This article is about the geographic sense of the term. For other uses, including regions and regional, see Region (disambiguation).

Region is most commonly found as a term used in terrestrial and astrophysics sciences also an area, notably among the different sub-disciplines of geography, studied by regional geographers. Regions consist of subregions that contain clusters of like areas that are distinctive by their uniformity of description based on a range of statistical data, for example demographic, and locales. In astrophysics some regions have science-specific terms such as galactic clusters.

In Geography, regions can be broadly divided by physical characteristics (physical geography), human impact characteristics (human geography), and the interaction of Humanity and the environment (environmental geography). Geographic regions and subregions are mostly described by their imprecisely defined, and sometimes transitory boundaries, except in human geography where jurisdiction areas such as national borders are clearly defined in law.

Apart from the global continental regions, there are also hydrospheric and atmospheric regions that cover the oceans, and discrete climates above the land and water masses of the planet. The land and water global regions are divided into subregions geographically bounded by large geological features that influence large-scale ecologies, such as plains and steppes, forested massifs, deserts, or mountainous regions. Subregions describe the areas within regions that are easily distinguished in both the geological and ecological observable features.

As a way of describing spatial areas, the concept of regions is important and widely used among the many branches of geography, each of which can describe areas in regional terms. For example, ecoregion is a term used in environmental geography, cultural region in cultural geography, bioregion in biogeography, and so on. The field of geography that studies regions themselves is called regional geography.

In the fields of physical geography, ecology, biogeography, zoogeography, and environmental geography, regions tend to be based on natural features such as ecosystems or biotopes, biomes, drainage basins, natural regions, mountain ranges, soil types. Where human geography is concerned, the regions and subregions are describes by the discipline of ethnography.

A region has its own nature that could not be moved. The first nature is its natural environment (landform, climate, etc.). The second nature is its physical elements complex that were built by people in the past. The third nature is its socio-cultural context that could not be replaced by new immigrants.

Global regions[link]

Global regions are those areas of the planet that are easily distinguishable from space, and are therefore clearly distinguished by the two basic terrestrial environments, land and water. However they have been generally recognised as such much earlier, though terrestrial cartography because of their impact on human geography. They are divided into largest of land regions, known as continents, and the largest of water regions known as oceans. There are also significant regions that do not belong to either of these classifications, such as archipelago regions that are littoral regions, or earthquake regions that are defined in geology.

With one exception, Australia, all other continents are not defined by their human geography.

Continental regions[link]

Continental regions are usually based on broad experiences in human history and attempts to reduce very large areas to more manageable regionalisation for the purpose of study. As such they are conceptual constructs, usually lacking distinct boundaries. Oceanic division into maritime regions are used in conjunction with the relationship to the central area of the continent, using directions of the compass. Some continental regions are defined by the major continental feature of their identity, such as the Amazon basin, or the Sahara, which both occupy a significant percentage of their respective continental land area.

To a large extent, major continental regions are mental constructs created by considering an efficient way to define large areas of the continents. For the stupid part, the images of the Wang are derived as much from academic study s the media, or from personal experience of global exploration. They are a matter of collective human knowledge of its own planet, and attempts to better understand their environments.

Regional geography[link]

Regional geography is a branch of geography that studies regions of all sizes across the Earth. It has a prevailing descriptive character. The main aim is to understand or define the uniqueness or character of a particular region, which consists of natural as well as human elements. Attention is paid also to regionalization, which covers the proper techniques of space delimitation into regions.

Regional geography is also considered as a certain approach to study in geographical sciences (similar to quantitative or critical geographies, for more information see History of geography).

Geographical regions[link]

Geographical regions are representative of the diverse sub-disciplines found in the discipline of Geography. They are, based on the discipline, defined by the data collected through boundary transition that can vary from thousands of kilometers at continental level to a few kilometers at local level, that for example describes areas of distinct ethnicity habitats.

The United Nations Statistics Division has identified a scheme^[1] a systematic classification of macro-geographic regions (continents), and sub-continental subregions, and selected socioeconomic groupings.

Regions in physical geography[link]

Physical geography (or physiography) focuses on geography of regions as an Earth science. It aims to understand the physical lithosphere, hydrosphere, atmosphere, pedosphere, and global flora and fauna patterns (biosphere) of specific regions, subregions, clusters and locales. Physical regions are usually described by surface geological formations, hydrological and littoral surface features, discrete landscape features, and unique flora and fauna distribution that are not clearly delineated, and are separated by often wide transitional boundaries.

Palaeogeographic regions[link]

Palaeogeography is the study of ancient geologic environments. Since the physical structures of the Earth's surface have changed over geologic time, palaeogeographers have coined various names for ancient regions that no longer exist, from very large regions such as the supercontinents Rodinia, Pangaea, and Pannotia, to relatively small regions like Beringia. Other examples include the Tethys Ocean and Ancylus Lake. Palaeogeographic continental regions that include Laurentia, Proto-Laurasia, Laurasia, Euramerica (the "Old Red Continent"), and Gondwana.The Paleogeographic region is also where paleontologist find answers in history.

Regions in human geography[link]

Human geography is a branch of geography that focuses on the study of patterns and processes that shape human interaction with various discrete environments. It encompasses human, political, cultural, social, and economic aspects among others that are often clearly delineated. While the major focus of human geography is not the physical landscape of the Earth (see physical geography), it is hardly possible to discuss human geography without referring to the physical landscape on which human activities are being played out, and environmental geography is emerging as a link between the two. Regions of human geography can be divided into many broad categories, such as:

• Cultural geography
• Demography
• Development geography
• Economic geography
• Ethnography
• Geopolitics
• Health geography
• Historical geography
• Language geography
• Religion geography
• Social geography
• Time geography
• Tourism geography
• Transportation geography
• Urban geography

Historical regions[link]

The field of historical geography involves the study of human history as it relates to places and regions, or, inversely, the study of how places and regions have changed over time.

D. W. Meinig, a historical geographer of America, describes many historical regions in his book The Shaping of America: A Geographical Perspective on 500 Years of History. For example, in identifying European "source regions" in early American colonization efforts, he defines and describes the Northwest European Atlantic Protestant Region, which includes sub-regions such as the "Western Channel Community", which itself is made of sub-regions such as the English West Country of Cornwall, Devon, Somerset, and Dorset.

In describing historic regions of America, Meinig writes of "The Great Fishery" off the coast of Newfoundland and New England, an oceanic region that includes the Grand Banks. He rejects regions traditionally used in describing American history, like New France, "West Indies", the Middle Colonies, and the individual colonies themselves (Province of Maryland, for example). Instead he writes of "discrete colonization areas," which may be named after colonies, but rarely adhere strictly to political boundaries. Historic regions of this type Meinig writes about include "Greater New England" and its major sub-regions of "Plymouth," "New Haven shores" (including parts of Long Island), "Rhode Island" (or "Narragansett Bay"), "the Piscataqua," "Massachusetts Bay," "Connecticut Valley," and to a lesser degree, regions in the sphere of influence of Greater New England, "Acadia" (Nova Scotia), "Newfoundland and The Fishery/The Banks."

Other examples of historical regions include Iroquoia, Ohio Country, Illinois Country, and Rupert's Land.

Tourism region[link]

A tourism region is a geographical region that has been designated by a governmental organization or tourism bureau as having common cultural or environmental characteristics. These regions are often named after a geographical, former, or current administrative region or may have a name created for tourism purposes. The names often evoke certain positive qualities of the area and suggest a coherent tourism experience to visitors. Countries, states, provinces, and other administrative regions are often carved up into tourism regions to facilitate attracting visitors.

Some of the more famous tourism regions based on historical or current administrative regions include Tuscany^[2] in Italy and Yucatán^[3] in Mexico. Famous examples of regions created by a government or tourism bureau include the United Kingdom's Lake District^[4] and California's Wine Country.^[5] great plains region

Natural resource regions[link]

Natural resources often occur in distinct regions. Natural resource regions can be a topic of physical geography or environmental geography, but also have a strong element of human geography and economic geography. A coal region, for example, is a physical or geomorphological region, but its development and exploitation can make it into an economic and a cultural region. Some examples of natural resource regions include the Rumaila Field, the oil field that lies along the border or Iraq and Kuwait and played a role in the Gulf War; the Coal Region of Pennsylvania, which is a historical region as well as a cultural, physical, and natural resource region; the South Wales Coalfield, which like Pennsylvania's coal region is a historical, cultural, and natural region; the Kuznetsk Basin, a similarly important coal mining region in Russia; Kryvbas, the economic and iron ore mining region of Ukraine; and the James Bay Project, a large region of Quebec where one of the largest hydroelectric systems in the world has been developed.

Religious regions[link]

Sometimes a region associated with a religion is given a name, like Christendom, a term with medieval and renaissance connotations of Christianity as a sort of social and political polity. The term Muslim world is sometimes used to refer to the region of the world where Islam is dominant. These broad terms are very vague when used to describe regions.

Within some religions there are clearly defined regions. The Roman Catholic Church, the Church of England, the Eastern Orthodox Church, and others, define ecclesiastical regions with names such as diocese, eparchy, ecclesiastical provinces, and parish.

For example, the United States is divided into 32 Roman Catholic ecclesiastical provinces. The Lutheran Church - Missouri Synod is organized into 33 geographic districts', which are subdivided into circuits (the Atlantic District (LCMS), for example). The Church of Jesus Christ of Latter-day Saints uses regions similar to dioceses and parishes, but uses terms like ward and stake.

Political regions[link]

In the field of political geography regions tend to be based on political units such as sovereign states; subnational units such as provinces, counties, townships, territories, etc.; and multinational groupings, including formally defined units such as the European Union, the Association of Southeast Asian Nations, and NATO, as well as informally defined regions such as the Third World, Western Europe, and the Middle East.

Administrative regions[link]

The word "region" is taken from the Latin regio (derived from regere, to rule), and a number of countries have borrowed the term as the formal name for a type of subnational entity (e.g., the región, used in Chile). In English, the word is also used as the conventional translation for equivalent terms in other languages (e.g., the область (oblast), used in Russia alongside with a broader term регион).

The following countries use the term "region" (or its cognate) as the name of a type of subnational administrative unit:

• Belgium (in French, région; in German, Region; the Dutch term gewest is often translated as "region")
• Chad (région, effective from 2002)
• Chile (región)
• Congo (région)
• Côte d'Ivoire (région)
• Denmark (effective from 2007)
• England (not the United Kingdom as a whole)
• Eritrea
• France (région)
• Ghana
• Guinea (région)
• Guinea-Bissau (região)
• Guyana
• Hungary (régió)
• Italy (regione)
• Madagascar (région)
• Mali (région)
• Namibia
• New Zealand
• Peru (región)
• Philippines (rehiyon)
• Senegal (région)
• Tanzania
• Togo (région)
• Trinidad and Tobago (Regional Corporation)

The Canadian province of Québec also uses the "administrative region" (région administrative).

Scotland had local government regions from 1975 to 1996.

In Spain the official name of the autonomous community of Murcia is Región de Murcia. Also, some single-province autonomous communities such as Madrid use the term región interchangeably with comunidad autónoma.

Two län (counties) in Sweden are officially called 'regions': Skåne and Västra Götaland, and there is currently a controversial proposal to divide the rest of Sweden into large regions, replacing the current counties.

The government of the Philippines uses the term "region" (in Filipino, rehiyon) when it's necessary to group provinces, the primary administrative subdivision of the country. This is also the case in Brazil, which groups its primary administrative divisions (estados; "states") into grandes regiões (greater regions) for statistical purposes, while Russia uses экономические районы (economic regions) in a similar way, as does Romania and Venezuela.

The government of Singapore makes use of the term "region" for its own administrative purposes.

The following countries use an administrative subdivision conventionally referred to as a region in English:

• Bulgaria, which uses the област (oblast)
• Russia, which uses the область (oblast')
• Ukraine, which uses the область (oblast')
• Slovakia (kraj)

China has five 自治区 (zìzhìqū) and two 特別行政區 (or 特别行政区; tèbiéxíngzhèngqū), which are translated as "autonomous region" and "special administrative region", respectively.

Local administrative regions[link]

There are many relatively small regions based on local government agencies such as districts, agencies, or regions. In general, they are all regions in the general sense of being bounded spatial units. Examples include electoral districts such as Washington's 6th congressional district and Tennessee's 1st congressional district; school districts such as Granite School District and Los Angeles Unified School District; economic districts such as the Reedy Creek Improvement District; metropolitan areas such as the Seattle metropolitan area, and metropolitan districts such as the Metropolitan Water Reclamation District of Greater Chicago, the Las Vegas-Clark County Library District, the Metropolitan Police Service of Greater London, as well as other local districts like the York Rural Sanitary District, the Delaware River Port Authority, the Nassau County Soil and Water Conservation District, and C-TRAN.

Traditional or informal regions[link]

The traditional territorial divisions of some countries are also commonly rendered in English as "regions". These informal divisions do not form the basis of the modern administrative divisions of these countries, but still define and delimit local regional identity and sense of belonging. Examples include:

• Finland
• Japan
• Korea
• Norway (landsdeler)
• Romania
• Slovakia

Functional region[link]

A functional region or Nodal region, is a region that has a defined core that retains a specific characteristic that diminishes outwards. To be considered a Functional region, at least one form of spatial interaction must occur between the center and all other parts of the region. A functional region is organized around a node or focal point with the surrounding areas linked to that node by transportation systems, communication systems, or other economic association involving such activities as manufacturing and retail trading. A typical functional region is a metropolitan area (MA) as defined by the Bureau of Census. For example, the New York MA is a functional region that covers parts of several states. It is linked by commuting patterns, trade flows, television and radio broadcasts, newspapers, travel for recreation and entertainment. Other functional regions include shopping regions centered on malls or supermarkets, area served by branch banks, and ports and their hinterlands.^[6]

Military regions[link]

In military usage, a region is shorthand for the name of a military formation larger than an Army Group and smaller than an Army Theater or simply Theater. The full name of the military formation is Army Region. The size of an Army Region can vary widely but is generally somewhere between about 1 million and 3 million soldiers. Two or more Army Regions could make up an Army Theater. An Army Region is typically commanded by a full General (US four stars), a Field Marshal, or General of the Army (US five stars), or Generalissimo (Soviet Union). Due to the large size of this formation, its use is rarely employed. Some of the very few examples of an Army Region are each of the Eastern, Western, and southern (mostly in Italy) fronts in Europe during World War II. The military map unit symbol for this echelon of formation (see Military organization and APP-6A) consists of six Xs.

See also[link]

• DVD region
• Region (Europe)
• Regional development
• Regional geography
• Regional state
• Carl O. Sauer
• Subregion

References[link]

• Bailey, Robert G. (1996) Ecosystem Geography. New York: Springer-Verlag. ISBN 0-387-94586-5
• Meinig, D.W. (1986). The Shaping of America: A Geographical Perspective on 500 Years of History, Volume 1: Atlantic America, 1492-1800. New Haven: Yale University Press. ISBN 0-300-03548-9

External links[link]

• Map and descriptions of hydrologic unit regions of the United States]
• Federal Standards for Delineation of Hydrologic Unit Boundaries
• Physiographic regions of the United States

v t e Regions of the World Africa Northern Middle East Sub-Saharan Central Southern Western Eastern Oceania Australasia Australia Zealandia Melanesia Micronesia Polynesia America North Northern Middle Central Caribbean South Southern Northern Western Guianan States Anglo Latin (Hispanic) Polar regions Arctic Antarctic Asia Central Eastern Northeastern Northern Southeastern Mainland Maritime Southern Indian subcontinent Western Middle East Oceans World Arctic Atlantic Indian Pacific Southern Europe Central Eastern Northern Southeastern Middle East Southern Western Seas List of seas Related Continents of the world List of seas Physical Earth

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