JAVS Summer 1997

1963. It is these editions that will be cited in this study. 4Prank Howes, The Later U70rks ofR. Vaughan Williams (London: Oxford University Press, 1937),85. 5]ames Day, Vaughan Williams (London: ]. M. Dent & Sons, 1961), 174. 6Por a detailed analysis of the Suite, see chapter 3, "Background, Analysis, and Significance of Suite for Viola and Small Orchestra," of Christine W. Treter's "The Significance of Selected Compositions by Ralph Vaughan Williams which Peature the Viola" (DA disser tation, Ball State University, 1993). 7When the Suite was first published in a version for viola and piano (Oxford University Press, 1936), each Group was issued as a separate publication. This arrangement enhanced the distinctive nature of each Group. In 1989, Oxford University Press published the Suite in a one volume edition. The movements are not divided into groups on the contents page, but on the following page, which appeared in each volume of the earlier edition, the groups and movements contained therein are listed, as is the instrumentation for the orchestral version. 8Prank Howes, The Music of Ralph Vaughan Williams (London and New York: Oxford University Press, 1954), 111. 9"London Concerts, Courtauld-Sargent Concert," Musical Times 75. 1102 (Dec. 1934): 1128. 10percy M. Young, Vaughan Williams (London: Dennis Dobson, 1953), 187. 11Vaughan Williams studied orchestration with Ravel for three months in 1908. (Michael Kennedy, The U70rks of Ralph Vaughan Williams, 2nd edition [London and New York: Oxford University Press, 1980],90.) 12Young, 135. 13"Christmas Dance" is marked Allegro pesante in both the manuscript and the published orchestral score. The tempo marking is given only as Allegro in the solo viola rart and the piano reduction. 4Ralph Vaughan Williams, Romance for Viola and Piano, ed. Bernard Shore and Eric Gritton (London and New York: Oxford University Press, 1962). 15The Courtauld-Sargent Concerts were founded in 1928 by Mrs. Samuel Courtauld and Malcolm Sargent with the purpose of providing high-quality music at affordable prices. The Concerts included six programs each winter season at the Queen's Hall. The series was quite successful, and the concerts, which took place on Monday evenings, were repeated the following evening. In 1932, the newly formed London Philharmonic Orchestra began its association with the Concerts. The Courtauld-Sargent Concerts lasted until 1958, spon sored for its last eleven seasons by the New Era Concert Society. (New Grove Dictionary ofMusic and Musicians, S.v. "London: Concert Life Organizations" by Henry Raynor). 16"Violinists at Home and Abroad," Strad 45.536 (Dec. 1934): 341. 17"London Concerts, Courtauld-Sargent Concert," Musical Times75.1102 (Dec. 1934): 1128. 18"Concerts and Opera," Monthly Musical Record 64. 762 (Dec. 1934): 228. 19"London Concerts, Courtauld-Sargent Concert," Musical Opinion 58.687 (Dec. 1934): 234. 20"Courtauld-Sargent Concerts, Vaughan Williams's Suite," Times (London) 12 November 1934.

Aspen Music Festival and School

June 10- August 16, 1998

David Zinman MUSIC DIRECTOR w. Harold Laster DEAN

Orchestral String Program Center for Advanced Quartet Studies

Application must be received by February 27, 1998

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