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for violin and mixed choir This innovative and imaginative choral arrangement of The Lark Ascending has the original solo violin part accompanied by mixed choir. It sensitively sets George Meredith's poem (on which the original orchestration is based) and combines this with wordless vocal lines and vocal solos, preserving the texture and timeless effect of the original. Commissioned and premiered by the Swedish Chamber Choir, the work has also been recorded by the choir under the direction of Simon Phipps.
This engaging work was composed in 1929 and premiered the following year by its dedicatee, the legendary Spanish cellist Pablo Casals. The five folk songs on which the work is founded are 'Salisbury Plain', 'The Long Whip', 'Low down in the broom', 'Bristol Town', and 'I've been to France'. This arrangement for solo viola and orchestra is compatible with the original orchestral accompaniment, materials for which are available on hire.
Vaughan Williams wrote Symphony No. 8 between 1953 and 1955 while in his eighties. It is his shortest symphony and considered by many to be his least serious. Aside from a few sombre moments, the symphony is optimistic in mood and displays Vaughan Williams's love for exotic and colourful combinations of instruments with a percussion sections that, he said, employs "all the 'phones and 'spiels known to the composer". For this newly engraved edition, editor David Lloyd-Jones has consulted all extant sources and materials to create a score matching the composer's intentions. The full score is completed with Textual Notes and Preface, and accompanying orchestral parts are available on hire.
In this engaging work Vaughan Williams takes advantage of the expressive possibilities of the cello, ranging from wistful and melancholic to lively and jovial. It was composed in 1929 and premiered the following year by its dedicatee, the legendary Spanish cellist Pablo Casals. The five folk songs on which the work is founded are 'Salisbury Plain', 'The Long Whip', 'Low down in the broom', 'Bristol Town', and 'I've been to France'. Materials for the orchestral accompaniment are available on hire.
In this engaging work Vaughan Williams takes advantage of the expressive possibilities of the cello, ranging from wistful and melancholic to lively and jovial. It was composed in 1929 and premiered the following year by its dedicatee, the legendary Spanish cellist Pablo Casals. The five folk songs on which the work is founded are 'Salisbury Plain', 'The Long Whip', 'Low down in the broom', 'Bristol Town', and 'I've been to France'.
Vaughan Williams's famous romance for solo violin and orchestra is given new life in this beautiful arrangement. For the first time, violinists can perform the original solo line as part of a string quartet, while also joining the other players for the longer tutti sections. Perfect as a rehearsal tool in preparation a larger-scale orchestral concert, the arrangement is also ideal for performance in a chamber recital.
for SSA and piano or string orchestra or full orchestra This is an exuberant and animated chorus from the cantata In Windsor Forest, which was itself adapted from the opera Sir John in Love. The text is from Act II, Scene 3 of Shakespeare's Much Ado About Nothing, and features the women's chorus gleefully denouncing men as 'deceivers'. The colourful orchestral accompaniment is available on hire in versions of full orchestra or string orchestra and piano.
Vaughan Williams's famous romance for solo violin and orchestra is given new life in this beautiful arrangement. For the first time, violinists can perform the original solo line as part of a string quartet, while also joining the other players for the longer tutti sections. Perfect as a rehearsal tool in preparation for a larger-scale orchestral concert, the arrangement is also ideal for performance in a chamber recital.
for SATB and organ, or SATB and brass, percussion, and organ, or SATB and strings and organ Vaughan Williams composed this simple anthem for a pageant in aid of the church of Abinger in 1934. The homophonic texture and inclusion of the first verse of O God our help in ages past at the end of the piece make it an accessible and inclusive work and a rousing addition to any service, concert, or community occasion. Vaughan Williams's string orchestra accompaniment is available on hire, and Jerry Brubaker's brass, organ, and percussion arrangement is available on sale.
for vocal soloists or SATB choir and orchestra or reduced orchestra Serenade to Music is sublime - one of the most stunningly beautiful musical creations of the 20th century. This choral meditation on the nature of music and its power to enrapture is a setting of text from Shakespeare's The Merchant of Venice. This tender and much-loved work was composed in 1938 in honour of Sir Henry Wood. It was written for 16 soloists and orchestra but may also be sung by four soloists and chorus, or by mixed-voice chorus. This beautifully presented edition includes an introduction by Michael Kennedy. Also available for full orchestra without choir.
Originally intended as the first piece in a cycle of four impressions entitled In the New Forest, Burley Heath was written in 1902 but never finished. The manuscript represents a 168-bar fragment, which James Francis Brown, the editor of this edition, has completed by inserting a recapitulation of the initial material. Marking the first publication of this previously little-known early work, this edition also contains an introduction by the editor. Orchestral material is available on hire/rental form the hire library or appropriate agent.
for SATB unaccompanied, with opt. organ introduction Despite being composed for the grand event that was the Coronation of Queen Elizabeth II in 1953, this motet is tender and reflective. Setting text from Psalm 34: 8, the composer opens the piece with the quiet beauty of an unaccompanied treble/soprano solo. After this the lower voices are gently introduced in an imitative texture, in which the simplicity of the rhythms and melodic lines creates a sense of peace and stillness. The motet is particularly suited to performance during communion, having being performed at this point in the coronation service. A version for SSA choir is also available.
This study score marks the first publication of a previously little-known early work for chamber orchestra by Vaughan Williams. He started composing Harnham Down in 1904, completing the work in 1907. Over four decades later Vaughan Williams recalled the main theme of the work in his Oxford Elegy, which sets the Matthew Arnold poem (he Scholar Gypsy) that was prefaced in the original score to Harnham Down. The score has been edited by James Francis Brown and includes an introduction by the editor.
for SATB wordless chorus, viola solo, and orchestra A suite for solo viola, wordless chorus (SATB), and small orchestra, Flos Campi is one of Vaughan Williams's most enigmatic pieces. Although the six movements all borrow their titles from the Old Testament's Song of Solomon, the chorus never articulates a single word. Instead, it serves as a section of the orchestra, creating an elegant vocal texture and backdrop to the viola's haunting solo lines. The work was premiered in October 1925 by the violist Lionel Tertis, singers from the RCM, and the Queen's Hall Orchestra, directed by Sir Henry Wood.
Marking the first publication of an early work for chamber orchestra, this study score presents Vaughan Williams's The Solent, composed in 1903. The main theme from this work will be recognisable to many listeners, as it later found its way into both the Sea Symphony and the Ninth Symphony, albeit in a somewhat altered form. This duplication has intrigued many Vaughan Williams' scholars, as has the Philip Marston quotation that prefaces the scores: 'Passion and sorrow in the deep sea's voice, A mighty mystery saddening all the wind?'. The score has been edited by James Francis Brown and includes an introduction by the editor. Orchestral material is available on hire/rental form the hire library or appropriate agent.
Vaughan Williams's famous romance for solo violin and orchestra is given new life in this beautiful arrangement, which features the original solo line as part of a string sextet. Perfect as a rehearsal tool in preparation for a larger-scale orchestral concert, the arrangement is also ideal for performance in a chamber recital.
Symphony No. 9 in E minor was the last symphony written by Ralph Vaughan Williams and was premiered by the Royal Philharmonic Orchestra conducted by Malcolm Sargent on 2nd April 1958. It is described in The New Grove Dictionary of Music and Musicians as 'the most impressive achievement' of the composer's final decade. This scholarly edition replaces the original 1958 edition, and includes detailed preliminary matter comprising a preface, sources and editorial method, and detailed textual notes. Orchestral material is available on hire/rental.
Vaughan Williams's 6th Symphony was composed immediately after the Second World War and its dramatic and at times violent musical language was long felt to be a comment on that conflict (though the composer denied it had any programmatic intent). Its power and invention were immediately recognized and it has remained part of the concert repertoire ever since. For this newly engraved edition, editor David Lloyd-Jones has consulted all extant sources and materials to create a score matching the composer's intentions. Fully compatible orchestral parts are available on hire.
for soprano and baritone soloists, SATB, and full orchestra or string orchestra with piano Drawing upon the Bible, sections from the Mass, and poems by Walt Whitman, this is a powerful musical evocation of the destruction and death brought about through war and violence, with an overarching message of peace and reconciliation. It was composed in 1936, a time when war was threatening to engulf Europe once again, and the title, which translates as 'Give us peace', is as relevant now as it was when the work was premiered in 1936. Featuring some of the composer's most potent music (both serene and violent), it makes an affecting plea. Materials for the full orchestra version and an accompaniment for strings and piano are available on hire.
for SATB unaccompanied These two chorals are taken from Vaughan Williams's 1954 Christmas Cantata Hodie (This Day) - his last major composition for choir and orchestra. 'The blessed son of God' is the fifth movement of the original work, and is a hushed, tender setting of Miles Coverdale's translation of a hymn by Martin Luther. The second choral, 'No sad thought this soul affright', is the penultimate movement of the work, and introduces moments of mystical discordance to the gentle tone set in the first choral.
for SATB unaccompanied Vaughan Williams composed this setting of a poem by his wife Ursula in 1953 to form part of A Garland for the Queen, a collection of ten tributes to the newly-crowned Queen Elizabeth II by leading British composers and poets. It is dedicated 'to the memory of Charles Villiers Stanford, and his Blue Bird', and reflects Stanford's masterpiece in its harmonic language, floating soprano part, unaccompanied scoring, and haunting atmosphere.
The film 'Scott of the Antarctic' was produced by Ealing Studios and released in 1948. It recounts Robert Falcon Scott's ill-fated second expedition to the Antarctic in 1910-1913. The film is well-known for its score, composed by Vaughan Williams, which was later reworked to create his Sinfonia Antartica. Vaughan Williams's original score for the film was heavily edited in the studio and halved in length in order to create the final edit. It is now presented in its full, unedited form, assembled by the conductor Martin Yates, allowing listeners to hear the full grandeur of the composer's original for the first time. A recording of the work is available on the Dutton Epoch record label.
for contralto (mezzo-soprano) solo, female chorus, and flute and piano (or orchestra) This is an unusual setting of the well-known text. After an ethereal opening, a contralto/mezzo-soprano soloist sings the Magnificat text while the female chorus interpolates with other texts in praise of the Virgin Mary. The rhapsodic lines of the soloist contrast with the more reflective tone of the chorus, while a prominent solo flute part evokes the otherworldly in a manner reminiscent of Debussy. This setting is not for liturgical use. This version is accompanied by solo flute and piano. Orchestral material is available on hire.
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