Ralph Vaughan Williams
Ralph Vaughan Williams was an English composer. His works include operas, ballets, chamber music, secular and religious vocal pieces and orchestral compositions including nine symphonies, written over sixty years. Strongly influenced by Tudor music and English folk-song, his output marked a decisive break in British music from its German-dominated style of the 19th century.
Vaughan Williams was born to a well-to-do family with strong moral views and a progressive social outlook. Throughout his life he sought to be of service to his fellow citizens, and believed in making music as available as possible to everybody. He wrote many works for amateur and student performance. He was musically a late developer, not finding his true voice until his late thirties; his studies in 1907–1908 with the French composer Maurice Ravel helped him clarify the textures of his music and free it from Teutonic influences.
Vaughan Williams is among the best-known British symphonists, noted for his very wide range of moods, from stormy and impassioned to tranquil, from mysterious to exuberant. Among the most familiar of his other concert works are Fantasia on a Theme by Thomas Tallis and The Lark Ascending. His vocal works include hymns, folk-song arrangements and large-scale choral pieces. He wrote eight works for stage performance between 1919 and 1951. Although none of his operas became popular repertoire pieces, his ballet Job: A Masque for Dancing was successful and has been frequently staged.
Two episodes made notably deep impressions in Vaughan Williams's personal life. The First World War, in which he served in the army, had a lasting emotional impact. Twenty years later, though in his sixties and devotedly married, he was reinvigorated by a love affair with a much younger woman, who later became his second wife. He went on composing through his 70s and 80s, producing his last symphony months before his death at the age of 85. His works have continued to be a staple of the British concert repertoire, and all his major compositions and many of the minor ones have been recorded.
Life and career
Early years
Vaughan Williams was born at Down Ampney, Gloucestershire, the third child and younger son of the Reverend Arthur Vaughan Williams, the vicar, and his wife, Margaret, née Wedgwood. His paternal forebears were of mixed English and Welsh descent; many of them went into the law or the Church. The judges Sir Edward and Sir Roland Vaughan Williams were respectively Arthur's father and brother. Margaret Vaughan Williams was a great-granddaughter of Josiah Wedgwood and niece of Charles Darwin.Arthur Vaughan Williams died suddenly in February 1875, and his widow took the children to live in her family home, Leith Hill Place, Wotton, Surrey. The children were under the care of a nurse, Sara Wager, who instilled in them not only polite manners and good behaviour but also liberal social and philosophical opinions. Such views were consistent with the progressive-minded tradition of both sides of the family. When the young Vaughan Williams asked his mother about Darwin's controversial book On the Origin of Species, she answered, "The Bible says that God made the world in six days. Great Uncle Charles thinks it took longer: but we need not worry about it, for it is equally wonderful either way".
In 1878, at the age of five, Vaughan Williams began receiving piano lessons from his aunt, Sophy Wedgwood. He displayed signs of musical talent early on, composing his first piece of music, a four-bar piano piece called "The Robin's Nest", in the same year. He did not greatly like the piano, and was pleased to begin violin lessons the following year. In 1880, when he was eight, he took a correspondence course in music from Edinburgh University and passed the associated examinations.
In September 1883 he went as a boarder to Field House preparatory school in Rottingdean on the south coast of England, from Wotton. He was generally happy there, although he was shocked to encounter for the first time social snobbery and political conservatism, which were rife among his fellow pupils. From there he moved on to the public school Charterhouse in January 1887. His academic and sporting achievements there were satisfactory, and the school encouraged his musical development. In 1888 he organised a concert in the school hall, which included a performance of his G major Piano Trio with the composer as violinist.
While at Charterhouse Vaughan Williams found that religion meant less and less to him, and for a while he was an atheist. This softened into "a cheerful agnosticism", and he continued to attend church regularly to avoid upsetting the family. His views on religion did not affect his love of the Authorised Version of the Bible, the beauty of which, in the words of his widow Ursula Vaughan Williams in her 1964 biography of the composer, remained "one of his essential companions through life." In this, as in many other things in his life, he was, according to his biographer Michael Kennedy, "that extremely English product the natural nonconformist with a conservative regard for the best tradition".
Royal College of Music and Trinity College, Cambridge
In July 1890 Vaughan Williams left Charterhouse and in September he was enrolled as a student at the Royal College of Music, London. After a compulsory course in harmony with Francis Edward Gladstone, professor of organ, counterpoint and harmony, he studied organ with Walter Parratt and composition with Hubert Parry. He idolised Parry, and recalled in his Musical Autobiography :Vaughan Williams's family would have preferred him to remain at Charterhouse for two more years and then go on to Cambridge University. They were not convinced that he was talented enough to pursue a musical career, but feeling it would be wrong to prevent him from trying, they had allowed him to go to the RCM. Nevertheless, a university education was expected of him, and in 1892 he temporarily left the RCM and entered Trinity College, Cambridge, where he spent three years, studying music and history.
Among those with whom Vaughan Williams became friendly at Cambridge were the philosophers G. E. Moore and Bertrand Russell, the historian G. M. Trevelyan and the musician Hugh Allen. He felt intellectually overshadowed by some of his companions, but he learned much from them and formed lifelong friendships with several. Among the women with whom he mixed socially at Cambridge was Adeline Fisher, the daughter of Herbert Fisher, an old friend of the Vaughan Williams family. She and Vaughan Williams grew close, and in June 1897, after he had left Cambridge, they became engaged to be married.
file:Stanford-Bassano-1921.jpg|thumb|alt=Man in late middle age, wearing pince-nez and a moustache|upright|left|Charles Villiers Stanford, Vaughan Williams's second composition teacher at the RCM
During his time at Cambridge Vaughan Williams continued his weekly lessons with Parry, and studied composition with Charles Wood and organ with Alan Gray. He graduated as Bachelor of Music in 1894 and Bachelor of Arts the following year. After leaving the university he returned to complete his training at the RCM. Parry had by then succeeded Sir George Grove as director of the college, and Vaughan Williams's new professor of composition was Charles Villiers Stanford. Relations between teacher and student were stormy but affectionate. Stanford, who had been adventurous in his younger days, had grown deeply conservative; he clashed vigorously with his modern-minded pupil. Vaughan Williams had no wish to follow in the traditions of Stanford's idols, Brahms and Wagner, and he stood up to his teacher as few students dared to do. Beneath Stanford's severity lay a recognition of Vaughan Williams's talent and a desire to help the young man correct his opaque orchestration and extreme predilection for modal music.
In his second spell at the RCM Vaughan Williams got to know a fellow student, Gustav Holst, who became a lifelong friend. Stanford emphasised the need for his students to be self-critical, but Vaughan Williams and Holst became, and remained, one another's most valued critics; each would play his latest composition to the other while still working on it. Vaughan Williams later observed, "What one really learns from an Academy or College is not so much from one's official teachers as from one's fellow-students ... every subject under the sun from the lowest note of the double bassoon to the philosophy of Jude the Obscure". In 1949 he wrote of their relationship, "Holst declared that his music was influenced by that of his friend: the converse is certainly true."
Early career
Vaughan Williams had a modest private income, which in his early career he supplemented with a variety of musical activities. Although the organ was not his preferred instrument, the only post he ever held for an annual salary was as a church organist and choirmaster. He held the position at St Barnabas, in the inner London district of South Lambeth, from 1895 to 1899 for a salary of £50 a year. He disliked the job, but working closely with a choir was valuable experience for his later undertakings.File:Grandiose Cheyne Walk - geograph.org.uk - 466071.jpg|thumb|alt=Exterior of rather grand town-houses|Vaughan Williams lived in Cheyne Walk, Chelsea, from 1905 to 1929
In October 1897 Adeline and Vaughan Williams were married. They honeymooned for several months in Berlin, where he studied with Max Bruch. On their return they settled in London, originally in Westminster and, from 1905, in Chelsea. There were no children of the marriage.
In 1899 Vaughan Williams passed the examination for the degree of Doctor of Music at Cambridge; the title was formally conferred on him in 1901. The song "Linden Lea" became the first of his works to appear in print, published in the magazine The Vocalist in April 1902 and then as separate sheet music. In addition to composition he occupied himself in several capacities during the first decade of the century. He wrote articles for musical journals and for the second edition of Grove's Dictionary of Music and Musicians, edited the first volume of Purcell's Welcome Songs for the Purcell Society, and was for a while involved in adult education in the University Extension Lectures. From 1904 to 1906 he was music editor of a new hymn-book, The English Hymnal, of which he later said, "I now know that two years of close association with some of the best tunes in the world was a better musical education than any amount of sonatas and fugues". Always committed to music-making for the whole community, he helped found the amateur Leith Hill Musical Festival in 1905, and was appointed its principal conductor, a post he held until 1953.
In 1903–1904 Vaughan Williams started collecting folk-songs. He had always been interested in them, and now followed the example of a recent generation of enthusiasts such as Cecil Sharp and Lucy Broadwood in going into the English countryside noting down and transcribing songs traditionally sung in various locations. Collections of the songs were published, preserving many that could otherwise have vanished as oral traditions died out. Vaughan Williams incorporated some into his own compositions, and more generally was influenced by their prevailing modal forms. This, together with his love of Tudor and Stuart music, helped shape his compositional style for the rest of his career.
Over this period Vaughan Williams composed steadily, producing songs, choral music, chamber works and orchestral pieces, gradually finding the beginnings of his mature style. His compositions included the tone poem In the Fen Country and the Norfolk Rhapsody No. 1. He remained unsatisfied with his technique as a composer. After unsuccessfully seeking lessons from Sir Edward Elgar, he contemplated studying with Vincent d'Indy in Paris. Instead, he was introduced by the critic and musicologist M.D.Calvocoressi to Maurice Ravel, a more modernist, less dogmatic musician than d'Indy.