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String Orchestra. Fantasia on a Theme by Thomas Tallis. Non PD in EU. Fantasia on a Theme by Thomas Tallis is a work written in 1910 by British composer Ralph Vaughan Williams, and premiered that same year to great success. The piece, scored for string orchestra, was created using a melody which renaissance composer Thomas Tallis wrote in 1567 ...
Symfonie nr. 8 (Vaughan Williams) Authorities WorldCat; Wikipedia; VIAF: 182465355; LCCN: no96047051: Composer Vaughan Williams, Ralph: I-Catalogue Number I-Cat. No. IRV 88 Key D minor Movements/Sections Mov'ts/Sec's: 4 movements: Fantasia (Variazioni senza Tema). Moderato (D minor) Scherzo alla marcia (per stromenti a fiato). Allegro alla ...
Vaughan Williams's Fantasia on a Theme by Thomas Tallis – a quick guide to the best recordings Gramophone Thursday, February 16, 2017 A quick overview of the greatest recordings of Vaughan Williams's Tallis Fantasia
A Timeline. Vaughan Williams’ mother was Margaret Wedgwood. She was a direct descendant of pottery magnate, Josiah Wedgwood, and a niece of Charles Darwin, author of the Origin of Species. Her family home was ‘Leith Hill Place’, a farm estate near the village of Coldharbour, a few miles from Dorking in Surrey.
Fantasia on a Theme by Thomas Tallis For double stringed orchestra and solo quartet. Revised in 1913 and 1919. 1935 English Folk-Songs Suite for full orchestra. See Orchestral Works 1921-30. 1921-30 Prelude and Fugue in C minor For orchestra. Dedication: To Henry Ley. Prelude composed September 1921 and revised July 1923. Fugue composed August ...
Symphony No. 8 (Vaughan Williams) Ralph Vaughan Williams 's Symphony No. 8 in D minor was composed between 1953 and 1955. Sir John Barbirolli, its dedicatee, conducted the Hallé Orchestra in the premiere at the Kings Hall in Manchester, on 2 May 1956. It is the shortest of the composer's nine symphonies, and is mostly buoyant and optimistic in ...
18. Dez. 2022 · Vaughan Williams gave a copy of the printed full score of the Fantasia on a Theme by Thomas Tallis to Boult in January 1922, but it was another ten years before he conducted it. The reasons for this are unclear: perhaps Boult was initially doubtful of the work’s effectiveness in a concert hall, as opposed to a cathedral or large church where the spatial separation of the strings would make a ...