Leighton Vaughan Williams: The Doomsday Argument

Significance ◽  
2021 ◽  
Vol 18 (5) ◽  
pp. 48-48
Keyword(s):  
Vaughan Williams

Vaughan Williams and the Soundscapes of Scott of the Antarctic

2020 ◽  
Author(s):  
Carolyn Philpott ◽  
Elizabeth Leane ◽  
Douglas Quin
Keyword(s):  
The Antarctic ◽  
Vaughan Williams

Arthur Benjamin's Operas

Tempo ◽  
1950 ◽  
pp. 15-18
Author(s):  
Dennis Arundell
Keyword(s):  
Seventeenth Century ◽  
Royal College ◽  
Practical Knowledge ◽  
Good Work ◽  
National Opera ◽  
School Girls ◽  
First Time ◽  
The Devil ◽  
English Opera ◽  
Vaughan Williams

Ever since the seventeenth century composers of English operas have been handicapped by the snob-preference for foreign works irrespective of their merits. In Purcell's day a second-rate French composer, whose past is still shrouded in Continental mystery, was so boosted in London even by Dryden that it was only through an open-air performance by Mr. Priest's school-girls at Chelsea that Dido and Aeneas convinced both London theatre managers and eventually Dryden himself that Purcell was “equal with the best abroad.” In this century, when the usual opera favourites were established, it has been even more difficult for English opera-composers to get a showing (at one time it had not been unheard of for English operas to be translated into Italian or German for production in this country): but twenty-five years ago the Royal College of Music followed the example of Mr. Priest by producing for the first time Vaughan Williams' Hugh the Drover, which was afterwards given publicly by the British National Opera Company, and in 1931 under the auspices of the Ernest Palmer Opera Fund, introduced The Devil Take Her, the first opera by the Australian composer Arthur Benjamin. The enthusiasm of the singers, headed by Sarah Fischer and Trefor Jones, the cunning skill of the conductor, Sir Thomas Beecham and the practical knowledge of the producer, John B. Gordon, who had had so much experience at Cologne and who was at the time doing such good work for opera at the Old Vic, all combined to make the performance outstanding.

scholarly journals Antiarrhythmic drugs use in elderly patients. Vaughan Williams class I and II drugs

2016 ◽  
Vol 12 (4) ◽  
pp. 471-478 ◽  
Author(s):  
E. A. Ushkalova ◽  
S. K. Zyryanov ◽  
K. E. Zatolochina ◽  
A. P. Pereverzev ◽  
N. A. Chukhareva
Keyword(s):  
Elderly Patients ◽  
Antiarrhythmic Drugs ◽  
Class I ◽  
Vaughan Williams

Vaughan Williams and his successors: composers’ forum

2013 ◽  
pp. 299-320
Author(s):  
Peter Maxwell Davies ◽  
Piers Hellawell ◽  
Nicola LeFanu ◽  
Anthony Payne ◽  
Aidan J. Thomson
Keyword(s):  
Vaughan Williams

Music in Turkey

Tempo ◽  
1951 ◽  
pp. 29-30
Author(s):  
George Weldon
Keyword(s):  
Fine Arts ◽  
Piano Concerto ◽  
Symphony Orchestras ◽  
Music Festivals ◽  
British Council ◽  
Almost All ◽  
Vaughan Williams

Turkey has now had four Anglo-Turkish Music Festivals in Ankara, organised by the British Council and the Turkish Ministry of Fine Arts. The first of these (1948) and the fourth (1951) I had the pleasure of conducting.Perhaps because of her distance from England, it is frequently not realised to what extent Turkey has advanced musically during the relatively brief space of time that she has been developing on Western musical lines. There are only two Symphony Orchestras in Turkey, at Ankara and at Istanbul, and both these are composed almost entirely of Turkish musicians. The Presidential Philharmonic Orchestra at Ankara is over seventy strong, and also provides the nucleus for the Radio Orchestra and the Opera Orchestra. For the Festival, seven rehearsals were allowed for each concert, and these were of course necessary to assimilate what were almost all new works to the repertory of the Orchestra, including Vaughan Williams' Job, Richard Arnell's Piano Concerto and Alan Rawsthorne's Symphonic Studies, quite apart from new Turkish works, which I will refer to later. The quality of orchestral playing is reasonably high, by any standard; there is a very pleasant warm string tone, and the principal woodwind players are truly excellent, the brass section is quite reliable, and I was particularly struck by the playing of the first horn.

scholarly journals Carl Nielsen and the Idea of English National Music

2012 ◽  
Vol 5 ◽  
Author(s):  
Michael Fjeldsøe ◽  
Jens Boeg
Keyword(s):  
Theoretical Background ◽  
Folk Song ◽  
Ralph Vaughan Williams ◽  
English Music ◽  
A Value ◽  
Good Music ◽  
National Music ◽  
English Composers ◽  
Hearts And Minds ◽  
Vaughan Williams

Why did Carl Nielsen achieve such a favourable reception in England from the 1950s on, compared to the rather reluctant recognition in continental Europe? We would suggest that one reason could be an affi nity of features in his music with the concept of English national music. This attempt to discuss the British reception of Nielsen does, of course, not imply that Nielsen’s music is English. From a constructivist position, national musics are based on cultural common-views in a population of people identifying themselves with a certain concept of a nation which they regard their own. The concept of English national music had Ralph Vaughan Williams as chief engineer and champion. Based on Cecil J. Sharp’s scientific investigation of the English folk song, Vaughan Williams developed a theoretical background on which English composers could (and later would) create their compositions, and his thoughts became prevalent through the English musical establishment. Such ideas of English music did not by accident or as some kind of revelation find their way to the hearts and minds of English listeners and critics. The success was due to a deliberate effort by a national movement, and a most crucial feature was the introduction of folk song singing in elementary schools, instilling these particular views into following generations of listeners. Though mainly concerned with the music of England, Vaughan Williams’ ideas were not limited by nationality as such, but were general guidelines for every composer in every nation of the world. In many ways Nielsen’s music can be seen to fi t Vaughan Williams’ characteristics for good music. When fi rst established, ideas of national music are embedded in a value system that considers such music of high quality and thus music – like Nielsen’s – which has affi nities with the image of English national music, is more likely to be recognized and appreciated as ‘good’.

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