Vaughan Williams in garden
Vaughan Williams in his garden at The White Gates in Dorking

List of Works

We are indebted to The Oxford University Press, James Day and the late Michael Kennedy without whose help this list could not have been compiled.


Vaughan Williams wrote nine symphonies, no two of which are similar. Each displays its own unique mood. His first was A Sea Symphony written between 1903 and 1909 in which he explores the ‘deep waters’ of Walt Whitman’s “Leaves of Grass”. His last, composed between 1957 and 1958 was Symphony No 9, originally inspired by Hardy’s work “Tess of the D’Urbervilles”. Vaughan Williams did not number his symphonies but designated them with either a name or a key signature.


A Sea Symphony

For soprano, baritone, mixed chorus, and orchestra.
Words by Walt Whitman.
Dedication: To R.L.W. [(Sir) Ralph Wedgwood].
Four movements; A Song for All Seas, All Ships; On the Beach at Night, Alone; Scherzo (The Waves) Allegro brillante; The Explorers: Grave e molto adagio.
For text
Also see Kenneth Kilfedder’s page

A London Symphony

For orchestra.
Dedication: To the memory of George Butterworth.
Four movements: Lento-allegro risoluto; Lento; Scherzo (Nocturne) Allegro vivace; Finale: Andante con moto-maestoso alla marcia (quasi lento)-allegro-maestoso alla marcia-Epilogue: Andante sostenuto.
MusicWeb guide

Pastoral Symphony Symphony No 3

For full orchestra, with soprano (or tenor) voice.
Four movements: Molto moderato; Lento moderato; Moderato pesante; Lento.

Symphony No.4 in F minor

For full orchestra.
Dedication: To Arnold Bax.
Four movements: Allegro; Andante moderato; Scherzo: Allegro molto; Finale con Epilogo fugato: Allegro molto.
Classical Net guide

Symphony No.5 in D major

For full orchestra.
Dedication: To Jean Sibelius, without permission.
Four movements: Preludio: Moderato; Scherzo: Presto; Romanza: Lento; Passacaglia: Moderato.
Steve Schwartz Classical Net Guide

Symphony No.6 in E minor

For full orchestra.
Dedication: To Michael Mullinar.
Four movements: Allegro; Moderato; Scherzo: Allegro vivace; Epilogue: Moderato.

Sinfonia Antartica

For full orchestra, soprano soloist, and women’s chorus.
Dedication: To Ernest Irving.
Five movements; Prelude: Andante maestoso; Scherzo: Moderato-poco animando; Landscape: Lento; Intermezzo: Andante sostenuto; Epilogue: Alla marcia moderato (ma non troppo).

Symphony No.8 in D minor

For full orchestra.
Dedication: To John Barbirolli.
Four movements; Fantasia (Variazioni senza Tema): Moderato-presto -andante sostenuto-allegretto-andante non troppo-allegro vivace-andante sostenuto-Tempo I ma tranquillo; Scherzo alla marcia (per stromenti a fiato): Allegro alla marcia-andante-Tempo I (allegro); Cavatina (per stromenti ad arco): Lento espressivo; Toccata: Moderato maestoso.

Symphony No.9 in E minor

For full orchestra.
Dedication: To the Royal Philharmonic Society. Four movements: Moderato maestoso-tranquillo-poco animato-andante sostenuto-poco meno mosso-ancora poco animando-poco animato ma pesante -largamente.


Serenade in A minor
For small orchestra.

Bucolic Suite
For orchestra.

Heroic Elegy and Triumphal Epilogue
For orchestra.
Four Impressions for Orchestra (In the New Forest)
Two of these were completed between 1903 and 1907.Burley Heath, the intended first of the projected four, was left as a 169-bar fragment.

Symphonic Rhapsody
For orchestra.
Inspired by verses of Christina Rossetti beginning ‘Come to me in the silence of the night’.

In the Fen Country
Symphonic Impression for Orchestra.
Dedication: To RLW [(Sir) Ralph Wedgwood]
Two revisions, in 1905 and 1907. The scoring of the work was further revised in 1935.

Norfolk Rhapsody No. 1 in E minor
The work was revised between then and a further recorded performance at Bournemouth on 21 May 1914.

Norfolk Rhapsody No. 2 in D minor

Aristophanic Suite: The Wasps
See II Incidental Music to Plays.

Fantasia on a Theme by Thomas Tallis
For double stringed orchestra and solo quartet.
Revised in 1913 and 1919.

English Folk-Songs
Suite for full orchestra. See Orchestral Works 1921-30.

Prelude and Fugue in C minor
For orchestra.
Dedication: To Henry Ley.
Prelude composed September 1921 and revised July 1923. Fugue composed August 1921 and revised in July 1923 and March 1930.

Fantasia on Greensleeves
Adapted from Sir John in Love and arranged by Ralph Greaves for strings and harp with optional flute(s).

Two Hymn-Tune Preludes
For small orchestra.
Based on ‘Eventide’ (W. H. Monk) and ‘Dominus regit me’ (J. B. Dykes).

Partita for Double String Orchestra
See also Double Trio (Chamber Music)
Dedication: to R. Müller-Hartmann.

Five Variants of Dives and Lazarus
For strings and harp.

Concerto Grosso
For string orchestra (Concertino, Tutti and ad lib section including parts ‘. . . for those players who prefer to use only open strings)

Prelude on an Old Carol Tune
Founded on incidental music written for Hardy’s The Mayor of Casterbridge.

Flourish for Glorious John
For John Barbirolli.

Works for military or brass band

English Folk Songs
Suite for military band, transcribed in 1924 by Gordon Jacob for full orchestra and for brass band. Three movements:March: Seventeen come Sunday (based on I’m Seventeen come Sunday,’ ‘Pretty Caroline’ and ‘The Red Barn’);Intermezzo: My Bonny Boy (based on ‘My Bonnie, Bonnie Boy’ and ‘Green Bushes’); March: Folk Songs from Somerset(based on ‘Blow Away the Morning Dew,’ ‘High Germany,’ ‘Whistle, Daughter, Whistle’ and ‘John Barleycorn’).
(With thanks to Adam Harvey)

Sea Songs
Quick march for military and brass bands. Based on ‘The Princess Royal’, ‘Admiral Benbow’, and’ Portsmouth‘. Transcribed in 1942 for full orchestra.

Concerto Grosso
For military band (1924). Two movements: Allegro moderatoand Molto adagio. Unperformed and unpublished in the above form. The music of the second movement as used in the Violin Concerto and that of the first in Toccata Marziale.

Toccata Marziale
For military band.

Henry the Fifth
Overture for brass band. (Composed in 1933 and based on‘The Agincourt Song’, ‘Magali’, ‘Reveillez-vous, Picars’, and ‘The Earl of Oxford’s March’.).

The Golden Vanity
March for military band.

Flourish of Trumpets for a Folk Dance Festival
For brass band.

England’s Pleasant Land
Music for a pageant by various composers, including RVW, for mixed chorus and military band.
Contains some of the music later used in the Fifth Symphony.

Flourish for Wind Band

Prelude on Three Welsh Hymn Tunes
Based on the tunes ‘Ebenezer’,’Calfaria’, and ‘Hyfrydol’.

Variations for Brass Band
Test piece for Competition held at the Royal Albert Hall.


Three Kyries
Composed at Charterhouse.

Music, when Soft Voices Die
(Shelley). Part-song for male voices.

Student exercise for Hubert Parry, RCM, Summer Term 1891

Anthem: I heard a Voice from heaven
(Revelations, 14:13) for tenor and chorus. RCM, Summer Term 1891.

Super Flumina Babylonis
(Psalm 137). RCM, Spring Term 1892.

Vexilla Regis
Hymn for soprano solo, mixed 5-part chorus (SSATB) strings, and organ. Mus. Bac. Exercise. Four movements: Vexilla Regis; Impleta sunt; O Crux; Fons salutis.

Peace, Come away
(Tennyson). For four voices and small orchestra.

Wine, Vine and Eglantine
(Tennyson). Vocal valse for SATB and piano.

Sonnet 71
(Shakespeare). For six voices (SSATBB).

Echo’s Lament of Narcissus
(‘Slow, slow, fresh fount’) (Jonson). Madrigal for double chorus.

For soloists (SATB), mixed double chorus and orchestra (1897-9). Degree exercise for Doctorate of Music at Cambridge. Five movements: Cred; Offertorium; Sanctus; Hosanna; Benedictus.

Works for chorus and orchestra

The Garden of Proserpine

Willow Wood
(D. G. Rossetti). Cantata for baritone or mezzo-soprano solo and orchestra. Four movements: Adagio quasi andante; Andante con moto; Adagio quasi andante; Allegro quasi andante.

Sound Sleep
(Christina Rossetti). For female voices (SSA) and pianoforte. Orchestrated in 1903. Dedication: Mrs Massingberd.

Toward the Unknown Region
(Whitman). Song for chorus (SATB) and orchestra.
Dedication: To F.H.M. (Florence Maitland, RVW’s sister-in-law).

Three Nocturnes
(Whitman). For baritone solo, semi-chorus, and orchestra. I. Come, O voluptuous sweet-breathed earth; II. By the Bivouac’s fitful flame, III. Out of the rolling ocean. Nos. I and III are dated 18 August 1908. A theme used in III recurs in a modified form in Sancta Civitas. Substantial but incomplete.

Symphony 1: A Sea Symphony
For soprano, baritone, mixed chorus, and orchestra. Words by Walt Whitman.
Dedication: To R.L.W. [(Sir) Ralph Wedgwood].
Four movements; A Song for All Seas, All Ships; On the Beach at Night, Alone; Scherzo (The Waves) Allegro brillante; The Explorers: Grave e molto adagio.

Five Mystical Songs
(George Herbert). For baritone soloist, mixed chorus (SATB) ad lib, and orchestra. Easter; I got me flowers; Love bade me welcome; The Call; Antiphon.

Fantasia on Christmas Carols (trad.)
For baritone soloist, mixed chorus (SATB), and orchestra.

Lord, Thou Has Been Our Refuge
Motet for chorus (SATB), semi-chorus (SATB), and orchestra (Psalm 90).

Fanfare: ‘So he passed over ….’
For double chorus of women’s voices (SA), trumpets, cello, double bass, and bells.

Sancta Civitas (The Holy City)
Oratorio for tenor and baritone soloists, mixed chorus (SATB), semi-chorus, distant chorus, and orchestra. Text from the Authorised Version of the Bible, with additions from Taverner’s Bible (1539) and other sources.

Te Deum in G
For Decani and Cantoris (SATB men’s and boys”voices) with organ or orchestra. Instrumentation by Arnold Foster.

In Windsor Forest
Cantata for mixed chorus (SATB) and orchestra. Music adapted from the opera Sir John in Love. Five sections: The Conspiracy; Drinking Song; Falstaff and the Fairies; Wedding Chorus; Epilogue.

For soprano, mixed chorus (SATB), and orchestra. Words from ‘The Song of the Three Holy Children’ (the Apocrypha) and O Hark, my soul, how everything’ (John Austin).
Dedication: to L.H.M.C. [Leith Hill Musical Competition] Towns Division.

The Hundredth Psalm
For mixed chorus (SATB) and orchestra. Words from Psalm 100 and Doxology from Daye’s Psalter, 1561.

Three Choral Hymns
For baritone (or tenor) solo, mixed chorus (SATB), and orchestra. Words by Miles Coverdale, translated from the German. Three movements: Easter Hymn; Christmas Hymn; Whitsunday Hymn. (The words of 2 and 3 were translated by Coverdale from Luther.)
Dedication: To L.H.M.C. Division I.

Three Children’s Songs for A Spring Festival
For voices in unison with string accompaniment. Words by Frances M. Farrer. Three movements: Spring; The Singers; An Invitation.
Dedication: To L.H.M.C. Children’s Division.

For contralto solo, women’s choir (SA), solo flute, and orchestra. Words adapted from the Bible.
Dedication: To Astra Desmond.

Five Tudor Portraits
(Skelton). For contralto (or mezzo-soprano), baritone, mixed chorus (SATB), and orchestra. Five movements: The Tunning of Elinor Rumming (Ballad); Pretty Bess (Intermezzo); Epitaph on John Jayberd of Diss (Burlesca); Jane Scroop (Her Lament for Philip Sparrow) (Romanza); Jolly Rutterkin (Scherzo).

Nothing is here for tears
(Milton). Choral song (unison or SATB) with accompaniment for pianoforte, organ or orchestra.

Dona Nobis Pacem
Cantata for soprano and baritone soloists, mixed chorus (SATB), and orchestra. Five sections: Agnus Dei (the Liturgy); Beat! Beat! Drums! (Whitman); Reconciliation (Whitman); Dirge for Two Veterans (Whitman); The Angel of Death (John Bright) and sections from the Old and New Testaments.

Flourish for a Coronation
For mixed chorus (SATB) and orchestra. Three movements: Let the priest and the prophet anoint him (The Bible); O prince, desire to be honourable (Chaucer); Now gracious God he save our King (The Agincourt Song).

Festival Te Deum in F major
Founded on traditional themes. For mixed chorus (SATB) and organ or orchestra.

Serenade to Music
(Shakespeare). For 16 solo voices.

Six Choral Songs To be Sung in Time of War
(Shelley). For unison voices with pianoforte or orchestra. A Song of Courage; A Song of Liberty; A Song of Healing; A Song of Victory; A Song of Pity; A Song of the New Age.

The New Commonwealth
(Harold Child). For unison voices with pianoforte accompaniment or orchestra.

England My England
(W. E. Henley). Choral song, for baritone soloist, double choir, unison voices, and orchestra.

Thanksgiving for Victory
(renamed A Song of Thanksgiving in 1952)
Words from various sources including The Bible, Shakespeare, and Kipling. For soprano solo, speaker, mixed chorus (SATB), and orchestra.

The Voice out of the Whirlwind
Motet for mixed chorus (SATB) and orchestra or organ. Adapted from ‘Galliard of the Sons of the Morning’, from Job.

A Cotswold Romance
Cantata for tenor and soprano soloists, mixed chorus (SATB), and orchestra, adapted from the opera Hugh the Drover by Maurice Jacobson. Ten movements: Chorus: Men of Cotsall; SATB unaccompanied: Sweet Little Linnet; Tenor and SATB: Song of the Road; Tenor, soprano and SATB: Love at First Sight; SATB with baritone solo: The Best Man in England; Tenor solo: Alone and Friendless; Tenor, Soprano and SATB: The Fight and its Sequel; Tenor solo: Alone and Friendless; Tenor, Soprano and SATB: Hugh in the Stocks (Gaily I go to die); Soprano and SATB: Mary escapes (a) alternative version for women’s voices: Here, Queen Uncrown’d; Tenor, soprano and SATB: Freedom at Last.

Folk Songs of the Four Seasons
Cantata, based on traditional folk songs, for women’s voices (SSAA) and orchestra. Four movements: Prologue: To the Plough Boy; Spring; Summer; Autumn; Winter.

An Oxford Elegy
(Matthew Arnold). For speaker, small mixed chorus (SATB) and small orchestra.

Fantasia (Quasi Variazione) on the ‘Old 104th’ Psalm Tune
For pianoforte solo, accompanied by mixed chorus (SATB), and orchestra. The choral text is that attributed to Sternhold and Hopkins.

The Sons of Light
[Ursula Vaughan Williams]. Cantata for mixed chorus (SATB) and orchestra. Three movements: I. Darkness and Light; II. The Song of the Zodiac; III. The Messengers of Speech.
First performed 6th May 1951, Royal Albert Hall, London. (Massed choirs, 1150 voices, LPO /Boult).
Dedication: To Bernard Shore.
Sections of this work were adapted into Sun, Moon, Stars, and Man, a cycle of four songs for unison voices with accompaniment for strings and/or pianoforte, first performed at Birmingham Town Hall on 11 March 1955.

The Old Hundredth Psalm Tune
(‘All People that on Earth do Dwell’) (W. Kethe). Arranged for mixed choir (SATB), congregation, orchestra, and organ. First performance: Westminster Abbey, 2 June 1953 at the coronation of Queen Elizabeth II.

This Day (Hodie)
A Christmas Cantata for soprano, tenor, and baritone soloists with mixed chorus (SATB), boys’ voices, organ (optional), and full orchestra. Words from various sources. Sixteen movements: Prologue; Narration; Song (Milton: soprano and women’s voices); Narration; Choral; Narration; The Oxen (Thomas Hardy: baritone and orch.); Narration; Pastoral (George Herbert: baritone and orch.); Narration; Lullaby (William Ballet: soprano and women’s voices); Hymn (William Drummond: tenor and orch.); Narration; The March of the Three Kings (Ursula Vaughan Williams: soprano, tenor, baritone, chorus, and orch.); Choral (v. 1 anon.; v. 2 Ursula Vaughan Williams); Epilogue (adapted from St John’s Gospel, 1: 1-14 and Milton’s Nativity Hymn).
Dedication: To Herbert Howells.
The dedication continues: ‘Dear Herbert, I find that in this Cantata I have inadvertently cribbed a phrase from your beautiful Hymnus Paradisi. Your passage seems to germane to my context that I have decided to keep it.’ RVW.

Song for a Spring Festival
(Ursula Vaughan Williams)
For mixed chorus. Written for and given to the Leith Hill Musical Festival in April 1955, by the author and composer, to be performed nowhere else.

Cantata founded on the Masque The Bridal Day, for baritone, mixed chorus, and small orchestra. Words chosen by Ursula Vaughan Williams from Spenser’s Epithalamion. Eleven movements: Prologue; ‘Wake now’; The Calling of the Bride; The Minstrels; Procession of the Bride; The Temple Gates; The Bellringers; The Lover’s Song; The Minstrel’s Song; Song of the Winged Lovers: Prayer to Juno.


nb Apart from the Five English Folk Songs, this list does not include folk-song arrangements.

Three Elizabethan Songs
For chorus (SATB): Sweet Day (George Herbert); The Willow Song (Shakespeare); O Mistress Mine (Shakespeare).

Come away, Death

Rise early Sun

Ring out your Bells
(Philip Sidney)
Dedication: To Lionel Benson Esq. & the members of the Magpie Madrigal Society.

(Christina Rossetti)
Dedication: To Lionel Benson Esq. & the members of the Magpie Madrigal Society.

Fain would I change that note
Canzonet for four voices (SATB).

Love is a Sickness
(Samuel Daniel).
Ballet for four voices (SATB).

O Praise the Lord of Heaven
Anthem for two full choirs and semi-chorus (Psalm 148).

Five English Folk Songs
Freely arranged for mixed chorus (SATB). Five movements: The Dark-eyed Sailor; The Springtime of the Year; Just as the Tide was Flowing; The Lover’s Ghost; Wassail Song.

O Vos Omnes (Is it nothing to you?)
Words from the Maundy Thursday office of Tenebrae. Motet for mixed voices (SSAATTBB) with alto solo.
Dedication: To Dr R. R. Terry.

Mass is G minor
For soloists (SATB) and double chorus, unaccompanied, with organ part ad lib: Kyrie; Gloria; Credo; Sanctus, Osanna I, Benedictus, Osanna II; Agnus Dei.
Dedication: to Gustav Holst and his Whitsuntide Singers.

The Souls of the Righteous
Motet for treble (or soprano), tenor, baritone soloists, and mixed chorus (Treble ATB or SATB) unaccompanied. Words from The Wisdom of Solomon, III vv. 1-5.

Valiant for Truth
(Bunyan). Motet for mixed chorus (SATB) unaccompanied, or with organ or pianoforte.

Prayer to the Father of Heaven
(Skelton). Motet for mixed chorus (SATB)
Dedication: To the memory of my master Hubert Parry.

Three Shakespeare Songs
For mixed chorus (SATB) unaccompanied. 1. Full Fathom Five; 2. The Cloud-Capp’d Towers; 3. Over Hill, Over Dale.
Dedication: To C. Armstrong Gibbs.

O Taste and See
Words from Psalm 34, v. 8. Motet for mixed choir (S or treble solo, ATB), with an organ introduction. Composed November – December 1952. Words from Psalm 34:8 Andante sostenuto.
First performance London Westminster Abbey, 2 June 1953. Coronation of Queen Elizabeth II. Sung by christers during the Queen’s Communion, conducted by Sir WIlliam McKie.
Publication London Oxford University Press ( 1953)

Silence and Music
(Ursula Wood [Ursula Vaughan Williams]). For mixed chorus (SATB). No. 4 of A Garland for the Queen.
Dedication: To the Memory of Charles Villiers Stanford, and his Blue Bird.

Heart’s Music
(Campion). Song for mixed chorus (SATB).
Dedication: Written for Wilfrid Dykes Bower and the St Thomas’s Hospital Musical Society.

A Choral Flourish
Words from Psalm 22 (AV, Psalm 33). For mixed chorus (SAT and high bar; B) with introduction for organ or two trumpets. In Latin, with English version as alternative.
Dedication: To Alan Kirby.

SOLO SONGS (with piano accompaniment unless indicated)

Summum Bonum
(Robert Browning)

Crossing the Bar


A Cradle Song
(S.T. Coleridge)

To Daffodils (first setting)
(Robert Herrick)


How can the Tree but Wither ?
(Lord Vaux)


The Splendour Falls

Three Rumpelstiltskin Songs
(Mrs Hugh Bell)
1.Spinning Song 2.Lollipop’s Song (with extra voices) 3.Rumpelstiltskin’s Song

(Christina Rossetti)

Blackmwore by the Stour
(William Barnes)

Linden Lea
(William Barnes)

Boy Johnny
(Christina Rossetti)

If I were a Queen
(Christina Rossetti)

Orpheus with his Lute (first setting)

Tears, Idle Tears

To Daffodils (second setting)
(Robert Herrick)

When I am Dead, my Dearest
(Christina Rossetti)

The Winter’s Willow
(William Barnes)

The House of Life
(Dante Gabriel Rossetti)
2.Silent Noon;
3.Love’s Minstrels
4.Heart’s Haven;
6.Love’s Last Gift

Songs of Travel
(Robert Louis Stevenson)
1.The Vagabond;
2.Let Beauty Awake;
3.The Roadside Fire;
4.Youth and Love;
5.In Dreams;
6.The Infinite Shining Heavens
7.Whither must I Wander ? (from 1901);
8.Bright is the Ring of Words;
9.I have Trod the Upward and the Downward Slope

(Thomas Hardy)

The Sky above the Roof
(Mabel Dearmer, after Verlaine)

On Wenlock Edge, song cycle for tenor, piano and string quartet (ad lib.)
1.On Wenlock Edge;
2.From Far, From and Morning;
3.Is my Team Ploughing ?;
4.Oh, When I was in Love with You;
5.Bredon Hill; 6.Clun

The Call (no.4 of Five Mystical Songs), alternative to the version for medium voice, choir (ad lib.) and orchestra;
(George Herbert)

Four Hymns, for tenor, piano and viola obbligato
1.Lord, Come Away (Jeremy Taylor);
2.Who is That Fair One ? (Isaac Watts);
3.Come Love, Come Lord (Richard Crashaw);
4.Evening Hymn (Robert Bridges, from the Greek)

Merciles Beauty – Three Rondels, with accompaniment for two violins and cello
1. Your Eyen Two;
2.So hath your Beauty;
3.Since I from Love

Four poems by Fredegond Shove
1.Motion and Stillness;
2.Four Nights;
3.The New Ghost;
4.The Water Mill

Three Poems by Walt Whitman
2.A Clear Midnight;
3.Joy, Shipmate, Joy

Three Songs from Shakespeare
1.Orpheus with his Lute (2nd setting);
2.Take, O Take those Lips Away;
3.When Icicles Hang by the Wall

Two Poems by Seumas O’Sullivan, with optional piano accompaniment
1.The Twilght People;
2.A Piper

Along The Field – eight songs for voice and violin
1. We’ll to the Woods no More;
2.Along the Field;
3.The Half-moon Westers Low;
5.In the Morning;
6.The Sigh that Heaves the Grasses;
7. Fairy’s Knell;
8. With Rue my Heart is Laden

pre 1951
Seven Songs from The Pilgrim’s Progress
(John Bunyan – nos.2 & 6; Ursula Vaughan Williams – no.5; The Bible – nos.1,3,4,7)
1.Watchful’s Song;
2.The Song of the Pilgrim;
3.The Pilgrim’s Psalm;
4.The Song of the Leaves of Life;
5.The Song of Vanity Fair;
6.The Woodcutter’s Song;
7.The Bird’s Song

In the Spring
(William Barnes)

Four Last Songs
(Ursula Vaughan Williams)
3.Hands, Eyes and Heart;

Ten Blake Songs, for voice and oboe
(William Blake)
1.Infant Joy;
2.A Poison Tree;
3.The Piper;
5.The Lamb;
6.The Shepherd;
7.Ah! Sunflower;
8.Cruelty has a Human Heart;
9.The Divine Image;

Three Vocalises, for soprano and clarinet

(with piano accompaniment unless otherwise indicated)

Adieu, for soprano and baritone
(German trad., translated by A.Foxton Ferguson)

Think of me, for soprano and baritone
(German trad., translated by A.Foxton Ferguson)

Two Vocal Duets, for soprano, baritone, piano, string quartet (ad lib.), with violin obbligato
(Walt Whitman)
1.The Last Invocation;
2.The Love-song of the Birds

Where is the Home for Me? for soprano and mezzo-soprano, from the incidental music to The Bacchae
(Euripides, translated by Gilbert Murray)

Dirge for Fidele, for two mezzo-sopranos

It was a Lover and his Lass, for two female voices

pre 1951
The Song of the Leaves of Life, for soprano solo or duet, from The Pilgrim’s Progress
(words from The Bible)


Stage Dramas

The Wasps
Incidental music commissioned by the Greek Play Committee, Cambridge.
Aristophanic Suite (part of above)
Overture; Entr’acte; March-past of the Kitchen Utensils; Entr’acte; Ballet and Final Tableau)
Incidental music to Greek plays

(Euripides, trans. Gilbert Murray).
Iphigenia in Tauris
(Euripides, trans. Gilbert Murray)

(Euripides, trans. Gilbert Murray).

Incidental music to Maeterlinck’s The Death of Tintagiles.

Incidental music to Maeterlinck’s The Blue Bird.
Piano score only.

Incidental music for F. R. Benson’s Shakespearean season

The Merry Wives of Windsor
One page only survives, marked ‘molto moderato’

King Richard II
Thirty-two numbers, mostly fanfares and entrance-music.

King Henry IV, Part 2
The music was almost entirely arranged from Tudor or traditional sources. There are six items.

King Richard III
Four items survive, one based on the Hampshire ‘Dargason’; one adapted from the music to King Richard II; and one a fanfare for Richard’s defeat at Bosworth.

King Henry V
Two items survive, one of them the Agincourt Song, the other for Act III, scene 7. For this season, Vaughan Williams also arranged music for Shaw’s The Devil’s Disciple, comprising arrangements of ‘The British Grenadiers’, the March from Judas Maccabaeus and a verse of ‘Yankee Doodle’. Fourteen numbers of incidental music for Shakespeare’s Twelfth Night, mostly arrangements of 16th or 17th century pieces, also exist. It is not known for what occasion these were composed.

Film Music

49th Parallel
Vaughan Williams made use of French-Canadian and German traditional melodies in the Hudson’s Bay and Hutterite scenes respectively; the Prelude music was adapted for words by Harold Child in the song ‘The New Commonwealth’; and ‘The Lake in the Mountains’ was later published as a piano solo.

Coastal Command
A suite of seven movements was arranged by Muir Mathieson

The People’s Land
Based mainly on folk-songs.

The Flemish Farm
A suite of eight movements.
First performed under the title ‘The Story of a Flemish Farm’ at a Henry Wood promenade concert on 31 July 1945. The composer conducted.

The Stricken Peninsula
None of the music is known to have survived.

The Loves of Joanna Godden

Scott of the Antarctic
Twenty-eight items were composed, six of which were not used in the film. See also Symphonies: Sinfonia Antartica.

Dim Little Island
Vaughan Williams’s voice is heard on the sound-track.
The music consisted of a short prelude based on two folk-songs from RVW’s own collection and ‘Dives and Lazarus’.

Bitter Springs
The music was arranged and scored by Ernest Irving from thematic material supplied by RVW.

The England of Elizabeth
Three Portraits suite (Explorer; Poet; Queen), published by Oxford University Press in 1964.
Two Shakespeare Sketches, published in the same year, were arranged by Muir Mathieson

The Vision of William Blake
The Ten Blake Songs were composed for this film; only eight were used: ‘A Poison Tree’ and ‘The Piper’ were excluded. The remainder of the music consisted of excerpts from Job.

Music for Radio

Incidental Music for The Pilgrim’s Progress
Bunyan’s book adapted for radio by Edward Sackville-West.

Incidental Music for Richard II
Thirty-four items to cover fifteen scenes. Not used.

Incidental Music for The Mayor of Casterbridge
Serialised in ten weekly episodes.



The Shepherds of the Delectable Mountains
Libretto by Vaughan Williams from John Bunyan. (1628-88) Later incorporated, save for the final section, into The Pilgrim’s Progress.

Hugh the Drover or Love in the Stocks
See also A Cotswold Romance (Choral Works)
Dedication: Sir Hugh Allen.
Romantic Ballad Opera in two for nine soloists, mixed chorus and orchestra. Words by Harold Child.

Sir John in Love
See also In Windsor Forest (Choral Works)
Four acts. Libretto adapted by RVW from Shakespeare’s Merry Wives of Windsor and other sources.
Dedication: S. P. Waddington.
A Prologue, Episode, and Interlude were also composed for performance at Bristol Opera School in October/November 1933.

revisions 1936-7 and 1956-7
The Poisoned Kiss or
The Empress and the Necromancer
Three acts. Libretto by Evelyn Sharp, later amended by the composer and Mrs Ursula Vaughan Williams.
Arts Theatre, Cambridge, 12 May 1936.

Riders to the Sea
One act. J. M. Synge’s play set to music.

The Pilgrim’s Progress
A Morality.
Prologue, four acts, and epilogue. Libretto adapted from Bunyan by RVW with interpolations from the Bible and verse by Ursula Vaughan Williams (Ursula Wood).

Ballets, pageants, and other stage spectacles

Pan’s Anniversary
A Masque by Ben Jonson. Music composed and arranged by R. Vaughan Williams. The dances arranged for orchestra from Elizabethan virginal music and English folk tunes by Gustav von Holst.

Music for The Pilgrim’s Progress
Dramatised from Bunyan by Mrs W. Hadley and Miss E. Onless.
A prelude, music for twelve episodes, and an epilogue were composed. Eight numbers survive

London Pageant
May Day Scene, thirteen items, all based on folk tunes and dances. Unison voices and instruments. Possible association with coronation of King George V.

Old King Cole
A ballet for orchestra and chorus (ad lib).

On Christmas Night
A masque with dancing, singing, and miming, freely adapted from Dickens’s A Christmas Carol.
Dedication to Douglas Kennedy.

Job, A Masque for Dancing
Founded on Blake’s Illustrations of the Book of Job.
Dedication to Adrian Boult.

The Running Set
Founded on Traditional Dance Tunes for Medium Orchestra.

Music for the English Folk Dance Society Masque
2 flutes, 2nd doubling piccolo, 1 oboe, 2 bassoons, 1 horn, 1 trumpet, timpani (ad lib), triangle, strings.

Music for The Pageant of Abinger
(arrangements of traditional tunes, plain-song, and familiar hymns).

England’s Pleasant Land
Music for a pageant by various composers, including RVW, for mixed chorus and military band.
Contains some of the music later used in the Fifth Symphony.

The Bridal Day
See also Epithalamion (Choral Works)
A Masque by Ursula Wood, founded on Spenser’s Epithalamion. For baritone soloist, speaker, dancers, mimers, mixed chorus, flute, piano, and string quartet.

Solemn Music for the Masque of Charterhouse (final scene)

The First Nowell
A Nativity Play for soloists, mixed chorus, and small orchestra. Libretto adapted from medieval pageants by Simona Pakenham. Music composed and arranged from traditional tunes by Vaughan Williams. Additions were made after his death by Roy Douglas.
There are 20 movements, eight of which were completed, adapted, revised, or added by Roy Douglas.


Student works – unpublished

1896 – 1902
Fantasia for pianoforte and orchestra
Begun October 1896. Completed 9 February 1902.
Revised 14 October 1904.

Published works

The Lark Ascending
Romance for violin and orchestra.
Dedication to Marie Hall
Flos Campi
Suite for solo viola, small wordless mixed chorus (SATB), and small orchestra.
Dedication to Lionel Tertis

Concerto in D minor (Concerto Accademico)
For violin and string orchestra.
Arrangement for violin and pianoforte by Constant Lambert. Dedication to Jelly d’Aranyi.

Fantasia on Sussex Folk Tunes
For violoncello and orchestra.
Dedication to Pablo Casals.

1926, 1930-1
Concerto in C Major for Pianoforte and Orchestra
First two movements composed 1926, finale in 1930-1.
Dedication to Harriet Cohen

Suite for Viola and Small Orchestra
Dedication to Lional Tertis.
The Galop was arranged for violin and pianoforte by Louis Persinger © 1949
Carol and the Musette for organ by Herbert Sumsion, © OUP 1938.

Concerto in A minor for Oboe and Strings
Dedication to Leon Goossens.

Concerto for Two Pianofortes and Orchestra
Adapted from the original version for one piano (1930-31) by Joseph Cooper in collaboration with the composer. Main differences between the two versions is in the finale. “Principal among them are the insertion of a new solo for the two pianos, the deletion of ten bars of ritornello and the substitution of a quiet ending with the fugue subject pizzicato in the strings leading to a chord of B major (the original ending was on G).” James Day

Fantasia (Quasi Variazione) on the ‘Old 104th’ Psalm Tune
For pianoforte solo, accompanied by mixed chorus (SATB), and orchestra. The choral text is that attributed to Sternhold and Hopkins.

Romance in D flat for harmonica
Accompanied by an orchestra of strings and pianoforte.
Dedication to Larry Adler.

Concerto in F Minor for Bass Tuba and Orchestra
Three movements.
Also arranged for tuba and pianoforte.


Student or unpublished works

Pianoforte Trio in G

Finale of String Quartet
Royal College of Music exercise Spring term

Pianoforte Trio in C major
‘lacking in characteristic fingerprints’ (M.Kennedy)

Two short pieces for string quartet.
A version of the above Ballade. Substantial differences.

Two vocal duets
For Soprano, baritone, piano, string quartet, with violin obbligato. Words by Whitman. The Last Invocation and The Love-song of the Birds.

Published works

String Quartet in C minor
‘This is one of the most significant of the early published works’. (M.Kennedy)
Intermezzo and its principal theme a forerunner of Linden Lea.

Quintet in D major
For clarinet, horn, violin, violoncello and pianoforte.

Quintet in C minor
For pianoforte, violin, viola, violoncello and double bass. Revised in 1904 and 1905. Withdrawn 1918. Main theme used in Violin Sonata of 1954. Allegro Brahmsian. Thereafter more recognisable VW.

Ballade and Scherzo
For string quintet. Based on folk tune ‘As I walked out’ personally collected by VW. Revised 1906.


Nocturne and Scherzo
A reworking of the 1904 Ballad and Scherzo, with the ballad revised into the nocturne and a new scherzo.

String Quartet in G minor
For 2 violins, viola, violoncello. Revised in 1921.

On Wenlock Edge
Cycle of 6 songs for tenor with accompaniment of piano and string quartet. Words by Houseman from A Shropshire Lad. Orchestral version exists and also version for tenor and orchestra. An orchestral version was made by Eric DeLamar (Chicago SO) in 1920.

Phantasy Quintet
For 2 violins, 2 viola, 1 violincello
Written at request of W. Cobbett, a wealthy businessman and amateur musician who commissioned works by British composers.

Suite de Ballet
For flute and pianoforte. Found amongst VW’s manuscripts after his death. Probably for the great flautist Louis Fleury. Shows direction towards the bitonality of Shepherds of the Delectable Mountains.

Merciless Beauty
(attrib. Chaucer). Three rondels for high voice and string trio (2vn., vc.): Your ey’n two; So hath you beauty; Since I from love

On or before 1914 or 1922 
Romance and Pastorale for violin and pianoforte
Dedication: To D.M.L. [Dorothy Longman] a violinist who for many years played at the Leith Hill Musical Festival.

Six Studies in English Folk Song
For violoncello and pianoforte.
Dedication: to May Mukle. Arrangements for violin, viola, or clarinet; also arranged by Arnold Foster for cello and small orchestra (1957)

Suite for Pipes
Dedication: The Pipers’ Guild Quartet. Publication: London, Oxford University Press, miniature score, 1947. Version for recorders, OUP, 1980.

Double Trio
For string sextet. Revised (with a completely new finale) and published as Partita for Double String Orchestra (see Orchestral Works).

Household Music: Three Preludes on Welsh Hymn Tunes
For string quartet or alternative instruments. Finale was arranged for organ by Herbert Byard.

Fantasia on ‘Linden Lea’
For oboe, clarinet, and bassoon.
Composed for John Parr of Sheffield.

String Quartet No. 2 in A minor (For Jean on her Birthday)
Four movements: Prelude: Allegro appassionato; Romance: Largo; Scherzo: Allegro; Epilogue – Greeting from Joan to Jean: Andante sostenuto.

Sonata in A minor

For violin and pianoforte. Dedication to Frederick Grinke.

Date unknown
Romance for Viola and Pianoforte
Undatable posthumous publication. Michael Kennedy believed it may have been intended for Lionel Tertis.



Student or unpublished works

The Robin’s Nest
Written at Leith Hill Place. Juvenile piece.

Sonatina in E flat
Student exercise, Royal College of Music.

Theme with Variations
Student exercise, Royal College of Music.

Variations on a Ground Bass by Lully
Student exercise, Royal College of Music.

Suite for Four hands on one Pianoforte

Reminiscences of a Walk at Frankham
“A programmatic piece with titles over the various sections such as A Steamy Afternoon; Little River Hall; Anxiety on the Way Home; Grinham’s Cottage appears in sight; Evening comes on. This was composed, of course, before the cinema became more than just an experimental toy, but the titles are of interest, even so” . James Day

Published Works

Andante Sostenuto
Dedication: ‘For your birthday’. (ie: His wife Adeline)

Pezzo Ostinato
No. 3 of ‘Birthday Gifts‘.

Suite of Six short pieces for Pianoforte
Prelude; Slow Dance; Quick Dance; Slow air; Rondo; Pezzo ostinato.
Arranged for string orchestra as The Charterhouse Suite.

Hymn Tune Prelude on ‘Song 13’ by Orlando Gibbons
Dedication: To Harriet Cohen

Six Teaching Pieces for Pianoforte
In Three Books:
Book I: Two 2-part Inventions: 1. Andante con moto; 2. Allegro moderato.
Book II: Valse Lente and 2. Nocturne.
Book III: 1. Canon and 2. Two-part Invention.

A Winter Piece
(for Genia with love from Uncle Ralph)
Genia = Genia Hornstein.
Published as no 2 of ‘Birthday Gifts‘.

The Lake in the Mountains
Based on music from the film ’49th Parallel’.
Dedication: To Phyllis Sellick.

Introduction and Fugue for Two Pianofortes
Dedication: To Phyllis [Sellick] and Cyril [Smith].


Student or unpublished works

Organ Overture

Passacaglia on B.G.C.
Composed for the Bride [Barbara Gordon Clark, nee Lawrence].

Published works

Three Preludes
Founded on Welsh hymn-tunes. For organ. Three movements: Bryn Calfaria; Rhosymedre (or ‘Lovely’); Hyfrydol.
Nos. 2 and 3 were orchestrated by Arnold Foster. They can also be performed by strings only. All three were arranged for two pianofortes by Leslie Russell, published 1939 by S&B.

A Wedding Tune for Ann
For the wedding of Ann Pain to Anthony Wilson.
Published (ed. Christopher Morris) as No. 1 of ‘A Vaughan Williams Organ Album’.

Two Organ Preludes
Founded on Welsh folk-songs: I. Romanza (‘The White Rock’); II. Toccata (‘St David’s Day’).
Also published in A Vaughan Williams Organ Album.
Nos. 5 and 3.

A Vaughan Williams Organ Album
Eight pieces: A Wedding Tune for Ann, [see above] ed. Christopher Morris; Greensleeves, arr. Stanley Roper;Toccata (St David’s Day) [see above in Two Organ Preludes];Carol, arr. Herbert Sumsion [from Suite for Viola; see Concertos; Romanza (‘The White Rock’) [see above]; Prelude (‘The New Commonwealth‘), arr. Christopher Morris (see Choral Works; Musette, arr. Herbert Sumsion [from Suite for Viola; see Concertos; Land of Our Birth, arr. S. de B. Taylor [from A Song of Thanksgiving: see Choral Works.


The Willow Song
(trad.). For voice and pianoforte.
German, trans. A. Foxton Ferguson.
Soprano and baritone duet with pianoforte.

Think of Me
German, trans. A. Foxton Ferguson.
Soprano and baritone duet with pianoforte.

Cousin Michael
German, trans. A. Foxton Ferguson.
Soprano and baritone duet with pianoforte.

Réveillez-vous, Picars
French; English adaptation by Paul England.
For voice and pianoforte.

Jean Renaud
French, 15c.; English adaptation by Paul England.
For voice and pianoforte.

L’amour de Moy
French, 15c.; English version by Paul England.
For voice and pianoforte.

Folk Songs from the Eastern Counties
From Essex:
Bushes and Briars (1903),
Tarry Trowsers (1904)
A Bold Young Farmer (1904)
The Lost Lady Found (1904)
As I Walked Out (1904)
The Lark in the Morning (1904)

Folk Songs from the Eastern Counties
Collections From Norfolk.

Folk Songs from the Eastern Counties
Collections From Cambridgeshire.

The Jolly Ploughboy
Sussex folk-song.
Arranged for TTBB unaccompanied.
Arranged for unison singing with pianoforte

Down among the Dead Men
(trad.). Arranged for TTBB unaccompanied.

The Spanish Ladies
(trad.). Arranged for voice and pianoforte.

Alister McAlpine’s Lament
Scottish air; words by Robert Allan.
Arranged for mixed voices (SATB) unaccompanied.

Folk Songs for Schools
Arranged for unison singing with pianoforte accompaniment.

Folk Songs of England, V. Folk Songs from Sussex
Editor. Cecil J. Sharp. Collected by W. Percy Merrick, with pianoforte accompaniments by RVW and Albert Robins.

Ward the Pirate
Arranged for mixed chorus (SATB) and small orchestra

Tarry Trowsers
Arranged for mixed chorus (SATB) and small orchestra .

And All in the Morning (On Christmas Day)
Arranged for mixed chorus (SATB) and small orchestra

The Carter. Orchestra

The Minehead Hobby-Horse (English folk dance)
Arranged for orchestra

Phil the Fluter’s Dancing
(English folk dance) Arranged for flute and strings.

Mannin Veen (‘Dear Mona”)
Manx trad.). For mixed chorus (SATB) unaccompanied.

The Dark-eyed Sailor
English folk-song. Unison song with pianoforte accompaniment accompaniment.

Just as the Tide was Flowing
English folk-song. Unison song with pianoforte.

The Lover’s Ghost
English folk-song). Arranged voice and pianoforte

Wassail Song
English folk-song). Arranged for unison voices with descant and orchestral accompaniment in the cantata.

Selection of Collected Folk Songs
Arranged for voice and pianoforte by Cecil J. Sharp and RVW.

The Motherland Song Book
published in four volumes by Stainer & Bell Ltd in 1919.

Eight Traditional English Carols
Arranged for voice and pianoforte. An unaccompanied version of each carol for mixed choir.

The Turtle Dove
Arranged for male voices, with pianoforte ad lib. Solo part for tenors and baritones, chorus TBB.

Our love goes out to English skies
Patriotic Song. Harold Child), adapted from Queen Zempoalla’s march in Purcell’s Indian Queen, for unison or mixed choir

Twelve Traditional Carols from Herefordshire
Collected, edited and arranged for voices with pianoforte accompaniment, or to be sung unaccompanied.

The League of Nations Song Book
Music ed. by Martin Shaw.

The Lass that Loves a Sailor
Words and music by Charles Dibdin). Edited and arranged for unison voices or SATB, with soprano solo, with pianoforte accompaniment.

The Mermaid
Trad. Arranged for SATB with soprano solo, unaccompanied, or unison with pianoforte accompaniment.

Heart of Oak
Attrib. Garrick; melody by William Boyce). Arranged for unison singing with pianoforte accompaniment, for male voices (TTBB) unaccompanied.

The Farmer’s Boy
Old English air. Arranged for male voices (TTBB)

Loch Lomond
Scottish air. Arranged for male voices (TTBB) with baritone solo, unaccompanied.

A Farmer’s Son So Sweet
Folk-song. Arranged for male voices (T.Bar.B). With pianoforte accompaniment ad lib. Words and melody from Cecil J. Sharp’s Folk Songs from Somerset.

Ca the Yowes
Burns. Scottish folk-song arranged for tenor solo and mixed chorus (SATB) unaccompanied.

High Germany
Folk-song. Arranged for male voices, with pianoforte accompaniment ad lib. Solos for tenor and bass. Words and melody from Cecil J. Sharp’s Folk Songs of England.

Mr. Isaac’s Maggot
English traditional country dance tune). Arranged for clarinet, pianoforte, triangle, and strings.

Old Folks at Home
Melody by Stephen Foster). Arranged for male voices (TTBB) with baritone solo.

The ‘Giant’ Fugue.
J. S. Bach. Transcribed for strings by RVW and Arnold Foster.

John G. Brainard, set to an old English air, slightly adapted, for Carl Stoeckel.

The Lawyer
English folk-song, collected by George Butterworth. Arranged by RVW for unaccompanied mixed voices.

Twelve Traditional Country Dances
Collected and described by Maud Karpeles. Pianoforte arrangements by RVW in collaboration with Maud Karpeles.

Choral and Choral Prelude: Ach bleib’ bei uns, Herr Jesu Christ (‘Now Cheer our Hearts this Eventide’)
J. S. Bach, freely arranged for pianoforte by RVW

An Acre of Land
English folk-song). For male voices, (TTBB) with pianoforte accompaniment.

John Dory
English folk-song from William Chappell’s Ballad Literature and Popular Music of the Olden Time, 1879.

I’ll never love thee more
Words by James Graham, 1st Marquis of Montrose; tune from Playford’s Dancing Master. Arranged for unaccompanied mixed voices.

The World it went well with me then
Trad., from Chappell’s Popular Music). Arranged for male voices (TTBB) unaccompanied.

Tobacco’s but an Indian Weed
Trad., from Chappell’s Popular Music). Arranged for male voices (TTBB) unaccompanied.

The Ploughman
English folk-song). Arranged for male voices (TTBB) with pianoforte accompaniment ad lib.

Folk Songs from Newfoundland
Collected and arranged by Maud Karpeles, with pianoforte accompaniments by RVW and others. Republished (OUP, 1968) as Fifteen Folks Songs from Newfoundland.

Folk Songs, Volume II.
A Selection of thirty-three less-known folk-songs, arranged by Cecil Sharp, RVW, and others for voice and pianoforte. Compiled by Cyril Winn.

Two English Folk Songs
Arranged for voice and violin.

Six English Folk Songs
Arranged for voice and pianoforte.

My Soul Praise the Lord
(W. Kethe, slightly adapted). Hymn arranged for chorus (SATB) and unison singing with descant, and organ (or strings and organ).

Te Deum
Dvorák). For soprano and bass, mixed chorus (SATB), and orchestra. English adaptation (for the Leith Hill Musical Festival) by RVW.

Benedictus and Agnus Dei in Liturgical Settings of the Holy Communion
Editor J. H. Arnold. All those parts of the service that belong to the congregation are set to traditional melodies.

All Hail the Power
Perronet. To the tune ‘Miles Lane’ (W. Shrubsole), arranged for unison (congregation), mixed chorus (SATB) with organ or orchestra

Nine Carols for Male Voices

Three Gaelic Songs
Melodies and Gaelic words published in the Journal of the Folk Song Society in 1911. Arranged in October 1954 for unaccompanied mixed voices

Variations by various composers for 11 instruments on a theme ‘Oh! Where’s my little basket gone?’ (attrib. Alfred Scott-Gatty).) A composite work by RVW, Howard Ferguson, Alan Bush, Alan Rawsthorne, Elizabeth Lutyens, Elizabeth Maconchy, Gerald Finzi, Grace Williams, and Gordon Jacob.

God Bless the Master of this House
from the ‘Sussex Mummers’ Carol‘). Arranged for unaccompanied mixed chorus.

Schmücke Dich, O liebe Seele
J. S. Bach. Arranged for violoncello and strings.

Fen and Flood
Charles Cudworth). Cantata for male chorus (TTBar.B) and orchestra by Patrick Hadley; arranged for soprano and baritone soloists and mixed chorus.

Nine English Folk Songs from the Southern Appalachian Mountains
For voice and pianoforte.

Certain unpublished arrangements
The Shooting of his Dear; O Sinner Man; Locks and Bolts; Salisbury Plain (vocal score only), and melody and words only of The Maid Freed from the Gallows; Geordie; The Lady and the Dragoon; The Lowlands of Holland and The Brown Girl are to be found in British Library MS 71491, along with the melody and words (in Maud Karpeles’ hand) of Lord Randal, Lord Thomas and Fair Ellinor, Fair Margaret andSweet William, Barbara Allen, and The Daemon Lover.