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The Five Mystical Songs are a musical composition by English composer Ralph Vaughan Williams (1872–1958), written between 1906 and 1911. [1] The work sets four poems ("Easter" divided into two parts) by seventeenth-century Welsh poet and Anglican priest George Herbert (1593–1633), from his 1633 collection The Temple: Sacred Poems.
The work has been described as spirituality reminiscent of William Byrd and his contemporaries, and might be thought of as a vocal equivalent to the Tallis Fantasia, with its double choir and four soloists mirroring the Fantasia's double string orchestra and string quartet. [3] A typical performance takes about 25 minutes.
Two Vocal Duets, for soprano, baritone and violin with piano, setting texts by Walt Whitman (1904) Songs of Travel, song cycle for baritone and piano, setting texts by R. L. Stevenson (1901–04). Includes "The Vagabond". Songs 1 3 8 arranged for baritone and orchestra (1905)
In setting the four hymns to music, Vaughan Williams chose poems by Jeremy Taylor, Isaac Watts, Richard Crashaw, and Robert Bridges (a translation from the Greek). The cycle is sometimes called Four Hymns for Tenor and Strings and performed in an orchestrated version with a string orchestra replacing the piano part.
Sancta Civitas (The Holy City) is an oratorio by Ralph Vaughan Williams.Written between 1923 and 1925, it was his first major work since the Mass in G minor two years previously.
The inscription was omitted from the published score in accordance with the composer's wish that the symphony should be regarded as absolute music. [31] The movement may be considered the spiritual core of the work: Frank Howes calls it "the heart of the symphony" [ 32 ] and David Cox calls it "a profound meditation on the three main musical ...
Vaughan Williams noted on his score that "My Bonny Boy" was taken from the book English County Songs [9] while the "Green Bushes" melody seems to have been adapted from two versions collected by Cecil Sharp, one in the Dorian and one in the Mixolydian mode, the modal ambiguity being reflected in the composer's harmonization. [4]
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