Podcasts about english composers

Ralph Vaughan Williams arrived on the scene just as a definite English classical music sound was being established. His three main teachers at the Royal Academy of Music were Arthur Sullivan, Hubert Parry, and Charles Stanford. Edward Elgar and Gustav Holst also had an influence on Vaughan Williams.

Both Gustav Holst and Ralph Vaughn Williams loved using folk music in their music. They were inspired by a "folk song revival" started by an English musician named Cecil Sharp collected thousands of folk tunes from around England in the early 1900's.

Ralph Vaughan Williams arrived on the scene just as a definite English classical music sound was being established. His three main teachers at the Royal Academy of Music were Arthur Sullivan, Hubert Parry, and Charles Stanford. Edward Elgar and Gustav Holst also had an influence on Vaughan Williams.

A close friend of Ralph Vaughan Williams, George Butterworth was a largely self-trained composer who was immersed in English folk music. His works grew directly out of his contact with the English countryside, as exemplified by "The Banks of Green Willow" with its evocation of pastoral life in all its idealized simplicity and tranquility; indeed, the composer characterized it as an "idyll." As was common in his music Butterworth bases this piece on several old English folk melodies, creating a series of brief fantasias on each of the themes before drawing to a peaceful conclusion. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35011]

A close friend of Ralph Vaughan Williams, George Butterworth was a largely self-trained composer who was immersed in English folk music. His works grew directly out of his contact with the English countryside, as exemplified by "The Banks of Green Willow" with its evocation of pastoral life in all its idealized simplicity and tranquility; indeed, the composer characterized it as an "idyll." As was common in his music Butterworth bases this piece on several old English folk melodies, creating a series of brief fantasias on each of the themes before drawing to a peaceful conclusion. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35011]

A close friend of Ralph Vaughan Williams, George Butterworth was a largely self-trained composer who was immersed in English folk music. His works grew directly out of his contact with the English countryside, as exemplified by "The Banks of Green Willow" with its evocation of pastoral life in all its idealized simplicity and tranquility; indeed, the composer characterized it as an "idyll." As was common in his music Butterworth bases this piece on several old English folk melodies, creating a series of brief fantasias on each of the themes before drawing to a peaceful conclusion. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35011]

A close friend of Ralph Vaughan Williams, George Butterworth was a largely self-trained composer who was immersed in English folk music. His works grew directly out of his contact with the English countryside, as exemplified by "The Banks of Green Willow" with its evocation of pastoral life in all its idealized simplicity and tranquility; indeed, the composer characterized it as an "idyll." As was common in his music Butterworth bases this piece on several old English folk melodies, creating a series of brief fantasias on each of the themes before drawing to a peaceful conclusion. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35011]

A close friend of Ralph Vaughan Williams, George Butterworth was a largely self-trained composer who was immersed in English folk music. His works grew directly out of his contact with the English countryside, as exemplified by "The Banks of Green Willow" with its evocation of pastoral life in all its idealized simplicity and tranquility; indeed, the composer characterized it as an "idyll." As was common in his music Butterworth bases this piece on several old English folk melodies, creating a series of brief fantasias on each of the themes before drawing to a peaceful conclusion. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35011]

A close friend of Ralph Vaughan Williams, George Butterworth was a largely self-trained composer who was immersed in English folk music. His works grew directly out of his contact with the English countryside, as exemplified by "The Banks of Green Willow" with its evocation of pastoral life in all its idealized simplicity and tranquility; indeed, the composer characterized it as an "idyll." As was common in his music Butterworth bases this piece on several old English folk melodies, creating a series of brief fantasias on each of the themes before drawing to a peaceful conclusion. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35011]

Commissioned in 1936 to compose a large-scale piece for a choral society's centenary celebration, Ralph Vaughan Williams instead wrote for them a cantata for soprano, baritone, chorus, and orchestra titled "Dona Nobis Pacem" – and it was anything but a celebration piece. Dona Nobis Pacem (“Give Us Peace”) was the composer’s protest against war and a cry for peace at a time of growing international tension. Three years later, Vaughan Williams' worst fears would be realized. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35010]

Commissioned in 1936 to compose a large-scale piece for a choral society's centenary celebration, Ralph Vaughan Williams instead wrote for them a cantata for soprano, baritone, chorus, and orchestra titled "Dona Nobis Pacem" – and it was anything but a celebration piece. Dona Nobis Pacem (“Give Us Peace”) was the composer’s protest against war and a cry for peace at a time of growing international tension. Three years later, Vaughan Williams' worst fears would be realized. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35010]

Commissioned in 1936 to compose a large-scale piece for a choral society's centenary celebration, Ralph Vaughan Williams instead wrote for them a cantata for soprano, baritone, chorus, and orchestra titled "Dona Nobis Pacem" – and it was anything but a celebration piece. Dona Nobis Pacem (“Give Us Peace”) was the composer’s protest against war and a cry for peace at a time of growing international tension. Three years later, Vaughan Williams' worst fears would be realized. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35010]

Commissioned in 1936 to compose a large-scale piece for a choral society's centenary celebration, Ralph Vaughan Williams instead wrote for them a cantata for soprano, baritone, chorus, and orchestra titled "Dona Nobis Pacem" – and it was anything but a celebration piece. Dona Nobis Pacem (“Give Us Peace”) was the composer’s protest against war and a cry for peace at a time of growing international tension. Three years later, Vaughan Williams' worst fears would be realized. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 35010]