Vaughan Williams, Ralph

born Oct. 12, 1872, Down Ampney, Gloucestershire, Eng.

died Aug. 26, 1958, London

British composer.

He attended the Royal College of Music and Cambridge University, and he also studied in Berlin with the composer Max Bruch. Having collected English folk songs for his academic work, he combined folk melody with modern approaches to harmony and rhythm, forging a musical style at once highly personal and deeply English. His nine symphonies, including Sea Symphony (1909), London Symphony (1913), and Sinfonia Antarctica (1952), were his most exploratory works. Other popular pieces include The Lark Ascending (1914) and Serenade to Music (1938); he also wrote five operas, including Riders to the Sea (1936). He conducted extensively throughout his life, and he edited The English Hymnal (1904–06).

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▪ British composer

born Oct. 12, 1872, Down Ampney, Gloucestershire, Eng.

died Aug. 26, 1958, London

 English composer of the first half of the 20th century, founder of the nationalist movement in English music.

      Vaughan Williams studied at Trinity College, Cambridge, and in London at the Royal College of Music under two major figures of the late 19th-century renaissance of English music, Sir Charles Stanford and Sir Hubert Parry. In 1897–98 he studied in Berlin under the noted composer Max Bruch and in 1909 in Paris under Maurice Ravel. About 1903 he began to collect folk songs, and in 1904–06 he was musical editor of The English Hymnal, for which he wrote his celebrated “Sine Nomine” (“For All the Saints”). After artillery service in World War I, he became professor of composition at the Royal College of Music.

      His studies of English folk (folk music) song and his interest in English music of the Tudor period fertilized his talent, enabling him to incorporate modal elements (i.e., based on folk song and medieval scales) and rhythmic freedom into a musical style at once highly personal and deeply English.

      Vaughan Williams' compositions include orchestral, stage, chamber, and vocal works. His three Norfolk Rhapsodies (numbers 2 and 3 later withdrawn), notably the first in E minor (first performed, 1906), were the first works to show his assimilation of folk song contours into a distinctive melodic and harmonic style. His nine symphonies cover a vast expressive range. Especially popular are the second, A London Symphony (1914; rewritten 1915; rev. 1918, 1920, 1934), and the seventh, Sinfonia Antarctica (1953), an adaptation of his music for the film Scott of the Antarctic (1949). Other orchestral works include the Fantasia on a Theme by Thomas Tallis (1910); concerti for piano (later arranged for two pianos and orchestra), oboe, and tuba; and the Romance for harmonica and orchestra (1952).

      Of his stage works, The Pilgrim's Progress (1951) and Job (1931), a masque for dancing, reflect his serious, mystical side. Hugh the Drover (1924), a ballad opera, stems from his folk song interest. Riders to the Sea (1937) is a poignant setting of John Millington Synge's play.

      He wrote many songs of great beauty, including On Wenlock Edge (1909), set to poems of A.E. Housman and consisting of a cycle for tenor, string quartet, and piano (later arranged for tenor and orchestra) and Five Mystical Songs (1911), set to poems of George Herbert. Particularly notable among his choral works are the Mass in G Minor, the cantatas Toward the Unknown Region (1907) and Dona Nobis Pacem (1936; Grant Us Peace), and the oratorio Sancta Civitas (1926; The Holy City). He also wrote many part-songs, as well as hymn and folk-song settings.

      Vaughan Williams broke the ties with continental Europe that for two centuries through George Frideric Handel, Felix Mendelssohn, and lesser German composers had made Britain virtually a musical province of Germany. Although his predecessors in the English musical renascence, Sir Edward Elgar, Sir Hubert Parry, and Sir Charles Stanford, remained within the continental tradition, Vaughan Williams, like such nationalist composers as the Russian Modest Mussorgsky, the Czech Bedřich Smetana, and the Spanish Manuel de Falla, turned to folk song as a wellspring of native musical style.

Additional Reading

Jerrold Northrop Moore, Vaughan Williams: A Life in Photographs (1992); Michael Kennedy, The Works of Ralph Vaughan Williams (1980).

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