursula de la traduction de 'Upon the crucifixr, he exploits the full range ofthe folkloriques pour le d6veloppement de la langue diff6rentes fagons de mettre des inflexions la lecture arriv6 T.E. Lawence de L Odlssde. Dans Hands, Eyes and vrolr's ronal palerte ro grear effect. musicale propre i Vaughan Williams n'est plus i en musique. Plusieurs traits de son style i " prouver. La composition de chants artistiques maturit6 y figurent d6ji : dans " The New Ghost ", Heart , et " Tired ", Vaughan Williams rappelle le originaux repr6sente une importance moindre dans l'harmonie modale (conjugu6e d de douces style plus lyrique de ses premiers chants, tout i The two songs of AueMmia, gratiaplena (published sa carridre, sans pour autant Ctre insignifiante r C'est arabesques) cree un sentiment de d6tachement du l'opposd du modernisme de Procris qui fut le in 1953) encapsulate many of the differences " " en effet grdce au cycle de 1904 des Songs o/ l)auei mondg lorsque l'esprit du tout nouveau d6funt monte dernier i 6tre 6crit. Dans " Tired ", la cadence between Rubbra's youthful and mature styles. O m1 qu'il attira l'attention des critiques et du public. I1 au Ciel. Vaughan Williams eut 6galement recou6, et r6gulidre des quintes balanc6es par la main gauche deir Hert was composed in 1922, its original piano composa ses chants pendant trois perlocles ce de plut en plus, aux arcompJgnemenh o5linaro. du pianiste semble marquer le lent tic.tac d'une accompaniment being rescored for string quaftet in o geste differenre.. toute\ prd\cnt(: \ur cel enregi.rremenr. Pour l'ouverture dq " Four Nights ", le sentiment de horloge i mesure que passent les minutes " ; 1952. The flowing melody and simple, almost qui6tude en ressort grandi. Ailleurs, on invoque le poignant du compositeur alors au cr6puscule de sa hypnotic accompaniment (particularly the pulsing n Silent Noon " date de 1902 et fit par la suite partie mouvement : le doux clapotis des vagues dans vie. cello pedal) contrast with the more intricate, du cycle The House o;f Life. De par le choix du podte . Motion and Stillness "; contrapuntal texture of O excellent Vftgin Princess (D.G. Rossetti), du sujet et de la langue musicale (une (1952\. r6miniscence de Schumann), o Silent Noon " dans son arrangement i la est caract6ristique du Lied romantique du dix- Schubert de n The Water neuviame accompagnement Rubbra's first large-scale work for solo piano, the sidcle. Sur un Mill ". Mais bien qu'ils l6gErement rythm6, le chanteur donne une Ei@rt Preltilrs, wx premiered by the composer himself contribuent au d6veloppe- mdlodieuse s6r6nade i sa bien-aim6e, tmdis que tous ment de son style, les chants at the 1 966 Cheltenham Festival.
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