Artist Info
1 to 50 |
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| Title | Release |
 Vaughan Williams: Symphony No. 5; Dona Nobis Pacem |
2007 |
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Vaughan Williams conducts Vaughan Williams W |
2002 |
|
Poisoned Kiss |
1999 |
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Symphonies Nos. 4 & 8 |
1996 |
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Fantasia |
1995 |
|
Sea Symphony |
1994 |
|
Hugh the Drover/The Wasps/Old King Cole W |
1993 |
|
Songs of Travel/On Wenlock Edge/Orchestral Songs |
1993 |
|
Hodie; Fantasia on Christmas Carols |
1990 |
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Bach: St. Matthew Passion |
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Film Music |
|
 (32)  Symphony No. 3 for soprano or tenor & orchestra ("Pastoral") WA |
1968 |
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(177) Fantasia on a Theme by Thomas Tallis, for 2 string orchestras WA |
2006 |
|
(290) Fantasia on Greensleeves, for harp, flute & strings (arranged by R. Greaves; from the opera "Sir John In Love") |
1980 |
|
(30) Oboe Concerto in A minor |
|
|
(44) Symphony No. 1 for soprano, baritone, chorus & orchestra ("A Sea Symphony") |
|
|
(55) Symphony No. 2 in G major ("A London Symphony") |
1923 |
|
(35) Symphony No. 7 for soprano, small female chorus & orchestra with narrator ad lib ("Sinfonia Antartica") |
1953 |
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(140) The Lark Ascending, romance for violin & orchestra |
1972 |
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(14) Dona Nobis Pacem, cantata for soprano, baritone, chorus & orchestra |
1992 |
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(2) Nocturne (Whispers of Heavenly Death), for baritone & orchestra WA |
2003 |
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(2) Hymn tune Prelude on Song 13 by Orlando Gibbons, for piano in G major |
1998 |
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(2) Norfolk Rhapsody for orchestra No. 2 in D minor WA |
2002 |
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A Song of Courage, for chorus & piano or orchestra in E flat major (Choral Songs to be Sung in Time of War No. 1) WA |
2001 |
|
(4) Sancta Civitas (The Holy City), oratorio |
1992 |
|
(2) The Pilgrim's Progress, incidental music for radio program |
1990 |
|
(2) 49th Parallel, suite for orchestra (from the film score) WA |
1984 |
|
(14) Lord, Thou Hast Been Our Refuge, motet for soloists, semi-chorus & orchestra (or organ) (Psalm 90) |
1993 |
|
(2) Prelude on an Old Carol Tune, for orchestra WA |
1984 |
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(11) Serenade to Music, for orchestra (arranged from the choral work) WA |
1983 |
|
(39) Symphony No. 4 in F minor |
1991 |
|
(15) Mystical Songs (5) for baritone, chorus ad lib & orchestra (or organ) |
1988 |
|
(6) Tudor Portraits (5), choral suite for soloists, chorus & orchestra WA |
1997 |
|
(3) In Windsor Forest, cantata (adapted from the opera "Sir John in Love") WA |
1980 |
|
(14) Te Deum for chorus & organ (or orchestra) in G |
1983 |
|
(5) Henry V, concert overture for brass band |
1985 |
|
(16) In the Fen Country, symphonic impression for orchestra |
1986 |
|
(26) Norfolk Rhapsody for orchestra No. 1 in E minor |
1986 |
|
(14) Partita for double string orchestra |
1990 |
|
(7) Poems by Fredegond Shove (4), for voice & piano WA |
1986 |
|
(2) The Story of a Flemish Farm, film score |
1944 |
|
(13) Toccata Marziale, for military band in B flat major |
1988 |
|
'Tis Winter now, the fallen snow, hymn ("Danby") |
|
|
(12) 49th Parallel, film score (The Invaders) |
2003 |
|
(2) A Call to the Free Nations, hymn for chorus |
2006 |
|
(2) A Choral Flourish, for chorus & organ or 2 trumpets |
|
|
(4) A Clear Midnight, song for voice & piano (Poems by Walt Whitman No. 2) WA |
1980 |
|
(3) A Cotswold Romance, cantata (arr. by Jacobson from synopsis of Hugh the Drover, opera) |
|
|
A Cradle Song, for voice & piano |
|
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(3) A Farmer's son so sweet, folk song for male chorus & piano WA |
1959 |
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A Song of Healing, for chorus & piano or orchestra in A major (Choral Songs to be Sung in Time of War No. 3) WA |
2001 |
|
A Song of Liberty, for chorus & piano or orchestra in D modal minor (Choral Songs to be Sung in Time of War No. 2) WA |
2001 |
|
A Song of Pity, Peace, and Love, for chorus & piano or orchestra in E flat major (Choral Songs to be Sung in Time of War No. 5) WA |
2001 |
|
(8) A Song of Thanksgiving for soprano, speaker, chorus & orchestra WA |
|
|
A Song of the New Age, for chorus & piano or orchestra in A modal minor (Choral Songs to be Sung in Time of War No. 6) WA |
2001 |
|
A Song of Victory, for chorus & piano or orchestra in C modal minor (Choral Songs to be Sung in Time of War No. 4) WA |
2001 |
|
(2) A Vision of Aeroplanes, motet for chorus & organ |
1990 |
|
Adieu, folk song for soprano, baritone & piano |
1992 |
|
Alister McAlpines Lament, folk song for chorus |
1995 |
|
All Hail The Power, hymn for unison chorus, chorus & organ (or orchestra) |
|
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Allegro vivace for cello (or violin, viola, clarinet) & piano (Study in English Folk Song No. 6 "As I Walked Over London Bridge") WA |
Individual Bio
Ralph Vaughan Williams left a varied oeuvre that includes orchestral works, songs, operas, and various choral compositions. While primarily drawing on the rich tradition of English folksong and hymnody, Vaughan Williams produced well-loved works that fit into larger European traditions and gained worldwide popularity.
Vaughan Williams, who lost his father early in life, was cared for by his mother. Related, through his mother, to both Charles Darwin and the Wedgwoods of pottery fame, he grew up without financial worries. He studied history and music at Trinity College, Cambridge, and finished up at the Royal College of Music, where he worked with Parry, Wood, and Stanford. In 1897, the year he married Adeline Fisher, Vaughan Williams traveled to Berlin to study with Max Bruch, also seeking Maurice Ravel as a teacher several years later, despite the fact that the French composer was three years his junior. In 1903, he started collecting English folksongs; certain characteristics of English folk music, particularly its modal tonalities, in many ways informed his approach to composition. Vaughan Williams further developed his style while working as editor of the -English Hymnal, which was completed in 1906. His work on the -English Hymnal went beyond editing, for he contributed several new hymn tunes, most notably the Sine nomine, the tune for the hymn For All the Saints. The composer's interest in and knowledge of traditional English music is reflected in his song cycle On Wenlock Edge (1909), based on selections from A.E. Housman's immensely popular volume of poetry -A Shropshire Lad. In his Fantasia on a Theme of Thomas Tallis, composed in 1910, Vaughan Williams introduced antiphonal effects within the context of modal tonality, juxtaposing consonant, but unrelated, triads. Composed in 1914, his Symphony No. 2, "A London Symphony" brings to life, with great charm, the sounds of London from dawn to dusk. That year, Vaughan Williams also wrote his pastoral The Lark Ascending, for violin and orchestra. When World War I broke out, the 41-year-old composer enlisted as an orderly in the medical corps, becoming famous for organizing choral singing and other entertainment in the trenches. He was commissioned from the ranks, ending his war service as an artillery officer. The war interrupted the composer's work but did not, it seems, disrupt the inner continuity of his creative development. The Symphony No. 3 ("Pastoral"), composed in 1922, conjures up a familiar world, effectively incorporating folksong motives into sonorities created by sequential chords. While critics detected pessimistic moods and themes in the later symphonies, ascribing a shift to a darker vision to the composer's alleged general pessimism about the world, Vaughan Williams refused to attach any programmatic content to these works. However, the composer created a convincing musical description of a desolate world in his Symphony No. 7 "Sinfonia Antarctica" (1952), which was inspired by the request to write the music for the film Scott of the Antarctic. In addition to his symphonies, Vaughan Williams composed highly acclaimed religious music, as well as works inspired by English spiritual literature, culminating in his 1951 opera The Pilgrim's Progress, based on the spiritual classic by John Bunyan. An artist of extraordinary creative energy, Vaughan Williams continued composing with undiminished powers until his death at 87. ~ All Music Guide, All Music Guide
Vaughan Williams, who lost his father early in life, was cared for by his mother. Related, through his mother, to both Charles Darwin and the Wedgwoods of pottery fame, he grew up without financial worries. He studied history and music at Trinity College, Cambridge, and finished up at the Royal College of Music, where he worked with Parry, Wood, and Stanford. In 1897, the year he married Adeline Fisher, Vaughan Williams traveled to Berlin to study with Max Bruch, also seeking Maurice Ravel as a teacher several years later, despite the fact that the French composer was three years his junior. In 1903, he started collecting English folksongs; certain characteristics of English folk music, particularly its modal tonalities, in many ways informed his approach to composition. Vaughan Williams further developed his style while working as editor of the -English Hymnal, which was completed in 1906. His work on the -English Hymnal went beyond editing, for he contributed several new hymn tunes, most notably the Sine nomine, the tune for the hymn For All the Saints. The composer's interest in and knowledge of traditional English music is reflected in his song cycle On Wenlock Edge (1909), based on selections from A.E. Housman's immensely popular volume of poetry -A Shropshire Lad. In his Fantasia on a Theme of Thomas Tallis, composed in 1910, Vaughan Williams introduced antiphonal effects within the context of modal tonality, juxtaposing consonant, but unrelated, triads. Composed in 1914, his Symphony No. 2, "A London Symphony" brings to life, with great charm, the sounds of London from dawn to dusk. That year, Vaughan Williams also wrote his pastoral The Lark Ascending, for violin and orchestra. When World War I broke out, the 41-year-old composer enlisted as an orderly in the medical corps, becoming famous for organizing choral singing and other entertainment in the trenches. He was commissioned from the ranks, ending his war service as an artillery officer. The war interrupted the composer's work but did not, it seems, disrupt the inner continuity of his creative development. The Symphony No. 3 ("Pastoral"), composed in 1922, conjures up a familiar world, effectively incorporating folksong motives into sonorities created by sequential chords. While critics detected pessimistic moods and themes in the later symphonies, ascribing a shift to a darker vision to the composer's alleged general pessimism about the world, Vaughan Williams refused to attach any programmatic content to these works. However, the composer created a convincing musical description of a desolate world in his Symphony No. 7 "Sinfonia Antarctica" (1952), which was inspired by the request to write the music for the film Scott of the Antarctic. In addition to his symphonies, Vaughan Williams composed highly acclaimed religious music, as well as works inspired by English spiritual literature, culminating in his 1951 opera The Pilgrim's Progress, based on the spiritual classic by John Bunyan. An artist of extraordinary creative energy, Vaughan Williams continued composing with undiminished powers until his death at 87. ~ All Music Guide, All Music Guide