| Category | Genre | Cat no. | Title | Index date | Opening theme | Subtitle | Other contributor(s) | Performing forces | Movements | Text | Composition dates | Dating notes | First performance | Publication | Recorded? | Dedication | Manuscript | Arrangements | Notes | Kennedy ref. | References | Letters | ||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 1. Instrumental | 1.1 Symphonies | VW 1.1.01 | A Sea Symphony (No. 1) | 1909 |  | Yes | Yes | Soprano solo, baritone solo, SATB chorus, orchestra. 3 fl (I=picc), 2 ob, ca, 2 cl, ebcl, bcl, 2 bsn, cbsn, 4 hn, 3 tpt, 3 trbn, tuba, timp, percussion (tgl, SD, BD, Cym), hp (doubled if possible), org, strings. Reduced instrumentation: 2 fl (I=picc), ob, ca, 2 cl, 2 bn, 4 hn, 3 tpt, 3 trbn, tuba, timp, percussion, hp, strings. | I. Song for All Seas, All Ships II. On the beach at night, alone III. Scherzo (The Waves) IV. The Explorers | Walt Whitman, Leaves of Grass | 1903-09. Revised 1910, 1951 | 'The first sketches for this work (namely, parts of the Scherzo and slow movement) were made in 1903, and it was gradually worked out during the next seven years' (Composer's programme note, Kennedy. CVW. 50 or VW. VWOM. 335-6). At some point, Vaughan Williams tells us he 'spent several hours at the British Museum studying the full scores of the [Enigma] Variations and Gerontius. The results are obvious in the opening pages of the finale of my Sea Symphony' (VW. NMOE. 188). In July 1904, Vaughan Williams 'was away in Yorkshire working on his choral symphony, which at that time he called The Ocean (Ursula VW. RVW. 68). In July 1906, Vaughan Williams writes he has finished scoring the second movement of the Ocean (VWL 139). Vaughan Williams drafted an additional movement in short score, titled 'The Steersman', which was not included in the final work (see Herbert 'Unfinished Business'). In a letter, from around summer 1907, Vaughan Williams writes 'I have really finished my magnum opus ... it is all about the sea and is for every conceivable voice & instrument & takes over an hour to perform' (VWL 153). However, Vaughan Williams did make further revisions, writing later that 'the sketch was completed in 1907 and revised and scored in 1908 and 9 - When the festival Ctee accepted it last year it had another clean up & finally during the last 6 months I have been revising the full score which meant re-copying most of it' (VWL 331). The published vocal score carries the date 1909, ahead of the first performance in October 1910. The work was slightly revised between the first performance and later performances given in Oxford, Cambridge and Bristol (programme note, Kennedy. CVW. 50, or VW. VWOM. 335-6.). This included a meeting with Lucy Broadwood, six days after the premiere. Broadwood writes in her diary that 'Ralph Vaughan Williams came to find out why vocal parts were drowned by his orchestra. We spent some hours in going thro' the whole of his "Sea Symphony", he pruning & altering' (see Lucy Broadwood Diary, 18 October 1910). These changes were reflected in a revised vocal score published in 1918. The full score was not published until 1924. In 1951 and 1952, Vaughan Williams sent minor revisions to the score to John Russell, the Halle librarian (VWL 2277 , VWL 2278, VWL 2360). | 12 October 1910, Leeds Town Hall (Leeds Musical Festival) Leeds Festival Chorus and Orchestra, Cicely Gleeson-White (soprano), Campbell McInnes (baritone), Ralph Vaughan Williams (conductor) | Vocal score: Breitkopf & Härtel (1909) Revised vocal score: Stainer & Bell (1918) Full score: Stainer & Bell (1924) | Yes | To R. L. W. [Ralph Wedgwood, cousin of Vaughan Williams] | BL Add MS 50361A-H: eight notebooks containing sketches and drafts BL Add MS 50362A-K: eleven notebooks containing sketches and drafts, including short score of a deleted movement 'The Steersman' (BL Add MS 50362G, ff.2-6) BL Add MS 50363: drafts and sketches BL Add MS 50364: proof of vocal score with autograph corrections BL Add MS 50365A-B: autograph full score BL Add MS 50366A-D: printed full score with autograph corrections BL Add MS 57294C: sketches BL Add MS 71542, ff.1-7: autograph corrections from 1951 and 1958 (see also VWL 2278) A further sketchbook is privately owned (see Kennedy. CVW. 53). | Second movement, organ, arr. Henry G. Ley, Stainer & Bell (1922). Reprinted in A Vaughan Williams Organ Anthology: four classic arrangements by Henry G. Ley, Stainer & Bell (2013) | 1909/03 | Genesis:
| Genesis:
Reception:
| |||||
| 1. Instrumental | 1.1 Symphonies | 1.1.02 | A London Symphony (No. 2) | 1913 | Yes | Yes | 4 fl (III=picc), 2 ob, ca, 2 cl, bcl, 2 bsn, cbsn, 4 hn, 2 tpt, 2 crt, 3 trb, tuba, timp, perc (SD, tgl, BD, Cym, jingles, Tam-t, glsp), 2 hp, strings Reduced instrumentation: no 3rd fl, 2nd ob=ca, no tpts, no bcl, no cbsn, 1 hp | I. Lento – Allegro risoluto II. Lento III. Scherzo (Nocturne). Allegro vivace IV. Finale. Andante con moto – maestoso alla Marcia (quasi lento) – allegro – maestoso alla Marcia – Epilogue, Andante sostenuto | c. 1913, rev. 1918, c. 1919-20, c. 1933 | The main stages in the long genesis of A London Symphony are as follows:
The first version was completed by the end of 1913 and first performed in March 1914 (Kennedy. CVW. 67). Vaughan Williams’s only full score was then sent to Germany in 1914, either to the publisher Breitkopf & Härtel, or to the conductor Fritz Busch; either way, it was assumed lost after the outbreak of the First World War (Ursula VW. RVW. 113-14). A group of friends – Edward Dent, Denis Browne, and George Butterworth – organised the copying of a new full score from the parts for a second performance on 30 November 1914 at the Usher Hall, Edinburgh, conducted by Vaughan Williams (VWL 348). Boult conducted the work in February 1918 (VWL 439), after which it was revised before he gave it again on 18 March 1918. Vaughan Williams made further revisions in 1919, for the first performance of the '1920 version' on 4 May 1920 (VWL 452). It was revised again for publication and performance in 1934. | 1913 Version: 27 March 1914, Queen's Hall Queen's Hall Orchestra, Geoffrey Toye (conductor) 1920 Version: 4 May 1920, Queen's Hall London Symphony Orchestra, Albert Coates (conductor) 1933 Version: 2 February 1934, Queen's Hall London Philharmonic Orchestra, Sir Thomas Beecham (conductor) | All three versions are now available to hire from Stainer & Bell. 1913 version: not published in Vaughan Williams's lifetime. A perusal score is available online. 1920 version: first published Stainer & Bell (1920). 1933 version: first published Stainer & Bell (1936), labelled 'revised edition', and reissued in 1953. Reissued with an introduction by Michael Kennedy in 1972 (Centenary Edition). | Yes | To the memory of George Butterworth | BL Add MS 50367A: sketches BL Add MS 50367B: autograph piano score with many revisions BL Add MS 50368A-D: copy of original version in several hands, with autograph revisions BL Add MS 51317A-D: full score, partly autograph, with autograph revision (reconstruction from parts after the original full score was sent to Germany in 1914 and lost) BL Add MS 57287: copy of piano duet of second movement, 2nd part only | Piano solo, arr. Vally Lasker, Stainer & Bell (1922) Piano duet, arr. Archibald Jacob, Stainer & Bell (1924) Second movement, organ, arr. Henry G. Ley, Stainer & Bell (1922) | 1913/05 | Genesis:
| Genesis:
Reception:
| |||||||
| 1. Instrumental | 1.1 Symphonies | 1.1.03 | Pastoral Symphony (No. 3) | 1921 | Yes | Yes | Orchestra, with soprano (or tenor) solo. 3 fl (III=picc), 2 ob, ca, 3 clt (III=bcl), 2 bsn, 4 hn (I=natural horn in F), 3 tpt (I=natural trumpet in E flat), 3 trb, tuba, timp, perc (2; tgl, BD, Cym), hp, cel, strings. Reduced instrumentation: omit 2nd fl, 2nd ob, 3rd clt(=bcl), 3rd tpt, cel, solo voice. | I. Molto moderato II. Lento moderato III. Moderato pesante IV. Lento | 1919-21, 1950-51 | The first ideas for the work were conceived during war service in 1916 (see Ursula VW. RVW. 121; VWL 1378). The work 'was mostly composed between 1919 and 1921' (Matthews preface to the score). A sketch of the finale principal theme dates from 1920. The autograph full score is dated 28 June 1921 (Kennedy. CVW. 90). | 26 January 1922, Queen's Hall Orchestra of the Royal Philharmonic Society, Flora Mann (soprano), Adrian Boult (conductor) | Curwen (1924, revised 1954); Boosey & Hawkes, ed. Roy Douglas (1977); Faber, ed. David Matthews (2016) | Yes | None | BL Add MS 50369: autograph full score BL Add MS 57981: two-piano score RCM Library 5360c: two copies of two-piano score, one with autograph annotations and revisions. Music Library of Northwestern University, Evanston, Ill.: copy of published first edition with autograph corrections and revisions. | The title of this work is often given erroneously as A Pastoral Symphony, including in Kennedy's Catalogue (Kennedy. CVW. 86). The actual title, written at the head of the autograph score, is Pastoral Symphony. This title is used for the revised edition of the score, edited by David Matthews. | 1921/13 | Genesis:
Reception:
Studies:
| Genesis:
Reception:
| |||||||
| 1. Instrumental | 1.1 Symphonies | 1.1.04 | Symphony No. 4 in F minor | 1934 | Yes | Yes | 3 fl (II=picc; 1 opt.), 3 ob (1 opt.), ca, 2 clt, bcl (opt.), 2 bsn, dbsn (opt.), 4 hn, 2 tpt, 3 tbn, tuba, timp, 2 perc (SD, tgl, Cym, BD), strings. | I. Allegro II. Andante moderato III. Scherzo. Allegro molto IV. Finale con Epilogo Fugato. Allegro molto | 1931-34 | Composer's programme note. | 10 April 1935, Queen's Hall BBC Symphony Orchestra, Adrian Boult (conductor) | Oxford University Press: first edition (1935); revised impression (1936); new edition (2018), ed. David Matthews | Yes | To Arnold Bax | BL Add MS 50140: autograph full score BL Add MS 50370A-B: two piano arrangement, partly autograph BL Add MS 62995A-B: two copies of two piano arrangement with autograph additions | 1934/13 | Genesis:
| |||||||||
| 1. Instrumental | 1.1 Symphonies | 1.1.05 | Symphony No. 5 in D major | 1943 | Yes | Yes | 2 fl (II=picc), ob, ca, 2 cl, 2 bsn, 2 hn, 2 tpt, 3 trb, timp, strings | I. Preludio. Moderato II. Scherzo. Presto III. Romanza. Lento IV. Passacaglia. Moderato | 1938-43, revised c. 1946 and 1951 | Revisions were made for publication and reissue of the score in 1946 and 1947. The score was further revised in 1951. For a detailed account of revisions to the score following the first performance and the complex publication history, see the front matter of the hardback revised edition edited by Peter Horton and published in 2008 (NB this is not included in the paperback reprint). | 24 June 1943, Royal Albert Hall (Promenade Concert) London Philharmonic Orchestra, Vaughan Williams (conductor) | Oxford University Press (1946, revised 1947, 1961, 1969); new edition ed. Peter Horton, hardback, Oxford University Press (2008); reprinted in paperback (2009) | Yes | To Jean Sibelius, without permission | RCM library 4231: autograph full score BL Add MS 50372: partly autograph full score (later than autograph in RCM) BL Add MS 50371: sketches, two-piano scores | 1943/02 | Genesis:
| |||||||||
| 1. Instrumental | 1.1 Symphonies | 1.1.06 | Symphony No. 6 in E minor | 1947 | Yes | Yes | 3 fl (3=picc), 2 ob, ca, 2 cl, tsax, bcl (may double tsax), 2 bsn, dbsn, 4 hn, 4 tpt (1 opt.), 3 trb, tuba, timp, perc (3: SD, BD, tgl, Cym, xyl), hp (doubled if possible), strings. | I. Allegro II. Moderato III. Scherzo. Allegro vivace IV. Epilogue. Moderato | 1944-47 | The composer's programme note for the first performance states 'this symphony was begun probably about 1944 and finished in 1947' (Manning, VWOM, p. 363). | 21 April 1948, Royal Albert Hall BBC Symphony Orchestra, Sir Adrian Boult (conductor) | Oxford University Press (1948, revised 1950; revised edition ed. David Lloyd-Jones 2012) | Yes | To Michael Mullinar | BL Add MS 58072: autograph full score BL Add MS 50373-4: two piano score (autograph draft, and copy with autograph additions); sketches BL Add MS 61741, f.5: fragment of autograph two-piano score with revisions RCM Library 5360d: incomplete solo piano arrangement | 1947/03 | Genesis:
| |||||||||
| 1. Instrumental | 1.1 Symphonies | 1.1.07 | Sinfonia Antartica (No. 7) | 1952 | Yes | Yes | 3 fl (III=picc), 2 ob, ca, 2 cl, bcl, 2 bsn, cbsn, 4 hn, 3 tpt, 3 trbn, tuba, timp, perc (4: tgl, Cym, Sus.cym, SD, TD, BD, Gong, 2 Deep Bells, glsp, xyl, vib, wind machine), cel, hp, pno, org (opt.), soprano solo, small SSA chorus, strings | I. Prelude: Andante maestoso II. Scherzo: Moderato III. Landscape: Lento IV.Intermezzo: Andante sostenuto V. Epilogue: Alla Marcia, moderato (non troppo allegro) | Sources of epigraphs to each movement: I. Shelley, Prometheus Unbound II. Psalm 104 III. Coleridge, Hymn Before Sun-rise, in the Vale of the Chamouni IV. Donne, The Sun Rising V. Captain Scott's Last Journal | 1949-52 | Work on the symphony began 'in the summer of 1949 but initially' Vaughan Williams 'made little progress: most of it was written during 1951 and it was more or less finished by the end of the year'. It was played over on the piano to Vaughan Williams twice in 1952 (David Matthews, 'Preface' to the score, reference below). | 14 January 1953, Free Trade Hall, Manchester Hallé Orchestra, Margaret Ritchie (soprano), women of the Hallé Choir, Sir John Barbirolli (conductor) | Oxford University Press (1953; revised 1968; revised edition, ed. David Matthews, 2012) | Yes | To Ernest Irving [Musical Director of the film Scott of the Antarctic] | BL Add MS 71176: autograph full score BL Add MS 50375A-C: sketches, substantial short score drafts BL Add MS 50482B, ff. 4-4b: sketch | This work is based on the music Vaughan Williams wrote for the film Scott of the Antarctic first shown in 1948. | 1952/02 | Genesis:
| |||||||
| 1. Instrumental | 1.1 Symphonies | 1.1.08 | Symphony No. 8 in D minor | 1955 | Yes | Yes | 2 fl (II=picc), 2 ob, 2 cl, 2 bsn, 3rd bsn ad lib. in 2nd mvnt, 2 hn, 2 tpt, 3 trbn, timp, perc (5: tgl, SD, BD, Cym, Sus.cym, t. bells, gong, 3 tuned gongs, glsp, vib, xyl), cel, 2 hp (1 opt.), strings. | I. Fantasia (Variazioni senza Tema) II. Scherzo alla marcia (per stromenti a fiato) III. Cavatina (per stromenti ad arco) IV. Toccata | 1953-55, revised 1956 | For further detail of the work's genesis see the front matter to the revised edition of the score by David Lloyd-Jones. | 2 May 1956, Free Trade Hall, Manchester Hallé Orchestra, Sir John Barbirolli (conductor) | Oxford University Press (1956); second and third movements also published separately, Oxford University Press (1958); revised edition, ed. David Lloyd-Jones, Oxford University Press (2016) | Yes | To John Barbirolli | BL Add MS 57338: autograph full score BL Add MS 50376: sketches BL Add MS 50390: sketches BL Add MS 50377: draft full score BL Add MS 63073: piano score of first movement | 1955/03 | Genesis:
| |||||||||
| 1. Instrumental | 1.1 Symphonies | 1.1.09 | Symphony No. 9 in E minor | 1958 | Yes | Yes | 3 fl (III=picc), 2 ob, ca, 2 cl, bcl, 2 bsn, dbsn, 2 asax (2nd opt.), tsax (opt.), 4 hn, flhn (opt.), 2 tpt, 3 trbn, tuba, timp, perc (5: tgl, SD, TD, BD, Cym, Tam-t, deep bells, very large (deep) gong, glsp, xylo), cel, 2 hp, strings | I. Moderato maestoso II. Andante sostenuto III. Scherzo: Allegro pesante IV. Andante tranquillo | 1956-58 | The composer stated that 'This symphony was begun, except for a few vague sketches, early in 1956, and was finished, so far as a composition ever is finished, in November 1957' (see Vaughan Williams on Music, p. 391). Revisions continued between this date and the first performance. For further detail see the preface to the revised score by Alain Frogley, and for a full account see Alain Frogley, Vaughan Williams's Ninth Symphony (Oxford: Oxford University Press, 2001), especially pp. 16-22. | 2 April 1958, Royal Festival Hall Royal Philharmonic Orchestra, Sir Malcolm Sargent (conductor) | Oxford University Press (1958); revised edition, ed. Alain Frogley, Oxford University Press (2017) | Yes | To the Royal Philharmonic Society | BL Add MS 50378A-E: sketches for the first movement (five notebooks) BL Add MS 50379A-G: sketches and drafts for the second movement (seven notebooks) BL Add MS 50380A-C: sketches and drafts for the third movement (three notebooks) BL Add MS 50381A-I: sketches and drafts for the fourth movement (nine notebooks) BL Add MS 50404: sketch BL Add MS 50479B, E and G: sketches BL Add MS 65093A: sketches for first and third movements BL Add MS 65094G: sketch BL Add MS 65096E: sketch BL Add MS 50382: piano score (Roy Douglas's hand) with autograph revisions BL Add MS 50383: autograph early full score BL Add MS 50384: autograph final full score | 1958/04 | Genesis:
| |||||||||
| 1. Instrumental | 1.2 Other orchestral | 1.2.01 | Serenade in A minor | 1898 | Yes | Yes | 2 fl, 2 ob, 2 clt, 2 bsn, 2 hn, 2 tpt, timp, strings | I. Prelude II. Scherzo III. Intermezzo and Trio IV. Romance V. Finale | 1897-98 | An autograph note at the end of the score states 'written 1897-8'. However, Vaughan Williams continued to work on the score: in the autumn of 1899 he tells Holst 'I have written a new coda & a new movement for my serenade' (VWL 269). Stanford rehearsed the work at the Royal College of Music in autumn 1899. However, as Adeline Vaughan Williams reports, 'Stanford after practising his Serenade diligently at 3 rehearsals threw it up for no apparent reason, so now it is trying its luck at the Crystal Palace - we expect to see it return with "not wanted" on it every day' (VWL 280). In December 1899 Adeline and Ralph moved into 10 Barton Street, Westminster. 'Ralph has just signed the lease' writes Adeline, in a letter dated 31 December with no year (and assigned 1899 in the Vaughan Williams Letters database). She continues that 'He is writing a new serenade for orchestra, which is turning out rather Dvorak-y' (VWL 298). Yet, a complete version of the work had already been rehearsed by Stanford and sent to Crystal Palace. It could be that the 'new' serenade is a second work, which might be the beginnings of the Bucolic Suite, rather than the completed Serenade. | 4 April 1901, Winter Gardens, Bournemouth Bournemouth Municipal Orchestra, Dan Godfrey (conductor) | Oxford University Press (2012), ed. Julian Rushton | Yes | Yale University Library, Osborn Music MS 505: autograph full score A copy of this item is BL MS Facs 902 BL Add MS 57272: autograph full score | The first movement is untitled in the manuscript source: the title 'Prelude' was given by Michael Kennedy (Preface to published score, p. iv). After the first performance, the work was given again on 3 March 1908 by the Aeolian Orchestra, conducted by Rosabel Watson. The next known performance was in 1986 at Yale University by the New England Chamber Orchestra, conducted by James Sinclair , before the work was first recorded in 2012 (Lewis Foreman, CD liner notes. Early and Late Works. Dutton Epoch CDLX 7289). | 1898/01 | Genesis:
| Genesis: | ||||||||
| 1. Instrumental | 1.2 Other orchestral | 1.2.02 | Bucolic Suite | 1900 | Yes | Yes | 2 fl (II=picc), 2 ob, 2 clt, 2 bsn, 4 hn, 2 tpt, 3 trbn, tuba, timp, perc (tgl, BD, Cym), hp, strings | I. Allegro II. Andante III. Intermezzo (Allegretto) IV. Finale (Allegro) | c.1900, revised 1901 | Written at the end of the autograph score in Vaughan Williams's hand: 'Finished Nov 29, 1900. Revised Aug 30, 1901.' In a letter of 1 December 1900, Adeline reports that 'Ralph has just finished a large work for Orchestra called a "bucolic suite"' (VWL 132). Vaughan Williams also mentions the work in another letter from around the same date (VWL 126). In a later letter, Vaughan Williams gives the work's date as 1900 (VWL 134). | 10 March 1902, Bournemouth Bournemouth Municipal Orchestra, Dan Godfrey (conductor) | Oxford University Press (2012), ed. Julian Rushton | Yes | BL Add MS 57275: autograph full score | After the first performance in 1902, the work was given again on 30 January 1907 by the Cardiff Orchestral Society, conducted by Vaughan Williams. It was then withdrawn and not heard again until it was recorded in 2012 by the Royal Scottish National Orchestra, conducted by Martin Yates (Dutton Epoch CDLX 7289). | 1900/01 | Genesis:
| Genesis:
| ||||||||
| 1. Instrumental | 1.2 Other orchestral | 1.2.03 | Heroic Elegy and Triumphal Epilogue | 1901 | Yes | Yes | 3 fl, 2 ob, ca, 2 clt, bcl, 2 bsn, cbsn (opt.), 4 hn, 3 tpt, 3 trbn, tuba, timp (=Sus.cym), perc (2: SD, BD, Cym), harp (opt.), org (opt.), strings | I. Heroic Elegy (Andante sostenuto) II. Triumphal Epilogue (Anadante maestoso ma con moto - Andante sostenuto (tempo of the Elegy) - Allegro moderato - Andante sostenuto) | c.1900-1901, revised 1902 | The following dates are written on the manuscripts in Vaughan Williams's hand: for the Heroic Elegy 'Finished 1.40 am Jan 22nd 1901'; for the Triumphal Epilogue 'Finished Nov 6 1901 / Revised Aug-Sept 1902'. Vaughan Williams mentions he has made a rough score of the work in an undated letter to Holst, likely from 1901 (VWL 113). Completion of the Epilogue is also mentioned in VWL 175 which dates from October 1901. The Elegy was first performed on 21 March 1901 without the Epilogue (which was not yet finished). Lucy Broadwood records in her diary that she attended a rehearsal performance of the whole work at the Royal College of Music on 11 July 1902. Three days later, Vaughan Williams replies to a postcard from Broadwood stating that he needs to revise the Epilogue (VWL 129). Vaughan Williams did make the intended revisions, as the dates on the manuscript of August-September 1902 confirm. The dating is broadly confirmed in a later letter assigning the work to 1901-02 (VWL 134). The whole work was apparently given again on 11 March 1904, according to Mary Fisher's diary, although she does not record any details of location or performers (Ursula VW. RVW. 67). The preface to the published score states the complete work was performed on 21 January 1905 in Leeds, by the Leeds Municipal Orchestra, conducted by Vaughan Williams. However, the analytical programme note for this performance describes the Elegy only and not the Epilogue which implies that only the first movement was played. | Elegy only: 21 March 1901 (see notes), Alexandra House, Kensington, London Royal College of Music student orchestra, Sir Charles Stanford (conductor) Elegy and Triumphal Epilogue: 11 July 1902, Royal College of Music, London (rehearsal performance) [Royal College of Music orchestra,] Vaughan Williams (conductor) | Faber (2008) | Yes | Beinecke Library, Yale University, Osborn Music MS 504: autograph full score A copy is held in the British Library: MS Facs 736 | Epigraph to the score: 'Terrible as an army with banners' [Song of Solomon, 6:4] | xx | Early reception:
| Genesis:
Reception:
| ||||||||
| 1. Instrumental | 1.2 Other orchestral | 1.2.04 | Symphonic Rhapsody | 1903 | No - lost | Yes | Orchestra (instrumentation unknown) | 1901-03 | Vaughan Williams gave this composition date in a letter to Edwin Evans in around June 1903 (VWL134). | 7 March 1904, Winter Gardens, Bournemouth Bournemouth Municipal Orchestra, Dan Godfrey (conductor) | Unpublished (lost) | N/A - lost work | Manuscript destroyed | 1904/03 | Early reception:
| Genesis: | ||||||||||
| 1. Instrumental | 1.2 Other orchestral | 1.2.05 | Burley Heath | 1903 | Completed by James Francis Brown (2013) | Yes | Completed posthumously | 2 fl, 2 ob, ca, 2 cl, 2 bsn, 4 hn, 2 tpt, 3 trbn, tuba, timp, trgl, strings | c. 1902-03 | Kennedy states that this work dates from 1903 (Kennedy. CVW. 19). James Francis Brown states in the preface to the published score that 'in late 1902 the composer began a suite of Four Impressions for Orchestra to be called In the New Forest.' | 23 May 2014, Dorchester Abbey, Oxfordshire (English Music Festival) BBC Concert Orchestra, Martin Yates (conductor) | Oxford University Press (2013), edited and completed by James Francis Brown | Yes | BL Add MS 57278, ff. 1-15v: autograph full score | Originally intended as the first movement of a work titled In the New Forest: Four Impressions for Orchestra. The second movement, The Solent is listed here as 1.2.06. | 1903/12 | Genesis and Studies:
| |||||||||
| 1. Instrumental | 1.2 Other orchestral | 1.2.06 | The Solent | 1903 | Yes | Yes | 2 fl, ob, ca, 2 clt, 2 bsn, 4 hn, 2 tpt, 3 trbn, tuba, timp, strings | c. 1902-03 | In a letter to Edwin Evans, Vaughan Williams gives the composition dates as 1902-03 (VWL 134). | 19 June 1903. Place and performers unknown. | Oxford University Press (2013), ed. James Francis Brown | Yes | BL Add MS 57278, ff. 16-39v: autograph full score | Epigraph to the score: 'Passion and sorrow in the deep sea's voice, A mighty mystery saddening all the wind?' Philip Marston (1850-87), 'To Cicely Nancy Marston' First performance information: the date of 19 June 1903 is a 'diary marking' (Kennedy. CVW.20). It is not indicated to whom the diary belonged. Kennedy suggests it may have been a private peformance. | 1903/12 | Early reception:
| Genesis:
| |||||||||
| 1. Instrumental | 1.2 Other orchestral | 1.2.07 | In the Fen Country | 1904 | Symphonic Impression | Yes | Yes | 3 fl, 2 ob, ca, 2 clt, bcl, 2 bsn, 4 hn, 2 tpt, 3 trbn, tuba, timp, strings | c. 1904, revised 1905, 1907, 1935 | Dated autograph: 'Finished April 10, 1904. Revised Feb. 28 1905. Again revised Dec. 21st 1905. Further revised July 20th 1907. Orchestration revised 1935.' | 22 February 1909, Queen's Hall The Beecham Orchestra, Thomas Beecham (conductor) | Oxford University Press (1969) | Yes | To R. L. W. [Vaughan Williams's cousin (Sir) Ralph Wedgwood] | BL Add MS 57279: autograph full score and piano arrangement | In the Fen Country was Vaughan Williams's earliest orchestral work that he did not subsequently withdraw. | 1904/04 | Genesis:
| Reception: | |||||||
| 1. Instrumental | 1.2 Other orchestral | 1.2.08 | Norfolk Rhapsody No. 1 | 1906 | Yes | Yes | 2 fl, 2 ob, ca, 2 clt, 2 bsn, 4 hn, 2 tpt, 3 trbn, tuba timp, SD, hp, strings | c. 1905-06, revised 1914 | Some ambiguity surrounds the dates of composition: Kennedy's Catalogue states the work was written in 1905-06 (CVW. 33); but Kennedy's The Works of Ralph Vaughan Williams states that all three Norfolk Rhapsodies were composed and performed in 1906-07 (WVW. 84); Stephen Hogger states that all three Norfolk Rhapsodies were composed in 1906 (Preface to score of Norfolk Rhapsody No. 2. OUP (2014)). The work was revised for a later performance in May 1914. | First version: 23 August 1906, Queen's Hall Queen's Hall Orchestra, Henry Wood (conductor) Revised version: 21 May 1914, Winter Gardens, Bournemouth Bournemouth Municipal Orchestra, Vaughan Williams (conductor) | Oxford University Press (1925) | Yes | Does not survive | Wind band, arr. Robert O'Brien, Oxford University Press (1973) | Vaughan Williams collected the folksongs on which the work is based in King's Lynn on 9 and 10 January 1905. The original version of this work has not survived, however some evidence of its design is provided by the programme note for the first performance, reprinted in Kennedy. CVW. 33-4. Vaughan Williams composed three Norfolk Rhapsodies. Numbers 2 and 3 were subsequently withdrawn so that no. 1 was the only one he permitted to remain in the repertoire during his lifetime. | 1906/02 | Genesis:
| Genesis:
| ||||||||
| 1. Instrumental | 1.2 Other orchestral | 1.2.09 | Norfolk Rhapsody No. 2 | 1906 | Completed by Stephen Hogger (2014) | Yes | Completed posthumously | 2 fl (I=picc), 2 ob, ca, 2 clt, 2 bsn, 4 hn, 2 tpt, 3 trbn, tuba, timp, tgl, hp, strings | c. 1906 | Kennedy states the work was written in 1906 (CVW. 35); in The Works of Ralph Vaughan Williams Kennedy also states all three Norfolk Rhapsodies were composed and performed in 1906-07 (WVW. 84); Stephen Hogger writes that all three Norfolk Rhapsodies were composed in 1906 (Preface to score of Norfolk Rhapsody No. 2). It is therefore possible the composition was completed in either 1906 or 1907. | 27 September 1907, Park Hall, Cardiff (Cardiff Festival) London Symphony Orchestra, Vaughan Williams (conductor) | Oxford University Press (2014), edited and completed by Stephen Hogger | Yes | BL Add MS 71478: autograph full score, incomplete, lacking two pages | Vaughan Williams collected the folksongs used in this Rhapsody on 9 and 10 January 1905. A performance was given on 17 April 1912 at Queen's Hall by the New Symphony Orchestra, conducted by Balfour Gardiner. The work was subsequently withdrawn. It was next heard in the first recording in 2002 by the London Symphony Orchestra, conducted by Richard Hickox, and the score was first published in 2014. | 1906/03 | Early reception:
| Genesis: | ||||||||
| 1. Instrumental | 1.2 Other orchestral | 1.2.10 | Norfolk Rhapsody No. 3 | 1906 | No - lost | Yes | Orchestra (instrumentation unknown) | c. 1906 | Michael Kennedy states the work was written in 1906 (CVW. 36); in The Works of Ralph Vaughan Williams Kennedy also states all three Norfolk Rhapsodies were composed and performed in 1906-07 (WVW. 84); Stephen Hogger states that all three Norfolk Rhapsodies were composed in 1906 (Preface to score of Norfolk Rhapsody No. 2, Oxford University Press (2014)). It is therefore possible the composition was completed in either 1906 or 1907. | 27 September 1907, Park Hall, Cardiff (Cardiff Festival) London Symphony Orchestra, Vaughan Williams (conductor) | Unpublished (lost) | Not recorded | Does not survive | Performed on 17 April 1912 at the Queen's Hall by the New Symphony Orchestra, conducted by Balfour Gardiner. The work was subsequently withdrawn and the manuscript lost. The programme note for this work survives and provides the basis for David Matthews' original orchestral work, titled Norfolk March, first performed in 2016. | 1906/04 | Early reception:
| Genesis: | |||||||||
| 1. Instrumental | 1.2 Other orchestral | 1.2.11 | Harnham Down | 1907 | Yes | Yes | 2 fl, ob, ca, 2 clt, 2 bsn, 2 hn, strings | 1904-07 | The manuscript is dated: 'Begun July 1904, finished 1907'. | 12 November 1907, Queen's Hall New Symphony Orchestra, Emil von Rezniček (conductor) | Oxford University Press (2013), ed. James Francis Brown | Yes | BL Add MS 57278: autograph full score | Epigraph to the score: 'Here will I sit and wait, While to my ear from uplands far away The bleating of the folded flocks is borne, With distant cries of reapers in the corn - All the live murmur of a summer's day.' Matthew Arnold, The Scholar Gipsy No. 1 of Two Impressions for Orchestra. The second was titled Boldre Wood (see 1.2.09). Ernest Farrar conducted a performance of Harnham Down in South Shields on 27 March 1912 (see VWL 378 and VWL 382). No further performances have been traced until the first recording of the work in 2013. | 1904/06 | Genesis:
| Early reception: | |||||||||
| 1. Instrumental | 1.2 Other orchestral | 1.2.12 | Boldre Wood | 1907 | No - lost | Yes | Orchestra (instrumentation unknown) | c.1907 | Based on first performance date. | 12 November 1907, Queen's Hall New Symphony Orchestra, Emil von Rezniček (conductor) | Unpublished (lost) | Not recorded | Unknown | Michael Kennedy states that this was a scherzo with an epigraph from George Meredith's 'The Woods of Westermain': 'Enter these enchanted woods / You who dare' (Kennedy. CVW. 23). This work was the second of Two Impressions for Orchestra (the first was Harnham Down (1.2.11). Vaughan Williams sent Ernest Farrar scores of his works for possible inclusion in a future concert in 1911, including ‘Two impressions for small orchestra’, which presumably included Boldre Wood (VWL 378). Although Harnham Down was performed in the concert, Boldre Wood was not and the score was subsequently lost. | 1904/06 | Early reception:
| Reception:
| |||||||||
| 1. Instrumental | 1.2 Other orchestral | 1.2.13 | Fantasia on English Folk Song: Studies for an English Ballad Opera | 1910 | No - lost | Yes | Orchestra (instrumentation unknown) | c. 1910 | Based on first performance date | 1 September 1910, Queen's Hall (Promenade Concert) Queen's Hall Orchestra, Henry Wood (conductor) | Unpublished (lost) | Not recorded | Does not survive | The work was related to Vaughan Williams's Hugh the Drover, a ballad opera that uses English folk songs. | 1910/01 | Early reception:
| Genesis:
| |||||||||
| 1. Instrumental | 1.2 Other orchestral | 1.2.14 | Fantasia on a Theme by Thomas Tallis | 1910 | Yes | Yes | Double string orchestra and solo string quartet Orchestra 2 comprises 2 vln I, 2 vln II, 2 vla, 2 vc, 1 cb | 1910, revised 1913, 1919 | The manuscript is dated at the end: 'June 28 1910. Revised January 12th 1913, again revised April 7th 1919'. | 6 September 1910, Gloucester Cathedral (Three Choirs Festival) London Symphony Orchestra, Vaughan Williams (conductor) | Goodwin & Tabb (1921); reissued Curwen/Faber (1990) Boosey & Hawkes miniature score (1943) New edition: Faber (2010) | Yes | Royal Academy of Music, MS 7: autograph full score, with revisions BL Add MS 50419: autograph full score | Two pianos, arr. Maurice Jacobson, Curwen, 1948 | 1910/03 | Genesis:
| Reception:
| |||||||||
| 1. Instrumental | 1.2 Other orchestral | 1.2.15 | The Wasps: Aristophanic Suite | 1912 | Yes | Yes | 2 fl (II=picc), 2 ob (1 opt), 2 cl, 2 bsn (1 opt), 4 hn (2 opt), 2 tpt (1 opt), 2 trbn (1 opt), timp, perc (tgl, cym, BD), hp, strings | 1. Overture 2. Entr'acte 3. March-past of the Kitchen Utensils 4. Entr'acte 5. Ballet and Final Tableau | c. 1912 | This suite was created for a first performance in July 1912 from Vaughan Williams's incidental music for The Wasps (3.3.2), first performed in 1909. | 23 July 1912, Queen's Hall New Symphony Orchestra, Vaughan Williams (conductor) | Schott (1914); Curwen (1925). Also published separately: - Overture, Boosey & Hawkes (1943) - March-past of the Kitchen Utensils, Curwen (1964) | Yes | BL Add MS 63544: arrangement for piano duet in Constant Lambert's hand | Piano duet, arr. Constant Lambert, Curwen (1926) 'March-past of the Kitchen Utensils' for recorders, percussion and piano, arr. H. Hersom, Schott (1967) 'March-past of the Kitchen Utensils' for woodwind choir, arr. Robert H. Pearson, Curwen (1970) | The overture from this suite is published and often performed as a standalone concert piece. | 1909/02 | Early reception:
Reception: | ||||||||
| 1. Instrumental | 1.2 Other orchestral | 1.2.16 | Prelude and Fugue in C minor | 1921 | Yes | Yes | 3 fl, 2 ob, 2 cl, 2 bsn, dbsn, 4 hn, 3 tpt, 3 trbn, tuba, timp, perc (2: BD, cym, SD, tgl), org, strings | 1921, revised 1923, 1930 | Dated autograph: Prelude composed in September 1921, Fugue composed in August 1921; both revised July 1923 and March 1930 | 12 September 1930, Hereford Cathedral (Three Choirs Festival) London Symphony Orchestra, Vaughan Williams (conductor) | Oxford University Press (hire only) | Yes | To Henry Ley | BL Add MS 50393: autograph full score | Organ, arr. Vaughan Williams, Oxford University Press (1930) | 1930/04 | Studies:
| Reception: | ||||||||
| 1. Instrumental | 1.2 Other orchestral | 1.2.18 | The Running Set | 1934 | Founded on traditional dance tunes | Yes | Yes | picc, fl, 2 ob (1 opt.), 2 cl, 2 bsn, 2 hn (1 opt.), 2 tpt (1 opt.), perc (SD, tgl), pno (opt.), strings | c. 1934 | Based on first performance date | 6 January 1934, Royal Albert Hall Unnamed orchestra, Vaughan Williams (conductor) | Oxford University Press (1952) | Yes | BL Add MS 50394: autograph two-piano version of score BL Add MS 50395A: autograph full score BL Add MS 50396B: autograph full score and parts of revised ending | Two pianos, arr. Vally Lasker and Helen Bidder, Oxford University Press (1936) | 1933/03 | Genesis:
| |||||||||
| 1. Instrumental | 1.2 Other orchestral | 1.2.19 | Fantasia on 'Greensleeves' | 1934 | Arr. Ralph Greaves, from Vaughan Williams's opera Sir John in Love (3.1.03) | Yes | Yes | 2 fl (opt.), hp (opt.), strings | c. 1934 | Based on publication date. | 27 September 1934, Queen's Hall BBC Symphony Orchestra, Vaughan Williams (conductor) | Oxford University Press (1934) | Yes | Unknown | Published by Oxford University Press: - Piano (1937) - Piano duet, arr. Hubert Foss (1942) - Piano duo, arr. Hubert Foss (1945) - Violin and piano, arr. Michael Mullinar (1944) - Cello (or viola) and piano, arr. Watson Forbes (1947) Unpublished: Flute, Viola and Harp, arr. Vaughan Williams (c. 1942) | Part of Vaughan Williams's arrangement for flute, viola and harp was used in a documentary film about the Council for the Encouragement of Music and the Arts, 'CEMA' (Ministry of Information, 1942), available here, performed by the Philharmonic Harp Trio: Maria Korchinska (harp), John Francis (flute) and Max Gilbert (viola). It was repeated by the same performers on 8 May 1943 at Walthamstow Hall, Sevenoaks (Sevenoaks Chronicle, 14/05/43). The location of the manuscript is unknown. Source: Graham Parlett letter to the Editor in Ralph Vaughan Williams Society Journal, no. 70 (October 2017), p.17. | 1934/01 | Genesis:
| ||||||||
| 1. Instrumental | 1.2 Other orchestral | 1.2.20 | Two Hymn-Tune Preludes | 1936 | Yes | Yes | fl, ob, cl, bsn, hn, strings | I. Eventide (Lento sostenuto) II. Dominus regit me (Andante con moto) | c. 1936 | Based on first performance date | 8 September 1936, Hereford Cathedral (Three Choirs Festival) London Symphony Orchestra, Vaughan Williams (conductor) | Oxford University Press (1960) | Yes | BL Add MS 50397: autograph full score | Organ, arr. Herbert Sumsion, Oxford University Press (1938) | The first prelude is based on a hymn tune by W. H. Monk (1823-89), and the second on a hymn tune by J. B. Dykes (1823-76) | 1936/07 | Genesis:
| ||||||||
| 1. Instrumental | 1.2 Other orchestral | 1.2.21 | Five Variants of 'Dives and Lazarus' | 1939 | Yes | Yes | Hp (doubled if possible), strings | c. 1939 | Based on first performance date | 10 June 1939, Carnegie Hall, New York New York Philharmonic Symphony Orchestra, Sir Adrian Boult (conductor) | Oxford University Press (1940) | Yes | Unknown | Concert band, arr. Stephen Gregson, Oxford University Press (2004) | Note on the score: 'These variants are not exact replicas of traditional tunes, but rather reminiscences of various versions in my own collection and those of others.' | 1939/02 | Genesis:
| |||||||||
| 1. Instrumental | 1.2 Other orchestral | 1.2.22 | Partita for Double String Orchestra | 1948 | Yes | Yes | Minimum number of players: Orchestra I: 4 violins, 2 violas, 2 cellos Orchestra II: 4 violins, 2 violas, 2 cellos, 2 double basses N.B. violins are not divided into firsts and seconds in each orchestra | I. Prelude II. Scherzo Ostinato III. Intermezzo (Homage to Henry Hall) IV. Fantasia | 1938, 1946-48 | Based on a Double Trio for string sextet composed in 1938, first performed in this version in 1939, and subsequently withdrawn. The material was then reworked to create the Partita in 1946-48. | 20 March 1948, broadcast on BBC Third Programme BBC Symphony Orchestra, Sir Adrian Boult (conductor) | Oxford University Press (1948) | Yes | To R. Müller-Hartmann | BL Add MS 61741: autograph full score | 1938/05 | Genesis:
| 1 | ||||||||
| 1. Instrumental | 1.2 Other orchestral | 1.2.23 | Concerto Grosso | 1950 | Yes | Yes | String orchestra. Three groups of players: 1. Concertino. A group of skilled players (6.6.4.4.2) 2. Tutti. All those who can play in 3rd position, and simple double stops 3. Ad lib. Less experienced players, including optional parts using open strings only. | 1. Intrada 2. Burlesca Ostinata 3. Sarabande 4. Scherzo 5. March and Reprise | c. 1950 | Based on first performance date | 18 November 1950, Royal Albert Hall Massed orchestra of the Rural Music Schools Association, Sir Adrian Boult (conductor) | Oxford University Press (1950) | Yes | Unknown | 1950/01 | Genesis:
| ||||||||||
| 1. Instrumental | 1.2 Other orchestral | 1.2.24 | Prelude on an Old Carol Tune | 1952 | Yes | Yes | 2 fl, ob, 2 cl, bsn, 2 hn, 2 tpt, 2 trbn, timp, strings | c. 1952 | Based on first performance date | 18 November 1952, broadcast on BBC [unknown station] BBC West of England Light Orchestra, Reginald Redman (conductor) | Oxford University Press (1953) | Yes | BL Add MS 50401: autograph full score | Based on incidental music for radio play version of Hardy's The Mayor of Casterbridge. | 1952/05 | Genesis:
| ||||||||||
| 1. Instrumental | 1.2 Other orchestral | 1.2.25 | Flourish for Glorious John | 1957 | Yes | Yes | 2 fl (II=picc), 2 ob, ca, 2 cl, bcl, 2 bsn, dbsn, 4 hn, 3 tpt, 3 trbn, tuba, timp, perc (SD, BD, Cym, glsp, t.bells), hp, org, pno, strings | c. 1957 | Based on first performance date | 16 October 1957, Free Trade Hall, Manchester Hallé Orchestra, Sir John Barbirolli (conductor) | Unpublished | Yes | BL Add MS 57339: autograph full score BL Add MS 71492: draft short score | 1957/03 | Genesis:
| |||||||||||
| 1. Instrumental | 1.3 Soloist with orchestra | 1.3.01 | Fantasia for piano and orchestra | 1902 | Yes | Yes | 2 fl, 2 ob, 2 clt, 2 bsn, 2 hn, 2 tpt, 3 trbn, tuba, timp, Cym, strings | 1896-1902, revised 1904 | Dated autograph: 'Begun Oct 1896. Finished Feb 9th 1902. Revised Jan 27th 1904. Further revised Oct 14 1904.' | 1 June 2012, Dorchester Abbey, Oxfordshire (The English Music Festival) Mark Bebbington (piano), BBC Concert Orchestra, Martin Yates (conductor) | Oxford University Press (2012), ed. Graham Parlett | Yes | BL Add MS 57276: autograph full score | There is no record of whether Vaughan Williams wrote this work for a particular occasion, and no surviving evidence of it being performed in his lifetime. | 1902/02 | Genesis:
| Genesis:
| |||||||||
| 1. Instrumental | 1.3 Soloist with orchestra | 1.3.02 | The Lark Ascending | 1914 | Romance | Yes | Yes | Solo violin, 2 fl, ob, 2 cl, 2 bsn, 2 hn, tgl, strings Alternative instrumentation: solo violin, fl, ob, cl, bsn, hn, tgl, 3/4 vln I, 3/4 vln 2, 2 vla, 2 vc, cb. Initially performed in a version for solo violin and piano. | 1914, revised 1920, c. 1925 | In a passage about 1914, Kennedy writes that Vaughan Williams 'had sketched a work for the brilliant English violinist, Marie Hall. This was The Lark Ascending' (Kennedy. WVW. 107). Kennedy also writes that 'Although this work was written in 1914 ...' (Kennedy. CVW. 81). However, it was not completed until after the First World War: 'in December 1920, ... Marie Hall and Vaughan Williams made final revisions of The Lark Ascending together before it received its first performance in an arrangement for violin and pianoforte' (Kennedy. WVW. 151). | Version for violin and piano: 15 December 1920, Shirehampton Public Hall, Avon Marie Hall (violin), Geoffrey Mendham (piano) Orchestral version: 14 June 1921, Queen's Hall Marie Hall (violin), British Symphony Orchestra, Adrian Boult (conductor) | Full score: Oxford University Press (1925); new edition (2005) Miniature score: Oxford University Press (1927); reissued Eulenburg (1982) Violin and piano reduction: Oxford University Press (1926); new edition (2008) | Yes | To Marie Hall [soloist in first performances] | BL Add MS 52385: autograph copy of the violin and piano score, with revisions (Autograph full score location unknown) | Solo violin and SATB choir, arr. Paul Drayton, Oxford University Press (2020) | Epigraph to the score: He rises and begins to round, He drops the silver chain of sound, Of many links without a break, In chirrup, whistle, slur and shake For singing till his heaven fills, 'Tis love of earth that he instils, And ever winging up and up, Our valley is his golden cup, And he the wine which overflows To lift us with his as he goes. Till lost on his aerial rings In light, and then the fancy sings. George Meredith (1828-1909), 'The Lark Ascending' | 1920/05 | Genesis:
| Reception:
| ||||||
| 1. Instrumental | 1.3 Soloist with orchestra | 1.3.03 | Flos Campi | 1925 | Suite | Yes | Yes | Solo viola, Fl (=Picc), ob, cl, bsn, hn, tpt, perc (2: BD, cym, tgl, tabor or tambourine without jingles), hp, cel, strings (no more than 6.6.4.4.2) SSAATTBB choir to number 20 or 26. Either: 3.3.3.3. 2.2.2.2 or 4.4.4.4. 2.3.2.3. | 1. Sicut Lilium inter spinas (Lento) 2. Iam enim hiems transiit (Andante con moto) 3. Quaesivi quem diligit anima mea (Lento) 4. En lectulum Salomonis (Moderato alla marcia) 5. Revertere, revertere Sulamitis! (Andante quasi lento) 6. Pone me ut signaculum (Moderato tranquillo) | Epigraphs for each movement from Song of Solomon | 1924-25 | Vaughan Williams was working on Flos Campi in the summer of 1924 (see Ursula VW. RVW. 156; VWL 567 and VWL 571). | 10 October 1925, Queen's Hall Lionel Tertis (viola), Royal College of Music choir, Queen's Hall Orchestra, Sir Henry Wood (conductor) | Study score and vocal score: Oxford University Press (1928), reissued (1956), new edition, ed. Julian Rushton (2014) | Yes | To Lionel Tertis [soloist for first performance] | BL MS Mus 1584: autograph full score BL Add MS 57294F: sketches | 1925/05 | Genesis:
| Genesis:
Reception:
| ||||||
| 1. Instrumental | 1.3 Soloist with orchestra | 1.3.04 | Violin Concerto in D minor | 1925 | Yes | Yes | Solo violin, strings | I. Allegro pesante II. Adagio - tranquillo III. Presto | 1924-5, revised c. 1951 | The work was in progress in summer 1924 (Ursula VW. RVW. 156). It was 'composed 1924-5'; Vaughan Williams 'slightly revised the solo part' for a performance by Yehudi Menuhin given in 1952 (Kennedy. CVW. 109-10). | 6 November 1925, Aeolian Hall Jelly d'Aranyi (violin), London Chamber Orchestra, Anthony Bernard (conductor) | Oxford University Press: full score (1927); solo part with piano reduction (1927); study score (1942). | Yes | To Jelly d'Aranyi [soloist for first performance] | BL Egerton MS 3251: autograph full score, with corrections BL Add MS 62996A: autograph arrangement for two pianos of the second movement (conceived originally as the second movement of an unrealised Concerto Grosso for military band). BL Add MS 57287: copy of the preceding item | The original title was Concerto Accademico. The composer withdrew this name for the work in about 1951 (Kennedy. CVW. 110). 'The second movement of this work was originally composed as the second movement of an abandoned Concerto Grosso for military band' (Kennedy. CVW. 109). The first movement of the Concerto Grosso became the Toccata Marziale. | 1925/07 | Genesis:
| Reception:
| |||||||
| 1. Instrumental | 1.3 Soloist with orchestra | 1.3.05 | Fantasia on Sussex Folk Tunes | 1929 | Yes | Yes | Solo cello, 2 fl (II=picc), ob, 2 cl, 2 bsn, 2 hn, tpt, timp, strings | c. 1929 | 'This work [was] completed in 1929' (Kennedy. CVW. 128). | 13 March 1930, Queen's Hall Pablo Casals (cello), Orchestra of the Royal Philharmonic Society, John Barbirolli (conductor) | Cello and piano reduction: Oxford University Press (1984), new edition, ed. Julian Lloyd Webber and John Lenehan (2015) Study score, ed. Julian Lloyd Webber and John Lenehan (2015) | Yes | To Pablo Casals [soloist for first performance] | BL Add MS 62517: autograph full score BL Add MS 57471: autograph full score, and piano reduction in Constant Lambert's hand | Viola and Piano, arr. Martin Outram (viola part) and John Lenehan (piano part), Oxford University Press (2018) | Vaughan Williams withdrew the work. It was revived in the early 1980s. | 1929/06 | Reception:
| Genesis:
| |||||||
| 1. Instrumental | 1.3 Soloist with orchestra | 1.3.06 | Piano Concerto / Concerto for Two Pianos and Orchestra | 1931 | Yes | Yes | One or two solo pianos and orchestra 2 fl (II=picc), 2 ob, 2 cl, 2 bsn, 4 hn, 2 tpt, 3 trbn, tuba, timp, perc (SD, Cym, BD, Tam-t), organ pedal (opt.), strings | I. Toccata (Allegro moderato) II. Romanza (Lento) III. Fuga chromatica, con finale alla tedesca | 1926, 1930-31, revised 1933-34, 1946, 1947 | The composer's programme note states that movements one and two 'were sketched' in 1926, and movement three in 1930 (Kennedy. CVW. 138 and VW. VWOM. 351). Kennedy adds that the third movement was composed in 1930-01 (Kennedy. CVW. 137). Duncan Hinnells identifies 'that a number of changes were made throughout 1933 and in the first half of 1934' (see his 'Vaughan Williams's Piano Concerto', reference below, 132-4). The version for two pianos and orchestra was made by Vaughan Williams in collaboration with Joseph Cooper in 1946. A cadenza was added in November 1946, and the ending was rewritten in June 1947 (Hinnells, ibid., 138, 140, 150-2). | Version for one solo piano: 1 February 1933, Queen's Hall Harriet Cohen (piano), BBC Symphony Orchestra, Adrian Boult (conductor) Version for two solo pianos: 22 November 1946, Royal Albert Hall Cyril Smith and Phyllis Sellick (piano), London Philharmonic Orchestra, London Symphony Orchestra, Sir Adrian Boult (conductor) | Short score of one piano version: Oxford University Press (1936) Study score incorporating parts for one or two solo pianos: Oxford University Press (1972) | Yes | To Harriet Cohen [soloist in first performance] | BL Add MS 50385: mostly autograph full score, with photocopies from a MS formerly in the possession of Harriet Cohen BL Add MS 62110: autograph incomplete draft (short score) BL Add MS 50482A: sketch for last movement New York Public Library: solo piano part, and an orchestral reduction for two pianos. | 1931/03 | Genesis:
| Genesis:
Reception:
| ||||||||
| 1. Instrumental | 1.3 Soloist with orchestra | 1.3.07 | Suite for Viola and Small Orchestra | 1934 | Yes | Yes | 2 fl (II=picc), ob, 2 cl, 2 bsn, 2 hn, 2 tpt, perc (SD, tgl), hp, cel, strings | Group 1: 1) Prelude 2) Carol 3) Christmas Dance Group 2: 1) Ballad 2) Moto perpetuo Group 3: 1) Musette 2) Polka mélancolique 3) Galop | c. 1934 | Based on first performance date | 12 November 1934, Queen's Hall Lionel Tertis (viola), London Philharmonic Orchestra, Malcolm Sargent (conductor | Oxford University Press: solo with piano reduction (1936), full score (1963) | Yes | To Lionel Tertis [soloist in first performance] | BL Add MS 50386A-C: full score, partly autograph in three volumes | Galop, for violin and piano, arr Louis Persinger, Oxford University Press (1949) Carol and Musette, for organ, arr Herbert Sumsion, Oxford University Press (1938) | 1934/11 | Genesis:
| ||||||||
| 1. Instrumental | 1.3 Soloist with orchestra | 1.3.08 | Oboe Concerto | 1944 | Yes | Yes | Solo oboe, strings | I. Rondo Pastorale (Allegro moderato) II. Minuet and Musette (Allegro moderato) III. Finale: Scherzo (Presto - doppio più lento - lento - presto) | c. 1944 | Based on first performance date | 30 September 1944, Philharmonic Hall, Liverpool Léon Goossens (oboe), Liverpool Philharmonic Orchestra, Malcolm Sargent (conductor) | Oxford University Press: solo with piano reduction (1947); full score (1967) | Yes | To Léon Goossens [soloist in first performance] | BL Add MS 50387: sketches BL Add MS 50388: autograph full score BL Add MS 71984: reduction for oboe and piano in another hand, and printed, with autograph annotations | 1944/01 | Genesis:
| |||||||||
| 1. Instrumental | 1.3 Soloist with orchestra | 1.3.09 | Romance for Harmonica and Orchestra | 1952 | Yes | Yes | Solo harmonica, piano, strings | 1951-2 | Vaughan Williams indicates work is in progress in a letter dated 2 January 1952 (VWL 2358), and sent a score to Alan Frank at Oxford University Press on 19 February 1952 (VWL 2367) | 3 May 1952, Town Hall, New York Larry Adler (harmonica), Little Symphony Orchestra, Daniel Saidenberg (conductor) | Oxford University Press (1953) | Yes | To Larry Adler [soloist in first performance] | BL Add MS 50389: autograph full score | 1951/04 | Genesis:
| ||||||||||
| 1. Instrumental | 1.3 Soloist with orchestra | 1.3.10 | Concerto for Bass Tuba and Orchestra | 1954 | Yes | Yes | Solo tuba, 2 fl (II=picc), ob, 2 cl, bsn, 2 hn, 2 tpt, 2 trbn, timp, perc (2: SD, trgl, BD, Cym), strings | I. Allegro moderato II. Romanza (Andante sostenuto) III. Finale (Rondo alla tedesca) | 1953-4 | Kennedy states Vaughan Williams was working on the Tuba Concerto in autumn 1953 (KW, p. 328). Ursula Vaughan Williams implies that the work was played over by the soloist in early 1954 (UVW, p. 342-3). | 13 June 1954, Royal Festival Hall Philip Catelinet (tuba), London Symphony Orchestra, Sir John Barbirolli (conductor) | Oxford University Press: tuba and piano reduction (1955); study score (1979), reissued Eulenburg (1982) New editions of study score, and tuba with piano reduction, Oxford University Press (2012), ed. David Matthews | Yes | To the London Symphony Orchestra | BL Add MS 50391: autograph full score (not final) BL Add MS 50392: autograph full score (final version) BL Add MS 50390: short score of final movement BL Add MS 50482B: sketch | Note to the score states the Romanza may also be played by solo euphonium, bassoon, or cello and piano. The Romanza has also been recorded in a version for solo cello and orchestra. For Tenor Tuba and Orchestra, arr. David Childs and Rodney Newton, unpublished (2018). | 1954/02 | Genesis:
| ||||||||
| 1. Instrumental | 1.4 Military band, brass band | 1.4.01 | English Folk Song Suite | 1923 | Suite | Yes | Yes | Wind band: picc, fl, ob, ebcl, solo clt, 3 clt, E flat alto clt, bcl, 2 bsn, asax, tsax, bsax, bass sax, cbcl, solo crt, 2 crt, 2 tpt, 4 E flat hn, 2 trbn, brbn, euph, btuba, timp, perc (SD, BD, Cym, tgl) | 1. March: 'Seventeen come Sunday' 2. Intermezzo: 'My Bonny Boy' 3. March: 'Folk Songs from Somerset' | c. 1923 | Based on first performance date | 4 July 1923, Royal Military School of Music, Kneller Hall, Twickenham, London B. Gubbings (conductor) | Boosey & Hawkes (1924) | Yes | Unknown | For piano, arr. Michael Mullinar, Boosey & Hawkes (1949) For orchestra, arr. Gordon Jacob in 1924, Boosey & Hawkes (1951) For brass band, arr. Frank Wright, Boosey & Hawkes (1956) For organ, arr. Greg Morris, Boosey & Hawkes (2019) For brass band, arr. Phillip Littlemore, unpublished. Recorded on Vaughan Williams on Brass, Albion ALBCD 052 (2022). | This work initially comprised four movements. The deleted movement was later performed and published as a stand-alone work titled Sea Songs (1.4.02). | 1923/03 | Genesis:
| Reception: See also letters in Mitchell, Ralph Vaughan Williams' Wind Works, 28-47. | ||||||
| 1. Instrumental | 1.4 Military band, brass band | 1.4.02 | Sea Songs | 1924 | Quick march | Yes | Yes | Wind band instrumentation: picc, fl, 2 ebcl, 4 clt, E flat alto clt, bcl, 2 bsn, asax, tsax, bsax, 2 crt, 2 tpt, 4 hn, 3 trbn, euph, btuba, perc (SD, BD, Cym, tgl) Orchestral instrumentation: picc, fl, 2 ob, 2 clt, 2 bsn, 4 hn, 2 tpt, 3 trbn, tuba, timp, perc (tgl, SD, BD, cyms), strings | c. 1924 | Based on first performance date | 4 July 1923, Royal Military School of Music, Kneller Hall, Twickenham, London B. Gubbings (conductor) | For wind band: Boosey & Hawkes (1924) For orchestra: Bossey & Hawkes (1943) | Yes | Unknown | For brass band, arr. Phillip Littlemore, Vaughan Williams on Brass. Unpublished. Recorded on Albion ALBCD 052 (2022). | This work was originally composed and performed as part of English Folk Song Suite (1.4.01). Its first performance on 4 July 1923 was in this version. It was then reconceived as a separate stand-alone work under the title Sea Songs. | 1923/04 | Studies:
| Reception: | |||||||
| 1. Instrumental | 1.4 Military band, brass band | 1.4.03 | Toccata Marziale | 1924 | Yes | Yes | Wind band or symphonic band Wind band: piccolo, flute, E flat clarinet, oboe, solo B flat clarinet, 3 B flat clarinets, E flat alto clarinet, B flat bass clarinet, B flat soprano saxophone, E flat alto saxophone, B flat tenor saxophone, E flat baritone saxophone, B flat bass saxophone, B flat contra bass clarinet, 2 bassoons, 4 horns, solo B flat cornet, 2 B flat cornets, B flat trumpet, 2 trombones, bass trombone, euphonium, tuba, string bass, timpani, perc (side drum, bass drum, triangle, cymbals) | c. 1924 | Based on first performance date | During 24-31 May 1924, British Empire Exhibition, Wembley, London Massed bands, Lieutenant Hector Adkins (conductor) | Boosey & Hawkes (1924) | Yes | BL Add MS 59796: autograph full score BL Add MS 62996: autograph two-piano score BL Add MS 57287: copy of the two-piano score | Initially the work was conceived as the first movement of a Concerto Grosso for military band. The second movement of the projected Concerto Grosso was reworked to become the second movement of the Violin Concerto. No further movements of the Concerto Grosso were composed. | 1924/01 | Genesis:
| Reception:
| |||||||||
| 1. Instrumental | 1.5 Chamber ensembles | 1.5.01 | Finale of a String Quartet | 1891 | Yes | Yes | String quartet | 1891 | Dated autograph: Spring 1891 | No known performance | Unpublished | Not recorded | BL Add MS 57266, ff. 19-22v, 23-32 | 1891/01 | ||||||||||||
| 1. Instrumental | 1.5 Chamber ensembles | 1.5.02 | Happy Day at Gunby | 1892 | Yes | Yes | Violins, cello, piano and organ | 1892 | Kennedy gives composition date as 1892. | No known performance | Unpublished | Not recorded | BL Add MS 57268, ff. 1-23v | 1892/05 | ||||||||||||
| 1. Instrumental | 1.5 Chamber ensembles | 1.5.03 | Movement for Piano Trio | 1895 | Yes | Yes | Piano Trio | 1895 | Dated autograph: 28 June 1895 | No known performance | Unpublished | Not recorded | BL Add MS 57269, ff 28-42v. Comprises a full draft, ff. 28-40, and a fair copy of the first 83 bars, ff. 41-42v. | 1895/01 | ||||||||||||
| 1. Instrumental | 1.5 Chamber ensembles | 1.5.04 | String Quartet in C minor | 1897 | Yes | Yes | String quartet | I. Allegro II. Andantino III. Intermezzo IV. Variazione con finale fugato | 1897 | Vaughan Williams gives the composition date as 1897 in a letter to music critic Edwin Evans that itself dates from c. 1903 (VWL 134). At the time of original publication of the Catalogue (1964) Kennedy had not seen this letter, but did have access to it later (see notes to VWL 134). The revised Catalogue (1998) still states it was 'composed winter 1898', but lists the item under the year 1897. Kennedy's introduction to the score (published 2002) states it was composed 1897-8. The British Library manuscript catalogue also gives a composition date of 1897-8. | 30 June 1904, Oxford and Cambridge Musical Club event, possibly 47 Leicester Square, London M. W. Dawson, E. Chetham Strode, Dr Jordan, A. K. Elworthy | Faber (2002), ed. Bernard Benoliel | Yes | BL Add MS 57271: autograph score | The first performance was given at an Oxford and Cambridge Musical Club event, location unspecified (Kennedy. CVW. 7). The Club was based at the address suggested above in this period. The next performance after the premiere in 1904 is believed to have taken place on 15 March 2002 at the Royal College of Music by a student quartet (the performers' names have not been traced). A CD recording by the Nash Ensemble was released in 2002 (Hyperion CDA 67381/2). This quartet is unnumbered as it was not published in Vaughan Williams' lifetime. The later work in G minor is generally known as 'String Quartet No. 1' (first performed in 1909 - see 1.5.09). | 1897/02 | Genesis:
| Genesis: | ||||||||
| 1. Instrumental | 1.5 Chamber ensembles | 1.5.05 | Quintet in D major | 1898 | Yes | Yes | Clarinet, horn, violin, cello and piano | I. Allegro moderato II. Intermezzo (Allegretto) III. Andantino IV. Finale (Allegro molto) | 1898 | Vaughan Williams gives the composition date as 1898 in a letter to music critic Edwin Evans sent c. 1903 (VWL 134). Kennedy gives the same date (Kennedy. CVW. 8). | 5 June 1901, Queen's Small Hall, London G. A. Clinton (clarinet), A. Borsdorf (horn), Jessie Grimson (violin), B. P. Parker (cello), Llewella Davies (piano) | Faber (2002), ed. Bernard Benoliel | Yes | BL Add MS 57273: autograph score | 1898/02 | Genesis:
| Genesis:
Reception:
| |||||||||
| 1. Instrumental | 1.5 Chamber ensembles | 1.5.06 | Piano Quintet in C minor | 1903 | Yes | Yes | Violin, viola, cello, double bass and piano | I. Allegro con fuoco II. Andante III. Fantasia (quasi variazioni) | c. 1903-05 | Dated manuscript: 'Finished Oct. 27 1903. Revised Aug. 29 1904. Further revised Sept. 28 1905'. | 14 December 1905, Aeolian Hall, London Louis Zimmerman (violin), Alfred Hobday (viola), Paul Ludwig (cello), Claude Hobday (double bass), Richard Epstein (piano) | Faber (2002), ed. Bernard Benoliel | Yes | BL Add MS 57277: autograph score | The last known performance in Vaughan Williams's lifetime was on 8 June 1918 (Kennedy. CVW. 21). The next performance was given on 19 November 1999 at the British Library, London, by the RCM Chamber Ensemble. | 1903/13 | Genesis:
| Genesis: | ||||||||
| 1. Instrumental | 1.5 Chamber ensembles | 1.5.07 | Nocturne and Scherzo | 1904 | Yes | Yes | String quintet | I. Nocturne 'By the Bivouac's Flame' II. Scherzo (founded on an English folk-song) | c. 1904, revised 1906 | Dated autograph: finished 22 May 1904; revised 1 October 1906 | 20 February 2001, British Library, London Royal College of Music Chamber Ensemble | Faber (2002), ed. Bernard Benoliel | Yes | BL Add MS 57280: autograph score BL Add MS 57281, ff. 1-19: earlier version of the Nocturne, titled 'Ballade' | This work evolved substantially during its genesis. The manuscripts suggest two stages of composition: Stage 1. A 'Ballade and Scherzo' (BL Add MS 57281). The 'version 1' Scherzo is listed below separately as item 1.5.08. Stage 2. A 'Nocturne and Scherzo' (BL Add MS 57280). The 'version 1' Ballade was revised to form the 'Nocturne'. The 'version 1' Scherzo was replaced by a new Scherzo movement. See also a version of the first movement for unaccompanied choir (2.2.14). | 1904/05 | Genesis:
| |||||||||
| 1. Instrumental | 1.5 Chamber ensembles | 1.5.08 | Scherzo | 1904 | Yes | Yes | String quintet | c. 1904, revised 1906 | Dated autograph: finished 22 May 1904; revised 1 October 1906 | 20 February 2001, British Library, London Royal College of Music Chamber Ensemble | Faber (2002), ed. Bernard Benoliel | Yes | BL Add MS 57281: autograph score | This movement was composed as part of a 'Ballade and Scherzo'. This work was later revised substantially to become a 'Nocturne and Scherzo' (1.5.07). The Scherzo of the revised work is a different movement from this original Scherzo. | 1904/05 | Genesis:
| ||||||||||
| 1. Instrumental | 1.5 Chamber ensembles | 1.5.09 | String Quartet (No. 1) in G minor | 1909 | Yes | Yes | String quartet | I. Allegro moderato II. Minuet and Trio III. Romance: Andante sostenuto IV. Finale: Rondo capriccioso | c. 1909, revised c. 1922 | 'During 1908, after returning from Paris, Vaughan Williams immediately set to work on his G minor quartet' (Kennedy. WVW. 91). In 1910, Vaughan Williams gives the composition of the String Quartet as 1908 (VWL 322). | First version: 15 November 1909, Aeolian Hall, London Schwiller Quartet Revised version: 6 March 1922, Russell Street, London Performers unknown | Goodwin (1923); reissued Curwen (c.1951); reissued Faber (c.1983) | Yes | Unknown | Known as String Quartet No. 1 as it was the first to be published. It is pre-dated by the String Quartet in C minor (1.5.04). | 1908/09 | Genesis:
| Genesis:
Reception: | ||||||||
| 1. Instrumental | 1.5 Chamber ensembles | 1.5.10 | Phantasy Quintet | 1912 | Yes | Yes | String quintet | I. Prelude II. Scherzo III. Alla sarabanda IV. Burlesca | c. 1912 | It was reported in the August 1912 issue of the Musical Times that Vaughan Williams had completed this work (Kennedy. CVW. 60). | 23 March 1914, Aeolian Hall, London London String Quartet: A. E. Sammons, T. W. Petre (vln), H. Waldo Warner (vla), C. Warwick-Evans (vcl), with J. Lockyer (vla) | Stainer & Bell (1921) | Yes | W. W. Cobbett, and the members of the London String Quartet | Unknown | Third mvnt, for organ, arr. Henry G. Ley, Stainer & Bell (1922) | 1912/05 | Early reception:
| Reception: | |||||||
| 1. Instrumental | 1.5 Chamber ensembles | 1.5.11 | Mr Isaac's Maggot | 1924 | Yes | Yes | Clt, tgl, 2 vln, vc, piano | c. 1924 | Based on first performance date | Unknown day in January 1925, Village Hall, Abinger, Surrey Edward Bridge (clarinet), Frances Farrer (triangle), Kitty Farrer (violin I), Miss C. Kirkland (violin II), Anne Farrer (cello), Mrs Tatham (piano), Vaughan Williams (conductor) | Unpublished | Not recorded | Kennedy: formerly in the possession of the late Dame Frances Farrer (KC, p. 104). | Arrangement of a traditional dance tune. In his documentary The Passions of Vaughan Williams John Bridcut suggests Vaughan Williams wrote the triangle part for Frances Farrer to play. The film includes an excerpt from the piece. | 1924/04 | Genesis:
| ||||||||||
| 1. Instrumental | 1.6 Solo Instrument with piano | 1.6.01 | Andantino for violin and piano | 1895 | Yes | Yes | Violin and piano | c. 1892-95 | Composition date from British Library catalogue description: BL Add MS 57269. | No known performance | Unpublished | Not recorded | BL Add MS 57269, ff. 13-13v | N/A | ||||||||||||
| 1. Instrumental | 1.6 Solo Instrument with piano | 1.6.02 | Suite de Ballet | 1913 | Yes | Yes | Flute and piano | 1. Improvisation 2. Humoresque 3. Gavotte 4. Passepied | c. 1913 | Kennedy suggests this composition was begun in 1913, as Vaughan Williams met the flautist Louis Fleury in that year, he made sketches for it in his contemporaneous manuscript book labelled 'Herefordshire Folk Songs', and on the basis of its musical style (Kennedy. CVW. 83). After the First World War, the work was played through privately on 20 March 1920 by Louis Fleury at the home of Mrs Hammersley (62 Cadogan Place, London). Vaughan Williams could not attend, but remarked that he had Fleury play the work some years before - this may have been a rehearsal or private performance (VWL 460). | 9 April 1962, BBC Home Service Geoffrey Gilbert (flute), Frederick Stone (piano) | Oxford University Press (1961), ed. Roy Douglas | Yes | BL Add MS 71486A-B: autograph sketches and a draft | Flute and string orchestra, arr. Roger Steptoe (1989) | 1920/07 | Studies:
| Reception:
| ||||||||
| 1. Instrumental | 1.6 Solo Instrument with piano | 1.6.03 | Romance and Pastorale | 1914 | Two pieces | Yes | Yes | Violin and piano | 1. Romance 2. Pastorale | Before 1914 | 'It is more than likely that these pieces were written before the First World War' (Kennedy. CVW. 97). Longman 'played in outdoor performances of plays based on folk-songs at the composer's family home, Leith Hill Place. These pieces may be memories of those occasions' (Kennedy, note in the published score, Faber (1994)). | Unknown | Goodwin (1923); Faber (1994) | Yes | To D. M. L. [Dorothy Longman] | RCM Library, no. 4983: autograph | Violin and orchestra, arr. David Matthews, Faber (2022). First performance in this arrangement 19 March 2022, Charterhouse School, Godalming, Alexander Sitkovetsky (violin), Britten Sinfonia, Thomas Gould (conductor). | 1923/06 | Reception: | |||||||
| 1. Instrumental | 1.7 Piano | 1.7.01 | Sonatina in E flat | 1890 | Yes | Yes | Piano solo | I. Allegro | 1890 | Kennedy's date: Christmas term, 1890 | Unknown | Unpublished | Not recorded | BL Add MS 57266, ff. 1-7 | 1890/01 | |||||||||||
| 1. Instrumental | 1.7 Piano | 1.7.02 | Theme with Variations | 1891 | Yes | Yes | Piano solo | 1891 | Kennedy's date: Christmas term, 1891 | Unknown | Unpublished | Not recorded | BL Add MS 57266, ff.54-56v | 1891/04 | ||||||||||||
| 1. Instrumental | 1.7 Piano | 1.7.03 | Variations on a Ground Bass by Lully | 1892 | Yes | Yes | Piano solo | 1892 | Kennedy's date of composition | Unknown | Unpublished | Not recorded | BL Add MS 57269, ff. 1-5, 7-12 | Manuscript contains a second deleted version, and the third, final version. | 1892/04 | |||||||||||
| 1. Instrumental | 1.7 Piano | 1.7.04 | Moderato | 1895 | Yes | Yes | Piano solo | c. 1892-95 | Date from BL manuscript catalogue | Unknown | Unpublished | Not recorded | BL Add MS 57269, f. 14 | N/A | ||||||||||||
| 1. Instrumental | 1.7 Piano | 1.7.05 | Wedding Minuet | 1895 | Yes | Yes | Piano solo | c. 1892-95 | Date from BL manuscript catalogue | Unknown | Unpublished | Not recorded | BL Add MS 57269, ff. 15v-16 | N/A | ||||||||||||
| 1. Instrumental | 1.7 Piano | 1.7.06 | Adagio Molto in E flat | 1893 | Yes | Yes | Piano solo | 1893 | Dated autograph: 4 October 1893 | Unknown | Unpublished | Not recorded | BL Add MS 57269, ff. 17-20 | 1893/03 | ||||||||||||
| 1. Instrumental | 1.7 Piano | 1.7.07 | Suite for Piano Duet | 1893 | Yes | Yes | Piano duet | I. Prelude II. Minuet III. Sarabande IV. Gigue | 1893 | Date from BL manuscript catalogue | Unknown | Unpublished | Yes | BL Add MS 57269, ff. 21-5. There are two complete drafts of the second movement. | 1893/02 | Genesis, Studies:
| ||||||||||
| 1. Instrumental | 1.7 Piano | 1.7.08 | Reminiscences of a Walk at Frankham | 1894 | Yes | Yes | Piano solo | 1894 | Dated autograph: 28 August 1894 | Unknown | Unpublished | Not recorded | BL Add MS 57269, f. 26-27v | 1894/01 | ||||||||||||
| 1. Instrumental | 1.7 Piano | 1.7.09 | Andante Sostenuto | 1904 | Yes | Yes | Piano solo | 1904 | Written for his wife's birthday in 1904. | Unknown | In Birthday Gifts, Stainer & Bell (1994) | ? | 'For your birthday 1904' [for his wife, Adeline Vaughan Williams] | BL Add MS 70780, ff. 1-2 | 1904/07 | |||||||||||
| 1. Instrumental | 1.7 Piano | 1.7.10 | Pezzo Ostinato | 1905 | Yes | Yes | Piano solo | 1905 | Dated autograph: 27 January 1905 | Unknown | In Birthday Gifts, Stainer & Bell (1994) | ? | BL Add MS 57282, ff. 57-8 | Organ, arr. Len Rhodes, privately published (2020) | 1905/01 | |||||||||||
| 1. Instrumental | 1.7 Piano | 1.7.11 | Suite of Six Short Pieces for Pianoforte | 1920 | Yes | Yes | Piano solo | 1. Prelude 2. Slow dance 3. Quick dance 4. Slow air 5. Rondo 6. Pezzo ostinato | c. 1920 | 'This work was published in January 1921, and must therefore have been composed in 1920 or earlier' (Kennedy. CVW. 82). | Unknown | Stainer & Bell (1921) | Yes | Unknown | For string orchestra: The Charterhouse Suite, arr. James Brown, in collaboration with Vaughan Williams, Stainer & Bell (1923). | 1920/06 | Early reception:
| Reception:
| ||||||||
| 1. Instrumental | 1.8 Organ | 1.8.01 | Organ Overture | 1890 | Yes | Yes | Organ | 1890 | Dated autograph: Christmas term, 1890 | Unknown | Unpublished | Not recorded | BL Add MS 57266, ff. 8-18v | 1890/02 | ||||||||||||
| 1. Instrumental | 1.8 Organ | 1.8.02 | Passacaglia for Organ | 1891 | Yes | Yes | Organ | 1891 | Dated autograph: 'Compositions for Dr Gladstone Easter and summer 1891' | Unknown | Unpublished | Not recorded | BL Add MS 57266, ff. 48-51 | N/A | ||||||||||||
| 1. Instrumental | 1.8 Organ | 1.8.03 | Three Preludes Founded on Welsh Hymn Tunes | 1920 | Yes | Yes | Organ | 1. Bryn Calfaria 2. Rhosymedre 3. Hyfrydol | c. 1920 | Based on publication date | Unknown | Stainer & Bell (1920) | Yes | To Alan Gray [(1855-1935). Vaughan Williams's organ teacher while he was a student at University of Cambridge.] | Fitzwilliam Museum, Cambridge: MU MS 626. | No. 2, arr. Arnold Foster, Stainer & Bell (1938). For orchestra; or for strings only; or for flute, selected winds (ad lib) and strings No. 3, arr. Arnold Foster, Stainer & Bell (1951). For orchestra; or for strings only All three preludes, arr. Leslie Russell, Stainer & Bell, (1939), for two pianos | 1920/01 | Studies:
| Reception: | |||||||
| 1. Instrumental | 1.9 Other instrumental | 1.9.01 | Prelude, Minuet and Adagio | 1891 | Yes | Yes | Organ and cello | c. 1891 | Date from BL manuscript catalogue | Unknown | Unpublished | Not recorded | BL Add MS 57266, ff. 57-61 | N/A | ||||||||||||
| 2. Vocal | 2.1 Choir, soloists and orchestra | 2.1.01 | Super Flumina Babylonis | 1892 | Yes | Yes | SATB chorus and string orchestra | Psalm 137 | 1892 | Manuscript dated Easter term 1892 | Unknown | Unpublished | Not recorded | BL Add MS 57267, 68-94v. Score markings identify an original version and a third version. | 1892/01 | |||||||||||
| 2. Vocal | 2.1 Choir, soloists and orchestra | 2.1.02 | Vexilla Regis | 1894 | Yes | Yes | Soprano solo, SSATB chorus, strings and organ | I. Vexilla Regis II. Impleta sunt III. O Crux IV. Fons salutis | Venantius Fortunatus | c. 1894 | Vaughan Williams was awarded the Bachelor of Music degree from University of Cambridge in 1894 for this composition (Ursula VW. RVW. 41). | Unknown | Unpublished | Not recorded | Cambridge University Library, Mus.B 103 | 1894/03 | Genesis, Studies:
| |||||||||
| 2. Vocal | 2.1 Choir, soloists and orchestra | 2.1.03 | To sleep the long bright day is done | 1890s | Edited by Christopher Gordon | Yes | Yes | Voices and orchestra | Alfred Lord Tennyson, The Foresters, Act I, Scene 3. | c. 1896-7 | Likely to have been written while Vaughan Williams was a pupil of Stanford at the RCM, or shortly afterwards. | 15-16 September 2021, Henry Wood Hall, London Choir of Clare College, Cambridge, Britten Sinfonia, William Vann (conductor). [CD recording: Albion ALBCD 054 (2022).] | Unpublished | Yes | BL Add MS 57270, ff.47-52 | N/A | Genesis:
| |||||||||
| 2. Vocal | 2.1 Choir, soloists and orchestra | 2.1.04 | The Garden of Proserpine | 1899 | Yes | Yes | Soprano solo, SATB chorus, orchestra. 2 fl, 2 ob, 2 cl, 2 bsn, 4 hn, 2 tpt, 3 trbn, tuba, timp, hp, strings | A. C. Swinburne (1837-1909) | c. 1897-9 | Kennedy states: 'Completed 1899; begun 1897 or 1898' (Kennedy. CVW. 8). Vaughan Williams wrote an undated letter to Holst, likely from late 1898: 'Did I tell you that I was setting "The Garden of Proserpine" to music for chorus & orchestra with lots of trombones and things - I've just finished the first sketch - a sort of 6 lined af[f]air most of it' (VWL 231). By around March 1899, Vaughan Williams is 'scoring Proserpine' (VWL 233). In a later letter, Vaughan Williams simply gives the date of the work as 1899 (VWL 134). | 30 May 2011, Dorchester Abbey, Oxfordshire (The English Music Festival) Jane Irwin (soprano), Raphael Wallfisch (cello), Joyful Company of Singers, Bournemouth Symphony Orchestra, David Hill (conductor). | Stainer & Bell (2011) | Yes | BL Add MS 57274: autograph full score, and short score fragment | 1899/01 | Genesis: Studies:
| Genesis: | |||||||||
| 2. Vocal | 2.1 Choir, soloists and orchestra | 2.1.05 | A Cambridge Mass | 1899 | Yes | Yes | SATB soloists, double chorus, orchestra. 2 fl, 2 ob, 2 cl, 2 bsn, 4 hn, 3 trbn, tuba, timp, org, strings. | I. Credo II. Offertorium III. Sanctus, Hosanna and Benedictus | Liturgical | 1899 | Vaughan Williams wrote this mass for his doctorate. It was previously thought he started it in 1897 (Kennedy. CVW. 10), as letter VWL 236 was originally assigned to 1897 (Heirs & Rebels and Kennedy. WVW. 42). However, it is now dated to 1899 in the Vaughan Williams letters database. The Mass is first mentioned in a letter of May-June 1898: 'I have thoughts of going in for my Mus:Doc: in January - but this must be a secret in case I fail' (VWL 260). Perhaps work started later, as in around June 1899, Vaughan Williams writes to Randolph Wedgwood that 'I have got, before October to write a thing called a degree exercise which will take all my time till then' (VWL 263). In the autumn he writes, 'though it is the sabbath I have been scoring my Mass all day (it is now 4.30) - I am approaching the end of the Credo.' Vaughan Williams continues: 'Did I ever tell you of my final talk with Stanford in which we agreed that if I added a short movement in E major in the middle & altered the Coda the thing might stand - I had already got an extra movement in E major which I had cut out! (VWL 236). A further letter confirms Vaughan Williams has written 'most of my degree exercise' (VWL 269) while also working on the Serenade in A minor for small orchestra (1.2.01). Vaughan Williams's submission cover note is dated 16 October 1899 (see Tongue, 'Editorial Note'), and on 12 December 1899, Vaughan Williams name was published in the degree pass list (VWL 280). | 3 March 2011, Fairfield Hall, Croydon. Olivia Robinson (soprano), Rebecca Lodge (contralto), Christopher Bowen (tenor), Edward Price (baritone), The Bach Choir, New Queen's Hall Orchestra, Alan Tongue (conductor). | Stainer & Bell (2011) | Yes | Cambridge University Library, Mus. D, 26: autograph full score | Submitted for the degree of Doctor of Music, University of Cambridge in 1899. The composer titled this work 'Mass'. It was not performed in Vaughan Williams's lifetime. The title 'A Cambridge Mass' is editorial and was used from the first public performance in 2011 onwards. | 1899/F | Genesis:
Studies:
| Genesis:
| |||||||
| 2. Vocal | 2.1 Choir, soloists and orchestra | 2.1.06 | Willow-Wood | 1903 | Yes | Yes | Cantata for baritone solo, SSAA chorus (ad lib.), and orchestra: 2 fl, ob, ca, 2 clt, 2 bsn, 4 hn, 2 tpt, 3 trb, btuba, timp, hp, strings | Dante Gabriel Rossetti, The House of Life, Sonnets 49-52 | c. 1902-03, rev. 1908-09 | Although the composition start date is unknown, the manuscript score was in the hands of the baritone Campbell McInnes by 2 October 1902, before he gave the first performance on 12 March 1903 (VWL 180). The orchestral version was first completed 12 April 1903, and revised April 1908. The women's chorus ad lib. was added 1908-09 (Kennedy. CVW. 17). A later letter confirms the composition dates as 1902-03 (VWL 134). | Voice and piano: 12 March 1903, St James's Hall. J. Campbell McInnes (baritone), Evlyn Howard-Jones (piano). Soloist, orchestra and choir: 25 September 1909, unknown venue in Liverpool (Festival of the Musical League) Frederic Austin (baritone), Liverpool Welsh Choral Union, unknown orchestra, Harry Evans (conductor). | Breitkopf & Härtel (1909), reisssued by Stainer & Bell (2005) | Yes | BL Add MS 50434: copy with autograph additions of original version for voice and piano BL Add MS 50435: partly autograph orchestral version Beinecke Library, Yale University, Osborn Music MS 503: autograph orchestral version | 1903/03 | Early reception (voice and piano):
| Genesis: | |||||||||
| 2. Vocal | 2.1 Choir, soloists and orchestra | 2.1.07 | Sound Sleep | 1903 | Yes | Yes | SSA and orchestra (2 fl (1 opt.), 2 ob (1 opt.), 2 cl (1 opt.), 2 bsn, 2 hn, 2 tpt (opt.), timp (opt.), strings); Or SSA and piano | Christina Rossetti | 1903, rev. 1910 | Full score dated at end: '7 October 1903' and 'Revised 1910' | With piano: 27 April 1903. Spilsby, Lincolnshire (East Lincolnshire Musical Festival) Performed as a test piece by SSA choirs participating in the competition. With strings only: 30 December 1903, location assumed to be Penshurst, Kent Penshurst Vocal and Instrumental Society | Vocal score: Novello (1903) | Yes | To Mrs Massingberd [organiser of festival where the work was first performed] | BL Add MS 50436: partly autograph full score (choir and orchestra) | 1903/04 | Genesis and early reception:
| Reception: | ||||||||
| 2. Vocal | 2.1 Choir, soloists and orchestra | 2.1.08 | Toward the Unknown Region | 1906 | Song | Yes | Yes | SATB chorus, orchestra: 3 fl, 2 ob, ca, 2 cl, bcl, 2 bsn, 4 hn, 3 tpt, 3 trb, tuba, timp, 2 hp (or pno), org, strings Reduced instrumentation: 2 fl, ob, 2 cl, 2 bsn, 2 hn, 2 tpt, timp, hp or pno, strings | Walt Whitman , 'Darest thou now, O soul' in Leaves of Grass | c. 1906, rev. 1919 | Kennedy states that the work was 'probably completed in 1906' and 'slightly revised in 1919' (CVW. 37). | 10 October 1907, Leeds Town Hall, Leeds Leeds Festival Chorus and Orchestra, Vaughan Williams (conductor) | Vocal score: Breitkopf & Härtel (1907) Full score: Stainer & Bell (1924) | Yes | To F. H. M. [Florence Maitland (1864-1920), Vaughan Williams's sister-in-law] | BL Add MS 50439: mostly autograph full score BL Add MS 56086: autograph vocal score | 1907/02 | Genesis:
| Genesis:
Reception:
| |||||||
| 2. Vocal | 2.1 Choir, soloists and orchestra | 2.1.09 | The Future | 1908 | Completed by Martin Yates | Yes | Completed posthumously | Soprano solo, chorus and orchestra 3 fl (III=picc), 2 ob (II=ca), 2 cl (II=bcl), 4 hn, 3 tpt, 3 trbn, tuba, timp, perc (2: tgl, SD, BD, Cym (2), Sus.cym, Tam-t), hp, org (opt), strings | Matthew Arnold, 'The Future' | c. 1908, completed by Martin Yates in 2019 | 'It is quite impossible to date this work accurately, but to include it in 1908, after a study of handwriting and other factors of that kind which must be taken into account, seems reasonable' (Kennedy. CVW. 42). | 8 November 2019, Usher Hall, Edinburgh Ilona Domnich (soprano), RSNO Chorus, RSNO, Martin Yates (conductor) | Stainer & Bell (2022) | Not recorded | BL Add MS 57283, ff. 18-35: autograph draft vocal score (incomplete) | The autograph draft vocal score was completed and orchestrated by Marin Yates: see his 'Note' to the published vocal score (Stainer & Bell, (2022)). | 1908/07 | Genesis:
| ||||||||
| 2. Vocal | 2.1 Choir, soloists and orchestra | 2.1.10 | Five Mystical Songs | 1911 | Yes | Yes | Baritone solo, SATB or TTBB chorus (ad lib.), with full orchestra Full instrumentation: 2 fl, 2 ob, 2 cl, 2 bsn, 4 hn, 2 tpt, 3 trb, tuba, timp, hp, strings. Alternative instrumentations: - String orchestra and piano - String quartet and piano | 1. Easter 2. I got me flowers 3. Love bade me welcome 4. The call 5. Antiphon (Let all the world in every corner sing) | George Herbert (1593-1633) | c. 1906-11 | Vaughan Williams wrote to Herbert Thompson in 1911 that the work has ‘been written at odd times during the last five years. They have been revised lately and the song No 3 "Love bade me welcome" was written earlier this year’ (VWL 371). Herbert Thompson reflected this in his programme note for the first performance, stating that Vaughan Williams had been composing the work 'spasmodically for five years, rewriting them in 1910-11' (Kennedy. WVW. 100). | 14 September 1911, Worcester Cathedral (Three Choirs Festival) Campbell McInnes (baritone), Three Choirs Festival Chorus, London Symphony Orchestra, Vaughan Williams (conductor) | Vocal score: Stainer & Bell (c. 1911) | Yes | BL Add MS 56064: autograph full score BL Add MS 50440: solo voice and piano, copies and some autograph; autograph fragment of orchestral score; autograph revised chorus version of no. 5 BL Add MS 57294C: sketches | Choir parts arranged for SSAA by Donald Armstrong, Stainer & Bell (2006) 'The call', in Two pieces arranged for organ by Herbert Byard, Stainer & Bell (1946) 'The call', arr. medium voice and piano, Stainer & Bell (1911) 'The call', for mixed choir and keyboard, arr. Allen Percival, Stainer & Bell (1984) 'The call', for unaccompained voices, arr. Harry D. Bennett, unpublished. Recorded on the album O Radiant Dawn by Apollo 5. VCM Records, VCM123 (2019) 'Let all the world in every corner sing' (Antiphon), for SATB choir or unison voices and piano or organ, Stainer & Bell (1911) Antiphon, arr. for organ by Henry G. Ley, Stainer & Bell (1922) | 1911/02 | Genesis:
| Genesis:
Reception:
| |||||||
| 2. Vocal | 2.1 Choir, soloists and orchestra | 2.1.11 | Fantasia on Christmas Carols | 1912 | Yes | Yes | Baritone solo, SATB chorus, with orchestra. 2 fl, 2 ob, 2 cl, 2 bsn, 4 hn, 3 tpt, tuba, timp, perc (trg, bells (opt.)), org, strings. Alternative instrumentations: - String orchestra and organ or piano - Organ or piano with solo cello (opt.) | Traditional carols: 'The truth sent from above' (The Herefordshire Carol), 'Come all you worthy gentlemen' (The Somerset Carol), and 'On Christmas night' (The Sussex Carol) | c. 1912 | Autograph full score final page dated 18 August 1912. | 12 September 1912, Hereford Cathedral (Three Choirs Festival) Campbell McInnes (baritone), Three Choirs Festival Chorus, London Symphony Orchestra, Vaughan Williams (conductor) | Vocal score: Stainer & Bell (1912) Full score: Stainer & Bell (1924) | Yes | To Cecil Sharp | BL Add MS 50441: autograph full score with printed vocal score cut up and pasted in. | Choir parts arranged for TTBB, by H. W. Pierce, Stainer & Bell (1925) | 1912/06 | Genesis:
| Reception: | |||||||
| 2. Vocal | 2.1 Choir, soloists and orchestra | 2.1.12 | Saraband 'Helen' | 1914 | Completed by Martyn Brabbins | Yes | Completed posthumously | Tenor solo, SATB chorus and orchestra 2 fl, 2 ob, 2 clt, 2 bsn, 4 hn, 2 tpt, 2 trbn, brbn, tuba, perc, hp, strings | Christopher Marlowe, 'Saraband "Helen"' from The Tragical History of the Life and Death of Doctor Faustus | c.1913-14, completed, c. 2018 | 2 December 2018, Watford Colosseum, Watford David Butt Philip (tenor), BBC Symphony Chorus, BBC Symphony Orchestra, Martyn Brabbins (conductor). CD recording: Hyperion CDA 68280 (2020). | Unpublished | Yes | BL Add MS 71492, ff. 9-14: autograph vocal score with indications of orchestration BL Add MS 50455, ff. 1-12: sketches | Kennedy. CVW. 76. | Genesis:
| ||||||||||
| 2. Vocal | 2.1 Choir, soloists and orchestra | 2.1.13 | O Clap Your Hands | 1920 | Motet | Yes | Yes | SATB, organ, brass and percussion (3 tpt, 3 trbn, tuba (ad lib), timp, cym (ad lib)), or, SATB and organ | Psalm 147 | c. 1920 | Based on publication date | Unknown | Stainer & Bell (1920) | Yes | BL Add MS 52601: autograph full score BL Add MS 50442: autograph full score | 1920/02 | Studies:
| Reception:
| ||||||||
| 2. Vocal | 2.1 Choir, soloists and orchestra | 2.1.14 | Lord, Thou Hast Been our Refuge | 1921 | Motet | Yes | Yes | SATB chorus, SATB semi-chorus and orchestra 2 fl, 2 ob, 2 cl, 2 bsn, 4 hn, 2 tpt, 3 trbn, tuba, timp, org, strings May also be performed by: - choirs, strings and organ - choirs and organ | Psalm 90 | c. 1921 | Based on publication date | Unknown | Curwen (1921) | Yes | BL Add MS 52620, ff. 1-6: autograph score in version for voices and organ | 1921/02 | Studies:
| |||||||||
| 2. Vocal | 2.2 Choir | 2.2.01 | Music, when soft voices die | 1891 | Yes | Yes | SATB | Percy Bysshe Shelley (1792-1822) | 1891 | Manuscript marked 'Compositions for Dr Gladstone Easter and summer 1891'. The other two items under this heading are Passacaglia for Organ (1.9.2) and fragment of a minuet and trio for string quartet (4.2.3) | 18 November 1893, Cambridge (Cambridge University Musical Club) W. R. Gurley, R. W. Broadrick, R. S. Trevor, A. M. Moss | Unpublished | Not recorded | BL Add MS 57266, ff. 47-47v | 1891/02 | First performance:
| ||||||||||
| 2. Vocal | 2.2 Choir | 2.2.02 | I heard a voice from heaven | 1891 | Yes | Yes | Tenor and choir | Revelation, 14:13 | 1891 | Manuscript dated Summer term 1891 | Unknown | Unpublished | Not recorded | BL Add MS 57266, ff. 37v-44 (pages in reverse order) | 1891/06 | Studies:
| ||||||||||
| 2. Vocal | 2.2 Choir | 2.2.03 | Gloria in Excelsis | 1891 | Yes | Yes | SATB and organ | Liturgical | 1891 | Dated manuscript. Three versions. 1st: Summer 1891, 'original version'. 2nd: Christmas Term 1891, 'middle version (Dr Parry)'. '3rd & last edition': Christmas Term 1891, 'Done with Dr Parry'. | Unknown | Unpublished | Not recorded | BL Add MS 57267, ff. 1-67: final version and two earlier versions | 1891/05 | |||||||||||
| 2. Vocal | 2.2 Choir | 2.2.04 | Three Vocal Valses from 'The Song of the Wrens' | 1896 | Yes | Yes | SATB and piano | 1. Spring 2. Vine, Vine and Eglantine 3. Winter | Alfred, Lord Tennyson, The Window; or, the Song of the Wrens | 1896 | Dated manuscript: 'Spring': 17 February 1896 'Vine, Vine and Eglantine': 12-16 March 1896 'Winter': 16 March 1896 | Unknown | Unpublished | Yes | BL Add MS 57270, ff. 29-34v | In the manuscript each song is individually subtitled as a 'Vocal Valse', and Vaughan Williams does not use the group title of 'Three Vocal Valses from The Song of the Wrens'. | 1896/01-03 | Genesis:
| ||||||||
| 2. Vocal | 2.2 Choir | 2.2.05 | No longer mourn for me | 1896 | Yes | Yes | SSATBB | William Shakespeare, Sonnet 71 | c. 1895-96 | Although this works was undated Kennedy believed it almost certainly dated from between October 1895 and March 1896, when Vaughan Williams was studying with Stanford at the Royal College of Music. Hugh Cobbe notes the already unusual use of alto and tenor clefs, which would still be appropriate for a college composition exercise. | Unknown | In Two Partsongs, Faber (2007), ed. Hugh Cobbe | Yes | BL Add Ms 57270, ff. 37-40v: draft and a fair copy | 1896/B | Genesis:
| ||||||||||
| 2. Vocal | 2.2 Choir | 2.2.06 | Echo's lament for Narcissuss | 1896 | Completed by David Matthews | Yes | Completed posthumously | Double choir | Ben Jonson, from Cynthia's Revels, Act I | c. 1895-96 | Although this works was undated Kennedy believed it almost certainly dated from between October 1895 and March 1896, when Vaughan Williams was studying with Stanford at the Royal College of Music. Hugh Cobbe notes the already unusual use of alto and tenor clefs, which would still be appropriate for a college composition exercise. | Unknown | In Two Partsongs, Faber (2007), ed. Hugh Cobbe | Yes | BL Add MS 57270, ff. 41-42v | The last two bars, missing from the manuscript, were completed by David Matthews. | 1896/C | Genesis:
| ||||||||
| 2. Vocal | 2.2 Choir | 2.2.07 | Come away death | 1896 | Yes | Yes | SSATB | William Shakespeare, Twelfth Night, Act II, Sc. iv | c.1896-1902 | Kennedy states this was 'probably composed between 1896 and 1902' (Kennedy. CVW. 8). | Unknown | Stainer & Bell (1909) | Yes | BL Add MS 57270, ff. 43-44v | 1899/D | Genesis:
| ||||||||||
| 2. Vocal | 2.2 Choir | 2.2.08 | Three Elizabethan songs | 1899 | Yes | Yes | SATB | I. Sweet Day II. The Willow Song III. O Mistress Mine | I. George Herbert II. William Shakespeare, Othello, Act IV, Sc. 3 III. William Shakespeare, Twelfth Night, Act 2, Sc. 3 | c. 1890s | The exact composition date is unclear. Vaughan Williams wrote that 'the last two bars of my early part song 'The Willow Song' were almost certainly composed by Parry' (VW. NMOE. 182). However, as Kennedy notes, this seems unlikely stylistically, and it was not published until much later (1913), and other authors have given a range of dates: Edwin Evans (1895), Hubert Foss (1891-6), Percy Young (1893?), James Day (1891 and 1896). See Kennedy. CVW. 8-9. | First known performance: 5 November 1913, Shirehampton Public Hall, Avon Avonmouth and Shirehampton Choral Society, Vaughan Williams (conductor) | Joseph Williams (1913), reissued Stainer & Bell | Yes | Unknown | Kennedy notes the first performance is probably the one listed above (earlier performances are possible given that the songs were composed some years previously). | 1899/A | Genesis:
| Reception: | |||||||
| 2. Vocal | 2.2 Choir | 2.2.09 | Rise early sun | 1899 | Completed by Roy Douglas | Yes | Completed posthumously | SATB | Probably Nicholas Gatty | c. 1899 | Based on first performance date | September 1899, Hooton Roberts Choral Society | Unpublished | Not recorded | BL MS Facs Suppl XII (5): copy including composed missing tenor part in Roy Douglas' hand (see notes below) | The autograph manuscript was lost. Parts (excluding the tenor part) were found in Nicholas Gatty's hand in 1972. Roy Douglas composed a missing tenor part and a copy of the reconstructed score is held in the BL archives (Kennedy. CVW. 9-10). | 1899/E | Early reception:
| ||||||||
| 2. Vocal | 2.2 Choir | 2.2.10 | Ring out your bells | 1902 | Yes | Yes | SSATB | Sir Philip Sydney | c. 1902 | Based on speculative date of first performance | c. 1902 | Laudy (c.1904-05), reissued Bosworth | Yes | Lionel Benson Esq. and the members of the Magpie Madrigal Society | Unknown | Kennedy on the first performance: 'Not known, but probably privately by the dedicatees in 1902, although there is no mention of any performance in their full list of programmes' (Kennedy. CVW. 15). Vaughan Williams dedicated a part-song, Rest (2.2.11), to the same performers which was first performed in 1902. This is probably the basis for Kennedy's suggestion of 1902 for Ring out your bells. | 1902/02 | |||||||||
| 2. Vocal | 2.2 Choir | 2.2.11 | Rest | 1902 | Yes | Yes | SSATB | Christina Rossetti | c. 1902 | Based on first performance date | 14 May 1902, St James's Hall, London Magpie Madrigal Society, Lionel Benson (conductor) | Laudy (c.1904-05), reissued Bosworth | Yes | Lionel Benson Esq. and the members of the Magpie Madrigal Society | Unknown | 1902/03 | Early reception:
| Reception:
| ||||||||
| 2. Vocal | 2.2 Choir | 2.2.12 | Fain would I change that note | 1907 | Canzonet | Yes | Yes | SATB | Anonymous, from Captain Tobias Hume, The First Part of Airs (1605) | c. 1907 | Based on publication date | Unknown | Novello (1907) | Yes | Unknown | TTBB, Novello (1927) SSA, Novello (date unknown) | 1907/03 | |||||||||
| 2. Vocal | 2.2 Choir | 2.2.13 | By the Bivouac's Fitful Flame (Nocturne) | 1906 | completed by P. J. Clulow | Yes | Yes | SSAATTBB chorus (unaccompanied) | Walt Whitman, Drum-Taps | c. 1906 | As this work is an alternative version of the Nocturne from the 'Nocturne and Scherzo' (1.5.7) first performed in 1906, it is likely to date from around the same time (see notes). | At the CD recording: 22-23 October 2020 and/or 17 June 2021, St Jude-on-the-Hill, Hampstead Garden Suburb, London Chapel Choir of the Royal Hospital Chelsea, William Vann (conductor) [Earth's Wide Bounds. Albion ALBCD051] | Stainer & Bell (2023) | Yes | BL Add MS 57283, ff. 5-14v. | This choral setting is a version of the first movement of the Nocturne and Scherzo (1.5.7). For some years this work was thought to be the second of the Three Nocturnes (2.3.32), and this is how the work is listed in Kennedy's Catalogue (CVW. 41-2). Subsequently the manuscript of the missing second nocturne, 'Whispers of Heavenly Death' was found which helped to make clear that 'By the Bivouac's Flame' was a standalone composition. The last page of the soprano parts was missing from the manuscript (bars 58 to 85) and was completed by P. J. Clulow. | 1908/05 | Genesis:
| ||||||||
| 2. Vocal | 2.2 Choir | 2.2.14 | Love is a sickness | 1913 | Ballett | Yes | Yes | SATB | Samuel Daniel (1562-1619) | c. 1913 | Based on publication date | Unknown | Stainer & Bell (1913) | Yes | Unknown | 1913/02 | Reception:
| |||||||||
| 2. Vocal | 2.2 Choir | 2.2.15 | O Praise the Lord of Heaven | 1913 | Anthem | Yes | Yes | SATB double choir and SATB semi-chorus | Psalm 148 | c. 1913 | Based on first performance date | 13 November 1913, St Paul's Cathedral, London London Church Choir Association, Henry Walford Davies (conductor) | Stainer & Bell (1914) | Yes | Unknown | A note on the score reads: 'This anthem is intended for a large building and a chorus of some hundreds of voices. The semi-chorus should be about one-sixth of either of the two full choruses. In small choirs the semi-chorus may be sung by 2 Soprani, 1 Alto, 1 Tenor and 1 Bass.' | 1913/03 | Genesis:
| Genesis: | |||||||
| 2. Vocal | 2.2 Choir | 2.2.16 | O Vos Omnes | 1922 | Motet | Yes | Yes | SSAATTBB, with alto solo | Words from the Office of Tenebrae for Maundy Thursday | c. 1922 | Based on first performance date | 13 April 1922, Westminster Cathedral, London Westminster Cathedral Choir, Dr. R. R. Terry (conductor) | Curwen (1922) | Yes | To Dr R. R. Terry | BL Add MS 52620, ff. 7-13: autograph score BL Add MS 50480, ff. 66-71b: autograph score of English version BL Add MS 63545, ff. 9-15v: copy with autograph annotations | With English translation, Curwen (1950) | Kennedy states the English translation published in 1950 is by Maurice Jacobsen (Kennedy. CVW. 91) [check against published score]. Yet Vaughan Williams writes that he has made his own translation in a letter dated 8 June 1943 (VWL 5206). Vaughan Williams also refers to his translation in VWL 5207, VWL 3180, VWL 2081, and VWL 2468 without reference to any input from Maurice Jacobsen. | 1922/02 | Studies:
| Genesis:
| |||||
| 2. Vocal | 2.2 Choir | 2.2.17 | It was a lover and his lass | 1922 | Part song | Yes | Yes | Two voices and piano | William Shakespeare, As You Like It, Act V, Sc. 2 | c. 1922 | Based on publication date | Unknown | Curwen (1922) | Yes | BL Add MS 52620, ff. 14-15b: autograph score | 1922/03 | ||||||||||
| 2. Vocal | 2.2 Choir | 2.2.18 | Mass in G minor | 1922 | Yes | Yes | Double choir and SATB soloists, with optional organ accompaniment | 1. Kyrie 2. Gloria 3. Credo 4. Sanctus 5. Benedictus 6. Agnus Dei | Mass ordinary | c. 1920-21 | 'Probably composed 1920-1' (Kennedy. CVW. 91). The vocal score was published in May 1922 (Kennedy. CVW. 91-2) before the first performance in December 1922. | 6 December 1922, Birmingham Town Hall City of Birmingham Choir, Joesph Lewis (conductor) | Curwen (1922); Faber (1990) | Yes | To Gustav Holst and his Whitsuntide Singers | BL Add MS 50444: autograph score (ff. 1-36); alternative sections adapted for the Communion Service (ff. 37-9) BL Add MS 50443: autograph organ part | Communion Service in G minor: an English language version of the Mass, adapted for use in the Communion Service. Adapted by Maurice Jacobson and revised by Vaughan Williams, Curwen (1923) | 1922/05 | Genesis:
| Genesis:
Reception:
| ||||||
| 2. Vocal | 2.2 Choir | 2.2.19 | Let us now praise famous men | 1923 | Unison song | Yes | Yes | Voices with piano or organ | Ecclesiastes, ch. 44 | c. 1923 | Based on publication date | Unknown | Curwen (1923) | Yes | BL Add MS 57294F: sketch Location of complete manuscript score unknown | For unison voices and orchestra, arr. Arnold Foster, Curwen (1923) For SATB, arr. Maurice Jacobson, Curwen (1959) For SATB and piano, arr. John Leavitt, Vaughan Williams for Choirs 1, Oxford University Press (2020) | Also published in Songs of Praise (enlarged edition), no. 432 | 1923/05 | ||||||||
| 2. Vocal | 2.3 Song | 2.3.01 | Summum Bonum | 1891 | Yes | Yes | Tenor and piano | Robert Browning | 1891 | Vaughan Williams suggests this song was composed in 1891 in his much later broadcast talk 'The Teaching of Parry and Stanford', BBC Third Programme, 1 January 1956, reprinted in VW. VWOM. 316. | Unknown | Unpublished | Yes | BL Add MS 57270, ff. 45-6 | N/A | Genesis and Studies:
| ||||||||||
| 2. Vocal | 2.3 Song | 2.3.02 | Crossing the Bar (First Setting) | 1892 | Yes | Yes | Voice and piano | Alfred Lord Tennyson | c. 1892 | Composition date is editorial suggestion with question mark in British Library manuscript catalogue. | Unknown | Unpublished | ? | BL Add MS 57270, ff. 1-8v | 1892/04 | |||||||||||
| 2. Vocal | 2.3 Song | 2.3.03 | Crossing the Bar (Second Setting) | 1892 | Yes | Yes | Voice and piano | Alfred Lord Tennyson | c. 1892 | Composition date is editorial suggestion with question mark in British Library manuscript catalogue. | Unknown | Unpublished | CHECK which version has been recorded | BL Add MS 57270, ff. 9-10v | 1892/04 | Studies:
| ||||||||||
| 2. Vocal | 2.3 Song | 2.3.04 | Her feet are set in a rugged way | 1890s | Yes | Yes | Voice and piano | Unknown | Unknown | Exact date unknown: manuscript catalogued with other materials from the 1890s. | Unknown | Unpublished | Not recorded | BL Add MS 57270, ff. 54-57v | N/A | |||||||||||
| 2. Vocal | 2.3 Song | 2.3.05 | Prospice | 1890s | Yes | Yes | Voice and piano | Robert Browning | Unknown | Exact date unknown: manuscript catalogued with other materials from the 1890s. | Unknown | Unpublished | Not recorded | BL Add MS 57270, ff. 61-62v | N/A | 0 | ||||||||||
| 2. Vocal | 2.3 Song | 2.3.06 | Wishes | 1893 | Yes | Yes | Mezzo-soprano or baritone and piano | By 'T', printed in the Cambridge Observer (August 1893) | c. 1893 | The composition date is assumed, based on the publication date of the poem. | Unknown | Unpublished | Yes | BL Add MS 57270, ff. 11-12 | 1893/01 | Genesis, Studies:
| ||||||||||
| 2. Vocal | 2.3 Song | 2.3.07 | The Virgin's Cradle Song | 1894 | Yes | Yes | Voice and piano | Samuel Taylor Coleridge | c. 1894 | Based on first performance date | 3 November 1894, Cambridge University Musical Club W. J. L. Higley (voice), Vaughan Williams (piano) | In The Vocalist (April 1905). Also published as an individual song by The Vocalist. Reprinted in Vaughan Williams Song Album, Volume 2. Boosey & Hawkes (1990). | Yes | Lost | 1894/02 and 1905/03 | |||||||||||
| 2. Vocal | 2.3 Song | 2.3.08 | To Daffodils (1st setting) | 1895 | Yes | Yes | Voice and piano | Robert Herrick | 3 July 1895 | Dated autograph manuscript | Unknown | Boosey & Hawkes (digital download) | Yes | BL Add MS 57270, ff. 13-18v | 1895/02 | Genesis:
| ||||||||||
| 2. Vocal | 2.3 Song | 2.3.09 | To Daffodils (2nd setting) | 1903 | Yes | Yes | Voice and piano | Robert Herrick | c. 1903 | John Francis states the manuscript was found at Gunby Hall, Lincolnshire, where Vaughan Williams visited a number of times, and gives a composition date of c. 1903 (CD liner notes, The Song of Love). | Unknown | Unpublished | Yes | BL Add MS 57270, ff. 13-18v. | 1895/02 | Genesis:
| ||||||||||
| 2. Vocal | 2.3 Song | 2.3.10 | Three Rumpelstiltskin Songs | 1895 | Yes | Yes | Voice and piano | 1. Spinning Song 2. Lollipop's Song 3. Rumpelstiltskin's Song | Possible source: Florence, Lady Bell, Fairy Tale Plays and how to Act Them (1896) | 1895 | Kennedy lists the first two songs under 1895 (Kennedy. CVW. 5). The third song is not listed. | Unknown | Unpublished | Yes | BL Add MS 57270, ff. 19-24 | The title 'Three Rumplestiltskin Songs' is not Vaughan Williams' own but was ascribed in the first recording: the songs can be performed either as a group or individually as required. | 1895/03 | Genesis:
| ||||||||
| 2. Vocal | 2.3 Song | 2.3.11 | Dirge for Fidele | 1895 | Yes | Yes | Two mezzo-sopranos and piano, or SSA choir and piano | William Shakespeare, Cymbeline, Act IV, Sc. 2 | c. 1895 | Kennedy: this song was 'probably composed 1895' (Kennedy. CVW. 91). | Unknown | For two mezzo-sopranos and piano: Edwin Ashdown (1922) For SSA choir and piano: Edwin Ashdown (1940) | Yes | Unknown | For organ, arr. Alec Rowley, Edwin Ashdown (1928) | 1922/01 | Genesis:
| |||||||||
| 2. Vocal | 2.3 Song | 2.3.12 | Rondel | 1896 | Yes | Yes | Contralto or baritone and piano | A. C. Swinburne | c. 1895-6 | Although this works was undated Kennedy believed it almost certainly dated from between October 1895 and March 1896, when Vaughan Williams was studying with Stanford at the Royal College of Music. | Earliest known performance: 28 May 1906, Bechstein Hall, London Gregory Hast (baritone), Henry Bird (piano) | Boosey & Hawkes (digital download) | Yes | BL Add MS 57270, ff. 35-6 | 1896/A | Genesis:
| ||||||||||
| 2. Vocal | 2.3 Song | 2.3.13 | How Can the Tree but Wither? | 1896 | Yes | Yes | Mezzo-soprano or baritone and orchestra (or piano) | Lord Vaux Thomas | c.1896 | Kennedy: the work was 'probably composed in 1896' (Kennedy. CVW. 9). According to the British Library manuscript catalogue, the version for voice and piano was written out c. 1920 for the baritone George Parker. | Earliest known performance in version for voice and orchestra: 5 June 1907, Magpie Madrigal Society concert (location unknown), Francis Harford (bass). Earliest performance in version for voice and piano: likely given by George Parker, c. 1920. | For voice and piano: Oxford University Press (1934) For voice and orchestra: unpublished | See notes | For voice and orchestra: BL Add MS 50480, ff. 1-8 For voice and piano: BL Add MS 65188, ff. 1-2v | Recorded: Vaughan Williams's version for voice and piano (and also an arrangement for voice and strings). See discography for details. Not recorded: Vaughan Williams's version for voice and orchestra. | 1899/B | Genesis:
| |||||||||
| 2. Vocal | 2.3 Song | 2.3.14 | Claribel | 1899 | Yes | Yes | Voice and piano | Lord Alfred Tennyson, Juvenilia | c.1897-1899 | Vaughan Williams writes to Ralph Wedgwood in c. March 1906 that his two songs Claribel and Dreamland have just been published, even though 'one was written 9 years ago and the other 7' (VWL 138). In 1910, Vaughan Williams gives the composition date of Claribel as 1896 (VWL 322). Kennedy's Catalogue includes this song among a list of works that 'were probably composed between 1896 and 1902' (Kennedy. CVW. 8). | First known performance: 2 December 1904, Bechstein Hall, London Beatrice Spencer (soprano), Hamilton Harty (piano) | Boosey (1906). Reissued in Ralph Vaughan Williams Song Album, Volume I, Boosey & Hawkes (1985). | Yes | BL Add MS 59796, ff.1-3 | 1899/C | Early reception:
| Genesis:
Reception:
| |||||||||
| 2. Vocal | 2.3 Song | 2.3.15 | Linden Lea | 1901 | A Dorset Folk Song [see notes] | Yes | Yes | Voice and piano | William Barnes (1801-86) | 1901 | Kennedy: 'Although exact dating of the composition of this song is impossible, all the evidence leads to the conclusion that it was written in 1901, "in one afternoon", the composer said' (Kennedy. CVW. 13). A letter from Adeline Vaughan Williams to Ralph Wedgwood supports this dating: sent on 27 December (no year given) it reports that Ralph had sold two songs, 'the first money he has earned in that way' (VWL107). As 'Linden Lea' was his first published song, and it was issued in April 1902, the letter is therefore highly likely to be from 1901, and the song composed earlier that year. | First known performance: 4 September 1902, Hooton Roberts, Rotherham, Yorkshire J. Milner (bass), pianist unknown | In The Vocalist, 1/1 (April 1902). Also published as a separate sheet by The Vocalist in 1902. Reissued by Boosey (1912; 1925 in A; 1939 in G (medium voice); 1940 in F (low voice)), and again in Ralph Vaughan Williams Song Album, Volume I, Boosey & Hawkes (1985). | Yes | To Mrs Edmund Fisher [wife of Vaughan Williams's brother-in-law] | BL Add MS 62906, ff. 1-2v: autograph score BL Add MS 57294B: sketch Edward Johnson Music Library, University of Toronto: autograph copy in G flat (copy in BL MS Facs. Suppl. 13). | All arrangements published by Boosey & Hawkes, unless otherwise stated: - Orchestra, arr. Harold Perry (1950) - Wind band, arr. John W. Stout (1984) - Euphonium and piano, arr. Dennis Masters, Areley Kings: Fortune Music (1990) - Piano solo, arr. Harold Perry (1954) - Descant recorder, with opt. 2nd descant part, arr. Stanley Taylor (1956) - Mixed choir, arr. S. Salter (1929) - SATB choir, arr. Arthur Somervell (1929) - Two treble voices, arr. Alec Rowley (1949) - SSA, arr. Julius Harrison (1938) - ATBB male voice quartet, arr. V. Thomas (1921) - TTBB, arr. Julius Harrison (1950) | Although the song is subtitled 'A Dorset Folk Song' it is an original melody. When the song was republished in 1912 the subtitle was modified to 'A Dorset Song'. In a much later letter Vaughan Williams blames the publisher for incorrectly using the subtitle 'folk song' (VWL 3516). See also Ceri Owen, 'Vaughan Williams', DPhil Thesis, p. 22. In the original publication a version of the words in a Dorset dialect is printed beneath the words. Published in French translation, trans. Lilian Fearn, Boosey & Hawkes (1946) | 1901/01 | Genesis:
| Genesis:
Reception:
| |||||
| 2. Vocal | 2.3 Song | 2.3.16 | Blackmwore by the Stour | 1901 | A Dorset Folk Song [see notes] | Yes | Yes | Voice and piano | William Barnes | 1901 | 'Date of composition unknown, but 1901 is likely' (Kennedy. CVW. 15). A letter from Adeline Vaughan Williams to Ralph Wedgwood supports this dating: sent on 27 December (no year given) it reports that Ralph had sold two songs, 'the first money he has earned in that way' (VWL107). As 'Blackmwore by the Stour' was his second published song, and it was issued in May 1902, the letter is therefore highly likely to be from 1901, and the song composed earlier that year. | 24 July 1901, Wilton House, Salisbury John Campbell McInnes (baritone), piano | In The Vocalist, 1/2 (May 1902). Also published as a separate sheet by The Vocalist in 1902. Reissued by Boosey (1912), and in Ralph Vaughan Williams Song Album, Volume I, Boosey & Hawkes (1985). | Yes | BL Add MS 62906, ff. 3-6: autograph score | Subtitle 'A Dorset folk song'. This is, however, an original melody. A version of the words in a Dorset dialect was also printed beneath the words. The first performance is reported in the Salisbury and Winchester Journal, 27 July 1901. This is earlier than the 1902 performance recorded in Kennedy's Catalogue. | 1902/04 | Early reception:
| Genesis:
Reception:
| |||||||
| 2. Vocal | 2.3 Song | 2.3.17 | Boy Johnny | 1901 | Yes | Yes | Voice and piano | Christina Rossetti | 1901 | A letter from Adeline Vaughan Williams to Ralph Wedgwood sent on 27 December (no year given) reports that Ralph had sold two songs, 'the first money he has earned in that way. Two more are coming out shortly' (VWL107). 'Boy Johnny' was Vaughan Williams's fourth published song, issued in September 1902. The letter is therefore highly likely to be from 1901, and the song composed earlier that year. | 1902 (during Commemoration week), Oxford Performers unknown | In The Vocalist, 1/6 (September 1902). Also published separately by The Vocalist. Reissued by Boosey (1914). Reissued in Ralph Vaughan Williams Song Album, Volume I, Boosey & Hawkes (1985). | Yes | J. Campbell McInnes | Unknown | 1902/07 | Early reception:
| Genesis:
Reception:
| ||||||||
| 2. Vocal | 2.3 Song | 2.3.18 | If I were a Queen | 1902 | Yes | Yes | Voice and piano | Christina Rossetti | c. 1902 | Based on publication date | 16 April 1903, Exeter A. Foxton Ferguson (baritone), Miss Wood (piano) | The Vocalist, 1/8 (November 1902). Also published separately by The Vocalist. Reissued by Boosey (1914). Reprinted in Ralph Vaughan Williams Song Album, vol 2, Boosey & Hawkes (1990). | Yes | Unknown | 1902/08 | Early reception:
| Genesis:
| |||||||||
| 2. Vocal | 2.3 Song | 2.3.19 | Tears, Idle Tears | 1903 | Yes | Yes | Voice and piano | Lord Alfred Tennyson, The Princess | c. 1903 | Based on first performance date. | 5 February 1903, St James's Hall, London Francis Harford (bass), Evlyn Howard-Jones (piano) | In The Vocalist, 2/15 (June 1903). Also published separately by The Vocalist. Reissued by Boosey (1914). Reissued in Ralph Vaughan Williams Song Album, vol 2, Boosey & Hawkes (1990). | Yes | J. Francis Harford | Unknown | 1903/01 | Early reception:
| Genesis:
| ||||||||
| 2. Vocal | 2.3 Song | 2.3.20 | Orpheus with his Lute | 1902 | Yes | Yes | Voice and piano; or voice and small orchestra | Shakespeare, Henry VIII, Act III, Sc. 1 | 1902 | 'The date of composition of this song was 1902' (Kennedy. CVW. 19). | 2 December 1904, Bechstein Hall, London Beatrice Spencer (soprano), Hamilton Harty (piano) | Keith Prowse (1903) Faber digital download (no publication date) | Yes | To Miss Lucy Broadwood | Version for voice and piano: unknown Version for voice and small orchestra: BL Add MS 50480, ff. 9-12b, autograph score | SATB, arr. Frank Tapp. Keith Prowse (1937) SS or SSA, arr. Harry Dexter. Keith Prowse (1952) | This is a different setting from 'Orpheus with his lute', no. 3 of Three Songs from Shakespeare (2.3.37). | 1903/08 | Early reception:
| Genesis:
| ||||||
| 2. Vocal | 2.3 Song | 2.3.21 | When I am Dead, my Dearest | 1903 | Yes | Yes | Voice and piano | Christina Rossetti | c. 1903 | Based on publication date | 28 November 1905, Aeolian Hall, London Alice Venning (soprano), Samuel Liddle (piano) | Keith Prowse (1903) | Yes | Unknown | 1903/09 | Studies:
| ||||||||||
| 2. Vocal | 2.3 Song | 2.3.22 | The Winter's Willow | 1903 | Yes | Yes | Voice and piano | William Barnes | c. 1903 | Mentioned in a letter from Adeline Vaughan Williams dated 16 June, which must have been written in 1903 (VWL 181). | Unknown | In The Vocalist, 2/20 (November 1903). Also published separately by The Vocalist. Reissued by Boosey (1914). Reissued in Ralph Vaughan Williams Song Album, Volume I, Boosey & Hawkes (1985). | Yes | Unknown | 1903/11 | Early reception:
| Genesis:
| |||||||||
| 2. Vocal | 2.3 Song | 2.3.23 | Two Vocal Duets | 1904 | Yes | Yes | Soprano, baritone, solo violin and piano. Also originally performed in a version for soprano, baritone, string quartet (vln 1 obbligato; vln 2, vla and vc ad lib) and piano. | 1. The Last Invocation 2. The Love-song of the Birds | Walt Whitman | 1904 | No. 1 is dated on the autograph manuscript: 'Finished July 23rd 1904 at North End Farm, Danby, Yorkshire' (KC, p. 24). | 24 October 1904, Reading Town Hall Beatrice Spencer (soprano) A. Foxton Ferguson (baritone), Maurice Sons (violin), Dorothy Blount (violin), Alfred Hobday (viola), W. E. Whitehouse (cello), Miss Hedley (piano) | Stainer & Bell (2017) | Yes | BL Add MS 57282, ff. 1-52: various autograph scores and parts, including a full score of no. 1 plus piano scores and parts for both songs. | After the premiere, the songs were performed again on 27 November 1904 at the South Place Sunday Popular Concerts, and on 2 December at the Bechstein Hall, London. They were then withdrawn from circulation. The parts for second violin, viola and cello appear to have been written to accommodate these performing forces at the premiere; they were not used in the subsequent London performances. These three parts exist for song no. 1, but are lost for song no. 2. | 1904/08 | Genesis, early reception and studies:
| Reception:
| |||||||
| 2. Vocal | 2.3 Song | 2.3.24 | The House of Life | 1903 | Yes | Yes | Voice and piano (no. 2 and no. 6 also for voice and orchestra) | 1. Love-Sight 2. Silent Noon 3. Love's Minstrels 4. Heart's Haven 5. Death in Love 6. Love's Last Gift | Dante Gabriel Rossetti | c. 1903 | Kennedy writes that 'it is likely the whole work was composed during 1903' and refers to musical material shared between the last song and Willow-Wood (Kennedy. CVW. 25). VWL 5190 shows that nos 2 and 5 had been composed by 14 February 1903, and possibly also no. 4 (the title of which is crossed out in the letter; for further discussion see Atlas, 'Vaughan Williams, New Letters ...' (2019)). The manuscript of the orchestral version of 'Silent Noon' is dated 14 November 1905. | Whole cycle: 2 December 1904, Bechstein Hall, London Edith Clegg (contralto), Hamilton Harty (piano) Silent Noon: 10 March 1903, St James's Hall, London Francis Harford (bass), Philip L. Agnew (piano) | Whole cycle: Willcocks (1904); reissued Edwin Ashdown (1933) Silent Noon also published separately in advance by Willcocks (1904) | Yes | BL Add MS 50347: autograph full score of 'Silent Noon' for voice and orchestra BL Add MS 57294B: sketch for 'Silent Noon' RCM Library 4129: autograph full score of 'Love's Last Gift' for voice and orchestra | 'Silent Noon', for SATB, arr. Henry Geehl, published by Enoch (1936) 'Silent Noon', for SSA, arr. Henry Geehl, published by Edwin Ashdown (1937) The whole cycle was orchestrated by Maurice Johnstone in 1968. It is unclear whether this set incorporates the composer's own orchestrations of nos 2 and 6. | 1904/09. See also 1903/02. | Genesis:
| Genesis:
Reception: | |||||||
| 2. Vocal | 2.3 Song | 2.3.25 | Songs of Travel | 1904 | Yes | Yes | Voice and piano Nos 1, 3 and 8 also for voice and orchestra (orch. Vaughan Williams): 2 fl (1=picc), 2 ob, 2 cl, 2 bsn, 4 hn, 2 tpt, timp, perc (SD, tgl), hp, strings | 1. The Vagabond 2. Let Beauty Awake 3. The Roadside Fire 4. Youth and Love 5. In Dreams 6. The Infinite Shining Heavens 7. Whither must I wander? 8. Bright is the Ring of Words 9. I have trod the Upward and the Downward Slope | Robert Louis Stevenson | c. 1904 | No. 7 was composed in 1901: a letter from Adeline Vaughan Williams to Ralph Wedgwood, sent on 27 December (no year given), reports that Ralph had sold two songs, 'the first money he has earned in that way. Two more are coming out shortly' (VWL107). 'Whither must I wander' was Vaughan Williams's third published song, issued separately in June 1902. The letter is therefore highly likely to be from 1901, and the song composed earlier that year. Numbers 1-8 were written in time for a first performance in 1904. They were first published in the groupings listed below, and not as a single set. There was no known performance of no. 9 in Vaughan Williams's lifetime and it was first published posthumously in 1960. However, the manuscript 'points strongly, if not indisputably, to a date of composition that is contemporary with the other songs' (Rufus Hallmark, 'Robert Louis Stevenson ...', in VWE, ed. Adams and Wells, 142). | No. 7: 27 November 1902, St James's Hall, London J. Campbell McInnes (baritone), C. A. Lidgley (piano) Nos 1-8: 2 December 1904, Bechstein Hall, London Walter Creighton (baritone), Hamilton Harty (piano) Nos 1, 3 and 8 with orchestra (first known performance): July 1919, Royal College of Music, conducted by Adrian Boult (see notes). Entire cycle: 21 May 1960, broadcast on BBC Home Service Hervey Alan (baritone), Frederick Stone (piano) | No. 7: in The Vocalist, 1/3 (June 1902), reissued Boosey (1912) Nos 1, 3 and 8: Boosey (1905); reissued as Songs of Travel: Part One, Boosey (1907) Nos 2, 4, 5, 6: Boosey (1907); reissued later in the same year by Boosey as Songs of Travel: Part Two Whole cycle: Boosey & Hawkes (1960) | Yes | BL Add MS 50438A-B: orchestral full score of nos 1, 3 and 8 (autograph and copy) BL Add MS 50480, ff. 13-14: no. 9 for voice and piano (autograph) BL Add MS 50480, ff. 76-81b: no. 1 arr. TTBB (unaccompanied), autograph BL Add MS 59796, ff. 7-9: no. 3 for voice and piano (copy) BL Add MS 62906, ff. 7-12: no. 1 and no. 8 for voice and piano (autograph) RCM Library 4128: no. 1 for voice and piano (autograph) | Songs 2, 4-7 and 9 orchestrated by Roy Douglas (other songs already orchestrated by Vaughan Williams) 'The Vagabond' for TTBB (unaccompanied), arr. Vaughan Williams, Boosey & Hawkes (1952) | The first performance of nos 1, 3 and 8 with orchestra: Ursula Vaughan Williams records a performance at the Royal College of Music in July 1919, conducted by Adrian Boult (Ursula VW. RVW. 136). The name of the soloist is not recorded. | 1904/10. See also 1902/06. | Reception ('Whither must I wander?'):
| Genesis:
Reception:
| ||||||
| 2. Vocal | 2.3 Song | 2.3.26 | Ye Little Birds | 1905 | No - lost | Yes | Voice and piano | Thomas Heywood | c. 1905 | Based on first performance date | 3 February 1905, Aeolian Hall, London H. Plunket Greene (baritone), S. Liddle (piano) | Unpublished | N/A - lost work | Unknown | 1905/02 | Early reception:
| ||||||||||
| 2. Vocal | 2.3 Song | 2.3.27 | The Splendour Falls | 1905 | Yes | Yes | Voice and piano | Lord Alfred Tennyson, The Princess, Act IV, Sc. 1 | c. 1905 | Based on publication date | Unknown | In The Vocalist (May 1905). Also published separately by The Vocalist. Reissued by Boosey (1914). Reissued in Ralph Vaughan Williams Song Album, Volume I, Boosey & Hawkes (1985). | Yes | Unknown | 1905/05 | |||||||||||
| 2. Vocal | 2.3 Song | 2.3.28 | Dreamland | 1905 | Yes | Yes | Voice and piano | Christina Rossetti | c. 1897-9 | Vaughan Williams writes to Ralph Wedgwood in c. March 1906 that his two songs Claribel and Dreamland have just been published, even though 'one was written 9 years ago and the other 7' (VWL 138). | 31 October 1905, Aeolian Hall, London Gervase Elwes (tenor), Frederick B. Kiddle (piano) | Boosey (1906). Reissued in Ralph Vaughan Williams Song Album, Volume I, Boosey & Hawkes (1985). | Yes | BL Add MS 59796, ff. 10-12 | 1905/07 | Studies:
| Genesis:
| |||||||||
| 2. Vocal | 2.3 Song | 2.3.29 | The Rock of Rubies | 1906 | No - lost | Yes | Voice and piano | Robert Herrick | c. 1906 | A performance of this song was reported in the London Evening Standard, May 1906. It is not known if this was the first performance. No further record of this song has been found. See John Francis, 'In His Time' (reference below). | May 1906, Aeolian Hall, London Hilda Foster (voice), Kate Eadie or Raphael Roche (piano) | Unpublished | No | Unknown | N/A | Genesis and early reception:
| ||||||||||
| 2. Vocal | 2.3 Song | 2.3.30 | Buonaparty | 1908 | Yes | Yes | Voice and piano | Thomas Hardy, The Dynasts, Act I, Sc. 1 | 1908 | 'Composed in 1908' (Kennedy. CVW. 41). | Unknown | Boosey (1909). Reissued in Ralph Vaughan Williams Song Album, vol 2, Boosey & Hawkes (1990). | Yes | BL Add MS 59796, ff. 13-14: autograph | 1908/03 | Genesis:
| Genesis:
| |||||||||
| 2. Vocal | 2.3 Song | 2.3.31 | The Sky Above the Roof | 1908 | Yes | Yes | Voice and piano | Paul Verlaine, 'Le Ciel est pardessus le toit', translated Mabel Dearmer | 1908 | 'Composed in 1908' (Kennedy. CVW. 41). | Unknown | Boosey (1909). Reissued in Ralph Vaughan Williams Song Album, Volume I, Boosey & Hawkes (1985). | Yes | BL Add MS 59796 | 1908/04 | Genesis:
| Reception:
| |||||||||
| 2. Vocal | 2.3 Song | 2.3.32 | Three Nocturnes | 1908 | Nos 1 and 3 orchestrated by Anthony Payne. | Yes | Completed posthumously | Medium voice and orchestra. 3 fl (III=picc), ob, ca, 2 cl, 2 bsn, 4 hn, 2 tpt, 2 trbn, btrbn, tuba, pec (1: Sus,cym, BD), hp, strings | I. Smile O Voluptuous Cool-Breath'd Earth II. Whispers of Heavenly Death III. Out of the Rolling Ocean | Walt Whitman, Drum Taps | 1908 | Manuscript of No. 2 dated 11 January 1908, and manuscripts of nos 1 and 3 dated 18 August 1908. Nos 1 and 3 were orchestrated by Anthony Payne in 2014. | No. 2: 18 August 2001, Three Choirs Festival, Gloucester Pamela Helen Stephen (mezzo-soprano), Philharmonia Orchestra, Richard Hickox (conductor) Nos 1 and 3: 12-13 October 2015, Maida Vale Recording Studios Roderick Williams (baritone), BBC Symphony Orchestra, Martyn Brabbins (conductor) | No. 2: Faber (2013) Three Nocturnes: Faber (2017) | Yes | BL Add MS 57283, ff. 1-4v: condensed score for baritone and orchestra of nos 1 and 3 BL MS Mus. 1752/1/1, ff. 1-9: autograph full score | Vaughan Williams made a different setting of 'Whispers of Heavenly Death' for voice and piano which is the first of Three Poems by Walt Whitman (2.3.39). | 1908/05 | Genesis:
| |||||||
| 2. Vocal | 2.3 Song | 2.3.33 | On Wenlock Edge | 1908 | Yes | Yes | Tenor, string quartet (ad lib.) and piano; or, tenor and orchestra Instrumentation: 2 fl, ob, 2 cl, 2 bsn, 4 hn, 2 tpt, 3 trb, timp, perc, cel, hp, strings | 1. On Wenlock Edge 2. From far, from eve and morning 3. Is my team ploughing? 4. Oh, when I was in love with you 5. Bredon Hill (In summertime on Bredon) 6. Clun | A. E. Housman, A Shropshire Lad | c. 1908-09 | In 1910, Vaughan Williams gives the composition dates of On Wenlock Edge as 1906-09 (VWL 322). Kennedy suggests that 'during 1908, after returning from Paris, Vaughan Williams immediately set to work on his G minor quartet and the settings of Housman's Shropshire Lad poems' (Kennedy. WVW. 91). The first performance of No. 3 on 25 January 1909 'establishes that this song was almost certainly composed in 1908. Whether the other items of On Wenlock Edge ... had also been written by this time is not known' (Kennedy. CVW. 42). In a letter to Michael Kennedy, Vaughan Williams wrote that he did not know when he made the orchestral version. Kennedy suggests 'it seems obvious, though, that 1921-3 would cover the likely date', given that another orchestral version was made by Eric DeLamarter and performed in 1921 (Kennedy. CVW. 43). | No. 3: 25 January 1909, Aeolian Hall, London Gervase Elwes (tenor), Frederick Kiddle (piano) Full cycle: 15 November 1909, Aeolian Hall, London Gervase Elwes (tenor), Frederick Kiddle (piano), Schwiller Quartet Version for tenor and orchestra: 24 January 1924, Queen's Hall, London John Booth (tenor), Orchestra, Vaughan Williams (conductor) | Original version: Novello (1911); reissued, Boosey (1942) Orchestral version: Boosey & Hawkes (1994) | Yes | BL Music Loan 91.8: score of nos 5 and 6 (original version) BL Add MS 57294C: sketchbook including sketches for no. 6 BL MS Mus 1752/1/5/1, ff. 2-22: sketchbook including sketches for On Wenlock Edge BL MS Mus 153: autograph of the version for full orchestra | Arr. for tenor and orchestra by Eric DeLamarter, unpublished, performed 1 and 2 April 1921 by Lambert Murphy (tenor), Chicago Symphony Orchestra, Eric DeLamarter (conductor). | 1909/01 | Genesis:
| Genesis:
Reception:
| |||||||
| 2. Vocal | 2.3 Song | 2.3.34 | Four Hymns | 1914 | Yes | Yes | Tenor, viola and piano; or, tenor, viola and string orchestra | 1. Lord! come away 2. Who is this fair one? 3. Come love, come Lord 4. Evening hymn | 1. Bishop Jeremy Taylor 2. Isaac Watts 3. Richard Crashaw 4. Greek text, trans. Robert Bridges | c. 1914 | Although Kennedy’s Catalogue states the Four Hymns were ‘in proof in July 1914’, Vaughan Williams’s letter to Herbert Thompson, from 10 July 1914, suggests the work is at an earlier stage: ‘the supposed Worcester work is really not begun yet (I always told Atkins I should probably not be able to do anything – but if I did finish any thing in time he could have it … if it does materialize it will take the form of “Four Hymns” for Tenor voice accompanied by string orchestra & viola obligato [sic]’ (VWL 407). On 17 August 1914, Adeline Vaughan Williams acknowledged the delay in a letter to Martin Shaw by writing that ‘Steuart Wilson has turned soldier so the hymns must wait for happier times’ (VWL 4314). In a letter from 8 June 1918, Vaughan Williams states the work was printed by Boosey ‘just before the war but never published’ (VWL 444). | With string orchestra accompaniment: 26 May 1920, Empire Theatre, Cardiff Steuart Wilson (tenor), Alfred Hobday (viola), London Symphony Orchestra, Julius Harrison (conductor) With piano accompaniment: unknown | For tenor, viola and piano: Boosey (1920), reprinted 1967. New edition: Boosey & Hawkes (2015). For tenor, viola and string orchestra: Boosey & Hawkes (2015). | Yes | J. S. W. [Sir Steuart Wilson] | Unknown | For tenor and piano quintet, unknown arranger. (This was performed on 27 March 1925, Aeolian Hall, London, by the Snow Quartet and Anthony Bernard (piano). See Kennedy. CVW. 75.) | 1914/02 | Genesis:
| Genesis:
Reception:
| ||||||
| 2. Vocal | 2.3 Song | 2.3.35 | Merciless Beauty | 1921 | Three Rondels | Yes | Yes | Voice and string trio or piano | 1. Your eyën two 2. So hath your beauty 3. Since I from love | Geoffrey Chaucer | c. 1921 | Based on first performance date | 4 October 1921, Aeolian Hall, London Steuart Wilson (tenor), Dorothy Longman (violin), Kitty Farrer (violin), Valentine Orde (cello) | Curwen (1922); Faber (1995) | Yes | BL Add MS 63545, ff. 1-8v: parts, copied, with autograph annotations | 1921/11 | Early reception:
| Reception:
| |||||||
| 2. Vocal | 2.3 Song | 2.3.36 | Two Poems by Seumas O'Sullivan | 1925 | Yes | Yes | Voice and piano | 1. The Twilight People 2. A Piper | Seumas O'Sullivan | c. 1925 | Based on first performance date | 27 March 1925, Aeolian Hall, London Steuart Wilson (tenor), Anthony Bernard (piano) | Oxford University Press (1925); 'The Twilight People' reprinted in Vaughan Williams Collected Songs, vol. 2, Oxford University Press (2006). | Yes | Unknown | 1925/01 | Reception:
| |||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.01 | The Willow Song | 1897 | Yes | Yes | Voice and piano | Traditional English tune | 19 February 1897 | Dated autograph manuscript | Unknown | Unpublished | Yes | BL Add MS 71492, ff. 1-2 | Not to be confused with no. 2 of Three Elizabethan Songs, which shares the same title. | 1897/01 | Genesis:
| |||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.02 | Three Old German Songs | 1902 | Yes | Yes | Voice and piano | 1. Entlaubet ist der Walde (or 'Abschied') 2. Wanderlied 3. Der Morgenstern | Traditional, trans. Walter Ford | c. 1902 | Based on date of the first performance of no. 1. Numbers 2 and 3 may have been written later. | No. 1 only: 27 November 1902, St James's Hall, London J. Campbell McInnes (baritone), C. A. Lidgley (piano) No. 2: 10 November 1905, Leighton House, London (during lecture by Walter Ford) Walter Ford, unknown pianist | Songs 1 and 2: Two Old German Songs, Oxford University Press (1937) Song 3: unpublished | Yes | Walter Ford | BL Add MS 50480, ff. 36-46 | 1902/05 | Genesis:
| Reception: | |||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.03 | Adieu | 1903 | Yes | Yes | Soprano, baritone and piano | German folk song, trans. A. Foxton Ferguson | c. 1903 | Based on first performance date | 16 April 1903, Exeter Kathleen Wood (soprano), A. Foxton Ferguson (baritone), Ms Wood [Kathleen Wood's sister] (piano) | The Vocalist, 2/19 (October 1903). Also published separately by The Vocalist. Reissued with 'Think of Me' (2.4.04) in Two Old Airs Boosey & Hawkes (1933), and Vaughan Williams Song Album, vol 2, Boosey & Hawkes (1990). | Yes | Unknown | This is the first of a group of three German folk songs. It was published together with the second song 'Think of Me' (2.4.04). The last song, Cousin Michael (2.4.05), appears not to have been published and is lost. | 1903/05 | Early reception:
| Reception: | ||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.04 | Think of Me | 1903 | Yes | Yes | Soprano, baritone and piano | German folk song, trans. A. Foxton Ferguson | c. 1903 | Based on publication date | 22 March 1904, Steinway Hall, London Beatrice Spencer (soprano), A. Foxton Ferguson (baritone), Ernest Walker (piano) | The Vocalist, 2/19 (October 1903). Also published separately by The Vocalist. Reissued with 'Adieu' (2.4.03) in Two Old Airs Boosey & Hawkes (1933), and Vaughan Williams Song Album, vol 2, Boosey & Hawkes (1990). | Yes | Unknown | This is the second of a group of three German folk songs. It was published together with the first song 'Adieu' (2.4.03). The last of the group 'Cousin Michael' (2.4.05) appears not to have been published and is lost. | 1903/06 | Early reception:
| Reception:
| ||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.05 | Cousin Michael | 1903 | No - lost | Yes | Soprano, baritone and piano | German folk song, trans. A. Foxton Ferguson | c. 1903 | Based on first performance date | 16 April 1903, Exeter Kathleen Wood (soprano), A. Foxton Ferguson (baritone), Ms Wood [Kathleen Wood's sister] (piano) | Unpublished | N/A - lost work | Unknown | This is the last of a group of three German folk songs. The first two were published: 'Adieu' (2.4.03), and 'Think of Me' (2.4.04). This song appears not to have been published and is lost. | 1903/07 | Early reception:
| |||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.06 | Réveillez-vous, Piccars | 1903 | Yes | Yes | Voice and piano | French 15th-century battle song. Trans. Paul England | c. 1903 | Based on first performance date | 19 October 1903, Church Room, South Street, Eastbourne (lecture-recital) Walter Ford (baritone), unknown pianist | Boosey (1907), reissued in Vaughan Williams Song Album, vol 2, Boosey & Hawkes (1990). | Yes | BL Add MS 59796, ff. 4-6 | 1903/10 | Early reception:
| ||||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.07 | Jean Renaud | 1904 | Yes | Yes | Voice and piano | Traditional French song | c. 1904 | Based on first performance date | 11 February 1904, St James's Hall, London Francis Harford (bass), May Christie (piano) | Unpublished | Yes | BL Add MS 71492, ff. 3-8 | 1904/01 | Genesis:
| ||||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.08 | L'amour de Moy | 1904 | Yes | Yes | Voice and piano | French 15th-century song, trans. Paul England | c. 1904 | Based on first performance date | 11 February 1904, St James's Hall, London Francis Harford (bass), May Christie (piano) | Boosey (1907). Reissued in Ralph Vaughan Williams Song Album, Volume I, Boosey & Hawkes (1985). | Yes | Unknown | 1904/02 | Genesis:
| ||||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.09 | Two French Folk Songs | 1904 | Yes | Yes | Voice and piano | 1. Chanson de quête 2. La Ballade de Jésus Christ | Traditional | 1904 | 'Despite date of publication it seems certain that these songs belong to 1904 when Vaughan Williams was arranging French songs' (Kennedy. CVW. 27). | Unknown | Oxford University Press (1935) | Not recorded | Unknown | 1904/11 | ||||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.10 | Quant li Louseignolz (Quand le Rossignol) | 1904 | Yes | Yes | Voice and piano | Traditional | c. 1904 | Based on first performance date | 18 November 1904, Leighton House, London (lecture-recital) Walter Ford (tenor), Henry Bird (piano) | Unpublished | Not recorded | BL Add MS 57282, ff. 53-4 | 1904/12a | Genesis:
| ||||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.11 | Le Psaume des Batailles (Que Dieu se Montre Seulement) | 1905 | Yes | Yes | Voice and piano | Genevan Psalter (1539) | c. 1905 | Based on first performance date | 30 January 1905, Leighton House, London (lecture-recital) Walter Ford (tenor), Henry Bird (piano) | Unpublished | Yes | BL Add MS 57282, ff. 55-6 | 1904/12b | Genesis:
| ||||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.12 | Folk Songs from the Eastern Counties | 1908 | Yes | Yes | Voice and Piano | Songs from Essex 1. Bushes and briars 2. Tarry trowsers 3. A bold young farmer 4. The lost lady found 5. As I walked out 6. The lark in the morning Songs from Norfolk 7. On board a ninety-eight 8. The Captain's apprentice 9. Ward the pirate 10. The saucy bold robber 11. The bold Princess Royal 12. The Lincolnshire farmer 13. The Sheffield apprentice Songs from Cambridgeshire 14. Geordie 15. Harry the tailor | c. 1903-08 | These songs were collected by Vaughan Williams between 1903 and 1906 and subsequently arranged before publication in 1908. | Unknown | Vol. 2. of the series Folk Songs of England, edited by Cecil Sharp, Novello (1908) Reprints: No. 11 reprinted as separate item, Novello (1926) Nos 2 and 9 reprinted as separate items, Novello (1927) No. 10 reprinted as separate item, Novello (1936) Whole collection reprinted in Cecil Sharp (ed.), English County Folk Songs (Novello, 1961) | Yes | These arrangements of Folk-tunes are gratefully dedicated to those who first sang them to me. R.V.W. | Unknown | 1908/01 | Genesis:
| |||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.13 | Bushes and Briars (TTBB) | 1908 | Yes | Yes | TTBB | c. 1908 | Based on publication date | Unknown | Novello (1908), reissued 1956 | Yes | Unknown | 1908/01 | ||||||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.14 | The Jolly Ploughboy | 1908 | Yes | Yes | TTBB | c. 1908 | Based on publication date | Unknown | Novello (1908) | Yes | Unknown | 1908/02 | Reception:
| |||||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.15 | Down Among the Dead Men | 1906 | Yes | Yes | TTBB | c. 1906 | Vaughan Williams originally arranged this tune as part of his incidental music for a staging of The Pilgrim's Progress (3.3.01). That earlier version omits verse 1. | Unknown | Joseph Williams (1912) | Yes | BL Add MS 70934, ff. 7-8 | 1912/01 | ||||||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.16 | The Spanish Ladies | 1912 | Yes | Yes | Voice and piano | c. 1912 | Based on publication date | Unknown | Boosey (1912), reissued in Vaughan Williams Song Album: Volume I, Boosey (1985). | Yes | Unknown | Vaughan Williams also arranged 'The Spanish Ladies' for soloist and mixed choir (2.4.32), and soloist and orchestra (). CHECK | 1912/02 | cross-ref later setting from the 1940s | ||||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.17 | Alister McAlpine's Lament | 1912 | Yes | Yes | SATB | Scottish air | c. 1912 | Based on publication date | Unknown | Curwen (1912) | Yes | Unknown | 1912/03 | |||||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.18 | The Winter is Gone | 1912 | Yes | Yes | TTBB | English folk song | c. 1912 | Based on publication date | Unknown | Novello (1912) | Yes | Unknown | 1912/04 | Reception:
| ||||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.19 | Folk Songs for Schools, Set VI | 1912 | Yes | Yes | Arr. for voice and piano by Vaughan Williams, ed. W. G. McNaught | 1. The jolly plough boy 2. The cuckoo and the nightingale 3. Servant man and husbandman 4. The female highwayman 5. The carter 6. I will give my love an apple 7. My boy Billy 8. Down by the riverside 9. The fox 10. Farmyard song 11. The painful plough | c. 1912 | Based on publication date | Unknown | Novello (1912). No. 232 in the series Novello's School Songs. Each individual song also published separately. No. 1 reprinted in A Selection of Collected Folk-Songs, Vol. 2, Novello (1917). Nos 4-11 reprinted in A Selection of Collected Folk-Songs, Vol. 1, Novello (1914). | Yes | Unknown | 1912/07 | |||||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.20 | Folk Songs from Sussex | 1912 | Yes | Yes | Voice and piano. Nos. 6 and 11 also have a violin part (ad lib.). | 1. Bold General Wolfe 2. Low down in the broom 3. The thresherman and the squire 4. The pretty ploughboy 5. O who is that that raps at my window? 6. How cold the wind doth blow (or, The unquiet grave) 7. Captain Grant 8. Farewell, lads 9. Come all you worthy Christians 10. The Turkish lady 11. The seeds of love 12. The maid of Islington 13. Here's adieu to all judges and juries 14. Lovely Joan | c. 1912 | Based on publication date | Unknown | Vol. 5 of the series Cecil Sharp (ed.), Folk Songs of England, Novello (1912) Whole collection reprinted in Cecil Sharp (ed.), English County Folk-Songs, Novello (1961) | Yes | Unknown | In addition to the fourteen accompaniments by Vaughan Williams, this publication also includes 'The isle of France', with an accompaniment by Albert Robins. | 1912/08 | Genesis:
| |||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.21 | Ward the Pirate (voices and orchestra) | 1912 | Yes | Yes | Unison voices and orchestra 2 fl, 2 ob, 2 cl, 2 bsn, timp, tgl, Cym, strings | c. 1912 | Kennedy states: 'I date this arrangement 1912 in view of the amount of folk-song settings which the composer made at this time. Some of the copying is in the same distinctive hand as much of the Greek Plays music' (Kennedy. CVW. 64). | Unknown | Unpublished | Yes | BL Add. MS 71484, ff.2-35: full score and parts, copies | 1912/10 | ||||||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.22 | Tarry Trowsers | 1912 | Yes | Yes | Unison voices and orchestra 2 fl, 2 ob, 2 cl, 2 bsn, timp, tgl, Cym, strings | c. 1912 | Although Kennedy does not comment on dating evidence, his remarks about Ward the Pirate (2.4.21) may also apply: 'I date this arrangement 1912 in view of the amount of folk-song settings which the composer made at this time. Some of the copying is in the same distinctive hand as much of the Greek Plays music' (Kennedy. CVW. 64). | Unknown | Unpublished | Not recorded | BL Add MS 71484, ff. 36-38: score, copy | 1912/11 | ||||||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.23 | And all in the Morning (On Christmas Day) | 1912 | Yes | Yes | SATB and orchestra 2 fl, 2 ob, 2 cl, 2 bsn, timp, tgl, Cym, strings | c. 1912 | Although Kennedy does not comment on dating evidence, his remarks about Ward the Pirate (2.4.21) may also apply: 'I date this arrangement 1912 in view of the amount of folk-song settings which the composer made at this time. Some of the copying is in the same distinctive hand as much of the Greek Plays music' (Kennedy. CVW. 64). | Unknown | Unpublished | Not recorded | BL Add. MS 71484, ff. 39-78: score and parts, copies | 1912/12 | ||||||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.24 | The Carter | 1912 | Yes | Yes | Unison voices and orchestra 2 fl, 2 ob, 2 cl, 2 bsn, 2 hn, 2 tpt, 2 trbn, timp, perc, hp, strings | c. 1912 | There is no firm dating evidence, however Kennedy assigns this work to 1912. His notes on 2.4.21 may also apply: 'I date this arrangement 1912 in view of the amount of folk-song settings which the composer made at this time. Some of the copying is in the same distinctive hand as much of the Greek Plays music' (Kennedy. CVW. 64). | Unknown | Unpublished | Not recorded | BL Add. MS 71485, ff. 1-20: score and parts, copies, with autograph flute part | 1912/13 | ||||||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.25 | Minehead Hobby-Horse | 1912 | Yes | Yes | For orchestra Fl, Picc., ob, bsns, clts, hn, tpt, tgl, BD, pno, strings. CHECK need to recategorise in 1.2 | c. 1912 | There is no firm dating evidence, however Kennedy assigns this work to 1912. His notes on 2.4.21 may also apply: 'I date this arrangement 1912 in view of the amount of folk-song settings which the composer made at this time. Some of the copying is in the same distinctive hand as much of the Greek Plays music' (Kennedy. CVW. 64). | Unknown | Unpublished | Not recorded | BL Add. MS 71485, ff. 21-46: full score, short score (both autograph), and parts (copies) | 1912/14 | Genesis:
| 1 | ||||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.26 | Phil the Fluter's Dancing | 1912 | Yes | Yes | Flute and strings CHECK instrumentation. If no voice need to recategorise in 1.2 | c. 1912 | There is no firm dating evidence, however Kennedy assigns this work to 1912. His notes on 2.4.21 may also apply: 'I date this arrangement 1912 in view of the amount of folk-song settings which the composer made at this time. Some of the copying is in the same distinctive hand as much of the Greek Plays music' (Kennedy. CVW. 64). | Unknown | Unpublished | Not recorded | BL Add. MS 71485, ff. 3-20: parts, copies | 1912/15 | 1 | |||||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.27 | Ward the Pirate (TTBB) | 1912 | Yes | Yes | TTBB | c. 1912 | Based on publication date | Unknown | Curwen (1912) | Yes | Unknown | 1908/01 | Reception:
| |||||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.28 | Mannin Veen | 1912 | Yes | Yes | SATB | c. 1912 | 'This song was probably arranged in 1912 or earlier, as the last page of the score bears an imprint "336/5.12". It was not released until 1913' (Kennedy. CVW. 65). | Unknown | Curwen (1913); reissued in The Novello Book of British Folksongs (Novello, 2015) | Yes | Unknown | 1913/01 | ||||||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.29 | Five English Folk Songs | 1913 | Yes | Yes | SATB | 1. The dark-eyed sailor 2. The springtime of the year 3. Just as the tide was flowing 4. The lover's ghost 5. Wassail song | c. 1913 | Based on publication date | First performance of nos. 1, 3 and 5: 1 May 1914, Guy's Hospital Guy's Hospital Musical Society, W. Denis Browne (conductor). (Source: Kennedy. CVW. 66) First performances of the whole set: 7 May 1914, Winter Gardens, Morecambe Individual competition choirs in the afternoon. Followed by a performance by the massed choir conducted by Dr McNaught. (Source: Liverpool Post, in Francis. VW Timeline.) | Stainer & Bell (1913) Each item also published individually, Stainer & Bell (1920) | Yes | Unknown | 1913/04 | Early reception:
| Reception: | |||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.30 | Selection of Collected Folk Songs, Vol. 1 | 1912 | Thirty-six songs | Arranged by Cecil Sharp and Ralph Vaughan Williams | Yes | Yes | Voice and piano | The arrangements by Vaughan Williams were: 8. Down by the riverside 9. Farmyard song 12. I will give my love an apple 15. My boy Billy 22. The carter 25. The female highwayman 26. The fox 31. The painful plough | c. 1912 | Dating: the songs arranged by Vaughan Williams were previously published in Folk Songs for Schools, Set VI (1912). | Unknown | Novello (undated; c. 1914) | Not recorded | Unknown | The copyrights in the book as a whole range between 1908 and 1913. The exact year of publication of the collection is unknown. | 1917/01 | ||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.31 | Motherland Song Book, Vol. 3 | 1919 | Sea songs | Arranged by Vaughan Williams and others | Yes | Yes | Unison and mixed voices, and piano (opt.) | Folk and traditional songs arranged by Vaughan Williams: 6. Jack the Sailor (for TTBB with or without piano accompaniment) 8. We be three poor mariners (for TTB or mixed voices unaccompanied) The volume also contains two arrangements by Vaughan Williams of other composers' music. For these see 4.3.05 and 4.3.06. | c. 1919 | Based on publication date | Unknown | Stainer & Bell (c. 1919) | Yes | Unknown | 1919/03 | |||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.32 | Motherland Song Book, Vol. 4 | 1919 | Yes | Yes | Solo voice (or unison voices), SATB chorus ad lib., and piano | Arrangements by Vaughan Williams: 1. The golden vanity 3. Just as the tide was flowing 9. The Spanish ladies | c. 1919 | Based on publication date | Unknown | Stainer & Bell (c. 1919) | Yes | Unknown | Vaughan Williams also arranged the 'The Spanish Ladies' for voice and piano (2.4.16), and voice and orchestra (). CHECK | 1919/04 | cross-ref later arrangement for voice and orchestra. | |||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.33 | Eight Traditional English Carols | 1919 | Yes | Yes | Voice and piano; or SATB | 1. And all in the morning 2. On Christmas night [Sussex Carol] 3. The twelve Apostles 4. Down in yon forest 5. May-Day Carol 6. The truth sent from above 7. The birth of the Saviour 8. The wassail song | c. 1919 | Based on publication date | Unknown | Stainer & Bell (1919) Nos 2, 4, 5 and 6 are also reprinted in the Oxford Book of Carols (1928). See 2.5.05. | Yes | Unknown | For SATB and piano, arr. John Leavitt, Vaughan Williams for Choirs 1, Oxford University Press (2020). | 1919/05 | Reception:
| |||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.34 | The Turtle Dove (TTBB) | 1919 | Yes | Yes | TTBB with baritone solo (and piano ad lib) | c. 1919 | Based on publication date | Unknown | Curwen (1919), reissued Curwen/Robertson (1947) | Yes | Unknown | Vaughan Williams also arranged this folk song for SSATB with baritone solo (2.4.44), and unison voices with piano or orchestra. | 1919/06 | |||||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.35 | Twelve Traditional Carols from Herefordshire | 1920 | 'Collected, edited and arranged ... by Mrs E. M. Leather and R. Vaughan Williams.' | Yes | Yes | Voice and piano, or SATB unaccompanied | 1. The Holy Well (1st version) 2. The Holy Well (2nd version) 3. Christmas Now is Drawing Near at Hand 4. Joseph and Mary 5. The Angel Gabriel 6. God Rest you Merry, Gentlemen 7. New Year's Carol 8. On Christmas Day 9. Dives and Lazarus 10. The Miraculous Harvest 11. The Saviour's Love 12. The Seven Virgins | c. 1920 | Based on publication date | Unknown | Stainer & Bell (1920) Revised edition: ed. Roy Palmer, Stainer & Bell (2011) | Yes | BL Add MS 58372K: autograph of no. 9 only No manuscript survives for the other songs | No. 6: for SATB and piano, arr. John Leavitt, Vaughan Williams for Choirs 1, Oxford University Press (2020). | 1920/04 | Genesis:
| ||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.36 | The Mermaid | 1921 | Yes | Yes | Solo or unison voices, with SATB refrain ad lib., with piano accompaniment | Traditional | c. 1921 | Based on publication date | Unknown | Stainer & Bell (1921) | Yes | Unknown | 1921/06 | |||||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.37 | The Farmer's Boy | 1921 | Old English Air | Yes | Yes | TTBB | c. 1921 | Based on publication date | Unknown | Stainer & Bell (1921) | Yes | Unknown | 1921/08 | Reception:
| ||||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.38 | Loch Lomond (TTBB) | 1921 | Scottish Air | Yes | Yes | TTBB and baritone solo | c. 1921 | Based on publication date | Unknown | Stainer & Bell (1921) | Yes | Unknown | 1921/09 | Reception:
| ||||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.39 | Ca' the Yowes | 1922 | Scottish Folk Song | Yes | Yes | SATB and tenor solo | Robert Burns, from 'Hark! the Mavis' | c. 1922 | Based on publication date | Unknown | Curwen (1922) | Yes | BL Add MS 52620, ff. 16-20b: autograph score | For TTBB and baritone solo, arr. Herbert Pierce, Curwen (1925) | 1922/04 | |||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.40 | High Germany | 1923 | Folk song | Yes | Yes | TBarTBarB, with piano accompaniment ad lib. | c. 1923 | Based on publication date | Unknown | Stainer & Bell (1923) | Yes | Unknown | 1923/01 | |||||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.41 | The seeds of love | 1923 | Yes | Yes | TB unison voices with TTBB chorus, with optional piano accompaniment | c. 1923 | Based on publication date | Unknown | Stainer & Bell (1923) | Yes | Unknown | 1912/08 | ||||||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.42 | A farmer's son so sweet (TBB) | 1923 | Yes | Yes | TBB with optional piano | c. 1923 | Based on publication date | Unknown | Stainer & Bell (1923) | Yes | To the English Singers | BL Add MS 59536: draft autograph | 1921/14 | |||||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.43 | Bushes and Briars (SATB) | 1924 | Yes | Yes | SATB | c. 1924 | Based on publication date | Unknown | Novello (1924); reissued in The Novello Book of British Folksongs (Novello, 2015) | Yes | To the English Singers | Unknown | 1908/01 | |||||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.44 | The Turtle Dove (SSATB) | 1924 | Yes | Yes | SSATB with baritone solo | c. 1924 | Based on publication date | Unknown | Curwen (1924) | Yes | Unknown | Vaughan Williams also arranged this folk song for TTBB with baritone solo (2.4.34), and unison voices with piano or orchestra. | 1919/06 | |||||||||||
| 2. Vocal | 2.5 Hymnals | 2.5.01 | The English Hymnal | 1906 | Edited by Ralph Vaughan Williams and Percy Dearmer | Yes | Yes | 1904-06 CHECK | CHECK VW's own account of this | London: Oxford University Press (1906) | Yes | Unknown | CHECK hymnal entries | 1906/01 | Genesis:
| Genesis:
Reception:
Revised edition (1933):
Further reception:
| 3 | |||||||||
| 2. Vocal | 2.5 Hymnals | 2.5.02 | Church Songs | 1911 | Arranged by Vaughan Williams and Revd H. Fleetwood Sheppard Songs collected by Revd S. Baring-Gould | Yes | Yes | c. 1911 | Based on publication date | London: Society for the Promotion of Christian Knowledge under the direction of the Tract Committee (1911) | N/A | Unknown | CHECK hymnal entries | 1911/01 | Genesis:
| 1 | ||||||||||
| 2. Vocal | 2.5 Hymnals | 2.5.03 | The Old Hundredth (alternative accompaniment) | 1913 | Yes | Yes | Unison voices and organ | c. 1913 | Based on publication date | Unknown | In J. L. Bennett (ed.), Varied Harmonies for Organ accompaniment, and voices ad libitum, on certain tunes in Hymns Ancient & Modern (London: W. Clowes, 1913). | N/A | Unknown | CHECK hymnal entries | 1912/16 | 1 | ||||||||||
| 2. Vocal | 2.6 Other vocal ensembles | 2.6.01 | Peace, Come Away | 1895 | Orchestrated by Christopher Gordon | Yes | Yes | Four voices, flutes, clarinets, oboe, bassoons, 2 horns, 2 trumpets, cellos, and double bass | Alfred Lord Tennyson, In Memoriam (Canto 57) | 27 September 1895 | Dated autograph manuscript | 15-16 September 2021, Henry Wood Hall, London Choir of Clare College, Cambridge, Britten Sinfonia, William Vann (conductor). [CD recording: Albion ALBCD 054 (2022).] | Unpublished | Yes | BL Add MS 57270, ff. 25-28v | 1895/04 | Genesis:
| |||||||||
| 3. Dramatic | 3.1 Opera | 3.1.01 | The Shepherds of the Delectable Mountains | 1922 | A Pastoral Episode founded upon Bunyan's Pilgrim's Progress' [A chamber opera in one act] | Yes | Yes | Characters: - First Shepherd (a middle-aged man) (baritone) - Second Shepherd (a younger man) (tenor) - Third Shepherd (an old man) (bass) - A Pilgrim (baritone) - A Celestial Messenger (tenor) - The Voice of a Bird (soprano) Also: 'Voices (Distant) from the Celestial City' (two SAA off-stage choruses) Orchestra: 2 flt, ob, ca, strings (minimum strings: 2.2.2.2.1; maximum strings: 6.6.4.4.2) Off-stage: 2 tpt, hp, bells | Libretto by Vaughan Williams, adapted from John Bunyan (1628-88), The Pilgrim's Progress, with interpolations from the Book of Psalms. | c. 1921-2 | Based on publication and first performance dates: a fanfare from the work was ready for publication in November 1921, and Shepherds as a whole was first given in July 1922. | 11 July 1922, Royal College of Music, London Archibald Winter (First Shepherd) Leonard A. Willmore (Second Shepherd) Keith Falkner (Third Shepherd) Richard B Kyle (Pilgrim) John K. McKenna (Celestial Messenger) Dorcas M. Tomkins (The Voice of a Bird) Off-stage choir members: M. Benson, B. M. Carr, K. Davis, O. de Foras, U. Gale, K. Hamilton, M. Haworth, E. Lewis, P. Norton, M. Russell, R. Shepherd, C. Taylor, L. K. Young Unnamed orchestra of the Royal College of Music Arthur Bliss (conductor) Gordon Jacob (off-stage conductor) Humphrey Procter-Gregg (producer), with assistance of Michael H . Wilson | Full score and vocal score: Oxford University Press (1925) Chorus part: Oxford University Press (1927) | Yes | RCM Library Archive, MS 4570: first proof with autograph corrections and annotations RCM Library Archive, MS 4571: vocal score | Fanfare, titled 'So he passed over, and all the trumpets sounded for him on the other side', published in Fanfare, 1/4 (15 November 1921), p 70. This is extracted from the final section of Shepherds with minor alterations (a passage of 18 bars starting at figure 27). BL Add MS 57486L, ff. 47-47v: autograph manuscript. | This work is later incorporated in Act IV, Sc. 2 of The Pilgrim's Progress. There are a number of revisions, including omission of the final section of Shepherds (figure 27 onwards), revised instrumentation (as Pilgrim's uses a larger orchestra), and further changes. Kennedy records that at the first performance off-stage instruments included tambourine and cymbals (Kennedy. CVW. 93). There are no parts for these instruments in the published score. | 1922/06 | Reception:
| Reception:
| ||||||
| 3. Dramatic | 3.1 Opera | 3.1.02 | Hugh the Drover | 1920 | or 'Love in the Stocks' A romantic ballad opera in two acts | Yes | Yes | Main Characters: A Showman (high baritone) A Ballad Seller (tenor) Mary (soprano) Aunt Jane (alto) The Turnkey (tenor) The Constable (bass) John the Butcher (bass baritone) Hugh the Drover (tenor) A Sergeant (high baritone) From the chorus: A Cheap Jack (baritone), A Shell-fish Seller (bass), A Primrose Seller (alto), Susan (soprano), Nancy (alto), William (tenor), Robert (bass), A Fool (baritone), An Innkeeper (bass), Inhabitants of the Town, Toy-lamb Sellers, Primrose Sellers, Village Boys, Soldiers Non-singing characters: Stall-keepers, Showman's troupe, Bugler, Drummer Instrumentation: 2 fl, 2 ob, 2 cl, 2 bsn, 4 hn, 2 tpt, 3 trbn, tuba, timp, perc (4), hp, strings, stage band | Harold Child | 1910-14, 1920, 1933, 1956 | 'The opera was begun in 1910, completed in vocal score in May 1914 and fully scored between June and August 1920' (Kennedy. CVW. 98). In a letter of 14 February 1914, Vaughan Williams writes to Ralph Wedgwood that ‘the opera [Hugh the Drover] is nearly finished’ (VWL 346). Act 2, Sc. 1 (marked optional) was inserted for a performance at the RCM on 15 June 1933, conducted by Sir Thomas Beecham. The work was revised for performance at Sadler's Wells, 29 February 1956. | 14 July 1924, His Majesty's Theatre, London William Michael (A Showman) Browning Mummery (A Ballad Seller) Mary Lewis (Mary) Constance Willis (Aunt Jane) Frederick Davies (The Turnkey) William Anderson (A Constable) Frederic Collier (John the Butcher) Tudor Davies (Hugh the Drover) Franklyn Kelsey (A Sergeant) British Opera Company, Cairns James (producer), Malcolm Sargent (conductor) The first public performance was preceded by a run of five private dress rehearsals 4-11 July 1924 at the Parry Opera Theatre of the Royal College of Music, London, conducted by S. P. Waddington. | Curwen (1924, revised 1959, reissued 1977, 1993) | Yes | To Sir Hugh Allen from Author and Composer | BL Add MS 50426A: autograph revisions to Act 2 (1924 version); sketches of 1956 revisions BL Add MS 50426B: printed vocal score with autograph additions and list of the 1956 alterations BL Add MS 50843: printed vocal score BL Add MS 59535G, ff. 15-19: autograph sketches for the duet 'O foolish girl, O radiant soul' BL Add MS 63492: published vocal score, c. 1930, with annotations by Vaughan Williams and Cairn James BL Add MS 65188, ff. 3-14v: autograph amendments, not wholly included in the final version BL MS Mus. 1719: published vocal score (1924 edition revised impression printed 1952), with revisions in the hands of Vaughan Williams, Ursula Vaughan Williams and others BL MS Mus, 1752/1/6/1: published vocal score (1924), annotated partly in the hand of Vaughan Williams BL MS Mus, 1752/1/6/2: copyist's full score (Act 1) - 1924 version? [this and the following question marks are in the BL Archive Catalogue entries] BL MS Mus, 1752/1/6/3: copyist's full score (Act 2, Sc 1) - 1924 version? BL MS Mus, 1752/1/6/4: copyist's full score (Act 2, Sc 1) revised (1959?) BL MS Mus, 1752/1/6/5: copyist's score (Act 1), 1959 revised version BL MS Mus, 1752/1/6/6: copyist's score (Act 2), 1959 revised version RCM Library, 4572: first proof [according to RCM catalogue]. Kennedy states '48pp. of autograph MS extracted from a vocal score' (Kennedy. CVW. 102) RCM Library, 8807: first proof with autograph corrections and additions See also: BL Add MS 61990: printed vocal score annotated with stage directions by producer Cairns James | The following were published as individual numbers for voice and piano by Curwen (1924): - Alone and friendless (also for voice and orchestra) - Gaily I go to die - Here on my throne - Life must be full of care - The Showman's songs: 1) Cold blows the wind on Cotsall; 2) The devil and bonyparty - Song of the road (also for voice and orchestra) - Two duets for tenor and soprano: 1) Ah, Love I've found you; 2) Hugh my lover | A Cotswold Romance is a cantata based on the opera, created by Maurice Jacobson, in collaboration with Vaughan Williams. It was first performed on 10 May 1951 at Central Hall, Tooting Broadway, London, by Olive Groves (soprano), James Johnston (tenor), Arnold Matters (baritone), South-West London Choral Society and Professional Orchestra, and Frank Odell (conductor). It was published by Curwen (1951). | 1924/02 | Genesis:
| Genesis:
Reception:
| |||||
| 3. Dramatic | 3.2 Ballets, Masques, Pageants | 3.2.01 | Pan's Anniversary | 1905 | A Masque | Composed and arranged in collaboration with Gustav Holst | Yes | Yes | For soloists, chorus and orchestra | 1. Introduction 2. 'Loud Music' 3. Entrance of the Boetians 4. Hymn 1 5. Masquers' Entry* 6. Hymn 2 7. Masquers' Pavan* 8. Hymn 3 9. The Revels* 10. Entry of the Thebans 11. Hymn 4 12. The Revels* * Movements arranged by Holst; all other movements arranged or composed by Vaughan Williams | Ben Jonson | 1905 | Based on correspondence in March 1905 (references below) and first performance date. | 24 April 1905, Bancroft Gardens, Stratford-upon-Avon Cissie Saumarez, Elaine Sleddall, Kate Cordingly (Three Nymphs); Henry Hickling (Old Shepherd); Edgar Waithman (The Fencer) Local amateurs played 'The Arcadian Masquers' and schoolchildren were the maypole dancers; Bidford Troupe of Morris Dancers played 'The Boetian antimasquers'. Stratford-upon-Avon Choral Union and Orchestra, Ralph Vaughan Williams (conductor) | Unpublished | Yes | BL Add MS 71476: incomplete full score, partly autograph (Vaughan Williams and Holst) and partly unidentified hand; vocal scores, copies BL Add MS 71477: vocal scores, copies BL Add MS 57909, ff. 1-7: 'Stratford Revels', score, autograph (Holst) | 1905/04 | Genesis:
| Genesis: | ||||||
| 3. Dramatic | 3.2 Ballets, Masques, Pageants | 3.2.02 | The Pageant of London, Part 2, Scene V: 'The London of Merrie England: May Day Revels in the Days of Henry VIII' | 1911 | Alternative short title: The Pageant of London: 'May Day Revels' | Arranged in short score by Vaughan Williams, orchestrated by Cecil Forsyth | Yes | Yes | Choir and wind orchestra | 1. 'Summer is a-coming in' and 'Henry Martin' 2. May Day Songs 3. 'Nuts in May' and 'Oats and Beans' 4. 'Processional Morris', 'Old Heddon of Fawsley', and 'Twankydillo' 5. Hobby Horse Dance 6. 'Morris on' 7. 'Processional Morris' and 'Robin Hood and the Pedlar' 8. Fanfare of Trumpets 9. 'Staines Morris' and 'Greensleeves' 10. 'Country Gardens', 'Princess Royal', and 'Shepherd's Hey' 11. 'Old Woman Tossed up in a Blanket' 12. 'Follow Your Lovers' 13. 'Earl of Oxford's March' | Traditional | c. 1911 | Based on first performance date | 9 June 1911, Crystal Palace, Sydenham, London Festival chorus and band, W. H. Bell (Musical Director) | Unpublished | Not recorded | BL Add MS 71492, ff. 15-22v: manuscript short score, with four pages missing (pp. 7-10 of original pagination). BL Add MS 59536, ff. 73-74v: manuscript short score fragment, three of the missing pages from BL Add MS 71492 (pp. 7-9). | 1911/03 | Studies:
| |||||||
| 3. Dramatic | 3.2 Ballets, Masques, Pageants | 3.2.03 | Old King Cole | 1923 | Ballet | Scenario devised by Mrs Vulliamy and Vaughan Williams | Yes | Yes | 3 fl, 2 ob, 2 clt, 2 bsn, 4 hn, 2 tpt, 2 trbn, 1 brbn, tuba, timp, tgl, SD, BD, Cym, glsp, hp, cel, strings SATB chorus (ad lib) Reduced instrumentation: 2 fl, ob, 2 clt, 2 bsn, 2 hn, 2 tpt, 2 trbn, tuba, timp, tgl, SD, BD, Cym, hp, strings | 1923 | Dorothy Newton of the English Folk Dance Society invited Vaughan Williams to write a ballet in March 1922 (VWL 494). He accepted but did not start work until later. Vaughan Williams sent the manuscript of the opening of this work in short score to John Burnaby in early 1923 (VWL 778), and in April he wrote to Boris Ord implying that he had not started scoring it: 'how I shall find time to score the old Ballet passes my comprehension' (VWL 515 and Kennedy. WVW. 162-3). | 5 June 1923, Trinity College, Cambridge Orchestra comprised of members of Cambridge University Musical Society, Bernhard Ord (conductor) Dancers from the Cambridge branch of the English Folk Dance Society Producer: John Burnaby | Chorus part: Curwen (1924) Full score: Curwen (1925) | Yes | Unknown | Piano and solo violin, arr. Maurice Jacobson, Curwen (1924) | 1923/02 | Genesis:
| Genesis:
Reception:
| |||||||
| 3. Dramatic | 3.3 Incidental music for theatre | 3.3.01 | Scenes Adapted from Bunyan's Pilgrim's Progress | 1906 | Incidental Music | Yes | Yes | Flower Girl (soprano), Angel (alto), Musician (tenor), Shepherds (two tenors or baritones), male chorus or quartet, mixed chorus, guitar, strings. | 1. Prelude 2. Dances 3. Flower Girl's Song 4. The Entrance of Christian (editorial) 5. The Arming of Christian 6. Apollyon (start of scene) 7a. The Fight with Apollyon 7b. The Angel's Song 7c. Apollyon (coda) 8a. Down among the Deadmen (instrumental) 8b. Down among the Deadmen (male quartet) 9. Musician's Song: Robin Hood and the Three Squires 9alt. Musician's Song: The Old Garden Gate 10. Vanity Fair 11. The Death of Faithful 12. The Delectable Mountains (editorial) 13. Shepherd's Song (high key) 13alt. Shepherd's Song (low key) 14. Final Scene (two versions) 15. Epilogue | Bunyan, Pilgrim's Progress, adapted by Evelyn U. Ouless | 1906 | Based on first performance date and preceding correspondence with Joanna Hadley during autumn 1906. | 1 December 1906, Reigate Priory, Surrey Anonymous local cast, Mrs W. Hadley and W. Nugent Monck (producers), Ralph Vaughan Williams (conductor) | Promethean Editions (2008), edited and completed by Nathaniel G. Lew | Yes | BL Add MS 50418A: autograph orchestral score BL Add MS 70934: autograph piano vocal score BL Add MS 70936A-B: script, two versions | 1906/05 | Genesis:
| Genesis:
Reception:
| |||||||
| 3. Dramatic | 3.3 Incidental music for theatre | 3.3.02 | The Wasps | 1909 | Incidental Music | Yes | Yes | Chorus Leader/Priest (male voice - middle range), two sub-leaders (male voices - middle range), TTBB chorus and orchestra fl (=picc [separate players preferable]), ob, 2 clt, bsn, 2 hn, tpt, timp, perc (2/3: tgl, tamb, SD, BD, Sus-cym, large saucepan, cheese grater, bag of broken crockery), hp, strings | 1. Overture 2. Introduction (Nocturne) 3. Melodrama and Chorus 4. Chorus: The Wasps' Serenade 5. Chorus 6. Chorus 7. Melodrama and Chorus 8. Melodrama and Chorus 9. Entr'acte and Introduction 10. Melodrama and Chorus 11. March Past of the Witnesses 12. Chorus: Parabasis 13. Entr'acte 14. Chorus 15. Melodrama 16. Melodrama 17. Melodrama 18. Chorus and Dance | Aristophanes, originally translated by H. J. Edwards, later translation by David Poutney | c.1909 | Autograph manuscript dated: 6pm, 16 September 1909; and 12.15pm, 12 November 1909. Ursula Vaughan Williams writes that this commission was probably offered in June 1908, when Vaughan Williams visited Cambridge to conduct Toward the Unknown Region (Ursula VW. RVW. 83). | 26 November 1909, New Theatre, Cambridge Unnamed orchestra, Charles Wood (conductor) | For the Cambridge Greek Play Committee (1909) Faber (2010), with English translation by David Pountney | Yes | Fitzwilliam Museum, Cambridge: [check obtain reference] | The Wasps: Aristophanic Suite (see 1.2.13) | Vaughan Williams used material from this work to create The Wasps: Aristophanic Suite (see 1.2.15), and the overture is also performed as a standalone item. | 1909/02 | Genesis:
| Genesis:
Reception:
| |||||
| 3. Dramatic | 3.3 Incidental music for theatre | 3.3.03 | The Bacchae | 1911 | Incidental Music | Yes | Yes | Alto solo, SSA chorus, and small orchestra: fl, ob, clt, bsn, hn, Cym, hp, strings | 1. Thou immaculate one on high 2. Where is the home for me? | Euripides, trans. Gilbert Murray | 1911 | Manuscript dated 17 October 1911. A letter dated 6 November 1911 indicates Vaughan Williams was still working on the two Bacchae choruses (VWL374). | A newspaper preview article states one chorus from The Bacchae was due to be performed on 31 May 1912 at the Royal Court Theatre, London (see CD liner notes below). The first known complete performance: 19-20 April 2017, St Jude-on-the-Hill, Hampstead, London Heather Lowe (mezzo-soprano), Joyful Company of Singers, Britten Sinfonia, Alan Tongue (conductor). CD recording: Beyond my Dream: Music for Greek Plays, Albion ALBCD033 (2017). | Promethean Editions (2019) | Yes | BL Add MS 71481: autograph full score, with the first and last pages missing BL Add MS 71482: orchestral parts, partly autograph BL Add MS 50367A, f. 20b: fragment of this work in a sketchbook mainly comprising workings for the Finale of A London Symphony. Manuscripts privately held by Christopher Johnson from the library of Rebecca Clarke: chorus and piano reduction, believed to be autograph, and copy of the same in the hand of Rebecca Clarke (see editorial notes in the study score, reference below). | 'Where is the home for me?' arr. for vocal duet (soprano and mezzo-soprano) and piano, Edwin Ashdown (1922) | 1911/4/I | Genesis:
| Genesis:
Reception:
| ||||||
| 3. Dramatic | 3.3 Incidental music for theatre | 3.3.04 | Iphigenia in Tauris | 1911 | Incidental Music | Orchestrated by Alan Tongue | Yes | Completed posthumously | Mezzo-soprano solo, SSA choir, and small orchestra: fl, ob, cl, bsn, hn, Cym, hp, strings | Prelude 1. Dark of the sea 2. Bird of the sea rocks 3. Oh, fair the fruits of Leto blow 4. Go forth in bliss | Euripides, trans. Gilbert Murray | 1911, orchestrated by Alan Tongue for first modern performance in 2017 | In a letter dated 4 Jan 1912, Vaughan Williams writes that he has been working on this composition (VWL379). | A newspaper preview article states four choruses from Iphigenia in Tauris were due to be performed on 31 May 1912 at the Royal Court Theatre, London (see CD liner notes). The first known complete performance: 19-20 April 2017, St Jude-on-the-Hill, Hampstead, London Heather Lowe (mezzo-soprano), Joyful Company of Singers, Britten Sinfonia, Alan Tongue (conductor). CD recording: Beyond My Dream: Music for Greek Plays, Albion ALBCD033 (2017). | Promethean Editions (2019) | Yes | BL Add MS 71483: autograph vocal score, and copies of chorus parts | 1911/4/II | Genesis:
| Genesis:
| ||||||
| 3. Dramatic | 3.3 Incidental music for theatre | 3.3.05 | Electra | 1911 | Incidental Music | Yes | Yes | Soprano solo (Electra), a further solo soprano and alto solo, speaker, SSA choir, and small orchestra Instrumentation: fl, ob, clt, hn, Cym, hp, strings | 1. Onward, O labouring tread 2. O for the ships of Troy | Euripides, trans. Gilbert Murray | 1911 | A letter from Vaughan Williams dated 30 November 1911 indicates the music is ready for rehearsal (VWL 377). | A newspaper preview article states one chorus from Electra was due to be performed on 31 May 1912 at the Royal Court Theatre, London (see CD liner notes below). The first known complete performance: 19-20 April 2017, St Jude-on-the-Hill, Hampstead, London Heather Lowe (mezzo-soprano), Joyful Company of Singers, Britten Sinfonia, Alan Tongue (conductor). CD recording: Beyond My Dream: Music for Greek Plays, Albion ALBCD033 (2017). | Promethean Editions (2019) | Yes | BL Add MS 71479: autograph vocal score, with sketches, and incomplete full score of the first scene BL Add MS 71480: autograph instrumental parts; chorus parts - partly copies | 1911/4/III | Genesis:
| Genesis:
Reception:
| |||||||
| 3. Dramatic | 3.3 Incidental music for theatre | 3.3.06 | The Death of Tintagiles | 1913 | Incidental Music | Yes | Yes | Chamber orchestra Ob, clt, hn, strings | Prelude 1. Lento 2. Allegro 3. Lento - Andante tranquillo - Lento 4. Moderato - Allegro 5. Lento | Maurice Maeterlinck, The Death of Tintagiles (1894), trans. Basil Ashmore | c. 1913 | Based on first performance date | June 1913, London Unknown performers, likely conducted by Vaughan Williams | Oxford University Press (1977), hire only | Yes | BL Add. MS 71487, ff. 10-16: autograph full score (opening pages of the Prelude lacking) | The music was used in a BBC broadcast of the play on 30 August 1975, performed by the BBC Welsh Symphony Orchestra, conducted by Rae Jenkins. | 1913/06 | Genesis:
| Genesis:
| ||||||
| 3. Dramatic | 3.3 Incidental music for theatre | 3.3.07 | The Blue Bird | 1913 | Incidental Music | Orchestrated by Martin Yates (2017) | Yes | Completed posthumously | Orchestra | 1. Introduction & First Dance 2. The Clock Strikes 3. The Dance of the Hours 4. The Dance of the Loaves 5. The Dance of the Fire 6. The Dance of the Water 7. The Fight between Fire and Water 8. General Dance 9. Finale | c. 1913 | Likely to date from 1913, when Vaughan Williams wrote a number of incidental music scores for theatre, including for Maeterlinck's, Death of Tintagiles (3.3.06). | Unknown. As the original survives in short score only it may never have been performed in Vaughan Williams's lifetime. First known performance: 17-18 August 2017, RSNO Centre, Glasgow Royal Scottish National Orchestra, Martin Yates (conductor). Recorded on Dutton Epoch CDLX 7351 (2018). | Unpublished | Yes | BL Add. MS 71487, ff. 1-9: autograph short score, with a few indications of instrumentation | The title of each number above is editorial, as presented in the CD liner notes of the first recording. | 1913/6a | Genesis:
| |||||||
| 3. Dramatic | 3.3 Incidental music for theatre | 3.3.08 | The Merry Wives of Windsor | 1913 | Incidental Music | Yes | Yes | Fl, ob, cl, hn, crt, timp, strings | Music for the following cues: - 'No man their works must eye' (Act V, Sc. 5, line 2612) - 'tis one o'clock' (Act V, Sc. 5, line 2638) - 'pinch him to your time (Act V, Sc. 5 line 2658) [VW has written 'see book' - there is a song at this point] Dances for the Forest scene adapted from Farnaby's 'Muscadin' in the Fitzwilliam Virginal Book, and 'London is a Fine Town' from John Playford's English Dancing Master. | c. 1913 | Based on first performance date | c. 1912-13, Shakespeare Memorial Theatre, Stratford-upon-Avon Shakespeare Festival Orchestra, Ralph Vaughan Williams (conductor) | Unpublished | Not recorded | BL Add. MS ff. 17-22: autograph full score | Vaughan Williams directed the incidental music at the Shakespeare Memorial Theatre in August 1912 and April to May 1913. | 1913/07 | Genesis and early reception:
| ||||||||
| 3. Dramatic | 3.3 Incidental music for theatre | 3.3.09 | Richard II | 1913 | Incidental Music | Yes | Yes | Voices and orchestra picc, fl, ob, cl, hn, crt, trb, perc, strings | 32 musical numbers including: A march for Richard's entrance Agnus Dei Prelude to Act V Greensleeves Princess Royal 'The Springtime of the Year' and 'Bonny Sweet Robin' I'll go and 'list Jamaica Exultet caelum laudibus (English Hymnal, no. 176) Requiem plainsong | c. 1912-13 | Based on first performance date | 1912-13. Shakespeare Memorial Theatre, Stratford-upon-Avon Shakespeare Festival Orchestra, Ralph Vaughan Williams (conductor) | Unpublished | Yes | Shakespeare Birthplace Trust Collections, Stratford-upon-Avon. RL 1/3/11-12: full score | Vaughan Williams directed the incidental music at the Shakespeare Memorial Theatre in August 1912 and April to May 1913. N.B. This is a separate composition from the later radio play incidental music. | 1913/08 | Genesis and early reception:
| ||||||||
| 3. Dramatic | 3.3 Incidental music for theatre | 3.3.10 | Henry IV, Part 2 | 1913 | Incidental Music | Yes | Yes | Instrumental ensemble | Act II, Sc. 4: 1. Anonymous, 'Alman' from The Fitzwilliam Virginal Book, (No. 14) 2. Half Hannikin 3. Princess Royal 4. Lady in the Dark Henry IV's deathbed: Dowland, Lacrimae pavan Finale: Angelus ad Virginem | 1912-13 | Based on first performance date | 1912-13, Shakespeare Memorial Theatre, Stratford-upon-Avon Shakespeare Festival Orchestra, Ralph Vaughan Williams (conductor) | Unpublished | Not recorded | Shakespeare Birthplace Trust Collections, Stratford-upon-Avon. RL 1/3/11-12: full score | Vaughan Williams directed the incidental music at the Shakespeare Memorial Theatre in August 1912 and April to May 1913. | 1913/09 | Genesis and early reception:
| ||||||||
| 3. Dramatic | 3.3 Incidental music for theatre | 3.3.11 | Richard III | 1913 | Incidental Music | Yes | Yes | Instrumental ensemble | Dargason Requiem March (Act IV, Sc. 4) Fanfare [for Richard's defeat at Bosworth] | 1912-13 | Based on first performance date | 1912-13, Shakespeare Memorial Theatre, Stratford-upon-Avon Shakespeare Festival Orchestra, Ralph Vaughan Williams (conductor) | Unpublished | Not recorded | Shakespeare Birthplace Trust Collections, Stratford-upon-Avon. RL 1/3/11-12: full score | Vaughan Williams directed the incidental music at the Shakespeare Memorial Theatre in August 1912 and April to May 1913. | 1913/10 | Studies:
| ||||||||
| 3. Dramatic | 3.3 Incidental music for theatre | 3.3.12 | Henry V | 1913 | Incidental Music | Yes | Yes | Chorus and orchestra | 1. Chorus 'O for a muse of fire ...' 2. Allegro 3. Pistol: 'Nym, thou has spoke the right' 4. Allegro alla marcia 5. Henry: 'Now, lords, for France...' 6. Trumpet call; Adagio 7. Dauphin: 'Well, 'tis not so ...'; 'Good my sovereign ...' 8. France (check): 'Tomorrow ... at full' 9. Adagio molto 10. Boy: 'As duly ...'; Fluellen: 'Captain MacMorris ...' 11. Allegro; Henry: 'Once more into the breach ...'; Allegro alla marcia 12. Fluellen: 'There is an ancient ...'; Allegro alla marcia 13. Henry: 'We would have ...'; Allegro alla marcia 14. Dauphin: 'Will it ...'; Allegro moderato (with chorus) 15. Molto adagio (with chorus) 16. Henry: 'What's he ...'; Take it, brave York ...' 17. Alla marcia 18. Lento alla marcia 19. Henry: 'And then to Calais ...'; Chorus; Molto adagio 20. Pistol: 'Doth fortune ...'; Lento alla marcia 21. Henry: 'Yet leave our cousin'; Trio; 'Prepare we for marriage' 22. Adagio | c. 1913 | Based on first performance date | 1912-13. Shakespeare Memorial Theatre, Stratford-upon-Avon Shakespeare Festival Orchestra, Ralph Vaughan Williams (conductor) | Unpublished | Yes | Shakespeare Birthplace Trust Collections, Stratford-upon-Avon. RL/1/3/2. | Vaughan Williams directed the incidental music at the Shakespeare Memorial Theatre in August 1912 and April to May 1913. | 1913/11 | Genesis:
| ||||||||
| 3. Dramatic | 3.3 Incidental music for theatre | 3.3.13 | The Devil's Disciple | 1913 | Incidental Music | Yes | Yes | Instrumental ensemble | The British Grenadiers March from Handel's Judas Maccabaeus Yankee Doodle | 1912-13 | Based on first performance date | 1912-13, Shakespeare Memorial Theatre, Stratford-upon-Avon Shakespeare Festival Orchestra, Ralph Vaughan Williams (conductor) | Unpublished | Not recorded | Shakespeare Birthplace Trust Collections, Stratford-upon-Avon. RL/1/3/12 | Vaughan Williams directed the incidental music at the Shakespeare Memorial Theatre in August 1912 and April to May 1913. | 1913/12 | |||||||||
| 3. Dramatic | 3.3 Incidental music for theatre | 3.3.14 | Twelfth Night | 1913 | Incidental Music | Yes | Yes | Vocal and instrumental ensemble Including string quartet, keyboard, pipe, tabor | Fourteen items survive, numbered between 1 and 26, suggesting twelve items are lost (with no. 26 providing the play's closing song). The original numbering is given below: 1. Gibbons, Lord Salisbury's Pavan 2. Repeats of sections of no. 1 4. Pipe and tabor tunes 5. Go from my window 8. Loth to depart 9. O mistress mine 16. Time stands still 17. Come away death 18. Pipe and tabor tunes 21. Muscadin 23. I am gone 24. Mal Sims 25. Wedding March (Rogers) 26. When that I was | 1912-13 | Based on first performance date | 1912-13, Shakespeare Memorial Theatre, Stratford-upon-Avon Shakespeare Festival Orchestra, Ralph Vaughan Williams (conductor) | Unpublished | Not recorded | BL Add. MS 69451: autograph string quartet parts (ff.1-16) and short scores (ff. 17-28v) Shakespeare Memorial Library, O.S. 55 BEN 9142-i, 218ff.: vocal score | Vaughan Williams directed the incidental music at the Shakespeare Memorial Theatre in August 1912 and April to May 1913. | 1913/13 | Genesis:
| ||||||||
| 3. Dramatic | 3.3 Incidental music for theatre | 3.3.15 | Much Ado About Nothing | 1913 | Incidental Music | Yes | Yes | Unknown | Unknown | 1912-13 | Based on first performance date | 1912-13, Shakespeare Memorial Theatre, Stratford-upon-Avon Shakespeare Festival Orchestra, Ralph Vaughan Williams (conductor) | Unpublished | Not recorded | Shakespeare Memorial Library, Stratford-upon-Avon: - O. S. BEN 9142-i, pp. 208-17: manuscript short score - MS 55 (9232): parts | Vaughan Williams directed the incidental music at the Shakespeare Memorial Theatre in August 1912 and April to May 1913. | N/A | Genesis:
| ||||||||
| 3. Dramatic | 3.3 Incidental music for theatre | 3.3.16 | Romeo and Juliet | 1913 | Incidental Music | Yes | Yes | Vocal and instrumental ensemble | Unknown | 1912-13 | Based on first performance date | 1912-13, Shakespeare Memorial Theatre, Stratford-upon-Avon Shakespeare Festival Orchestra, Ralph Vaughan Williams (conductor) | Unpublished | Not recorded | Shakespeare Memorial Library, Stratford-upon Avon, O. S. 55 BEN 9142-i, 219-21: manuscript vocal score | N/A | Genesis:
| |||||||||
| 4. Miscellaneous | 4.1 Childhood compositions | 4.1.01 | The Robin's Nest | 1878 | Yes | Yes | Piano | c.1878-9 | Vaughan Williams wrote that he composed this when he 'was about six' (VW. NMOE. 177). | 16 November 1964, broadcast, BBC North of England Home Service Michael Barton (piano) | Unpublished | Yes | BL Add MS 54186: autograph score | This is Vaughan Williams's first known composition. | 1878/[1] | Genesis:
|
| |||||||||
| 4. Miscellaneous | 4.1 Childhood compositions | 4.1.02 | Overture to The Major | 1882 | Yes | Yes | Piano | c. 1882 | In exercise book dated 5 June 1882, but actual composition date of the seven individual items it contains is unknown. | Unpublished | Not recorded | BL Add MS 57294A, ff.1-3 | This is one of three short overtures Vaughan Williams sketched in his childhood, apparently inspired by a toy theatre he had been given (Ursula VW. RVW. 14; Kennedy. CVW. 1; see also 4.1.05 and 4.1.08). Note on score: 'This overture is copyright except to some few persons, viz. Misses Sophia Wedgewood [sic] and Williams and Mrs Williams.' | 1882/[1] | Genesis:
| |||||||||||
| 4. Miscellaneous | 4.1 Childhood compositions | 4.1.03 | Pianoforte Sonata in F (incomplete) | 1882 | Yes | No | Piano | c. 1882 | In exercise book dated 5 June 1882, but actual composition date of the seven individual items it contains is unknown. | Unpublished | Not recorded | Respectfully dedicated to Miss Sophy Wedgewood. [sic] | BL Add MS 57294A | Fragment lasting six bars. | 1882/02 | |||||||||||
| 4. Miscellaneous | 4.1 Childhood compositions | 4.1.04 | Chant du matin | 1882 | Yes | Yes | Piano | c. 1882 | In exercise book dated 5 June 1882, but actual composition date of the seven individual items it contains is unknown. | Unpublished | Not recorded | BL Add MS 57294A, ff.4-4v | 1882/03 | |||||||||||||
| 4. Miscellaneous | 4.1 Childhood compositions | 4.1.05 | Overture to the Ram Opera (incomplete) | 1882 | Yes | No | Piano | c. 1882 | In exercise book dated 5 June 1882, but actual composition date of the seven individual items it contains is unknown. | Unpublished | Not recorded | BL Add MS 57294A, ff. 5v-8 | This is one of three short overtures Vaughan Williams sketched in his childhood, apparently inspired by a toy theatre he had been given (Ursula VW. RVW. 14; Kennedy. CVW. 1; see also 4.1.02 and 4.1.08). | 1882/04 | Genesis:
| |||||||||||
| 4. Miscellaneous | 4.1 Childhood compositions | 4.1.06 | How doth the little busy bee (incomplete) | 1882 | Yes | No | Voice and piano | c. 1882 | In exercise book dated 5 June 1882, but actual composition date of the seven individual items it contains is unknown. | Unpublished | Not recorded | BL Add MS 57294A, ff. 9v | Fragment lasting 12 bars. | 1882/05 | ||||||||||||
| 4. Miscellaneous | 4.1 Childhood compositions | 4.1.07 | Sonata in three movements, op. 4 (incomplete) | 1882 | Yes | No | Piano | c. 1882 | In exercise book dated 5 June 1882, but actual composition date of the seven individual items it contains is unknown. | Unpublished | Not recorded | BL Add MS 57294A, ff. 10-11 | First movement complete: 31 bars. Second movement sketch. | 1882/06 | ||||||||||||
| 4. Miscellaneous | 4.1 Childhood compositions | 4.1.08 | Overture to the Galoshes of Happienes [sic] | 1882 | Yes | Yes | SD, 2 vln, vla, 2 vc | c. 1882 | In exercise book dated 5 June 1882, but actual composition date of the seven individual items it contains is unknown. | Unpublished | Not recorded | BL Add MS 57294A, ff. 11v-14 | This is one of three short overtures Vaughan Williams sketched in his childhood, apparently inspired by a toy theatre he had been given (Ursula VW. RVW. 14; Kennedy. CVW. 1; see also 4.1.02 and 4.1.05). Complete in short score. The first 20 bars are also scored for the ensemble noted above. Henry Wager (brother of Sarah Wager, who was Vaughan Williams's nanny) wrote to Vaughan Williams in his childhood with information on how to write for the viola, and the side and bass drums. Given that this piece is Vaughan Williams's first for instruments other than piano, and it was written for strings and side drum, it seems likely the letter was written in connection with it. The letter, undated, is reprinted in Ursula VW. RVW. 13-14. An excerpt of the manuscript is reproduced in Moore. A Life in Photographs. 14. | 1882/07 | Genesis:
| |||||||||||
| 4. Miscellaneous | 4.1 Childhood compositions | 4.1.09 | Chorale, op. 9 | 1880s | Yes | Yes | 1880s | Manuscript undated | Unpublished | Not recorded | BL Add MS 57265, f. 1 | 1882/08 | ||||||||||||||
| 4. Miscellaneous | 4.1 Childhood compositions | 4.1.10 | [Here I come, creeping] | 1880s | Yes | Yes | Voice and piano | Sarah Roberts Boyle (1812-1869) 'The voice of the grass', lines 1-4 | 1880s | Manuscript undated | Unpublished | Not recorded | BL Add MS 57265, ff.1-1v | Appears complete, 19 bars in length. | 1882/10 | |||||||||||
| 4. Miscellaneous | 4.1 Childhood compositions | 4.1.11 | [Duet] (Incomplete) | 1880s | Yes | No | 2 violins and piano | 1880s | Manuscript undated | Unpublished | Not recorded | BL Add MS 57265, f. 1v | Fragment lasting 13 bars | N/A | ||||||||||||
| 4. Miscellaneous | 4.1 Childhood compositions | 4.1.12 | Grand March des Bramas, op. 10 | 1880s | Yes | No | Piano duet | 1880s | Manuscript undated | Unpublished | Not recorded | BL Add MS 57265, ff.2-5. Autograph draft, and fair copy in another hand. Note by Ursula Vaughan Williams reads: 'probably copied for Ralph by Aunt Sophie' [Sophia Wedgwood]. | 1882/09 | |||||||||||||
| 4. Miscellaneous | 4.1 Childhood compositions | 4.1.13 | Introduction | 1880s | Yes | No | Two violins, [cello], and piano | 1880s | Manuscript undated | Unpublished | Not recorded | MS Add MS 57265, ff. 6-7v | Fragment lasting 14 bars | N/A | ||||||||||||
| 4. Miscellaneous | 4.1 Childhood compositions | 4.1.14 | Andante in F | 1880s | Yes | Yes | Solo instrument and piano | 1880s | Manuscript undated | Unpublished | Not recorded | BL Add MS 57265, f. 8 | N/A | |||||||||||||
| 4. Miscellaneous | 4.1 Childhood compositions | 4.1.15 | Sketches for a Nativity scene | 1880s | Yes | No | Vocal and instrumental ensemble | From 'Unto us is born a son' (Piae Cantiones) | 1880s | Manuscript undated | Unpublished | Not recorded | BL Add MS 57265, ff.9-12 | Partly scored and incomplete composition. | 1882/11 | |||||||||||
| 4. Miscellaneous | 4.1 Childhood compositions | 4.1.16 | Minuet and trio (incomplete) | 1880s | Yes | No | Piano score | 1880s | Manuscript undated | Unpublished | Not recorded | BL Add MS 57265, f. 13 | Minuet complete and trio incomplete | N/A | ||||||||||||
| 4. Miscellaneous | 4.1 Childhood compositions | 4.1.17 | Piano arrangement of a string quartet | 1880s | Yes | Yes | Piano | 1880s | Manuscript undated | Unpublished | Not recorded | BL Add MS 57265, f. 14-18v, neat copy in another hand | N/A | |||||||||||||
| 4. Miscellaneous | 4.1 Childhood compositions | 4.1.18 | Piano Trio in G major | 1888 | No - lost | Yes | Piano, vln, vc | c. 1888 | Based on first performance date | 5 August 1888, Charterhouse School, Godalming, Surrey H. Vivian Hamilton (piano), B. K. R. Wilkinson and Vaughan Williams (violin), Stephen Massingberd (cello) | Unpublished | N/A - lost work | Lost | Written for performance at a school concert. The programme has survived: see Lunn and Ursula VW, A Pictorial Biography, p. 10, or Moore, A Life in Photographs, p. 19. | 1888 | Early reception:
| ||||||||||
| 4. Miscellaneous | 4.1 Childhood compositions | 4.1.19 | Three Kyries | 1889 | Yes | Yes | SATB | Liturgical | 3 June 1889 | Dated autograph manuscript | Unpublished | Not recorded | BL Add MS 57265, ff. 19-20 | First two kyries written neatly in ink. Third in pencil. Written on the title page are Vaughan Williams's name, his school, and the date of composition. This appears to be a formal document, unlike the earlier surviving manuscripts. | 1889 | |||||||||||
| 4. Miscellaneous | 4.2 Unfinished works | 4.2.01 | Ballet tunes | 1891 | Yes | No | Unknown | c. 1891 | Manuscript undated. Kennedy lists under the heading 'Spring term 1891', however this particular item is not dated. | Unpublished | Not recorded | BL Add MS 57266, ff. 19v, 32v-33 | Fragment: single stave sketches, a series of tunes numbered 1-5 | 1891/03 | ||||||||||||
| 4. Miscellaneous | 4.2 Unfinished works | 4.2.02 | Prelude to 'Orestes' | 1902 | Yes | No | Unknown | 1902 | Dated autograph manuscript | Unpublished | Not recorded | BL Add MS 57266, ff. 33v, 34v.-37 | Sketch in short score | N/A | ||||||||||||
| 4. Miscellaneous | 4.2 Unfinished works | 4.2.03 | Passacaglia for organ | 1891 | Yes | No | Organ | 1891 | Manuscript marked 'Compositions for Dr Gladstone Easter and summer 1891'. | Unpublished | Not recorded | BL Add MS 57266, ff. 48-51 | N/A | |||||||||||||
| 4. Miscellaneous | 4.2 Unfinished works | 4.2.04 | Minuet and Trio for string quartet (fragment) | 1891 | Yes | No | String quartet | 1891 | Manuscript marked 'Compositions for Dr Gladstone Easter and summer 1891'. | Unpublished | Not recorded | BL Add MS 57266, ff. 52-53v | N/A | |||||||||||||
| 4. Miscellaneous | 4.2 Unfinished works | 4.2.05 | Beethoven's Piano Sonata Op. 7, arranged for String Orchestra | 1892 | Yes | No | String orchestra | 1892 | Dated as Summer Term 1892 | Unpublished | Not recorded | BL Add MS 57267, ff. 99-106v | First version incomplete; second version, slow movement only, incomplete. | 1892/02 | ||||||||||||
| 4. Miscellaneous | 4.2 Unfinished works | 4.2.06 | Five Valses for Orchestra | 1892 | Yes | Yes - but not scored | Intended for orchestra | c. 1892 | Kennedy gives date of composition as 1892. | Unpublished | Not recorded | BL Add MS 57268, ff. 24-27v | Short score only | 1892/06 | ||||||||||||
| 4. Miscellaneous | 4.2 Unfinished works | 4.2.07 | Fantasia à la Valse | 1892 | Yes | Yes (but see notes) | Unknown | c. 1892 | Kennedy gives date of composition as 1892. | Unpublished | Not recorded | BL Add MS 57268, ff. 28-35v | Exists in two versions: a short score sketch (ff. 28-31),and an arrangement for piano duet (ff. 32-35v). Kennedy states it is for orchestra, but no orchestration survives. | 1892/07 | ||||||||||||
| 4. Miscellaneous | 4.2 Unfinished works | 4.2.08 | Break, break, break | 1895 | Yes | No | Alfred, Lord Tennyson | c. 1892-95 | BL catalogue editorial date for this volume of manuscripts. There is no dating evidence specific to this song. | Unpublished | Not recorded | BL Add MS 57269, f. 12v | Sketch for a song | N/A | ||||||||||||
| 4. Miscellaneous | 4.2 Unfinished works | 4.2.09 | Ach neige, du Schmerzenreiche | 1890s | Yes | No | Voice and piano | Goethe, Faust | c.1890s | Exact date unknown: manuscript catalogued with other materials from the 1890s. | Unpublished | Not recorded | BL Add MS 57270, ff. 58-60v: sketch BL Add MS 57269, f. 6v: text of the poem | N/A | ||||||||||||
| 4. Miscellaneous | 4.2 Unfinished works | 4.2.10 | Unidentified work for chorus and orchestra | 1890s | Yes | No | First section no words given; second section begins 'Alleluia' | c.1890s | Exact date unknown: manuscript catalogued with other materials from the 1890s. | Unpublished | Not recorded | BL Add MS 57270, ff. 63-76 | Sketch in short score | N/A | ||||||||||||
| 4. Miscellaneous | 4.2 Unfinished works | 4.2.11 | Dirge for Orchestra | 1900 | Yes | No | c.1897-1902 | 'Fragments in a sketch-book kept from approximately 1897 to 1902' (Kennedy. CVW. 10-11). | Unpublished | Not recorded | BL Add MS 57294B: sketch | Kennedy suggests this may have been incorporated in the Heroic Elegy and Triumphal Epilogue (1.2.03), presumably in the Elegy section (Kennedy. CVW. 10). See also item 4.2.12. | Kennedy. CVW. 10-11. | |||||||||||||
| 4. Miscellaneous | 4.2 Unfinished works | 4.2.12 | Dramatic March | 1900 | Yes | No | c.1897-1902 | 'Fragments in a sketch-book kept from approximately 1897 to 1902' (Kennedy. CVW. 10-11). | Unpublished | Not recorded | BL Add MS 57294B: sketch | Kennedy suggests this may have been incorporated in the Heroic Elegy and Triumphal Epilogue (1.2.03), presumably in the Epilogue section (Kennedy. CVW.10). See also item 4.2.11. | Kennedy. CVW. 10-11. | |||||||||||||
| 4. Miscellaneous | 4.2 Unfinished works | 4.2.13 | Ballet Tune | 1900 | Yes | No | c.1897-1902 | 'Fragments in a sketch-book kept from approximately 1897 to 1902' (Kennedy. CVW. 10-11). The basis for this dating is not stated. | Unpublished | Not recorded | BL Add MS 57294B: sketch | Kennedy. CVW. 10-11. | ||||||||||||||
| 4. Miscellaneous | 4.2 Unfinished works | 4.2.14 | Rhapsody | 1900 | Yes | No | c.1897-1902 | Unpublished | Not recorded | BL Add MS 57294B: sketch | Kennedy suggests this is possibly a sketch for the lost Symphony Rhapsody (1.2.4; Kennedy. CVW. 10). | Kennedy. CVW. 10-11. | ||||||||||||||
| 1. Instrumental | 1.6 Solo Instrument with piano | 1.6.04 | Horn Sonata | 1903 | Completed by Martin Yates (2019) | Yes | Completed posthumously | Horn and piano | I. Andante sostenuto - Allegro moderato II. Romanza (Andante sostenuto) III. Scherzo (Allegro) and Trio (Poco agitato) IV. Finale (Allegro - Quasi cadenza) | c. 1903, completed 2019 | 'Fragments in a sketch-book kept from approximately 1897 to 1902' (Kennedy. CVW. 10-11). The CD liner notes assign the Horn Sonata to 1903 (Dutton Epoch CDLX 7373). | 24-25 April 2019, Sage Two, Sage Gateshead Peter Francomb (horn), Victor Sangiorgio (piano) [CD recording, Dutton Epoch CDLX 7373] | Boosey & Hawkes (2022) | Yes | BL Add MS 69457: Horn part only (with cues from the piano part) BL Add MS 57294B, ff.22-22v: brief sketches from the last three movements, in score for horn and piano | Vaughan Williams's manuscripts contain: (i) a complete horn part, and some cues for the intended piano part (BL Add MS 69457); (ii) sketches for parts of the final three movements for horn and piano (BL Add MS 57294B). From this incomplete material, Martin Yates completed the rest of the work (CD liner notes, Dutton Epoch CDLX 7373). | Kennedy. CVW. 10-11. | Genesis:
| ||||||||
| 4. Miscellaneous | 4.2 Unfinished works | 4.2.15 | Ozymandias | 1900 | Yes | No | c.1897-1902 | 'Fragments in a sketch-book kept from approximately 1897 to 1902' (Kennedy. CVW. 10-11). | Unpublished | Not recorded | BL Add MS 57294B: sketches BL Add MS 71493: sketches | Kennedy. CVW. 10-11. | ||||||||||||||
| 4. Miscellaneous | 4.2 Unfinished works | 4.2.16 | Viola piece | 1900 | Yes | No | c.1897-1902 | 'Fragments in a sketch-book kept from approximately 1897 to 1902' (Kennedy. CVW. 10-11). | Unpublished | Not recorded | BL Add MS 57294B | Kennedy. CVW. 10-11. | ||||||||||||||
| 4. Miscellaneous | 4.2 Unfinished works | 4.2.17 | Aethiopia Saluting the Colours (1st version) | 1908 | Yes | No | Soprano solo, male voice solo, speaker, chorus | Walt Whitman, 'Aethiopia Saluting the Colours' | c. 1908 | The 'setting is not dated, but I consider that it must have been 1908' (Kennedy. CVW. 42). | Unpublished | Not recorded | BL Add MS 57283, ff. 15-17 | 1908/06 | Studies:
| |||||||||||
| 4. Miscellaneous | 4.3 Editions and arrangements | 4.3.01 | Beethoven, Piano Sonata, op. 2/2, second movement: Largo appassionato | 1892 | Yes | Yes | Arranged for orchestra | 1892 | Dated autograph manuscript: Summer term, 1892. | Unpublished | Not recorded | BL Add MS 57267, ff. 95-98. | 1892/02 | |||||||||||||
| 4. Miscellaneous | 4.3 Editions and arrangements | 4.3.02 | Purcell, Welcome Songs: Part 1 | 1905 | Edited by Vaughan Williams | Yes | Yes | Soloists, chorus and string orchestra | 1. Welcome, Viceregent of the mighty King 2. Swifter Isis, swifter flow 3. What shall be done on behalf of the man 4. The summer's absence unconcerned we bear 5. Fly, bold Rebellion | c. 1905 | Based on publication date | Welcome Songs: Part One, Works of Henry Purcell, vol. 15, Novello (1905) | N/A | Unknown | 1905/08 | Genesis: | Genesis: | |||||||||
| 4. Miscellaneous | 4.3 Editions and arrangements | 4.3.03 | Purcell, Welcome Songs: Part 2 | 1910 | Edited by Vaughan Williams | Yes | Yes | Soloists, chorus and string orchestra | 6. From those serene and rapturous joys 7. Why, why, are all the muses mute? 8. Ye tuneful muses 9. Sound the trumpet | c. 1910 | Based on publication date | Welcome Songs: Part Two, Works of Henry Purcell, vol. 18, Novello (1910) No. 8 reissued Novello (1933) | N/A | Unknown | No. 9 arr. for orchestra by Vaughan Williams, Augener (1934) | 1910/02 | Genesis: | |||||||||
| 4. Miscellaneous | 4.3 Editions and arrangements | 4.3.04 | Purcell, Evening Hymn | 1912 | Arranged by Vaughan Williams | Yes | Yes | Voice and string orchestra | William Fuller | Unknown | Based on first performance date | 22 February 1912, Manchester Campbell McInnes (baritone), Hallé Orchestra, Percy Pitt (conductor) | Unpublished | No | Parts only (no full score) held by Oxford University Press (Kennedy. CVW. 64). | This arrangement was later performed by Dorothy Silk at the Three Choirs Festival, 1932, and at the Leith Hill Festival (Kennedy. CVW. 64). | 1912/09 | |||||||||
| 4. Miscellaneous | 4.3 Editions and arrangements | 4.3.05 | William Shield, 'The Arethusa' | 1919 | Yes | Yes | Solo voice (or unison voices) with SATB ad lib, and piano | 'The Arethusa', from Shield's opera Lock and Key (1796), probably adapted from the folksong 'Bold Princess Royal "the new way"' | Prince Hoare (1755-1834) | c. 1919 | Based on publication date | Unknown | In Motherland Song Book, Vol. 3, Stainer & Bell (c. 1919) | N/A | Unknown | For folk songs published in the same volume see 2.4.31 | 1919/03 | Genesis:
| ||||||||
| 4. Miscellaneous | 4.3 Editions and arrangements | 4.3.06 | Purcell, 'Full Fathom Five' | 1919 | Yes | Yes | Tenor or mezzo-soprano soloist, SATB chorus and piano | William Shakespeare, The Tempest, Act I, Sc. 2 | c. 1919 | Based on publication date | Unknown | In Motherland Song Book, Vol. 3, Stainer & Bell (c. 1919). See 2.4.31 | N/A | Unknown | For folk songs published in the same volume see 2.4.31 | 1919/03 | Genesis:
| |||||||||
| 4. Miscellaneous | 4.3 Editions and arrangements | 4.3.07 | 'Our Love Goes Out to English Skies', adapted from Purcell's, 'I Come to Sing Zempoalla's Story' (The Indian Queen, Act II) | 1920 | Yes | Yes | Unison voices with piano or strings, or SATB with or without piano, or TTBB (unaccompanied) | Harold Child | c. 1920 | Based on publication date | Unknown | Versions with or without piano accompaniment: Stainer & Bell (1920) Unison voices with strings: Stainer & Bell (1924) | N/A | Unknown | The original appears twice in Act II of Purcell's The Indian Queen, first as an air and chorus, and later repeated, with the addition of an orchestral introduction. Vaughan Williams's arrangement replaces the original words with a text by Harold Child. | 1920/03 | ||||||||||
| 4. Miscellaneous | 4.3 Editions and arrangements | 4.3.08 | Charles Dibdin, 'The Lass that Loves a Sailor' (from The Round Robin) | 1921 | Yes | Yes | SATB with soprano solo, or unison voices with piano | Charles Dibdin | c. 1921 | Based on publication date | Unknown | Stainer & Bell (1921) | Not recorded | Unknown | Charles Dibdin's opera The Round Robin was first performed in London in 1811. | 1921/05 | ||||||||||
| 4. Miscellaneous | 4.3 Editions and arrangements | 4.3.09 | William Boyce, 'Heart of Oak' (from Harlequin's Invasion) | 1921 | Yes | Yes | Unison voices and piano, or SATB, soprano solo, and piano, or TTB | David Garrick | c. 1921 | Based on publication date | Unknown | Stainer & Bell (1921) | Not recorded | Unknown | William Boyce wrote the 'Heart of Oak' for David Garrick's pantomime, Harlequin's Invasion, first performed in 1759. | 1921/07 | ||||||||||
| 4. Miscellaneous | 4.3 Editions and arrangements | 4.3.10 | Stephen Foster, 'Old Folks at Home (Swannee River)' | 1921 | Yes | Yes | TTBB with baritone solo | Stephen Foster | c. 1921 | Based on publication date | Unknown | Stainer & Bell (1921) | N/A | Unknown | This arrangement stems from Vaughan Williams's military service during First World War, as indicated by a note on the score: 'A collection of the harmonies often improvised by members of the British Expeditionary Force.' | 1921/10 | ||||||||||
| 4. Miscellaneous | 4.4 Other | 4.4.01 | Dover Beach | 1900 | No - lost | Unknown | Unknown | Matthew Arnold | c. 1900 | Adeline Vaughan Williams writes to René Gatty, 9 April 1900, that Ralph 'has set Matthew Arnolds "Dover Beach" to music' (VWL4455). There is no further evidence of this work beyond that brief comment. | Unknown | Unpublished | N/A - lost work | Unknown | Kennedy. CVW. 10. | Genesis: | ||||||||||
| 4. Miscellaneous | 4.4 Other | 4.4.02 | 25 Vocal Exercises | 1924 | Based on Bach's Mass in B minor | By Gertrude Sichel and Vaughan Williams | Yes | Yes | For solo voice | c. 1924 | Based on publication date | Unknown | Stainer & Bell (1924) | N/A | Unknown | Note in the published score: 'These exercises are not passages from the [Bach] Mass [in B minor] itself, but are suggested by such passages. They may be sung at any pitch suitable to the voice of the singer using them.' | 1924/03 | |||||||||
| 3. Dramatic | 3.4 Radio play music | 3.4.01 | blank | Yes | Yes | |||||||||||||||||||||
| 3. Dramatic | 3.5 Film music | 3.5.01 | blank | Yes | Yes | |||||||||||||||||||||
| 2. Vocal | 2.3 Song | 2.3.37 | Three Songs from Shakespeare | 1925 | Yes | Yes | Voice and piano | 1. Take, O take, those lips away 2. When icicles hang by the wall 3. Orpheus with his lute | 1. Shakespeare, Measure for Measure, IV. i 2. Love's Labour's Lost, V. ii 3. King Henry VIII, III. i | c. 1925 | Based on publication date | 27 March 1925, Aeolian Hall, London Steuart Wilson (tenor), Anthony Bernard (piano) | Oxford University Press (1925); reprinted in Vaughan Williams Collected Songs, Volume 1, Oxford University Press (1993) | Yes | Unknown | No. 3 (Orpheus with his lute) is a different setting from the earlier song of the same title (see 2.3.20). Despite the similar title, this is a different work from the Three Shakespeare Songs for unaccompanied choir (see x.x.x). Nos 1 and 2 also published separately for unison voices and piano (see 2.2.20 and 2.2.21). No. 3 also published separately for unison voices and string orchestra (see 2.1.15). | 1925/02 | Reception:
| ||||||||
| 2. Vocal | 2.2 Choir | 2.2.20 | Take, O take those lips away | 1925 | Yes | Yes | Unison voices and piano | Shakespeare, Measure for Measure, IV, i | c. 1925 | Based on publication date | Unknown | Oxford University Press (1926) | No | Unknown | See also version for solo voice and piano as no. 1 of Three Songs from Shakespeare (2.3.37) | 1925/02 | ||||||||||
| 2. Vocal | 2.2 Choir | 2.2.21 | When icicles hang from the wall | 1925 | Yes | Yes | Unison voices and piano | Shakespeare, Love's Labour's Lost, V. ii | c. 1925 | Based on publication date | Unknown | Oxford University Press (1926) | No | Unknown | See also version for solo voice and piano as no. 2 of Three Songs from Shakespeare (2.3.37) | 1925/02 | ||||||||||
| 2. Vocal | 2.1 Choir, soloists and orchestra | 2.1.15 | Orpheus with his Lute | 1925 | Yes | Yes | Unison voices and string orchestra | Shakespeare, King Henry VIII, III. i | c. 1925 | Based on publication date | Unknown | Oxford University Press (1926) | Unknown | Vaughan Williams also made a version of this setting for solo voice and piano as no. 3 of Three Songs from Shakespeare (see 2.3.37). Vaughan Williams also made a different, earlier, setting of these words as a song for voice and piano, or voice and small orchestra (see 2.3.20). | 1925/02 | |||||||||||
| 2. Vocal | 2.3 Song | 2.3.38 | Four Poems by Fredegond Shove | 1925 | Yes | Yes | Voice and piano | 1. Motion and Stillness 2. Four Nights 3. The New Ghost 4. The Water Mill | Fredegond Shove | c. 1922 | No. 1: 16 July 1922 (dated manuscript). Composition dates of nos 2-4 unknown. | 27 March 1925, Aeolian Hall, London Steuart Wilson (tenor), Anthony Bernard (piano) | Oxford University Press (1925), reprinted in Vaughan Williams Collected Songs, Vol. 2, Oxford University Press (1993) | Yes | BL Add MS 50480, f. 15: autograph of No. 1 BL Add MS 71486A: sketches for No. 2 | 1925/03 | Reception:
| Reception:
| ||||||||
| 2. Vocal | 2.3 Song | 2.3.39 | Three Poems by Walt Whitman | 1925 | Yes | Yes | Voice and piano | 1. Nocturne 2. A Clear Midnight 3. Joy, Shipmate, Joy! | Walt Whitman:
| c. 1925 | Based on publication date | Unknown | Oxford University Press (1925), reprinted in Vaughan Williams Collected Songs, Vol. 1, Oxford University Press (1993) | Yes | Unknown | Vaughan Williams made a different, earlier setting of 'Whispers of Heavenly Death': see no. 2 of his Three Nocturnes (2.3.32). | 1925/04 | Reception:
| ||||||||
| 2. Vocal | 2.1 Choir, soloists and orchestra | 2.1.16 | Sancta Civitas (The Holy City) | 1925 | Oratorio | Yes | Yes | Tenor and baritone soloists, SATB chorus, SATB semi-chorus, SSA distant chorus and orchestra 3 fl (III=picc), 2 ob, ca, 2 cl, 2 bsn, cbsn, 4 hn, 3 tpt, 3 trb, tuba, timp, perc (2: SD, BD, Cym, Sus.cym), hp, pno, org (opt.), strings | Revelation (adapted from the King James Version), and 'Sanctus' from the Communion Service (see notes section). The score's epigraph is a quotation from Plato's Phaedo, 114d, printed in Greek without translation in the original Curwen edition. This is reprinted in the Faber edition, along with an English translation from the edition that Vaughan Williams owned made by F. J. Church: A man of sense will not insist that things are exactly as I have described them. But I think that he will believe that something of the kind is true of the soul and her habitations, seeing that she is shown to be immortal, and that it is worth his while to stake everything on this belief. The venture is a fair one, and he must charm his doubts with spells like these. | c. 1919, 1923-25 | Ursula Vaughan Williams states that Vaughan Williams began work on Sancta Civitas at the time he wrote his article titled 'The Letter and the Spirit', which was published in April 1920. Although we do not know the exact date Vaughan Williams wrote this article ahead of publication, it seems likely work began on Sancta Civitas at some point after Vaughan Williams returned from war duties in France, in February 1919. This earlier genesis, although published in Ursula Vaughan Williams's biography in 1964, is rarely if ever acknowledged in the literature. This may be because at an earlier point in the text, Ursula writes that, in 1923, 'Ralph had started to write Sancta Civitas', before adding 12 pages later that 'while he was beginning Sancta Civitas Ralph wrote his article on "The Letter and the Spirit".' It appears that a rather subtle distinction is intended between 'beginning' a work, that is, to conceive it in outline, and 'start[ing] to write' it, which is easily overlooked. In addition Kennedy's Catalogue states the work was 'composed 1923-5.' The origins of Sancta Civitas therefore lie closer to the composer's direct experience of the First World War and the wider context of musical life at the very start of the 1920s than is usually suggested (see Ursula VW. RVW. 152, 163). | 7 May 1926, Sheldonian Theatre, Oxford Trefor Jones (tenor), Arthur Cranmer (baritone), Oxford Bach Choir, Oxford Orchestral Society, Hugh Allen (conductor) | Curwen vocal score (1925); Faber vocal score and full score, ed. David Matthews (2008) | Yes | BL Add MS 50445: autograph full score BL Add MS 50446: autograph vocal score with Latin words (ff. 1-29); typewritten libretto with autograph corrections (ff. 30-33) Bodleian Library, Oxford, MS. Mus. b. 14: autograph draft vocal score (x + 60 pages). 'Fairly complete' written in the composer's hand on p. i. | The following note is published in the score: 'The semi-chorus (SATB) should sit behind the full chorus and cosist of about 20 singers (6.6.4.4). The distant choir (SSA) should if possible be out of sight and must have a special conductor. It should consist of boys' vocies if possible. The distant trumpet must be placed with the distant choir.' A note at the head of the original published edition of the published score reads: 'Words from the "Authorized Version" with additions from "Taverner's Bible" and other sources.' In fact there is no evidence that Taverner's translation, published 1539, was used, as the text appears to be Vaughan Williams's own adaptation of the King James Version. The only other source (singular) used is the Sanctus from the Communion Service. This issue was identified in 1963, when A. E. F. Dickinson commented that 'where the "additions from Taverner's Bible" can be found, would be hard to say', however the error continues to be repeated in books and programme notes. The later Faber vocal score prints 'Text from the Book of Revelation' at the head of the score. This is correct except for the addition of part of the 'Sanctus' . Kennedy's introduction to the Faber score unfortunately repeats the assertion from the original Curwen edition that the text contains 'additions from Taverner's Bible of 1539'. | 1925/06 | Genesis:
| Reception:
| |||||||
| 2. Vocal | 2.3 Song | 2.3.40 | Darest Thou Now O Soul | 1904 | Yes | Yes | Voice and piano | Walt Whitman, 'Whispers of Heavenly Death' | c. 1904? | This song either dates from c. 1904-05, or nearer its publication date of 1925. According to Vaughan Williams: 'About 1904 or early 1905 Gustav [Holst] & I were both stuck - so I suggested we should both set the same words in competition - suggesting [Whitman's] 'Darest thou [now, O Soul]' - The prize was awarded by us to me' (VWL1766). Vaughan Williams's contribution was either this song, or Toward the Unknown Region. As Holst wrote a song for voice and piano, and Toward the Unknown Region was a commission, it seems likely the present item was written for this informal competition, c. 1904-05, despite its later publication date. | Unknown | Curwen (1925) | Yes | BL Add MS 52620, ff. 21-22 | Unison chorus and string orchestra, arranged by 'W H', thought to be William Henry Hadow (see notes). | Stephen Connock suggested that 'W H' might be the arranger of the string orchestra version: 'I suspect that W H is Sir William Henry Hadow (1859-1937), the writer, musician and academic. Hadow wrote his book English Music with an important introduction by Vaughan Williams in 1931; they were certainly friends from around 1904.' See CD liner notes Hyperion CDA 68245. | 1925/08 | Genesis:
| Genesis:
| |||||||
| 4. Miscellaneous | 4.3 Editions and arrangements | 4.3.11 | J. S. Bach, 'The Giant Fugue' ('Wir glauben all an einen Gott', BWV 680, from Clavier-Übung III) | 1925 | Arranged by Vaughan Williams and Arnold Foster | Yes | Yes | Arranged for string orchestra | c. 1925 | Based on publication date | Unknown | Oxford University Press (1925). Goodmusic Publishing (2011): score and parts. | Yes | Unknown | 1925/09 | Reception:
| ||||||||||
| 2. Vocal | 2.2 Choir | 2.2.22 | Magnificat and Nunc Dimittis | 1925 | Set to music for the use of village choirs | Yes | Yes | SATB and organ (tenor part optional), or unison voices and organ (see notes) | Liturgical | c. 1925 | Based on publication date | Unknown | Curwen (1925) | Yes | BL Add MS 52620, ff. 23-28r | A note on the score reads: 'No time signatures are given as the length of the bars varies. The value of the crotchet is the same throughout. The tenor part may be omitted, or by singing the soprano part only, the canticles may be sung by boys' voices only, by men's voices only, or by both in octaves.' | 1925/10 | |||||||||
| 2. Vocal | 2.5 Hymnals | 2.5.04 | Songs of Praise | 1925 | Text editor: Percy Dearmer Music editors: Vaughan Williams and Martin Shaw | Yes | Yes | c. 1925 | Based on publication date | Oxford University Press (1925) | N/A | Unknown | No. 443, 'At the name of Jesus' (King's Weston), for SATB and piano, arr. John Leavitt, Vaughan Williams for Choirs 1, Oxford University Press (2020). | 1925/11 | Genesis:
| Genesis:
Reception:
| ||||||||||
| 4. Miscellaneous | 4.4 Other | 4.4.03 | Epithalamium | 1925 | Yes | Yes | c. 1925 | Manuscript copy gives composition date of 30 October 1925 | Unknown | Unpublished | Yes | Irving S. Gilmore Music Library, Yale University, Special Collections: Misc. Ms. 128 | The only extant manuscript is a copy of an arrangement for string quintet, made by Henry P. Schmitt. Vaughan Williams's original, on which this arrangement was based, does not survive. The melody is described on the manuscript title page as 'an old English air (slightly adapted) for Carl Stoeckel by R. Vaughan Williams, October 20th 1925'. This original melody has not been traced. As Alain Frogley explains, we do not know if Vaughan Williams simply adapted the tune to the words, or if he arranged it for voice and piano (Frogley suggests the latter is more likely). The words of John G. C. Brainard's poem 'Epithalamium' are written above the first violin part. Given that Vaughan Williams's original performing forces are unknown, and the original is lost, this item is catalogued here in the 'Other' category. See Alain Frogley, 'Vaughan Williams and the New World' (reference below). | 1925/12 | Genesis:
| |||||||||||
| 1. Instrumental | 1.6 Solo Instrument with piano | 1.6.05 | Six Studies in English Folk Song | 1926 | Yes | Yes | Cello and piano. Alternative versions by Vaughan Williams for violin, viola or clarinet with piano. | I. Adagio (Lovely on the water) II. Andante sostenuto (Spurn point) III. Larghetto (Van Dieman's land) IV. Lento (She borrowed some of her Mother's gold) V. Andante tranquillo (The lady and the dragoon) VI. Allegro vivace (As I walked over London Bridge) | c. 1926 | Based on first performance | 4 June 1926, Scala Theatre, London (English Folk Dance Society Festival) May Mukle (cello), Anne Mukle (piano) | Stainer & Bell (1927), with versions of the solo part for cello, violin, viola or clarinet (accompanied by piano in each version). | Yes | To May Mukle [cellist in the first performance] | Unknown | All published by Stainer & Bell: Cello and small orchestra, arr. Arnold Foster (1957) Basset Horn, arr. Georgina Dobrée (1989) Alto saxophone, arr. Robert Stanton (1982) Horn, arr. James Boldin (2014) Euphonium, arr. Luc Vertommen (2016) Tuba, arr. Michael Wagner (1982) | Each movement is based on the folk song named above. A note on the published score states that 'these studies are not exact transcriptions of identifiable folk songs, but each is founded on a strophic melody with a likeness to a type of folk song. Nevertheless, the origins of the studies are identifiable thus: [the folk song titles above are then listed].' | 1926/01 | Studies:
| |||||||
| 3. Dramatic | 3.2 Ballets, Masques, Pageants | 3.2.04 | On Christmas Night | 1926 | 'A masque with dancing, singing and miming, freely adapted from Dickens's A Christmas Carol by Adolf Bolm and R. Vaughan Williams, with music devised as a quodlibet of folk tunes and country dances by the latter.' | Scenario devised by Adolf Bolm and Vaughan Williams | Yes | Yes | Mezzo-soprano solo, baritone solo, SATB chorus and orchestra Fl(=picc), ob, clt, bsn, hn, tpt, trbn, timp, perc (II), hp, cel (opt.), pno, strings | Adapted from Charles Dickens, A Christmas Carol | 1921, 1926, revised 1935, 1937, 1955 | 'In 1921 [Vaughan Williams] arranged a Christmas fantasia which in five years was to be the ballet On Christmas Night' (Kennedy. WVW. 162). Vaughan Williams revised the work for a later performance on 29 December 1935 at Cecil Sharp House, London, given by performers including Douglas Kennedy (Watchman), Anna Walker (Virgin Mary) and Imogen Holst (conductor). Frederic Wilkinson was the producer. Kennedy describes the original scenario and the revisions to it, including a letter from Vaughan Williams to Frederic Wilkinson addressing a series of specific concerns (Kennedy. WVW. 114-16, and VWL 1203). This letter shows that Vaughan Williams was considering these revisions in August 1937. The work next reappears in June 1955, when Vaughan Williams asks Roy Douglas to prepare a revised vocal score (VWL 3095). On 14 August 1955, Vaughan Williams sent the revised vocal score to Alan Frank (VWL 3181); following further correspondence, the vocal score was published in 1957. | 26 December 1926, Eighth Street Theatre, Chicago, IL Bolm Ballet, DeLamarter Orchestra, Eric DeLamarter (conductor) | Oxford University Press (1957) | Yes | To Douglas Kennedy, with thanks for his splendid 'Watchman' | BL Add MS 50407: autograph full score, original version BL Add MS 50408: autograph revisions for the final version BL Add MS 71488: 'Black Nag', folk dance arranged for orchestra, for performance in On Christmas Night, full score and parts | Note on the score: 'The following carols may be sung at certain points at the discretion of the producer and conductor: - page 8, one bar before [Figure] 2 – 'A Virgin most pure' (The Oxford Book of Carols, no. 4, first tune). Treble voices only in the key of F, unaccompanied. - Page 25, at [Figure] 63 – 'On Christmas night' (The Oxford Book of Carols, no. 24). All voices in unison in the key of F, unaccompanied. - Page 26, at [Figure] 68 – 'As Joseph was a-walking' (The Oxford Book of Carols, no. 66, words of Part II and tune of Part III). All voices in unison in the key of A flat, unaccompanied. | Genesis:
| Genesis:
Reception: | ||||||
| 2. Vocal | 2.3 Song | 2.3.41 | Along the Field | 1927 | Yes | Yes | Voice and violin | 1. We'll to the woods no more 2. Along the field 3. The half-moon westers low 4. In the morning 5. The sigh that heaves the grasses 6. Goodbye 7. Fancy's knell 8. With rue my heart is laden | A. E. Housman, Last Poems (LP) and A Shropshire Lad (ASL): 1. LP, Prologue 2. ASL, no. 26 3. LP, no. 26 4. LP, no. 23 5. LP, no. 27 6. ASL, no. 5 7. LP, no. 41 8. ASL, no. 54 | c. 1927 | A set of nine songs were planned ahead of a first performance in October 1927; seven were performed on that occasion, and eight were published much later, in 1954. See notes for further details. | 24 October 1927, Grotrian Hall, London Joan Elwes (soprano), Marie Wilson (violin) | Oxford University Press (1954) | Yes | BL Add MS 50481, ff. 62-68: autograph score | The genesis of this cycle is somewhat unclear. In the published version there are the eight songs listed above. Kennedy reports that Vaughan Williams destroyed one song, 'The Soldier', when he revised the cycle for publication, reducing the total from nine to eight. The incomplete manuscript contains just six songs: nos 1, 2 and 3 are equivalent to the published version; the published number 4 'In the morning' was originally no. 6 in the manuscript; and the last two published songs were originally nos. 8 and 9 in the manuscript, becoming nos. 7 and 8 in the published version. However, at the first performance only seven songs were given; nos 5 and 8 are mentioned in reviews but beyond this exactly which seven were performed remains unclear. | 1927/01 | Genesis:
| Genesis:
Reception:
| |||||||
| 2. Vocal | 2.2 Choir | 2.2.23 | Te Deum in G | 1928 | Yes | Yes | SATB double choir and organ | Book of Common Prayer | 1928 | In mid-September 1928, Vaughan Williams was asked to write a Te Deum for the enthronment of the new Archbishop of Canterbury. By around 1 October, Vaughan Williams anticipated it would be finished in a few days time (VWL 635). This corrects the account that the work was written in the winter of 1927-28 (see Ursula VW. RVW. 171). | 4 December 1928, Canterbury Cathedral Choirs of Canterbury Cathedral and the Chapel Royal, Charlton Palmer (organ), Walford Davies (conductor) | Oxford University Press (1928) | Yes | Liverpool Cathedral Archive: autograph vocal score and parts for cello, two trumpets and timpani. BL MS Mus. 1714/2/5: photocopy of the manuscript score held in Liverpool Cathedral archive | Orchestral accompaniment, arr. Arnold Foster, Oxford University Press (1928) 2 fl, 2 ob, 2 cl, 2 bn, 4 hn (2 opt.), 2 tpt, 3 tbn, tba (opt.), timp cym, string; or piano and strings; or organ and strings. | Written for the enthronment of Dr Cosmo Gordon Lang as the Archbishop of Canterbury, 1928. It is unknown whether the autograph instrumental parts for cellos, two trumpets and timpani in the Liverpool Cathedral archive were used in the first performance. This is a different work from the later Festival Te Deum, written for the Coronation of King George VI (1937). | 1928/01 | Genesis:
| Genesis:
Reception: | |||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.45 | A farmer's son so sweet (SSATBB) | 1926 | Yes | Yes | SSATBB | c. 1926 | Based on publication date | Unknown | Stainer & Bell (1926) | Yes | Unknown | 1921/14 | ||||||||||||
| 2. Vocal | 2.5 Hymnals | 2.5.05 | The Oxford Book of Carols | 1928 | Text editor: Percy Dearmer Music editors: Vaughan Williams and Martin Shaw | Yes | Yes | Original carols by Vaughan Williams: 173. The Golden Carol ('Now is Christmas y-come')* 185. Wither's Rocking Hymn ('Sweet baby, sleep! What ails my dear')* 186. Snow in the Street ('The Land East of the Sun and West of the Moon') 196. Blake's Cradle Song ('Sweet dreams, form a shade o'er my lovely infant's head')* Arrangements by Vaughan Williams: 7. Hereford Carol ('Come all you faithful Christians') 17. All in the morning ('It was on Christmas Day') 24. Sussex Carol ('On Christmas Night') 31. Gloucestershire Wassail ('Wassail, wassail, all over the town!')* 36. The Salutation Carol ('Nowell, This is the salutation')* 39. This endris night ('This endris night I saw a sight')* 43. The Seven Virgins ('All under the leaves, the leaves of life') 45. Sussex Mummers' Carol ('O mortal man, remember well') 47. May Carol ('Awake, awake, good people all') 51. The Sinners' Redemption ('All you that are to mirth inclined') 53. The Carnal and the Crane ('As I passed by a riverside') 55. The Miraculous Harvest ('Rise up, rise up, you merry men all')* 57. Dives and Lazarus ('As it fell out upon one day') 61. Down in yon Forest ('Down in yon forest there stands a hall') 68. The Truth from Above ('This is the truth sent from above') 77. Song of the Crib ('Joseph dearest, Joseph mine')* 79. Quem pastores laudavere ('Quem pastoers laudavere')* 115. Joesph and Mary ('O Joseph being an old man truly') 131. Coverdale's Carol ('O Now blessed be thou, Christ Jesu') 132 Psalm of Sion ('O mother dear, Jerusalem')* 134. If Ye Would Hear ('If ye would hear the angels sing'), arranged with Martin Shaw* 138. O Little Town ('O little town of Bethlehem')* 142. Children's Song of the Nativity ('How far is it to Bethlehem?')* Alternative tunes with arrangements by Vaughan Williams (printed in the Appendix): 1. A Virgin Most Pure (for no. 4) 2. On Christmas Night (for no. 24) 3. The Moon Shines Bright (for no. 46) 4. The Holy Well (for no. 56) 5. Dives and Lazarus (for no. 57) 6. Come All Ye Worthy Christian Men (for no. 60) * Carols marked with an asterisk were also published separately in this arrangement by Oxford University Press in 1928. | c. 1928 | Based on publication date | Oxford University Press (1928) | N/A | Unknown | 1928/02 | Genesis:
| Genesis: Reception:
| ||||||||||
| 3. Dramatic | 3.1 Opera | 3.1.03 | Sir John in Love | 1928 | An Opera in Four Acts | Yes | Yes | Characters (in order of appearance): Robert Shallow, a country Justice (tenor or baritone) Sir Hugh Evans, a Welsh parson (high baritone) Abraham Slender, a foolish young gentleman, Shallow's cousin (tenor) Peter Simple, his servant (tenor or baritone) George Page, a citizen of Windsor (baritone) Sir John Falstaff , a Crown pensioner (baritone) Three sharpers attending on Falstaff: - Bardolph (tenor) - Nym (baritone) - Pistol (bass) Anne (Nan) Page, Page's daughter (soprano) Mistress Margaret (Meg) Page, Page's wife (soprano) Mistress Alice Ford, Ford's wife (mezzo-soprano) Fenton, a young gentleman of the Court at Windsor (tenor) Dr Caius, a French physician (high baritone) John Rugby, his servant (bass) Mistress Quickly, his housekeeper (Mezzo-soprano or contralto) The Host of the 'Garter Inn' (baritone) Robin, Falstaff's page (non-singing) Frank Ford, a citizen of Windsor (bass) Servants to Ford: - John (baritone) - Robert (baritone) William, Mistress Page's son (non-singing) Alice Shortcake, Bardolph's sweetheart (non-singing) Jenny Pluckpears, Nym's sweetheart (non-singing) Girl Friends of Anne Page and Women Servants of Ford (S and A chorus) Citizens of Windsor and Servants of Ford and Page (T and B chorus) Boy Friends of William Page (non-singing) Dancers in Act IV Instrumentation: 2 flt (II=picc), 2 ob (II=ca), 2 clt, 2 bsn, 2 hn, 2 tpt, trbn, timp, perc (tgl, SD, BD, Cym, Sus.cym), xyl (opt.), rattle (offstage), bell (offstage), hp, strings. | Libretto compiled by Vaughan Williams based on William Shakespeare, The Merry Wives of Windsor, with interpolations from:
| 1924-28, c. 1933, c. 1946 | 'The opera was written between 1924 and 1928' (Kennedy. CVW. 121). On 12 September 1928 Vaughan Williams wrote to Evelyn Sharp that the score was nearly finished (VWL 634). However, this was only the beginning of the work's protracted genesis. Around 1 February 1929, Vaughan Williams was correcting the orchestral parts (VWL 658). After the premiere performance in March 1929, the opera was given again in May 1930 in Oxford, with the same conductor (Malcolm Sargent). Vaughan Williams expanded the opera by adding a Prologue, Episode and Interlude, and this longer version was first performed in Bristol in 1933; the additional items were printed in a separate vocal score by Oxford University Press (1936). The Prologue was set in the Great Hall of Windsor Castle, and, 'was based on the tradition that Queen Elizabeth suggested that Falstaff should be shown in Love' (Kennedy. CVW. 124). Subsequently, Vaughan Williams withdrew the Prologue, while the Episode and Interlude remained as parts of the complete, revised opera. The first professional performance was given in 1946. A letter from Adeline Vaughan Williams (probably to Ursula Vaughan Williams) states that the composer was revising the score in the run up to this production: "R[alph] is deep in altering and adding to the parts of Sir John" (Ursula VW. RVW. 267). After Vaughan Williams's death, Roy Douglas prepared a revised vocal score published by Oxford University Press (1971), and made extensive corrections to the full score (see Douglas. WWVW. 112). The full score was published for the first time as a study score, edited by David Lloyd-Jones, by Oxford University Press (2022). | Original version: 21 March 1929, Parry Opera Theatre, Royal College of Music, London. Alfred Walmsley (Shallow) Albert Kennedy (Sir Hugh Evans) Philip Warde (Slender) William Herbert (Peter Simple) Thomas Dance (Page) Leyland White (Sir John Falstaff) Howard Hemming (Bardolph) Charles Holmes (Nym) George Hancock (Pistol) May Moore (Mrs Page) Olive Evers (Anne Page) Veronica Mansfield (Mrs Ford) Hilda Rickard (Mrs Quickly) A. Bamfield Cooper (Fenton) Douglas Tichener (Dr Caius) Frederick Lloyd (Rugby) Clifford White (Ford) John Greenwood (Host) James Flack (Robin) John Huson (John) John Gibson (Robert) Cairns James (producer), Malcolm Sargent (conductor) This was the first of four private performances, given on 21-22 and 25-26 March 1929. Revised version: 30 October 1933, Victoria Rooms, Bristol Bristol Opera School, Percival Goodway (Falstaff), Robert Percival (producer and conductor) First professional performance: 4 April 1946, Sadler's Wells Theatre, London Roderick Jones (Falstaff), Sadler's Wells Orchestra, Lawrance Collingwood (conductor), Sumner Austin (producer). | Sir John in Love vocal score, first edition: Oxford University Press (1930). 'Prologue, Episode and Interlude' from the opera Sir John in Love, vocal score: Oxford University Press (1936), hire only. Sir John in Love vocal score, revised edition, edited by Roy Douglas: Oxford University Press (1971). Study score: ed. David Lloyd-Jones, Oxford University Press (2022). Newly engraved second edition of full score and parts available on hire. | Yes | To S. P. Waddington [who assisted with preparation of the music for the first performance] Unusually, the dedication in the front of the published score is followed by an open letter from Vaughan Williams to the dedicatee, S. P. Waddington. The letter reads as follows: My dear Waddington, I venture to dedicate this Opera to you firstly as a token of my admiration for you as a man and a musician and secondly to show my gratitude to you for all your help and encouragement in this and all my work. I sometimes feel that you ought, with all your skill and knowledge, to despise my comparatively amateurish efforts. It really seems ridiculous that I should spend my time writing operas while you spend yours teaching elementary harmony to unwilling flappers. However, everyone knows that whilst you could, if you would, write a first-rate opera, I, on the other hand, should be entirely incompetent to teach elementary harmony. So I suppose things must remain as they are. Yours ever gratefully, R. Vaughan Williams | BL Add. MS 50410A-D: autograph full score, four volumes BL Add. MS 50409B: autograph of the Prologue, Episode and Interlude BL Add MS 69454: partly autograph, full score of passages that were subsequently revised from Acts II, III and IV BL Add MS 69455: dyeline copy, full score of passages that were subsequently revised, including corrections and amendments in the composer's hand, from Acts I, II and III BL Add MS 50409A: typed libretto with autograph additions and amendments BL Add MS 69456: full score copy of the deleted Prologue, with a few autograph annotations; copy of an excerpt from Act I, full score and incomplete parts BL MS Mus 1752/1/6/7: printed vocal score with minor autograph annotations Royal College of Music Library Archive, no. 4964: autograph part for 'the Host', and fragments of the opera in a copyist's hand. | A note on the score advises that the parts of Shallow, Peter Simple, Bardolph, Rugby, John and Robert may be performed by members of the chorus. Shallow and Caius can be doubled by one singer, with adjustments as detailed in the score. Fenton and Bardolph can be doubled 'but this is not desirable'. A further note on the score advises that the first scenes of Acts II, III and IV can be played in front of the curtain if preferred. For a list of folksongs used in the opera see Kennedy. CVW. 121. | 1928/03 | Genesis:
| Genesis:
Reception:
| 0 | |||||
| 1. Instrumental | 1.2 Other orchestral | 1.2.17 | Fat Knight | 1928 | Orchestrated by Martin Yates | Yes | Yes | 2 fl (II=picc), 2 ob (II=ca), 2 cl, 2 bsn, 2 hn, 2 tpt, trb, timp, perc (3: tgl, SD, BD, Cym, Sus.cym, glsp, xyl, bell, rattles), hp, strings | I. Allegro vivace II. Allegro III. Maestoso IV. Allegro moderato V. Andante piacevole VI. Lento VII. Moderato maestoso | c. 1924-28 | The first version of Sir John in Love was composed in 1924-28, and this was followed by revisions at several stages (see catalogue entry 3.1.03). It is not known at what stage Vaughan Williams decided to make Fat Knight. | 27 May 2016, Dorchester Abbey, Oxfordshire (English Musical Festival) BBC Concert Orchestra, Martin Yates (conductor) | Full score: Oxford University Press (2018). | Yes | BL Add MS 57284: copy with autograph annotations in a two piano arrangement. | Each of the seven movements is based on a passage from the opera Sir John in Love, and some musical materials deleted from the final version of the opera are included. Martin Yates's orchestration follows that of the opera where possible, with vocal parts orchestrated as required. | Kennedy. CVW. 123 (no catalogue number). | Genesis:
Studies:
| ||||||||
| 2. Vocal | 2.1 Choir, soloists and orchestra | 2.1.21 | In Windsor Forest | 1931 | Cantata | SATB choir and orchestra 2 fl, 2 ob, 2 cl, 2 bsn, 2 hn, 2 tpt, trbn, timp perc, hp (or pno), strings Or: SATB choir, strings and piano | 1. The Conspiracy ('Sigh no more, ladies') 2. Drinking Song ('Back and side go bare') 3. Falstaff and the Fairies ('Round about in a fair ring-a') 4. Wedding Chorus ('See the chariot at hand') 5. Epilogue ('Whether men do laugh or weep') | 1. Shakespeare, Much Ado About Nothing, Act II, Sc. 3. 2. William Stevenson, Gammer Gurton's Needle, Act II. 3. From words by Shakespeare, Thomas Ravenscroft and John Lyly. 4. Ben Jonson, 'A Celebration of Charis: IV. Her Triumph'. 5. Thomas Campion, 'Whether men do laugh or weep'. | c. 1931 | Based on first performance date | 14 April 1931, Queen's Hall, London National Provincial Bank Musical Society, Herbert J. Baggs (conductor) | Vocal score: Oxford University Press (1931). Parts on hire. Nos 1, 2 and 4 also published separately. | Yes | BL Add MS 50450: mostly autograph full score | SSA choir parts, arr. Guthrie Foote, Oxford University Press (1954). No. 4 also released separately in this arrangement. No. 4 , for voice and piano, Oxford University Press (1934) No. 5, for choir and piano, arr. John Leavitt, Vaughan Williams for Choirs 2, Oxford University Press (2020). | 1928/03b | Genesis:
| Genesis:
Reception:
| ||||||||
| 2. Vocal | 2.1 Choir, soloists and orchestra | 2.1.17 | Benedicite | 1929 | Soprano solo, SATB choir and orchestra 2 fl (II=picc), 2 ob, 2 cl, 2 bsn, 4 hn, 2 tpt, 3 trb, timp, perc, cel (ad lib.), pno, strings Or: 2 fl, ob, 2 cl, bsn, 2 hn, tpt, trb, pno, strings Or: piano and strings | Benedicite in The Book of Common Prayer (from 'The Song of the Three Holy Children' from the Apocrypha), and John Austin, 'Hark, my soul, how everything'. | 1928-9 | Vaughan Williams started writing this work in summer 1928 (Ursula VW. RVW. 171), and it was published in 1929 for a first performance in May 1930. | 2 May 1930, the Drill Hall, Dorking (Leith Hill Musical Festival) Margaret Rees (soprano), Leith Hill Festival Chorus (Towns) and Orchestra, Vaughan Williams (conductor) | Vocal score: Oxford University Press (1929) Full score: Oxford University Press (1970) | Yes | To L.H.M.C. [Leith Hill Musical Competition] Towns Division | BL Add MS 50447: autograph full score (with printed vocal score cut up and pasted in) BL Add MS 57285: autograph arrangement for two pianos | For soprano solo, SSAA choir and orchestra, arr. Jean Storry, Oxford University Press (1964) | This was one of four works Vaughan Williams composed to celebrate the 25th anniversary of the Leith Hill Musical Festival . It was first performed there in 1930 alongside Three Choral Hymns, The Hundredth Psalm, and Three Children's Songs for a Spring Festival. | 1929/01 | Genesis:
| Genesis:
Reception:
| ||||||||
| 2. Vocal | 2.1 Choir, soloists and orchestra | 2.1.18 | Three Choral Hymns | 1929 | Baritone (or tenor) solo, SATB chorus and orchestra 2 fl, 2 ob, 2 cl, 2 bsn, 4 hn, 2 tpt, 3 trb, tuba, timp, Cym, org, strings Or: 2 fl, ob, 2 cl, 2 bsn, 4 hn, 2 tpt, timp, strings Or: piano and strings Or: piano and organ | 1. Easter Hymn 2. Christmas Hymn 3. Whitsunday Hymn | Miles Coverdale, Bishop of Exeter, translated from the German | c. 1929-30 | Composed in time for rehearsals during the 1929-30 season, ahead of the first performance at the Leith Hill Musical Festival, May 1930. | 30 April 1930, the Drill Hall, Dorking (Leith Hill Musical Festival) Ian Glennie (tenor), Leith Hill Festival Chorus (Division I) and Orchestra, Vaughan Williams (conductor) | Curwen (1930), Faber (1971) New edition: Faber (1993) | Yes | To L.H.M.C. [Leith HIll Musical Competition] Division I | BL Add MS 57723: mostly autograph full score BL Add MS 59796: autograph of No. 1 BL Add MS 50448, ff. 1-16b: No. 2, copy with autograph revisions, version with accompaniment for piano and organ BL Add MS 50448, ff. 17-21: No. 3, autograph, version with accompaniment for organ BL Add MS 50448, ff. 23-25b: No . 3, autograph, 'version lacking all save the first two bars of the organ accompaniment' (BL archive catalogue description) | This was one of four works Vaughan Williams composed to celebrate the 25th anniversary of the Leith Hill Musical Festival. It was first performed there in 1930 alongside Benedicite, The Hundredth Psalm, and Three Children's Songs for a Spring Festival. The dedication is not printed in the 1993 Faber edition but was included in the first edition. | 1929/03 | Genesis:
| Reception: | ||||||||
| 2. Vocal | 2.1 Choir, soloists and orchestra | 2.1.19 | The Hundredth Psalm | 1929 | SATB choir and orchestra 2 fl, 2 ob, 2 cl, 2 bsn, cbsn, 4 hn, 2 tpt, trbn, tuba, timp, Cym, org, strings Or: 2 fl, ob, 2 cl, 2bsn, 2 hn, 2 tpt, tuba, strings Or: strings and organ Or: strings and piano | Psalm 100 and Doxology from Daye's Psalter (1561) | c. 1929 | Based on publication date | 29 April 1930, the Drill Hall, Dorking (Leith Hill Musical Festival) Leith Hill Festival Chorus (Division II) and Orchestra, Vaughan Williams (conductor) | Stainer & Bell (1929) | Yes | To L.H.M.C. [Leith Hill Musical Competition] Div. II | BL Add MS 50449: copy of the full score with autograph revisions | This is a freely composed setting of Psalm 100. It is different from the later one Vaughan Williams made for congregational singing of the hymn at the Coronation of Queen Elizabeth II (1953). It is one of four works Vaughan Williams composed to celebrate the 25th anniversary of the Leith Hill Musical Festival. It was first performed there in 1930 alongside Benedicite, Three Choral Hymns, and Three Children's Songs for a Spring Festival. | 1929/02 | Genesis:
| ||||||||||
| 2. Vocal | 2.1 Choir, soloists and orchestra | 2.1.20 | Three Children's Songs for a Spring Festival | 1929 | Unison voices and string orchestra | 1. Spring 2. The Singers 3. An Invitation | Frances M. Farrer | c. 1929-30 | Composed in time for rehearsals during the 1929-30 season, ahead of the first performance at the Leith Hill Musical Festival, May 1930. | 1 May 1930, the Drill Hall, Dorking (Leith Hill Musical Festival) Children's choirs, Vaughan Williams (conductor) | Oxford University Press (1930) | No | To L.H.M.C. [Leith Hill Musical Competition] Children's Division | Unknown | For SATB choir and piano, arr. John Leavitt in Vaughan Williams for Choirs 2, Oxford University Press (2020). | 1929/04 | Genesis:
| |||||||||
| 2. Vocal | 2.5 Hymnals | 2.5.06 | Songs of Praise for Boys and Girls | 1929 | Edited by Percy Dearmer, Vaughan Williams and Martin Shaw | Original hymn by Vaughan Williams: 95. Marathon ('Servants of the great adventure') | c. 1929 | Based on publication date | Oxford University Press (1929) | N/A | 1929/05 | |||||||||||||||
| 2. Vocal | 2.5 Hymnals | 2.5.07 | Hymns for Sunday School Anniversaries | 1930 | Edited by Vaughan Williams, Martin Shaw, Percy Dearmer and G. W. Briggs | Contains 14 hymns including one by Vaughan Williams: Down Ampney ('Come down, O love divine') | c. 1930 | Based on publication date | Oxford University Press (1930) | N/A | 1930/02 | |||||||||||||||
| 1. Instrumental | 1.7 Piano | 1.7.12 | Hymn Tune Prelude on 'Song 13' (Orlando Gibbons) | 1928 | 1928 | 'Composed 1928' (Kennedy. CVW. 129). | 14 January 1930, Wigmore Hall, London Harriet Cohen (piano) | Oxford University Press (1930) | Yes | To Harriet Cohen | BL Add MS 52287: autograph score | For organ, arr. E. Stanley Roper, Oxford University Press (1930) For string orchestra, arr. Helen Glatz, Oxford University Press (1930) | The dedication on the manuscript reads: 'To Harriet Cohen (but only if she like it, if not return to me and delete your name – I shan't be huffy) from R Vaughan Williams'. The hymn tune is printed on a separate stave in the published score, with the text underlaid: 'O, my love, how comely now, and how beautiful art thou. Thou of dove-like eyes a paire shining hast within thine haire: and thy locks like kidlings be, which from Gilead hill we see.' From Song of Songs, in George Wither, Hymnes and Songs of the Church (1623). | 1930/03 | Genesis:
| Genesis:
| ||||||||||
| 3. Dramatic | 3.2 Ballets, Masques, Pageants | 3.2.05 | Job | 1930 | A Masque for Dancing | Founded on Blake's Illustrations to the Book of Job. [Scenario] by Geoffrey Keynes and Gwendolen Raverat | 3 fl, (III= afl and picc), 2 ob, ca, 3 cl (III = bcl), asax*, 2 bsn, cbsn, 4 hn, 3 tpt, 3 trbn, tuba, timp, perc (3: tgl, SD, BD, Cym, Tam-t, glsp, xyl), 2 hp, org, strings * Alto saxophone may be doubled by bass clarinet, the bass clarinet notes being cued to the second clarinet. When the saxophone is doubled by the bass clarinet, the part should be omitted until Scene VI. The following instruments are ad lib., and where necessary are cued into another part: 3rd fl (II=picc), afl, 2nd ob, 3rd cl, bcl, asax, cbsn, 3rd tpt, 2nd hp, org, most of the percussion Reduced instrumentation for theatre performance, made by Constant Lambert: 2 fl (II=picc), ob, 2 cl (II=asax), 2 hn, 2 tpt, trbn, timp, perc (3: BD, Cym, Tam-t, glsp, xyl), hp, strings | I. Introduction II. Satan's Dance of Triumph III. Minuet of the Sons of Job and their Wives IV. Job's Dream V. Dance of the Three Messengers VI. Dance of Job's Comforters VII. Eilhu's Dance of Youth and Beauty VIII. Galliard of the Sons of the Morning IX. Epilogue | c. 1927-30 | Vaughan Williams began working on Job in 1927 after the Blake scholar Geoffrey Keynes proposed a ballet on this subject. His sister-in-law, Gwen Raverat, drafted a scenario and sent it to Boris Kochno at Diaghilev's Ballets Russes who declined the proposal. As Vaughan Williams became involved he reshaped the ideas of Keynes and Raverat, as the work became his own response to Blake's illustrations. Vaughan Williams may have been unsure if the work would be staged, as he scored it for large orchestra and it was first given in a concert performance in October 1930. However it would be staged, and Constant Lambert prepared a version of Job with reduced instrumentation to fit in a theatre pit. This was first given in July 1931. | Concert performance: 23 October 1930, St Andrew's Hall, Norwich (Norwich Festival) Queen's Hall Orchestra, Vaughan Williams (conductor) Stage version: 5 July 1931, Cambridge Theatre, London Camargo Society, Constant Lambert (conductor) | Piano short score, made by Vally Lasker: Oxford University Press (1931) Full score: Oxford University Press (1934) Revised study score, ed. Julian Rushton: Oxford University Press (2018) | Yes | To Adrian Boult | BL Add MS 54326: autograph full score BL Add MS 50411 (two folios): autograph opening of an arrangement for two pianos BL Add MS 57286: copy of second piano part of the two-piano arrangement with a few autograph pages RCM 18120: two piano arrangement, owned by Vally Lasker (previous shelfmark MS 4573/5) | The collaborative genesis of the work resulted in the creation of several versions of the dramatic scenario, or synopsis, for Job. Gwen Raverat wrote one scenario, and Geoffrey Keynes a second, before Vaughan Williams reshaped these into what is effectively his own scenario. The first editions of the printed scores contain a brief synopsis printed in the front matter, with the following explanation: 'The following synopsis and the more detailed scenario printed with the music differs in some particulars from the original scheme of the authors [i.e. Raverat and Keynes]. For these alterations the composer alone is responsible.' The full score contains a more detailed version written above the relevant parts of the score, and the piano score contains further additions not in the full score. All of these scenarios are discussed and reprinted in Alison Sanders McFarland's book chapter 'A Deconstruction of William Blake's Vision' (full reference below). | 1930/05 | Genesis:
| Genesis:
Reception:
| |||||||
| 1. Instrumental | 1.7 Piano | 1.7.13 | Twelve Traditional Country Dances | 1931 | Collected and described by Maud Karpeles. Pianoforte arrangements by R. Vaughan Williams in collaboration with Maud Karpeles. | 1. Corn Rigs 2. Morpeth Rant 3. Soldier's Joy 4. Roxburgh Castle 5. The Sylph 6. Long Eight 7. Three Around Three or Pleasures of the Town 8. Steamboat 9. Piper's Fancy Tune 10. The Tempest 11. The Self 12. Kitty's Rambles | c. 1931 | Based on publication date | Unknown | Novello (1931) | Y | Unknown | An orchestral arrangement of no. 10, 'The Tempest', was recorded on a 78 disc, HMV B8732, by a group simply identified as a 'Folkdance Band' in 1938 (Young. VW. 229). The score is lost. | Maud Karpeles wrote to Michael Kennedy that the piano arrangements were made by Vaughan Williams and she commented on them (Kennedy. CVW. 136). The correspondence is listed below. | 1931/01 | Genesis:
| ||||||||||
| 2. Vocal | 2.5 Hymnals | 2.5.08 | Songs of Praise (Enlarged Edition) | 1931 | check | c. 1931 | Based on publication date | Oxford University Press (1931) | N/A | Unknown | 1931/02 | Genesis:
Reception:
| ||||||||||||||
| 2. Vocal | 2.4 Folk and traditional songs | 2.4.46 | Loch Lomond (SSATB) | 1931 | Scottish Air | SSATB with tenor solo (or a few voices) | c. 1931 | Based on publication date. It is possible that Vaughan Williams made this arrangement earlier, perhaps at the same time as his similar setting for male voices (2.4.38) which was published in 1921. | Unknown | Stainer & Bell (1931) | Yes | Unknown | 1921/09 | |||||||||||||
| 2. Vocal | 2.5 Hymnals | 2.5.09 | Songs of Praise for Little Children | 1932 | [Edited[ by Percy Dearmer, R. Vaughan Williams, Martin Shaw and G. W. Briggs | Includes one hymn arranged by Vaughan Williams: 14. Hardwick ('So here hath been dawning') | c. 1932 | Based on publication date | Oxford University Press (1932) | Unknown | 1932/01 | |||||||||||||||
| 2. Vocal | 2.1 Choir, soloists and orchestra | 2.1.22 | Magnificat | 1932 | Alto solo, SA choir and orchestra 2 fl, 2 ob, ca, 2 cl, 2 bsn, 4 hn, 2 tpt, timp, perc: 2, org, cel, hp, strings. The following are optional: 2nd ob, cel, org Or: 2 fl, hp, cel, strings | Biblical: from Luke, chapter 1, adapted, with additions from the Sanctus, and the prayer 'Hail Mary'. | c. 1932 | Based on first performance date | 8 September 1932, Worcester Cathedral (Three Choirs Festival) Astra Desmond (alto), women of the Three Choirs Festival Chorus, London Symphony Orchestra, Vaughan Williams (conductor) | Oxford University Press (1932) | Yes | To Astra Desmond [soloist in the first performance] | BL Add MS 50451: mostly autograph full score BL Add MS 50452: autograph full score with the vocal score cut up and pasted in | Alto solo, SA choir, flute/violin solo with organ/piano, arr. Vaughan Williams, Oxford University Press (1932) | The score notes, 'this "Magnificat" is not intended for liturgical use.' The soprano soloist's words are drawn principally from the King James Version rather than the Book of Common Prayer without the closing doxology ('Glory be to the Father ...). The choir interpolate other verses from Luke, and the texts of the Sanctus and 'Hail Mary'. In the orchestral version, the prominent flute solos are played by the first flute. In the arrangement for flute/violin solo with piano/organ accompaniment, the flute/violin soloist is given a larger part, playing passages that in the orchestral version are scored for other instruments. As the score notes, this solo part 'is not always the same as the flute part in the orchestral score.' | 1932/02 | Genesis:
Reception:
| Genesis:
Reception: | ||||||||
| 4. Miscellaneous | 4.3 Editions and arrangements | 4.3.12 | J. S. Bach, 'Ach bleib' bei uns, Herr Jesu Christ' | 1932 | No. 5 of Six Schübler Chorales, BWV 649 | Freely arranged for piano by R. Vaughan Williams | I. Chorale II. Chorale Prelude | The text of the chorale is printed in the score: original German by N. Selneccer, English adaptation by Robert Bridges in the Yattendon Hymnal (1899). | c. 1932 | Based on publication date | Unknown | In A Bach Book for Harriet Cohen. Oxford University Press (1932; reissued 2013). [A compilation of Bach arrangements, each by a different composer.] | Yes |