This article contains weasel words: vague phrasing that often accompanies biased or unverifiable information. Such statements should be clarified or removed. (May 2010)

Lowland-Highland divide

The Lowlands (Scots: the Lallans or the Lawlands; Scottish Gaelic: a' Ghalldachd, "the place of the foreigner") are an historic region of Scotland.

The Lowlands is not an official geographical or administrative area of the country. However, in normal usage it refers to those parts of Scotland not in the Highlands (or Gàidhealtachd). The boundary is usually considered to be a line between Stonehaven and Helensburgh (on the Firth of Clyde). The Lowlands lie south and east of the line. Note that some parts of the Lowlands (such as the Southern Uplands) are not physically 'low', and some areas indisputably in the Highlands (such as Islay) are low-lying.

In terms of Geology, the dividing line between Lowlands and Highlands is the Highland Boundary Fault. There was also a legally defined Highland Line in the post-Culloden years as part of measures aimed at suppressing Gaelic culture.

For other purposes, the boundary varies, but if the Boundary Fault is used, then the traditional Scottish counties entirely in the Lowlands are Ayrshire, Berwickshire, Clackmannanshire, Dumfriesshire, East Lothian,^[1] Fife, Kinross-shire, Kirkcudbrightshire, Lanarkshire, Mid-Lothian,^[2] Peeblesshire, Renfrewshire, Roxburghshire, Selkirkshire, West Lothian^[3] and Wigtownshire.

Traditional Scottish counties which straddle the Boundary fault include Angus, Dunbartonshire, Stirlingshire, Perthshire, Kincardineshire, Aberdeenshire, Banffshire and Moray.

Geographically, Scotland is divided into three distinct areas: the Highlands, the Central plain (Central Belt), and the Southern Uplands. The Lowlands cover roughly the latter two. The northeast plain is also "low-land", both geographically and culturally, but in some contexts may be grouped together with the Highlands.

The southernmost counties of Scotland, nearest the border with England, are also known as the Borders. They are sometimes considered separately to the rest of the Lowlands. Many descendants of the Scotch-Irish, as they are known in the United States, or Ulster-Scots, originated from the lowlands and borders region before migrating to the Ulster Plantation in the 17th century and later the American frontier, many prior to the American Revolution.

The term Scottish Lowlands is generally used mostly with reference to Lowland Scots, Scottish history and the Scottish clan system, as well as in family history and genealogy.

Notes[link]

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Look up scottish in Wiktionary, the free dictionary.

Scottish may refer to something of, from, or related to Scotland, a country in northern Europe, part of the United Kingdom since 1707.

Scottish may also refer to:

Languages[link]

• Scottish English, the varieties of English spoken in Scotland
• Scottish Gaelic, a Celtic language native to Scotland
• Scots language, a language variety spoken in Lowland Scotland and parts of Ulster

People[link]

• Scottish people
• List of famous Scottish people

Culture[link]

• Scottish American
• Scottish national identity

Other uses[link]

• Scottish cuisine
• Schottische, a dance
• Scottish (card game), a Shedding-type card game, also known as shirts and boots
• Scottish Crofting Foundation
• Scottish Reformation, 1560
• "Scottish" Symphony, Mendelssohn's third symphony
• Scottish Television, currently known as STV, the ITV licensee for Central and Northern Scotland
• Scottish Terrier dog breed

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Ralph Vaughan Williams OM ( /ˌreɪf ˌvɔːn ˈwɪliəmz/;^[1] 12 October 1872 – 26 August 1958) was an English composer of symphonies, chamber music, opera, choral music, and film scores. He was also a collector of English folk music and song: this activity both influenced his editorial approach to the English Hymnal, beginning in 1904, in which he included many folk song arrangements set as hymn tunes, and also influenced several of his own original compositions.

Life[link]

Early years[link]

Ralph Vaughan Williams was born on 12 October 1872 in Down Ampney, Gloucestershire, where his father, the Reverend Arthur Vaughan Williams (the surname Vaughan Williams is an unhyphenated double-barrelled name of Welsh origin), was vicar. Following his father's death in 1875 he was taken by his mother, Margaret Susan née Wedgwood (1843–1937), the great-granddaughter of the potter Josiah Wedgwood, to live with her family at Leith Hill Place, a Wedgwood family home in the Surrey Hills. He was also related to the Darwins, Charles Darwin being a great-uncle. Though born into the privileged intellectual upper middle class, Vaughan Williams never took it for granted and worked all his life for the democratic and egalitarian ideals in which he believed.^[2]

The Darwin-Wedgwood-Galton family tree, showing Vaughan Williams's relationships to Charles Darwin and Josiah Wedgwood

As a student he had studied piano, "which I never could play, and the violin, which was my musical salvation." After Charterhouse School he attended the Royal College of Music (RCM) under Charles Villiers Stanford. He read history and music at Trinity College, Cambridge,^[3] where his friends and contemporaries included the philosophers G. E. Moore and Bertrand Russell. He then returned to the RCM and studied composition with Hubert Parry, who became a friend. One of his fellow pupils at the RCM was Leopold Stokowski and during 1896 they both studied organ under Sir Walter Parratt. Stokowski later went on to perform six of Vaughan Williams's symphonies for American audiences, making the first recording of the Sixth Symphony in 1949 with the New York Philharmonic, and giving the U.S. premiere of the Ninth Symphony in Carnegie Hall in 1958.

Another friendship made at the RCM, crucial to Vaughan Williams's development as a composer, was with fellow-student Gustav Holst whom he first met in 1895. From that time onwards they spent several 'field days' reading through and offering constructive criticism on each other's works in progress.^[4]

Vaughan Williams's composition developed slowly and it was not until he was 30 that the song "Linden Lea" became his first publication. He mixed composition with conducting, lecturing and editing other music, notably that of Henry Purcell and the English Hymnal. He had already taken lessons with Max Bruch in Berlin in 1897 and in 1907–1908 took a big step forward in his orchestral style when he studied for three months in Paris with Maurice Ravel.^[1]

In 1904, Vaughan Williams discovered English folk songs and carols, which were fast becoming extinct owing to the oral tradition through which they existed being undermined by the increase of literacy and printed music in rural areas. He travelled the countryside, transcribing and preserving many himself. Later he incorporated some songs and melodies into his own music, being fascinated by the beauty of the music and its anonymous history in the working lives of ordinary people. His efforts did much to raise appreciation of traditional English folk song and melody. Later in his life he served as president of the English Folk Dance and Song Society (EFDSS), which, in recognition of his early and important work in this field, named its Vaughan Williams Memorial Library after him. During this time he strengthened his links to prominent writers on folk music, including the Reverend George B. Chambers.

In 1905, Vaughan Williams conducted the first concert of the newly founded Leith Hill Music Festival at Dorking which he was to conduct until 1953, when he passed the baton to his successor, William Cole.^[5]

	Fantasia on a Theme by Thomas Tallis noicon Performed by the U.S. Army Band Strings.
Problems listening to this file? See media help.

In 1909, he composed incidental music for the Cambridge Greek Play, a stage production at Cambridge University of Aristophanes' The Wasps. The next year, he had his first big public successes conducting the premieres of the Fantasia on a Theme by Thomas Tallis (at the Three Choirs Festival in Gloucester Cathedral) and his choral symphony A Sea Symphony (Symphony No. 1). He enjoyed a still greater success with A London Symphony (Symphony No. 2) in 1914, conducted by Geoffrey Toye.

Two World Wars[link]

A statue of Ralph Vaughan Williams in Dorking.

Vaughan Williams was 41 when World War I began. Though he could have avoided war service entirely, or tried for a commission, he chose to enlist as a private in the Royal Army Medical Corps. After a gruelling time as a stretcher bearer in France and Salonika,^[6] he was commissioned as a Second Lieutenant in the Royal Garrison Artillery on 24 December 1917.^[7] On one occasion, though too ill to stand, he continued to direct his battery while lying on the ground.^[8] Prolonged exposure to gunfire began a process of hearing loss which eventually caused severe deafness in old age.^[2] In 1918, he was appointed Director of Music, First Army, and this helped him adjust back into musical life.

After the war, he adopted for a while a somewhat mystical style in Flos Campi, a work for solo viola, small orchestra and wordless chorus, and in A Pastoral Symphony (Symphony No. 3), which draws on his experiences as an ambulance volunteer in that war, including a cadenza for trumpet in the second movement based on a bugler practicing and repeatedly hitting a wrong note, a flattened seventh, which Vaughan Williams alludes to in the symphony. The work was premiered on 26 January, 1922, in London, with Adrian Boult conducting. From 1924 a new phase in his music began, characterised by lively cross-rhythms and clashing harmonies. Key works from this period are Toccata marziale, the ballet Old King Cole, the Piano Concerto, the oratorio Sancta Civitas (his favourite of his choral works) and the ballet Job: A Masque for Dancing, which is drawn not from the Bible but from William Blake's Illustrations of the Book of Job. He also composed a Te Deum in G for the enthronement of Cosmo Gordon Lang as Archbishop of Canterbury. This period in his music culminated in the Symphony No. 4 in F minor, first played by the BBC Symphony Orchestra in 1935. This symphony contrasts dramatically with the "pastoral" orchestral works with which he is associated; indeed, its almost unrelieved tension, drama, and dissonance have startled listeners since it was premiered. Acknowledging that the Fourth Symphony was different, the composer said, "I don't know if I like it, but it's what I meant." Two years later, Vaughan Williams made a historic recording of the work with the same orchestra for HMV (His Master's Voice), his only commercial recording. During this period, he lectured in America and England, and conducted The Bach Choir. He was President of the City of Bath Bach Choir between 1946 and 1959. He was appointed to the Order of Merit in the King's Birthday Honours of 1935,^[9] having previously declined a knighthood.^[2] He also gave private lessons in London to students including Irish composer Ina Boyle.^[10]

Vaughan Williams was an intimate life long friend of the famous British pianist Harriet Cohen. His letters to her reveal a flirtatious relationship, regularly reminding her of the thousands of kisses that she owed him. Before Cohen's first American tour in 1931 he wrote "I fear the Americans will love you so much that they won't let you come back."^[11] He was a regular visitor to her home and often attended parties there. Cohen premiered Vaughan Williams's "Hymn Tune Prelude" in 1930, which he dedicated to her. She later introduced the piece throughout Europe during her concert tours. In 1933 she premiered his Piano Concerto in C major, a work which was once again dedicated to her. Cohen was given the exclusive right to play the piece for a period of time. Cohen played and promoted Vaughan Williams's work throughout Europe, the USSR, and the United States.

His music now entered a mature lyrical phase, as in the Five Tudor Portraits; the Serenade to Music (a setting of a scene from act five of The Merchant of Venice, for orchestra and sixteen vocal soloists and composed as a tribute to the conductor Sir Henry Wood); and the Symphony No. 5 in D, which he conducted at the Proms in 1943. As he was now 70, many people considered it a swan song, but he renewed himself again and entered yet another period of exploratory harmony and instrumentation. His very successful Symphony No. 6 of 1946 received a hundred performances in the first year. It surprised both admirers and critics, many of whom suggested that this symphony (especially its last movement) was a grim vision of the aftermath of an atomic war: typically, Vaughan Williams himself refused to recognise any programme behind this work.

Later work[link]

Vaughan Williams plaque in Dorking parish church. He founded the Leith Hill Music Festival in 1905, with which he kept a lifelong involvement

Before his death in 1958, he completed three more symphonies. His Seventh, Sinfonia Antartica, which was based on his 1948 film score for Scott of the Antarctic, exhibits his renewed interest in instrumentation and sonority. The Eighth Symphony, first performed in 1956, was followed by the much weightier Symphony No. 9 in E minor of 1956–57. This last symphony was initially given a lukewarm reception after its first performance in May 1958, just three months before his death. But this dark and enigmatic work is now considered by many^[12] to be a fitting conclusion to his sequence of symphonic works.

He also completed a range of instrumental and choral works, including a Tuba Concerto, An Oxford Elegy on texts of Matthew Arnold, and the Christmas cantata Hodie. He also wrote an arrangement of The Old One Hundredth Psalm Tune for the Coronation Service of Queen Elizabeth II. At his death he left an unfinished Cello Concerto, an opera Thomas the Rhymer and music for a Christmas play, The First Nowell, which was completed by his amanuensis Roy Douglas (b. 1907).

Despite his substantial involvement in church music, and the religious subject-matter of many of his works, he was described by his second wife as "an atheist ... [who] later drifted into a cheerful agnosticism."^[13] It is noteworthy that in his opera The Pilgrim's Progress he changed the name of the hero from John Bunyan's Christian to Pilgrim. He also set Bunyan's hymn Who would true valour see to music using the traditional Sussex melody "Monk's Gate". For many church-goers, his most familiar composition may be the hymn tune Sine nomine written for the hymn "For All the Saints" by William Walsham How. The tune he composed for the mediaeval hymn "Come Down, O Love Divine" (Discendi, Amor santo by Bianco of Siena, ca.1434) is entitled "Down Ampney" in honour of his birthplace.

He also worked as a tutor for Birkbeck College.^[14]

In the 1950s, the composer supervised recordings of all but his Ninth Symphony by Sir Adrian Boult and the London Philharmonic Orchestra for Decca.^[15] At the end of the sessions for the mysterious Sixth Symphony, Vaughan Williams gave a short speech, thanking Boult and the orchestra for their performance, "most heartily," and Decca later included this on the LP.^[16] He was to supervise the first recording of the Ninth Symphony (for Everest Records) with Boult; his death on 26 August 1958 the night before the recording sessions were to begin provoked Boult to announce to the musicians that their performance would be a memorial to the composer.^[17] These recordings, including the speeches by the composer and Boult, have all been reissued by Decca on CD.

Vaughan Williams is a central figure in British music because of his long career as teacher, lecturer and friend to so many younger composers and conductors. His writings on music remain thought-provoking, particularly his oft-repeated call for all persons to make their own music, however simple, as long as it is truly their own. Vaughan Williams was laid to rest in Westminster Abbey.

Marriages[link]

He was married twice. His first marriage was to Adeline Fisher (daughter of the historian Herbert William Fisher) in 1896. Adeline was cousin of Ruth Fisher de Ropp,^[18] who was the mother of Robert S de Ropp. Robert's father, a semi-destitute European nobleman, was unable to pay for his son's post-secondary education. Consequently, Ralph and Adeline Vaughan Williams paid for Robert’s education at the Royal College of Science, in South Kensington, where he eventually specialised in biology and earned a PhD. De Ropp went on to be a successful research scientist and well-known author of books on human potentials.^[19] Adeline Fisher Vaughan Williams died in 1951 after many years of suffering from crippling arthritis.

Vaughan Williams had an affair with the married poet Ursula Wood beginning in 1938. After Wood's husband died in 1942, Wood became Ralph's literary advisor and personal assistant and moved into his Surrey home, apparently with the tacit approval of Adeline, for whom Wood served as a caretaker until Adeline's death in 1951.^[20] Wood wrote the libretto to his choral work The Sons of Light, and contributed to that of The Pilgrim's Progress and Hodie.^[21] Wood and Vaughan Williams married in 1953 and moved to London and occupied a house at 10 Hanover Terrace, Regents Park until the composer's death five years later. In 1964 Wood published RVW: A Biography of Ralph Vaughan Williams. She served as honorary president of the Ralph Vaughan Williams Society until her death in 2007.

Style[link]

Vaughan Williams's music has often been said to be characteristically English, in the same way as that of Gustav Holst, Frederick Delius, George Butterworth and William Walton.^[22] In Albion: The Origins of the English Imagination, Peter Ackroyd writes, "If that Englishness in music can be encapsulated in words at all, those words would probably be: ostensibly familiar and commonplace, yet deep and mystical as well as lyrical, melodic, melancholic, and nostalgic yet timeless." Ackroyd quotes music critic John Alexander Fuller Maitland, whose distinctions included editing the second edition of the Grove Dictionary of Music and Musicians in the years just before 1911, as having observed that in Vaughan Williams's style "one is never quite sure whether one is listening to something very old or very new."

His style expresses a deep regard for and fascination with folk tunes, the variations upon which can convey the listener from the down-to-earth (which he always tried to remain in his daily life) to the ethereal. Simultaneously the music shows patriotism toward England in the subtlest form, engendered by a feeling for ancient landscapes and a person's small yet not entirely insignificant place within them.^[2] His earlier works sometimes show the influence of Maurice Ravel, his teacher for three months in Paris in 1908. Ravel described Vaughan Williams as the only one of his pupils who did not write music like Ravel.^[22]

[edit] Works^[23]

Operas[link]

• Hugh the Drover or Love in the Stocks (1910–20). Romantic ballad opera. Libretto: Harold Child
• Sir John in Love (1924–28), from which comes an arrangement by Ralph Greaves of Fantasia on "Greensleeves"
• The Poisoned Kiss (1927–29; revisions 1936–37 and 1956–57). Libretto: Evelyn Sharp (later amended by Ralph and Ursula Vaughan Williams)
• Riders to the Sea (1925–32), from the play by John Millington Synge
• The Pilgrim's Progress (1909–51), based on John Bunyan's allegory

• The Shepherds of the Delectable Mountains (1921). Libretto: Ralph Vaughan Williams (from John Bunyan) (Later incorporated, save for the final section, into The Pilgrim's Progress)

Incidental music[link]

• The Wasps (1909; to Aristophanes's play The Wasps; best known as an orchestral suite)
• The Bacchae (1911; to Euripides's tragedy)
• The Death of Tintagiles (1913; to Maurice Maeterlinck's 1894 play)^[24]

Ballets[link]

• Old King Cole (1923)
• On Christmas Night (1926)
• Job: A Masque for Dancing (1930)
• The Running Set (1933)
• The Bridal Day (1938–39)

Orchestral[link]

• Symphonies
  • A Sea Symphony (Symphony No. 1), a choral symphony on texts by Whitman (1903–1909)
  • A London Symphony (Symphony No. 2) (1913)
  • A Pastoral Symphony (Symphony No. 3) (1921)
  • Symphony No. 4 in F minor (1931–34)
  • Symphony No. 5 in D major (1938–43)
  • Symphony No. 6 in E minor (1944–47, rev. 1950)
  • Sinfonia antartica (Symphony No. 7) (1949–52) (partly based on his music for the film Scott of the Antarctic)
  • Symphony No. 8 in D minor (1953–55)
  • Symphony No. 9 in E minor (1956–57)
• Heroic Elegy and Triumphal Epilogue (1900)
• In the Fen Country, for orchestra (1904)
• Norfolk Rhapsody No. 1 (1906, rev. 1914))^[25]
• The Wasps, an Aristophanic suite (1909; see Incidental music above)
• Fantasia on a Theme by Thomas Tallis (1910, rev. 1913 and 1919)
• March: Sea Songs (1923), arr. for orchestra 1924 by the composer
• Prelude and Fugue in C minor (1930)
• The Running Set (1933)
• Fantasia on "Greensleeves" (1934)^[26]
• Two Hymn Tune Preludes (1936)
• Partita for Strings (1938)
• Five Variants of Dives and Lazarus (1939)
• Household Music (1940)
• Concerto Grosso, for three parts of strings requiring different levels of technical skill (1950)
• Prelude on an Old Carol Tune (1952)
• Flourish for Glorious John (1957)

Concerti[link]

• Violin
  • The Lark Ascending for violin and orchestra (1914)
  • Concerto Accademico for violin and orchestra (1924–25)
• Viola
  • Flos Campi for viola, wordless chorus and small orchestra (1925)
  • Suite for Viola and Small Orchestra (1934)
  • Romance for viola and piano (1925–1934 circa)
• Piano
  • Piano Concerto in C major (1926–31)
  • Concerto for Two Pianos and Orchestra (1946; a reworking of Piano Concerto in C)
• Oboe Concerto in A minor, for oboe and strings (1944)
• Fantasia (quasi variazione) on the Old 104th Psalm Tune for piano, chorus, and orchestra (1949)
• Romance in D-flat major for harmonica and orchestra (1951) (written for Larry Adler)
• Tuba Concerto in F minor (1954)

Choral[link]

• The Garden of Proserpine, cantata for soprano, chorus & orchestra, setting of Algernon Charles Swinburne (1899)^[27]
• A Cambridge Mass, Missa brevis for SATB, double chorus & orchestra (1899); Doctoral exercise, first performed 3 March 2011.^{[28][29][30][31]}
• Toward the Unknown Region, song for chorus and orchestra, setting of Walt Whitman (1906)
• 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)
• Mass in G minor for unaccompanied choir (1922)
• Sancta Civitas (The Holy City) oratorio, text mainly from the Book of Revelation (1923–25)
• Te Deum in G major (1928)
• Benedicite for soprano, chorus, and orchestra (1929)
• In Windsor Forest, adapted from the opera Sir John in Love (1929)
• Three Choral Hymns (1929)
• Magnificat for contralto, women's chorus, and orchestra (1932)
• Five Tudor Portraits for contralto, baritone, chorus, and orchestra (1935)
• Dona nobis pacem, text by Walt Whitman and other sources (1936)
• Festival Te Deum for chorus and orchestra or organ (1937)
• Serenade to Music for sixteen solo voices and orchestra, a setting of Shakespeare, dedicated to Sir Henry Joseph Wood on the occasion of his Jubilee (1938)
• "Six Choral Songs To Be Sung In Time Of War" (1940)
• A Song of Thanksgiving (originally Thanksgiving for Victory) for narrator, soprano solo, children's chorus, mixed chorus, and orchestra (1944)
• An Oxford Elegy for narrator, mixed chorus and small orchestra (1949)
• Three Shakespeare Songs for SATB unaccompanied, composed for The British Federation of Music Festivals National Competitive Festival (1951)
• O Taste and See, a motet setting of Psalm 34:8. The original SATB version was composed for the Coronation of HM Queen Elizabeth II at Westminster Abbey in June 1953. (1953)
• Hodie, a Christmas cantata (1954)
• Folk songs of the Four Seasons A Cantata for Women's Voices with Orchestra or pianoforte accompaniment (1950).
• Epithalamion for baritone solo, chorus, flute, piano, and strings (1957)
• A Choral Flourish for unaccompanied SATB chorus, composed for a large choral event in the Royal Albert Hall at the invitation of (and dedicated to) Alan Kirby (c. 1952)
• O How Amiable (1934) An arrangement of a hymn for chorus and organ, originally written for the Abinger Pageant

Arrangements of Christian hymns[link]

Vaughan Williams was the musical editor^[32] of the English Hymnal of 1906, and the co-editor with Martin Shaw of Songs of Praise of 1925 and the Oxford Book of Carols of 1928, all in collaboration with Percy Dearmer.

• A Hymn of Glory Let Us Sing^[33]
• All Creatures of Our God and King^[33]
• Alleluia, Sing to Jesus^[33]
• Amid the Thronging Worshippers^[33]
• At the Name of Jesus^[33]
• "Come Down, O Love Divine"^[33] original hymnody by Bianco of Siena (1434)"Discendi, Amor santo"and entitled "Down Ampney" in honour of Vaughan Williams's birthplace
• Come, Let Us with Our Lord Arise^[33] an Easter anthem
• Come Thou Long Expected Jesus^[33] a carol for the season of Advent
• For All the Saints harmonised from "Sine Nomine"
• God Be With You Till We Meet Again^[33]
• I Love You Lord, My Strength, My Rock^[33]
• I Sing the Mighty Power of God^[33]
• Jesus, Lord, Redeemer^[33]
• "Let All Mortal Flesh Keep Silence", text of the Cherubic hymn of Liturgy of St James, harmonised to the French folk tune Picardy (1906)
• Make Room Within My Heart, O God^[33]
• My God, My God, O Why Have You Forsaken Me? a lament for Good Friday services during Passiontide
• O Come to Me, the Master Said^[33]
• "O Little Town of Bethlehem" a popular Christmas Carol penned by the American Phillips Brooks adapted to the English tune "Forest Green"
• O Sing a Song of Bethlehem^[33]
• On Christmas Night All Christians Sing^[33]
• When the Church of Jesus^[33]

Vocal[link]

• "Linden Lea", song (1901)
• The House of Life, six sonnets by Dante Gabriel Rossetti, set to music (1904)
• Songs of Travel (1904)
• "The Sky Above The Roof" (1908)
• On Wenlock Edge, song cycle for tenor, piano and string quartet (1909)
• Along the Field, for tenor and violin
• Three Poems by Walt Whitman for baritone and piano (1920)
• Four Poems by Fredegond Shove: for baritone and piano (1922)
• Four Hymns: for tenor, viola obbligato and piano (1914)
• Merciless Beauty for tenor, two violins, and cello
• Four Last Songs to poems of Ursula Vaughan Williams
• Ten Blake songs, song cycle for high voice and oboe (1957)

Chamber and Instrumental[link]

• String Quartet in C minor (1897) (early composition)
• String Quartet No. 1 in G minor (1908)
• String Quartet No. 2 in A minor ("For Jean, on her birthday," 1942–44)
• Phantasy Quintet for 2 violins, 2 violas and cello (1912)
• Piano Quintet in C minor for violin, viola, cello, double bass and piano (1903)
• Sonata in A minor for violin and piano (1952)
• Romance for viola and piano (undated)
• Six Studies in English Folk Song, for violoncello and piano (1926)

Organ[link]

• Three Preludes on Welsh Hymn Tunes (Bryn Calfaria, Rhosymedre, Hyfrydol) (1920)
• Prelude and Fugue in C minor (1921)
• A Wedding Tune for Ann (1943)
• The Old One Hundredth Psalm Tune, harmonisation and arrangement (1953)
• Two Organ Preludes (The White Rock, St. David's Day) (1956)

Film, radio, and TV scores[link]

• 49th Parallel, 1940, his first, talked into it by Muir Mathieson to assuage his guilt at being able to do nothing for the war effort
• Coastal Command, 1942
• BBC adaptation of The Pilgrim's Progress, 1942
• The People's Land, 1943
• The Story of a Flemish Farm, 1943
• Stricken Peninsula, 1945
• The Loves of Joanna Godden, 1946
• Scott of the Antarctic, 1948, partially reused for his Sinfonia antartica (Symphony No. 7)
• The England of Elizabeth
• Bitter Springs, 1950

Band[link]

• Rhosymedre (based on a Welsh hymn tune for organ) for concert band (1920)
• (English) Folk Song Suite for military band (1923)
• Sea Songs (1923)
• Toccata Marziale for military band (1924)
• Overture: Henry V for brass band (1933/34)
• Flourish for Wind Band (1939)
• Prelude on Three Welsh Hymn Tunes arranged from the organ piece for brass band (1955) and published by Salvationist Publishing and Supplies
• Variations for brass band (1957)

Recordings[link]

Vaughan Williams enjoys an extensive recorded legacy. Early recordings of individual symphonies made by Henry Wood (London), John Barbirolli (Fifth), Adrian Boult and Leopold Stokowski (both in the Sixth), and the composer's own recording of the Fourth, preceded several complete cycles. Stokowski's 1943 NBC Symphony broadcast of the Fourth Symphony has also been issued on CD, as has his 1964 Proms performance of the 8th with the BBC Symphony Orchestra. Sir Eugene Goossens recorded the 1920 edition of A London Symphony with the Cincinnati Orchestra for RCA Victor in 1941, the only recording of that version of the score ever made. Boult taped the first cycle (Symphonies 1–8) for Decca in the early 1950s, completing it with No. 9 for the Everest label in 1958; he re-recorded all nine for EMI between 1967 and 1972. Other cycles have followed from André Previn, Bernard Haitink, Bryden Thomson, Vernon Handley, Leonard Slatkin and Richard Hickox.

Several other foreign conductors have also recorded individual Vaughan Williams symphonies: Dimitri Mitropoulos and Leonard Bernstein both recorded the Fourth Symphony with the New York Philharmonic, the same orchestra with which Leopold Stokowski had made the first recording of the Sixth Symphony in 1949. This work was also recorded by Maurice Abravanel and the Utah Symphony in 1966. Paavo Berglund also recorded the Fourth and Sixth Symphonies and, among other CD releases, the Portuguese premiere of the Ninth Symphony, with Pedro de Freitas Branco conducting the National Symphony Orchestra of Portugal, has also been issued. Similarly, the US premiere of the Ninth Symphony, given by Leopold Stokowski in Carnegie Hall in 1958 'In Memoriam Vaughan Williams' has also been released on CD by Cala Records.

A first official release of the Symphony No. 5 conducted by the composer in 1952 was recently issued in the U.K. by Somm Recordings.

David Willcocks recorded much of the choral output for EMI in the 1960s and 1970s. Award-winning performances of the string quartets have followed on Naxos, which along with the Hyperion and Chandos labels have recorded much neglected material, including works for brass band and the rarely performed operas.

EMI Classics has issued a budget 30-CD set (34+ hours) with virtually all of Vaughan Williams's works, including alternative settings.

See also[link]

• International Council for Traditional Music
• Music of Sussex

Notes[link]

References[link]

• Vaughan Williams on Music, Ralph Vaughan Williams & David Manning. New York: Oxford University Press, 2008, ISBN 978-0-19-518239-2
• Heirs & Rebels, Ralph Vaughan Williams & Gustav Holst; ed. Ursula Vaughan Williams & Imogen Holst. London, Oxford University Press, 1959.
• Vaughan Williams, Simon Heffer. Northeastern; First American edition (1 March 2001). ISBN 978-1-55553-472-1.

External links[link]

Wikimedia Commons has media related to: Ralph Vaughan Williams

Wikiquote has a collection of quotations related to: Ralph Vaughan Williams

• Free scores by Ralph Vaughan Williams in the Choral Public Domain Library (ChoralWiki)
• Free scores by Ralph Vaughan Williams at the International Music Score Library Project
• 1956 audio interview with Vaughan Williams on his editing of the English Hymnal (from the BBC)
• The Ralph Vaughan Williams Society
• Vaughan Williams Phantasy Quintet Soundbites and discussion of work
• Ralph Vaughan Williams at the Internet Movie Database
• Ralph Vaughan Williams at the British Film Institute's Screenonline
• Heffer, Simon (5 December 2007). "Ralph Vaughan Williams: Uneasy listening". The Daily Telegraph. UK. http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2007/12/05/bmwilliams105.xml. "A stunning new film about composer Ralph Vaughan Williams challenges the myths that obscure his legacy – and exposes the darkness that permeates his work."  (on the occasion of the 50th anniversary of the composer's death)
• Works by or about Ralph Vaughan Williams in libraries (WorldCat catalog)
• "Famous names in the First World War—Ralph Vaughan Williams" from The National Archives, includes extracts from his army service record, and his 1901 Census return.
• Archival material relating to Ralph Vaughan Williams listed at the UK National Register of Archives

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (May 2010)

Ian Cussick (born 17 June 1954) is a singer-songwriter from Dundee, Scotland. After leaving school at the age of fifteen, Cussick formed several local bands, with moderate success. In 1973, he answered an advertisement in Melody Maker for a "singer wanted", and flew to Germany to work with the popular showband Lake. He was the singer and bassist of Lake until 1974 and again in the year 2002.^[1] Two years later, he was a member of Linda and the Funky Boys, who scored a hit with the early disco song "Shame Shame Shame",^[2] which sold around six million singles.^[3]

Ian Cussick went on to record twelve solo albums, two EP's and four Live albums over a period of thirty years.

The most famous songs are "Meet Me By The Water", "Wonderlove", a homage to Stevie Wonder, and "The Supernatural". He also worked extensively on other productions, including "RAM Pietsch - Norwegian Wood" which featured the Munich Symphony Orchestra, and the vocalists Dan McCafferty, Mary Hopkin, and Maggie Reilly.

He is a prolific songwriter, and has written hits for other artists, including "Call Me Up" ("Talisman" in the Spanish version) for the female duo Baccara in 1987. "Call Me Up" reached the top 5 in the Spanish charts and the top 40 in Germany. At present, Ian Cussick is part owner in IceBerg Media & Records based in Austin, Texas, USA - from where he works exclusively.

Discography[link]

• 1978 Ian Cussick
• 1980 Right Through The Heart
• 1981 Hypertension
• 1983 Danger In The Air
• 1983 Best Cuts (LP - Sampler)
• 1985 The Great Escape
• 1986 Treasure Island
• 1988 Ram Pietsch feat. Ian Cussick & Maggie Reilly - Beatles Tribute Album (EP)
• 1989 Love Is The System
• 1990 The Voice From Scotland – Live
• 1991 Runaway Train
• 1991 Forever
• 1991 Best Cuts (CD - Sampler)
• 1992 A Bridge So Far
• 1993 Necromancer
• 1995 Live At The Fabrik Hamburg
• 2000 Rock Beim Bund (Live)
• 2004 29-12-03 Live In Hamburg
• 2004 Ian Cussick On DVD Live (DVD)
• 2008 Urban Midnight
• 2008 L.O.V.E. Spells Love (Sampler)
• 2008 Powerboat Racing (EP)

References[link]

External links[link]

• Page of Ian Cussick's Label Iceberg Media LLC

This article may contain original research. Please improve it by verifying the claims made and adding references. Statements consisting only of original research may be removed. More details may be available on the talk page. (September 2007)

Ulster Scots
(Ulstèr-Scotch)

John Ballance · Lord Cairns · Francis Hutcheson · Lord Craigavon  · Lord Kelvin · Ian Paisley · Samuel Ferguson · William Irvine ·
Total population
uncertain
Regions with significant populations
United States 3,570,427 [1]  Ulster  Canada  Australia  New Zealand  South Africa
Languages
English, Scots (especially the Ulster dialects), Irish
Religion
Presbyterianism
Related ethnic groups
Scottish · Irish · Welsh · English

The Ulster Scots (Ulster-Scots: tha Ulstèr-Scotch [fowk])^[2] are an ethnic group that has lived on the island of Ireland since the 17th Century, and are predominantly citizens of the United Kingdom. Their ancestors were Scots from the Scottish Lowlands and English people from counties close to Scotland, many being from the "Border Reivers" culture. These people migrated to the island of Ireland in large numbers with the Plantation of Ulster, a planned process of colonisation which took place under the auspices of James VI of Scotland and I of England on land often confiscated from the Irish nobility, most extensively in the Province of Ulster. The term "Ulster-Scots" refers to both these colonists of the 17th century and, less commonly, to the Gallowglass who began to arrive from what is now northwest Scotland centuries earlier.

Ulster-Scots were largely descended from colonists from Galloway, Ayrshire, and the Scottish Borders Country, although some descend from people further north in the Scottish Lowlands and the Highlands. Ulster-Scots emigrated in significant numbers to the United States and all corners of the then-worldwide British Empire — Canada, Australia, New Zealand, South Africa — and to a lesser extent to Argentina and Chile. Scotch-Irish is a traditional term for Ulster Scots who later emigrated to what is now the United States; "Scots-Irish" is a more recent form of the American term,^[3] and is not to be confused with Irish-Scots, i.e., recent Irish immigrants to Scotland.

History[link]

Early development[link]

Traditional provincial flag of Ulster.

Scottish Saltire.

Although population movement of Gaels to and from the northeast of Ireland and the west of Scotland had been on-going since pre-historic times, a class of warriors from the west of what is now Scotland fought in significant numbers as mercenaries for Irish kings from the mid-13th century to the end of the 16th century. These were known as gallowglass, from the Irish for "foreign gaels", referring to their mixed Norse and Gaelic heritage. Many settled in Ireland at the conclusion of their service. The next major influx of Scots was a concentrated migration of Lowland Scots to Ulster, mainly during the 17th and 18th centuries.

The first major influx of border English and Lowland Scots into Ulster came in the first two decades of the 17th century. Starting in 1609, Scots began arriving into state-sponsored settlements as part of the Plantation of Ulster. This scheme was intended to confiscate all the lands of the Gaelic Irish nobility in Ulster and to settle the province with Protestant English and Scottish colonists. Under this scheme, a substantial number of Scots were settled, mostly in the south and west of Ulster, on confiscated land.

At the same time, there was an independent Scottish settlement in the east of the province, which had not been affected by the terms of the plantation. In east Down and Antrim, Scottish migration was led by James Hamilton and Sir Hugh Montgomery, two Ayrshire lairds. This started in May 1606 and was followed in 1610.

During the Irish Rebellion of 1641, the native Irish gentry attempted to expel the English and Scottish settlers, resulting in severe violence, massacres and ultimately leading to the deaths of between four and six thousand settlers over the winter of 1641-42.^[4] Native Irish civilians were massacred in kind.^[5] By 1642 native Irish were de facto in control of much of the nation under a Confederate Ireland, with about a third under the control of the opposition.

The Ulster-Scottish population in Ireland was further augmented during the subsequent Irish Confederate Wars, when a Scottish Covenanter army was landed in the province to protect the Ulster-Scottish settlers from native Irish landowners. After the war was over, many of their soldiers settled permanently in eastern Ulster.^[6] The war itself, part of the Wars of the Three Kingdoms, ended in the 1650s, with the Cromwellian conquest of Ireland. At the head of the army, Oliver Cromwell re-conquered all of Ireland. Defeating the native Irish forces on behalf of the English Commonwealth, he and his forces employed methods and inflicted casualties among the civilian Irish population that were long commonly considered by historians and the popular culture to be outside of the accepted military ethics of the day (see more on the debate here). Under the Act of Settlement 1652, all Catholic-owned land was confiscated and the Plantations, which had been destroyed by the rebellion of 1641, were restored. However, due to the Scots' enmity to the English Parliament in the final stages of the English Civil War, English settlers rather than Scots were the main beneficiary of this scheme.

There was a generation of calm in Ireland until another war broke out in 1689, again due to political conflict closely aligned with ethnic and religious differences. The Williamite war in Ireland (1689–91) was fought between Jacobites who supported the restoration of the Catholic James II to the throne of England and Williamites who supported the Protestant William of Orange. The Protestant Ulster community, including the Scots, fought on the Williamite side in the war against Irish Catholics and their French allies. The fear of a repeat of the massacres of 1641, religious persecution under a Catholic monarch, as well as their wish to hold onto lands which had been confiscated from Catholic landowners, were all principal motivating factors.

The Williamite forces, composed of British, Dutch and Danish armies as well as troops raised in Ulster, ended Jacobite resistance by 1691, confirming the Protestant monopoly on power in Ireland. Their victories at Derry, the Boyne and Aughrim are still commemorated by the Orange Order into the 21st century.

Finally, another major influx of Scots into northern Ireland occurred in the late 1690s, when tens of thousands of people fled a famine in Scotland to come to Ulster.^[7]

It was only after the 1690s that Scottish settlers and their descendants, the majority of whom were Presbyterian, gained numeric superiority in Ulster. Along with Catholic Irish, they were legally disadvantaged by the Penal Laws, which gave full rights only to members of the state church (the Church of Ireland), who were mainly Anglo-Irish and converts or the descendants of English settlers. For this reason, up until the 19th century, there was considerable disharmony between Dissenters and the ruling Protestant Ascendancy in Ireland. With the enforcement of Queen Anne's 1703 Test Act, which caused further discrimination against all who did not participate in the established church, considerable numbers of Ulster-Scots migrated to the colonies in British America throughout the 18th century.

Towards the end of the 18th century many Ulster-Scots Presbyterians ignored religious differences and, along with many Catholic Irish, joined the United Irishmen to participate in the Irish Rebellion of 1798 in support of republican and egalitarian ideals.

1800 - Present[link]

This section requires expansion.

Scotch-Irish / Ulster Scots[link]

Andrew Jackson, seventh President of the United States, was the first of Scotch-Irish extraction.

Just a few generations after arriving in Ulster, considerable numbers of Ulster-Scots emigrated to the North American colonies of Great Britain. Between 1717 and 1775, an estimated 200,000 migrated to what became the United States of America.^[8] In the United States Census of 2000, 4.3 million Americans (1.5% of the population of the United States) claimed Scotch-Irish ancestry. The author Jim Webb suggests that the true number of people with some Scotch-Irish heritage in the United States is more in the region of 27 million, possibly because contemporary Americans with some Scotch-Irish heritage may regard themselves as either Irish or Scottish.^[9][10][11]

Culture[link]

Because of the large scale intermingling of the Ulster Scots population with the Irish, it is difficult to define distinct aspects of Ulster Scots that would distinguish it from either. An example of this being that the Ulster Scots Agency itself points to many of its cultural icons as being from either the Scottish lowlands or from Ireland.

Language[link]

Ulster Scots, the local dialect of Lowland Scots, which has, since the 1980s, also been called 'Ullans', a portmanteau neologism popularised by the physician, amateur historian and politician Dr Ian Adamson,^[12] merging Ulster and Lallans - the Scots for Lowlands^[13]- but also an acronym for "Ulster-Scots language in literature and native speech".^[14]

Music[link]

In music, there is believed to be^{[original research?][who?]} a distinguishable line between the cultures of the native Irish and the Ulster-Scots living in Ireland. In Ireland the traditional music is focused around the 19th century 'session' or until the 1990s, 'kitchen session'. This is a regular meeting, often weekly, and is marked by informal arrangement of both musicians and audience, although Irish traditional music is one of the most influential types of music known to the modern world, and can be heard in some of the Ulster Scots music. Protestant Scottish traditional music is sometimes similar to Irish and Scottish Gaelic-centred music, in that it is usually informal. A popular example of Protestant Ulster-Scots musical events is the marching bands. Here a formal and organised structure is more obvious. Although they play less frequently, these bands meet regularly in community halls to tune their instruments and to practice popular tunes and songs. The strong Scottish Unionist roots of the Ulster-Scots musical scene is evident through the continuing celebrations during the Marching Season, which has caused much controversy in Northern Ireland.^{[citation needed]}

Intermingling and intermarriage in Ulster[link]

A question that has been raised by many historians about the Ulster-Scots is the question of intermingling and more importantly, intermarriage between the native Irish and the incoming Scots. However others contest such claims.

Pádraig Ó Snodaigh, author of the book Hidden Ulster, Protestants and the Irish language, states that many of the settlers came from Gaelic speaking areas in Scotland and thus would have culturally meshed well with their new neighbours. Also he states that church records show that by 1716 close to ten percent of ministers in Ulster preached in Gaelic. He claims that such cultural and geographic affinity would have produced numerous conversions and also marriages.^[15] In addition James G. Leyburn, author of The Scotch-Irish: A social history, quotes James Reid, a historian of the Irish Presbyterian Church in 1853, that when the marriage ban was lifted in 1610 that it was a "great joy to all parties". However Professor Leyburn examines both sides of the intermixture debate in Chapter 10 "Intermarriage with the Irish" where after examination of both viewpoints, ends the chapter by giving his own view of the matter:

"If one must give his verdict, the weight of evidence seems to be on the side of little intermixture. The Scotch-Irish, as they came to be known in America, were overwhelmingly Scottish in ancestry and Presbyterian in faith. To the extent that occasional intermarriage occurred, the Irish partner seems almost invariably to have been absorbed into the Presbyterian element."^[16]

James Woodburn holds that the Scots and Irish "commonly intermarried".^[17] In 1923, The Handbook of the Ulster Question published by the Free State government, stated that English politicians were quite perturbed how the Scots were ready enough to intermarry with the Irish.^[18]

Hereditary disease[link]

The North American ancestry of the X-linked form of the genetic disease, congenital nephrogenic diabetes insipidus, has been traced to Ulster Scots who came to Nova Scotia in 1761 on the ship Hopewell.^[19]

See also[link]

References[link]

1. ^ 2009 American Community Survey
2. ^ Heid Faictor - Offis in Bilfawst The Ulster-Scots Agency/PriceWaterhouseCoopers. Retrieved 27 October 2011.
3. ^ The term has usually been Scotch-Irish in America, as evident in Merriam-Webster dictionaries, where the term Scotch-Irish is recorded from 1744. Scots-Irish was recorded in 1972. See http://www.merriam-webster.com/dictionary/scotch-irish, and http://www.merriam-webster.com/dictionary/scots-irish
4. ^ Patrick Macrory, The Siege of Derry, Oxford University Press, 1980, pp. 97-98.
5. ^ Jane Kenyon, Jane Ohlmeyer, The Civil Wars, A military History of England, Scotland and Ireland 1638-1660, p. 74.
6. ^ Nicholas Canny, Making Ireland British, p. 562.
7. ^ [1][2]
8. ^ Fischer, David Hackett, Albion's Seed: Four British Folkways in America Oxford University Press, USA (March 14, 1989), p. 606; Rouse, Parke Jr., The Great Wagon Road, Dietz Press, 2004, p. 32, and Leyburn, James G., The Scotch-Irish: A Social History, Univ of NC Press, 1962, p. 180.
9. ^ Why You Need To Know The Scotch-Irish.
10. ^ Born Fighting: How the Scots-Irish Shaped America.
11. ^ Scots-Irish By Alister McReynolds, writer and lecturer in Ulster-Scots studies.
12. ^ Falconer G. (2006) The Scots Tradition in Ulster, Scottish studies review, Vol. 7, Nº 2. p. 97.
13. ^ Hickey R. (2004) A Sound Atlas of Irish English. Walter de Gruyter. p. 156.
14. ^ Tymoczko M. & Ireland C.A. (2003) Language and Tradition in Ireland: Continuities and Displacements, Univ of Massachusetts Press. p. 159.
15. ^ Padraigh O'Snodaigh. Hidden Ulster, Protestants and the Irish language, Lagan Press, Belfast (1995).
16. ^ Leyburn, James G. The Scotch-Irish, A social history University of North Carolina Press, (1962).
17. ^ Woodburn, James Barkley. 1915. The Ulster-Scot: His history and Religion. H. R. Allenson.
18. ^ North Eastern Boundary Bureau. (1923), The Handbook to the Ulster Question, Irish Free State, OCLC 314548591 
19. ^ Bichet et al, X-linked nephrogenic diabetes insipidus mutations in North America and the Hopewell hypothesis, J Clin Invest. 1993 September; 92(3): 1262–1268. doi:10.1172/JCI116698 Unité de Recherche Clinique, Hôpital du Sacré-Coeur, Montréal, Québec, Canada.

External links[link]

• Ulster-Scots Agency
• The Ulster-Scots Society of America
• BBC Ulster-Scots — culture and language portal
• The Scot in Ulster: Sketch of the History of the Scottish Population in Ulster (by John Harrison, 1888)
• Inconvenient Peripheries Ethnic Identity and the United Kingdom Estate The cases of "Protestant Ulster" and 'Cornwall’ by Prof Philip Payton

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