Ralph Vaughan Williams
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Ralph Vaughan Williams (pron.: / /; 12 October 1872 – 26 August 1958), OM, was an English composer of symphonies, chamber music, opera, choral music, and film scores. He was also a collector of English folk music and song: this activity both influenced his editorial approach to the English Hymnal, beginning in 1904, in which he included many folk song arrangements set as hymn tunes, and also influenced several of his own original compositions.
Ralph Vaughan Williams was born on 12 October 1872 in Down Ampney, Gloucestershire, where his father, the Reverend Arthur Vaughan Williams (1834-1875) was vicar. The surname Vaughan Williams is an unhyphenated double-barrelled name of Welsh origin. Following his father's death in 1875, he was taken by his mother, Margaret Susan (née Wedgwood) (1842-1937), the great-granddaughter of the potter Josiah Wedgwood, to live with her family at Leith Hill Place, a Wedgwood family home in the Surrey Hills. (The composer was therefore a great-great grandson of Josiah Wedgwood.) He was also related to the Darwins, Charles Darwin being a great-uncle. Though born into the privileged intellectual upper middle class, Vaughan Williams never took it for granted and worked all his life for the democratic and egalitarian ideals in which he believed.
At the age of six Vaughan Williams began piano and basic composition lessons with his aunt, Sophy Wedgewood. He started playing the violin at the age of seven. In January 1887, at the age of fourteen, he attended the Charterhouse School, which was one of the few schools at the time to encourage musical expression. After Charterhouse he attended the Royal College of Music (RCM) under Charles Villiers Stanford. He read history and music at Trinity College, Cambridge, where his friends and contemporaries included the philosophers G. E. Moore and Bertrand Russell. He then returned to the RCM and studied composition with Hubert Parry, who became a friend. One of his fellow pupils at the RCM was Leopold Stokowski and during 1896 they both studied organ under Sir Walter Parratt. Stokowski later went on to perform six of Vaughan Williams's symphonies for American audiences, making the first recording of the Sixth Symphony in 1949 with the New York Philharmonic, and giving the U.S. premiere of the Ninth Symphony in Carnegie Hall in 1958.
Another friendship made at the RCM, crucial to Vaughan Williams's development as a composer, was with fellow-student Gustav Holst whom he first met in 1895. From that time onwards they spent several 'field days' reading through and offering constructive criticism on each other's works in progress.
Vaughan Williams's composition developed slowly and it was not until he was 30 that the song "Linden Lea" became his first publication. He mixed composition with conducting, lecturing and editing other music, notably that of Henry Purcell and the English Hymnal. He had already taken lessons with Max Bruch in Berlin in 1897 and in 1907–1908 took a big step forward in his orchestral style when he studied for three months in Paris with Maurice Ravel.
In 1904, Vaughan Williams discovered English folk songs and carols, which were fast becoming extinct owing to the oral tradition through which they existed being undermined by the increase of literacy and printed music in rural areas. He travelled the countryside, transcribing and preserving many himself. Later he incorporated some songs and melodies into his own music, being fascinated by the beauty of the music and its anonymous history in the working lives of ordinary people. His efforts did much to raise appreciation of traditional English folk song and melody. Later in his life he served as president of the English Folk Dance and Song Society (EFDSS), which, in recognition of his early and important work in this field, named its Vaughan Williams Memorial Library after him. During this time he strengthened his links to prominent writers on folk music, including the Reverend George B. Chambers.
In 1905, Vaughan Williams conducted the first concert of the newly founded Leith Hill Music Festival at Dorking which he was to conduct until 1953, when he passed the baton to his successor, William Cole.
Fantasia on a Theme by Thomas Tallis
Performed by the U.S. Army Band Strings.
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In 1909, he composed incidental music for the Cambridge Greek Play, a stage production at Cambridge University of Aristophanes' The Wasps. The next year, he had his first big public successes conducting the premieres of the Fantasia on a Theme by Thomas Tallis (at the Three Choirs Festival in Gloucester Cathedral) and his choral symphony A Sea Symphony (Symphony No. 1). He enjoyed a still greater success with A London Symphony (Symphony No. 2) in 1914, conducted by Geoffrey Toye.
Two World Wars
Vaughan Williams was 41 when World War I began. Though he could have avoided war service entirely, or tried for a commission, he chose to enlist as a private in the Royal Army Medical Corps. After a gruelling time as a stretcher bearer in France and Salonika, he was commissioned as a Second Lieutenant in the Royal Garrison Artillery on 24 December 1917. On one occasion, though too ill to stand, he continued to direct his battery while lying on the ground. Prolonged exposure to gunfire began a process of hearing loss which eventually caused severe deafness in old age. In 1918, he was appointed Director of Music, First Army, and this helped him adjust back into musical life.
After the war, he adopted for a while a somewhat mystical style in Flos Campi, a work for solo viola, small orchestra and wordless chorus, and in A Pastoral Symphony (Symphony No. 3), which draws on his experiences as an ambulance volunteer in that war, including a cadenza for trumpet in the second movement based on a bugler practicing and repeatedly hitting a wrong note, a flattened seventh, which Vaughan Williams alludes to in the symphony. The work was premiered on 26 January 1922, in London, with Adrian Boult conducting. From 1924 a new phase in his music began, characterised by lively cross-rhythms and clashing harmonies. Key works from this period are Toccata Marziale, the ballet Old King Cole, the Piano Concerto, the oratorio Sancta Civitas (his favourite of his choral works) and the ballet Job: A Masque for Dancing, which is drawn not from the Bible but from William Blake's Illustrations of the Book of Job. He also composed a Te Deum in G for the enthronement of Cosmo Gordon Lang as Archbishop of Canterbury. This period in his music culminated in the Symphony No. 4 in F minor, first played by the BBC Symphony Orchestra in 1935. This symphony contrasts dramatically with the "pastoral" orchestral works with which he is associated; indeed, its almost unrelieved tension, drama, and dissonance have startled listeners since it was premiered. Acknowledging that the Fourth Symphony was different, the composer said, "I don't know if I like it, but it's what I meant." Two years later, Vaughan Williams made a historic recording of the work with the same orchestra for HMV (His Master's Voice), his only commercial recording. During this period, he lectured in America and England, and conducted The Bach Choir. He was President of the City of Bath Bach Choir between 1946 and [year?]. He was appointed to the Order of Merit in the King's Birthday Honours of 1935, having previously declined a knighthood. He also gave private lessons in London to students including Irish composer Ina Boyle.
Vaughan Williams was an intimate lifelong friend of the famous British pianist Harriet Cohen. His letters to her reveal a flirtatious relationship, regularly reminding her of the thousands of kisses that she owed him. Before Cohen's first American tour in 1931 he wrote "I fear the Americans will love you so much that they won't let you come back." He was a regular visitor to her home and often attended parties there. Cohen premiered Vaughan Williams's "Hymn Tune Prelude" in 1930, which he dedicated to her. She later introduced the piece throughout Europe during her concert tours. In 1933 she premiered his Piano Concerto in C major, a work which was once again dedicated to her. Cohen was given the exclusive right to play the piece for a period of time. Cohen played and promoted Vaughan Williams's work throughout Europe, the USSR, and the United States.
His music now entered a mature lyrical phase, as in the Five Tudor Portraits; the Serenade to Music (a setting of a scene from act five of The Merchant of Venice, for orchestra and sixteen vocal soloists and composed as a tribute to the conductor Sir Henry Wood); and the Symphony No. 5 in D, which he conducted at the Proms in 1943. As he was now 70, many people considered it a swan song, but he renewed himself again and entered yet another period of exploratory harmony and instrumentation. His very successful Symphony No. 6 of 1946 received a hundred performances in the first year. It surprised both admirers and critics, many of whom suggested that this symphony (especially its last movement) was a grim vision of the aftermath of an atomic war: typically, Vaughan Williams himself refused to recognise any programme behind this work.
It was with the 6th Symphony that his working relationship with Roy Douglas (b. 1907) began, and it continued for the rest of his life. Douglas's job was musical assistant and amanuensis, and it included producing legible copies of Vaughan Williams' scores, and in the process he identified numerous issues of orchestration needing resolution, deciphered his often illegible handwriting, and made various suggestions for improvement, most of which were accepted. Douglas has been described as "the most important surviving witness of Vaughan Williams's technique as a musician".
Before his death in 1958, he completed three more symphonies. His Seventh, Sinfonia Antartica, which was based on his 1948 film score for Scott of the Antarctic, exhibits his renewed interest in instrumentation and sonority. The Eighth Symphony, first performed in 1956, was followed by the much weightier Symphony No. 9 in E minor of 1956–57. This last symphony was initially given a lukewarm reception after its first performance in May 1958, just three months before his death. But this dark and enigmatic work is now considered by many to be a fitting conclusion to his sequence of symphonic works.
He also completed a range of instrumental and choral works, including a Tuba Concerto, An Oxford Elegy on texts of Matthew Arnold, and the Christmas cantata Hodie. He also wrote an arrangement of The Old One Hundredth Psalm Tune for the Coronation Service of Queen Elizabeth II. At his death he left an unfinished Cello Concerto, an opera Thomas the Rhymer and music for a Christmas play, The First Nowell, which was completed by his amanuensis Roy Douglas.
Despite his substantial involvement in church music, and the religious subject-matter of many of his works, he was described by his second wife as "an atheist ... [who] later drifted into a cheerful agnosticism." It is noteworthy that in his opera The Pilgrim's Progress he changed the name of the hero from John Bunyan's Christian to Pilgrim. He also set Bunyan's hymn Who would true valour see to music using the traditional Sussex melody " Monk's Gate". For many church-goers, his most familiar composition may be the hymn tune Sine nomine written for the hymn " For All the Saints" by William Walsham How. The tune he composed for the mediaeval hymn "Come Down, O Love Divine" (Discendi, Amor santo by Bianco of Siena, ca.1434) is entitled " Down Ampney" in honour of his birthplace.
He also worked as a tutor for Birkbeck College.
In the 1950s, the composer supervised recordings of all but his Ninth Symphony by Sir Adrian Boult and the London Philharmonic Orchestra for Decca. At the end of the sessions for the mysterious Sixth Symphony, Vaughan Williams gave a short speech, thanking Boult and the orchestra for their performance, "most heartily," and Decca later included this on the LP. He was to supervise the first recording of the Ninth Symphony (for Everest Records) with Boult; his death on 26 August 1958 the night before the recording sessions were to begin provoked Boult to announce to the musicians that their performance would be a memorial to the composer. These recordings, including the speeches by the composer and Boult, have all been reissued by Decca on CD.
Vaughan Williams is a central figure in British music because of his long career as teacher, lecturer and friend to so many younger composers and conductors. His writings on music remain thought-provoking, particularly his oft-repeated call for all persons to make their own music, however simple, as long as it is truly their own. Vaughan Williams was laid to rest in Westminster Abbey.
He was married twice. His first marriage was to Adeline Fisher (daughter of the historian Herbert William Fisher) in 1896. Adeline was cousin of Ruth Fisher de Ropp, who was the mother of Robert S de Ropp. Robert's father, a semi-destitute European nobleman, was unable to pay for his son's post-secondary education. Consequently, Ralph and Adeline Vaughan Williams paid for Robert’s education at the Royal College of Science, in South Kensington, where he eventually specialised in biology and earned a PhD. De Ropp went on to be a successful research scientist and well-known author of books on human potentials. Adeline Fisher Vaughan Williams died in 1951 after many years of suffering from crippling arthritis.
Vaughan Williams had an affair with the married poet Ursula Wood beginning in 1938. After Wood's husband died in 1942, Wood became Ralph's literary advisor and personal assistant and moved into his Surrey home, apparently with the tacit approval of Adeline, for whom Wood served as a caretaker until Adeline's death in 1951. Wood wrote the libretto to his choral work The Sons of Light, and contributed to that of The Pilgrim's Progress and Hodie. Wood and Vaughan Williams married in 1953 and moved to London and occupied a house at 10 Hanover Terrace, Regents Park, until the composer's death five years later. In 1964 Wood published RVW: A Biography of Ralph Vaughan Williams. She served as honorary president of the Ralph Vaughan Williams Society until her death in 2007.
Vaughan Williams's music has often been said to be characteristically English, in the same way as that of Gustav Holst, Frederick Delius, George Butterworth and William Walton. In Albion: The Origins of the English Imagination, Peter Ackroyd writes, "If that Englishness in music can be encapsulated in words at all, those words would probably be: ostensibly familiar and commonplace, yet deep and mystical as well as lyrical, melodic, melancholic, and nostalgic yet timeless." Ackroyd quotes music critic John Alexander Fuller Maitland, whose distinctions included editing the second edition of the Grove Dictionary of Music and Musicians in the years just before 1911, as having observed that in Vaughan Williams's style "one is never quite sure whether one is listening to something very old or very new."
His style expresses a deep regard for and fascination with folk tunes, the variations upon which can convey the listener from the down-to-earth (which he always tried to remain in his daily life) to the ethereal. Simultaneously the music shows patriotism toward England in the subtlest form, engendered by a feeling for ancient landscapes and a person's small yet not entirely insignificant place within them. His earlier works sometimes show the influence of Maurice Ravel, his teacher for three months in Paris in 1908. Ravel described Vaughan Williams as the only one of his pupils who did not write music like Ravel.
- Hugh the Drover or Love in the Stocks (1910–20). Romantic ballad opera. Libretto: Harold Child
- Sir John in Love (1924–28), from which comes an arrangement by Ralph Greaves of Fantasia on " Greensleeves"
- The Poisoned Kiss (1927–29; revisions 1936–37 and 1956–57). Libretto: Evelyn Sharp (later amended by Ralph and Ursula Vaughan Williams)
- Riders to the Sea (1925–32), from the play by John Millington Synge
- The Pilgrim's Progress (1909–51), based on John Bunyan's allegory
- The Shepherds of the Delectable Mountains (1921). Libretto: Ralph Vaughan Williams (from John Bunyan) (Later incorporated, save for the final section, into The Pilgrim's Progress)
- The Wasps (1909; to Aristophanes's play The Wasps; best known as an orchestral suite)
- The Bacchae (1911; to Euripides's tragedy)
- The Death of Tintagiles (1913; to Maurice Maeterlinck's 1894 play)
- Old King Cole (1923)
- On Christmas Night (1926)
- Job: A Masque for Dancing (1930)
- The Running Set (1933)
- The Bridal Day (1938–39)
- A Sea Symphony (Symphony No. 1), a choral symphony on texts by Whitman (1903–1909)
- A London Symphony (Symphony No. 2) (1913)
- A Pastoral Symphony (Symphony No. 3) (1921)
- Symphony No. 4 in F minor (1931–34)
- Symphony No. 5 in D major (1938–43)
- Symphony No. 6 in E minor (1944–47, rev. 1950)
- Sinfonia antartica (Symphony No. 7) (1949–52) (partly based on his music for the film Scott of the Antarctic)
- Symphony No. 8 in D minor (1953–55)
- Symphony No. 9 in E minor (1956–57)
- Heroic Elegy and Triumphal Epilogue (1900)
- In the Fen Country, for orchestra (1904)
- Norfolk Rhapsody No. 1 (1906, rev. 1914))
- The Wasps, an Aristophanic suite (1909; see Incidental music above)
- Fantasia on a Theme by Thomas Tallis (1910, rev. 1913 and 1919)
- March: Sea Songs (1923), arr. for orchestra 1924 by the composer
- Prelude and Fugue in C minor (1930)
- The Running Set (1933)
- Fantasia on " Greensleeves" (1934)
- Two Hymn Tune Preludes (1936)
- Partita for Strings (1938)
- Five Variants of Dives and Lazarus (1939)
- Household Music (1940)
- Concerto Grosso, for three parts of strings requiring different levels of technical skill (1950)
- Prelude on an Old Carol Tune (1952)
- Flourish for Glorious John (1957)
- The Lark Ascending for violin and orchestra (1914)
- Concerto Accademico for violin and orchestra (1924–25)
- Flos Campi for viola, wordless chorus and small orchestra (1925)
- Suite for Viola and Small Orchestra (1934)
- Romance for viola and piano (1925–1934 circa)
- Piano Concerto in C major (1926–31)
- Concerto for Two Pianos and Orchestra (1946; a reworking of Piano Concerto in C)
- Oboe Concerto in A minor, for oboe and strings (1944)
- Fantasia (quasi variazione) on the Old 104th Psalm Tune for piano, chorus, and orchestra (1949)
- Romance in D-flat major for harmonica and orchestra (1951) (written for Larry Adler)
- Tuba Concerto in F minor (1954)
- The Garden of Proserpine, cantata for soprano, chorus & orchestra, setting of Algernon Charles Swinburne (1899)
- A Cambridge Mass, Missa brevis for SATB, double chorus & orchestra (1899); Doctoral exercise, first performed 3 March 2011.
- Toward the Unknown Region, song for chorus and orchestra, setting of Walt Whitman (1906)
- Five Mystical Songs for baritone, chorus and orchestra, settings of George Herbert (1911)
- Fantasia on Christmas Carols for baritone, chorus, and orchestra (1912); arranged also for reduced orchestra of organ, strings, percussion)
- Mass in G minor for unaccompanied choir (1922)
- Sancta Civitas (The Holy City) oratorio, text mainly from the Book of Revelation (1923–25)
- Te Deum in G major (1928)
- Benedicite for soprano, chorus, and orchestra (1929)
- In Windsor Forest, adapted from the opera Sir John in Love (1929)
- Three Choral Hymns (1929)
- Magnificat for contralto, women's chorus, and orchestra (1932)
- Five Tudor Portraits for contralto, baritone, chorus, and orchestra (1935)
- Dona nobis pacem, text by Walt Whitman and other sources (1936)
- Festival Te Deum for chorus and orchestra or organ (1937)
- Serenade to Music for sixteen solo voices and orchestra, a setting of Shakespeare, dedicated to Sir Henry Joseph Wood on the occasion of his Jubilee (1938)
- "Six Choral Songs To Be Sung In Time Of War" (1940)
- A Song of Thanksgiving (originally Thanksgiving for Victory) for narrator, soprano solo, children's chorus, mixed chorus, and orchestra (1944)
- An Oxford Elegy for narrator, mixed chorus and small orchestra (1949)
- Three Shakespeare Songs for SATB unaccompanied, composed for The British Federation of Music Festivals National Competitive Festival (1951)
- O Taste and See, a motet setting of Psalm 34:8. The original SATB version was composed for the Coronation of HM Queen Elizabeth II at Westminster Abbey in June 1953. (1953)
- Hodie, a Christmas cantata (1954)
- Folk songs of the Four Seasons A Cantata for Women's Voices with Orchestra or pianoforte accompaniment (1950).
- Epithalamion for baritone solo, chorus, flute, piano, and strings (1957)
- A Choral Flourish for unaccompanied SATB chorus, composed for a large choral event in the Royal Albert Hall at the invitation of (and dedicated to) Alan Kirby (c. 1952)
- O How Amiable (1934) An arrangement of a hymn for chorus and organ, originally written for the Abinger Pageant
Arrangements of Christian hymns
Vaughan Williams was the musical editor of the English Hymnal of 1906, and the co-editor with Martin Shaw of Songs of Praise of 1925 and the Oxford Book of Carols of 1928, all in collaboration with Percy Dearmer.
- A Hymn of Glory Let Us Sing
- All Creatures of Our God and King
- Alleluia, Sing to Jesus
- Amid the Thronging Worshippers
- At the Name of Jesus
- "Come Down, O Love Divine" original hymnody by Bianco of Siena (1434)"Discendi, Amor santo"and entitled " Down Ampney" in honour of Vaughan Williams's birthplace
- Come, Let Us with Our Lord Arise an Easter anthem
- Come Thou Long Expected Jesus a carol for the season of Advent
- For All the Saints harmonised from "Sine Nomine"
- God Be With You Till We Meet Again
- I Love You Lord, My Strength, My Rock
- I Sing the Mighty Power of God
- Jesus, Lord, Redeemer
- " Let All Mortal Flesh Keep Silence", text of the Cherubic hymn of Liturgy of St James, harmonised to the French folk tune Picardy (1906)
- Make Room Within My Heart, O God
- My God, My God, O Why Have You Forsaken Me? a lament for Good Friday services during Passiontide
- O Come to Me, the Master Said
- " O Little Town of Bethlehem" a popular Christmas Carol penned by the American Phillips Brooks adapted to the English tune "Forest Green"
- O Sing a Song of Bethlehem
- On Christmas Night All Christians Sing
- When the Church of Jesus
- "Linden Lea", song (1901)
- The House of Life, six sonnets by Dante Gabriel Rossetti, set to music (1904)
- Songs of Travel (1904)
- "The Sky Above The Roof" (1908)
- On Wenlock Edge, song cycle for tenor, piano and string quartet (1909)
- Along the Field, for tenor and violin
- Three Poems by Walt Whitman for baritone and piano (1920)
- Four Poems by Fredegond Shove: for baritone and piano (1922)
- Four Hymns: for tenor, viola obbligato and piano (1914)
- Merciless Beauty for tenor, two violins, and cello (1921)
- Four Last Songs to poems of Ursula Vaughan Williams
- Ten Blake songs, song cycle for high voice and oboe (1957)
Chamber and Instrumental
- String Quartet in C minor (1897) (early composition)
- String Quartet No. 1 in G minor (1908)
- String Quartet No. 2 in A minor ("For Jean, on her birthday," 1942–44)
- Phantasy Quintet for 2 violins, 2 violas and cello (1912)
- Piano Quintet in C minor for violin, viola, cello, double bass and piano (1903)
- Suite for Pipes (1939)
- Sonata in A minor for violin and piano (1952)
- Romance for viola and piano (undated)
- Six Studies in English Folk Song, for violoncello and piano (1926)
- Romance for Harmonica with String and Piano Forte (1952)
- Three Preludes on Welsh Hymn Tunes ( Bryn Calfaria, Rhosymedre, Hyfrydol) (1920)
- Prelude and Fugue in C minor (1921)
- A Wedding Tune for Ann (1943)
- The Old One Hundredth Psalm Tune, harmonisation and arrangement (1953)
- Two Organ Preludes (The White Rock, St. David's Day) (1956)
Film, radio, and TV scores
- 49th Parallel, 1940, his first, talked into it by Muir Mathieson to assuage his guilt at being able to do nothing for the war effort
- Coastal Command, 1942
- BBC adaptation of The Pilgrim's Progress, 1942
- The People's Land, 1943
- The Story of a Flemish Farm, 1943
- Stricken Peninsula, 1945
- The Loves of Joanna Godden, 1946
- Scott of the Antarctic, 1948, partially reused for his Sinfonia antartica (Symphony No. 7)
- The England of Elizabeth
- Bitter Springs, 1950
- Rhosymedre (based on a Welsh hymn tune for organ) for concert band (1920)
- (English) Folk Song Suite for military band (1923)
- Sea Songs (1923)
- Toccata Marziale for military band (1924)
- Overture: Henry V for brass band (1933/34)
- Flourish for Wind Band (1939)
- Prelude on Three Welsh Hymn Tunes arranged from the organ piece for brass band (1955) and published by Salvationist Publishing and Supplies
- Variations for brass band (1957)
Vaughan Williams enjoyed an extensive recorded legacy. Early recordings of individual symphonies made by Henry Wood (London), John Barbirolli (Fifth), Adrian Boult and Leopold Stokowski (both in the Sixth), and the composer's own recording of the Fourth, preceded several complete cycles. Stokowski's 1943 NBC Symphony broadcast of the Fourth Symphony has also been issued on CD, as has his 1964 Proms performance of the 8th with the BBC Symphony Orchestra. Sir Eugene Goossens recorded the 1920 edition of A London Symphony with the Cincinnati Orchestra for RCA Victor in 1941, the only recording of that version of the score ever made. Boult taped the first cycle (Symphonies 1–8) for Decca in the early 1950s, completing it with No. 9 for the Everest label in 1958; he re-recorded all nine for EMI between 1967 and 1972. Other cycles have followed from André Previn, Bernard Haitink, Bryden Thomson, Vernon Handley, Leonard Slatkin and Richard Hickox.
Several other foreign conductors have also recorded individual Vaughan Williams symphonies: Dimitri Mitropoulos and Leonard Bernstein both recorded the Fourth Symphony with the New York Philharmonic, the same orchestra with which Leopold Stokowski had made the first recording of the Sixth Symphony in 1949. This work was also recorded by Maurice Abravanel and the Utah Symphony in 1966. Paavo Berglund also recorded the Fourth and Sixth Symphonies and, among other CD releases, the Portuguese premiere of the Ninth Symphony, with Pedro de Freitas Branco conducting the National Symphony Orchestra of Portugal, has also been issued. Similarly, the US premiere of the Ninth Symphony, given by Leopold Stokowski in Carnegie Hall in 1958 'In Memoriam Vaughan Williams' has also been released on CD by Cala Records.
A first official release of the Symphony No. 5 conducted by the composer in 1952 was recently issued in the U.K. by Somm Recordings.
David Willcocks recorded much of the choral output for EMI in the 1960s and 1970s. Award-winning performances of the string quartets have followed on Naxos, which along with the Hyperion and Chandos labels have recorded much neglected material, including works for brass band and the rarely performed operas.
EMI Classics has issued a budget 30-CD set (34+ hours) with virtually all of Vaughan Williams's works, including alternative settings.