Symphony N° 5 Three Portraits Concerto Tuba

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Symphony N° 5 Three Portraits Concerto Tuba

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dc.contributor.other Ralph Vaughan Williams es
dc.contributor.other John Fletcher es
dc.contributor.other André Previn es
dc.contributor.other London Symphony Orchestra es
dc.date.accessioned 2012-07-29T06:08:16Z
dc.date.available 2012-07-29T06:08:16Z
dc.date.copyright 1987 es
dc.date.issued 2012-07-29
dc.identifier.uri http://hdl.handle.net/123456789/1888
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 Symphony N° 5 in D ; Preludio (Moderato), Scherzo (Presto), Romance (Lento), Passacaglia (Moderato)-- Three portraits from “The England of Elizabeth” (Suite Adapted by Muir Mathieson) ; Explorer, Poet, Queen-- Concerto in F minor for bass tuba and orchestra ; Allegro moderato, Romanza (Andante sostenuto), Finale (Rondo alla tedesca) / John Fletcher, Bass tuba-- es
dc.format.medium 1 CD Rom (72 min., 16 seg.) : Stereo ; 4 3/4 plg es
dc.language.iso en_US es
dc.rights Uninorte fm stereo es
dc.subject.lcc 81775206 es
dc.subject.lcsh Symphonies, Concertos es
dc.title Symphony N° 5 Three Portraits Concerto Tuba es
dc.title.alternative Symphony N° 5 Three Portraits Concerto Tuba es
dc.language.rfc3066 eng es
dc.rights.holder BMG Music es
dc.identifier.classification 7863567822 es
dc.subject.cdu Vau.03 es


Files in this item

Files Length Size Format View Description
1. Symphony N° 5 in D - Preludio (Moderato).mp3 12:52 17.65Mb Unknown mp3
2. Symphony N° 5 in D - Scherzo (Presto).mp3 5:18 7.265Mb Unknown mp3
3. Symphony N° 5 in D - Romance (Lento).mp3 12:19 16.89Mb Unknown mp3
4. Symphony N° 5 in D - Passacaglia (Moderato).mp3 11:17 15.47Mb Unknown mp3
5. Three portra ... Elizabeth' - Explorer.mp3 4:49 6.605Mb Unknown mp3
6. Three portra ... d of Elizabeth' - Poet.mp3 7:27 10.22Mb Unknown mp3
7. Three portra ... of Elizabeth' - Queen.mp3 5:22 7.365Mb Unknown mp3
8. Concerto in ... tra - Allegro moderato.mp3 4:20 5.937Mb Unknown mp3
9. Concerto in ... za (Andante sostenuto).mp3 5:05 6.968Mb Unknown mp3
10. Concerto in ... e (Rondo alla tedesca).mp3 3:06 4.245Mb Unknown mp3
Symphony N° 5 in D - Completo.wav 41:36 419.8Mb WAV audio wav
Three portraits ... Elizabeth' - Completo.wav 17:31 176.8Mb WAV audio wav
Concerto in F m ... d orchestra - Completo.wav 12:23 124.9Mb WAV audio wav

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