wimpel69
01-02-2017, 12:56 PM
All three Chandos "Film Music of Ralph Vaughan Williams" albums have
appeared on ffshrine before, but the old links are gone, as far as I can tell from our crappy search engine - one or two
may even be here still. To which I added the Andrew Penny album on Naxos/Marco Polo and the Pearl
album that includes Symphony No.6 (first recording) and the original soundtracks of some film scores.
Also included is the Silva Screen album of scores by Vaughan Williams, Bliss, Easdale and Schurmann!
These are all my own rips, including artwork & booklets*. So if you missed one, or all of them, request the links
in this thread. No PM's, please! Also, please do not share any further.
Music Composed by
Ralph Vaughan Williams
Sir Arthur Bliss
Gerard Schurmann
Brian Easdale
Played by the
BBC Philharmonic Orchestra
RT� National Symphony Orchestra of Ireland
London Symphony Orchestra
The Philharmonia Orchestra
BBC Northern Symphony Orchestra
Conducted by
Rumon Gamba
Andrew Penny
Sir Adrian Boult
Muir Mathieson
Ernest Irving
Kenneth Alwyn
"Ralph Vaughan Williams’s life is too well known to require other than the briefest of summaries, and is best told by
the succession of his greatest works including nine symphonies first performed over a span of almost fifty years.
Yet he wrote in all forms, and the pinnacles of his music encompass a varied repertoire: Songs of Travel (1904);
On Wenlock Edge for tenor and piano quintet (1909); A Sea Symphony (1909); Fantasia on a Theme of Thomas
Tallis (1910); A London Symphony (1913); the opera Hugh the Drover (1924); Job, the ballet—or rather “Masque
for Dancing” as Vaughan Williams called it; the Fourth Symphony (1934); the cantata Dona Nobis Pacem (1936);
the Fifth (1943) and Sixth (1947) Symphonies; the opera (Vaughan Williams said morality) The Pilgrim’s Progress (1951)
and so on until the Ninth Symphony first heard in the year of his death.
Perhaps we have tended to have rather a homespun view of Vaughan Williams, and one gets the feeling that he was
not unhappy with this image. In fact he was a highly educated, musically widely experienced, and remarkably
sophisticated artist, a member of the Wedgewood family on his mother’s side and also related to Charles Darwin.
A history graduate of Cambridge University, and pupil of Sir Charles Villiers Stanford at the Royal College of Music,
he studied widely not only with English teachers such as Sir Hubert Parry, Charles Wood and Alan Gray, but on the
continent with Max Bruch and Ravel (as he put it to “acquire a little French polish”). Folk-song collector, editor of the
English Hymnal and later Songs of Praise, editor of Purcell, organist and conductor, he was a complete musician, and
although he took longer than many to acquire his mature voice, the progress of his music over an active composing
life spanning more than sixty years is quite remarkable, yet always informed by his personal voice and with something
distinctive and arresting to say: he wrote in every genre from songs to opera, choral music to symphonies, chamber
music to ballet. His enormous integrity and liberal humanist spirit in the tradition of Sir Hubert Parry, his mentor, give
him a commanding position in our music.
From the first sound films in the 1930s, the cinema attracted many of the leading composers of the day, particularly in
Great Britain, and composers such as Arthur Benjamin, Arthur Bliss and Benjamin Britten found themselves in demand,
in Britten’s case for feature films, with the experimental GPO Film Unit, for which he produced innovative scores for
small forces, of which Night Mail is the best known. Bliss made an enormous impact with his striking and flamboyant
score for Things To Come, which in its day gave film music as a genre an enormous step forward. During and soon after
the war most of the leading British composers of the day wrote music for films, including Walton, Rawsthorne, Frankel,
Lambert, Bax and John Ireland, generating a wide following among a public that flocked to the cinema on a regular basis.
At the time film music was not highly rated by professional musicians. Even when Constant Lambert wrote in support of
the film score he felt he had to say: “film music should not be despised because it is inevitably more ephemeral and less
important than symphonic and operatic music”.
Ralph Vaughan Williams composed his first film music in 1940–41—for the film 49th Parallel—and his last, a group of songs
for voice and oboe, for the film A Vision of William Blake, in 1957, eight months before he died. Over the intervening
fifteen years he wrote music for no fewer than eleven films, the music for one of them being soon developed into his
seventh symphony the Sinfonia Antartica: so, unlike many of his contemporaries, Vaughan Williams viewed film music as
something more than ephemera. Indeed he protested against the habit of many directors for only thinking of the music
after the film had been shot, arguing that the various arts involved in making a film should come together from the
beginning. He pointed out that film music can be written in two ways—by every action, word, gesture or incident being
punctuated in sound—or as he remarked “to ignore the details and intensify the spirit of the whole situation by a
continuous stream of music”, confessing that he was incapable of doing otherwise.
Vaughan Williams’ films were: 49th Parallel (it opened at the Odeon Leicester Square on 8th October 1941); Coastal
Command (Plaza London, 16th October 1942); The People’s Land (17th March 1943); The Story of a Flemish Farm
(Leicester Square Theatre, 12th August 1943; Stricken Peninsular (October 1945); The Loves of Joanna Godden
(16th June 1947); Scott of the Antarctic (19th November 1948); Dim Little Island March (1949); Bitter Springs
(Adelaide, South Australia, June 1950, London, 10th July 1950); The England of Elizabeth (March 1957); and
The Vision of William Blake (10th October 1958)."
Sources: Chandos Records*/Marco Polo/Naxos*/Pearl/Silva Screen CDs (My rips!)
Format: FLAC(RAR), DDD Stereo / ADD Mono (incl. * artwork & booklets)
All three Chandos "Film Music of Ralph Vaughan Williams" albums have
appeared on ffshrine before, but the old links are gone, as far as I can tell from our crappy search engine - one or two
may even be here still. To which I added the Andrew Penny album on Naxos/Marco Polo and the Pearl
album that includes Symphony No.6 (first recording) and the original soundtracks of some film scores.
Also included is the Silva Screen album of scores by Vaughan Williams, Bliss, Easdale and Schurmann!
These are all my own rips, including artwork & booklets*. So if you missed one, or all of them, request the links
in this thread. No PM's, please! Also, please do not share any further.
appeared on ffshrine before, but the old links are gone, as far as I can tell from our crappy search engine - one or two
may even be here still. To which I added the Andrew Penny album on Naxos/Marco Polo and the Pearl
album that includes Symphony No.6 (first recording) and the original soundtracks of some film scores.
Also included is the Silva Screen album of scores by Vaughan Williams, Bliss, Easdale and Schurmann!
These are all my own rips, including artwork & booklets*. So if you missed one, or all of them, request the links
in this thread. No PM's, please! Also, please do not share any further.
Music Composed by
Ralph Vaughan Williams
Sir Arthur Bliss
Gerard Schurmann
Brian Easdale
Played by the
BBC Philharmonic Orchestra
RT� National Symphony Orchestra of Ireland
London Symphony Orchestra
The Philharmonia Orchestra
BBC Northern Symphony Orchestra
Conducted by
Rumon Gamba
Andrew Penny
Sir Adrian Boult
Muir Mathieson
Ernest Irving
Kenneth Alwyn
"Ralph Vaughan Williams’s life is too well known to require other than the briefest of summaries, and is best told by
the succession of his greatest works including nine symphonies first performed over a span of almost fifty years.
Yet he wrote in all forms, and the pinnacles of his music encompass a varied repertoire: Songs of Travel (1904);
On Wenlock Edge for tenor and piano quintet (1909); A Sea Symphony (1909); Fantasia on a Theme of Thomas
Tallis (1910); A London Symphony (1913); the opera Hugh the Drover (1924); Job, the ballet—or rather “Masque
for Dancing” as Vaughan Williams called it; the Fourth Symphony (1934); the cantata Dona Nobis Pacem (1936);
the Fifth (1943) and Sixth (1947) Symphonies; the opera (Vaughan Williams said morality) The Pilgrim’s Progress (1951)
and so on until the Ninth Symphony first heard in the year of his death.
Perhaps we have tended to have rather a homespun view of Vaughan Williams, and one gets the feeling that he was
not unhappy with this image. In fact he was a highly educated, musically widely experienced, and remarkably
sophisticated artist, a member of the Wedgewood family on his mother’s side and also related to Charles Darwin.
A history graduate of Cambridge University, and pupil of Sir Charles Villiers Stanford at the Royal College of Music,
he studied widely not only with English teachers such as Sir Hubert Parry, Charles Wood and Alan Gray, but on the
continent with Max Bruch and Ravel (as he put it to “acquire a little French polish”). Folk-song collector, editor of the
English Hymnal and later Songs of Praise, editor of Purcell, organist and conductor, he was a complete musician, and
although he took longer than many to acquire his mature voice, the progress of his music over an active composing
life spanning more than sixty years is quite remarkable, yet always informed by his personal voice and with something
distinctive and arresting to say: he wrote in every genre from songs to opera, choral music to symphonies, chamber
music to ballet. His enormous integrity and liberal humanist spirit in the tradition of Sir Hubert Parry, his mentor, give
him a commanding position in our music.
From the first sound films in the 1930s, the cinema attracted many of the leading composers of the day, particularly in
Great Britain, and composers such as Arthur Benjamin, Arthur Bliss and Benjamin Britten found themselves in demand,
in Britten’s case for feature films, with the experimental GPO Film Unit, for which he produced innovative scores for
small forces, of which Night Mail is the best known. Bliss made an enormous impact with his striking and flamboyant
score for Things To Come, which in its day gave film music as a genre an enormous step forward. During and soon after
the war most of the leading British composers of the day wrote music for films, including Walton, Rawsthorne, Frankel,
Lambert, Bax and John Ireland, generating a wide following among a public that flocked to the cinema on a regular basis.
At the time film music was not highly rated by professional musicians. Even when Constant Lambert wrote in support of
the film score he felt he had to say: “film music should not be despised because it is inevitably more ephemeral and less
important than symphonic and operatic music”.
Ralph Vaughan Williams composed his first film music in 1940–41—for the film 49th Parallel—and his last, a group of songs
for voice and oboe, for the film A Vision of William Blake, in 1957, eight months before he died. Over the intervening
fifteen years he wrote music for no fewer than eleven films, the music for one of them being soon developed into his
seventh symphony the Sinfonia Antartica: so, unlike many of his contemporaries, Vaughan Williams viewed film music as
something more than ephemera. Indeed he protested against the habit of many directors for only thinking of the music
after the film had been shot, arguing that the various arts involved in making a film should come together from the
beginning. He pointed out that film music can be written in two ways—by every action, word, gesture or incident being
punctuated in sound—or as he remarked “to ignore the details and intensify the spirit of the whole situation by a
continuous stream of music”, confessing that he was incapable of doing otherwise.
Vaughan Williams’ films were: 49th Parallel (it opened at the Odeon Leicester Square on 8th October 1941); Coastal
Command (Plaza London, 16th October 1942); The People’s Land (17th March 1943); The Story of a Flemish Farm
(Leicester Square Theatre, 12th August 1943; Stricken Peninsular (October 1945); The Loves of Joanna Godden
(16th June 1947); Scott of the Antarctic (19th November 1948); Dim Little Island March (1949); Bitter Springs
(Adelaide, South Australia, June 1950, London, 10th July 1950); The England of Elizabeth (March 1957); and
The Vision of William Blake (10th October 1958)."
Sources: Chandos Records*/Marco Polo/Naxos*/Pearl/Silva Screen CDs (My rips!)
Format: FLAC(RAR), DDD Stereo / ADD Mono (incl. * artwork & booklets)
All three Chandos "Film Music of Ralph Vaughan Williams" albums have
appeared on ffshrine before, but the old links are gone, as far as I can tell from our crappy search engine - one or two
may even be here still. To which I added the Andrew Penny album on Naxos/Marco Polo and the Pearl
album that includes Symphony No.6 (first recording) and the original soundtracks of some film scores.
Also included is the Silva Screen album of scores by Vaughan Williams, Bliss, Easdale and Schurmann!
These are all my own rips, including artwork & booklets*. So if you missed one, or all of them, request the links
in this thread. No PM's, please! Also, please do not share any further.