402:
260:
3592:
118:. The wording of the dedication differs between the manuscript and the published score: the ascription on the manuscript reads "Dedicated without permission and with the sincerest flattery to Jean Sibelius, whose great example is worthy of all imitation"; this was abbreviated on the published score to "Dedicated without permission to Jean Sibelius".
3837:
497:
474:
560:(OUP) in 1946. Vaughan Williams lightly revised the score in 1951, but that revision was not published during his lifetime. It was published in 1961, re-engraved with corrections in 1969, and in 2008 OUP issued a new edition, edited by Peter Horton, to commemorate the 50th anniversary of the composer's death.
1606:
The dedication may have contributed to early public interest in the symphony, especially in
England, given Sibelius's popularity there. In the words of Simona Pakenham, it was enough to send listeners to the premiere performance in London "with their ears pricked to detect echoes of the great Finnish
424:
in stable two bar phrases. However the violins enter with phrasing that does not conform to either pattern, thus adding more confusion. Using this rhythmic phrasing, the dorian line played on the violins and the aeolian woodwind line are differentiated rhythmically, as well as tonally. The rhythmical
349:
For the recapitulation the tempo slows and the dynamics are reduced. The C pedal is reintroduced, but this time in a more melodic fashion. There is more development in the recapitulation. The movement ends in a similar way to the opening, with the horn call, but the key signature of two flats rather
516:
form, Vaughan
Williams eventually abandons it. The triumphant primary melody of the passacaglia is used as Pilgrim's dialogue with Interpreter in the second half of "The House Beautiful" scene, while the fanfare motif recalls of "The Arming of the Pilgrim" in Act II Scene 1. This ushers in a return
374:
Vaughan
Williams uses rhythm in the Scherzo to convey different effects. The focus of the movement is centred on the rhythm rather than the ambiguous tonality of the Preludio. Lionel Pike comments that "at times it seems more like a counterpoint of rhythms than of pitches." The movement begins with
86:
The symphony was complete enough by the end of 1942 for the composer to prepare a two-piano transcription, which two friends played for him in late
January 1943. Any doubts he had about the piece were allayed when he heard the first orchestral run-through on 25 May. He found that the symphony said
329:
The tempo accelerates to allegro for the development. The strings are used to imply the winds of nature, in a similar vein to that of
Sibelius. This is punctuated by the brass and woodwind with the falling semitone motif, which gets larger intervallically to a major second and then a minor third.
575:
When the
Symphony in D major was first performed in 1943, it was instantly acclaimed by the listening public. Its success resulted from many factors, most notably the serenity of the work itself as contrasted with the severity of the war then in progress, as well as the allusions to
137:, before working on his own Symphony No. 5. Similarities in orchestration are evident, such as the atmospheric string writing midway through the first movement of the Vaughan Williams work, noted in the following section. A case for an actual quotation has been made by
47:. This opera, or "morality" as Vaughan Williams preferred to call it, had been in gestation for decades, and the composer had temporarily abandoned it at the time the symphony was conceived. Despite its origins, the symphony is without programmatic content.
463:
calls it "a profound meditation on the three main musical elements presented at the outset". It is not clear why the composer called it "Romanza". Howes comments that with its spiritual, meditative nature there is nothing "romantic" about this movement;
644:
This is music that has no place for the dramatic outbursts of the Fourth and Sixth
Symphonies, yet their agonies lie beneath its spiritual radiance, sometimes staining its surface and making its calm breadth one of Vaughan Williams' bravest
205:. This is a smaller orchestra than Vaughan Williams used in his four earlier symphonies, with only two horns, no tuba, no harps and no percussion except timpani. The symphony is in the customary four-movement form. The composer provided
141:, who notes a subtle similarity in the opening bars of the Fourth and Fifth Symphonies of Sibelius and Vaughan Williams, respectively, concealed by the contrasting moods of the two pieces (in each case, the motif spanning a tritone C–D–F
416:. This gives the illusion that the music is accelerating, and so the pulse does not settle. When the melodic line begins, the music is divided into five bar phrases. A sense of stability is established when the theme is repeated by the
209:
markings for all four movements, but they are widely regarded as dubious: the composer did not observe them when he conducted the work, and he expressed approval of Boult's tempi, which were similar to his own. His musical assistant
595:
wrote that the symphony "belongs to that small body of music that, outside of late
Beethoven, can properly be described as transcendental … this is music not only of contemplation but of benediction". A grudging note was struck by
283:
believes this is why
Vaughan Williams billed the movement as a Preludio, "which suggests an emergent state". The horn call motif fluctuates from major to minor, outlining the tonal ambiguity, moving between the mixolydian and
237:'s analysis (1954), can be seen either as "an elaborate ternary form with coda" or "an exposition of two big groups of themes succeeded without development by a condensed recapitulation". This movement owes something to
541:, the founder and presiding figure of the Proms, was originally intended to conduct the performance but was not well enough and the composer was persuaded to take the baton. The American premiere was given in
126:) in a neutral country (Sweden). After listening to a broadcast of the work, Sibelius wrote to Atterberg, "I heard Dr. Ralph Vaughan Williams' new Symphony from Stockholm under the excellent leadership of
451:
The third and fourth lines were later sung in the opera by
Pilgrim. The inscription was omitted from the published score in accordance with the composer's wish that the symphony should be regarded as
133:
The wording of the dedication led to speculation whether the work contains any direct quotations or imitations of Sibelius. Vaughan Williams made a study of Sibelius's music, notably his
3184:
3627:
130:... This Symphony is a marvellous work ... the dedication made me feel proud and grateful ... I wonder if Dr. Williams has any idea of the pleasure he has given me?"
3174:
2951:
1349:
2515:
1531:
The composer did not allocate numbers to any of his symphonies before No 8, but the Fourth, Fifth and Sixth have nevertheless generally been referred to by number.
3205:
2969:
3857:
517:
of the themes from the first movement of the symphony, which are resolved into a quiet valediction played first by the woodwind and then by the upper strings.
83:. Believing that the opera might never be completed he decided to incorporate some of its ideas and themes into other works, most notably the Fifth Symphony.
956:
366:'Schwebende Tonalität' ('fluctuating: suspended, not yet decided' tonality)", although Vaughan Williams stated that Schoenberg's music meant nothing to him.
77:, before he began writing his Fifth Symphony in 1938. He had been working intermittently for more than thirty years on what became his opera (or "Morality")
3785:
1573:
There is conflict between the sources about the location of and orchestra for the run-through. Ursula Vaughan Williams says that the orchestra was the
3731:
296:
then moves to E, with a new melody in the violins, which, although it does not include a sharpened seventh, outlines E major. The bass, now played
3578:
3620:
610:
wrote, "The Fifth Symphony contains the most benedictory and consoling music of our time." When the first recording came out in 1944 (see below)
3566:
928:
34:
3156:
2871:
2852:
2833:
2814:
2773:
2699:
2690:
Kennedy, Michael (2013). "Fluctuations in the response to the music of Ralph Vaughan Williams". In Alain Frogley and Aidan J. Thomson (ed.).
2663:
2627:
2608:
1066:
606:
that the symphony was "like the work of a distinguished poet who has nothing very new to say, but says it in exquisitely flowing language".
3248:
3119:
3064:
2944:
313:
69:
3547:
3399:
3279:
1426:
3613:
3374:
3254:
3139:
3126:
3516:
3169:
3099:
3094:
3081:
3071:
2792:
2737:
2718:
64:
29:
3696:
3012:
1560:
586:
comments that public appreciation of the symphony "was more immediate than that of perhaps any other single work by the composer".
79:
43:
3867:
3737:
3210:
3189:
3179:
1550:
in 1906 for a dramatisation at Reigate Priory. In 1922 he set a "Pastoral Episode" from the book as his first opera, the one-act
637:(1945 and 1946). Eighteen further performances were given in subsequent Prom seasons between 1949 and 2020. In 1994 the composer
401:
2894:
Dineen, Murray (2003). "Vaughan Williams's Fifth Symphony: Ideology and Aural Tradition." In Byron Adams and Robin Wells, eds.,
3671:
3595:
2937:
2470:
3300:
1582:
1176:
465:
2536:
Atlas, Allan (Autumn 2011). "On the proportions of the passacaglia (fourth movement) of Vaughan Williams's Fifth Symphony".
245:
has been derived from the first subject. The movement opens with a pedal C in the bass, answered by a horn call outlining a
633:
concert in June 1943, the symphony was given in each of the following four seasons, conducted by Boult (1944 and 1947) and
3457:
3361:
3266:
1574:
1402:
1353:
1023:
1018:
761:
683:
534:
288:, which becomes a characteristic of the movement. The bass's C pedal becomes the tonic when the key changes to either the
3827:
500:
477:
263:
3392:
3355:
3241:
2102:
933:
902:
897:
103:
has called Sibelius "the influence of choice" among British symphonists in the years between the two World Wars, citing
3133:
1344:
1546:
468:
observes that with Vaughan Williams the term "is always a signal that the music was of special significance to him".
2915:
Ottaway, Hugh (October 1953). "Vaughan Williams: Symphony in D and ' The Pilgrim's Progress '. A Comparative Note."
3862:
3762:
3449:
1295:
1094:
979:
3641:
3560:
3030:
3005:
2768:. Rhythm in the symphonies: a preliminary investigation. New York: Cambridge University Press. pp. 166–186.
1617:
1153:
853:
318:
134:
50:
The work was an immediate success at its premiere in 1943, and is frequently performed in concert and on record.
2502:
3664:
3572:
3473:
1633:
1086:
1000:
3799:
41:
Many of the musical themes in the Fifth Symphony stem from Vaughan Williams's then-unfinished operatic work,
3806:
3492:
3307:
1071:
614:
was more welcoming than Glock had been the year before, saying that the Fifth was to the Fourth Symphony as
557:
107:
3841:
3678:
3657:
3425:
2960:
2096:
1586:
876:
871:
809:
714:
28:
in D major between 1938 and 1943. In style it represents a shift away from the violent dissonance of his
21:
3605:
2561:
338:
of which Mellers believes shows the randomness of nature. The key shifts down mediants, until it reaches
3813:
3532:
3465:
3346:
546:
162:
138:
100:
2866:. 'Symphony in D major': models and mutations. New York: Cambridge University Press. pp. 187–212.
3792:
3417:
3272:
1271:
460:
3756:
3234:
881:
67:, a strident and dissonant piece in great contrast with its quiet and contemplative predecessor,
3553:
3542:
3441:
3112:
3105:
3087:
2545:
1578:
1324:
907:
743:
729:
503:
480:
301:
266:
222:
214:
has suggested that Vaughan Williams simply miscalculated because he did not possess a metronome.
550:
3286:
3056:
2998:
2923:
2916:
2867:
2848:
2829:
2810:
2788:
2769:
2752:
2733:
2714:
2695:
2678:
2659:
2642:
2623:
2604:
2584:
2567:
1181:
766:
688:
530:
363:
74:
2033:
Ursula Vaughan Williams, pp. 254–254; and Kennedy, Michael (2012). Notes to Hallé CD HLL 7533
3433:
3227:
2991:
2802:
2654:
Horton, Julian (2014). "The later symphonies". In Alain Frogley and Aidan J. Thomson (ed.).
1637:
1406:
1376:
1300:
1266:
1196:
1061:
569:
437:
In the manuscript score Vaughan Williams headed this movement with words taken from Bunyan:
276:
3537:
3367:
3339:
3314:
3293:
2984:
2213:
1641:
1621:
1491:
1446:
1397:
1109:
1038:
833:
739:
734:
704:
654:
359:
280:
242:
127:
848:
653:
The symphony was first recorded within a year of the premiere, under the auspices of the
362:
argues that "With respect to D Major, the Preludio might be regarded as a clear case of
3768:
3260:
3048:
1629:
1625:
1290:
1240:
1219:
971:
948:
923:
607:
583:
452:
202:
123:
115:
104:
225:", in the second subject of the first movement and at the end of the fourth movement.
122:
subsequently secured permission, corresponding with Sibelius through an intermediary (
3851:
1392:
1339:
790:
638:
634:
597:
542:
379:
331:
300:, supports the melody both melodically and harmonically and the texture incorporates
250:
96:
2503:"All Performances of Ralph Vaughan Williams: Symphony No. 5 in D major at BBC Proms"
589:
The response of music critics was generally enthusiastic. The anonymous reviewer in
2596:
1649:
1645:
1590:
1470:
1421:
1316:
1261:
782:
602:
305:
293:
289:
119:
709:
512:
Although this movement begins with the repetitive bass line characteristic of the
3636:
1541:
1171:
616:
513:
456:
421:
376:
323:
285:
238:
234:
211:
186:
174:
3163:
2646:
1431:
1368:
538:
254:
111:
2682:
2588:
3499:
1555:
630:
622:
591:
526:
335:
297:
206:
2571:
2195:; and Notes to Somm CD SOMMCD 071 (2007) and Decca CD 00028947860464 (2013)
16:
Musical work; symphony in four movements composed by Ralph Vaughan Williams
2756:
2929:
2076:
1558:
adaptation of the book. The culmination of his work on Bunyan's book was
426:
413:
309:
194:
178:
2901:
Douglas, Roy (January 1963). "Vaughan Williams and His Fifth Symphony."
2887:
Dickinson, A.E.F. (February 1945). "Vaughan Williams's Fifth Symphony."
2549:
2083:. Issue no. 88 (October 2023), pp. 8–12: Ralph Vaughan Williams Society
1594:
1275:
1204:
1046:
409:
343:
339:
246:
198:
190:
182:
166:
2579:
Cox, David (1967). "Ralph Vaughan Williams". In Robert Simpson (ed.).
2300:
2216:
2184:
2155:
1616:
The conductors for these performances were Sargent, Vaughan Williams,
425:
confusion is halted when the wind and strings alternate downward runs
2015:
Connock, Stephen (2015). Notes to Albion Records CD set ALBCD 023/024
63:
In 1935 Vaughan Williams had caused surprise and even shock with his
2908:
Foss, Hubert (August 1950). "Vaughan Williams's D Major Symphony."
3321:
1455:
417:
455:. The movement may be considered the spiritual core of the work:
221:
allusions, the score has echoes of Vaughan Williams's hymn tune "
2516:"Past perfect: Anthony Payne on a recreation of Proms long gone"
2406:
Richards, Denby. "Vaughan Williams: Symphony No. 5 in D Major",
471:
The opening cor anglais solo is taken virtually without change.
170:
3609:
2933:
2156:"The stages of revision of Vaughan Williams's Sixth Symphony"
657:. More than thirty recordings have been issued subsequently.
342:, when the strings imitate Sibelius again, this time using
241:, but does not display all its characteristics; the second
2349:
Connock, Stephen (1998). Notes to Chandos CD set CHAN 9625
356:, leaving the tonality of the movement still in question.
1248:
Konzerthalle Carl Philipp Emanuel Bach, Frankfurt (Oder)
502:
Audio playback is not supported in your browser. You can
479:
Audio playback is not supported in your browser. You can
443: And a little below a sepulchre … Then he said
265:
Audio playback is not supported in your browser. You can
525:
The Fifth Symphony was premiered on 24 June 1943 at a
312:, an idea previously used in Vaughan Williams's works
3825:
1947:
Coupled with Concerto in C for 2 Pianos and Orchestra
1757:
Coupled with Concerto in C for 2 Pianos and Orchestra
600:, a proponent of avant-garde music, who commented in
2468:
Cardus, Neville, "The Measure of Vaughan Williams",
2077:"Sibelius and Vaughan Williams: Symphonic Synergies"
1245:
Brandenburgischen Staatsorchester, Frankfurt (Oder)
489:
Rising fourths again appear as connecting passages.
445: "He hath given me rest by his sorrow and
408:= 120), and then minims for four bars, which create
350:
than one sharp is used. The bases descend to C via E
3777:
3749:
3723:
3706:
3688:
3649:
3525:
3509:
3484:
3409:
3384:
3331:
3219:
3198:
3148:
3040:
3022:
2976:
568:In a survey of Vaughan Williams's nine symphonies,
308:, making the harmony richer. A sudden descent of a
32:, and a return to the gentler style of the earlier
2922:Ottaway, Hugh (May 1964). "VW 5—A New Analysis."
322:, marks a key change to three flats and also the
2749:Ralph Vaughan Williams: A Discovery of his Music
1554:. In 1942–43 he composed incidental music for a
2862:Whittall, Arnold (1996). Frogley, Alain (ed.).
441: Upon that place there stood a cross
2136:Vaughan Williams: unnumbered introductory page
2070:
2068:
2066:
73:(1922). After this he experienced a temporary
3621:
2945:
1540:Vaughan Williams had first written music for
8:
2764:Pike, Lionel (1996). Frogley, Alain (ed.).
2730:Music and Friends – Letters to Adrian Boult
2692:The Cambridge Companion to Vaughan Williams
2656:The Cambridge Companion to Vaughan Williams
556:The score of the symphony was published by
95:Vaughan Williams dedicated the symphony to
3628:
3614:
3606:
2952:
2938:
2930:
2845:RVW: A Biography of Ralph Vaughan Williams
2498:
2496:
659:
2711:Vaughan Williams and the Vision of Albion
2694:. Cambridge: Cambridge University Press.
2658:. Cambridge: Cambridge University Press.
2482:
2480:
2132:
2130:
1597:, the orchestra's temporary wartime base.
1552:The Shepherds of the Delectable Mountains
459:calls it "the heart of the symphony" and
3786:The Third Part of the Pilgrim's Progress
2807:The Symphonies of Ralph Vaughan Williams
1920:Coupled with music by Christopher Wright
147:is followed by the repeated interval E–F
3832:
3579:Vaughan Williams and English folk music
2926:, vol. 105, no. 1455, pp. 354–356.
2375:
2373:
2345:
2343:
2185:"Vaughan Williams and his Interpreters"
1990:
1938:Coupled with music by Elgar and Britten
1524:
1158:Giandomenico Studios, Collingswood, NJ
3567:Society for the Promotion of New Music
2919:, vol. 94, no. 1328, pp. 456–458.
2581:The Symphony: Elgar to the Present Day
2486:"On the Record: The Hallé Orchestra",
2094:
2081:Ralph Vaughan Williams Society Journal
3732:Pilgrim's Progress: Journey to Heaven
3185:Concerto for Two Pianos and Orchestra
1956:Coupled with music by Elgar and Holst
1607:composer in Vaughan Williams's work".
1067:Academy of Saint Martin in the Fields
7:
3858:Symphonies by Ralph Vaughan Williams
3120:Fantasia on a Theme by Thomas Tallis
1897:Fantasia on a Theme by Thomas Tallis
1835:Fantasia on a Theme by Thomas Tallis
1768:Fantasia on a Theme by Thomas Tallis
314:Fantasia on a Theme by Thomas Tallis
3548:English Folk Dance and Song Society
2847:. Oxford: Oxford University Press.
2828:. London: Oxford University Press.
2677:. London: Oxford University Press.
2675:The Music of Ralph Vaughan Williams
2566:. London: Oxford University Press.
2217:"Vaughan Williams's Fifth Symphony"
2183:Culshaw, p. 121; Boult, Sir Adrian
3127:Five Variants of Dives and Lazarus
2505:, BBC. Retrieved 19 September 2024
2145:Day, pp. 154–155; and Howes, p. 43
14:
3517:Vaughan Williams Memorial Library
2843:Vaughan Williams, Ursula (1964).
2824:Vaughan Williams, Ralph (1969) .
2785:Vaughan Williams and the Symphony
2281:Mellers, p. 179; and Howes, p. 43
275:The violins use the notes of the
3835:
3591:
3590:
3211:Six Studies in English Folk Song
2728:Moore, Jerrold Northrop (1979).
2713:. London: Barrie & Jenkins.
2583:. Harmondsworth: Pelican Books.
1024:Philharmonia Building, Leningrad
400:
3672:The Life and Death of Mr Badman
2891:, vol. 6, no. 1, pp. 1–12.
2639:Ralph Vaughan Williams: a study
2622:. London: The British Library.
2042:Ursula Vaughan Williams, p. 255
447: Life by his death"
161:The symphony is scored for two
3301:Folk Songs of the Four Seasons
2603:. London: Secker and Warburg.
1095:St Augustine's Church, Kilburn
1:
3175:Suite for Viola and Orchestra
2620:Working with Vaughan Williams
2006:Cox, pp. 116–117; and 119–121
1872:Prelude and Fugue in C minor
1575:London Philharmonic Orchestra
1514:Notes, references and sources
1478:Philharmonic Hall, Liverpool
1475:Royal Liverpool Philharmonic
535:London Philharmonic Orchestra
3453:(1946 historical drama film)
3242:Fantasia on Christmas Carols
2905:, vol. 5, no. 12, p. 2.
2301:"Arnold Schōnberg 1874–1951"
2191:, October 1972, pp. 957–958
934:Philharmonic Hall, Liverpool
929:Royal Liverpool Philharmonic
715:Houldsworth Hall, Manchester
499:
476:
279:, making the key ambiguous.
262:
3206:Romance for viola and piano
3134:The Story of a Flemish Farm
2809:. New York: Da Capo Press.
2732:. London: Hamish Hamilton.
2601:Putting the Record Straight
1997:Cox, p. 115; and Day, p. 41
1974:Coupled with extracts from
1585:gives the orchestra as the
1454:Kultur & Kongresshaus,
957:St Jude's Church, Hampstead
545:on 30 November 1944 by the
537:conducted by the composer.
3884:
3763:Road with Cypress and Star
3450:The Loves of Joanna Godden
2898:(Ashgate), pp. 17–27.
1965:Coupled with Symphony No 6
1929:Coupled with Symphony No 8
1911:Coupled with Symphony No 4
1849:Coupled with Symphony No 9
1796:Coupled with Symphony No 4
1787:Coupled with Symphony No 6
1778:Coupled with Symphony No 6
980:All Saints Church, Tooting
3587:
3561:The Oxford Book of Carols
3100:Symphony No. 9 in E minor
3095:Symphony No. 8 in D minor
3082:Symphony No. 6 in E minor
3077:Symphony No. 5 in D major
3072:Symphony No. 4 in F minor
3031:Job: A Masque for Dancing
2967:
2912:, no. 27, pp. 12–15.
2787:. London: Toccata Press.
2747:Pakenham, Simona (1957).
2709:Mellers, Wilfrid (1989).
2455:Glock, William. "Music",
2299:Vaughan Williams, Ralph.
1721:Coupled with Overture to
1697:Coupled with Overture to
1427:Musikkollegium Winterthur
1251:22 Jun & 26 Aug 2005
1154:Curtis Institute of Music
1001:Walthamstow Assembly Hall
674:
671:
668:
665:
662:
521:Premieres and publication
3665:The Enchanted Duplicator
3474:The England of Elizabeth
2864:Vaughan Williams Studies
2766:Vaughan Williams Studies
2101:: CS1 maint: location (
2060:Pike (2003), pp. 153–154
1506:Hyperion 00602458140088
629:After its premiere at a
3868:Compositions in D major
3493:English Folk Song Suite
3308:Three Shakespeare Songs
2896:Vaughan Williams Essays
2555:(subscription required)
2319:Vaughan Williams, p. 30
2309:(subscription required)
2263:Vaughan Williams, p. 11
2225:(subscription required)
2223:, February 1959, p. 91
2193:(subscription required)
2164:(subscription required)
1884:Sea Songs for Orchestra
1415:PentaTone PTC 5186 471
1333:Dutton Epoch CDLX 7286
1080:Collins Classics 12022
1072:Henry Wood Hall, London
1015:Gennady Rozhdestvensky
758:Ralph Vaughan Williams
680:Ralph Vaughan Williams
641:wrote of the symphony:
558:Oxford University Press
504:download the audio file
481:download the audio file
267:download the audio file
233:The first movement, in
3739:The Pilgrim's Progress
3697:The Pilgrim's Progress
3679:The Land of Far-Beyond
3658:The Celestial Railroad
3642:The Pilgrim's Progress
3458:Scott of the Antarctic
3445:(1945 propaganda film)
3013:The Pilgrim's Progress
2961:Ralph Vaughan Williams
2563:The Pilgrim's Progress
2560:Bunyan, John (1904) .
2428:Vaughan Williams, p. 1
2307:, October 1951 p. 322
1976:The Pilgrim's Progress
1587:BBC Symphony Orchestra
1561:The Pilgrim's Progress
1547:The Pilgrim’s Progress
1032:Melodiya CD 10-02170-4
908:EMI Abbey Road Studios
872:Gennady Rozhdestvensky
578:The Pilgrim's Progress
114:and the first five of
80:The Pilgrim's Progress
44:The Pilgrim's Progress
22:Ralph Vaughan Williams
3800:The Pilgrim's Regress
3533:Anglican church music
3347:Whither Must I Wander
2783:Pike, Lionel (2003).
2673:Howes, Frank (1954).
2637:Foss, Hubert (1950).
2618:Douglas, Roy (1988).
2474:, 31 July 1954, p. 45
2227:; and Mellers, p. 109
2160:The Musical Quarterly
1819:Norfolk Rhapsody No 1
1451:Argovia Philharmonic
1440:Sony 8 87254 23112 7
1432:Stadthaus, Winterthur
1321:Bournemouth Symphony
861:25 & 28 May 1971
547:New York Philharmonic
292:or dorian modes. The
139:Robert Matthew-Walker
101:J. P. E. Harper-Scott
87:what he meant it to.
3273:Five Tudor Portraits
2970:List of compositions
2751:. London: McMillan.
2490:, 25 June 1944, p. 3
2459:, 18 July 1943, p. 2
2410:, March 2009, p. 50
2254:Mellers, pp. 177–178
2245:Mellers, pp. 176–177
1638:Sir Roger Norrington
1564:, premiered in 1951.
1272:Woodruff Arts Center
1227:All Saints, Tooting
1201:London Philharmonic
1177:Bournemouth Symphony
1133:London Philharmonic
1117:Royal Festival Hall
1114:London Philharmonic
1103:Teldec 4509-90844-2
1062:Sir Neville Marriner
988:Virgin VC 7 90733-2
898:Sir Alexander Gibson
891:Carlton 15656 91252
830:London Philharmonic
806:Sir John Barbirolli
787:London Philharmonic
698:SOMM Ariadne 5019-2
3235:Five Mystical Songs
2471:The Saturday Review
2328:Pike (1996), p. 168
2305:Music & Letters
1860:A Pastoral Symphony
1622:Sir John Barbirolli
1593:) and the location
1464:Coviello COV 91515
1354:Annandale-on-Hudson
1143:EMI 7243 5 55487 2
1019:USSR State Symphony
997:Royal Philharmonic
976:Royal Philharmonic
882:Royal Festival Hall
762:London Philharmonic
723:HMV 78s C 3388-3392
684:London Philharmonic
217:In addition to the
99:. The musicologist
70:A Pastoral Symphony
3716:(Vaughan Williams)
3554:The English Hymnal
3543:Curse of the ninth
3485:Other compositions
3477:(1955 documentary)
3442:Stricken Peninsula
3157:The Lark Ascending
3113:Norfolk Rhapsodies
3106:In the Fen Country
3088:Sinfonia antartica
2641:. London: Harrap.
2115:Moore, pp. 143–144
2075:Whittet, Douglas.
1823:The Lark Ascending
1807:Sinfonia antartica
1747:The Lark Ascending
1626:Sir Charles Groves
1579:Abbey Road Studios
1502:4–5 November 2019
1499:Watford Colosseum
1386:Hallé CD HLL 7533
1280:25 Sep–3 Oct 2006
1234:Chandos CHAN 9666
965:Chandos CHAN 8554
903:Royal Philharmonic
744:Harvard University
730:Serge Koussevitzky
330:This section is a
219:Pilgrim's Progress
3863:1943 compositions
3823:
3822:
3603:
3602:
3421:(1940 drama film)
3287:Serenade to Music
3249:O clap your hands
3065:Pastoral Symphony
3057:A London Symphony
3006:Riders to the Sea
2999:The Poisoned Kiss
2924:The Musical Times
2917:The Musical Times
2873:978-0-521-08864-0
2854:978-0-19-315411-7
2835:978-0-19-369415-6
2816:978-0-306-76137-9
2803:Schwartz, Elliott
2775:978-0-521-08864-0
2701:978-0-521-19768-7
2665:978-0-521-16290-6
2629:978-0-7123-0148-0
2610:978-0-436-11802-9
2538:The Musical Times
2221:The Musical Times
2189:The Musical Times
1901:Serenade to Music
1886:and Tuba Concerto
1687:Serenade to Music
1663:A London Symphony
1511:
1510:
1507:
1486:
1465:
1441:
1416:
1387:
1363:
1345:American Symphony
1334:
1325:Lighthouse, Poole
1311:
1285:
1256:
1255:Genuin GEN 86064
1235:
1214:
1205:Watford Colosseum
1191:
1182:Poole Arts Centre
1166:
1152:Orchestra of the
1144:
1125:
1104:
1081:
1056:
1047:Watford Town Hall
1033:
1010:
989:
966:
943:
918:
917:EMI ASD 143441 1
892:
866:
843:
834:Wembley Town Hall
827:Sir Adrian Boult
822:
801:
777:
767:Royal Albert Hall
753:
724:
699:
689:Royal Albert Hall
626:… ideal beauty."
533:, London, by the
531:Royal Albert Hall
508:
485:
271:
153:over a pedal C).
35:Pastoral Symphony
3875:
3840:
3839:
3838:
3831:
3807:Beves of Hamtoun
3757:Mellor's Gardens
3630:
3623:
3616:
3607:
3594:
3593:
3526:Related articles
3434:The Flemish Farm
3400:The First Nowell
3385:Incidental music
3280:Dona nobis pacem
3228:A Cambridge Mass
3091:(Symphony No. 7)
3068:(Symphony No. 3)
3060:(Symphony No. 2)
3052:(Symphony No. 1)
3041:Orchestral works
2992:Sir John in Love
2954:
2947:
2940:
2931:
2889:The Music Review
2877:
2858:
2839:
2820:
2798:
2779:
2760:
2743:
2724:
2705:
2686:
2669:
2650:
2633:
2614:
2592:
2575:
2556:
2553:
2523:
2522:, 12 August 1994
2514:Payne, Anthony.
2512:
2506:
2500:
2491:
2484:
2475:
2466:
2460:
2453:
2447:
2444:
2438:
2435:
2429:
2426:
2420:
2417:
2411:
2404:
2398:
2395:
2389:
2386:
2380:
2377:
2368:
2365:
2359:
2356:
2350:
2347:
2338:
2335:
2329:
2326:
2320:
2317:
2311:
2310:
2297:
2291:
2290:Whittall, p. 204
2288:
2282:
2279:
2273:
2270:
2264:
2261:
2255:
2252:
2246:
2243:
2237:
2234:
2228:
2226:
2211:
2205:
2202:
2196:
2194:
2181:
2175:
2174:Atlas, pp. 24–25
2172:
2166:
2165:
2152:
2146:
2143:
2137:
2134:
2125:
2124:Pakenham, p. 131
2122:
2116:
2113:
2107:
2106:
2100:
2092:
2090:
2088:
2072:
2061:
2058:
2052:
2049:
2043:
2040:
2034:
2031:
2025:
2022:
2016:
2013:
2007:
2004:
1998:
1995:
1978:
1972:
1966:
1963:
1957:
1954:
1948:
1945:
1939:
1936:
1930:
1927:
1921:
1918:
1912:
1909:
1903:
1893:
1887:
1880:
1874:
1868:
1862:
1856:
1850:
1847:
1841:
1831:
1825:
1815:
1809:
1803:
1797:
1794:
1788:
1785:
1779:
1776:
1770:
1764:
1758:
1755:
1749:
1743:
1737:
1731:
1725:
1719:
1713:
1707:
1701:
1695:
1689:
1683:
1677:
1675:Dona nobis pacem
1671:
1665:
1659:
1653:
1634:Sir Andrew Davis
1614:
1608:
1604:
1598:
1591:Sir Adrian Boult
1571:
1565:
1538:
1532:
1529:
1505:
1484:
1463:
1439:
1414:
1407:Portland, Oregon
1385:
1377:Bridgewater Hall
1362:ASO download 203
1361:
1332:
1309:
1301:Roy Thomson Hall
1296:Toronto Symphony
1284:Telarc CD 80676
1283:
1267:Atlanta Symphony
1254:
1233:
1224:London Symphony
1213:Decca 458 357-2
1212:
1197:Roger Norrington
1189:
1164:
1142:
1130:Bernard Haitink
1123:
1102:
1079:
1054:
1031:
1009:Telarc CD 80158
1008:
987:
964:
953:London Symphony
942:EMI CD EMX 9512
941:
916:
890:
864:
841:
820:
799:
783:Sir Adrian Boult
775:
751:
722:
697:
660:
570:Elliott Schwartz
407:
406:
404:
396:
395:
394:
393:
355:
354:
277:pentatonic scale
253:, which implies
152:
151:
146:
145:
120:Sir Adrian Boult
3883:
3882:
3878:
3877:
3876:
3874:
3873:
3872:
3848:
3847:
3846:
3842:Classical Music
3836:
3834:
3826:
3824:
3819:
3773:
3745:
3719:
3702:
3684:
3645:
3634:
3604:
3599:
3583:
3573:Songs of Praise
3538:Bath Bach Choir
3521:
3505:
3480:
3437:(1943 war film)
3426:Coastal Command
3405:
3380:
3375:Four Last Songs
3368:Ten Blake Songs
3356:On Wenlock Edge
3340:Songs of Travel
3327:
3315:O taste and see
3294:An Oxford Elegy
3255:Mass in G minor
3215:
3194:
3144:
3140:Concerto Grosso
3036:
3018:
2985:Hugh the Drover
2972:
2963:
2958:
2884:
2882:Further reading
2874:
2861:
2855:
2842:
2836:
2823:
2817:
2801:
2795:
2782:
2776:
2763:
2746:
2740:
2727:
2721:
2708:
2702:
2689:
2672:
2666:
2653:
2636:
2630:
2617:
2611:
2595:
2578:
2559:
2554:
2544:(1916): 19–32.
2535:
2532:
2527:
2526:
2520:The Independent
2513:
2509:
2501:
2494:
2485:
2478:
2467:
2463:
2454:
2450:
2445:
2441:
2437:Schwartz, p. 89
2436:
2432:
2427:
2423:
2418:
2414:
2408:Musical Opinion
2405:
2401:
2397:Kennedy, p. 289
2396:
2392:
2387:
2383:
2378:
2371:
2366:
2362:
2357:
2353:
2348:
2341:
2336:
2332:
2327:
2323:
2318:
2314:
2308:
2298:
2294:
2289:
2285:
2280:
2276:
2272:Mellers, p. 178
2271:
2267:
2262:
2258:
2253:
2249:
2244:
2240:
2235:
2231:
2224:
2212:
2208:
2203:
2199:
2192:
2182:
2178:
2173:
2169:
2163:
2153:
2149:
2144:
2140:
2135:
2128:
2123:
2119:
2114:
2110:
2093:
2086:
2084:
2074:
2073:
2064:
2059:
2055:
2050:
2046:
2041:
2037:
2032:
2028:
2024:Mellers, p. 124
2023:
2019:
2014:
2010:
2005:
2001:
1996:
1992:
1987:
1982:
1981:
1973:
1969:
1964:
1960:
1955:
1951:
1946:
1942:
1937:
1933:
1928:
1924:
1919:
1915:
1910:
1906:
1894:
1890:
1881:
1877:
1869:
1865:
1857:
1853:
1848:
1844:
1832:
1828:
1816:
1812:
1804:
1800:
1795:
1791:
1786:
1782:
1777:
1773:
1765:
1761:
1756:
1752:
1744:
1740:
1732:
1728:
1720:
1716:
1708:
1704:
1696:
1692:
1684:
1680:
1672:
1668:
1660:
1656:
1642:Jerzy Maksymiuk
1615:
1611:
1605:
1601:
1583:Michael Kennedy
1572:
1568:
1539:
1535:
1530:
1526:
1521:
1516:
1492:Martyn Brabbins
1481:21–23 Apr 2017
1447:Douglas Bostock
1436:21–25 Feb 2012
1411:18–19 Feb 2012
1398:Oregon Symphony
1209:25–27 Nov 1996
1190:Naxos 8 550738
1139:17–18 Dec 1994
1110:Bernard Haitink
1039:Leonard Slatkin
984:30–31 Dec 1987
913:25–26 May 1982
854:London Symphony
752:Guild GHCD 2324
740:Sanders Theater
735:Boston Symphony
705:John Barbirolli
655:British Council
651:
646:
581:
566:
551:Artur Rodziński
529:concert in the
523:
510:
509:
507:
495:
493:IV: Passacaglia
487:
486:
484:
466:Michael Kennedy
449:
446:
444:
442:
435:
399:
398:
392:
387:
386:
385:
384:
383:
372:
360:Arnold Whittall
352:
351:
281:Wilfrid Mellers
273:
272:
270:
231:
159:
149:
148:
143:
142:
128:Malcolm Sargent
110:, all seven of
93:
65:Fourth Symphony
61:
56:
30:Fourth Symphony
17:
12:
11:
5:
3881:
3879:
3871:
3870:
3865:
3860:
3850:
3849:
3845:
3844:
3821:
3820:
3818:
3817:
3814:Knight of Cups
3810:
3803:
3796:
3789:
3781:
3779:
3775:
3774:
3772:
3771:
3769:Houghton House
3766:
3759:
3753:
3751:
3747:
3746:
3744:
3743:
3735:
3727:
3725:
3721:
3720:
3718:
3717:
3714:Symphony No. 5
3710:
3708:
3704:
3703:
3701:
3700:
3692:
3690:
3686:
3685:
3683:
3682:
3675:
3668:
3661:
3653:
3651:
3647:
3646:
3635:
3633:
3632:
3625:
3618:
3610:
3601:
3600:
3588:
3585:
3584:
3582:
3581:
3576:
3569:
3564:
3557:
3550:
3545:
3540:
3535:
3529:
3527:
3523:
3522:
3520:
3519:
3513:
3511:
3507:
3506:
3504:
3503:
3496:
3488:
3486:
3482:
3481:
3479:
3478:
3470:
3466:Bitter Springs
3462:
3454:
3446:
3438:
3430:
3422:
3413:
3411:
3407:
3406:
3404:
3403:
3396:
3388:
3386:
3382:
3381:
3379:
3378:
3371:
3364:
3359:
3352:
3351:
3350:
3335:
3333:
3329:
3328:
3326:
3325:
3318:
3311:
3304:
3297:
3290:
3283:
3276:
3269:
3264:
3261:Sancta Civitas
3257:
3252:
3245:
3238:
3231:
3223:
3221:
3217:
3216:
3214:
3213:
3208:
3202:
3200:
3196:
3195:
3193:
3192:
3187:
3182:
3177:
3172:
3170:Piano Concerto
3167:
3160:
3152:
3150:
3146:
3145:
3143:
3142:
3137:
3130:
3123:
3116:
3109:
3102:
3097:
3092:
3084:
3079:
3074:
3069:
3061:
3053:
3049:A Sea Symphony
3044:
3042:
3038:
3037:
3035:
3034:
3026:
3024:
3020:
3019:
3017:
3016:
3009:
3002:
2995:
2988:
2980:
2978:
2974:
2973:
2968:
2965:
2964:
2959:
2957:
2956:
2949:
2942:
2934:
2928:
2927:
2920:
2913:
2906:
2899:
2892:
2883:
2880:
2879:
2878:
2872:
2859:
2853:
2840:
2834:
2826:Symphony No. 5
2821:
2815:
2799:
2793:
2780:
2774:
2761:
2744:
2738:
2725:
2719:
2706:
2700:
2687:
2670:
2664:
2651:
2634:
2628:
2615:
2609:
2593:
2576:
2557:
2531:
2528:
2525:
2524:
2507:
2492:
2476:
2461:
2448:
2439:
2430:
2421:
2412:
2399:
2390:
2381:
2369:
2360:
2351:
2339:
2330:
2321:
2312:
2292:
2283:
2274:
2265:
2256:
2247:
2238:
2229:
2206:
2204:Douglas, p. 66
2197:
2176:
2167:
2154:Adams, Byron.
2147:
2138:
2126:
2117:
2108:
2062:
2053:
2051:Horton, p. 200
2044:
2035:
2026:
2017:
2008:
1999:
1989:
1988:
1986:
1983:
1980:
1979:
1967:
1958:
1949:
1940:
1931:
1922:
1913:
1904:
1888:
1875:
1863:
1851:
1842:
1826:
1810:
1798:
1789:
1780:
1771:
1759:
1750:
1738:
1726:
1714:
1711:Sancta civitas
1702:
1690:
1678:
1666:
1654:
1630:Vernon Handley
1609:
1599:
1577:and the venue
1566:
1533:
1523:
1522:
1520:
1517:
1515:
1512:
1509:
1508:
1503:
1500:
1497:
1494:
1488:
1487:
1482:
1479:
1476:
1473:
1467:
1466:
1461:
1458:
1452:
1449:
1443:
1442:
1437:
1434:
1429:
1424:
1418:
1417:
1412:
1409:
1403:Schnitzer Hall
1400:
1395:
1389:
1388:
1383:
1380:
1374:
1371:
1369:Sir Mark Elder
1365:
1364:
1359:
1356:
1347:
1342:
1336:
1335:
1330:
1327:
1322:
1319:
1313:
1312:
1310:TSO Live 0311
1307:
1304:
1298:
1293:
1291:Peter Oundjian
1287:
1286:
1281:
1278:
1269:
1264:
1258:
1257:
1252:
1249:
1246:
1243:
1241:Walter Hilgers
1237:
1236:
1231:
1228:
1225:
1222:
1220:Richard Hickox
1216:
1215:
1210:
1207:
1202:
1199:
1193:
1192:
1187:
1186:7–13 Sep 1996
1184:
1179:
1174:
1168:
1167:
1162:
1159:
1156:
1150:
1146:
1145:
1140:
1137:
1134:
1131:
1127:
1126:
1121:
1118:
1115:
1112:
1106:
1105:
1100:
1097:
1092:
1089:
1083:
1082:
1077:
1074:
1069:
1064:
1058:
1057:
1052:
1049:
1044:
1041:
1035:
1034:
1029:
1026:
1021:
1016:
1012:
1011:
1006:
1003:
998:
995:
991:
990:
985:
982:
977:
974:
972:Yehudi Menuhin
968:
967:
962:
959:
954:
951:
949:Bryden Thomson
945:
944:
939:
936:
931:
926:
924:Vernon Handley
920:
919:
914:
911:
905:
900:
894:
893:
888:
885:
879:
874:
868:
867:
862:
859:
858:Kingsway Hall
856:
851:
845:
844:
839:
836:
831:
828:
824:
823:
818:
815:
814:Kingsway Hall
812:
807:
803:
802:
800:Decca LXT 2910
797:
794:
788:
785:
779:
778:
773:
770:
764:
759:
755:
754:
749:
746:
737:
732:
726:
725:
720:
717:
712:
707:
701:
700:
695:
692:
686:
681:
677:
676:
675:Label and no.
673:
670:
667:
664:
650:
647:
643:
608:Neville Cardus
574:
565:
562:
539:Sir Henry Wood
522:
519:
501:
498:
496:
494:
491:
478:
475:
473:
453:absolute music
439:
434:
431:
388:
371:
368:
264:
261:
259:
230:
227:
165:(one doubling
158:
155:
135:Symphony No. 4
124:Kurt Atterberg
116:Havergal Brian
108:First Symphony
92:
89:
75:writer's block
60:
57:
55:
52:
26:Symphony No. 5
15:
13:
10:
9:
6:
4:
3:
2:
3880:
3869:
3866:
3864:
3861:
3859:
3856:
3855:
3853:
3843:
3833:
3829:
3816:
3815:
3811:
3809:
3808:
3804:
3802:
3801:
3797:
3795:
3794:
3790:
3788:
3787:
3783:
3782:
3780:
3776:
3770:
3767:
3765:
3764:
3760:
3758:
3755:
3754:
3752:
3748:
3742:
3740:
3736:
3734:
3733:
3729:
3728:
3726:
3722:
3715:
3712:
3711:
3709:
3705:
3699:
3698:
3694:
3693:
3691:
3687:
3681:
3680:
3676:
3674:
3673:
3669:
3667:
3666:
3662:
3659:
3655:
3654:
3652:
3648:
3644:
3643:
3638:
3631:
3626:
3624:
3619:
3617:
3612:
3611:
3608:
3598:
3597:
3586:
3580:
3577:
3575:
3574:
3570:
3568:
3565:
3563:
3562:
3558:
3556:
3555:
3551:
3549:
3546:
3544:
3541:
3539:
3536:
3534:
3531:
3530:
3528:
3524:
3518:
3515:
3514:
3512:
3508:
3502:
3501:
3497:
3495:
3494:
3490:
3489:
3487:
3483:
3476:
3475:
3471:
3468:
3467:
3463:
3460:
3459:
3455:
3452:
3451:
3447:
3444:
3443:
3439:
3436:
3435:
3431:
3428:
3427:
3423:
3420:
3419:
3418:49th Parallel
3415:
3414:
3412:
3408:
3402:
3401:
3397:
3395:
3394:
3390:
3389:
3387:
3383:
3377:
3376:
3372:
3370:
3369:
3365:
3363:
3360:
3358:
3357:
3353:
3348:
3344:
3343:
3342:
3341:
3337:
3336:
3334:
3330:
3324:
3323:
3319:
3317:
3316:
3312:
3310:
3309:
3305:
3303:
3302:
3298:
3296:
3295:
3291:
3289:
3288:
3284:
3282:
3281:
3277:
3275:
3274:
3270:
3268:
3265:
3263:
3262:
3258:
3256:
3253:
3251:
3250:
3246:
3244:
3243:
3239:
3237:
3236:
3232:
3230:
3229:
3225:
3224:
3222:
3218:
3212:
3209:
3207:
3204:
3203:
3201:
3199:Chamber music
3197:
3191:
3190:Tuba Concerto
3188:
3186:
3183:
3181:
3180:Oboe Concerto
3178:
3176:
3173:
3171:
3168:
3166:
3165:
3161:
3159:
3158:
3154:
3153:
3151:
3147:
3141:
3138:
3136:
3135:
3131:
3129:
3128:
3124:
3122:
3121:
3117:
3115:
3114:
3110:
3108:
3107:
3103:
3101:
3098:
3096:
3093:
3090:
3089:
3085:
3083:
3080:
3078:
3075:
3073:
3070:
3067:
3066:
3062:
3059:
3058:
3054:
3051:
3050:
3046:
3045:
3043:
3039:
3033:
3032:
3028:
3027:
3025:
3021:
3015:
3014:
3010:
3008:
3007:
3003:
3001:
3000:
2996:
2994:
2993:
2989:
2987:
2986:
2982:
2981:
2979:
2975:
2971:
2966:
2962:
2955:
2950:
2948:
2943:
2941:
2936:
2935:
2932:
2925:
2921:
2918:
2914:
2911:
2907:
2904:
2900:
2897:
2893:
2890:
2886:
2885:
2881:
2875:
2869:
2865:
2860:
2856:
2850:
2846:
2841:
2837:
2831:
2827:
2822:
2818:
2812:
2808:
2804:
2800:
2796:
2794:0-907689-54-X
2790:
2786:
2781:
2777:
2771:
2767:
2762:
2758:
2754:
2750:
2745:
2741:
2739:0-241-10178-6
2735:
2731:
2726:
2722:
2720:0-7126-2117-2
2716:
2712:
2707:
2703:
2697:
2693:
2688:
2684:
2680:
2676:
2671:
2667:
2661:
2657:
2652:
2648:
2644:
2640:
2635:
2631:
2625:
2621:
2616:
2612:
2606:
2602:
2598:
2597:Culshaw, John
2594:
2590:
2586:
2582:
2577:
2573:
2569:
2565:
2564:
2558:
2551:
2547:
2543:
2539:
2534:
2533:
2529:
2521:
2517:
2511:
2508:
2504:
2499:
2497:
2493:
2489:
2483:
2481:
2477:
2473:
2472:
2465:
2462:
2458:
2452:
2449:
2443:
2440:
2434:
2431:
2425:
2422:
2416:
2413:
2409:
2403:
2400:
2394:
2391:
2385:
2382:
2376:
2374:
2370:
2364:
2361:
2355:
2352:
2346:
2344:
2340:
2337:Bunyan, p. 46
2334:
2331:
2325:
2322:
2316:
2313:
2306:
2302:
2296:
2293:
2287:
2284:
2278:
2275:
2269:
2266:
2260:
2257:
2251:
2248:
2242:
2239:
2233:
2230:
2222:
2218:
2215:
2214:Cuming, G. J.
2210:
2207:
2201:
2198:
2190:
2186:
2180:
2177:
2171:
2168:
2161:
2157:
2151:
2148:
2142:
2139:
2133:
2131:
2127:
2121:
2118:
2112:
2109:
2104:
2098:
2097:cite magazine
2082:
2078:
2071:
2069:
2067:
2063:
2057:
2054:
2048:
2045:
2039:
2036:
2030:
2027:
2021:
2018:
2012:
2009:
2003:
2000:
1994:
1991:
1984:
1977:
1971:
1968:
1962:
1959:
1953:
1950:
1944:
1941:
1935:
1932:
1926:
1923:
1917:
1914:
1908:
1905:
1902:
1898:
1895:Coupled with
1892:
1889:
1885:
1882:Coupled with
1879:
1876:
1873:
1870:Coupled with
1867:
1864:
1861:
1858:Coupled with
1855:
1852:
1846:
1843:
1840:
1836:
1833:Coupled with
1830:
1827:
1824:
1820:
1817:Coupled with
1814:
1811:
1808:
1805:Coupled with
1802:
1799:
1793:
1790:
1784:
1781:
1775:
1772:
1769:
1766:Coupled with
1763:
1760:
1754:
1751:
1748:
1745:Coupled with
1742:
1739:
1736:
1733:Coupled with
1730:
1727:
1724:
1718:
1715:
1712:
1709:Coupled with
1706:
1703:
1700:
1694:
1691:
1688:
1685:Coupled with
1682:
1679:
1676:
1673:Coupled with
1670:
1667:
1664:
1661:Coupled with
1658:
1655:
1651:
1647:
1643:
1639:
1635:
1631:
1627:
1623:
1619:
1618:Trevor Harvey
1613:
1610:
1603:
1600:
1596:
1592:
1588:
1584:
1580:
1576:
1570:
1567:
1563:
1562:
1557:
1553:
1549:
1548:
1543:
1537:
1534:
1528:
1525:
1518:
1513:
1504:
1501:
1498:
1496:BBC Symphony
1495:
1493:
1490:
1489:
1483:
1480:
1477:
1474:
1472:
1469:
1468:
1462:
1460:3–5 Nov 2013
1459:
1457:
1453:
1450:
1448:
1445:
1444:
1438:
1435:
1433:
1430:
1428:
1425:
1423:
1420:
1419:
1413:
1410:
1408:
1404:
1401:
1399:
1396:
1394:
1393:Carlos Kalmar
1391:
1390:
1384:
1381:
1379:, Manchester
1378:
1375:
1372:
1370:
1367:
1366:
1360:
1357:
1355:
1351:
1350:Fisher Center
1348:
1346:
1343:
1341:
1340:Leon Botstein
1338:
1337:
1331:
1328:
1326:
1323:
1320:
1318:
1315:
1314:
1308:
1305:
1302:
1299:
1297:
1294:
1292:
1289:
1288:
1282:
1279:
1277:
1273:
1270:
1268:
1265:
1263:
1260:
1259:
1253:
1250:
1247:
1244:
1242:
1239:
1238:
1232:
1229:
1226:
1223:
1221:
1218:
1217:
1211:
1208:
1206:
1203:
1200:
1198:
1195:
1194:
1188:
1185:
1183:
1180:
1178:
1175:
1173:
1170:
1169:
1163:
1161:8–9 Feb 1995
1160:
1157:
1155:
1151:
1149:André Previn
1148:
1147:
1141:
1138:
1135:
1132:
1129:
1128:
1122:
1119:
1116:
1113:
1111:
1108:
1107:
1101:
1098:
1096:
1093:
1091:BBC Symphony
1090:
1088:
1085:
1084:
1078:
1075:
1073:
1070:
1068:
1065:
1063:
1060:
1059:
1055:RCA RD 60556
1053:
1051:6–8 Apr 1990
1050:
1048:
1045:
1043:Philharmonia
1042:
1040:
1037:
1036:
1030:
1027:
1025:
1022:
1020:
1017:
1014:
1013:
1007:
1005:6–7 Jul 1988
1004:
1002:
999:
996:
994:André Previn
993:
992:
986:
983:
981:
978:
975:
973:
970:
969:
963:
961:7–8 Apr 1987
960:
958:
955:
952:
950:
947:
946:
940:
937:
935:
932:
930:
927:
925:
922:
921:
915:
912:
909:
906:
904:
901:
899:
896:
895:
889:
886:
883:
880:
878:
875:
873:
870:
869:
863:
860:
857:
855:
852:
850:
847:
846:
842:HMV ASD 2538
840:
838:1–3 Apr 1969
837:
835:
832:
829:
826:
825:
819:
817:8–9 May 1962
816:
813:
811:
808:
805:
804:
798:
796:2–4 Dec 1953
795:
792:
791:Kingsway Hall
789:
786:
784:
781:
780:
774:
771:
768:
765:
763:
760:
757:
756:
750:
747:
745:
741:
738:
736:
733:
731:
728:
727:
721:
718:
716:
713:
711:
708:
706:
703:
702:
696:
694:24 June 1943
693:
690:
687:
685:
682:
679:
678:
661:
658:
656:
648:
645:achievements.
642:
640:
639:Anthony Payne
636:
635:Basil Cameron
632:
627:
625:
624:
619:
618:
613:
609:
605:
604:
599:
598:William Glock
594:
593:
587:
585:
579:
573:
571:
563:
561:
559:
554:
552:
548:
544:
543:Carnegie Hall
540:
536:
532:
528:
520:
518:
515:
505:
492:
490:
482:
472:
469:
467:
462:
458:
454:
448:
438:
432:
430:
428:
423:
419:
415:
411:
403:
391:
381:
378:
369:
367:
365:
364:Schoenbergian
361:
357:
347:
345:
341:
337:
333:
327:
325:
321:
320:
315:
311:
307:
306:passing notes
303:
299:
295:
291:
287:
282:
278:
268:
258:
256:
252:
251:dotted rhythm
248:
244:
240:
236:
228:
226:
224:
220:
215:
213:
208:
204:
200:
196:
192:
188:
184:
180:
176:
172:
168:
164:
156:
154:
140:
136:
131:
129:
125:
121:
117:
113:
109:
106:
102:
98:
97:Jean Sibelius
90:
88:
84:
82:
81:
76:
72:
71:
66:
58:
53:
51:
48:
46:
45:
39:
37:
36:
31:
27:
23:
19:
3812:
3805:
3798:
3793:Little Women
3791:
3784:
3761:
3738:
3730:
3713:
3695:
3677:
3670:
3663:
3640:
3589:
3571:
3559:
3552:
3498:
3491:
3472:
3464:
3456:
3448:
3440:
3432:
3424:
3416:
3398:
3391:
3373:
3366:
3354:
3338:
3320:
3313:
3306:
3299:
3292:
3285:
3278:
3271:
3259:
3247:
3240:
3233:
3226:
3220:Choral music
3162:
3155:
3132:
3125:
3118:
3111:
3104:
3086:
3076:
3063:
3055:
3047:
3029:
3011:
3004:
2997:
2990:
2983:
2909:
2903:Record Times
2902:
2895:
2888:
2863:
2844:
2825:
2806:
2784:
2765:
2748:
2729:
2710:
2691:
2674:
2655:
2638:
2619:
2600:
2580:
2562:
2541:
2537:
2519:
2510:
2488:The Observer
2487:
2469:
2464:
2457:The Observer
2456:
2451:
2446:Foss, p. 150
2442:
2433:
2424:
2419:Atlas, p. 19
2415:
2407:
2402:
2393:
2384:
2367:Howes, p. 48
2363:
2354:
2333:
2324:
2315:
2304:
2295:
2286:
2277:
2268:
2259:
2250:
2241:
2236:Howes, p. 43
2232:
2220:
2209:
2200:
2188:
2179:
2170:
2162:, Fall 1989
2159:
2150:
2141:
2120:
2111:
2085:. Retrieved
2080:
2056:
2047:
2038:
2029:
2020:
2011:
2002:
1993:
1975:
1970:
1961:
1952:
1943:
1934:
1925:
1916:
1907:
1900:
1896:
1891:
1883:
1878:
1871:
1866:
1859:
1854:
1845:
1838:
1834:
1829:
1822:
1818:
1813:
1806:
1801:
1792:
1783:
1774:
1767:
1762:
1753:
1746:
1741:
1734:
1729:
1722:
1717:
1710:
1705:
1698:
1693:
1686:
1681:
1674:
1669:
1662:
1657:
1650:Simon Rattle
1646:Andrew Manze
1612:
1602:
1569:
1559:
1551:
1545:
1536:
1527:
1471:Andrew Manze
1422:Douglas Boyd
1358:21 Aug 2011
1317:Martin Yates
1262:Robert Spano
1230:28 Oct 1997
1120:15 Dec 1994
1087:Andrew Davis
1028:30 Oct 1988
887:22 Oct 1980
877:BBC Symphony
865:RCA SB 6856
849:André Previn
810:Philharmonia
776:SOMM CD 071
719:17 Feb 1944
652:
628:
621:
615:
612:The Observer
611:
603:The Observer
601:
590:
588:
582:
577:
567:
555:
524:
511:
488:
470:
450:
440:
436:
433:III: Romanza
427:antiphonally
389:
373:
358:
348:
328:
317:
286:dorian modes
274:
232:
218:
216:
187:French horns
160:
132:
94:
85:
78:
68:
62:
49:
42:
40:
33:
25:
20:
18:
3637:John Bunyan
3469:(1950 film)
3461:(1948 film)
3429:(1942 film)
3410:Film scores
3332:Vocal music
3149:Concertante
2388:Howes, p. x
2379:Cox, p. 122
2358:Cox, p. 121
1839:Reflections
1837:and Previn
1620:, Cameron,
1382:9 Nov 2011
1329:1 Jul 2011
1172:Kees Bakels
1136:Abbey Road
821:HMV ASD 508
772:3 Sep 1952
748:4 Mar 1947
617:The Tempest
584:Hubert Foss
514:passacaglia
457:Frank Howes
422:double bass
370:II: Scherzo
324:development
302:suspensions
249:chord in a
239:sonata form
235:Frank Howes
229:I: Preludio
223:Sine nomine
212:Roy Douglas
175:cor anglais
157:Composition
3852:Categories
3650:Literature
3362:Four Hymns
3267:Magnificat
3164:Flos Campi
2647:1106175387
2087:16 October
1985:References
1735:Flos campi
1485:Onyx 4184
1303:, Toronto
1165:EMI 55371
666:Orchestra
663:Conductor
649:Recordings
382:in a fast
255:mixolydian
91:Dedication
59:Background
24:wrote his
3510:Namesakes
3500:Sea Songs
3393:The Wasps
2805:(1982) .
2683:459433504
2589:221594461
1723:The Wasps
1699:The Wasps
1624:, Boult,
1556:BBC Radio
1306:Nov 2008
1124:LPO-0072
1099:Dec 1992
1076:May 1990
938:Sep 1986
910:, London
884:, London
793:, London
769:, London
691:, London
623:King Lear
592:The Times
564:Reception
461:David Cox
414:crotchets
412:and then
346:effects.
336:polyphony
326:section.
298:pizzicato
207:metronome
195:trombones
179:clarinets
3596:Category
2599:(1981).
2550:23037971
572:writes:
410:hemiolas
353:♭
310:semitone
294:modality
193:, three
191:trumpets
183:bassoons
150:♯
144:♯
105:Walton's
3778:Related
2572:1060352
2530:Sources
1595:Bedford
1589:(under
1276:Atlanta
344:tremolo
340:D minor
290:aeolian
247:D major
243:subject
203:strings
199:timpani
167:piccolo
54:History
3828:Portal
3741:(film)
3689:Operas
3023:Ballet
2870:
2851:
2832:
2813:
2791:
2772:
2757:378480
2755:
2736:
2717:
2698:
2681:
2662:
2645:
2626:
2607:
2587:
2570:
2548:
1542:Bunyan
1373:Hallé
669:Venue
620:is to
549:under
397:time (
380:minims
377:dotted
375:three
334:; the
189:, two
185:, two
181:, two
177:, two
163:flutes
3750:Other
3724:Films
3707:Music
3322:Hodie
2977:Opera
2910:Hallé
2546:JSTOR
1519:Notes
1456:Aarau
710:Hallé
672:Date
418:viola
332:canon
112:Bax's
2868:ISBN
2849:ISBN
2830:ISBN
2811:ISBN
2789:ISBN
2770:ISBN
2753:OCLC
2734:ISBN
2715:ISBN
2696:ISBN
2679:OCLC
2660:ISBN
2643:OCLC
2624:ISBN
2605:ISBN
2585:OCLC
2568:OCLC
2103:link
2089:2023
1899:and
1821:and
1648:and
631:Prom
527:Prom
420:and
316:and
304:and
201:and
171:oboe
3639:'s
2542:152
1644:,
1544:'s
319:Job
257:D.
169:),
3854::
2540:.
2518:,
2495:^
2479:^
2372:^
2342:^
2303:,
2219:,
2187:,
2158:,
2129:^
2099:}}
2095:{{
2079:.
2065:^
1640:,
1636:,
1632:,
1628:,
1581:;
1405:,
1352:,
1274:,
742:,
553:.
429:.
197:,
173:,
38:.
3830::
3660:"
3656:"
3629:e
3622:t
3615:v
3349:"
3345:"
2953:e
2946:t
2939:v
2876:.
2857:.
2838:.
2819:.
2797:.
2778:.
2759:.
2742:.
2723:.
2704:.
2685:.
2668:.
2649:.
2632:.
2613:.
2591:.
2574:.
2552:.
2105:)
2091:.
1652:.
580:.
506:.
483:.
405:.
390:4
269:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.