The Collector's Edition - A Pastoral Symphony - Symphony No. 4 in F Minor

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The Collector's Edition - A Pastoral Symphony - Symphony No. 4 in F Minor

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dc.contributor.other Ralph Vaughan Williams es
dc.contributor.other Royal Liverpool Philarmonic Orchestra es
dc.contributor.other Vernon Handley es
dc.date.accessioned 2012-07-29T05:37:35Z
dc.date.available 2012-07-29T05:37:35Z
dc.date.copyright 2008 es
dc.date.issued 2012-07-29
dc.identifier.uri http://hdl.handle.net/123456789/1776
dc.description.abstract Ralph Vaughan Williams left a varied oeuvre that includes orchestral works, songs, operas, and various choral compositions. While primarily drawing on the rich tradition of English folksong and hymnody, Vaughan Williams produced well-loved works that fit into larger European traditions and gained worldwide popularity. Vaughan Williams, who lost his father early in life, was cared for by his mother. Related, through his mother, to both Charles Darwin and the Wedgwoods of pottery fame, he grew up without financial worries. He studied history and music at Trinity College, Cambridge, and finished up at the Royal College of Music, where he worked with Parry, Wood, and Stanford. In 1897, the year he married Adeline Fisher, Vaughan Williams traveled to Berlin to study with Max Bruch, also seeking Maurice Ravel as a teacher several years later, despite the fact that the French composer was three years his junior. In 1903, he started collecting English folksongs; certain characteristics of English folk music, particularly its modal tonalities, in many ways informed his approach to composition. Vaughan Williams further developed his style while working as editor of the English Hymnal, which was completed in 1906. His work on the English Hymnal went beyond editing, for he contributed several new hymn tunes, most notably the Sine nomine, the tune for the hymn For All the Saints. The composer's interest in and knowledge of traditional English music is reflected in his song cycle On Wenlock Edge (1909), based on selections from A.E. Housman's immensely popular volume of poetry A Shropshire Lad. In his Fantasia on a Theme of Thomas Tallis, composed in 1910, Vaughan Williams introduced antiphonal effects within the context of modal tonality, juxtaposing consonant, but unrelated, triads. Composed in 1914, his Symphony No. 2, "A London Symphony" brings to life, with great charm, the sounds of London from dawn to dusk. That year, Vaughan Williams also wrote his pastoral The Lark Ascending, for violin and orchestra. When World War I broke out, the 41-year-old composer enlisted as an orderly in the medical corps, becoming famous for organizing choral singing and other entertainment in the trenches. He was commissioned from the ranks, ending his war service as an artillery officer. The war interrupted the composer's work but did not, it seems, disrupt the inner continuity of his creative development. The Symphony No. 3 ("Pastoral"), composed in 1922, conjures up a familiar world, effectively incorporating folksong motives into sonorities created by sequential chords. While critics detected pessimistic moods and themes in the later symphonies, ascribing a shift to a darker vision to the composer's alleged general pessimism about the world, Vaughan Williams refused to attach any programmatic content to these works. However, the composer created a convincing musical description of a desolate world in his Symphony No. 7 "Sinfonia Antarctica" (1952), which was inspired by the request to write the music for the film Scott of the Antarctic. In addition to his symphonies, Vaughan Williams composed highly acclaimed religious music, as well as works inspired by English spiritual literature, culminating in his 1951 opera The Pilgrim's Progress, based on the spiritual classic by John Bunyan. An artist of extraordinary creative energy, Vaughan Williams continued composing with undiminished powers until his death at 87. © AMG, All Music Guide es
dc.description.tableofcontents CD 3 : A Pastoral Symphony ; Molto moderato / Malcom Stweart, violin ; Roger Benedict, viola ; Anna Copper, cor anglais-- Lento moderato / Nigel Black, horn ; Alan Stringer, trumpet-- Moderato Pesante, Lento / Alison Barlow, soprano-- Symphony No. 4 in F minor ; Allegro, Andante moderato / Colin Chambers, flute-- Scherzo : Allegro molto, Finale (Allegro molto) con epilogo fugato (Con anima). es
dc.format.medium 1 CD-Rom (66 min., 52 seg.) : stereo ; 4 3/4 pulg. es
dc.language.iso en es
dc.rights Uninorte F.M. Estéreo es
dc.subject.lcc 277229467 es
dc.subject.lcsh Symphonies. es
dc.title The Collector's Edition - A Pastoral Symphony - Symphony No. 4 in F Minor es
dc.title.alternative A Pastoral Symphony es
dc.title.alternative Symphony No. 4 in F Minor es
dc.language.rfc3066 eng es
dc.rights.holder EMI Records Ltd. es
dc.identifier.classification 5099920663629 es
dc.subject.cdu Vau.08 es


Files in this item

Files Length Size Format View Description
1. A Pastoral Symphony-Molto moderato.mp3 9:35 6.568Mb Unknown Mp3
2. A Pastoral Symphony-Lento moderato.mp3 8:26 5.782Mb Unknown Mp3
3. A Pastoral Symphony-Moderato Pesante.mp3 5:59 4.105Mb Unknown Mp3
4. A Pastoral Symphony-Lento.mp3 10:57 7.507Mb Unknown Mp3
5. Symphony No. 4 in F minor-Allegro.mp3 8:08 5.574Mb Unknown Mp3
6. Symphony No. 4 in F minor-Andante moderato.mp3 9:17 6.366Mb Unknown Mp3
7-8. Symphony No. 4 in F minor-Scherzo-Finale.mp3 14:05 9.660Mb Unknown Mp3
A Pastoral Symphony-Completo.wav 4:15:50 702.6Mb WAV audio WAV
Symphony No. 4 in F minor-Completo.wav 634.0Mb WAV audio WAV

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