Ralph Vaughan Williams

Originally written in 1926 for cellist May Mukle with piano accompaniment, this collection follows the same format for each of the six English folk songs: presentation of the tune in the solo line, fo...

This engaging work was composed in 1929 and premiered the following year by its dedicatee, the legendary Spanish cellist Pablo Casals. This arrangement for solo viola and orchestra is compatible with...

Adapted from the Opera Sir John in Love. Arr Viola or Violoncello and Pianoforte by Watson Forbes

Originally written in 1926 for cellist May Mukle with piano accompaniment, this collection follows the same format for each of the six English folk songs: presentation of the tune in the solo line, fo...

The familiar version of 'Greensleeves', beautifully arranged for flute and harp. A holiday standard!

A leading British composer of the twentieth-century, Ralph Vaughan Williams was a lifelong exponent of choral music and singing. This two-part collection of new arrangements and editions features well...

This innovative and imaginative choral arrangement of The Lark Ascending has the original solo violin part accompanied by mixed choir. It sensitively sets George Meredith's poem (on which the original...

This well-known song by Vaughan Williams is arranged here for mixed voices, with additional lower voice parts by Alan Bullard. The pastoral imagery in the lyrics is beautifully brought to life by the...

Settings of texts from The Tempest and A Midsummer Night's Dream. Includes a piano reduction for rehearsal only.

Jonathan Wikeley's choral arrangement of Vaughan Williams's Four Last Songs offers a new way to engage with these beautiful late works. The texts are by Ursula Vaughan Williams, and the set begins and...

Boldly reimagined and completed by Martin Yates, The Future, a substantial non finito draft of a major choral setting of words by Matthew Arnold, dates from 1908, immediately after Toward the Unknown...

For woodwind choir.

One of the cornerstones of the concert band repertoire, this three movement suite (March: Seventeen come Sunday; Intermezzo: My Bonny Boy; March: Folk Songs from Somerset) was composed in 1923 and rec...

A capricious, lyrical, and nostalgic work, it is often considered to be Vaughan Williams' most successful work in this form. The first movement is pastoral in feeling. The second movement begins with...

Vaughan Williams arrived in Paris in 12th December 1907 so that he could have lessons with Maurice Ravel. This is the first of his works to demonstrate the effects of these lessons which, as he wrote...

A heartfelt and subtly beautiful tribute to the dead of the First World War, Vaughan Williams' Third Symphony is amongst his most powerful works. Misunderstood at its premiere in 1922, the haunting 35...

Vaughan Williams wrote his Symphony No. 8 between 1953 and 1955, when he was in his eighties. It is his shortest symphony, and is considered by many to be his least serious. Aside from a few sombre mo...

Orchestration: Flute, Piccolo (or Flute 2), Oboe, 2 Clarinets in Bb, Bassoon 2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Timpani, Percussion (Triangle, Side drum, 26 Tabor) Strings (Violin 1, Violin...

Ralph Vaughan Williams (1872-1958) set four poems from George Herbert's (1593-1633) collection The Temple: Sacred Poems in 1911 to music for solo baritone in a work titled Five Mystical Songs. The sol...

Ralph Vaughan Williams (1872-1958) set four poems from George Herbert's (1593-1633) collection The Temple: Sacred Poems in 1911 to music for solo baritone in a work titled Five Mystical Songs. The sol...

Ralph Vaughan Williams (1872-1958) set four poems from George Herbert's (1593-1633) collection The Temple: Sacred Poems in 1911 to music for solo baritone in a work titled Five Mystical Songs. The sol...

Ralph Vaughan Williams (1872-1958) set four poems from George Herbert's (1593-1633) collection The Temple: Sacred Poems in 1911 to music for solo baritone in a work titled Five Mystical Songs. The sol...