The Cambridge Companion to Vaughan Williams

An icon of British national identity and one of the most widely performed twentieth-century composers, Ralph Vaughan Williams has been as much misunderstood as revered; his international impact, and enduring influence on areas as diverse as church music, film scores, and popular music, has been insufficiently appreciated. This volume brings together a team of leading scholars, examining all areas of the composer’s output from new perspectives, and re-evaluating the cultural politics of his lifelong advocacy for the music-making of ordinary people. Surveys of major genres are complemented by chapters exploring such topics as the composer’s relationship with the BBC, and his studies with Ravel; uniquely, the book also includes specially commissioned interviews with major living composers Peter Maxwell Davies, Piers Hellawell, Nicola Lefanu, and Anthony Payne.

Vaughan Williams and contemporary music: composers' forum

Like many long-lived composers, Vaughan Williams suffered a decline in his reputation immediately following his death, as the emergence in the 1960s of a younger generation of composers rendered much of his work outmoded in the eyes of many critics. In recent years, however, the reception of Vaughan Williams's music among composers has improved markedly, a combination of the ebbing of the tide of high modernism and greater pluralism in contemporary music, and a growing awareness that Vaughan Williams was perhaps more modernist (or at least progressive) than had previously been thought. In interviews with four leading British composers (two of whom were part of the 1960s generation mentioned above), I investigate the nature and extent of Vaughan Williams's legacy to his successors, both musical and social. What emerges is a near consensus on Vaughan Williams's greatest works, but a diversity of views on his compositional techniques and on his place among his European contemporaries.

Becoming a national composer: critical reception to c.1925

The centrality of Vaughan Williams to British music in the first half of the twentieth century is now a commonplace in musicology, but this has not always been so. Prior to 1914 Vaughan Williams was regarded by a number of British critics as a figure of considerable potential, but of less interest than composers like Granville Bantock, Cyril Scott, and Joseph Holbrooke: a reflection, in part, of the many different strands that existed in musical modernism in pre-war Britain, as well as scepticism that Vaughan Williams's engagement with English folksong offered anything original. In this chapter, I consider this inauspicious early period of Vaughan Williams reception, when even works considered seminal today like the Fantasia on a Theme by Thomas Tallis were received by some critics with bewilderment, and the changes that took place in the years after World War One after which Vaughan Williams became the leader of British musical modernism. I argue that Vaughan Williams's emergence reflects a change in attitude by British critics to modernism in general, to their approach to musical criticism, and to Vaughan Williams's musical language; in particular I note the distinction increasingly drawn by critics between folksong arrangements and a musical language derived from folksong.

Bax and the 'Celtic North'

A feature of scholarship on Arnold Bax is his indebtedness, in his early works, to the Irish literary revival (particularly in the mythology-suffused works of 'AE' and early Yeats) and, in his later works, to the music of Jean Sibelius, and the relationship between these periods. I argue that this relationship, which I summarize by using Bax's portmanteau term of 'Celtic North', is underpinned by the stimulus of landscape, which, as well as being a means by which to return to the Romantic idea of the sublime, also provides a means by which Bax critiques the more modernist relationship with landscape that underpins the English pastoral school of the 1920s. Thus the 'Celtic North' is the antithesis to the English 'south land' of Vaughan Williams and others.

Multiple ionization of ions and atoms by intense ultrafast laser pulses

Non-sequential processes in the multiple ionization of Xe and Xe+ targets subject to intense femtosecond laser pulses have been investigated. A precise ratio has been determined for the direct comparison of ionization using circular and linear polarized fields. Suppression of non-sequential effects where an ionic target is compared to a neutral atom target has been confirmed.

An Absence of Ghosts: cultural and theatrical translation in the British Reception of The Mysteries-Yiimimangaliso

Mark Dornford-May’s widely-acclaimed adaptation of the medieval English Chester “mystery” plays, The Mysteries-Yiimimangaliso, reveal the extent to which theatrical translation, if it is to be intelligible to audiences, risks trading in cultural stereotypes belonging to both source and target cultures. As a South African production of a medieval English theatrical tradition which subsequently plays to an English audience, The Mysteries-Yiimimangaliso enacts a number of disorientating forms of cultural translation. Rather than facilitating the transmission of challenging literary and dramatic traditions, The Mysteries-Yiimimangaliso reveals the extent to which translation, as a politically correct - and thus politically anaemic - act, can become an end in itself in a globalised Anglophone theatrical culture.

Japan’s Blair Witch: Restraint, Maturity, and Generic Canons in the British Critical Reception of Ring

This essay examines the British critical reception of the Japanese horror ? lm Ring. Critics claimed that Ring was representative of a non-graphic, suggestive tradition in horror, and used the ?lm rhetorically to present a sense of difference from teen horror ?lms such as Scream.

‘The “English Disease” is to Look for a “Solution of the Irish Problem”’: British Constitutional Policy in Northern Ireland after Sunningdale 1974–1976

This article reconstructs British constitutional policy in Northern Ireland after power-sharing collapsed in May 1974. Over the following two years, the British government publicly emphasised that Northern Ireland would decide its own future, but ministers secretly considered a range of options including withdrawal, integration and Dominion status. These discussions have been fundamentally misunderstood by previous authors, and this article shows that Harold Wilson did not seriously advocate withdrawal nor was policy as inconsistent as argued elsewhere. An historical approach, drawing from recently released archival material, shows that consociationalists such as Brendan O'Leary and Michael Kerr have neglected the proper context of government policy because of their commitment to a particular form of government, failing to recognise the constraints under which ministers operated. The British government remained committed to an internal devolved settlement including both communities but was unable to impose one.

'Dancing at the English Opera':'Marie Salle's letter to the Duchess of Richmond

A letter from dancer Marie Salle to her patroness dated 1731 reveals her ambitions to dance at the English opera.