JAVS Summer 1997

was the percussiveness of the Pianoforte Concerto. In the work for viola, however, he corrects fashion-rebukes it if you like-for treating the instrument in an unsuitable way.... The viola's dusky tone and fit of plaintiveness do not necessarily cast it for tragic parts: they are part of its homely nature and are fit for homely thoughts. Its voice, unlike that of the aristocratic violin, is the voice of lowly humanity, with its simplicities and hum ours as well as its dumps. Its candle-light is that of the cottage. So Vaughan Williams does not write a three-movement con certo with poignant subjects, burden some developments, and punctilious designs. He writes a set of short pieces, lively, peaceful, jocular, wistful-any thing but portentous-with the voice of folk-song slipping in, as if by right, at every other breath. The lowering of the brow does not in the least lower the musical style. In fact, Vaughan Williams has never written a work more crowded with points of musical interest, sudden gleams of beauty, inspired simplicities, and telling subtleties. Sometimes he is so quick-witted that his meaning loses itself in performance-Vaughan Williams becoming too rapid for St. Cecilia, or her servants.... Mr. Tertis enthusiastically backed up the composer in this process of putting the viola in countenance. Debunking is too ugly a word. I? It seems that the reviewer, "McN," was much more impressed with musical attributes of the work and its performance than he was with the instrument for which it was written. It is even in this review of the first perfor mance that we observe one of the problems which has befallen the Suite: it is not a large scale concerto but rather a collection of miniatures. When expected to be a concerto, the work fails miserably. It cannot be some thing which it is not. When viewed as a suite, the collection of small pieces which it is, Vaughan Williams's work for viola and orchestra succeeds. Commentary about the Suite also appeared in the Monthly Musical Record, Musical Opinion, and the London Times. The

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The writer for Musical Opinion commented on folk and dance influences in the Suite: The review for the Times offered a brief description of each movement (omitted here) and placed the work in relation to the work It betokens no new departure for its com poser: his work never lacks spontaneity when meditating on rural and pastoral subjects. The various short dance move ments do not lack development, while the Suite is cast in that diatonic mould peculiar to Vaughan Williams which delights the ear. I9 reviews in all three of these publications were quite enthusiastic in tone. The unnamed reviewer for the Monthly Musical Record wrote: The new suite contains delightful things. There are eight movements, diversified in character, yet unified by the poetic spirit pensive and yet virile. This music springs from the same England as the poetry of Hardy and Bridges. IS