Table Of ContentV
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Also available from Ashgate g
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Vaughan
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Elgar’s Oratorios
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The creation of an epic narrative
Charles Edward McGuire i
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Michael Tippett W illiams
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Music and literature
Edited by Suzanne Robinson s
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The Life and Music of Sir Malcolm Arnold s
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The brilliant and the dark Essays
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Paul R.W. Jackson
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The Music of John Ireland
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Fiona Richards
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Edited by
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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
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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
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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.
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