Table Of Content

V a u Also available from Ashgate g h a Vaughan n Elgar’s Oratorios W The creation of an epic narrative Charles Edward McGuire i l l i a Michael Tippett W illiams m Music and literature Edited by Suzanne Robinson s E s The Life and Music of Sir Malcolm Arnold s a The brilliant and the dark Essays y Paul R.W. Jackson s The Music of John Ireland B Fiona Richards y r o n A d a m s a n d Edited by R o Byron Adams and Robin Wells b i n W e l l s An Book Ashgate (cid:90)(cid:90)(cid:90)(cid:17)(cid:85)(cid:82)(cid:88)(cid:87)(cid:79)(cid:72)(cid:71)(cid:74)(cid:72)(cid:17)(cid:70)(cid:82)(cid:80) VAUGHAN WILLIAMS ESSAYS To William Llewellyn, MBE and to the Carthusian Trust Vaughan Williams Essays Edited by BYRON ADAMS and ROBIN WELLS Contents List of Music Examples vii List of Plates ix List of Tables xi Acknowledgements xiii List of Ralph Vaughan Williams Fellows, 1985–2002 xv Introduction xvii Byron Adams 1 The Stages of Revision of Vaughan Williams’s Sixth Symphony 1 Byron Adams 2 Vaughan Williams’s Fifth Symphony: Ideology and Aural Tradition 17 Murray Dineen 3 A Deconstruction of William Blake’s Vision: Vaughan Williams and Job 29 Alison Sanders McFarland 4 Vaughan Williams and the ‘night side of nature’: Octatonicism in Riders to the Sea 55 Walter Aaron Clark 5 ‘Full of fresh thoughts’: Vaughan Williams, Whitman and the Genesis of A Sea Symphony 73 Stephen Town 6 Hymn Tunes from Folk-songs: Vaughan Williams and English Hymnody 103 Julian Onderdonk 7 Robert Louis Stevenson, Ralph Vaughan Williams and their Songs of Travel 129 Rufus Hallmark 8 A Critical Appraisal of the Four Last Songs 157 Renée Chérie Clark 9 ‘Words and music that are forever England’: The Pilgrim’s Progress and the pitfalls of nostalgia 175 Nathaniel G. Lew v vi Vaughan Williams Essays 10 Music, Film and Vaughan Williams 207 Daniel Goldmark 11 Vaughan Williams and the English Music Festival: 1910 235 Charles Edward McGuire Contributors 269 Index 273 List of Music Examples 1.1 Rehearsal 3 in the second movement 6 1.2 Drafts of second bar, Movement One 7 1.3 First draft, conclusion of Movement One 8 1.4 Movement Two 10 1.5 Early draft, Scherzo 11 1.6 Early draft, Saxophone theme, Scherzo 11 1.7 Early draft, Scherzo 13 1.8 ‘The Cloud-Capp’d Towers’ 14 1.9 Revision in the Epilogue 14 2.1 A diplomatic facsimile of the sketch BM 50371A, folio 2r, Ralph Vaughan Williams, Fifth Symphony, first movement 17 2.2 BM 50371A, folio 2v 18 2.3 First movement, mm. 12–18 20 2.4 First movement, mm. 3–10 21 3.1 Satan’s four motives (a–d) 38 3.2 Theme of Job’s dream 39 3.3 Descent figures (a–d) 40 4.1 Riders to the Sea, Introduction, measures 1–44 62 4.2 Riders to the Sea, chromatic pitch-class set, measures 1–7, completed in measure 8 with notes in the D Dorian scale 63 4.3 Riders to the Sea, principal octatonic pitch-class set, measure 44 64 4.4 Riders to the Sea, symmetrical arrangement of important tonal centers, measures 1–44 65 4.5 Riders to the Sea, three-note motive, measure 44 65 4.6 Riders to the Sea, rearrangement on C# of the octatonic scale, measures 53–4 65 4.7 Riders to the Sea, Mauyra’s octatonic motive, measures 94–5 66 4.8 Riders to the Sea, transposition to pitch class C of Maurya’s octatonic motive, measures 319–21, with a bass line that appears in the sketch on London BL Add. MS 50412 A, f. 4b 66 4.9 Riders to the Sea, octatonic collection derived from the bass line of measures 319–22 66 4.10 Riders to the Sea, sketch on London BL Add. MS 50481, f. 68b rev. 67 4.11 Riders to the Sea, final setting of the words ‘They are all gone now’, measures 495–6 67 4.12 Riders to the Sea, final juxtaposition of E and B flat, rehearsal 55 68 5.1 Movement 7, ‘Man, born of desire’ from Invocation to Music (pp. 45–6, six measures after letter L, of the vocal score) 76 5.2 Movement 8, ‘Now are ye sphered’ (codetta for soprano and chorus), from Invocation to Music (p. 60, from letter X, of the vocal score) 77 vii viii Vaughan Williams Essays 5.3 Motive of ‘Light’ from The Light of Life (p. 12, letter G of the orchestral score) 80 5.4 Introduction of ‘Sea Drift’ (p. 1 of the orchestral study score) 82 5.5 Conclusion of ‘Sea Drift’ (p. 48 of vocal score) 83 6.1 Manuscript transcription of ‘The Bailiff’s Daughter’, 1st version with hymn-tune adaptation 109 6.2 Manuscript transcription of ‘The Ploughboy’s Dream’ with hymn-tune adaptation 111 6.3 Manuscript transcription of ‘The Fisherman’ with hymn-tune adaptation 115 6.4 Manuscript transcription of ‘The Royal George’ with hymn-tune adaptation 117 6.5 Manuscript transcription of ‘The Bailiff’s Daughter’, 2nd version with hymn-tune adaptation 119 6.6 Manuscript transcription of ‘A Brisk Young Farmer’ with hymn-tune adaptation 123 7A.1 Folk-song ‘Wandering Willie’ as model for the contrafact by Robert Burns and the model for ‘Whither must I wander?’ by Stevenson 147 7A.2 Schubert’s ‘Mut’ (Winterreise, no. 22) as possible model for Stevenson’s ‘The Vagabond’ 148 7A.3 Adagio introduction from Schubert’s E minor Symphony as possible model for Stevenson’s ‘The Vagabond’ 148 7A.4 Stevenson’s lyric for the ‘Skye Boat Song’ 149 8.1 ‘Menelaus’ introductory measures (a–d) 162 10.1 Add. MS 50422 D, f. 14v; five measures, piano score 217 10.2 Add. MS 50422 A, f. 12v; two measures, single stave 218 10.3 Add. MS 50422 D, f. 1r; three measures, piano score 218 10.4 Add. MS 59537, f. 81r; four measures, single stave 223 10.5 Add. MS 59537, f. 77r; four measures, single stave 224 10.6 Add. MS 59537, f. 84r; three measures, piano score 227 11.1 Vaughan Williams, Toward the Unknown Region, measures 12–15 (beginning of first stanza) 237 11.2 Vaughan Williams, A Sea Symphony, movement III, cue Aa, measures 1–6 240 11.3 Vaughan Williams, A Sea Symphony, movement I, cue C, measures 1–8 241 11.4 Vaughan Williams, A Sea Symphony, movement I, cue U, measures 1–6 243 11.5 Vaughan Williams, A Sea Symphony, movement IV, from 4 measures before cue Cc to the end of the composition 246 List of Plates 1 Satan goes forth from the presence of the Lord: Blake, Illustrations of the Book of Job, Plate 5. Note the facial and postural resemblance between Job and God, and the presence of Job’s right foot as he is performing an act of charity to a beggar. 2 Job’s evil dreams: Blake, Illustrations of the Book of Job, Plate II. Note the facial and postural resemblance between Job and Satan. 3 When the morning stars sang together: Blake, Illustrations of the Book of Job, Plate 14. 4 Job with his restored family and posterity: Blake, Illustrations of the Book of Job, Plate 21. Note that Job plays an instrument. 5 Piero di Cosimo: A Satyr mourning over a Nymph. © National Gallery, London. Reprinted with Permission. 6 Apollyon and the Doleful Creatures. Photograph by Angus McBean. © The Harvard Theatre Collection, The Houghton Library, Frederic Woodbridge Wilson, Curator. Reprinted with Permission. 7 Act Four, Scene Three: Pilgrim in the Celestial City. Photograph by Angus McBean. © The Harvard Theatre Collection, The Houghton Library, Frederic Woodbridge Wilson, Curator. Reprinted with Permission. 8 Act One, Scene Two: Pilgrim is received at the House Beautiful. Photograph by Angus McBean. © The Harvard Theatre Collection, The Houghton Library, Frederic Woodbridge Wilson, Curator. Reprinted with Permission. All reproduced with permission. ix