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Composer
Bios
Albeniz
Albinoni
Allegri
Arnold
Bach, J S
Barber
Bartok
Beethoven
Berlioz
Bizet
Brahms
Britten
Bruch
Bruckner
Chopin
Copland
Debussy
Delius
Dvorak
Elgar
Gershwin
Gibbons
Grieg
Handel
Haydn
Holst
Janacek
Liszt
Mahler
Mendelssohn
Messiaen
Monteverdi
Mozart
Offenbach
Part
Poulenc
Prokofiev
Puccini
Purcell
Rachmaninov
Ravel
Rossini
Saint-Saens
Scarlatti
Schubert
Schumann
Shostakovich
Sibelius
Strauss, Johann
Strauss, Richard
Stravinsky
Tchaikovsky
Vaughan_Williams
Verdi
Vivaldi
Wagner
Walton |
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Vaughan
Williams studied with Parry, Wood and Stanford at the Royal College of
Music and at Cambridge, then had further lessons with Bruch in Berlin and Ravel in Paris.
It was only after this that he began to write with sureness in larger forms, even though some songs had had success in the early years of the century. That success, and the ensuing maturity, depended very much on his work with folksong, which he had begun to collect in 1903; this opened the way to the lyrical freshness of the Housman cycle On Wenlock Edge and to the modally inflected tonality of the symphonic cycle that began with A Sea Symphony.
He learnt the same lessons in studying earlier English music in his task as editor of the English Hymnal
in 1906 - work which bore fruit in his Fantasia on a Theme by Tallis for strings, whose majestic unrelated consonances provided a new sound and a new way into large-scale form. The sound, with its sense of natural objects seen in a transfigured light, placed Vaughan Williams in a powerfully English visionary tradition, and made very plausible his association of his music with Blake (in the ballet Job) and Bunyan (in the opera The Pilgrim's Progress).
Meanwhile the new command of form made possible a first orchestral symphony, A London Symphony, where
characterful detail is worked into the scheme. A first opera, Hugh the Drover, made direct use of folksongs, which Vaughan Williams normally did not do in orchestral works.
His study of folksong, however, certainly facilitated the pastoral tone of The Lark Ascending, for violin and orchestra, and then of the Pastoral Symphony.
At the beginning of the 1920s there followed a group of religious works continuing the visionary manner: the unaccompanied Mass in G minor, the Revelation oratorio Sancta civitas and the 'pastoral episode' The Shepherds of the Delectable Mountains, later incorporated in The Pilgrim's Progress. But if the glowing serenity of pastoral and vision were to remain central during the decades of work on that magnum opus, works of the later 1920s show a widening of scope, towards the comedy of the operas Sir John in Love (after The Merry Wives of Windsor) and The Poisoned Kiss, and towards the angularity of Satan's music in Job and of the Fourth Symphony.
The quite different Fifth Symphony has more connection with The Pilgrim's Progress, and was the central work of a period that also included the cantata Dona nobis pacem, the opulent Serenade to Music for 16 singers and orchestra, and the A minor string quartet, the finest of Vaughan Williams's rather few chamber works.
A final period opened with the desolate, pessimistic Sixth Symphony, after which Vaughan Williams found a focus in the natural world for such bleakness when he was asked to write the music for the film Scott of the Antarctic : out of that world came his Seventh Symphony, the Sinfonia antartica, whose pitched percussion colouring he used more ebulliently in the Eighth Symphony, the Ninth returning to the contemplative world of The Pilgrim's Progress.
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