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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.

SYMPHONIES

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

1910
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

1913
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

1921
For full orchestra, with soprano (or tenor) voice.
Four movements: Molto moderato; Lento moderato; Moderato pesante; Lento.

Symphony No.4 in F minor

1931-4
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

1938-43
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

1946-7
For full orchestra.
Dedication: To Michael Mullinar.
Four movements: Allegro; Moderato; Scherzo: Allegro vivace; Epilogue: Moderato.

Sinfonia Antartica

1949-52
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

1953-5
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

1956-7
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.

ORCHESTRAL WORKS

1898
Serenade in A minor
For small orchestra.

1900
Bucolic Suite
For orchestra.

1901
Heroic Elegy and Triumphal Epilogue
For orchestra.
1903
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.

1901-3
Symphonic Rhapsody
For orchestra.
Inspired by verses of Christina Rossetti beginning ‘Come to me in the silence of the night’.

1904
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.

1905-6
Norfolk Rhapsody No. 1 in E minor
The work was revised between then and a further recorded performance at Bournemouth on 21 May 1914.

1906
Norfolk Rhapsody No. 2 in D minor

1909
Aristophanic Suite: The Wasps
See II Incidental Music to Plays.

1910
Fantasia on a Theme by Thomas Tallis
For double stringed orchestra and solo quartet.
Revised in 1913 and 1919.

1935
English Folk-Songs
Suite for full orchestra. See Orchestral Works 1921-30.

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.

1934
Fantasia on Greensleeves
Adapted from Sir John in Love and arranged by Ralph Greaves for strings and harp with optional flute(s).

1936
Two Hymn-Tune Preludes
For small orchestra.
Based on ‘Eventide’ (W. H. Monk) and ‘Dominus regit me’ (J. B. Dykes).

1938
Partita for Double String Orchestra
See also Double Trio (Chamber Music)
Dedication: to R. Müller-Hartmann.

1939
Five Variants of Dives and Lazarus
For strings and harp.

1950
Concerto Grosso
For string orchestra (Concertino, Tutti and ad lib section including parts ‘. . . for those players who prefer to use only open strings)

1950
Prelude on an Old Carol Tune
Founded on incidental music written for Hardy’s The Mayor of Casterbridge.

1957
Flourish for Glorious John
For John Barbirolli.

Works for military or brass band

1923
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)

1923
Sea Songs
Quick march for military and brass bands. Based on ‘The Princess Royal’, ‘Admiral Benbow’, and’ Portsmouth‘. Transcribed in 1942 for full orchestra.

1924
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.

1924
Toccata Marziale
For military band.

1933
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’.).

1933
The Golden Vanity
March for military band.

1935
Flourish of Trumpets for a Folk Dance Festival
For brass band.

1938
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.

1939
Flourish for Wind Band

1955
Prelude on Three Welsh Hymn Tunes
Based on the tunes ‘Ebenezer’,’Calfaria’, and ‘Hyfrydol’.

1957
Variations for Brass Band
Test piece for Competition held at the Royal Albert Hall.

CHORAL / SONGS

1889
Three Kyries
Composed at Charterhouse.

1893
Music, when Soft Voices Die
(Shelley). Part-song for male voices.

1891
Gloria
Student exercise for Hubert Parry, RCM, Summer Term 1891

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

1891
Super Flumina Babylonis
(Psalm 137). RCM, Spring Term 1892.

1894
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.

1895
Peace, Come away
(Tennyson). For four voices and small orchestra.

1896
Wine, Vine and Eglantine
(Tennyson). Vocal valse for SATB and piano.

1895-6
Sonnet 71
(Shakespeare). For six voices (SSATBB).

1895-6
Echo’s Lament of Narcissus
(‘Slow, slow, fresh fount’) (Jonson). Madrigal for double chorus.

1897-9
Mass
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

1899
The Garden of Proserpine
(Swinburne).

1899
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.

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

1906
Toward the Unknown Region
(Whitman). Song for chorus (SATB) and orchestra.
Dedication: To F.H.M. (Florence Maitland, RVW’s sister-in-law).

1908
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.

1914
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.

1911
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.

1912
Fantasia on Christmas Carols (trad.)
For baritone soloist, mixed chorus (SATB), and orchestra.

1921
Lord, Thou Has Been Our Refuge
Motet for chorus (SATB), semi-chorus (SATB), and orchestra (Psalm 90).

1921
Fanfare: ‘So he passed over ….’
For double chorus of women’s voices (SA), trumpets, cello, double bass, and bells.

1923-5
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.

1928
Te Deum in G
For Decani and Cantoris (SATB men’s and boys”voices) with organ or orchestra. Instrumentation by Arnold Foster.

1929
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.

1929
Benedicite
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.

1929
The Hundredth Psalm
For mixed chorus (SATB) and orchestra. Words from Psalm 100 and Doxology from Daye’s Psalter, 1561.

1929
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.

1929
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.

1932
Magnificat
For contralto solo, women’s choir (SA), solo flute, and orchestra. Words adapted from the Bible.
Dedication: To Astra Desmond.

1935
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).

1936
Nothing is here for tears
(Milton). Choral song (unison or SATB) with accompaniment for pianoforte, organ or orchestra.

1936
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.

1937
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).

1937
Festival Te Deum in F major
Founded on traditional themes. For mixed chorus (SATB) and organ or orchestra.

1938
Serenade to Music
(Shakespeare). For 16 solo voices.

1940
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.

1940
The New Commonwealth
(Harold Child). For unison voices with pianoforte accompaniment or orchestra.

1941
England My England
(W. E. Henley). Choral song, for baritone soloist, double choir, unison voices, and orchestra.

1944
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.

1947
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.

1924
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.

1904-49
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.

1949
An Oxford Elegy
(Matthew Arnold). For speaker, small mixed chorus (SATB) and small orchestra.

1949
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.

1950
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.

1953
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.

1954
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.

1955
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.

1957
Epithalamion
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.

Unaccompanied

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

1899
Three Elizabethan Songs
For chorus (SATB): Sweet Day (George Herbert); The Willow Song (Shakespeare); O Mistress Mine (Shakespeare).

1899
Come away, Death

1899
Rise early Sun

1902
Ring out your Bells
(Philip Sidney)
Dedication: To Lionel Benson Esq. & the members of the Magpie Madrigal Society.

1902
Rest
(Christina Rossetti)
Dedication: To Lionel Benson Esq. & the members of the Magpie Madrigal Society.

1907
Fain would I change that note
(anon.).
Canzonet for four voices (SATB).

1913
Love is a Sickness
(Samuel Daniel).
Ballet for four voices (SATB).

1913
O Praise the Lord of Heaven
Anthem for two full choirs and semi-chorus (Psalm 148).

1913
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.

1922
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.

1922
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.

1947
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.

1940
Valiant for Truth
(Bunyan). Motet for mixed chorus (SATB) unaccompanied, or with organ or pianoforte.

1948
Prayer to the Father of Heaven
(Skelton). Motet for mixed chorus (SATB)
Dedication: To the memory of my master Hubert Parry.

1951
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.

1952
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)

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.

1954
Heart’s Music
(Campion). Song for mixed chorus (SATB).
Dedication: Written for Wilfrid Dykes Bower and the St Thomas’s Hospital Musical Society.

1956
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.

PLAYS / FILM / RADIO

Stage Dramas

1909
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

1911
Bacchae
(Euripides, trans. Gilbert Murray).
1911
Iphigenia in Tauris
(Euripides, trans. Gilbert Murray)

1911
Electra
(Euripides, trans. Gilbert Murray).

1913
Incidental music to Maeterlinck’s The Death of Tintagiles.

1913
Incidental music to Maeterlinck’s The Blue Bird.
Piano score only.

1913
Incidental music for F. R. Benson’s Shakespearean season
Stratford-upon-Avon

1911
The Merry Wives of Windsor
One page only survives, marked ‘molto moderato’

1913
King Richard II
Thirty-two numbers, mostly fanfares and entrance-music.

1913
King Henry IV, Part 2
The music was almost entirely arranged from Tudor or traditional sources. There are six items.

1913
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.

1913
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

1940-1
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.

1942
Coastal Command
A suite of seven movements was arranged by Muir Mathieson

1941-3
The People’s Land
Based mainly on folk-songs.

1944
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.

1944
The Stricken Peninsula
None of the music is known to have survived.

1946
The Loves of Joanna Godden
1948
Scott of the Antarctic
Twenty-eight items were composed, six of which were not used in the film. See also Symphonies: Sinfonia Antartica.

1949
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’.

1950
Bitter Springs
The music was arranged and scored by Ernest Irving from thematic material supplied by RVW.

1955
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

1957
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

1942
Incidental Music for The Pilgrim’s Progress
Bunyan’s book adapted for radio by Edward Sackville-West.

1944
Incidental Music for Richard III
Thirty-four items to cover fifteen scenes. Not used.

1951
Incidental Music for The Mayor of Casterbridge
Serialised in ten weekly episodes.

OPERA AND STAGE WORKS

Operas

1921
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.

1910-20
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.

1924-8
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.

1927-9
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.

1925-32
Riders to the Sea
One act. J. M. Synge’s play set to music.

1906-1952
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

1905
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.

1942
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

1911
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.

1923
Old King Cole
A ballet for orchestra and chorus (ad lib).

1926
On Christmas Night
A masque with dancing, singing, and miming, freely adapted from Dickens’s A Christmas Carol.
Dedication to Douglas Kennedy.

1930
Job, A Masque for Dancing
Founded on Blake’s Illustrations of the Book of Job.
Dedication to Adrian Boult.

1933
The Running Set
Founded on Traditional Dance Tunes for Medium Orchestra.

1934
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.

1934
Music for The Pageant of Abinger
(arrangements of traditional tunes, plain-song, and familiar hymns).

1938
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.

1938-9
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.

1950
Solemn Music for the Masque of Charterhouse (final scene)

1958
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.

CONCERTOS & INSTRUMENTAL

Student works – unpublished

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

Published works

1914
The Lark Ascending
Romance for violin and orchestra.
Dedication to Marie Hall
1925
Flos Campi
Suite for solo viola, small wordless mixed chorus (SATB), and small orchestra.
Dedication to Lionel Tertis

1924-5
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

1932
Concerto for Two Pianofortes and Orchestra
Adapted from above 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

1936-8
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.

1944
Concerto in A minor for Oboe and Strings
Dedication to Leon Goossens.

1949
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.

1951
Romance in D flat for harmonica
Accompanied by an orchestra of strings and pianoforte.
Dedication to Larry Adler.

1954
Concerto in F Minor for Bass Tuba and Orchestra
Three movements.
Also arranged for tuba and pianoforte.

CHAMBER WORKS

Student or unpublished works

1888
Pianoforte Trio in G
1891
Finale of String Quartet
Royal College of Music exercise Spring term

1895
Pianoforte Trio in C major
‘lacking in characteristic fingerprints’ (M.Kennedy)

1897
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.

1898
Quintet in D major
For clarinet, horn, violin, violoncello and pianoforte.

1903
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.

1904
Ballade and Scherzo
For string quintet. Based on folk tune ‘As I walked out’ personally collected by VW. Revised 1906

1904
Two short pieces for string quartet.
A version of the above Ballade. Substantial differences.

1904
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.

1942-3
Fantasia on ‘Linden Lea’
Composed for John Parr of Sheffield.

Published works

1908
String Quartet in G minor
For 2 violins, viola, violoncello. Revised in 1921
1909
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.

1912
Phantasy Quintet
For 2 violins, 2 viola, 1 violincello
Written at request of W. Cobbet, a wealthy businessman and amateur musician who commisioned works by British composers.

1913
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.

1921
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

1922
Two pieces for Violin and Pianoforte
Dedication: To D.M.L. [Dorothy Longman] a violinist who for many years played at the Leith Hill Musical Festival.

1926
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)

1938/9
Suite for Pipes
Dedication: The Pipers’ Guild Quartet. Publication: London, Oxford University Press, miniature score, 1947. Version for recorders, OUP, 1980.

1938
Double Trio
For string sextet. Revised (with a completely new finale) and published as Partita for Double String Orchestra (see Orchestral Works).

1940
Household Music: Three Preludes on Welsh Hymn Tunes
For string quartet or alternative instruments. Finale was arranged for organ by Herbert Byard.

1942-4
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.

1942-3
Fantasia on ‘Linden Lea’
For oboe, clarinet, and bassoon.
Composed for John Parr of Sheffield.

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.

KEYBOARD WORKS

Student or unpublished works

1878
The Robin’s Nest
Written at Leith Hill Place. Juvenile piece.

1890
Sonatina in E flat
Student exercise, Royal College of Music.

1891
Theme with Variations
Student exercise, Royal College of Music.

1892
Variations on a Ground Bass by Lully
Student exercise, Royal College of Music.

1893
Suite for Four hands on one Pianoforte

1894
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

1904
Andante Sostenuto
Dedication: ‘For your birthday’. (ie: His wife Adeline)
Pianoforte
Published Works

1905
Pezzo Ostinato
No. 3 of ‘Birthday Gifts‘.

1921
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.

1928
Hymn Tune Prelude on ‘Song 13’ by Orlando Gibbons
Dedication: To Harriet Cohen

1934
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.

1943
A Winter Piece
(for Genia with love from Uncle Ralph)
Genia = Genia Hornstein.
Published as no 2 of ‘Birthday Gifts‘.

1940-1
The Lake in the Mountains
Based on music from the film ’49th Parallel’.
Dedication: To Phyllis Sellick.

1947
Introduction and Fugue for Two Pianofortes
Dedication: To Phyllis [Sellick] and Cyril [Smith].

ORGAN

Student or unpublished works

1890
Organ Overture

1933
Passacaglia on B.G.C.
Composed for the Bride [Barbara Gordon Clark, nee Lawrence].
Organ
Published works

1920
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.

1943
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’.

1956
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.

1934-58
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.

ARRANGEMENTS

The Willow Song
(trad.). For voice and pianoforte.
Adieu
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
Unpublished.

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)
unaccompanied

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.

Epithalmium
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
Unaccompanied.

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

Diabelleries
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.

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