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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. While ...
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.
Five Mystical Songs for baritone, chorus, and orchestra, settings of George Herbert (1911) Fantasia on Christmas Carols for baritone, chorus, and orchestra (1912); arranged also for reduced orchestra of organ, strings, percussion) Five English Folk Songs freely arranged for Unaccompanied Chorus (1913) 1. The Dark Eyed Sailor; 2. The Spring Time ...
He collected his first song, Bushes and Briars, from Mr Charles Pottipher, a seventy-year-old labourer from Ingrave, Essex in 1903, and went on to collect over 800 songs, as well as some singing games and dance tunes. For 10 years he devoted up to 30 days a year to collecting folk songs from singers in 21 English counties, though Essex, Norfolk ...
On Wenlock Edge is a song cycle composed in 1909 by Ralph Vaughan Williams for tenor, piano and string quartet. [1] The cycle comprises settings of six poems from A. E. Housman's 1896 collection A Shropshire Lad. A typical performance lasts around 22 minutes. [2]
Songs of Travel is a song cycle of nine songs originally written for baritone voice composed by Ralph Vaughan Williams, with poems drawn from the Robert Louis Stevenson collection Songs of Travel and Other Verses. A complete performance of the entire cycle lasts between 20 and 24 minutes. They were originally written for voice and piano.
He wrote his solo Piano Concerto in the years between 1926 and 1930, which was first performed in 1933 under Adrian Boult. The piece gained a reputation for being too difficult and demanding, so Vaughan Williams reworked the piece for two pianos with the assistance of Joseph Cooper .
In jazz music, on the other hand, such chords are extremely common, and in this setting the mystic chord can be viewed simply as a C 13 ♯ 11 chord with the fifth omitted. In the score to the right is an example of a Duke Ellington composition that uses a different voicing of this chord at the end of the second bar, played on E (E 13 ♯ 11).
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