for solo violin and orchestra or piano This serene romance is one of Vaughan Williams's most enduring popular works. Taking its title from a poem by George Meredith, the music perfectly evokes the lark's 'chirrup, whistle, slur, and shake'. This beautifully presented new edition of the violin and piano score includes a preface by Michael Kennedy.

Quartet in C is in four movements with a total duration of about 25 minutes. The opening Allegro is Dvor?k-ish in its lyricism, though there is a darker, more brooding atmosphere towards the close. It is tempting to detect a hint of folk-song in the theme of the Andantino, played by the viola, but that may be stretching hindsight too far. The movement has a wistful melancholy that carries over into the following Intermezzo, a song-like episode containing some of the most virtuosic writing in the work.
The last movement is a theme and six variations with a fugal ending. The theme is ballad-like with a suggestion of 18th century elegance. Modality creeps into the second Adagio variation and there is rhythmic exhilaration in the succeeding Presto. What can be admired in this attractive quartet is its conciseness.
This String Quartet was his first major composition of any kind.
Titles: Allegro * Andantino * Intermezzo * Variazione con finale fugato

Vaughan Williams' setting of four poems from George Herbert's 1633 collection, "The Temple: Sacred Poems" was done between 1906 and 1911. The premiere was given under the composer's direction on September 14, 1911 at the Three Choirs Festival in Worcester. This new edition of the vocal score by Richard Sargeant has been prepared with chorus' needs in mind. The layout is music improved over the original 1911 score, with the vocal staves at full size while the piano reduction is produced in smaller type. It is printed in a convenient, easy to hold size which fits comfortably in any choir folder.

Vaughan Williams conducted the first performance of his great choral symphony on his 38th birthday, October 12, 1910, at the Leeds Music Festival. The work was well received and has been in the symphonic repertoire ever since. The text was taken by the composer from Walt Whitman's "Leaves of Grass." This digitally restored score, the first available at a reasonable price, is reissued from the one first published by Stainer and Bell of London around 1920. As with all PLP scores a percentage of each sale is donated to the amazing online archive of free music scores and recordings, IMSLP - Petrucci Music Library.

for women's chorus and piano. This cantata features sixteen highly-varied folk song settings, bound together in seasonal groupings to take the listener on an engaging journey through the year from Spring to Winter. The prologue implores us to 'sing and be merry', and many of the songs facilitate this with their charmingly light-hearted melodies and imaginative orchestral accompaniment. There are also darker moments, such as the haunting and heart-rending setting of 'The Unquiet Grave' in 'Autumn'. For this comprehensive new edition, the editor Graham Parlett has drawn on all available sources, providing an authoritative full score with critical commentary. This edition also makes available new materials for the version for string orchestra and piano, and a new vocal score.

for Tenor Tuba (Euphonium) and piano Vaughan Williams's Concerto for Bass Tuba and Orchestra was the first major concerto to be written for the instrument. It was composed in 1953-4 to mark the 50th anniversary of the LSO, and was premiered by the orchestra's principal tuba player, Philip Catelinet. The original plan to transpose it for Euphonium was not realised during the composer's lifetime, and only now, in this transcription by David Childs, has that goal been attained, with Vaughan Williams's orchestration deftly transposed and rearranged by Rodney Newton to allow this characteristic work to enter the repertoire of many more players.