Ralph Vaughan Williams

6635: 2311: 949:(1911–2007), the wife of an army officer, Captain (later Lieutenant-Colonel) Michael Forrester Wood. She was a poet, and had approached the composer with a proposed scenario for a ballet. Despite their both being married, and a four-decade age-gap, they fell in love almost from their first meeting; they maintained a secret love affair for more than a decade. Ursula became the composer's muse, helper and London companion, and later helped him care for his ailing wife. Whether Adeline knew, or suspected, that Ursula and Vaughan Williams were lovers is uncertain, but the relations between the two women were of warm friendship throughout the years they knew each other. The composer's concern for his first wife never faltered, according to Ursula, who admitted in the 1980s that she had been jealous of Adeline, whose place in Vaughan Williams's life and affections was unchallengeable. 1377:(1921). The first three movements are for orchestra alone; a wordless solo soprano or tenor voice is added in the finale. Despite the title the symphony draws little on the folk-songs beloved of the composer, and the pastoral landscape evoked is not a tranquil English scene, but the French countryside ravaged by war. Some English musicians who had not fought in the First World War misunderstood the work and heard only the slow tempi and quiet tone, failing to notice the character of a requiem in the music and mistaking the piece for a rustic idyll. Kennedy comments that it was not until after the Second World War that "the spectral 'Last Post' in the second movement and the girl's lamenting voice in the finale" were widely noticed and understood. 1787: 1249:, wrote that Vaughan Williams's music showed an exceptionally strong individual voice: Vaughan Williams's style is "not remarkable for grace or politeness or inventive colour", but expresses "a consistent vision in which thought and feeling and their equivalent images in music never fall below a certain high level of natural distinction". They commented that the composer's vision is expressed in two main contrasting moods: "the one contemplative and trance-like, the other pugnacious and sinister". The first mood, generally predominant in the composer's output, was more popular, as audiences preferred "the stained-glass beauty of the Tallis Fantasia, the direct melodic appeal of the 524: 48: 1556: 131: 2016: 1086: 2106:(finally incorporated, with amendments, into the 1951 opera). The work has been criticised for a preponderance of slow music and stretches lacking in dramatic action, but some commentators believe the work to be one of Vaughan Williams's supreme achievements. Summaries of the music vary from "beautiful, if something of a stylistic jumble" (Saylor) to "a synthesis of Vaughan Williams's stylistic progress over the years, from the pastoral mediation of the 1920s to the angry music of the middle symphonies and eventually the more experimental phase of the 6656: 764: 826: 1050:'s allegory for forty-five years, and the 1951 "morality" was the final result. The reviews were respectful, but the work did not catch the opera-going public's imagination, and the Royal Opera House's production was "insultingly half-hearted" according to Frogley. The piece was revived the following year, but was still not a great success. Vaughan Williams commented to Ursula, "They don't like it, they won't like it, they don't want an opera with no heroine and no love duets—and I don't care, it's what I meant, and there it is." 987: 440: 493:, who became a lifelong friend. Stanford emphasised the need for his students to be self-critical, but Vaughan Williams and Holst became, and remained, one another's most valued critics; each would play his latest composition to the other while still working on it. Vaughan Williams later observed, "What one really learns from an Academy or College is not so much from one's official teachers as from one's fellow-students ... every subject under the sun from the lowest note of the double bassoon to the philosophy of 203:, in which he served in the army, had a lasting emotional effect. Twenty years later, though in his sixties and devotedly married, he was reinvigorated by a love affair with a much younger woman, who later became his second wife. He went on composing through his seventies and eighties, producing his last symphony months before his death at the age of eighty-five. His works have continued to be a staple of the British concert repertoire, and all his major compositions and many of the minor ones have been recorded. 1470:(1956) in D minor is noticeably different from its seven predecessors by virtue of its brevity and, despite its minor key, its general light-heartedness. The orchestra is smaller than for most of the symphonies, with the exception of the percussion section, which is particularly large, with, as Vaughan Williams put it, "all the 'phones' and 'spiels' known to the composer". The work was enthusiastically received at its early performances, and has remained among Vaughan Williams's most popular works. 256: 508: 748:, were strong in their praise. The former wrote of the fantasia, "The work is wonderful because it seems to lift one into some unknown region of musical thought and feeling. Throughout its course one is never sure whether one is listening to something very old or very new". Langford declared that the symphony "definitely places a new figure in the first rank of our English composers". Between these successes and the start of war Vaughan Williams's largest-scale work was the first version of 1203: 1542: 7333: 1523: 1509: 1295: 1912:, his success in the operatic field was at best patchy. There is widespread agreement among commentators that this was partly due to the composer's poor choice of librettists for some, though not all, of his operas. Another problem was his keenness to encourage amateurs and student groups, which sometimes led to the staging of his operas with less than professional standards. A further factor was the composer's expressed preference for "slow, long 1758:. To Vaughan Williams the human voice was "the oldest and greatest of musical instruments". He described his early songs as "more or less simple and popular in character", and the musicologist Sophie Fuller describes this simplicity and popularity as consistent throughout his career. Many composers of the late 19th and early 20th centuries wrote sentimental works for female voice; by contrast, songs by Vaughan Williams, such as "The Vagabond" from 783:, he served as a stretcher bearer in an ambulance crew in France and later in Greece. Frogley writes of this period that Vaughan Williams was considerably older than most of his comrades, and "the back-breaking labour of dangerous night-time journeys through mud and rain must have been more than usually punishing". The war left its emotional mark on Vaughan Williams, who lost many comrades and friends, including the young composer 7853: 656: 7829: 7817: 1351:(1911–1913) which the composer later observed might more accurately be called a "symphony by a Londoner", is for the most part not overtly pictorial in its presentation of London. Vaughan Williams insisted that it is "self-expressive, and must stand or fall as 'absolute' music". There are some references to the urban soundscape: brief impressions of street music, with the sound of the 1412:. Fearing—wrongly as it turned out—that the opera would never be completed, Vaughan Williams reworked some of the music already written for it into a new symphony. Despite the internal tensions caused by the deliberate conflict of modality in places, the work is generally serene in character, and was particularly well received for the comfort it gave at a time of all-out war. 7865: 7841: 1401:(1935) astonished listeners with its striking dissonance, far removed from the prevailing quiet tone of the previous symphony. The composer firmly contradicted any notions that the work was programmatical in any respect, and Kennedy calls attempts to give the work "a meretricious programme ... a poor compliment to its musical vitality and self-sufficiency". 270:. The children were under the care of a nurse, Sara Wager, who instilled in them not only polite manners and good behaviour but also liberal social and philosophical opinions. Such views were consistent with the progressive-minded tradition of both sides of the family. When the young Vaughan Williams asked his mother about Darwin's controversial book 2295:

forged his own idiom. The emancipation he achieved thereby was so complete that the composers of succeeding generations like Walton and Britten had no longer need of the conscious nationalism which was Vaughan Williams's own artistic creed. There is now an English music which can make its distinctive contribution to the comity of nations.

1939:(1923) is a humorous ballet. The score, which makes liberal use of folk-song melodies, was thought by critics to be strikingly modern when first heard. Kennedy comments that the music "is not a major work but it is fun." The piece has not been seen frequently since its premiere, but was revived in a student production at the RCM in 1937. 2074:'s 1902 play of the same name, depicting family tragedy in an Irish fishing village. Kennedy describes the score as "organized almost symphonically" with much of the thematic material developed from the brief prelude. The orchestration is subtle, and foreshadows the ghostly finale of the Sixth Symphony; there are also pre-echoes of the 336: 5571: 5556: 5541: 5063: 3971: 3826: 3761: 580:, of which he later said, "I now know that two years of close association with some of the best (as well as some of the worst) tunes in the world was a better musical education than any amount of sonatas and fugues". Always committed to music-making for the whole community, he helped found the amateur 1932:

the piece is a cross between traditional ballad opera and the works of Puccini and Ravel, "with rhapsodic results." The score uses genuine and pastiche folk-songs but ends with a passionate love duet that Traubner considers has few equals in English opera. Its first performance was by students at the

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Michael Kennedy characterises Vaughan Williams's music as a strongly individual blending of the modal harmonies familiar from folk‐song with the French influence of Ravel and Debussy. The basis of his work is melody, his rhythms, in Kennedy's view, being unsubtle at times. Vaughan Williams's music is

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in 1914, Vaughan Williams increasingly established himself as a figure in British music. For a rising composer it was important to receive performances at the big provincial music festivals, which generated publicity and royalties. In 1910 his music featured at two of the largest and most prestigious

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and the Fifth and Ninth Symphonies. Vaughan Williams's output was prolific and wide-ranging. For the voice he composed songs, operas, and choral works ranging from simpler pieces suitable for amateurs to demanding works for professional choruses. His comparatively few chamber works are not among his

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in going into the English countryside noting down and transcribing songs traditionally sung in various locations. Collections of the songs were published, preserving many that could otherwise have vanished as oral traditions died out. Vaughan Williams incorporated some into his own compositions, and

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In 1878, at the age of five, Vaughan Williams began receiving piano lessons from his aunt, Sophy Wedgwood. He displayed signs of musical talent early on, composing his first piece of music, a four-bar piano piece called "The Robin's Nest", in the same year. He did not greatly like the piano, and was

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lists twenty-four pieces under the heading "Chamber and instrumental"; three are early, unpublished works. Vaughan Williams, like most leading British 20th-century composers, was not drawn to the solo piano and wrote little for it. From his mature years, there survive for standard chamber groupings

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argues that though the work can make a deep impression on the listener, it is neither a true symphony in the understood sense of the term nor a tone poem and is consequently the least successful of the mature symphonies. The work is in five movements, with wordless vocal lines for female chorus and

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are the symphonists of this century". Although Vaughan Williams did not complete the first of them until he was thirty-eight years old, the nine symphonies span nearly half a century of his creative life. In his 1964 analysis of the nine, Schwartz found it striking that no two of the symphonies are

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and Holst in 1934. Holst's death was a severe personal and professional blow to Vaughan Williams; the two had been each other's closest friends and musical advisers since their college days. After Holst's death Vaughan Williams was glad of the advice and support of other friends including Boult and

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In 1942 Michael Wood died suddenly of heart failure. At Adeline's behest the widowed Ursula was invited to stay with the Vaughan Williamses in Dorking, and thereafter was a regular visitor there, sometimes staying for weeks at a time. The critic Michael White suggests that Adeline "appears, in the

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Ravel took few pupils, and was known as a demanding taskmaster for those he agreed to teach. Vaughan Williams spent three months in Paris in the winter of 1907–1908, working with him four or five times each week. There is little documentation of Vaughan Williams's time with Ravel; the musicologist

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in that the choir sings in all the movements. The extent to which it is a true symphony has been debated; in a 2013 study, Alain Frogley describes it as a hybrid work, with elements of symphony, oratorio and cantata. Its sheer length—about eighty minutes—was unprecedented for an English symphonic

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During the war Vaughan Williams stopped writing music, and after returning to civilian life he took some time before feeling ready to compose new works. He revised some earlier pieces, and turned his attention to other musical activities. In 1919 he accepted an invitation from Hugh Allen, who had

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istorically his achievement was to cut the bonds that from the times of Handel and Mendelssohn had bound England hand and foot to the Continent. He found in the Elizabethans and folk-song the elements of a native English language that need no longer be spoken with a German accent, and from it he

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Vaughan Williams had a modest private income, which in his early career he supplemented with a variety of musical activities. Although the organ was not his preferred instrument, the only post he ever held for an annual salary was as a church organist and choirmaster. He held the position at St

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played by harp and clarinet. But commentators have heard—and the composer never denied or confirmed—some social comment in sinister echoes at the end of the scherzo and an orchestral outburst of pain and despair at the opening of the finale. Schwartz comments that the symphony, in its "unified

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Vaughan Williams was wary of conventional labels; his best known ballet is described on the title page as "a masque for dancing" and only one of his operatic works is categorised by the composer simply as an opera. For some of his theatre pieces that could be classed as operas or ballets, he

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described the second quartet as a masterpiece that should be, but is not, part of the international chamber repertory. It is from the same period as the Sixth Symphony, and has something of that work's severity and anguish. The quintet (1912) was written two years after the success of the

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Vaughan Williams was born to a well-to-do family with strong moral views and a progressive social outlook. Throughout his life he sought to be of service to his fellow citizens, and believed in making music as available as possible to everybody. He wrote many works for amateur and student

409:. They were not convinced that he was talented enough to pursue a musical career, but feeling it would be wrong to prevent him from trying, they had allowed him to go to the RCM. Nevertheless, a university education was expected of him, and in 1892 he temporarily left the RCM and entered 1650:

two string quartets (1908–1909, revised 1921; and 1943–1944), a "phantasy" string quintet (1912), and a sonata for violin and piano (1954). The first quartet was written soon after Vaughan Williams's studies in Paris with Ravel, whose influence is strongly evident. In 2002 the magazine

474:. Relations between teacher and student were stormy but affectionate. Stanford, who had been adventurous in his younger days, had grown deeply conservative; he clashed vigorously with his modern-minded pupil. Vaughan Williams had no wish to follow in the traditions of Stanford's idols, 2102:(1951), the composer's last opera, was the culmination of more than forty years' intermittent work on the theme of Bunyan's religious allegory. Vaughan Williams had written incidental music for an amateur dramatisation in 1906, and had returned to the theme in 1921 with the one-act 303:

in January 1887. His academic and sporting achievements there were satisfactory, and the school encouraged his musical development. In 1888 he organised a concert in the school hall, which included a performance of his G major Piano Trio (now lost) with the composer as violinist.

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calls its mood "at once heroic and contemplative, defiant and wistfully absorbed". The work received an ovation at its premiere, but at first the critics were not sure what to make of it, and it took some years for it to be generally ranked alongside its eight predecessors.

1020:(1948), described by the critic Gwyn Parry-Jones as "one of the most disturbing musical statements of the 20th century", opening with a "primal scream, plunging the listener immediately into a world of aggression and impending chaos." Coming as it did near the start of the 5568: 5553: 5538: 5060: 3968: 3823: 3758: 2258:

medal for services to chamber music (1930); the gold medal of the Royal Philharmonic Society (1930); the Collard life fellowship of the Worshipful Company of Musicians (1934, in succession to Elgar); an honorary fellowship of Trinity College, Cambridge (1935); the

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written forty-three years after the event. The degree to which the French composer influenced the Englishman's style is debated. Ravel declared Vaughan Williams to be "my only pupil who does not write my music"; nevertheless, commentators including Kennedy, Adams,

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on the south coast of England, forty miles (64 km) from Wotton. He was generally happy there, although he was shocked to encounter for the first time social snobbery and political conservatism, which were rife among his fellow pupils. From there he moved on to the

1423:(1948) Vaughan Williams once again confounded expectations. Many had seen the Fifth, composed when he was seventy, as a valedictory work, and the turbulent, troubled Sixth came as a shock. After violent orchestral clashes in the first movement, the obsessive 873:, where they lived until Adeline's death in 1951. Vaughan Williams, who thought of himself as a complete Londoner, was sorry to leave the capital, but his wife was anxious to live in the country, and Dorking was within reasonably convenient reach of town. 132: 2197:

in the first complete stereo cycle of the symphonies, recorded between 1967 and 1972. Among the British conductors most closely associated with Vaughan Williams's music on disc and in concert in the generations after Boult, Sargent and Barbirolli are

2307:, has sponsored and encouraged performances of the composer's works including complete symphony cycles and a Vaughan Williams opera festival. The society has promoted premieres of neglected works, and has its own record label, Albion Records. 1988:, Verdi, and Holst, Vaughan Williams's is distinctive for its greater emphasis on the love music rather than on the robust comedy. In 1931, with the Leith Hill Festival in mind, the composer recast some of the music as a five-section cantata, 554:

In 1899 Vaughan Williams passed the examination for the degree of Doctor of Music at Cambridge; the title was formally conferred on him in 1901. The song "Linden Lea" became the first of his works to appear in print, published in the magazine

1107:, and in 1956 he set up and endowed the RVW Trust to support young composers and promote new or neglected music. He and his wife travelled extensively in Europe, and in 1954 he visited the US once again, having been invited to lecture at 482:, and he stood up to his teacher as few students dared to do. Beneath Stanford's severity lay a recognition of Vaughan Williams's talent and a desire to help the young man correct his opaque orchestration and extreme predilection for 432:. He felt intellectually overshadowed by some of his companions, but he learned much from them and formed lifelong friendships with several. Among the women with whom he mixed socially at Cambridge was Adeline Fisher, the daughter of 2354:, increased, but a wide public also became aware of what a reviewer of Bridcut's film called "a genius driven by emotion". Among the 21st-century musicians who have acknowledged Vaughan Williams's influence on their development are 190:(1914). His vocal works include hymns, folk-song arrangements and large-scale choral pieces. He wrote eight works for stage performance between 1919 and 1951. Although none of his operas became popular repertoire pieces, his ballet 154:– 26 August 1958) was an English composer. His works include operas, ballets, chamber music, secular and religious vocal pieces and orchestral compositions including nine symphonies, written over sixty years. Strongly influenced by 177:

Vaughan Williams is among the best-known British symphonists, noted for his very wide range of moods, from stormy and impassioned to tranquil, from mysterious to exuberant. Among the most familiar of his other concert works are

4023: 3640: 3584: 3560: 3549: 3538: 3527: 2574:, the last of whom went on to work with his former teacher, transcribing the composer's barely legible manuscripts and arranging existing pieces for new instrumental combinations. Later the composer's other regular helper was 1393:, and four-movement structure. The orchestral forces required are not large by the standards of the first half of the 20th century, although the Fourth calls for an augmented woodwind section and the Sixth includes a part for 1257:, and the grave serenity of the Fifth Symphony". By contrast, as in the ferocity of the Fourth and Sixth Symphonies and the Concerto for Two Pianos: "in his grimmer moods Vaughan Williams can be as frightening as Sibelius and 559:

in April 1902 and then as separate sheet music. In addition to composition he occupied himself in several capacities during the first decade of the century. He wrote articles for musical journals and for the second edition of

5351: 1618:, strings and piano (1951). None of these works has rivalled the popularity of the symphonies or the short orchestral works mentioned above. Bartók was among the admirers of the Piano Concerto, written for and championed by 2660:

commented that the symphony was "like a cow looking over a gate", though he added, "but after all, it's a very great work" and Sir Hugh Allen said the work conjured up "VW rolling over and over in a ploughed field on a wet

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During the decade Adeline became increasingly immobilised by arthritis, and the numerous stairs in their London house finally caused the Vaughan Williamses to move in 1929 to a more manageable home, "The White Gates",

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wrote that it was "like the work of a distinguished poet who has nothing very new to say, but says it in exquisitely flowing language". The music Vaughan Williams wrote for the BBC to celebrate the end of the war,

1770:, a largely dark work, as too often overlooked by singers and critics. For some of his songs the composer expands the accompaniment to include two or more string instruments in addition to the piano; they include 3161: 795:, seeing action in France from March 1918. The continual noise of the guns damaged his hearing, and led to deafness in his later years. After the armistice in 1918 he served as director of music for the British 2685:

The 2015 concert listings section of the Ralph Vaughan Williams Society lists no performances of any of the concertos in Britain during the year, and, internationally, one performance of the Oboe Concerto (in

1878:, an impassioned anti-war cantata (1936) is a combination of both, with words from Whitman and others juxtaposed with extracts from the Latin mass, anticipating a similar mixture of sacred and secular text in 1111:

and other universities and to conduct. He received an enthusiastic welcome from large audiences, and was overwhelmed at the warmth of his reception. Kennedy describes it as "like a musical state occasion".

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Over this period Vaughan Williams composed steadily, producing songs, choral music, chamber works and orchestral pieces, gradually finding the beginnings of his mature style. His compositions included the

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last movement a depiction of a nuclear-scorched wasteland. The composer was dismissive of programmatic theories: "It never seems to occur to people that a man might just want to write a piece of music."

5370: 1904:, no composer's operatic career was less emblematic of his success elsewhere." Although Vaughan Williams was a regular opera-goer, enthusiastic and knowledgeable about works by operatic masters from 1016:

called the composer's characteristic avoidance of "any suggestion of rhetorical pompousness". Any suspicion that the septuagenarian composer had settled into benign tranquillity was dispelled by his

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several times. Kennedy ranks the score as "one of Vaughan Williams's mightiest achievements", and notes that it is familiar in concert programmes, having "the stature and cohesion of a symphony."

929:, with no programme of any kind; nonetheless, some of those close to him, including Foss and Boult, remained convinced that something of the troubled spirit of the age was captured in the work. 4147: 377:

Parry once said to me: "Write choral music as befits an Englishman and a democrat". We pupils of Parry have, if we have been wise, inherited from him the great English choral tradition, which

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Boult recalled that the symphony "brought many of us straight up against the spectacle of war, and the ghastly possibility of it. A prophet, like other great men, he foresaw the whole thing."

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cycle of the 1950s, most of which was recorded in the composer's presence. Although rarely staged, the operas have fared well on disc. The earliest recording of a Vaughan Williams opera was

913:(1935) surprised the public and critics. The discordant and violent tone of the symphony, written at a time of growing international tension, led many critics to suppose the symphony to be 2707:

includes Vaughan Williams in the list of major British composers, along with Elgar, Delius, Holst, Walton and Britten, who showed little interest in the solo piano and seldom wrote for it.

1766:, are "a particularly masculine breath of fresh air" (Fuller), "virile open-air verses" (Kennedy). Some of Vaughan Williams's later songs are less well known; Fuller singles out the cycle 276:, she answered, "The Bible says that God made the world in six days. Great Uncle Charles thinks it took longer: but we need not worry about it, for it is equally wonderful either way". 5213: 2012:'s standards. Saylor sums up the critical consensus that the work is something between "a frothy romantic comedy a satirical fairy-tale", and not quite successful in either category. 1184:, he was cremated. On 19 September, at a crowded memorial service, his ashes were interred near the burial plots of Purcell and Stanford in the north choir aisle of Westminster Abbey. 6144:

McGuire, Charles Edward (2013). "'An Englishman and a democrat': Vaughan Williams, large choral works and the English festival tradition". In Alain Frogley and Aidan Thomson (ed.).

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and other modernist compositions. In the 21st century this neglect has been reversed. In the fiftieth anniversary year of his death two contrasting documentary films were released:

5348: 2177:. Most of the orchestral recordings have been by British orchestras and conductors, but notable non-British conductors who have made recordings of Vaughan Williams's works include 1736:

In addition to his love of poetry, Vaughan Williams's vocal music is inspired by his lifelong belief that the voice "can be made the medium of the best and deepest human emotion."

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As the decade progressed, Vaughan Williams found musical inspiration lacking, and experienced his first fallow period since his wartime musical silence. After his anti-war cantata

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In 2022, on the 150th anniversary of the composer's birth, and following a merger with the Vaughan Williams Charitable Trust, the RVW Trust became the Vaughan Williams Foundation.

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succeeded Parry as director, to teach composition at the RCM; he remained on the faculty of the college for the next twenty years. In 1921 he succeeded Allen as conductor of the

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in her 1964 biography of the composer, remained "one of his essential companions through life." In this, as in many other things in his life, he was, according to his biographer

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most amicable way, to have adopted Ursula as her successor". Ursula recorded that during air raids all three slept in the same room in adjacent beds, holding hands for comfort.

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One of his aunts thought him a "hopelessly bad" musician, but recognised that "it will simply break his heart if he is told that he is too bad to hope to make anything of it."

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All the composer's major works and many of the minor ones have been recorded. There have been numerous complete LP and CD sets of the nine symphonies, beginning with Boult's

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presentation of widely heterogeneous elements", is "very much like the city itself". Vaughan Williams said in his later years that this was his favourite of the symphonies.

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Having been in excellent health, Vaughan Williams died suddenly in the early hours of 26 August 1958 at Hanover Terrace, aged 85. Two days later, after a private funeral at

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and Alain Frogley find Vaughan Williams's instrumental textures lighter and sharper in the music written after his return from Paris, such as the String Quartet in G minor,

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Vaughan Williams had studied under distinguished organists, and was given to boasting that he was the only pupil who had completely baffled Sir Walter Parratt, organist of

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in 1935, which confers no prenominal title: he preferred to remain "Dr Vaughan Williams". His academic and musical honours included an honorary doctorate of music from the

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in 1934; they sum up his artistic and social credo more fully than anything he had published previously, and remained in print for most of the remainder of the century.

5304: 2758:; the sessions took place on the morning after the composer's death. Decca licensed the recording from Everest for inclusion in a CD set of the nine symphonies in 2003. 2138:

with his Leith Hill Festival forces. In the early days of LP in the 1950s Vaughan Williams was better represented in the record catalogues than most British composers.

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Despite his agnosticism Vaughan Williams composed many works for church performance. His two best known hymn tunes, both from c. 1905, are "Down Ampney" to the words "

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Between the mid-1890s and the late 1950s Vaughan Williams set more than eighty poems for voice and piano accompaniment. The earliest to survive is "A Cradle Song", to

436:, an old friend of the Vaughan Williams family. She and Vaughan Williams grew close, and in June 1897, after he had left Cambridge, they became engaged to be married. 5251: 1477:, was completed in late 1957 and premiered in April 1958, four months before the composer's death. It is scored for a large orchestra, including three saxophones, a 6925: 4622: 1963:

by Bolm's company; the London premiere was in 1935. Saylor describes the work as a "dramatic hodgepodge" which has not attracted the interest of later performers.

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of the second and the "diabolic" scherzo, the finale perplexed many listeners. Described as "one of the strangest journeys ever undertaken in music", it is marked

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concerts, serving on a committee for refugees from Nazi oppression, and on the Council for the Encouragement of Music and the Arts (CEMA), the forerunner of the

5367: 4178: 2047:(1826). The score is divided into nine sections and an epilogue, presenting dance interpretations of some of Blake's engravings. The work, choreographed by 1916:", which tended to reduce dramatic impact, although he believed them essential, as "music takes a long time to speak—much longer than words by themselves." 7985: 7945: 4049: 3666: 3610: 3187: 2716:

Vaughan Williams was amused by the comment of a friend who correctly detected the French influence, but thought "I must have been having tea with Debussy."

1661:, with which it has elements in common, both in terms of instrumental layout and the mood of rapt contemplation. The violin sonata has made little impact. 520:, from 1895 to 1899 for a salary of £50 a year. He disliked the job, but working closely with a choir was valuable experience for his later undertakings. 8105: 2043: 1748:'s words, from about 1894. The songs include many that have entered the repertory, such as "Linden Lea" (1902), "Silent Noon" (1904) and the song cycles 4189: 1230:(1925) for solo viola, small orchestra, and small chorus; and his most important chamber work, in Howes's view—not purely instrumental but a song cycle— 4136: 2322:

Composers of the generation after Vaughan Williams reacted against his style, which became unfashionable in influential musical circles in the 1960s;

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performance. He was musically a late developer, not finding his true voice until his late thirties; his studies in 1907–1908 with the French composer

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By comparison with his output in other genres, Vaughan Williams's music for chamber ensembles and solo instruments forms a small part of his oeuvre.

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lists more than thirty works by Vaughan Williams for orchestra or band over and above the symphonies. They include two of his most popular works—the

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In 1956 the composer said in a letter to Michael Kennedy that the nearest that words could get to what he intended in the finale were Prospero's in

1408:(1943) was in complete contrast to its predecessor. Vaughan Williams had been working on and off for many years on his operatic version of Bunyan's 833:

Throughout the 1920s Vaughan Williams continued to compose, conduct and teach. Kennedy lists forty works premiered during the decade, including the

8055: 6915: 6692: 5631: 574:, and was for a while involved in adult education in the University Extension Lectures. From 1904 to 1906 he was music editor of a new hymn-book, 8075: 5885:

Frogley, Alain (2013). "History and geography: the early orchestral works and first three symphonies". In Alain Frogley and Aidan Thomson (ed.).

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Vaughan Williams did not assign numbers to any of his symphonies before No 8, but Nos 4–6 have generally been referred to by number nevertheless.

499:". In 1949 he wrote of their relationship, "Holst declared that his music was influenced by that of his friend: the converse is certainly true." 7965: 6946: 6710: 1282:

alike, either in structure or in mood. Commentators have found it useful to consider the nine in three groups of three—early, middle and late.

1193: 7955: 7950: 7368: 5210: 1137:(1957) for voice and oboe, "a masterpiece of economy and precision". Unfinished works from the decade were a cello concerto and a new opera, 1459:

solo soprano in the first and last movements. In addition to large woodwind and percussion sections the score features a prominent part for

8090: 7920: 7905: 562: 6064:

Kennedy, Michael (2013). "Fluctuations in the response to the music of Ralph Vaughan Williams". In Alain Frogley and Aidan Thomson (ed.).

5554:"Just Williams—Almost 50 years after his death, the composer Ralph Vaughan Williams is finally being celebrated on film. About time too." 1157:, though wistful in parts, is predominantly lighthearted in tone; it was received enthusiastically at its premiere in 1956, given by the 788: 1545: 8095: 6349: 4045: 3888: 3662: 3606: 3183: 2551: 1242: 266:

Arthur Vaughan Williams died suddenly in February 1875, and his widow took the children to live in her family home, Leith Hill Place,

7925: 7910: 6629: 5664:

Adams, Byron (1996). "Scripture, Church and culture: biblical texts in the works of Ralph Vaughan Williams". In Alain Frogley (ed.).

5449: 1324:

The first three symphonies, to which Vaughan Williams assigned titles rather than numbers, form a sub-group within the nine, having

891:

During the 1930s Vaughan Williams came to be regarded as a leading figure in British music, particularly after the deaths of Elgar,

8035: 5521: 5510: 5457: 315:", and he continued to attend church regularly to avoid upsetting the family. His views on religion did not affect his love of the 2310: 1298: 8070: 7935: 7930: 7915: 7900: 7319: 5609: 5122: 1842:

Vaughan Williams's choral works for concert performance include settings of both secular and religious words. The former include

1526: 1197: 771:

Despite his age—he was approaching forty-two in October—Vaughan Williams volunteered for military service on the outbreak of the

1177:

in April 1958, puzzled critics with its sombre, questing tone, and did not immediately achieve the recognition it later gained.

539:

In October 1897 Adeline and Vaughan Williams were married. They honeymooned for several months in Berlin, where he studied with

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Thomson, Aidan (2013). "Becoming a national composer: critical reception to c.1925". In Alain Frogley and Aidan Thomson (ed.).

1104: 4288: 1689:, the Authorised Version of the Bible, the madrigal poets, the anonymous poets, to Shakespeare—inevitably and devotedly—on to 1512: 466:

the following year. After leaving the university he returned to complete his training at the RCM. Parry had by then succeeded

401:, and they in their turn through the Wesleys, to Parry. He has passed on the torch to us and it is our duty to keep it alight. 280:

pleased to begin violin lessons the following year. In 1880, when he was eight, he took a correspondence course in music from

8050: 8025: 7975: 6897: 6514: 6495: 6468: 6449: 6430: 6404: 6382: 6339: 6275: 6266:

Onderdonk, Julian (2013). "1. The composer and society: family, politics, nation". In Alain Frogley and Aidan Thomson (ed.).

6256: 6197: 6175: 6153: 6134: 6115: 6092: 6073: 6043: 6016: 5993: 5951: 5932: 5913: 5894: 5875: 5856: 5834: 5815: 5776: 5692: 5673: 5301: 2516: 1577: 756: 186: 5229: 2346:. British audiences were prompted to reappraise the composer. The popularity of his most accessible works, particularly the 232:

Wedgwood (1842–1937). His paternal forebears were of mixed English and Welsh descent; many of them went into the law or the

8085: 6989: 6860: 6805: 6685: 6486:; Anthony Payne (2013). "Vaughan Williams and his successors: composers' forum". In Alain Frogley and Aidan Thomson (ed.). 5248: 4903: 2268: 2134:, and the Fifth Symphony, recorded in 1951 and 1952, respectively. There is a recording of Vaughan Williams conducting the 1827: 1581:, originally for violin and piano (1914); orchestrated 1920. Other works that survive in the repertoire in Britain are the 1571: 1373: 814: 708: 180: 6125:

Mark, Christopher (2013). "Chamber music and works for soloist with orchestra". In Alain Frogley and Aidan Thomson (ed.).

2299:

In 1994 a group of enthusiasts founded the Ralph Vaughan Williams Society, with the composer's widow as its president and

1669:

Ursula Vaughan Williams wrote of her husband's love of literature, and listed some of his favourite writers and writings:

1097:

Having returned to live in London, Vaughan Williams, with Ursula's encouragement, became much more active socially and in

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Sackville-West and Shawe-Taylor, pp. 164–167 (Britten), 254–257 (Elgar), 786–794 (Vaughan Williams), and 848–852 (Walton)

4611: 3859:

Lockspeiser, Edward. "Thanksgiving for Victory, for Soprano Solo, Speaker, Chorus and Orchestra by R. Vaughan Williams",

3804: 3231: 2843: 1874: 1246: 934: 877: 619: 405:

Vaughan Williams's family would have preferred him to have remained at Charterhouse for two more years and then go on to

288: 3106: 8045: 7115: 6995: 6880: 6867: 2118:

Vaughan Williams conducted a handful of recordings for gramophone and radio. His studio recordings are the overture to

1984:, and the score is described by Saylor as "ravishingly tuneful". Although versions of the play had already been set by 1822: 1067: 834: 6625: 4077: 1922:(completed 1919, premiere 1924) has a libretto, by the writer and theatre critic Harold Child, which was described by 8100: 8065: 8000: 7970: 7940: 7361: 7257: 6910: 6840: 6835: 6822: 6817: 6812: 6753: 4658: 2399: 1856:(in its alternative version for chorus and orchestra, 1938). Choral pieces with religious words include the oratorio 1603: 1474: 1467: 1420: 1405: 1398: 1341:

work, and within its thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of

1166: 1154: 1034: 1017: 939: 910: 138: 4175: 1003:. Its serene tone contrasted with the stormy Fourth, and led some commentators to think it a symphonic valediction. 591:. He had always been interested in them, and now followed the example of a recent generation of enthusiasts such as 450:

During his time at Cambridge Vaughan Williams continued his weekly lessons with Parry, and studied composition with

8030: 7990: 6951: 6930: 6920: 6615: 6414: 2502:

Vaughan Williams and Adeline had known each other since childhood. When they became engaged he wrote to his cousin

1611: 1607: 1141:. The predominant works of the 1950s were his three last symphonies. The seventh—officially unnumbered, and titled 725: 2157:, in an abridged version conducted by Sargent in 1924. Since the 1960s there have been stereophonic recordings of 1454:, has consistently divided critical opinion on whether it can be properly classed as a symphony. Alain Frogley in 7885: 7336: 6678: 6244: 4550: 2503: 1058:

In February 1953 Vaughan Williams and Ursula were married. He left the Dorking house and they took a lease of 10

938:

in 1936 he did not complete another work of substantial length until late in 1941, when the first version of the

307:

While at Charterhouse Vaughan Williams found that religion meant less and less to him, and for a while he was an

698:. Vaughan Williams himself said that Ravel had helped him escape from "the heavy contrapuntal Teutonic manner". 327:, "that extremely English product the natural nonconformist with a conservative regard for the best tradition". 8010: 7686: 7041: 5981: 5923:

Fuller, Sophie (2013). "The songs and shorter secular choral works". In Alain Frogley and Aidan Thomson (ed.).

2520: 324: 297: 31: 2506:, "for many years we have been great friends and for about the last three I have known my mind on the matter". 2084:(1938–1939) is a masque, to a scenario by Ursula, combining voice, mime and dance, first performed in 1953 on 7960: 7198: 7102: 7007: 2243: 2037:, however disadvantageous in his operas, worked to successful effect in this ballet. The work is inspired by 1149: 970: 5683:

Adams, Byron (2013). "Vaughan Williams's musical apprenticeship". In Alain Frogley and Aidan Thomson (ed.).

903:

In some of Vaughan Williams's music of the 1930s there is an explicitly dark, even violent tone. The ballet

623:(1906). He remained unsatisfied with his technique as a composer. After unsuccessfully seeking lessons from 8005: 7354: 7133: 7096: 6982: 6619: 2255: 688: 682: 162:, his output marked a decisive break in British music from its German-dominated style of the 19th century. 65: 20: 8015: 6874: 4186: 2033:(1930) was the first large-scale ballet by a modern British composer. Vaughan Williams's liking for long 796: 632: 581: 4007: 3624: 3568: 3557: 3546: 3535: 3524: 3301: 2798: 1900:

In a 2013 survey of Vaughan Williams's stage works, Eric Saylor writes, "With the possible exception of

8020: 7807: 7190: 5628: 1976: 1778:(1921), judged by an anonymous contemporary critic as "surely among the best of modern English songs". 1170: 410: 24: 4502: 4491: 4211: 244:

were respectively Arthur's father and brother. Margaret Vaughan Williams was a great-granddaughter of

7980: 7681: 7301: 6771: 6746: 2194: 1901: 1181: 991: 925:

called it "The Fascist". The composer dismissed such interpretations, and insisted that the work was

905: 471: 443: 398: 349:

In July 1890 Vaughan Williams left Charterhouse and in September he was enrolled as a student at the

192: 5084: 2771:, which specialises in popular classics, conducted polls of its listeners in 2014 and 2015 in which 7313: 7214: 2211: 2062:(1925–1931, premiered 1937) is artistically Vaughan Williams's most successful opera; Saylor names 1802: 1220:

better-known compositions. Some of his finest works elude conventional categorisation, such as the

1147:—divided opinion; the score is a reworking of music Vaughan Williams had written for the 1948 film 776: 523: 358: 272: 6524:

Vaughan Williams, Ursula (1972–1973). "Ralph Vaughan Williams and his Choice of Words for Music".

7594: 7233: 7048: 5734: 5718: 4757: 2304: 1905: 1745: 1591: 1416:

later wrote, "The Fifth Symphony contains the most benedictory and consoling music of our time."

1121: 946: 744: 451: 406: 320: 241: 237: 7722: 5904:

Frogley, Alain; Aidan Thomson (2013). "Introduction". In Alain Frogley and Aidan Thomson (ed.).

5408:

Achenbach, pp. 41 (Hickox) and 45 (Handley); and Kennedy (2008), p. 39 (Hickox, Elder and Davis)

4065: 3149: 2578:, who worked with Vaughan Williams between 1947 and 1958 and wrote a memoir of working with him. 2462:); Ursula Vaughan Williams said that he was infuriated if people pronounced it in any other way. 7821: 7569: 7166: 6185: 6027: 2395: 2331: 2276: 1786: 1763: 1710: 1336:(1910), the only one of the series to include a part for full choir, differs from most earlier 600:

more generally was influenced by their prevailing modal forms. This, together with his love of

433: 429: 350: 343: 7539: 7459: 7399: 2442:

Vaughan Williams insisted on the traditional English pronunciation of his first name: "Rafe" (

7273: 7206: 7087: 6645: 6554: 6055: 5655: 5335: 5014: 2355: 2272: 2264: 2023: 1702: 1652: 1622:, but it has remained, in the words of the critic Andrew Achenbach, a neglected masterpiece. 729: 713: 3885: 1385:

The middle three symphonies are purely orchestral, and generally conventional in form, with

47: 7895: 7890: 7574: 7534: 7474: 7158: 7013: 6479: 6373:

Saylor, Eric (2013). "Music for stage and film". In Alain Frogley and Aidan Thomson (ed.).

2484:, grandson of the potter; he married his cousin, Caroline Darwin, sister of Charles Darwin. 2379: 2363: 2251: 1897:

preferred the terms "masque", "romantic extravaganza", "play set to music", or "morality".

1848: 1698: 975: 957:

During the Second World War Vaughan Williams was active in civilian war work, chairing the

717: 588: 281: 7404: 6210:(August 2008). "Ralph, Adeline, and Ursula Vaughan Williams: Some Facts and Speculation". 4017: 3634: 3578: 3311: 489:

In his second spell at the RCM (1895–1896) Vaughan Williams got to know a fellow student,

416:

Among those with whom Vaughan Williams became friendly at Cambridge were the philosophers

8: 7762: 7377: 6975: 5942:

Horton, Julian (2013). "The later symphonies". In Alain Frogley and Aidan Thomson (ed.).

5518: 5507: 2676:: "We are such stuff as dreams are made on, and our little life is rounded with a sleep." 2481: 2178: 1971: 1674: 1560: 1043: 394: 300: 7409: 6655: 2070:

as one of the composer's finest works in any genre. It is an almost verbatim setting of

1949:

and Vaughan Williams, combines singing, dancing and mime. The story is loosely based on

7732: 7494: 7294: 7283: 7182: 6853: 6846: 6828: 6571: 6529: 6477: 6331: 6324: 6307: 6290: 6229: 6212: 5752: 5041: 4270: 4082: 3866: 3861: 2704: 2563: 2419: 1933:

Royal College of Music, and the work is rarely staged by major professional companies.

1810: 1713: 1706: 1481:, and an enlarged percussion section. The mood is more sombre than that of the Eighth; 1446: 1143: 1108: 1013: 784: 613: 576: 316: 7646: 7394: 5119: 825: 7727: 7712: 7599: 7589: 7544: 7027: 6797: 6739: 6665: 6510: 6491: 6464: 6445: 6426: 6419: 6400: 6378: 6361: 6335: 6271: 6252: 6193: 6171: 6149: 6130: 6111: 6103: 6088: 6069: 6039: 6032: 6012: 6005: 5989: 5969: 5947: 5928: 5909: 5890: 5871: 5852: 5830: 5811: 5791: 5772: 5743: 5688: 5669: 5036: 4265: 4039: 3656: 3600: 3177: 2538: 2260: 2186: 2182: 2142:(1955) contained nine pages of listings of his music on disc, compared with five for 2048: 1996: 1955: 1347: 1269:

It is as a symphonist that Vaughan Williams is best known. The composer and academic

1222: 1079: 1039: 881: 880:. From September to December of that year he was in the US as a visiting lecturer at 750: 628: 459: 233: 159: 7651: 2614:

The word is used repeatedly in discussions of Vaughan Williams by composers such as

470:

as director of the college, and Vaughan Williams's new professor of composition was

199:

Two episodes made notably deep impressions in Vaughan Williams's personal life. The

7845: 7787: 7641: 7616: 7489: 7174: 6968: 6732: 6639: 6563: 6392: 6299: 6221: 6207: 5825:

De Savage, Heather (2013). "Chronology". In Alain Frogley and Aidan Thomson (ed.).

2559: 2445: 2223: 1929: 1879: 1678: 1278: 1270: 1258: 1099: 1063: 1032:

In 1951 Adeline died, aged eighty. In the same year Vaughan Williams's last opera,

966: 892: 849: 604:

and Stuart music, helped shape his compositional style for the rest of his career.

495: 463: 421: 259: 171: 72: 7757: 7631: 6101: 3256: 3120: 2901: 2857: 2390:

The Royal College of Music commissioned an official portrait of the composer from

2126:(both made in 1925), and the Fourth Symphony (1937). Live concert tapings include 2008:

vein. The words, by an inexperienced librettist, were judged to fall far short of

1555: 655: 7636: 7278: 7108: 7080: 7055: 7034: 6725: 5726: 5702: 5635: 5616: 5575: 5560: 5545: 5525: 5514: 5477: 5374: 5355: 5308: 5255: 5236: 5217: 5126: 5091: 5067: 4907: 4662: 4626: 4509: 4498: 4295: 4193: 4182: 4151: 4094: 3980: 3975: 3892: 3830: 3808: 3793: 3765: 3564: 3553: 3542: 3531: 3246: 3235: 3110: 2847: 2768: 2755: 2623: 2615: 2532:

The fantasia made less of an impression on some lesser-known critics: "G. H." in

2411: 2239: 2219: 2005: 1950: 1928:

as "replete with folksy, Cotswold village archetypes". In the view of the critic

1817:

lists a dozen more, composed between 1905 and 1935. Other church works include a

1750: 1394: 1342: 1337: 1325: 1174: 1162: 1133: 1090: 1059: 843: 792: 739: 702: 571: 548: 532: 475: 425: 386: 245: 221: 7621: 2190: 2051:, made a powerful impression at its early stagings, and has been revived by the 7857: 7782: 7579: 7564: 7514: 7504: 7479: 7464: 7444: 7001: 6789: 6303: 5961: 5738: 5722: 5701: 4892: 2567: 2415: 2403: 2315: 2247: 2214:. Record companies with extensive lists of Vaughan Williams recordings include 2203: 2199: 2150: 2143: 1909: 1858: 1721: 1690: 1686: 1413: 1332: 1085: 926: 918: 861: 780: 694: 609: 596: 584:

in 1905, and was appointed its principal conductor, a post he held until 1953.

479: 362: 267: 249: 7661: 5470: 4919: 4655: 3239: 3228: 2840: 763: 507: 7879: 7772: 7742: 7554: 7449: 7434: 6483: 6365: 6163: 5844: 5795: 5714: 5061:"Flower power: Vaughan Williams's botanically themed opera reeks of tweeness" 3103: 2891: 2657: 2619: 2536:

thought the work "of not much musical interest", and the unnamed reviewer in

2371: 2367: 2227: 2038: 2019: 2009: 1791: 1729: 1682: 1619: 1390: 1274: 1004: 999:

In 1943 Vaughan Williams conducted the premiere of his Fifth Symphony at the

914: 659: 644: 390: 378: 167: 7611: 2000:(1927–1929, premiered in 1936) is a light comedy. Vaughan Williams knew the 228:, the Reverend Arthur Vaughan Williams (1834–1875), and his wife, Margaret, 7869: 7833: 7792: 7777: 7752: 7676: 7671: 7524: 7424: 6544:

Weltzien, O. Alan (Autumn 1992). "Notes and Lineaments: Vaughan Williams's

6285: 5973: 5803: 5710: 5706: 5027: 2754:

The Ninth Symphony in what became the Decca complete cycle was recorded by

2627: 2571: 2410:(1956) are in the NPG and at the entrance to the Music reading room of the 2407: 2391: 2375: 2339: 2215: 2052: 2015: 2001: 1985: 1725: 1717: 1460: 1356: 1352: 897: 819: 701:

In the years between his return from Paris in 1908 and the outbreak of the

677: 624: 490: 483: 467: 382: 366: 339: 7584: 6567: 1629:, Vaughan Williams composed incidental music for eleven other films, from 1158: 812:, London. It was not until 1922 that he produced a major new composition, 6670: 6608: 5730: 2672: 2575: 2555: 2300: 2071: 1946: 1884: 1694: 1386: 1047: 958: 922: 884:, Pennsylvania. The texts of his lectures were published under the title 818:; the work was given its first performance in London in May conducted by 772: 668: 601: 592: 544: 528: 417: 312: 292: 217: 200: 155: 6233: 6225: 4612:"Ninth Symphony by Vaughan Williams Cheered at World Premiere in London" 2648:

This was in 1951, when the last three symphonies were yet to be written.

2004:

well, and his music for this piece was and is widely regarded as in the

1202: 439: 330: 7419: 6904: 6661: 5786:

Cox, David (1967). "Ralph Vaughan Williams". In Simpson, Robert (ed.).

2687: 2207: 1478: 1360: 986: 855: 809: 7346: 6575: 6533: 6311: 5756: 5045: 4512:, International Music Score Library Project, retrieved 11 October 2015 4274: 3870: 2471:

His siblings were Hervey (1869–1944) and Margaret (Meggie, 1870–1931).

671:

advises caution in relying on Vaughan Williams's recollections in the

361:, professor of organ, counterpoint and harmony, he studied organ with 7240: 4990:

Kennedy, Michael (1981). Notes to EMI CD CDM 5 65131 2, OCLC 36534224

2398:

has a bronze sculpture of Vaughan Williams by Epstein (1952) and the

2359: 2287: 1966:

The only work that the composer designated as an opera is the comedy

1924: 1615: 1436: 1071: 1000: 962: 734: 540: 455: 6604: 4683:

Palmer, Christopher (1988). Notes to Chandos CD 8497, OCLC 602145160

4482:

Schwartz, pp. 75, 78, 80, 84, 90, 93, 97, 100, 106, 110, 114 and 117

3253:, Oxford University Press, 2008 and 2007, retrieved 16 October 2015 973:. In 1940 he composed his first film score, for the propaganda film 728:

the following month. The leading British music critics of the time,

631:

in Paris. Instead, he was introduced by the critic and musicologist

5653:

Achenbach, Andrew (August 2008). "Building the ideal RVW library".

5129:, Royal Opera House performance database, retrieved 13 October 2015 2323: 1425: 1075: 1021: 255: 6348: 5452:

The Ralph Vaughan Williams Society, registered charity no. 1156614

5098:, 2nd edition, Oxford University Press, retrieved 13 October 2015 4218:, 2nd edition, Oxford University Press, retrieved 10 October 2015 3458:

Langford, Samuel. "Leeds Musical Festival: Dr. Vaughan Williams's

3117:

Archive, Oxford University Press, 1949, retrieved 13 October 2015

2898:

Archive, Oxford University Press, 1971, retrieved 10 October 2015

2414:. There is a statue of Vaughan Williams in Dorking, and a bust by 2078:

in the lamenting voices of the women and in the sound of the sea.

1308: 6598: 6053:

Kennedy, Michael (August 2008). "The Vaughan Williams Identity".

2979:

Kennedy (1980), pp. 12–13; and Vaughan Williams (1964), pp. 25–27

2691: 2089: 1960: 1839:(1953, first performed at the coronation of Queen Elizabeth II). 1795: 1364: 870: 517: 354: 308: 5008:

Hughes, pp. 232–233; and Greenfield, Edward. "Vaughan Williams:

1273:

wrote (1964), "It may be said with truth that Vaughan Williams,

5868:

Vaughan Williams in Perspective: Studies of an English Composer

4123:"Audience Cheers Dr Vaughan Williams: New Symphony Performed", 3954:, 27 April 1951, p. 3; and Blom, Eric. "Progress and Arrival", 2327: 1046:. He had been working intermittently on a musical treatment of 995: – inspiration to Vaughan Williams across forty-five years 961:

Committee for the Release of Interned Alien Musicians, helping

335: 2630:, and scholars such as Byron Adams, Kennedy, and Hugh Ottaway. 2406:(1957 and 1958); versions of a bronze head of the composer by 2246:

after Elgar's death. The one state honour he accepted was the

170:

helped him clarify the textures of his music and free it from

7062: 6593: 1864: 1127: 822:

and its American premiere in June conducted by the composer.

225: 92: 7828: 4870:

Kennedy (1980), pp. 179 and 276; and Saylor, pp. 157 and 161

1131:(1953–1954), the Violin Sonata, and, most particularly, the 1070:; Vaughan Williams's contribution was an arrangement of the 6439: 5480:, Ralph Vaughan Williams Society, retrieved 10 October 2015 5390:, pp. 1372 (Karajan), 1378 (Bernstein) and 1381 (Stokowski) 5333:

Achenbach, Andrew. "Vaughan Williams Complete Symphonies",

4665:, Ralph Vaughan Williams Society, retrieved 11 October 2015 3156:, Oxford University Press, 2014, retrieved 10 October 2015 2451: 1992:, giving the public "the plums and no cake", as he put it. 1868:(1954). In 1953 the composer said that of his choral works 115: 81: 34:, being made up of multiple names. It should be written as 1602:

Vaughan Williams wrote four concertos: for violin (1925),

446:, Vaughan Williams's second composition teacher at the RCM 413:, where he spent three years, studying music and history. 19:"Vaughan Williams" redirects here. For the cricketer, see 5320:"Death of Vaughan Williams: His last day spent working", 4920:"Vaughan Williams: Riders to the Sea and Hugh the Drover" 3402:

Kennedy (1980), p. 114; and Adams (2013) pp. 41 and 44–46

2775:

was voted the most popular of all musical works, and the

2326:

and melodic music such as his was neglected in favour of

2085: 112: 106: 6270:. Cambridge: Cambridge University Press. pp. 9–28. 3794:"When is an Opera not an Opera? When it could be a Film" 1234:(1909) with accompaniment for string quartet and piano. 1074:

psalm tune, and a new setting of "O taste and see" from

647:, a more modernist, less dogmatic musician than d'Indy. 543:. On their return they settled in London, originally in 23:. For the surname and other holders of the surname, see 6026:

Kennedy, Michael (1997) . "Ralph Vaughan Williams". In

2303:

and Michael Kennedy as vice presidents. The society, a

1215:

often described as visionary; Kennedy cites the masque

1153:, and some critics thought it not truly symphonic. The 1125:(1951) for unaccompanied chorus, the Christmas cantata 6646:"Archival material relating to Ralph Vaughan Williams" 5211:"Vaughan Williams, Symphony No 5 and Dona Nobis Pacem" 1852:, words by John Skelton (1935), and the Shakespearean 876:

In 1932 Vaughan Williams was elected president of the

650: 342:, Vaughan Williams's first composition teacher at the 287:

In September 1883 he went as a boarder to Field House

196:(1930) was successful and has been frequently staged. 7805: 6523: 6442:

The Architecture of the British Library at St Pancras

5489:

Kennedy (1989), p. 200; and Frogley and Thomson, p. 1

5448: 4014:, Oxford University Press, retrieved 19 October 2015 3631:, Oxford University Press, retrieved 19 October 2015 3575:, Oxford University Press, retrieved 19 October 2015 3308:, Oxford University Press, retrieved 10 October 2015 2854:, Oxford University Press, retrieved 10 October 2015 2454: 1614:(1954); another concertante piece is his Romance for 900:, but his relationship with Holst was irreplaceable. 331:

Royal College of Music and Trinity College, Cambridge

139: 121: 103: 95: 84: 75: 5988:(second ed.). Oxford: Oxford University Press. 5903: 4755:

Vaughan Williams, Ralph. "The Composer in Wartime",

4548:

Cardus, Neville, "The Measure of Vaughan Williams",

4503:"Symphony No.6 in E minor (Vaughan Williams, Ralph)" 4492:"Symphony No.4 in F minor (Vaughan Williams, Ralph)" 2448: 1980:. Folk-song is used, though more discreetly than in 109: 89: 78: 6288:(July 1957). "Vaughan Williams's Eighth Symphony". 4162:"Dr. Ralph Vaughan Williams: Abbey Commemoration", 118: 100: 6418: 6323: 6108:The Penguin Guide to Recorded Classical Music 2009 6031: 6004: 2336:O Thou Transcendent: The Life of Vaughan Williams 1450:(1952), a by-product of the composer's score for 1053: 787:. In 1917 Vaughan Williams was commissioned as a 319:, the beauty of which, in the words of his widow 7877: 6504: 6425:. Oxford and New York: Oxford University Press. 6087:. Oxford and New York: Oxford University Press. 5851:. Oxford and New York: Oxford University Press. 5741:(October 1958). "Tributes to Vaughan Williams". 2425: 516:Barnabas, in the inner London district of South 4048:) CS1 maint: bot: original URL status unknown ( 4026:. Archived from the original on 20 October 2021 3665:) CS1 maint: bot: original URL status unknown ( 3643:. Archived from the original on 20 October 2021 3609:) CS1 maint: bot: original URL status unknown ( 3587:. Archived from the original on 20 October 2021 3186:) CS1 maint: bot: original URL status unknown ( 3164:. Archived from the original on 20 October 2021 2088:television. Vaughan Williams later recast it a 1226:(1938) for sixteen solo singers and orchestra; 4899:, 25 November 2010, retrieved 13 October 2015 4196:, Westminster Abbey, retrieved 19 October 2015 3946:, 27 April 1951, p. 8; Hope-Wallace, Philip. " 3908:Horton, p. 210; and Kennedy (1980) pp. 301–302 1355:mimicked by the orchestra; the characteristic 1194:List of compositions by Ralph Vaughan Williams 7362: 6686: 6440:Stonehouse, Roger; Gerhard Stromberg (2004). 4999:Vaughan Williams (1964), pp. 289, 315 and 334 4959: 4957: 2402:(NPG) has drawings by Joyce Finzi (1947) and 1825:(1920–1921), a Te Deum (1928) and the motets 1380: 6526:Proceedings of the Royal Musical Association 4068:, Vaughan Williams Foundation, October 2022 4066:"History of the Vaughan Williams Foundation" 1115:Of Vaughan Williams's works from the 1950s, 353:(RCM), London. After a compulsory course in 7986:English classical composers of church music 7946:Academics of Birkbeck, University of London 6488:The Cambridge Companion to Vaughan Williams 6461:The Cambridge Companion to Vaughan Williams 6375:The Cambridge Companion to Vaughan Williams 6268:The Cambridge Companion to Vaughan Williams 6146:The Cambridge Companion to Vaughan Williams 6127:The Cambridge Companion to Vaughan Williams 6066:The Cambridge Companion to Vaughan Williams 5944:The Cambridge Companion to Vaughan Williams 5925:The Cambridge Companion to Vaughan Williams 5906:The Cambridge Companion to Vaughan Williams 5887:The Cambridge Companion to Vaughan Williams 5849:Charles Villiers Stanford: Man and Musician 5827:The Cambridge Companion to Vaughan Williams 5685:The Cambridge Companion to Vaughan Williams 5619:, Dorking Museum, retrieved 19 October 2015 5435:Editorial, "The Role of Vaughan Williams", 5368:"Vaughan Williams: The Collectors' Edition" 1640: 1103:activities. He was a leading figure in the 1089:Vaughan Williams signing the guest book at 760:in its original form for violin and piano. 262:, Surrey, Vaughan Williams's childhood home 8106:Royal Philharmonic Society Gold Medallists 7369: 7355: 6700: 6693: 6679: 6654: 6507:RVW: A Biography of Ralph Vaughan Williams 5147:Kennedy (1980), p. 427; and Saylor, p. 159 4954: 2725:Applied by the composer to, respectively, 1846:to words by Whitman (composed 1904–1906), 551:. There were no children of the marriage. 6630:International Music Score Library Project 6490:. Cambridge: Cambridge University Press. 6463:. Cambridge: Cambridge University Press. 6413: 6377:. Cambridge: Cambridge University Press. 6265: 6206: 6148:. Cambridge: Cambridge University Press. 6129:. Cambridge: Cambridge University Press. 6106:; Robert Layton; Paul Czajkowski (2008). 6068:. Cambridge: Cambridge University Press. 5946:. Cambridge: Cambridge University Press. 5927:. Cambridge: Cambridge University Press. 5908:. Cambridge: Cambridge University Press. 5889:. Cambridge: Cambridge University Press. 5829:. Cambridge: Cambridge University Press. 5824: 5687:. Cambridge: Cambridge University Press. 5668:. Cambridge: Cambridge University Press. 5652: 4887: 4885: 3296: 3294: 3292: 3290: 3288: 3286: 3084:Dibble, p. 268; and Kennedy (1980), p. 19 2886: 2884: 2882: 2880: 2878: 2876: 2146:, and four apiece for Elgar and Britten. 2104:The Shepherds of the Delectable Mountains 1489: 563:Grove's Dictionary of Music and Musicians 369:. He idolised Parry, and recalled in his 224:, the third child and younger son of the 6636:Works by or about Ralph Vaughan Williams 6543: 6397:The Symphonies of Ralph Vaughan Williams 6391: 5638:, London Remembers, retrieved 19 October 5569:"Portrait of a genius driven by emotion" 5458:Charity Commission for England and Wales 5194: 5192: 5173: 5171: 4857: 4855: 4800: 4798: 4792:Fuller, p. 114 and Kennedy (1980), p. 80 4589: 4587: 4469: 4467: 4061: 4059: 4008:"Society for the Promotion of New Music" 3818: 3816: 3697:Vaughan Williams (1964), pp. 171 and 179 3679:Vaughan Williams (1964), pp. 140 and 143 3284: 3282: 3280: 3278: 3276: 3274: 3272: 3270: 3268: 3266: 2309: 2242:at least once, and declined the post of 2014: 1785: 1554: 1201: 1084: 985: 824: 762: 654: 522: 506: 438: 334: 284:and passed the associated examinations. 254: 46: 8056:Military personnel from Gloucestershire 7376: 7320:Vaughan Williams and English folk music 6458: 6326:Gramophone Classical Good CD Guide 2003 6284: 6243: 6190:Vaughan Williams: A Life in Photographs 6162: 6143: 6082: 6063: 6052: 6025: 6002: 5980: 5884: 5865: 5802: 5528:, Classic FM, retrieved 19 October 2015 5206: 5204: 4385: 4383: 4364: 4362: 4338:Sackville-West and Shawe-Taylor, p. 786 4242: 4240: 3916: 3914: 3623:Palmer, Christopher and Stephen Lloyd. 3251:Oxford Dictionary of National Biography 3240:"Broadwood, Lucy Etheldred (1858–1929)" 2927: 2925: 2923: 2921: 2919: 2917: 2915: 2913: 2911: 2852:Oxford Dictionary of National Biography 2596:There were no children of the marriage. 2394:(1952) which hangs in the college. The 1589:—particularly the overture (1909), the 1198:Vaughan Williams and English Folk Music 566:, edited the first volume of Purcell's 8076:People educated at Charterhouse School 7878: 7308:Society for the Promotion of New Music 6421:Choral Masterworks: A Listener's Guide 6372: 5960: 5941: 5922: 5843: 5788:The Symphony: Elgar to the Present Day 5275: 5273: 5059:Saylor, p. 161; and Clements, Andrew. 4882: 4539:Cox, pp. 122–123; and Schwartz. p. 104 4289:"Visionary genius of the spirit world" 4206: 4204: 4202: 4044:: CS1 maint: archived copy as title ( 3993:Howes, Frank. "The New Compositions", 3732: 3730: 3661:: CS1 maint: archived copy as title ( 3605:: CS1 maint: archived copy as title ( 3389: 3387: 3341: 3339: 3182:: CS1 maint: archived copy as title ( 3145: 3143: 3141: 3139: 3026: 3024: 2987: 2985: 2957: 2955: 2873: 2835: 1920:Hugh the Drover, or Love in the Stocks 1862:(1923–1925) and the Christmas cantata 1433:throughout its 10–12-minute duration. 1359:of the lavender-seller; the jingle of 1105:Society for the Promotion of New Music 587:In 1903–1904 Vaughan Williams started 7966:British Army personnel of World War I 7350: 6926:Concerto for Two Pianos and Orchestra 6674: 6626:Free scores by Ralph Vaughan Williams 6616:Free scores by Ralph Vaughan Williams 6599:The Letters of Ralph Vaughan Williams 6321: 6184: 5766: 5682: 5663: 5629:"Plaque: Ralph Vaughan Williams—Bust" 5377:, WorldCat, retrieved 18 October 2015 5361: 5358:, WorldCat, retrieved 18 October 2015 5311:, WorldCat, retrieved 25 October 2015 5258:, WorldCat, retrieved 18 October 2015 5239:, WorldCat, retrieved 18 October 2015 5230:"Vaughan Williams, Serenade to Music" 5220:, WorldCat, retrieved 18 October 2015 5189: 5168: 4945: 4852: 4795: 4584: 4566: 4464: 4341: 4056: 3813: 3780: 3778: 3759:"Obituary of Ursula Vaughan Williams" 3428: 3426: 3263: 2892:"Vaughan Williams, Ralph (1872–1958)" 2841:"Williams, Ralph Vaughan (1872–1958)" 2833: 2831: 2829: 2827: 2825: 2823: 2821: 2819: 2817: 2815: 2542:found it "over-long for concert use". 2422:, near his old house in Cheyne Walk. 2233: 706:festivals, with the premieres of the 7956:Alumni of Trinity College, Cambridge 7951:Alumni of the Royal College of Music 6861:Fantasia on a Theme by Thomas Tallis 6124: 5201: 4849:Kennedy (1980), pp. 415, 420 and 427 4677: 4380: 4359: 4237: 4078:"Vaughan Williams Hailed at Cornell" 3911: 3104:"Holst, Gustav Theodore (1874–1934)" 2908: 2690:) and one of the Piano Concerto (in 1572:Fantasia on a Theme by Thomas Tallis 1547:Fantasia on a Theme by Thomas Tallis 1328:elements absent from the later six. 1208:Fantasia on a Theme by Thomas Tallis 799:until demobilised in February 1919. 709:Fantasia on a Theme by Thomas Tallis 181:Fantasia on a Theme by Thomas Tallis 8091:Pupils of Charles Villiers Stanford 7921:20th-century English male musicians 7906:19th-century English male musicians 7289:English Folk Dance and Song Society 6509:. Oxford: Oxford University Press. 6444:. London and New York: Spon Press. 6192:. Oxford: Oxford University Press. 6011:. Oxford: Oxford University Press. 5986:The Works of Ralph Vaughan Williams 5785: 5771:. Oxford: Oxford University Press. 5270: 4656:"Vaughan Williams Concerts in 2015" 4199: 3886:"The Inner and Outer Worlds of RVW" 3727: 3384: 3336: 3136: 3021: 2982: 2952: 965:with the organisation of the daily 878:English Folk Dance and Song Society 651:Ravel; rising fame; First World War 13: 6868:Five Variants of Dives and Lazarus 6594:The Ralph Vaughan Williams Society 3775: 3545:; Cole, Hugo and Jennifer Doctor. 3423: 2812: 2385: 802: 754:(1914). In the same year he wrote 206: 14: 8117: 8096:Royal Army Medical Corps soldiers 7258:Vaughan Williams Memorial Library 6587: 6505:Vaughan Williams, Ursula (1964). 6168:Twentieth-century English Masters 5769:Letters of Ralph Vaughan Williams 5552:, 22 August 2008; Walker, Lynne. 4728:Vaughan Williams (1972–73), p. 88 3950:: New Work by Vaughan Williams", 3300:Ottaway, Hugh and Alain Frogley. 2703:The composer and musical scholar 311:. This softened into "a cheerful 7926:20th-century classical composers 7911:19th-century classical composers 7863: 7851: 7839: 7827: 7815: 7332: 7331: 6952:Six Studies in English Folk Song 5790:. Harmondsworth: Pelican Books. 5622: 5603: 5600:Stonehouse and Stromberg, p. 257 5594: 5585: 5539:"Always up for a lark ascending" 5531: 5501: 5492: 5483: 5464: 5442: 5429: 5420: 5411: 5402: 5393: 5380: 5342: 5327: 5314: 5295: 5286: 5261: 5242: 5223: 5180: 5159: 5150: 5141: 5132: 5113: 5104: 5077: 5053: 5021: 5002: 4993: 4984: 4975: 4966: 4932: 4912: 4873: 4864: 4843: 4834: 4825: 4816: 4807: 4786: 4777: 4768: 4749: 4740: 4731: 4722: 4713: 4704: 4695: 4686: 4668: 4649: 4640: 4631: 4605: 4596: 4575: 4557: 4542: 4533: 4524: 4515: 4485: 4476: 4455: 4446: 4437: 4428: 4419: 4410: 4401: 4392: 4371: 4350: 4332: 4323: 4314: 3487:Vaughan Williams (1964), p. 12w0 3229:"Sharp, Cecil James (1859–1924)" 3115:Dictionary of National Biography 2896:Dictionary of National Biography 2870:Vaughan Williams (1964), pp. 6–7 2761: 2748: 2719: 2710: 2697: 2679: 2664: 2651: 2642: 2633: 2608: 2444: 2344:The Passions of Vaughan Williams 2282:After Vaughan Williams's death, 2066:for that distinction, but rates 2044:Illustrations of the Book of Job 1540: 1521: 1507: 1440:, Symphonies 8 and 9 (1952–1957) 1389:(modified in places), specified 1293: 1012:, was marked by what the critic 627:, he contemplated studying with 71: 8036:English people of Welsh descent 5426:Vaughan Williams (1964), p. 207 5138:Kennedy (1980), pp. 221 and 224 4822:Kennedy (1980), pp. 412 and 428 4305: 4282: 4253: 4224: 4176:"Sir Charles Villiers Stanford" 4169: 4156: 4130: 4117: 4108: 4099: 4071: 4000: 3987: 3961: 3936: 3923: 3902: 3878: 3853: 3840: 3787: 3752: 3739: 3724:Vaughan Williams (1964), p. 200 3718: 3709: 3700: 3691: 3682: 3673: 3617: 3517: 3514:Vaughan Williams (1964), p. 136 3508: 3499: 3490: 3481: 3469: 3452: 3439: 3414: 3405: 3396: 3375: 3366: 3357: 3348: 3327: 3318: 3221: 3212: 3203: 3194: 3127: 3096: 3087: 3078: 3069: 3060: 3051: 3042: 3033: 3012: 3003: 2994: 2973: 2964: 2943: 2934: 2599: 2590: 2581: 2545: 2526: 2509: 2496: 2487: 2110:in his last decade" (Kennedy). 1959:. The piece was first given in 1833:Lord, Thou hast been our Refuge 1781: 1371:The last of the first group is 1068:Queen Elizabeth II's coronation 502: 317:Authorised Version of the Bible 8071:Musicians from Gloucestershire 7936:20th-century English musicians 7931:20th-century English composers 7916:19th-century English musicians 7901:19th-century British composers 7042:Folk Songs of the Four Seasons 6605:"Discovering Vaughan Williams" 5810:. London: Secker and Warburg. 5165:Kennedy (1980) pp. 421 and 431 5096:The Oxford Dictionary of Music 4216:The Oxford Dictionary of Music 3784:Neighbour, pp. 337–338 and 345 3363:Vaughan Williams (1964), p. 80 3009:Vaughan Williams (1964), p. 31 2991:Vaughan Williams (1964), p. 29 2970:Vaughan Williams (1964), p. 24 2949:Vaughan Williams (1964), p. 13 2864: 2809:Vaughan Williams (1964), p. xv 2803: 2792: 2474: 2465: 2436: 2058:In Kennedy's view the one-act 1891: 1790:Statue of Vaughan Williams by 1664: 1078:, performed at the service in 1054:Second marriage and last years 211: 1: 8081:People from Cotswold District 8061:Members of the Order of Merit 6916:Suite for Viola and Orchestra 4137:"Ralph Vaughan Williams Dies" 2940:Vaughan Williams (1964) p. 11 2785: 2426:Notes, references and sources 2113: 1625:In addition to the music for 1587:The Wasps, Aristophanic suite 1559:Vaughan Williams in 1919, by 1264: 1066:, London. It was the year of 945:In 1938 Vaughan Williams met 921:dubbed it "The Romantic" and 216:Vaughan Williams was born at 52: 8051:English male opera composers 8026:English folk-song collectors 7976:Burials at Westminster Abbey 7194:(1946 historical drama film) 6983:Fantasia on Christmas Carols 6620:Choral Public Domain Library 5591:Frogley and Thomson, pp. 2–3 4018:UK public library membership 3635:UK public library membership 3579:UK public library membership 3312:UK public library membership 3257:UK public library membership 3121:UK public library membership 2902:UK public library membership 2858:UK public library membership 2314:Bust of Vaughan Williams by 2279:of Yale University (1954). 1970:(1924–1928). It is based on 1819:Magnificat and Nunc Dimittis 1119:makes particular mention of 952: 21:Vaughan Williams (cricketer) 16:English composer (1872–1958) 7: 8086:People of the Victorian era 6947:Romance for viola and piano 6875:The Story of a Flemish Farm 6399:. New York: Da Capo Press. 6251:. London: Faber and Faber. 5870:. Ilminster: Albion Press. 5808:Putting the Record Straight 4637:Kennedy (2013), pp. 296–297 4259:Mellers, Wilfrid. "Review: 4105:Kennedy (2013), pp. 294–295 3688:Kennedy (1980), pp. 412–416 2521:Master of the Queen's Music 2517:St George's Chapel, Windsor 2238:Vaughan Williams refused a 1768:Three Poems by Walt Whitman 1635:The Vision of William Blake 1345:which were soon to follow. 1024:, many critics thought its 853:(1924 and 1928), the suite 582:Leith Hill Musical Festival 242:Sir Roland Vaughan Williams 10: 8122: 8041:English Romantic composers 7191:The Loves of Joanna Godden 5645: 5302:"Symphony No 9 in E minor" 5249:"Bach, St Matthew Passion" 5156:Kennedy (1997) pp. 427–428 4938:"Royal College of Music", 4926:, 17 February 1996, p. 40 4086:, 10 November 1954, p. 42 3897:Journal of the RVW Society 3547:"Maconchy, Dame Elizabeth" 3445:"Leeds Musical Festival", 2799:Collins English Dictionary 2767:The British radio station 2420:Chelsea Embankment Gardens 2286:summed up his legacy in a 2244:Master of the King's Music 1977:The Merry Wives of Windsor 1575:(1910, revised 1919), and 1444:The seventh symphony, the 1381:Symphonies 4–6 (1935–1948) 1191: 1171:Royal Philharmonic Society 527:Vaughan Williams lived in 411:Trinity College, Cambridge 29: 25:Vaughan Williams (surname) 18: 8046:Golders Green Crematorium 7702: 7682:Charles Villiers Stanford 7384: 7328: 7302:The Oxford Book of Carols 7266: 7250: 7225: 7150: 7125: 7072: 6960: 6939: 6889: 6841:Symphony No. 9 in E minor 6836:Symphony No. 8 in D minor 6823:Symphony No. 6 in E minor 6818:Symphony No. 5 in D major 6813:Symphony No. 4 in F minor 6781: 6772:Job: A Masque for Dancing 6763: 6717: 6708: 6546:Job: A Masque for Dancing 6085:Vaughan Williams on Music 6003:Kennedy, Michael (1989). 5498:Frogley and Thomson, p. 2 4212:"Vaughan Williams, Ralph" 4192:22 September 2015 at the 4166:, 20 September 1958, p. 8 3846:Glock, William. "Music", 3436:, 7 September 1910, p. 11 3302:"Vaughan Williams, Ralph" 3150:"Vaughan Williams, Ralph" 3109:24 September 2015 at the 3102:Vaughan Williams, Ralph. 3048:Kennedy (1980), pp. 37–38 2846:24 September 2015 at the 2400:National Portrait Gallery 2195:London Symphony Orchestra 2031:Job: A Masque for Dancing 1888:twenty-five years later. 1844:Toward the Unknown Region 1539: 1534: 1520: 1506: 1501: 1496: 1292: 1287: 1253:, the pastoral poetry of 906:Job: A Masque for Dancing 472:Charles Villiers Stanford 444:Charles Villiers Stanford 193:Job: A Masque for Dancing 8101:Royal Artillery officers 8066:Music in Gloucestershire 8001:Deaf classical musicians 7971:British ballet composers 7941:String quartet composers 7215:The England of Elizabeth 6304:10.1093/ml/xxxviii.3.213 5666:Vaughan Williams Studies 5615:10 November 2015 at the 5610:"Ralph Vaughan Williams" 5567:, 28 November 2007; and 5354:23 February 2019 at the 5254:16 November 2018 at the 4942:, 2 December 1937, p. 12 4294:18 November 2018 at the 4187:"Ralph Vaughan Williams" 3449:, 14 October 1910, p. 10 2430: 2364:Sir Peter Maxwell Davies 2189:, and, most frequently, 1803:Come Down, O Love Divine 1774:, and the Chaucer cycle 1739: 1693:and his contemporaries, 1641:Chamber and instrumental 1597:Fantasia on Greensleeves 1528:Fantasia on Greensleeves 1473:The final symphony, the 1187: 1010:Thanksgiving for Victory 859:(1925) and the oratorio 829:Vaughan Williams in 1922 777:Royal Army Medical Corps 767:Vaughan Williams in 1913 511:Vaughan Williams in 1898 359:Francis Edward Gladstone 273:On the Origin of Species 30:This British surname is 8031:English opera composers 7991:Composers for harmonica 7595:Nikolai Rimsky-Korsakov 7234:English Folk Song Suite 7049:Three Shakespeare Songs 6581:(subscription required) 6539:(subscription required) 6317:(subscription required) 6239:(subscription required) 6186:Moore, Jerrold Northrop 6083:Manning, David (2008). 6034:The Penguin Opera Guide 5866:Foreman, Lewis (1998). 5762:(subscription required) 5574:20 October 2021 at the 5559:20 October 2021 at the 5544:20 October 2021 at the 5524:29 October 2015 at the 5513:27 October 2015 at the 5373:20 October 2021 at the 5322:The Manchester Guardian 5235:7 November 2017 at the 5216:7 November 2017 at the 5100:(subscription required) 5090:20 October 2021 at the 5083:Kennedy, Michael (ed). 5049:(subscription required) 4928:(subscription required) 4901:(subscription required) 4661:4 November 2015 at the 4620:(subscription required) 4497:24 October 2015 at the 4278:(subscription required) 4220:(subscription required) 4210:Kennedy, Michael (ed). 4145:(subscription required) 4143:, 27 August 1958, p. 1 4125:The Manchester Guardian 4088:(subscription required) 3952:The Manchester Guardian 3874:(subscription required) 3865:, October 1945, p. 243 3807:20 October 2021 at the 3802:(subscription required) 3800:, January 2013, p. 136 3567:; and Wetherell, Eric. 3563:20 October 2021 at the 3552:20 October 2021 at the 3541:20 October 2021 at the 3530:20 October 2021 at the 3466:, 13 October 1910, p. 9 3464:The Manchester Guardian 3372:Adams (2013), pp. 40–41 3245:20 October 2021 at the 3238:; and de Val, Dorothy, 3234:6 February 2017 at the 3158:(subscription required) 2626:, conductors including 1872:was his favourite. The 1592:English Folk Song Suite 1237:In 1955 the authors of 1122:Three Shakespeare Songs 775:in August. Joining the 745:The Manchester Guardian 321:Ursula Vaughan Williams 7996:Darwin–Wedgwood family 7886:Ralph Vaughan Williams 7692:Ralph Vaughan Williams 7570:Alexander Dargomyzhsky 7199:Scott of the Antarctic 7186:(1945 propaganda film) 6754:The Pilgrim's Progress 6702:Ralph Vaughan Williams 6662:Ralph Vaughan Williams 6350:Sackville-West, Edward 5439:, 27 August 1958, p. 9 5417:Onderdonk, ch 1, p. 19 5339:, February 2003, p. 49 5324:, 27 August 1958, p. 1 5198:Kennedy (1980), p. 189 5177:Kennedy (1997), p. 428 5066:18 August 2021 at the 5030:. "Vaughan Williams's 4981:Kennedy (1980), p. 218 4951:Kennedy (1980), p. 415 4840:Kennedy (1980), p. 254 4618:, 3 April 1958, p. 22 4593:Kennedy (2013), p. 293 4530:Kennedy (1980), p. 268 4508:5 October 2015 at the 4473:Kennedy (2013), p. 278 4434:Kennedy (1980), p. 139 4263:by Vaughan Williams", 4114:Kennedy (1980), p. 432 3974:17 August 2021 at the 3948:The Pilgrim's Progress 3920:Kennedy (1980), p. 302 3829:18 August 2021 at the 3764:18 August 2021 at the 2931:De Savage, pp. xvii–xx 2743:The Pilgrim's Progress 2480:Margaret's father was 2396:Manchester Art Gallery 2319: 2297: 2277:Howland memorial prize 2175:The Pilgrim's Progress 2100:The Pilgrim's Progress 2027: 1798: 1764:Robert Louis Stevenson 1734: 1627:Scott of the Antarctic 1563: 1490:Other orchestral music 1452:Scott of the Antarctic 1410:The Pilgrim's Progress 1320:Symphonies (1910–1922) 1211: 1150:Scott of the Antarctic 1094: 1035:The Pilgrim's Progress 996: 992:The Pilgrim's Progress 830: 768: 663: 620:Norfolk Rhapsody No. 1 536: 512: 447: 403: 351:Royal College of Music 346: 344:Royal College of Music 263: 62:Ralph Vaughan Williams 58: 8011:Decca Records artists 7274:Anglican church music 7088:Whither Must I Wander 6555:The Musical Quarterly 6170:. London: Macmillan. 5968:. London: Macmillan. 5966:Composers of Operetta 5767:Cobbe, Hugh (2010) . 5110:Weltzien, pp. 335–336 5018:, January 2004, p. 77 4813:Kennedy (1980), p. 85 4554:, 31 July 1954, p. 45 4461:Kennedy (2008), p. 36 4269:, March 1966, p. 226 3997:, 18 March 1953, p. 2 3958:, 29 April 1951, p. 6 3891:13 March 2012 at the 3324:Kennedy (1980), p. 76 3218:Kennedy (1980), p. 74 3200:Kennedy (1980), p. 44 3075:Kennedy (1980), p. 19 3000:Kennedy (1980), p. 43 2961:Kennedy (1980), p. 11 2779:was in the top three. 2313: 2292: 2273:Royal Society of Arts 2265:University of Hamburg 2018: 1789: 1671: 1583:Norfolk Rhapsody No 1 1558: 1243:Edward Sackville-West 1205: 1173:concert conducted by 1161:under the dedicatee, 1088: 989: 828: 766: 730:J. A. Fuller Maitland 714:Three Choirs Festival 673:Musical Autobiography 658: 589:collecting folk-songs 526: 510: 442: 375: 371:Musical Autobiography 365:and composition with 338: 258: 50: 7961:Brass band composers 7723:Antônio Carlos Gomes 7475:Carl Maria von Weber 7014:Five Tudor Portraits 6711:List of compositions 6650:UK National Archives 6480:Peter Maxwell Davies 6354:Desmond Shawe-Taylor 6322:Roach, Emma (2002). 5634:4 March 2016 at the 5580:Western Morning News 5476:15 July 2011 at the 5125:4 March 2016 at the 5040:, June 1956, p. 322 4906:25 July 2019 at the 4625:5 March 2016 at the 4311:Adams (1996), p. 100 4181:4 March 2016 at the 4150:25 July 2018 at the 4093:25 July 2018 at the 3850:, 18 July 1943, p. 2 2380:Mark-Anthony Turnage 2318:, Chelsea Embankment 2252:University of Oxford 2193:, who conducted the 1945:(1926), a masque by 1849:Five Tudor Portraits 1754:(1905 and 1907) and 1363:; and the chimes of 1247:Desmond Shawe-Taylor 718:Gloucester Cathedral 407:Cambridge University 282:Edinburgh University 8006:English deaf people 7763:Silvestre Revueltas 7687:Alexander Mackenzie 7540:Stanisław Moniuszko 7460:Camille Saint-Saëns 7378:Musical nationalism 6976:Five Mystical Songs 6568:10.1093/mq/76.3.301 6482:; Piers Hellawell; 6360:. London: Collins. 6291:Music & Letters 6213:Music & Letters 6110:. London: Penguin. 6038:. London: Penguin. 5737:; Michael Kennedy; 5537:Morrison, Richard. 5519:"Hall of Fame 2015" 5508:"Hall of Fame 2014" 5471:"About the Society" 5307:1 July 2017 at the 4918:Traubner, Richard. 4746:Fuller, pp. 106–107 4551:The Saturday Review 3942:"The Royal Opera", 3933:, 12 May 1951, p. 8 3884:Parry-Jones, Gwyn. 3862:Music & Letters 3835:The Daily Telegraph 3770:The Daily Telegraph 3536:"Lambert, Constant" 3393:Adams (2013), p. 40 3345:Adams (2013), p. 38 3030:Adams (2013), p. 31 2482:Josiah Wedgwood III 2179:Herbert von Karajan 1561:William Rothenstein 1374:A Pastoral Symphony 1175:Sir Malcolm Sargent 1163:Sir John Barbirolli 1044:Festival of Britain 841:(1923), the operas 837:(1922), the ballet 815:A Pastoral Symphony 547:and, from 1905, in 535:, from 1905 to 1929 172:Teutonic influences 8016:Oratorio composers 7733:Heitor Villa-Lobos 7295:The English Hymnal 7284:Curse of the ninth 7226:Other compositions 7218:(1955 documentary) 7183:Stricken Peninsula 6898:The Lark Ascending 6854:Norfolk Rhapsodies 6847:In the Fen Country 6829:Sinfonia antartica 6415:Steinberg, Michael 6332:Gramophone Company 6007:Portrait of Walton 5582:, 28 November 2007 4616:The New York Times 4398:Frogley, pp. 93–94 4141:The New York Times 4127:, 3 May 1956, p. 1 4083:The New York Times 4012:Grove Music Online 3969:"Progress at last" 3715:Cobbe, pp. 174–175 3629:Grove Music Online 3573:Grove Music Online 3534:; Dibble, Jeremy. 3306:Grove Music Online 2773:The Lark Ascending 2727:On Christmas Night 2705:Christopher Palmer 2564:Elizabeth Maconchy 2352:The Lark Ascending 2320: 2305:registered charity 2234:Honours and legacy 2136:St Matthew Passion 2108:Sinfonia antartica 2076:Sinfonia antartica 2028: 2026:and his comforters 1943:On Christmas Night 1811:For All the Saints 1799: 1578:The Lark Ascending 1564: 1514:The Lark Ascending 1447:Sinfonia antartica 1438:Sinfonia antartica 1255:The Lark Ascending 1212: 1144:Sinfonia antartica 1095: 1014:Edward Lockspeiser 997: 831: 785:George Butterworth 769: 757:The Lark Ascending 686:, the Overture to 664: 614:In the Fen Country 577:The English Hymnal 537: 513: 458:. He graduated as 448: 347: 289:preparatory school 264: 187:The Lark Ascending 59: 8021:English agnostics 7803: 7802: 7728:Francisco Mignone 7713:Alberto Ginastera 7600:Alexander Borodin 7590:Modest Mussorgsky 7545:Henryk Wieniawski 7344: 7343: 7162:(1940 drama film) 7028:Serenade to Music 6990:O clap your hands 6806:Pastoral Symphony 6798:A London Symphony 6747:Riders to the Sea 6740:The Poisoned Kiss 6516:978-0-19-315411-7 6497:978-0-521-19768-7 6470:978-0-521-19768-7 6451:978-0-419-25120-0 6432:978-0-19-512644-0 6406:978-0-306-76137-9 6393:Schwartz, Elliott 6384:978-0-521-19768-7 6341:978-1-876871-98-7 6277:978-0-521-19768-7 6258:978-0-571-14986-5 6226:10.1093/ml/gcn042 6208:Neighbour, Oliver 6199:978-0-19-816296-4 6177:978-0-333-40242-9 6155:978-0-521-19768-7 6136:978-0-521-19768-7 6117:978-0-141-03335-8 6104:Edward Greenfield 6094:978-0-19-518239-2 6075:978-0-521-19768-7 6045:978-0-14-051385-1 6018:978-0-19-816705-1 5995:978-0-19-315453-7 5953:978-0-521-19768-7 5934:978-0-521-19768-7 5915:978-0-521-19768-7 5896:978-0-521-19768-7 5877:978-0-9528706-1-6 5858:978-0-19-816383-1 5836:978-0-521-19768-7 5817:978-0-436-11802-9 5778:978-0-19-958764-3 5744:The Musical Times 5694:978-0-521-19768-7 5675:978-0-521-48031-4 5349:"Hugh the Drover" 5074:, 7 November 2003 5037:The Musical Times 5032:The Poisoned Kiss 5010:The Poisoned Kiss 4893:"Hugh the Drover" 4831:Steinberg, p. 297 4765:in Fuller, p. 106 4719:Mark, pp. 195–196 4710:Mark, pp. 182–183 4266:The Musical Times 4016:(subscription or 3984:, 31 October 1997 3824:"The merry widow" 3772:, 25 October 2007 3633:(subscription or 3577:(subscription or 3558:"Williams, Grace" 3556:; Boyd, Malcolm. 3478:in Thomson, p. 65 3310:(subscription or 3255:(subscription or 3227:Heaney, Michael. 3119:(subscription or 2900:(subscription or 2856:(subscription or 2739:Riders to the Sea 2735:The Poisoned Kiss 2539:The Musical Times 2261:Shakespeare prize 2187:Leopold Stokowski 2183:Leonard Bernstein 2171:The Poisoned Kiss 2167:Riders to the Sea 2132:Serenade to Music 2068:Riders to the Sea 2060:Riders to the Sea 2049:Ninette de Valois 1997:The Poisoned Kiss 1990:In Windsor Forest 1956:A Christmas Carol 1854:Serenade to Music 1828:O Clap Your Hands 1553: 1552: 1348:A London Symphony 1338:choral symphonies 1306: 1305: 1251:Serenade to Music 1223:Serenade to Music 1169:, premiered at a 1139:Thomas the Rhymer 1080:Westminster Abbey 882:Bryn Mawr College 751:A London Symphony 720:in September and 460:Bachelor of Music 428:and the musician 160:English folk-song 150:; 12 October 1872 51:Vaughan Williams 8113: 7981:Choral composers 7868: 7867: 7866: 7856: 7855: 7854: 7844: 7843: 7842: 7832: 7831: 7820: 7819: 7818: 7811: 7788:Edward MacDowell 7642:Enrique Granados 7617:Alexander Moyzes 7410:Bohuslav Martinů 7371: 7364: 7357: 7348: 7347: 7335: 7334: 7267:Related articles 7175:The Flemish Farm 7141:The First Nowell 7126:Incidental music 7021:Dona nobis pacem 6969:A Cambridge Mass 6832:(Symphony No. 7) 6809:(Symphony No. 3) 6801:(Symphony No. 2) 6793:(Symphony No. 1) 6782:Orchestral works 6733:Sir John in Love 6695: 6688: 6681: 6672: 6671: 6658: 6653: 6640:Internet Archive 6612: 6582: 6579: 6540: 6537: 6520: 6501: 6478:Thomson, Aidan; 6474: 6455: 6436: 6424: 6410: 6388: 6369: 6358:The Record Guide 6345: 6329: 6318: 6315: 6281: 6262: 6249:Ravel Remembered 6240: 6237: 6203: 6181: 6159: 6140: 6121: 6098: 6079: 6060: 6049: 6037: 6022: 6010: 5999: 5982:Kennedy, Michael 5977: 5957: 5938: 5919: 5900: 5881: 5862: 5840: 5821: 5799: 5782: 5763: 5760: 5703:Barbirolli, John 5698: 5679: 5660: 5639: 5626: 5620: 5607: 5601: 5598: 5592: 5589: 5583: 5535: 5529: 5505: 5499: 5496: 5490: 5487: 5481: 5468: 5462: 5461: 5446: 5440: 5433: 5427: 5424: 5418: 5415: 5409: 5406: 5400: 5399:Achenbach, p. 40 5397: 5391: 5384: 5378: 5365: 5359: 5346: 5340: 5331: 5325: 5318: 5312: 5299: 5293: 5290: 5284: 5277: 5268: 5265: 5259: 5246: 5240: 5227: 5221: 5208: 5199: 5196: 5187: 5184: 5178: 5175: 5166: 5163: 5157: 5154: 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1667: 1659:Tallis Fantasia 1643: 1595:(1923) and the 1541: 1522: 1508: 1492: 1468:Eighth Symphony 1442: 1399:Fourth Symphony 1395:tenor saxophone 1383: 1322: 1294: 1267: 1232:On Wenlock Edge 1200: 1190: 1159:Hallé Orchestra 1134:Ten Blake Songs 1091:Yale University 1060:Hanover Terrace 1056: 1042:as part of the 955: 942:was completed. 911:Fourth Symphony 909:(1930) and the 844:Hugh the Drover 835:Mass in G minor 805: 803:Inter-war years 793:Royal Artillery 773:First World War 740:Samuel Langford 703:First World War 683:On Wenlock Edge 653: 638: 634: 617:(1904) and the 572:Purcell Society 505: 454:and organ with 426:G. M. Trevelyan 333: 325:Michael Kennedy 246:Josiah Wedgwood 222:Gloucestershire 214: 209: 207:Life and career 201:First World War 151: 144: 140: 130: 129: 99: 88: 74: 70: 64: 55: 43: 28: 17: 12: 11: 5: 8119: 8109: 8108: 8103: 8098: 8093: 8088: 8083: 8078: 8073: 8068: 8063: 8058: 8053: 8048: 8043: 8038: 8033: 8028: 8023: 8018: 8013: 8008: 8003: 7998: 7993: 7988: 7983: 7978: 7973: 7968: 7963: 7958: 7953: 7948: 7943: 7938: 7933: 7928: 7923: 7918: 7913: 7908: 7903: 7898: 7893: 7888: 7873: 7872: 7860: 7848: 7836: 7824: 7801: 7800: 7798: 7797: 7796: 7795: 7790: 7785: 7783:Horatio Parker 7780: 7775: 7769:United States 7767: 7766: 7765: 7760: 7755: 7747: 7746: 7745: 7737: 7736: 7735: 7730: 7725: 7717: 7716: 7715: 7706: 7704: 7700: 7699: 7697: 7696: 7695: 7694: 7689: 7684: 7679: 7674: 7666: 7665: 7664: 7656: 7655: 7654: 7652:Joaquín Turina 7649: 7644: 7639: 7634: 7626: 7625: 7624: 7619: 7614: 7606: 7605: 7604: 7603: 7602: 7597: 7592: 7587: 7582: 7580:Mily Balakirev 7572: 7567: 7565:Mikhail Glinka 7559: 7558: 7557: 7549: 7548: 7547: 7542: 7537: 7529: 7528: 7527: 7519: 7518: 7517: 7515:Bernard Zweers 7509: 7508: 7507: 7505:Giuseppe Verdi 7499: 7498: 7497: 7492: 7484: 7483: 7482: 7480:Richard Wagner 7477: 7469: 7468: 7467: 7465:Romain Bussine 7462: 7454: 7453: 7452: 7447: 7445:Leevi Madetoja 7439: 7438: 7437: 7429: 7428: 7427: 7422: 7414: 7413: 7412: 7407: 7402: 7400:Antonín Dvořák 7397: 7388: 7386: 7382: 7381: 7374: 7373: 7366: 7359: 7351: 7342: 7341: 7329: 7326: 7325: 7323: 7322: 7317: 7310: 7305: 7298: 7291: 7286: 7281: 7276: 7270: 7268: 7264: 7263: 7261: 7260: 7254: 7252: 7248: 7247: 7245: 7244: 7237: 7229: 7227: 7223: 7222: 7220: 7219: 7211: 7207:Bitter Springs 7203: 7195: 7187: 7179: 7171: 7163: 7154: 7152: 7148: 7147: 7145: 7144: 7137: 7129: 7127: 7123: 7122: 7120: 7119: 7112: 7105: 7100: 7093: 7092: 7091: 7076: 7074: 7070: 7069: 7067: 7066: 7059: 7052: 7045: 7038: 7031: 7024: 7017: 7010: 7005: 7002:Sancta Civitas 6998: 6993: 6986: 6979: 6972: 6964: 6962: 6958: 6957: 6955: 6954: 6949: 6943: 6941: 6937: 6936: 6934: 6933: 6928: 6923: 6918: 6913: 6911:Piano Concerto 6908: 6901: 6893: 6891: 6887: 6886: 6884: 6883: 6878: 6871: 6864: 6857: 6850: 6843: 6838: 6833: 6825: 6820: 6815: 6810: 6802: 6794: 6790:A Sea Symphony 6785: 6783: 6779: 6778: 6776: 6775: 6767: 6765: 6761: 6760: 6758: 6757: 6750: 6743: 6736: 6729: 6721: 6719: 6715: 6714: 6709: 6706: 6705: 6698: 6697: 6690: 6683: 6675: 6669: 6668: 6659: 6642: 6633: 6623: 6613: 6601: 6596: 6589: 6588:External links 6586: 6584: 6583: 6562:(3): 301–336. 6541: 6521: 6515: 6502: 6496: 6475: 6469: 6456: 6450: 6437: 6431: 6411: 6405: 6389: 6383: 6370: 6346: 6340: 6330:. Teddington: 6319: 6298:(3): 213–225. 6282: 6276: 6263: 6257: 6245:Nichols, Roger 6241: 6220:(3): 337–345. 6204: 6198: 6182: 6176: 6164:McVeagh, Diana 6160: 6154: 6141: 6135: 6122: 6116: 6099: 6093: 6080: 6074: 6061: 6050: 6044: 6023: 6017: 6000: 5994: 5978: 5958: 5952: 5939: 5933: 5920: 5914: 5901: 5895: 5882: 5876: 5863: 5857: 5845:Dibble, Jeremy 5841: 5835: 5822: 5816: 5800: 5783: 5777: 5764: 5739:Steuart Wilson 5723:Alun Hoddinott 5699: 5693: 5680: 5674: 5661: 5649: 5647: 5644: 5641: 5640: 5621: 5602: 5593: 5584: 5530: 5500: 5491: 5482: 5463: 5441: 5428: 5419: 5410: 5401: 5392: 5379: 5360: 5341: 5326: 5313: 5294: 5285: 5269: 5260: 5241: 5222: 5200: 5188: 5186:Saylor, p. 174 5179: 5167: 5158: 5149: 5140: 5131: 5112: 5103: 5076: 5052: 5020: 5001: 4992: 4983: 4974: 4972:Saylor, p. 159 4965: 4963:Saylor, p. 163 4953: 4944: 4931: 4911: 4881: 4872: 4863: 4861:Saylor, p. 157 4851: 4842: 4833: 4824: 4815: 4806: 4804:Fuller, p. 118 4794: 4785: 4783:Fuller, p. 108 4776: 4767: 4748: 4739: 4737:Manning, p. 28 4730: 4721: 4712: 4703: 4694: 4692:Roach, p. 1047 4685: 4676: 4667: 4648: 4646:Foreman, p. 19 4639: 4630: 4604: 4595: 4583: 4574: 4565: 4556: 4541: 4532: 4523: 4514: 4484: 4475: 4463: 4454: 4445: 4436: 4427: 4425:Frogley, p. 97 4418: 4409: 4407:Thomson, p. 73 4400: 4391: 4389:Frogley, p. 93 4379: 4370: 4358: 4349: 4340: 4331: 4322: 4313: 4304: 4281: 4252: 4236: 4223: 4198: 4168: 4155: 4129: 4116: 4107: 4098: 4070: 4055: 3999: 3986: 3960: 3935: 3922: 3910: 3901: 3877: 3852: 3839: 3812: 3786: 3774: 3751: 3738: 3726: 3717: 3708: 3699: 3690: 3681: 3672: 3625:"Douglas, Roy" 3616: 3525:"Gurney, Ivor" 3516: 3507: 3498: 3496:Frogley, p. 99 3489: 3480: 3468: 3451: 3438: 3422: 3413: 3411:Nichols, p. 68 3404: 3395: 3383: 3374: 3365: 3356: 3354:Nichols, p. 67 3347: 3335: 3333:Frogley, p. 88 3326: 3317: 3262: 3220: 3211: 3202: 3193: 3135: 3126: 3095: 3086: 3077: 3068: 3059: 3050: 3041: 3032: 3020: 3018:Foreman, p. 38 3011: 3002: 2993: 2981: 2972: 2963: 2951: 2942: 2933: 2907: 2890:Howes, Frank. 2872: 2863: 2811: 2802: 2790: 2789: 2787: 2784: 2782: 2781: 2760: 2747: 2731:The Bridal Day 2718: 2709: 2696: 2678: 2663: 2650: 2641: 2632: 2607: 2598: 2589: 2580: 2568:Grace Williams 2544: 2525: 2508: 2504:Ralph Wedgwood 2495: 2486: 2473: 2464: 2434: 2432: 2429: 2427: 2424: 2416:Marcus Cornish 2404:Juliet Pannett 2387: 2384: 2316:Marcus Cornish 2248:Order of Merit 2235: 2232: 2208:Sir Mark Elder 2204:Richard Hickox 2200:Vernon Handley 2115: 2112: 2082:The Bridal Day 1908:to Wagner and 1893: 1890: 1870:Sancta Civitas 1859:Sancta Civitas 1783: 1780: 1762:, to words by 1741: 1738: 1697:, Bunyan, and 1666: 1663: 1642: 1639: 1551: 1550: 1537: 1536: 1532: 1531: 1518: 1517: 1504: 1503: 1499: 1498: 1497:External media 1491: 1488: 1441: 1435: 1421:Sixth Symphony 1414:Neville Cardus 1406:Fifth Symphony 1382: 1379: 1333:A Sea Symphony 1321: 1307: 1304: 1303: 1300:A Sea Symphony 1290: 1289: 1288:External audio 1266: 1263: 1189: 1186: 1055: 1052: 1018:Sixth Symphony 954: 951: 940:Fifth Symphony 927:absolute music 886:National Music 862:Sancta Civitas 804: 801: 726:Leeds Festival 722:A Sea Symphony 695:A Sea Symphony 652: 649: 629:Vincent d'Indy 597:Lucy Broadwood 504: 501: 434:Herbert Fisher 363:Walter Parratt 332: 329: 268:Wotton, Surrey 250:Charles Darwin 213: 210: 208: 205: 15: 9: 6: 4: 3: 2: 8118: 8107: 8104: 8102: 8099: 8097: 8094: 8092: 8089: 8087: 8084: 8082: 8079: 8077: 8074: 8072: 8069: 8067: 8064: 8062: 8059: 8057: 8054: 8052: 8049: 8047: 8044: 8042: 8039: 8037: 8034: 8032: 8029: 8027: 8024: 8022: 8019: 8017: 8014: 8012: 8009: 8007: 8004: 8002: 7999: 7997: 7994: 7992: 7989: 7987: 7984: 7982: 7979: 7977: 7974: 7972: 7969: 7967: 7964: 7962: 7959: 7957: 7954: 7952: 7949: 7947: 7944: 7942: 7939: 7937: 7934: 7932: 7929: 7927: 7924: 7922: 7919: 7917: 7914: 7912: 7909: 7907: 7904: 7902: 7899: 7897: 7894: 7892: 7889: 7887: 7884: 7883: 7881: 7871: 7861: 7859: 7849: 7847: 7837: 7835: 7830: 7825: 7823: 7813: 7812: 7809: 7794: 7791: 7789: 7786: 7784: 7781: 7779: 7776: 7774: 7773:Aaron Copland 7771: 7770: 7768: 7764: 7761: 7759: 7758:Carlos Chávez 7756: 7754: 7751: 7750: 7748: 7744: 7743:Claude Vivier 7741: 7740: 7738: 7734: 7731: 7729: 7726: 7724: 7721: 7720: 7718: 7714: 7711: 7710: 7708: 7707: 7705: 7701: 7693: 7690: 7688: 7685: 7683: 7680: 7678: 7675: 7673: 7670: 7669: 7667: 7663: 7660: 7659: 7657: 7653: 7650: 7648: 7645: 7643: 7640: 7638: 7635: 7633: 7632:Isaac Albéniz 7630: 7629: 7627: 7623: 7620: 7618: 7615: 7613: 7610: 7609: 7607: 7601: 7598: 7596: 7593: 7591: 7588: 7586: 7583: 7581: 7578: 7577: 7576: 7573: 7571: 7568: 7566: 7563: 7562: 7560: 7556: 7555:George Enescu 7553: 7552: 7550: 7546: 7543: 7541: 7538: 7536: 7533: 7532: 7530: 7526: 7523: 7522: 7520: 7516: 7513: 7512: 7510: 7506: 7503: 7502: 7500: 7496: 7495:Zoltán Kodály 7493: 7491: 7488: 7487: 7485: 7481: 7478: 7476: 7473: 7472: 7470: 7466: 7463: 7461: 7458: 7457: 7455: 7451: 7450:Jean Sibelius 7448: 7446: 7443: 7442: 7440: 7436: 7435:Rudolf Tobias 7433: 7432: 7430: 7426: 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6973: 6971: 6970: 6966: 6965: 6963: 6959: 6953: 6950: 6948: 6945: 6944: 6942: 6940:Chamber music 6938: 6932: 6931:Tuba Concerto 6929: 6927: 6924: 6922: 6921:Oboe Concerto 6919: 6917: 6914: 6912: 6909: 6907: 6906: 6902: 6900: 6899: 6895: 6894: 6892: 6888: 6882: 6879: 6877: 6876: 6872: 6870: 6869: 6865: 6863: 6862: 6858: 6856: 6855: 6851: 6849: 6848: 6844: 6842: 6839: 6837: 6834: 6831: 6830: 6826: 6824: 6821: 6819: 6816: 6814: 6811: 6808: 6807: 6803: 6800: 6799: 6795: 6792: 6791: 6787: 6786: 6784: 6780: 6774: 6773: 6769: 6768: 6766: 6762: 6756: 6755: 6751: 6749: 6748: 6744: 6742: 6741: 6737: 6735: 6734: 6730: 6728: 6727: 6723: 6722: 6720: 6716: 6712: 6707: 6703: 6696: 6691: 6689: 6684: 6682: 6677: 6676: 6673: 6667: 6663: 6660: 6657: 6651: 6647: 6643: 6641: 6637: 6634: 6631: 6627: 6624: 6621: 6617: 6614: 6610: 6606: 6602: 6600: 6597: 6595: 6592: 6591: 6577: 6573: 6569: 6565: 6561: 6557: 6556: 6551: 6550:Illustrations 6547: 6542: 6535: 6531: 6527: 6522: 6518: 6512: 6508: 6503: 6499: 6493: 6489: 6485: 6484:Nicola LeFanu 6481: 6476: 6472: 6466: 6462: 6457: 6453: 6447: 6443: 6438: 6434: 6428: 6423: 6422: 6416: 6412: 6408: 6402: 6398: 6394: 6390: 6386: 6380: 6376: 6371: 6367: 6363: 6359: 6355: 6351: 6347: 6343: 6337: 6333: 6328: 6327: 6320: 6313: 6309: 6305: 6301: 6297: 6293: 6292: 6287: 6286:Ottaway, Hugh 6283: 6279: 6273: 6269: 6264: 6260: 6254: 6250: 6246: 6242: 6235: 6231: 6227: 6223: 6219: 6215: 6214: 6209: 6205: 6201: 6195: 6191: 6187: 6183: 6179: 6173: 6169: 6165: 6161: 6157: 6151: 6147: 6142: 6138: 6132: 6128: 6123: 6119: 6113: 6109: 6105: 6102:March, Ivan; 6100: 6096: 6090: 6086: 6081: 6077: 6071: 6067: 6062: 6058: 6057: 6051: 6047: 6041: 6036: 6035: 6029: 6028:Amanda Holden 6024: 6020: 6014: 6009: 6008: 6001: 5997: 5991: 5987: 5983: 5979: 5975: 5971: 5967: 5963: 5959: 5955: 5949: 5945: 5940: 5936: 5930: 5926: 5921: 5917: 5911: 5907: 5902: 5898: 5892: 5888: 5883: 5879: 5873: 5869: 5864: 5860: 5854: 5850: 5846: 5842: 5838: 5832: 5828: 5823: 5819: 5813: 5809: 5805: 5804:Culshaw, John 5801: 5797: 5793: 5789: 5784: 5780: 5774: 5770: 5765: 5758: 5754: 5750: 5746: 5745: 5740: 5736: 5732: 5728: 5724: 5720: 5716: 5715:Norman Demuth 5712: 5708: 5704: 5700: 5696: 5690: 5686: 5681: 5677: 5671: 5667: 5662: 5658: 5657: 5651: 5650: 5637: 5633: 5630: 5625: 5618: 5614: 5611: 5606: 5597: 5588: 5581: 5577: 5573: 5570: 5566: 5562: 5558: 5555: 5551: 5547: 5543: 5540: 5534: 5527: 5523: 5520: 5516: 5512: 5509: 5504: 5495: 5486: 5479: 5475: 5472: 5467: 5459: 5455: 5453: 5445: 5438: 5432: 5423: 5414: 5405: 5396: 5389: 5383: 5376: 5372: 5369: 5364: 5357: 5353: 5350: 5345: 5338: 5337: 5330: 5323: 5317: 5310: 5306: 5303: 5298: 5289: 5282: 5276: 5274: 5264: 5257: 5253: 5250: 5245: 5238: 5234: 5231: 5226: 5219: 5215: 5212: 5207: 5205: 5195: 5193: 5183: 5174: 5172: 5162: 5153: 5144: 5135: 5128: 5124: 5121: 5116: 5107: 5097: 5093: 5089: 5086: 5080: 5073: 5069: 5065: 5062: 5056: 5047: 5043: 5039: 5038: 5033: 5029: 5028:Warrack, John 5024: 5017: 5016: 5011: 5005: 4996: 4987: 4978: 4969: 4960: 4958: 4948: 4941: 4935: 4925: 4921: 4915: 4909: 4905: 4898: 4894: 4888: 4886: 4876: 4867: 4858: 4856: 4846: 4837: 4828: 4819: 4810: 4801: 4799: 4789: 4780: 4771: 4764: 4760: 4759: 4752: 4743: 4734: 4725: 4716: 4707: 4698: 4689: 4680: 4671: 4664: 4660: 4657: 4652: 4643: 4634: 4628: 4624: 4617: 4613: 4608: 4599: 4590: 4588: 4578: 4569: 4560: 4553: 4552: 4545: 4536: 4527: 4518: 4511: 4507: 4504: 4500: 4496: 4493: 4488: 4479: 4470: 4468: 4458: 4452:Cobbe, p. 487 4449: 4440: 4431: 4422: 4413: 4404: 4395: 4386: 4384: 4374: 4365: 4363: 4353: 4344: 4335: 4326: 4317: 4308: 4301: 4300:The Telegraph 4297: 4293: 4290: 4285: 4276: 4272: 4268: 4267: 4262: 4256: 4249: 4243: 4241: 4233: 4227: 4217: 4213: 4207: 4205: 4203: 4195: 4191: 4188: 4184: 4180: 4177: 4172: 4165: 4159: 4153: 4149: 4142: 4138: 4133: 4126: 4120: 4111: 4102: 4096: 4092: 4085: 4084: 4079: 4074: 4067: 4062: 4060: 4051: 4047: 4041: 4025: 4019: 4013: 4009: 4003: 3996: 3990: 3983: 3982: 3977: 3973: 3970: 3964: 3957: 3953: 3949: 3945: 3939: 3932: 3926: 3917: 3915: 3905: 3898: 3894: 3890: 3887: 3881: 3872: 3868: 3864: 3863: 3856: 3849: 3843: 3836: 3832: 3828: 3825: 3819: 3817: 3810: 3806: 3799: 3795: 3790: 3781: 3779: 3771: 3767: 3763: 3760: 3755: 3748: 3742: 3733: 3731: 3721: 3712: 3706:Cobbe, p. 175 3703: 3694: 3685: 3676: 3668: 3664: 3658: 3642: 3636: 3630: 3626: 3620: 3612: 3608: 3602: 3586: 3580: 3574: 3570: 3566: 3562: 3559: 3555: 3551: 3548: 3544: 3540: 3537: 3533: 3529: 3526: 3520: 3511: 3502: 3493: 3484: 3477: 3472: 3465: 3461: 3455: 3448: 3442: 3435: 3429: 3427: 3417: 3408: 3399: 3390: 3388: 3378: 3369: 3360: 3351: 3342: 3340: 3330: 3321: 3313: 3307: 3303: 3297: 3295: 3293: 3291: 3289: 3287: 3285: 3283: 3281: 3279: 3277: 3275: 3273: 3271: 3269: 3267: 3258: 3252: 3248: 3244: 3241: 3237: 3233: 3230: 3224: 3215: 3206: 3197: 3189: 3185: 3179: 3163: 3155: 3151: 3146: 3144: 3142: 3140: 3130: 3122: 3116: 3112: 3108: 3105: 3099: 3090: 3081: 3072: 3063: 3054: 3045: 3036: 3027: 3025: 3015: 3006: 2997: 2988: 2986: 2976: 2967: 2958: 2956: 2946: 2937: 2928: 2926: 2924: 2922: 2920: 2918: 2916: 2914: 2912: 2903: 2897: 2893: 2887: 2885: 2883: 2881: 2879: 2877: 2867: 2859: 2853: 2849: 2845: 2842: 2836: 2834: 2832: 2830: 2828: 2826: 2824: 2822: 2820: 2818: 2816: 2806: 2800: 2795: 2791: 2778: 2774: 2770: 2764: 2757: 2751: 2744: 2740: 2736: 2732: 2728: 2722: 2713: 2706: 2700: 2693: 2689: 2682: 2675: 2674: 2667: 2659: 2658:Peter Warlock 2654: 2645: 2636: 2629: 2625: 2621: 2620:Anthony Payne 2617: 2611: 2602: 2593: 2584: 2577: 2573: 2569: 2565: 2561: 2557: 2553: 2548: 2541: 2540: 2535: 2529: 2522: 2518: 2512: 2505: 2499: 2490: 2483: 2477: 2468: 2459: 2439: 2435: 2423: 2421: 2417: 2413: 2409: 2405: 2401: 2397: 2393: 2383: 2381: 2377: 2373: 2372:Wayne Shorter 2369: 2368:Anthony Payne 2365: 2361: 2357: 2353: 2349: 2345: 2341: 2337: 2333: 2329: 2325: 2317: 2312: 2308: 2306: 2302: 2296: 2291: 2289: 2285: 2280: 2278: 2274: 2270: 2266: 2262: 2257: 2253: 2249: 2245: 2241: 2231: 2229: 2225: 2221: 2217: 2213: 2209: 2205: 2201: 2196: 2192: 2188: 2184: 2180: 2176: 2172: 2168: 2164: 2160: 2156: 2152: 2147: 2145: 2141: 2137: 2133: 2129: 2125: 2124:Old King Cole 2121: 2111: 2109: 2105: 2101: 2097: 2095: 2091: 2087: 2083: 2079: 2077: 2073: 2069: 2065: 2061: 2056: 2054: 2050: 2046: 2045: 2040: 2039:William Blake 2036: 2032: 2025: 2021: 2020:William Blake 2017: 2013: 2011: 2007: 2003: 1999: 1998: 1993: 1991: 1987: 1983: 1979: 1978: 1973: 1969: 1964: 1962: 1958: 1957: 1952: 1948: 1944: 1940: 1938: 1937:Old King Cole 1934: 1931: 1927: 1926: 1921: 1917: 1915: 1911: 1907: 1903: 1898: 1889: 1887: 1886: 1881: 1877: 1876: 1871: 1867: 1866: 1861: 1860: 1855: 1851: 1850: 1845: 1840: 1838: 1834: 1830: 1829: 1824: 1820: 1816: 1812: 1808: 1804: 1797: 1793: 1792:William Fawke 1788: 1779: 1777: 1773: 1769: 1765: 1761: 1757: 1753: 1752: 1747: 1737: 1733: 1731: 1727: 1723: 1719: 1715: 1712: 1708: 1704: 1700: 1696: 1692: 1688: 1684: 1680: 1676: 1670: 1662: 1660: 1655: 1654: 1648: 1638: 1636: 1632: 1631:49th Parallel 1628: 1623: 1621: 1620:Harriet Cohen 1617: 1613: 1609: 1605: 1600: 1598: 1594: 1593: 1588: 1585:(1905–1906), 1584: 1580: 1579: 1574: 1573: 1568: 1562: 1557: 1549: 1548: 1538: 1533: 1530: 1529: 1519: 1516: 1515: 1505: 1500: 1495: 1487: 1484: 1480: 1476: 1471: 1469: 1464: 1462: 1457: 1453: 1449: 1448: 1439: 1434: 1432: 1428: 1427: 1422: 1417: 1415: 1411: 1407: 1402: 1400: 1396: 1392: 1388: 1378: 1376: 1375: 1369: 1366: 1362: 1358: 1354: 1350: 1349: 1344: 1339: 1335: 1334: 1329: 1327: 1319: 1315: 1311: 1302: 1301: 1291: 1286: 1283: 1280: 1276: 1272: 1262: 1260: 1256: 1252: 1248: 1244: 1240: 1235: 1233: 1229: 1225: 1224: 1218: 1209: 1204: 1199: 1195: 1185: 1183: 1182:Golders Green 1178: 1176: 1172: 1168: 1164: 1160: 1156: 1152: 1151: 1146: 1145: 1140: 1136: 1135: 1130: 1129: 1124: 1123: 1118: 1113: 1110: 1106: 1102: 1101: 1092: 1087: 1083: 1081: 1077: 1073: 1072:Old Hundredth 1069: 1065: 1064:Regent's Park 1061: 1051: 1049: 1045: 1041: 1040:Covent Garden 1037: 1036: 1030: 1027: 1023: 1019: 1015: 1011: 1006: 1005:William Glock 1002: 994: 993: 988: 984: 980: 978: 977: 976:49th Parallel 972: 968: 964: 960: 950: 948: 943: 941: 937: 936: 930: 928: 924: 920: 916: 912: 908: 907: 901: 899: 896:the composer 894: 889: 887: 883: 879: 874: 872: 866: 864: 863: 858: 857: 852: 851: 846: 845: 840: 839:Old King Cole 836: 827: 823: 821: 817: 816: 811: 800: 798: 794: 790: 786: 782: 778: 774: 765: 761: 759: 758: 753: 752: 747: 746: 741: 737: 736: 731: 727: 723: 719: 715: 711: 710: 704: 699: 697: 696: 691: 690: 685: 684: 679: 674: 670: 661: 660:Maurice Ravel 657: 648: 646: 645:Maurice Ravel 642: 630: 626: 622: 621: 616: 615: 611: 605: 603: 598: 594: 590: 585: 583: 579: 578: 573: 569: 568:Welcome Songs 565: 564: 558: 552: 550: 546: 542: 534: 530: 525: 521: 519: 509: 500: 498: 497: 492: 487: 485: 481: 477: 473: 469: 465: 461: 457: 453: 445: 441: 437: 435: 431: 427: 423: 419: 414: 412: 408: 402: 400: 396: 393:, Purcell to 392: 389:, Gibbons to 388: 384: 381:passed on to 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The judges 235: 231: 227: 223: 219: 204: 202: 197: 195: 194: 189: 188: 183: 182: 175: 173: 169: 168:Maurice Ravel 163: 161: 157: 149: 148: 133: 126: 67: 63: 49: 45: 41: 37: 33: 26: 22: 7793:Charles Ives 7778:Henry Cowell 7753:Manuel Ponce 7691: 7677:Edward Elgar 7672:Joseph Parry 7622:Eugen Suchoň 7525:Edvard Grieg 7511:Netherlands 7425:Carl Nielsen 7405:Leoš Janáček 7330: 7312: 7300: 7293: 7239: 7232: 7213: 7205: 7197: 7189: 7181: 7173: 7165: 7157: 7139: 7132: 7114: 7107: 7095: 7079: 7061: 7054: 7047: 7040: 7033: 7026: 7019: 7012: 7000: 6988: 6981: 6974: 6967: 6961:Choral music 6903: 6896: 6873: 6866: 6859: 6852: 6845: 6827: 6804: 6796: 6788: 6770: 6752: 6745: 6738: 6731: 6724: 6701: 6622:(ChoralWiki) 6559: 6553: 6549: 6548:and Blake's 6545: 6525: 6506: 6487: 6460: 6441: 6420: 6396: 6374: 6357: 6325: 6295: 6289: 6267: 6248: 6217: 6211: 6189: 6167: 6145: 6126: 6107: 6084: 6065: 6054: 6033: 6006: 5985: 5965: 5943: 5924: 5905: 5886: 5867: 5848: 5826: 5807: 5787: 5768: 5748: 5742: 5735:John Ireland 5719:George Dyson 5711:Adrian Boult 5707:Arthur Bliss 5684: 5665: 5654: 5624: 5605: 5596: 5587: 5579: 5564: 5549: 5533: 5503: 5494: 5485: 5466: 5451: 5444: 5436: 5431: 5422: 5413: 5404: 5395: 5387: 5382: 5363: 5344: 5334: 5329: 5321: 5316: 5297: 5288: 5280: 5263: 5244: 5225: 5182: 5161: 5152: 5143: 5134: 5115: 5106: 5095: 5079: 5072:The Guardian 5071: 5055: 5035: 5031: 5023: 5013: 5009: 5004: 4995: 4986: 4977: 4968: 4947: 4939: 4934: 4923: 4914: 4896: 4879:Cobbe, p. 73 4875: 4866: 4845: 4836: 4827: 4818: 4809: 4788: 4779: 4774:Cobbe, p. 41 4770: 4762: 4758:The Listener 4756: 4751: 4742: 4733: 4724: 4715: 4706: 4701:Mark, p. 194 4697: 4688: 4679: 4670: 4651: 4642: 4633: 4615: 4607: 4598: 4577: 4568: 4559: 4549: 4544: 4535: 4526: 4517: 4487: 4478: 4457: 4448: 4439: 4430: 4421: 4412: 4403: 4394: 4373: 4352: 4343: 4334: 4329:Mark, p. 179 4325: 4316: 4307: 4299: 4284: 4264: 4260: 4255: 4247: 4231: 4226: 4215: 4171: 4163: 4158: 4140: 4132: 4124: 4119: 4110: 4101: 4081: 4073: 4028:. Retrieved 4011: 4002: 3994: 3989: 3979: 3963: 3956:The Observer 3955: 3951: 3947: 3943: 3938: 3930: 3929:"Obituary", 3925: 3904: 3896: 3880: 3860: 3855: 3848:The Observer 3847: 3842: 3837:, 4 May 2002 3834: 3797: 3789: 3769: 3754: 3746: 3741: 3720: 3711: 3702: 3693: 3684: 3675: 3645:. Retrieved 3628: 3619: 3589:. Retrieved 3572: 3519: 3510: 3505:Moore, p. 54 3501: 3492: 3483: 3475: 3471: 3463: 3460:Sea Symphony 3459: 3454: 3446: 3441: 3433: 3416: 3407: 3398: 3381:Cobbe, p. 11 3377: 3368: 3359: 3350: 3329: 3320: 3305: 3250: 3223: 3214: 3205: 3196: 3166:. Retrieved 3153: 3133:Cobbe, p. 10 3129: 3114: 3098: 3093:Moore, p. 26 3089: 3080: 3071: 3066:Cobbe, p. 14 3062: 3053: 3044: 3035: 3014: 3005: 2996: 2975: 2966: 2945: 2936: 2895: 2866: 2851: 2805: 2794: 2776: 2772: 2763: 2750: 2742: 2738: 2734: 2730: 2726: 2721: 2712: 2699: 2681: 2671: 2666: 2653: 2644: 2635: 2628:Sakari Oramo 2610: 2601: 2592: 2583: 2572:Gordon Jacob 2552:His students 2547: 2537: 2534:Musical News 2533: 2528: 2511: 2498: 2489: 2476: 2467: 2438: 2408:David McFall 2389: 2376:Neil Tennant 2351: 2347: 2343: 2340:John Bridcut 2335: 2321: 2298: 2293: 2283: 2281: 2269:Albert medal 2267:(1937); the 2254:(1919); the 2237: 2191:André Previn 2174: 2170: 2166: 2162: 2158: 2154: 2148: 2139: 2135: 2131: 2130:(1936), the 2127: 2123: 2119: 2117: 2107: 2103: 2099: 2098: 2094:Epithalamion 2093: 2081: 2080: 2075: 2067: 2063: 2059: 2057: 2053:Royal Ballet 2042: 2034: 2030: 2029: 2002:Savoy operas 1995: 1994: 1989: 1981: 1975: 1967: 1965: 1954: 1942: 1941: 1936: 1935: 1923: 1919: 1918: 1913: 1899: 1895: 1883: 1873: 1869: 1863: 1857: 1853: 1847: 1843: 1841: 1836: 1832: 1826: 1821:(1925), the 1818: 1814: 1806: 1800: 1782:Choral music 1775: 1771: 1767: 1759: 1755: 1749: 1743: 1735: 1672: 1668: 1658: 1651: 1646: 1644: 1634: 1630: 1626: 1624: 1601: 1596: 1590: 1586: 1582: 1576: 1570: 1566: 1565: 1546: 1527: 1513: 1482: 1472: 1465: 1461:wind machine 1455: 1451: 1445: 1443: 1437: 1430: 1424: 1418: 1409: 1403: 1384: 1372: 1370: 1353:barrel organ 1346: 1331: 1330: 1326:programmatic 1323: 1317: 1313: 1309: 1299: 1268: 1254: 1250: 1238: 1236: 1231: 1227: 1221: 1216: 1213: 1207: 1179: 1148: 1142: 1138: 1132: 1126: 1120: 1116: 1114: 1098: 1096: 1057: 1033: 1031: 1025: 1009: 998: 990: 981: 974: 971:Arts Council 956: 944: 933: 931: 915:programmatic 904: 902: 898:Gerald Finzi 890: 885: 875: 867: 860: 854: 848: 842: 838: 832: 820:Adrian Boult 813: 806: 770: 755: 749: 743: 733: 721: 707: 700: 693: 687: 681: 678:Hugh Ottaway 672: 665: 641:Calvocoressi 618: 612: 606: 586: 575: 567: 561: 557:The Vocalist 556: 553: 538: 514: 503:Early career 494: 491:Gustav Holst 488: 462:in 1894 and 452:Charles Wood 449: 415: 404: 376: 370: 367:Hubert Parry 348: 340:Hubert Parry 306: 301:Charterhouse 286: 278: 271: 265: 229: 215: 198: 191: 185: 179: 176: 164: 61: 60: 44: 39: 35: 7896:1958 deaths 7891:1872 births 7662:Hugo Alfvén 7490:Béla Bartók 7210:(1950 film) 7202:(1948 film) 7170:(1942 film) 7151:Film scores 7073:Vocal music 6890:Concertante 6609:BBC Radio 3 5751:: 535–539. 5731:Frank Howes 4563:Cox, p. 111 4377:Cox, p. 115 4230:Barbirolli 3899:, July 1995 3745:Barbirolli 3154:Who Was Who 3057:Cobbe, p. 9 3039:Cobbe, p. 8 2673:The Tempest 2576:Roy Douglas 2556:Ivor Gurney 2332:Tony Palmer 2301:Roy Douglas 2072:J. M. Synge 1972:Shakespeare 1947:Adolph Bolm 1902:Tchaikovsky 1892:Stage works 1885:War Requiem 1835:(1921) and 1807:Sine nomine 1665:Vocal music 1610:(1944) and 1387:sonata form 1361:hansom cabs 1206:Opening of 1048:John Bunyan 959:Home Office 947:Ursula Wood 923:Frank Howes 919:Hubert Foss 669:Byron Adams 593:Cecil Sharp 545:Westminster 529:Cheyne Walk 484:modal music 418:G. E. Moore 313:agnosticism 293:Rottingdean 218:Down Ampney 212:Early years 184:(1910) and 156:Tudor music 56: 1920 7880:Categories 7709:Argentina 7612:Ján Cikker 7420:Niels Gade 7103:Four Hymns 7008:Magnificat 6905:Flos Campi 6056:Gramophone 5656:Gramophone 5336:Gramophone 5015:Gramophone 4924:Opera News 4030:20 October 3647:20 October 3591:20 October 3168:20 October 2786:References 2769:Classic FM 2688:Las Palmas 2356:John Adams 2240:knighthood 2114:Recordings 1653:Gramophone 1633:(1941) to 1479:flugelhorn 1431:pianissimo 1343:Stravinsky 1279:Prokofieff 1265:Symphonies 1228:Flos Campi 1192:See also: 1026:pianissimo 856:Flos Campi 810:Bach Choir 797:First Army 789:lieutenant 430:Hugh Allen 395:Battishill 385:, Byrd to 238:Sir Edward 7846:Biography 7608:Slovakia 7585:César Cui 7251:Namesakes 7241:Sea Songs 7134:The Wasps 6528:: 81–89. 6395:(1982) . 6366:474839729 5984:(1980) . 5796:221594461 5550:The Times 5437:The Times 4940:The Times 4897:The Stage 4164:The Times 4020:required) 3995:The Times 3944:The Times 3931:The Times 3637:required) 3581:required) 3447:The Times 3434:The Times 3432:"Music", 3314:required) 3259:required) 3123:required) 2904:required) 2860:required) 2554:included 2360:PJ Harvey 2284:The Times 2218:, Decca, 2120:The Wasps 1925:The Stage 1746:Coleridge 1714:Rossettis 1707:Swinburne 1616:harmonica 1419:With the 1391:home keys 963:Myra Hess 953:1939–1952 735:The Times 689:The Wasps 610:tone poem 541:Max Bruch 456:Alan Gray 32:barrelled 7703:Americas 7575:The Five 7551:Romania 7486:Hungary 7471:Germany 7441:Finland 7431:Estonia 7416:Denmark 7337:Category 6417:(2005). 6356:(1955). 6247:(1987). 6234:30162996 6188:(1992). 6166:(1986). 6059:: 36–39. 5964:(1962). 5847:(2003). 5806:(1981). 5659:: 40–45. 5632:Archived 5613:Archived 5572:Archived 5557:Archived 5542:Archived 5522:Archived 5511:Archived 5474:Archived 5371:Archived 5352:Archived 5305:Archived 5252:Archived 5233:Archived 5214:Archived 5123:Archived 5088:Archived 5085:"Ballet" 5064:Archived 4904:Archived 4761:, 1940, 4659:Archived 4623:Archived 4506:Archived 4495:Archived 4292:Archived 4250:, p. 318 4246:Thomson 4234:, p. 537 4190:Archived 4179:Archived 4148:Archived 4091:Archived 4040:cite web 3972:Archived 3889:Archived 3827:Archived 3805:Archived 3762:Archived 3749:, p. 536 3657:cite web 3601:cite web 3561:Archived 3550:Archived 3539:Archived 3528:Archived 3243:Archived 3232:Archived 3178:cite web 3107:Archived 2844:Archived 2324:diatonic 2224:Hyperion 2096:(1957). 2035:tableaux 2006:Sullivan 1914:tableaux 1831:(1920), 1805:", and " 1703:Tennyson 1637:(1957). 1606:(1926), 1599:(1934). 1426:ostinato 1318:Pastoral 1275:Sibelius 1076:Psalm 34 1022:Cold War 865:(1925). 570:for the 373:(1950): 40:Williams 7858:England 7808:Portals 7749:Mexico 7739:Canada 7719:Brazil 7658:Sweden 7561:Russia 7531:Poland 7521:Norway 7456:France 6638:at the 6632:(IMSLP) 6628:at the 6618:in the 6030:(ed.). 5974:1828913 5646:Sources 2692:Seattle 2271:of the 2263:of the 2256:Cobbett 2220:Chandos 2090:cantata 2010:Gilbert 1986:Nicolai 1961:Chicago 1951:Dickens 1880:Britten 1796:Dorking 1730:Housman 1718:Whitman 1699:Shelley 1691:Herbert 1687:Spenser 1679:Chaucer 1675:Skelton 1365:Big Ben 1109:Cornell 1093:in 1954 871:Dorking 791:in the 781:private 724:at the 712:at the 662:in 1906 549:Chelsea 533:Chelsea 518:Lambeth 391:Purcell 387:Gibbons 355:harmony 309:atheist 7628:Spain 7501:Italy 7385:Europe 6764:Ballet 6576:742481 6574: 6534:766156 6532: 6513: 6494: 6467: 6448: 6429: 6403: 6381: 6364: 6338: 6312:730270 6310: 6274: 6255: 6232: 6196: 6174: 6152: 6133: 6114: 6091: 6072: 6042: 6015: 5992: 5972: 5950: 5931: 5912: 5893: 5874: 5855: 5833: 5814: 5794: 5775: 5757:937433 5755: 5691: 5672: 5517:, and 5386:March 5279:March 5046:937901 5044: 4763:quoted 4501:; and 4275:953381 4273: 3871:728048 3869: 3476:Quoted 2622:, and 2519:, and 2328:atonal 2173:, and 2144:Walton 1906:Mozart 1722:Barnes 1695:Milton 1683:Sidney 1397:. The 1314:London 1259:Bartók 1210:, 1910 1165:. 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Knowledge

Ralph Vaughan Williams

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