COMPOSERS, BRASS bands, ORCHESTRAL music, and CONTEMPORARY classical music
Abstract
The article focuses on composer Ralph Vaughan Williams's brass band and Ninth Symphony. Topics discussed include information on his brass band involving "Overture: Henry V", "Flourish ‘on a Morris call'", and "Prelude on three Welsh hymn tunes"; information on Vaughan Williams's nine orchestral symphonies and other orchestral music; and his interest in concerts of international modern music.
SUITE (Musical form), SOLOISTS (Dancers), and MUSIC
Abstract
The article discusses Vaughan Williams, the Serenade to music and opening night at Lincoln Center. Topics include the programme being consisted of the NYPhil, conducted by Leonard Bernstein, 3 choirs and an all-star cast of a dozen vocal soloists; looks at 4 aspects of Bernstein's opening-night programming and performance of the Serenade; and Copland writting up his impressions of Vaughan Williams's Benedicite (1929) for the journal Modern Music.
MUSICIANS, MUSICAL performance, ORCHESTRAL music, and GREAT Britain
Abstract
The article discusses the life and work of Vaughan Williams, the late English composer. Information about his works including operas, ballets, religious vocal pieces and orchestral compositions, is provided. Also emphasized is familiarity as British symphonists as well as his range of moods during musical performance with the New York Philharmonic (NYP) orchestra.
Vaughan Williams's cycle Songs of Travel reveals implications of walking as an embodied cultural practice. The cycle follows a vagabond character as he sets out on foot in pursuit of spiritual and artistic wisdom. Walking was a ubiquitous form of recreation in Vaughan Williams's social milieu, and many authors in the preceding decades had explored the subject at length. Their efforts helped to codify what Anne D. Wallace (1993) has termed "peripatetic theory," which asserts that there are certain physical, perceptual, and spiritual experiences only possible by means of foot travel. Placing Vaughan Williams's music in dialogue with other peripatetic texts shows how walking--as an experience and a discourse in Victorian and Edwardian Britain--informed both individual songs and the narrative structures underlying the cycle. [ABSTRACT FROM AUTHOR]
MUSICAL criticism, MUSIC history, MUSIC critics, and MUSICAL analysis
Abstract
This article presents a musical critique of Vaughan Williams and Olin Downes. Contextual information is given discussing the work's placement within 1924, and its composition through sensations of tone. Analysis is then provided regarding the innovative uses of musical forms seen within the structure like musical taste.
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