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TRANSCRIPT
APPROVED:
Jeffrey Snider, Major Professor Stephen F. Austin, Committee Member Paula Homer, Committee Member Stephen F. Austin, Chair of the Division of
Vocal Studies Benjamin Brand, Director of Graduate
Studies in the College of Music James C. Scott, Dean of the College of
Music Mark Wardell, Dean of the Toulouse
Graduate School
DEFINING THE CONTRALTO VOICE THROUGH THE REPERTOIRE
OF RALPH VAUGHAN WILLIAMS
Sarah M. Daniels, B.M., M.M.
Dissertation Prepared for the Degree of
DOCTOR OF MUSICAL ARTS
UNIVERSITY OF NORTH TEXAS
May 2014
Daniels, Sarah M. Defining the Contralto Voice through the Repertoire of Ralph
Vaughan Williams. Doctor of Musical Arts (Performance), May 2014, 41 pp., 32 musical
examples, bibliography, 62 titles.
At the beginning of the twentieth century, the recognition of the contralto voice type had
reached its apex in England. Throughout the remainder of the century, the number and popularity
of recorded contraltos has decreased alongside the rise of the mezzo-soprano voice type. Due to
the contralto’s decline and the lack of repertoire composed specifically for the voice, the
definition of “contralto” remains somewhat ambiguous. The large contralto repertoire of English
composer Ralph Vaughan Williams displays a unique sensitivity to the contralto, particularly
with regards to vocal range, flexibility, tessitura, and sustainability. These works thus suggest a
new perspective for the voice type. The scope of Vaughan Williams’s oeuvre examined includes
each of his operatic roles for contralto and choral works featuring the contralto. Also examined
will be the compositional techniques implemented within these pieces which demonstrate the
strengths and weaknesses of the contralto voice. A workable definition of the voice type for the
pedagogue and performer is included.
ii
Copyright 2014
by
Sarah M. Daniels
iii
ACKNOWLEDGEMENTS
I would like to thank my committee members Dr. Stephen F. Austin and Ms. Paula
Homer for serving on my DMA committee. I greatly appreciate their assistance with this topic,
as well as the professional and musical guidance each has given me during my doctoral studies.
I offer gratitude to Dr. Richard Sparks, who helped me during the initial phase of this
project and encouraged me to explore the contralto voice and for his assistance in the
performance of Magnificat for contralto solo and women’s chorus by Ralph Vaughan Williams.
I would like to give special thanks to my major professor, Dr. Jeffrey Snider. Thank you
for your invaluable support and encouragement during my time at UNT and especially
throughout this dissertation. Your guidance has helped me become a better musician, singer, and
teacher.
To my parents, Tom and Sharon Daniels, and my sister, Laura Stansberry, thank you for
your constant love and support. Thanks also to E. Justin Simone for your continued love and
assistance throughout this dissertation.
iv
TABLE OF CONTENTS
Page ACKNOWLEDGEMENTS ........................................................................................................... iii Chapters
1. INTRODUCTION ...................................................................................................1 2. DEFINING THE CONTRALTO VOICE ...............................................................6 3. ENGLISH CONTRALTO REPERTOIRE ............................................................11 4. THE ISSUES: TESSITURA, FLEXIBILITY, SUSTAINABILITY, AND
EXPLOITATION OF THE LOWER RANGE......................................................14 5. CONCLUSION ......................................................................................................35
APPENDIX: THE CONTRALTO ROLES OF RALPH VAUGHAN WILLIAMS.....................36 BIBLIOGRAPHY ..........................................................................................................................38
CHAPTER 1
INTRODUCTION
For centuries, composers have written music for all voice types. However, there is more
musical literature composed for certain voice types (e.g. sopranos, baritones, and tenors) than for
others.1 A number of writers who recount the history and literature of the different voice types
have forged a narrative that accurately portrays the contralto as a voice type that has been largely
neglected by composers of the Western art tradition. For example, author and music critic Pitts
Sanborn discusses the plight of the contralto: “The causes of the disease have always been the
same, the narrowness of the contralto repertory and the fact that a soprano is notoriously more
‘worthy’ in the treasurer’s book.”2 The contralto voice type flourished in England from the end
of the nineteenth century through the first half of the twentieth century. Journalist Percy Scholes
discusses the rise of the contralto in The Mirror of Music and lists seventy-seven contraltos as
members of the Huddersfield Choral Society in 1902, outnumbering male altos (19), tenors (72),
and basses (71).3 Scholes also states that sixteen well-known British contraltos thrived from
1892-1936, most notably Clara Butt and Kathleen Ferrier.4 However, several authors claim that
the classification of the contralto voice and the identification of singers as such have rapidly
declined since the turn of the twentieth century. J.B. Steane writes about the vanishing contralto
in his book Voices, Singers and Critics: “One searches for the really deep voices and they seem
to be an almost extinct species.”5
1 Berton Coffin, The Singer’s Repertoire (New Brunswick, NJ: The Scarecrow Press, 1956).
2 Pitts Sanborn, “The Doom of the Contralto,” The Scrap Book, Vol. 4 part I, (1907), 799.
3 Percy A. Scholes, The Mirror of Music (London: Oxford University Press, 1947) 57-58.
4 Scholes, 278-279.
5 J.B. Steane, Voices, Singers, and Critics (Portland, Oregon: Amadeus Press, 1992), 47. Opera critic Rupert
Christiansen takes up the matter of voice teachers favoring the development of singers into mezzo-sopranos over
1
Two challenges that the “species” face are a decreased number of women who classify
themselves as contraltos and a limited repertoire for the voice type (largely due to works being
misidentified for mezzo-soprano).
Operatic repertoire for the contralto voice is limited within the Western art tradition. The
few operatic roles that exist for contraltos are mostly supporting roles6. Most of the operas that
feature a leading contralto, including Aida (1871) by Giuseppe Verdi and Carmen (1875) by
Georges Bizet, feature what was sometimes referred to as a “mezzo-contralto.” A mezzo-
contralto is “a role that could be sung by either a mezzo-soprano or a contralto and the term is
also used for a voice that is not as high as a mezzo-soprano and not as deep as a contralto.”7 The
lead contralto roles in both Verdi’s Un ballo in maschera (1858) and Meyerbeer’s Le Prohète
(1849) are examples of mezzo-contralto roles and require the “contralto” to sing above the staff
and sustain a high tessitura.8 Therefore, mezzo-sopranos are more apt to be cast in these mezzo-
contralto roles, significantly decreasing the contralto repertoire.
Contraltos assuredly have a limited repertoire from which to select, however the English
tradition provides a substantial oeuvre composed for the voice type. A broad range of composers
that represent the history of English music written for contralto include Henry Purcell, George
Frederick Handel, Arthur Sullivan, Charles Hubert Hastings Parry, Charles Villiers Stanford,
Edward Elgar, and Benjamin Britten. Regardless of these contributions to the contralto repertory,
they feature two prominent challenges: (a.) requiring demanding melismatic passages and (b.)
sustaining a high tessitura.
contraltos in “Where have all the contraltos gone?” (2010). Eric Myers also recognizes the “category” of the
contralto as being “at the moment … on the verge of extinction” in “Sweet and Low” (1996). 6 Representative examples include Arnalta from L’incoronazione di Poppea and Shepard from L’orfeo by
Monteverdi, Gherardino from Gianni Schicchi by Puccini, Ragonde from Il comte Ory by Rossini, Annina from Der
Rosenkavalier by Strauss, Ninetta from I vespri Siciliani by Verdi. 7 Richard Boldrey, Guide to Operatic Roles and Arias (Dallas, TX: Pst. Inc., 1994), 26.
8 Phyllis Brenner, “The Emergence of the English Contralto,” (PhD Diss., Columbia University Teachers College,
1989), 153.
2
The current trend of countertenors singing contralto repertoire, especially within the
oratorio genre, presents the contralto with an additional problem. For example, currently the
contralto solos in G. F. Handel’s Messiah are frequently performed by countertenors instead of
contraltos even though in the first performance of Messiah both voice types were utilized.9
Having to “share” oratorio/opera roles with countertenors further limits the contralto’s repertoire.
Moreover, the majority of contralto repertoire is composed for a flexible voice that can
execute technically demanding coloratura passages.10
The size and makeup of those voices that
are best classified as “contralto,” e.g. Clara Butt and Kathleen Ferrier,11
tend to lack such
technical agility. Singer and voice teacher Sabilla Novella stated that “Contralto (and bass
voices) are usually the most unmanageable, in which the transition from one register to another is
abrupt, and its position uncertain.”12
In other words, difficult transitions between the low, middle
and high registers make it challenging for most contraltos to move their voices with ease. This is
not necessarily true of all contraltos, but generally speaking, these voices are more suited
towards sustained vocal lines rather than quick melismatic passages. Similarly, Richard Boldrey,
author of Guide to Operatic Roles and Arias, also discusses the lack of flexibility in contraltos,
claiming that most contralto voices are not as agile as their mezzo-soprano or soprano
counterparts: “[The contralto] is in most cases less flexible and less warm as well.”13
Additionally, a significant amount of the contralto repertoire has been composed in a
higher tessitura and is more adequately suited for the mezzo-soprano voice. For example, the title
role in Benjamin Britten’s The Rape of Lucretia (1946) was specifically composed for contralto
9 Peter Giles, The History and Technique of the Counter-Tenor (Cambridge, England: University Press, 1994), 5.
10 Refer to the contralto repertoire of Handel (e.g. the faster, melismatic passages in “Se in fiorito ameno prato”,
from Giulio Cesare). 11
Percy Alfred Scholes, The Mirror of Music 1844-1944, Vol. 1 (London: Novello and Company Limited and
Oxford University Press, 1947), 279. 12
Sabilla Novella, “Voice and Vocal Art,” The Musical Times and Singing Circular, Vol. 8, No. 191 (January
1859), 370. 13
Boldrey, 26.
3
Kathleen Ferrier; however, the tessitura of the role turned out to be too high for her at times.
Britten substituted F#5 for the originally composed A5 in the role, because it appeared to be “out
of her reach.”14
The contralto and mezzo-soprano repertoire are almost always included together
in vocal collections and anthologies.15
However, most of the pieces in these anthologies are
composed in a higher tessitura more apt for mezzo-sopranos than contraltos. Other collections,
e.g. Sing Solo Contralto16
and Contralto Songs,17
are not specific to the contralto voice. The
repertoire contained in these collections can be sung by contraltos but were not all composed
with this voice type in mind.18
For example, “Voi che sapete” from Le nozze di Figaro is
featured in Sing Solo Contralto, however, the role of Cherubino (who sings the aria “Voi che
sapete”) is listed as a soprano role in the score and is performed today by mezzo-sopranos or
sopranos due to its high tessitura (ranging from D4 to F5). By combining the music of both these
voice types, the contralto has become somewhat of an anomaly. All things considered, there is a
significant need for music that defines the contralto voice and gives it an identity all its own,
without combining it with the repertory of other voice types.
Ralph Vaughan Williams (1872-1958) is regarded as one of the most prominent English
composers of the twentieth century. His vocal writing has been praised by many scholars and
historians among his overall compositional output.19
Vaughan Williams’s compositional writing
for the voice is generally designed for a specific voice type. Vaughan Williams was aware of the
strengths and weaknesses of each kind of voice. His vocal compositions include individual
songs, song cycles, operas, and choral works featuring solo voices. Like most English
14 J. B. Steane, Voices: Singers and Critics (Portland, OR: Amadeus Press, 1992), 52.
15 Refer to Kurt Adler, compiler., Operatic Anthology: Celebrated Arias for Mezzo-soprano and Alto, vol. II (New
York: G. Schirmer, 1954) and Oratorio Repertoire for Alto Voice (Bryn Mawr, PA: Theodore Presser, 1923). 16
Constance Shacklock, ed., Sing Solo Contralto (Oxford: Oxford University Press, 1986). 17
Sydney Northcote, ed.,Contralto Songs: The New Imperial Edition (London: Boosey and Hawkes, 1950). 18
There is no Sing Solo volume for the mezzo-soprano voice, only for soprano, contralto, baritone, and tenor. 19 Sergius Kagen. Music for the Voice; A Descriptive List of Concert and Teaching Material (Bloomington, IN:
Indiana University Press, 1968).
4
composers, the majority of the voices he composed for include baritone/basses, tenors, and
sopranos. While the success and vast output of his compositions for men’s voices is well known
(e.g. Songs of Travel, On Wenlock Edge, and Five Mystical Songs), the repertoire for the
contralto voice has been largely overlooked. However, Vaughan Williams composed a few
unique works featuring the contralto voice. Vaughan Williams’s music gives ample opportunities
to the contralto without requiring the voice to sustain a high tessitura or perform demanding
melismatic passages. His contralto repertoire is almost always performed by a female contralto
and not a countertenor.20
The remainder of this dissertation demonstrates that Ralph Vaughan Williams, through
his eight works featuring the contralto, exhibits an acute understanding of both the limitations
and strengths of that voice type. Vaughan Williams has defined the term “contralto” through his
musical compositions geared specifically to the contralto voice and in turn, has given the voice
type a new identity.
20 Perhaps in large part, due to the fact that Vaughan Williams’s contralto repertoire features female characters.
5
CHAPTER 2
DEFINING THE CONTRALTO VOICE
Today it is rare to find a woman classified as a contralto. These singers are usually put
into the general category of “mezzo-soprano.” The Metropolitan Opera, for example, “does not
list contraltos on its register, classifying female singers as soprano or mezzo-soprano.”21
Women
who identify themselves as “contralto” face the challenge of being considered for a limited
number of operatic roles. Eric Myers discusses in his article, “Sweet and Low,” how the
contralto voice “was always a rare bird” or, at the very least, was much fewer in number than
sopranos and mezzo-sopranos.22
The repertoire of Ewa Podles, one of today’s leading contraltos,
is made up of both contralto and mezzo-soprano repertoire (e.g. Dorabella in Mozart’s Cosi fan
tutte, Giulio Cesare in Handel’s Giulio Cesare in Egitto, and Klytaemnestra in Elektra by
Strauss).23
The combination of such repertoire is reminiscent of the “mezzo-contralto” voice
type. Such examples of mezzo-contralto repertoire includes: Azucena (Il Trovatore), Amneris
(Aida) Leonore (La Favorita) Catarina (La Reine de Chypre) Odette (Charles VI) Fidès (Le
Prophète) and Dalila (Samson et Dalila).24
The mezzo-contralto falls under a voice category that lies between the mezzo-soprano
and the contralto. The following definition of the mezzo-contralto from James Frederick
Crowest’s book Advice to Singers explains the voice type:
It is by no means an uncommon voice, and if used with discrimination is an effective and
useful one. Both in compass and quality, it lies between the contralto and the mezzo-
soprano. Heavier in tone, less resonant, and less flexible than the mezzo-soprano, it is yet
lighter than the contralto. Pure contralto voices are so rare that many mezzo-contralto
21 Owen Jander, "Contralto," Grove Music Online. Oxford Music Online. 9 Mar. 2012.
<http://www.oxfordmusiconline.com/subscriber/article/grove/music/06372>. 22
Eric Myers, “Sweet and Low,” Opera News, Vol. 61, No. 7 (1996), 18. 23
Myers, 20. 24
Examples of well-known mezzo-contraltos include: Lucy Arbell, Muriel Foster, Eleonora Grossi, Maria
Malibran, Maria Waldmann, Pauline Viardot, and Rosine Bloch.
6
singers appear as exponents of contralto music, and by paying chief attention to the lower
register of their voices, they become fair imitations, and more than passable substitutes,
for the real article.25
A considerable amount of the lead contralto roles outside of England are made up of
these “mezzo-contralto” roles and therefore can be performed by both mezzo-sopranos and
contraltos.
As previously stated, most low-voiced females are usually classified as mezzo-sopranos.
But what category does the woman fit into whose deep voice has an extended low range but
struggles to sing pitches above the staff? Over the years, the classification of the contralto voice
has almost disappeared and although there may be voices that fall under that category, the
definition of the contralto voice has become somewhat unclear. There are several conflicting
definitions for the contralto voice. Perhaps the lack of understanding of this voice type and its
capabilities has added to the decline of the contralto. Therefore, one definition that addresses all
possible aspects of the contralto voice is essential.
Many scholars and vocal pedagogues have different perspectives regarding the contralto
voice. Music dictionaries have several definitions for the contralto voice. For example, Owen
Jander states in Grove Music Online that, “the term contralto is an abbreviation for the term
contratenor altus and can be traced back to sixteenth-century polyphony referring to the voice
that lies above the tenor.”26
Originally contralto was considered to be a male voice type and was
often associated with the castrati; however, “in later English usage, when castrati were no longer
on the musical scene, contralto came to refer always to a woman, as distinct from a male alto (a
25 James Frederick Crowest, Advice to singers from singers (London: Guildford, 1878), 35.
26 Owen Jander, "Contratenor altus," Grove Music Online, Oxford Music Online 9 Mar. 2012.
<http://www.oxfordmusiconline.com/subscriber/article/grove/music/06372>.
7
boy alto, or a falsettist).”27
This definition provides a historical aspect that distinguishes between
the male alto voice type and the female contralto.
The Harvard Dictionary of Music defines the contralto as follows:
Originally the alto was a high male voice, which through the use of falsetto nearly reached the
range of the female voice (contralto). This type of voice, also known as countertenor, was
cultivated especially in England, where the church music of the sixteenth century and
seventeenth century definitely implies its use.28
This definition seems to imply that countertenors and contraltos are synonymous.
Similarly, Thomas Busby’s A Dictionary of Music Theoretical and Practical, defines the
contralto as “Countertenor. A voice between the tenor and treble.”29
These definitions seem
rather vague and make no distinction between the contralto and countertenor.
Prior to the nineteenth century, soprano and contralto were generally considered the
prominent female voice types. With the increased usage of the term ‘mezzo-soprano’ (a voice
type capable of singing within both the ranges of the soprano and the contralto) in the nineteenth
century, the contralto voice was used less frequently. Vocal pedagogue Robert Rushmore writes
about the difference between the mezzo-soprano and contralto: “The distinction between the
mezzo-soprano and the contralto is often ill-defined. The range of the contralto, however, is
much lower. A true contralto has a dark, sometimes lugubrious sounding voice.”30
Pedagogues and voice teachers have different ideas of what elements constitute distinct
characteristics of the “contralto” voice type. Range is an important factor in the definition of the
contralto and is the element most utilized by these vocal specialists. William Vennard simply
27 Owen Jander, "Contralto," Grove Music Online. Oxford Music Online. 9 Mar. 2012.
<http://www.oxfordmusiconline.com/subscriber/article/grove/music/06372>. 28
Don Michael Randel, ed., Harvard Dictionary of Music, 4th
ed. (Cambridge, Mass: Belknap Press of Harvard
University Press, 2003), 212. 29
Thomas Busby, A Dictionary of Music, Theoretical and Practical, 4th ed. (London: Richard Phillips and Co.,
1823), 68. 30
Robert Rushmore, The Singing Voice (New York: Dembner Books, 1971), 79.
8
states that the contralto is “the lowest of the female voices and can sing F3 below middle C with
full tone with a range including all of the treble staff.” He also discusses the importance of
tessitura, “the part of the range in which the voice performs best,” when classifying a contralto
voice.31
Another celebrated pedagogue, Dr. James McKinney, states that the range of the
contralto can be divided into three categories: “The ‘practical’ twelfth that the singer can
probably handle 75 percent of the literature for that classification, the ‘ideal’ two octaves which
will cover 90-95 percent of it, and finally the extreme ranges which are sometimes demanded.”32
Although range differs between each individual singer, it is unquestionably a relevant component
in a definition of the contralto voice. For example, if a voice does not have strength below the
staff (e.g. lower extension in chest voice), it would be difficult to classify the singer as a
contralto. A dark and rich timbre is one of the more distinct characteristics of the contralto voice,
and lends itself to, operatic roles involving older female characters, such as La zia Principessa in
Giacomo Puccini’s Suor Angelica (1917). While the size of a voice does not determine specific
voice type, it is another component in classifying the contralto voice. The contralto is often
considered a large voice, especially compared to the other female voice types.33
Berton Coffin
defines the contralto as “the lowest female voice, large in extensity and dark in color. It has a
range of G3-Ab5.”34
According to Myers, “the sound of a true contralto is huge and plummy,
with organ-like tones covering a range from F below middle C to A above the treble clef, often
with extensions at either end.”35
31 William Vennard, Singing; The Mechanism and the Technic (New York: Carl Fischer Inc, 1967), 263.
32 James C. McKinney, The Diagnosis and Correction of Vocal Faults (Nashville: Broadman Press, 1982), 114.
McKinney was an established voice teacher/performer and is considered a highly respected expert in the field of
vocal pedagogy. This source, in addition to You Can Read Music (1970), Vocal Fundamentals Kit (1976) and Five
practical lessons in singing (1982), among others, are considered his best sources for vocal pedagogical issues. 33
Boldrey, 27. 34
Berton Coffin, The Singer’s Repertoire (New Brunswick, NJ: The Scarecrow Press, 1956), 7. “G3 to Ab5” was
edited by Daniels to reflect alternative nomenclature. 35
Myers, 18.
9
As stated in the introduction, flexibility is a concern in the standard contralto repertoire.
Many scholars believe that contraltos do not have the natural flexibility necessary to sing some
of the repertoire (e.g. the works of Purcell and Handel), as Owen Jander addresses:
Similarly, as the knowledge of Handel’s operas has grown, and with it the frequency of
performance, the need for flexible voices in the lower female range has favoured the
mezzo, who is thought more likely to be skilled in the performance of rapid runs over a
wide range.36
The contralto voice is ill-defined as a whole. The following definition implements all
possible characteristics that have been previously discussed to clarify the meaning of contralto.
The contralto is the lowest female voice,37
characterized by a dark, rich timbre, a general range
of two octaves (G3-G5, with tessitura sitting at approximately A3-E5), and the distinct
capabilities of projecting below the treble clef staff in chest voice and with full voice to the top
of the staff.38
The contralto easily sustains long vocal lines but generally struggles with technical
flexibility, especially between vocal register changes. The contralto’s strong lower register is the
chief distinction between the contralto and other female voice types.
36 Elizabeth Forbes et.al.,“Contralto,” The New Grove Dictionary of Opera, Vol. 1 (1992): 934.
37 For the purpose of this definition, male altos, who are generally now considered countertenors, are excluded.
38 Of course, the range may vary depending on each individual voice and can be extended on either end.
10
CHAPTER 3
ENGLISH CONTRALTO REPERTOIRE
Several English composers wrote music for the contralto voice, but much of this
repertoire remains challenging for that voice type due to issues of vocal flexibility and high
tessitura.39
Henry Purcell (1659-1695) and George Frideric Handel (1685-1759) were the earliest
composers in England to use the female contralto voice in their works. Purcell’s works include
the masques/semi-operas The Rival Sisters (1695), Don Quixote (1695), The Indian Queen
(1695), The Libertine (1692), and King Richard II (1681), as well as his opera Dido and Aeneas
(1689). Handel’s thirteen oratorios – Arminius (1736), Athaliah (1733), Belshazzar (1744),
Deborah (1733), Ester (1732), Ezio (1732), Hercules (1744), Israel in Egypt (1739), Jephtha
(1751), Joshua (1747), Judas Maccabaeus (1746), Messiah (1742), and Theodora (1749) – all
contain music for female contraltos, but are sometimes performed by countertenors.40
Five of his
operas – Admeto (1726), Alcina (1735), Giulio Cesare (1724), Rinaldo (1731), and Semele
(1743) – also utilize the contralto voice. Many of Handel’s roles center around the need for
strong agility, a characteristic not generally associated with the contralto voice.41
Arthur Sullivan (1842-1900) wrote for contralto in his one opera – Ivanhoe (1891) – and
seven operettas – H.M.S. Pinafore (1878), Pirates of Penzance (1879), The Gondoliers (1889),
Iolanthe (1882), Ruddigore (1887), Patience (1881), and The Mikado (1885). The majority of his
operettas provide contraltos with supporting comic roles, essentially neglecting the inclusion of
more substantive roles.
39 As discussed in the previous chapter, contraltos generally struggle with flexibility and passages that remain in a
high tessitura. 40
According to Eric Myers, the tradition of countertenors singing contralto solos in oratorios became a popular
tradition in the 1980’s and 1990’s (Myers, 19). 41
However, in Handel’s time (1685-1759) contraltos were trained in flexibility which may explain why this
repertoire requires such strong vocal agility.
11
Two leading English composers at the turn of the twentieth century, Charles Hubert
Hastings Parry (1848-1918) and Charles Villiers Stanford (1852-1924), provide limited
repertoire for the contralto voice in several sacred works: Parry’s two oratorios Judith (1888) and
King Saul (1894); and Stanford’s Eden (1890) and Requiem (1896). This music requires the
contralto to sing above its intended tessitura and sustain higher pitches more appropriate for a
mezzo-soprano.
Edward Elgar (1857-1934), a contemporary of Vaughan Williams, composed two works
in which the contralto voice is featured. The song cycle Sea Pictures (1899) was composed for
the English contralto Clara Butt. However, some of the songs include excerpts that lie in an
uncomfortably high tessitura for a contralto42
. Similarly, Elgar’s choral work The Dream of
Gerontius (1900) contains the contralto role of Angel, which could also be performed by a
mezzo-soprano due to sustained notes in a high tessitura.
Benjamin Britten (1913-1976) was a leading composer of music for the contralto voice in
the latter half of the twentieth century. He wrote six dramatic works containing contralto roles:
Albert Herring (1947), A Midsummer Night’s Dream (1960), The Little Sweep (1949), Paul
Bunyan (1941), Peter Grimes (1945), and The Rape of Lucretia (1946). A Midsummer Night’s
Dream contains two “contralto” roles, Oberon and Hippolyta, but Oberon was written for
countertenor Alfred Deller and subsequently has most often been performed by a countertenor.
He also composed a children’s opera, The Little Sweep, and an operetta, Paul Bunyan, which
feature contralto roles as well.43
The title role in The Rape of Lucretia, written for Kathleen
42 No complete recording of Sea Pictures featuring Clara Butt exists to prove that the cycle was too high for her,
however passages found in “Sabbath Morning at Sea” (mm. 56-85) and “The Swimmer” (mm. 37-47) would greatly
challenge the technical limits of any contralto performer. 43
Miss Baggott in The Little Sweep and the contralto part of Quartet from Paul Bunyan.
12
Ferrier, is perhaps the most significant, contralto role in all of English opera, but also one of the
most challenging.
Each of these composers has contributed to the overall canon of repertoire for the
contralto voice. The opus of Ralph Vaughan Williams during the first half of the twentieth-
century uniquely provides opportunities for the contralto that avoid the recurring issues of
sustained high tessitura and highly-demanding vocal flexibility. His operas Hugh the Drover
(1924), Sir John in Love (1930), The Poisoned Kiss (1936), Riders to the Sea (1936), and The
Pilgrim’s Progress (1949),44
and his choral works Magnificat (1932), Tudor Portraits (1935),
and Serenade to Music (1938) will serve as the contralto repertoire discussed in the next chapter.
44 Some scholars indicate that The Shepherds of the Delectable Mountains is also an opera; however Vaughan
Williams generally considered it an oratorio rather an opera.
13
CHAPTER 4
THE ISSUES: TESSITURA, FLEXIBILITY, SUSTAINABILITY
AND EXPLOITATION OF THE LOWER RANGE
Ralph Vaughan Williams is highly regarded by scholars as a talented vocal composer,
particularly adept at recognizing the strengths and weaknesses of each voice type and reflecting
them throughout his compositions. In order to write music effectively for the contralto, he
utilized specific compositional techniques sensitive to the singer’s range, flexibility,
sustainability, and tessitura, among other factors:
(a.) melismatic passages featuring triplets or dotted rhythms
(b.) faster rhythms, principally sixteenth-note figures, under the tempo senza misura
(c.) shorter rhythmic values on notes sung near the top of the contralto’s range
(d.) descending vocal lines and/or rests following higher-pitched sustained passages
(e.) exploitation of lower pitches in the singer’s range
(f.) frequent sustained vocal lines (throughout the contralto’s range)
Throughout this chapter, these techniques, which contribute to defining the contralto
voice type in light of Vaughan Williams’s operas and choral works, will be discussed.
Tessitura is of vital importance when composing for the contralto voice. James
McKinney discusses the matter in his book The Diagnosis and Correction of Vocal Faults,
stating, “Singing above your best tessitura keeps your vocal cords under a great deal of tension
for long periods of time.”45
Therefore, having to sustain passages above the intended tessitura
can be harmful to any voice type, including the contralto. Contraltos struggle with vocal lines
that require fluid legato within a sustained high tessitura. Vaughan Williams adequately
demonstrates sensitivity towards this issue in his works for contralto. Examining several operatic
roles and solos within choral compositions will illuminate his skill in creating pieces
exceptionally well-suited for the contralto voice.
45 McKinney, 121.
14
The range of the role of Aunt Jane (Hugh the Drover) is C4-F5, which defines an
appropriate range for a contralto. The tessitura generally sits from D4-E5, with no demanding
high pitches outside of the typical contralto range. She sings two arias in the opera: “Life must be
full of care” (range: c4-d5) and “Stay with us, Mary” (range: Eb4-F5). The higher register of the
contralto’s range is scarcely utilized throughout Hugh the Drover. Rests or a descending vocal
contour tend to follow such occurrences (Ex. 1). Aunt Jane’s aria, “Stay with us Mary” features a
sustained Eb5, followed by a descending three-note pattern (Ex. 2).
Example 1, Hugh the Drover, Act 2 finale, mm. 2602-2604
15
Example 2, Hugh the Drover, “Stay with us, Mary” mm. 3049-3050
The issue of tessitura is addressed as well in the role of Mistress Quickly (Sir John in
Love). Her aria, “Sigh no more ladies”, requires the entire range of the role but treats the higher
pitches – coinciding with the peak of the contralto’s range – in a different manner. In Ex. 3, these
notes are approached from below, and the line descends quickly after the ascent is completed.
The aria is also in a quicker tempo (Allegro) and therefore makes it easier for the contralto to
sing through higher pitches without having to sustain those notes for an extended amount of
time.
Example 3, Sir John in Love, Act II, “Sigh no more Ladies” mm. 151-154
16
The Empress (The Poisoned Kiss), whose role contains very dramatic music within a
comic operatic atmosphere, sings two arias: “When I was young” and “The Invocation”. Her
overall range is B3-F5, and her tessitura for most of the opera sits within Eb4 and Eb5. In Act III,
the empress sings, “Just the same old, stale old story”, with the majority of the phrase staying in
an appropriate tessitura (Ex. 4). The ascent reaches F5 then immediately returns to the tessitura
with which the phrase began.
Example 4, The Poisoned Kiss, Act III, No. 46: Finale: Love has Conquered, mm. 70-71
The role of Maurya (Riders to the Sea) requires a range of C4-F5, with a tessitura
generally about E4-E5, thus remaining primarily in the contralto’s middle range during most of
the opera. During one passage in Maurya’s lone aria (“They are all gone now”; range: C#4-E5), a
rising tessitura lasting several measures constantly returns to Eb5 (Ex. 5). Vaughan Williams
marks this section animato, therefore making it easier for the voice to maintain the high tessitura,
without straining the voice, while adding an element of drama to the text and music.
17
Example 5, Riders to the Sea, “They are all gone now” mm. 503-505
Throughout the opera, Maurya’s vocal lines tend to slowly ascend to the top of her range.
In her final passage of text in the opera (“No man at all can be living forever”; Ex. 6), the line
reaches E5 and descends immediately thereafter to avoid having to sustain near the peak of the
range.
Example 6, Riders to the Sea, Finale, mm. 609-612
18
The Pilgrim’s Progress gives several opportunities for the contralto voice through its four
small roles: The Shining One (one of three), Heavenly Being (cup-bearer), Pickthank, and
Madam By-Ends. These roles are not as vital to the plot of the opera as other roles that have been
and will be discussed. However, these characters perform music equally vital within the contralto
repertoire of Ralph Vaughan Williams and highlight the compositional techniques that address
both tessitura and flexibility issues.
The Cup Bearer’s range, C4-E5, requires cantabile with a tessitura sitting primarily in the
middle section of the voice. Similarly, Vaughan Williams avoids sustaining a line at the higher
end of Pickthank’s range (D4-Eb5) via descending lines into more appropriate tessituras within
which the performer may retain an easier vocal production (Ex. 7). Madam By-Ends (range:
Eb4-E5), the biggest contralto role of the opera and whose part consists of chiefly sustained
singing, provides an additional example of tessitura manipulation through her excerpt, “your
servant”, concluding with a brief half note on her highest pitch, followed by rests before her next
entrance (Ex. 8). Both the use of descending lines into a more comfortable tessitura and rests
after notes of longer duration at the higher end of the range demonstrates the composer’s shrewd
awareness of the specific capacities of the contralto voice.
Example 7, The Pilgrim’s Progress, Act III, Scene I, mm. 1867-1868
19
Example 8, The Pilgrim’s Progress, Act IV, Scene II, mm. 2379-2380
Vaughan Williams further exploits the writing of shorter note values on higher pitches in
Magnificat, e.g. a half-note G5 (“God”) marked fortissimo (Ex. 9). He both precedes and follows
this highest pitch of the work with adequate support for the voice. The significantly lower D4,
marked portando, allows the singer to move from chest voice to head voice, bypassing the
transition marked by the upper end of the tessitura. After the G5, the solo line descends, poco
animato, in successive half notes through a more comfortable part of the range.
In another example from Magnificat, Vaughan Williams addresses tessitura in a different
manner. The first set of triplets begins on F5, a note high in the contralto’s range, but is followed
by a descending line that eventually rises to D5 at the end of the excerpt (Ex. 10). This technique
prevents the contralto from having to sustain multiple notes high in the range and assists the
voice with completing the phrase.
20
Example 9, Magnificat, m. 58
Example 10, Magnificat for contralto solo and women’s chorus, mm. 45-51
21
The use of shorter note values on high pitches, descending lines or rests following higher
passages, are ways that have been discussed to assist the contralto with tessitura issues. An
additional technique that Vaughan Williams employs to address tessitura is the use of senza
misura. During Romanza: Jane Scroop (“Her Lament for Philip Sparrow”), from Five Tudor
Portraits, the contralto solo’s range spans A3-F5. Vaughan Williams makes use of senza misura
at the highest passage of the solo, “Libera me, Domine” (Ex. 11). The fortissimo F5 is followed
by a complete measure of sustained singing within a high tessitura. The senza misura allows the
voice to sing the passage with freedom from a strict tempo.
Example 11, Five Tudor Portraits, Romanza, mm. 349-353
The second of four short solos composed for contralto in Serenade to Music, “Me-thinks
it sounds much sweeter than by day”, consists of a long sustained ascending vocal line that
incorporates a quarter rest before it reaches F5 (the highest pitch of the piece for any of the
individual contralto solos), which is subsequently followed by a descent to C4 (Ex. 12).
Example 12, Serenade to Music, mm. 174-177
22
In addition to tessitura, flexibility is another significant issue that surrounds the contralto
voice and makes it challenging for composers to write for them. Vaughan Williams develops
compositional tools that address flexibility including the use of senza misura and specific
rhythmic considerations (triplet and dotted rhythms) in his operatic and choral compositions for
the contralto.
The contralto’s struggle with flexibility renders compositional choices that favor triplets
over sixteenth-note patterns, as can be seen in Aunt Jane’s line, “Where are his keys” (Ex. 13).
Although the triplet rhythm occurs seldom in Aunt Jane’s music, the idea is considerably more
prominent in Vaughan Williams’s later operas. When sixteenth-note passages arise, senza misura
is typically instructed (Ex. 14). Additional freedom of the vocal line is granted through the
implementation of minimal accompaniment.
Example 13, Hugh the Drover, mm. 2309-2310
23
Example 14, Hugh the drover, Act I scene, mm. 2207-2208
Vaughan Williams, akin to his music for Aunt Jane, composes with sensitivity to the
flexibility of the contralto in his writing for Mistress Quickly. A series of dotted rhythmic
patterns are used in Act II, Scene II (Ex. 15) and render a more continuous line (avoiding
sixteenth-note Handel-like melismas). Triplet rhythms are performed in Mistress Quickly’s line,
“sweating and blowing” (Ex. 16), providing a forward thrust to the phrase and consequently
helping the voice sustain legato through the line.
Example 15, Sir John in Love, from Act II, Scene II, mm. 36-38
24
Example 16, Sir John in Love, Act III, Scene III, mm. 102-104
The use of specific rhythmic devices in aiding the contralto voice is evident. Vaughan
Williams also tends to make use of senza misura tempo markings throughout his opus for
contralto during recitative-like sections and whenever additional time is necessary to help the
singer articulate faster rhythmic patterns. The freedom of tempo and vocal flexibility are
hallmarks of Vaughan Williams’s works for contralto. An Andante moderato (senza misura)
tempo, along with successive eighth notes and a triplet figure are implemented in a Mistress
Quickly passage from Act II, Scene II (Ex. 17).
Example 17, Sir John in Love, Act II scene II, mm. 85-86
25
Like Hugh the Drover and Sir John in Love, Riders to the Sea contains recitative-like
sections marked with successive sixteenth notes under the tempo marking senza misura. In
“They are all gone now”, the orchestra sustains a dissonant sonority at pianissimo while the
voice moves freely, senza misura (Ex. 18).
Example 18, Riders to the Sea, “They are all gone now” m. 513
Like the other operatic contralto roles, much of the Empress’s music contains sustained
vocal lines. Similar to the previous examples, Vaughan Williams prefers dotted rhythms over
sixteenth-note melismas. In Act III’s Invocation, he writes successive dotted eighth-sixteenth
note figures: on the word “fire” in the second stanza (Ex. 19). The contralto is thus assisted in
moving through a faster vocal line as well as in providing some movement in otherwise
sustained music for the Empress.
26
Example 19, The Poisoned Kiss, The Invocation, Act III, mm. 48-49
The use of “slower” rhythms (triplets, as opposed to sixteenth-note passages) extends to
Maurya’s music in Riders to the Sea. For example, in Maurya’s aria “They are all gone now”
(Ex. 20), the numerous triplet figures generate forward momentum in a line intended to be sung
in one breath. The line’s placement in a comfortable tessitura further accentuates Vaughan
Williams’s ability to compose long lines easily executed by the contralto.
Example 20, Riders to the Sea, “They are all gone now”, mm. 500-501
Two of the contralto roles in The Pilgrim’s Progress make use of persistent triplet
figures. In Act 2, the Cup Bearer sings these triplets during an ascending vocal line in the middle
of a register change, a common problem area in the contralto voice. The use of “slower” triplets
makes it easier for the voice to maneuver the register change (Ex. 21).
27
In Act IV, Madam By-Ends sings a solo vocal line of simplicity with the use of dotted
and triplet rhythms found within (Ex. 20). This rhythmic technique frequently appears
throughout Vaughan Williams’s complete oeuvre adds interest to his folk melodies (like that
found in Ex. 22) while simultaneously accounting for the sensitivities applicable to the contralto
voice.
Example 21, The Pilgrim’s Progress, Act II Scene II, mm. 1378-1383
Example 22, The Pilgrim’s Progress, Act IV, Scene I, mm. 2367-2368
28
The use of triplets in sustained vocal lines is commonly found both in the contralto roles
of Vaughan Williams’s operas and in the contralto solos from his choral compositions. In Five
Tudor Portraits (Ballad), immediately following an E5, the contralto sings the descending triplet
“Alas”, and then returns to the original pitch (Ex. 23). Vaughan Williams effectively uses
repetitive triplet rhythms throughout this work, in order to provide the contralto minimal
exploitation of her limitations in vocal flexibility.
Example 23, Five Tudor Portraits, Romanza, mm. 210-212
The examples examined in this chapter elucidate Vaughan Williams’s knack for
manipulating rhythm without compromising and indeed fostering a dramatic vocal line. The
continuous use of triplet rhythms is one of the ways Vaughan Williams addresses the contralto’s
limited flexibility. He challenges the singer’s flexibility with melismas featuring triplets but also
keeps the vocal line sustained to the ends of phrases.
As Vaughan Williams addresses both flexibility and tessitura in his contralto repertoire,
so he exploits two strong characteristics: the ability to sustain long vocal lines and the emphasis
of the contralto’s lower range. These two characteristics will be discussed with reference to the
same opera roles and contralto solos as in the previous section.
29
The Shining Ones, an off-stage trio, are three separate roles requiring three different
female voice types (soprano, mezzo-soprano, and contralto). The contralto part supports the trio
by singing several shorter phrases with an emphasis on a legato line (Ex. 24).
Example 24, The Pilgrim Progress, Act I, Scene II, mm. 430-433
As with the other choral works, in addition to the issues of tessitura and flexibility,
sustainability is addressed in Serenade to Music. The first contralto solo (Ex. 25) “Music! Hark!
It is your music of the house”, focuses on a sustained vocal line with limited motion.
Example 25, Serenade to Music, mm. 167-173
The third solo “Silence bestows that virtue on it”, is perhaps the most sustained solo
excerpt of the work (Ex. 26). However, it does require limited flexibility by using eighth notes
within the sustained vocal line. These eighth notes propel the line forward while maintaining the
integrity of the legato line.
30
Example 26, Serenade to Music, mm. 178-181
Maintaining a high tessitura can be challenging for contraltos; conversely, the low
tessitura represents one of the singer’s strengths. The range for the role of Aunt Jane (C4-F5)
does not extend as low as other contralto roles (e.g. refer to Maurya and Empress); however
Vaughan Williams provides numerous passages for Aunt Jane that exploit the bottom segment of
the range. In “Life must be full of care” (Ex. 27), Aunt Jane’s aria from Act I, the phrase
descends to the lowest part of the tessitura (anchored by C4), which is then maintained through
the cadence, avoiding any abrupt shift in vocal register.
Example 27, Hugh the Drover, “Life must be full of care” mm. 684-688
31
Vaughan Williams was aware that one of the greatest assets of the contralto voice is the
strong lower extension of the range. Therefore, he uses lower pitches in specific places that will
not only be easily sung by the contralto but also add to the dramatic effect of the music. The
empress sings the command, “bow before my will imperious,” a place in the opera where the
audience would expect great strength in the voice (Ex. 28). He executes this by text painting on
the word “imperious” and by a descending octave (C5-C4) on two half notes marked on a
fortissimo dynamic.
Example 28, The Poisoned Kiss, Act III, No. 40 “Invocation”, mm. 56-58
The biggest asset of the contralto voice is the ability to sing and sustain lower pitches in
one’s range. Vaughan Williams prominently showcased this part of the tessitura in his contralto
repertoire. In the final two measures of the contralto solo in Magnificat (Ex. 29), Mary’s text “be
it unto me according to thy word”, is syllabically set to eleven pitches spanning G3 to Db4.
Vaughan Williams also marks this example senza misura to give the contralto flexibility with
this phrase and how it is technically executed by the contralto voice.
32
This example is one of the many in this work featuring a senza misura marking. Vaughan
Williams uses it as a way to support the voice without requiring extreme agility while still
providing a vocal line with movement.
Example 29, Magnificat mm. 251-252
Similarly in Five Tudor Portraits (Romanza) the vocal line sits between C3-Eb3 in a
chant-like rhythm on a soft dynamic (Ex. 30). This excerpt shows off the lower part of the
contralto’s range and the ability the voice has to sing a soft dynamic low in the range.
Example 30, Five Tudor Portraits, Romanza, mm. 386-388
Vaughan Williams uses the contralto’s lower range as a strength of the voice type and to
his advantage. In the last section of her solo, the vocal line begins low in the voice and uses that
note as a springboard to move into the middle register of the voice (Ex. 31).
33
For instance, the text ‘Then began she to weep’ starts on a C3 and leaps up a perfect fifth
into the middle register of the voice. This movement aids the contralto in reaching the middle
notes (Ab-A-Ab-G) without singing through the rough transition between the chest and middle
vocal registers. This technique makes it easier for the voice to keep the line sustained through the
end of the last phrase.
Example 31, Five Tudor Portraits, Ballad, mm. 385-387
The final contralto solo in Serenade to Music explores the contralto’s lower range (Ex.
32). The first half of the phrase begins in a medium high range while the latter half descends and
sustains in the lower part of the voice. This technique addresses the power of the contralto’s low
range while keeping it in an appropriate tessitura for the voice type.
Example 32, Serenade to Music, mm. 191-196
34
CHAPTER 5
CONCLUSION
The contralto voice remains one of the most unacknowledged and rare voice types today.
The number of women listing themselves as ‘contralto’ has significantly decreased over the last
century and has almost disappeared on today’s opera stage. Also, the continual use of the
counter-tenor voice instead of the contralto has also added to the issue at hand. The presence of
contralto repertoire solely in collections and anthologies that include mezzo-soprano works adds
to the identity crisis suffered by contraltos and their voice type. The definition of ‘contralto’ has
consequently become somewhat vague. However, the contralto repertoire of Ralph Vaughan
Williams offers a unique body of music designed for the contralto voice and specifically
addresses the issues of flexibility and tessitura and the strengths of sustained singing throughout
the voice’s range and especially within the lower register. Nevertheless, this repertoire is not
easily accessible for singers and voice teachers, as is evident by the absence of any anthology of
Vaughan Williams’s contralto arias or solos. Vocal scores are the main source of this music,
however even some scores are not widely available or do not provide the complete work (e.g. The
Poisoned Kiss, a score which omits the Empress’s aria, “When I was young”). Despite these
difficulties, specific recordings of these works may prove useful to singers and voice teachers
wanting to explore the repertoire.46 Educators, students, and pedagogues may examine the solo
opportunities illustrated in this study to garner a greater understanding of the voice type’s
repertoire and how it best exemplifies and illuminates the capabilities of the contralto.
46 Riders to the sea, with contralto, Sarah Walker, Hugh the Drover with contralto, Helen Watts, The Shepherds of the Delectable Mountains, Magnificat, A Song of Thanksgiving, Psalm 100, Three Choral Hymns with contralto, Catherine Wyn-Rogers, and Vaughan Williams Five Tudor Portraits with contralto, Elizabeth Bainbridge.
35
APPENDIX
THE CONTRALTO ROLES OF RALPH VAUGHAN WILLIAMS
36
Opera/Choral Work Role Range
Hugh the Drover Aunt Jane C4-F5
Sir John in Love Mistress Quickly B3-F# (Ab5)
The Poisoned Kiss Empress C4-F5
Riders to the Sea Maurya C4-F5
The Pilgrim’s Progress Pick Thank D4-Eb5
Madam By-Ends Eb4-E5
Cup-bearer E4-E5
The Shining Ones (Contralto) E4-E5
Magnificat Choral Solo G3-G5
Five Tudor Portraits Choral Solo B3-F5
Serenade to Music Choral Solo A3-F5
37
BIBLIOGRAPHY
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Day, James. Vaughan Williams. New York: Oxford University Press, 1998.
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Heffer, Simon. Vaughan Williams. London: Weidenfeld & Nicolson, 2000.
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Howes, Frank Stewart. The Later Works of R. Vaughan Williams. London: Oxford University
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Kagen, Sergius. Music for the Voice: A descriptive list of concert and teaching material.
Bloomington: Indiana University Press, 1968.
38
Kennedy, Michael. The Works of Ralph Vaughan Williams. London: Oxford University Press,
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Klein, Hermann. Great Women-Singers of My Time. New York: E.P. Dutton & Company, 1931.
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Pleasants, Henry. The Great Singers. New York: Simon & Schuster, 1966.
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Scholes, Percy A. The Mirror of Music. London: Oxford University Press, 1947.
Steane, J. B. Voices: Singers and Critics. Portland, OR: Amadeus Press, 1992.
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Adrian, Walter. "The Contralto Voice." Musical Times, Vol. 74, No. 1085 (1933): 636.
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Forbes, Elizabeth, Owen Jander, and J.B. Steane. “Contralto.” The New Grove Dictionary of
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39
Myers, Eric. “Sweet and Low: The case of the vanishing contralto.” Opera News. Vol. 61, No. 7
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Scores
Douty, Nicholas, ed., Oratorio Repertoire Alto Voice. Bryn Mawr, PA: Theodore Presser Co.,
1923.
Elgar, Edward. Sea Pictures: A Cycle of Five Songs for Contralto. Piano/Vocal Score. Boca
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Northcote, Sydney, ed., Contralto Songs: The New Imperial Edition. London: Boosey and
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Vaughan Williams, Ralph. Hugh the Drover: A Romantic Ballad Opera. Piano/Vocal Score.
Libretto by Harold Child. London: J. Curwen & Sons Ltd., 1959.
40
Vaughan Williams, Ralph. Magnificat: for Contralto Solo, Women’s Chorus, Flute, and
Pianoforte. Piano/Vocal Score. London: Oxford University Press, 1932.
Vaughan Williams, Ralph. The Pilgrim’s Progress. Piano/Vocal Score. London: Oxford
University Press, 1952.
Vaughan Williams, Ralph. The Poisoned Kiss. Piano/Vocal Score. Libretto by Evelyn Sharp
London: Oxford University Press, 1936.
Vaughan Williams, Ralph, Riders to the Sea. Piano/Vocal Score. Libretto by J. M. Synge.
London: Oxford University Press, 1936.
Vaughan Williams, Ralph. Serenade to Music. Orchestral Score. London: Oxford University
Press, 1961.
Vaughan Williams, Ralph. Five Tudor Portraits. Full Score. London: Oxford University Press,
1971.
Vaughan Williams, Ralph. Sir John in Love. Vocal/Piano Score. London: Oxford University
Press, 1971.
Discography
Vaughan Williams, Ralph. Riders to the sea, Household music, Flos campi. With Linda Finnie,
Karl Daymond, Lynne Dawson, Ingrid Attrot, Pamela Helen Stephen, Philip Dukes.
Hickox, Richard, dir. © 1995 by Chandos. CD.
Vaughan Williams, Ralph. Riders to the Sea. Directed by Louis Lenton. Kultur Video Inc, 2008.
DVD.
Vaughan Williams, Ralph. Hugh the Drover. With Sheila Armstrong, Helen Watts, Robert Tear,
Robert Lloyd, Michael Rippen. Royal Philharmonic Orchestra. cond. Sir Charles Groves.
© 1979 by Angel SCBX. LP.
Vaughan Williams, Ralph. The Shepherds of the Delectable Mountains, Magnificat, A Song of
Thanksgiving, Psalm 100, Three Choral Hymns. With Catherine Wyn-Rogers, Corydon
Singers. City of London Sinfonia. Best, Matthew, dir. © 1991 by Hyperion. CD.
41