A Folk Song Collection arranged by Ralph Vaughan Williams,Cecil Sharp, Lucy Broadwood, Percy Grainger, Gustav Holst,Ethel Smyth and others

The English Singers, Glasgow Orpheus Choir, Fleet Street Choir,Conchita Supervia, Steuart Wilson, Frederick Ranalow,

Leon Goossens, Adrian Boult, Malcolm Sargent, Hugh Roberton‘I Love My Love’ - A Folk Song Collection

1 The Turtle Dove (arranged Ralph Vaughan Williams) 2’122 Just as the Tide was Flowing (arranged Ralph Vaughan Williams) 2’203 Down in yon Forest (arranged Ralph Vaughan Williams) 2’264 An Acre of Land (arranged Ralph Vaughan Williams) 1’345 A Farmer’s Son (arranged Ralph Vaughan Williams) 1’316 Ca’ the Yowes (arranged Ralph Vaughan Williams) 2’547 The Dark-Eyed Sailor (arranged Ralph Vaughan Williams) 1’588 It’s of a Lawyer (arranged Ralph Vaughan Williams) 1’169 We’ve been a-while a-wandering (arranged Ralph Vaughan Williams) 1’59

10 Wassail Song (arranged Ralph Vaughan Williams) 2’48The English Singers (Nellie Carson, Flora Mann, Lillian Berger,Norman Notley, Norman Stone, Cuthbert Kelly)

11 The Keys of Canterbury (arranged Cecil Sharp) 2’3512 Rio Grande (arranged Steuart Wilson) 3’1413 The Crocodile (arranged Lucy Broadwood) 3’22

Steuart Wilson (tenor) and Gerald Moore (piano)

14 Admiral Benbow (arranged Cecil Sharp) 2’02Frederick Ranalow (baritone) with piano accompaniment(pianist not credited but likely to be Frederick Kiddle)

15 O No, John! (arranged Cecil Sharp) 2’26Conchita Supervia (mezzo-soprano) and Ivor Newton (piano)

16 Sea Sorrow (from Songs of the Hebrides) 3’56(Marjory Kennedy-Fraser, arranged Granville Bantock) Glasgow Orpheus Choir conducted by Sir Hugh Roberton

17 I Love my Love (arranged Gustav Holst) 4’23The Fleet Street Choir conducted by T.B. Lawrence

18 The Crystal Spring (arranged Cecil Sharp) 2’2219 I will give my love an apple (arranged Ralph Vaughan Williams) 1’28

Girls from Secondary Modern School in North Midlands (aged 11 – 15)

20 Tuesday Morning (arranged Ralph Vaughan Williams) 4’04(from the opening scene of Act 1 of Hugh the Drover)Mary - Mary Lewis (soprano), The Constable - William Anderson (baritone), John the Butcher - Frederick Collier (baritone), Ballad-Seller Ballad-Seller - Trefor Jones (tenor), British National Opera Companyconducted by Malcolm Sargent

21 Londonderry Air (arranged Fritz Kreisler) 3’36Leon Goossens (oboe), Clarence Raybould (piano)

22 Brigg Fair (arranged Percy Grainger) 2’20Norman Stone (tenor), Oriana Madrigal Society conducted by G. Kennedy Scott

23 Two Interlinked French Folk Melodies (Ethel Smyth) 4’27Light Symphony Orchestra conducted by Adrian Boult

24 A Shropshire Lad (George Butterworth) 7’54British Symphony Orchestra conducted by Adrian Boult

25 The Turtle Dove (arranged Ralph Vaughan Williams) 3’31Glasgow Orpheus Choir conducted by Sir Hugh Roberton

Total time 74’22

Additional Details including recording dates and matrix numbers where available:Tracks 1–10 from Roycroft Records (USA) 151, 155, 156, 158, 159, 160, 162) (recorded 1928)Track 11 from Decca F 1835 (recorded 1 July, 1930: MB 1561)Tracks 12 & 13 from Decca F 1655 (recorded 8 October 1929: MB 530 & MB 529)Track 14 from Vocalion R-6012 (recorded 1919)Track 15 from Parlophone RO 20193 (recorded 17 March, 1932: LO 3004)Track 16 from HMV C 3639 * (recorded 19 September 1947: 2EA 12254)Tracks 17 from Decca K 1021 * (recorded 26 May, 1941: AR 5794)Tracks 18 & 19 from HMV C 3679 * (recorded 16 May 1947: 2EA 11949)Track 20 from HMV D 922 * (recorded 3 October 1924: Cc5052)Track 21 from Columbia DB 691 * (recorded 15 June 1931: CA11311)Track 22 from HMV E 473 (recorded 4 July 1927: BR 276)Track 23from HMV DB 3762 (recorded 3 March 1939: 2EA 7636)Track 24 from HMV D 520 (recorded 16 November, 1920: Ho 4618/9)Track 25 from HMV C 3463 * (recorded 8 November, 1945: 2EA 10764)

* All tracks are from 78s in the collection of David Michell or of Stephen Connock

There are two iconic moments in the history of folk song collection in England; thefirst involved Cecil Sharp and the second Ralph Vaughan Williams. Sharp wasstaying with his mother-in-law in Headington, East Oxford, on Boxing Day, 1899when he heard the Headington Quarry Morris Dancers perform outside theircottage. He asked them to return the next day and duly noted five tunes. Hislifelong enthusiasm for folk song had begun. The revelatory moment for VaughanWilliams had come on 4 December, 1903 when he heard the shepherd, CharlesPotiphar, sing Bushes and Briars at Ingrave, near Brentwood, Essex. As VaughanWilliams put it: “I knew and loved the few English folk songs which were thenavailable in printed collections, but I only believed in them vaguely… my faith wasnot yet active.” Hearing Bushes and Briars “set all my doubts about folk song atrest” and Vaughan Williams’ musical style was to change for ever.The history of folk song collecting in Britain owes much to the energy andenthusiasm of both Cecil Sharp and Ralph Vaughan Williams. By 1907, Sharp hadcollected between 1,200 and 1,300 songs in Somerset alone – he would in totalcollect over 3,000 songs in the UK – and Vaughan Williams during the years 1904to 1914 collected over 800 songs. He devoted around thirty days each year to thisactivity. Vaughan Williams was joined by Gustav Holst, George Butterworth,Martin Shaw and others who were inspired by the beauty, simplicity and economyof folk song.Of course, the folk song revival was not begun by either Sharp or VaughanWilliams. John Broadwood had published Sussex Songs in 1843 and Carl Engel hadwritten The Literature of National Music in 1878. The Rev. Sabine Baring-Gouldpublished Songs of the West in 1889. Shortly after, collections appeared from LucyBroadwood and J. A. Fuller Maitland (1893) as well as by Frank Kidson (TraditionalTunes, 1891). The Folk Song Society had been established in 1898 and the energy

‘I Love My Love’ A Folk Song Collection

levels and contribution of the Society increased considerably when Sharp andVaughan Williams were elected to the Committee after 1903.Many of the early collectors focused on folk song in education and published booksaimed at school-children, with regularly barred accompaniment. Therefore Sharp,Vaughan Williams, Butterworth, Shaw and others presented the folk songs in a verystraightforward way – “beauty achieved by the very simplest means”. Holst andGrainger, amongst others, were tempted to “put in the expression” in theaccompaniment. The folk song arrangements of Benjamin Britten take this evenfurther and become more akin to art-songs when the arranger, as Peter Pears put it,“takes the tune as if he had written it himself and thinks himself back as to how hewould turn it into a song”. Such arrangements can be quite elaborate and move folksongs some way from Cecil Sharp’s obligation on the folk song collector to “recordwhat he hears, no more and no less”.This Albion Records release focuses on many folk songs of classical beauty, presentedin generally straightforward arrangements, collected in the early years of the 20thcentury. There is a depth of humanity in these songs that connects us to a not-so-distant past. The stories and sentiments they describe, of love, war, courtship,separation and the vagaries of the seasons, can make us smile, empathise and,sometimes, still move us to tears.

1 The Turtle Dove (arranged Vaughan Williams)

This gentle folk song was collected by Vaughan Williams from the landlord of thePlough Inn in Rusper, West Sussex between 2nd and 4th of May, 1906. Sometimesknown as Ten Thousand Miles, this vow of fidelity – ‘I never will prove false to thebonny lass I love’ – first appeared in printed form as a broadsheet in the 18thcentury. Robert Burns reworked the song as My Love is Like a Red Red Rose (1794)and Cecil Sharp included it in his Folksongs from Somerset (Second Series, No. 40,

1908–11). Vaughan Williams’ arrangement, featuring a baritone soloist, isunderstated and quite lovely.

2 Just as the Tide was Flowing (arranged Vaughan Williams)

Found in broadsheets dating from 1813, the arrangement included here is lessexplicitly sensual than some others. For example, the last line of stanza three, insome versions, says:O being weary we both sat down underneath a tree whose branches hung around,And what was done shall ne’er be known, just as the tide was flowing.Stanza four, in these alternate versions, refers to the flow of ‘ale and wine andbrandy’ and ‘success to the girl that will do just so, just as the tide was flowing’.Despite Vaughan Williams’ earthy humour, his choral setting, included in FiveEnglish Folk Songs (1913) presents a more straightforward, rather sweet, tale of asailor meeting his true love. Perhaps, even in 1913, it was best to be more subtle.

3 Down in yon Forest (arranged Vaughan Williams)

A rather mysterious English carol, with its references to the knight ‘whosewounds do bleed by day and night’, dates from the early part of the 16th century.This Corpus Christi Carol has inspired settings by Peter Warlock and BenjaminBritten, amongst others, and is suggestive of the legends surrounding the HolyGrail. An earlier version of the text adds that the words ‘Corpus Christi’ werewritten on the stone ‘which the sweet Virgin Mary knelt upon’ indicating thatthe meaning was eucharistic. Vaughan Williams collected it from a Mr J. Hall inCastleton, Derbyshire, in 1908 and included the carol in both his EightTraditional English Carols (1919) and in the Oxford Book of Carols (1928).Martin Shaw arranged another version of this carol as All Bells in Paradise(1928).

4 An Acre of Land (arranged Vaughan Williams)

This 19th century folksong, sometimes known as Sing Ivy, was collected byVaughan Williams from a Mr Francis (Frank) Bailey, an ex-soldier, in CoombeBissett, Wiltshire on 31 August, 1904. It was first published in Songtime, editedby Percy Dearmer and Martin Shaw, in 1915 and Vaughan Williams returned tothis harvest song in the Autumn section of Folk Songs of the Four Seasons as lateas 1949.With the father leaving his son just an acre of land, the song is full of riddles andfocuses on such tasks as reaping the land with a penknife. Setting suchimpossible feats is rather ironic and may represent a common theme ofhardship in English folk song. The melody, however, does not suggest suchdeprivation, being rather upbeat, and seems more about the fun of ‘delightfulimpossibilities.’

5 A Farmer’s SonNot to be confused with A Farmer’s Boy (‘The sun went down beyond yon hill’)which Vaughan Williams arranged in 1921, A Farmer’s Son So Sweet was takenfrom Cecil Sharp’s Folk Songs from Somerset and also arranged in late 1921 formale voices. It was dedicated to the English Singers. An apparentlystraightforward folksong, with a suitably soothing melody, the reference instanza four to: ‘My friends are dead and gone, and I am left alone’ is notreflected in the charming arrangement included here.

6 Ca’ the Yowes (arranged Vaughan Williams)

This Scottish folk song, with words by Robert Burns, was arranged by VaughanWilliams for tenor solo and mixed chorus in 1922. It is a moving, lyrical settingwith a most poignant use of the tenor solo against rich choral harmonies. Oneof Vaughan Williams’ most beautiful arrangements.

7 The Dark-Eyed Sailor (arranged Vaughan Williams)

Another folk song which Vaughan Williams included in his Five English FolkSongs (1913) for unaccompanied mixed chorus. This setting is marked andantequasi allegretto. Published as a broadsheet in 1836, the folk song is a classic‘broken-token’ morality story whereby two lovers share each half of a gold ringbefore he, William, departs for sea. The ‘maiden fair’, known as Ada in somevariants of the story, fears that William’s part of the ring is ‘rolling in the bottomof the sea’. However, William returns and, although initially she does notrecognise him, he shows to her his half of the ring and all is well. They marry andthe moral of the tale is told: ‘So all maids be true when your love’s away, for acloudy morning brings forth a pleasant day.’

8 It’s of a Lawyer (arranged Vaughan Williams)

The lawyer misses out on the charms of a fair maid, who would sooner be a poorman’s wife than be at a lawyer’s side for ‘they are the worst of women’ – a line notincluded in the variant sung on this disc. Vaughan Williams collected the folksong at Lower Beeding near Horsham in West Sussex on 22 December, 1904from a Ted Baines, labourer, who was born just after the passing of the GreatReform Act in 1832. Vaughan Williams set The Lawyer for voice and violin in1935. The setting here was arranged in the late 1920s for mixed chorusspecifically for the English Singers and first performed in London on 13 June,1927 as a run-through for this recording in America in 1928. Once again,Vaughan Williams was to include this folk song in his Folk Songs of the FourSeasons in 1949 in a version collected by George Butterworth known as TheGreen Meadows.

9 We’ve been a-while a-wandering (arranged Vaughan Williams)

A wassail song, collected by the composer in South Yorkshire and firstpublished in 1919 in the Eight Traditional English Carols in a setting for unisonchoir. The tune is memorable, deeply redolent of Christmas. It is in the Aeolianmode, with a burden to each verse: For it’s Christmas time, when we travel far and near, May God bless you and send you a happy new year!

10 Wassail Song (arranged Vaughan Williams)

Another toasting-song, this time from Gloucestershire. Cecil Sharp alsocollected a Somerset Wassail Song which was arranged by Martin Shaw for theOxford Book of Carols in 1928. This Vaughan Williams arrangement wasincluded in the Oxford Book of Carols at No. 31. It was collected, with MrsLeather, in Pembridge, Herefordshire in August, 1910. Vaughan Williams chosethis folk song to conclude his Folk Songs of the Four Seasons in 1949. It is amemorable setting, perfect for playing and singing on Christmas Eve when no-one, even today, should let those jolly wassailers stand out in the cold.

11 The Keys of Canterbury (arranged Sharp)

This catchy tune was sung in both England and Scotland and first printed in1849. Sometimes known as Madam, will you walk? or The Keys of Heaven, it isa courtship song which, in this version collected by Cecil Sharp, has the ladyaccepting her suitor’s hand after the offer of a ‘broidered silken gown’. Otherversions are more romantic than this, with the marriage only being sealed whenthe man says: Oh, madam, I will give to you the keys to my heart, And all the love’s that’s in it and we nevermore shall part.

Yet other variants have the woman accepting marriage after the offer of money,only for the man to then reject her as being only interested in his materialpossessions!

12 Rio Grande (arranged Wilson)

This British sea shanty, with around twenty variants, it also known as Away, Rioor Bound for the Rio Grande. The Rio Grande referred to may not be thatbetween Texas, New Mexico and Mexico but rather a destination in Brazil, aconclusion derived from these lines, not included in the setting recorded here: We’re bound to the south’ard, me bully boys all, Bound out to the Brazils, me bully boys all.This folk song was generally sung on ships leaving the west coast of England forNorth and South America. Stueart Wilson’s arrangement uses lines from manyvariants, allowing full expression to his wonderful ringing tenor.

13 The Crocodile (arranged Broadwood)

Also referred to as The Wonderful Crocodile, this folk song was collected by LucyBroadwood in 1891 at Buckland Newton in Dorset. The jaunty allegro settingfollows Broadwood’s philosophy of keeping the accompaniment as simple aspossible. She published it as part of a section called ‘Songs of the Sea’ in EnglishCounty Songs (edited with J. A. Fuller Maitland, 1893). The version that LucyBroadwood collected exaggerates the features of the crocodile way beyond othervariants. For example, here the creature measures a thousand miles ‘from hisnose to the tip of his tail’ – in other versions it is a mere, and very believable, fivehundred miles! Such fables or ‘wonder songs’, often featuring giant mythicalcreatures, are a feature of British folk song. Another example is the Beast ofBodmin Moor. The absurdity of The Crocodile is its strength, especially whensung to children.

14 Admiral Benbow (arranged Sharp)

Cecil Sharp, in One Hundred English Folksongs (1916) refers to the text of thissong being taken from Halliwell’s Early Naval Ballads of England (1841). JohnBenbow (1653–1702) ran away to sea from the butcher’s shop to which he wasapprenticed and entered the navy. Remarkably for someone from such ahumble origin, he rose to Admiral in which capacity he engaged the Frenchfleet, off the West Indies, between 19 and 24 August, 1702. With an Englishforce of just seven ships, only one of Benbow’s captains stood by him – the restrefused to fight. Benbow was wounded in the attack that followed with hisright leg shattered by a chain shot. The captains that had stood aside thenpersuaded Benbow to return to Jamaica. This he did and on his return heordered the court-martial of his shirking captains. Subsequently, two (Kirbyand Wade, mentioned in the song) were sentenced to be shot and wereexecuted on board the Bristol, in Plymouth Sound, on 16 April, 1703. By then,Benbow had died of his wounds on 4 November, 1702.This narrative folk song, from Somerset, is typical of many such songs ofbravery at sea, especially if they feature ‘an honest rough seaman’ as Benbowundoubtedly was.

15 O No, John! (arranged Sharp)

Cecil Sharp collected this song from a William Wooley in Bincombe, OverStowey, West Somerset; he was to collect four versions in Somerset alone. Itwas published in the Fourth Series of Folk Songs from Somerset in 1908. Thetheme of the folk song, as stated in stanza two of the variant included here, isthe daughter’s promise to her father to answer ‘No’ to all her suitors during hisabsence at sea. For this reason, the song is sometimes known as The SpanishMerchant’s Daughter. It originated as a ballad and, as another ‘courtship song’,has a link to The Keys of Canterbury (track 11).

Steuart Wilson also recorded a fine version of this folk song on Decca F 1835.However, we preferred to include this version by Conchita Supervia (1895–1936),recorded in March 1932, for its beguiling charm.

16 Sea Sorrow (Am Bron Mara) (Kennedy-Fraser, arranged Bantock)

This traditional Scottish folk song was taken down from the chanting of MaryMacdonald in Mingulay and arranged by Marjory Kennedy-Fraser as one of theSongs of the Hebrides (1907, 1921). Sir Granville Bantock (1868–1946) was deeplymoved by the music of Scotland and this empathy produced some of his finestworks, including the Hebridean Symphony (1913) and the Celtic Symphony(1940). He was a friend of Marjory Kennedy-Fraser (1857–1930) andcollaborated with her on his two-act opera The Seal-Woman (1924). He arrangeda number of Hebridean songs, including, in 1916, this lush setting of Sea Sorrow,for double chorus and contralto solo, for his friend Hugh Roberton, conductor ofthe Glasgow Orpheus Choir. They are featured on this recording.

17 I Love my Love (arranged Holst)

Holst included this folk song as number five of his Six Choral Folk Songs (1916)for mixed chorus, with an alternative version for male chorus only. Thetraditional words and melody were collected around 1904 by George Gardiner(1852–1910) in Cornwall. Imogen Holst said of this setting: ‘The quietpersistence of the sopranos’ and altos’ curving phrase in I love my love binds thewhole story together’. More generally, she said that Holst found in folk music: ‘thesimplicity and economy that he needed in his own music. These short tunesseemed to contain within themselves the whole of what he wanted to say.’(Imogen Holst: The Music of Gustav Holst, 1968, p. 16).

Holst’s setting is both moving and restrained. The parents of the maid’s lover have‘sent my love to sea’ and as a consequence they have ‘ruined me’. She has beencommitted to ‘Bedlam’, the Bethlem Royal Hospital now in West Wickham, Kent(but previously in Bishopsgate and then in Southwark in London) which handledpatients with mental illness. Her lover returns and flies to her arms in the hospital –to be sung con passione. They marry and the moral of the tale is told in the laststanza: ‘All pretty maids with patience wait that have got loves at sea’. Sadly, therepeat of the refrain at the end, the same song as the maid sang in Bedlam with thechains rattling in her hands, suggests her mental illness remained.

18 The Crystal Spring (arranged Sharp)

Sharp collected this song from a William King in East Harptree in Somerset, fivemiles north of Wells on 25 August, 1904. He published it in his Folk Songs fromSomerset, Second Series, in 1911. Another ‘courtship song’, the last stanza bears astrong affinity with The Turtle Dove (tracks 1 and 25)

19 I will give my love an apple (arranged Vaughan Williams)

Vaughan Williams arranged this folk song as part of Novello’s School Songs, forunison singing, in 1912. The song was noted by H. E. D. Hammond (1866–1910)from one J. Burrows in Sherborne, Dorset in July, 1906. The origins of the folk songare obscure but it seems to have been part of a ‘riddle song’. Another variant has asecond stanza, omitted here, which asks the questions: How can there be an apple that has no core? How can there be house that has no door?The questions having been answered in the third stanza (second here) there is arefrain in some other versions which seems related to the riddle: So never go rushing, maids, I say Never go rushing in the month of May…

None of this matters much to the girls aged 11 to 15 who sing this song withwonderful freshness and innocence on this HMV recording.

20 ‘Tuesday Morning’ from Hugh the Drover, Act 1 (Vaughan Williams)

Vaughan Williams’ first opera, Hugh the Drover, had a libretto by Harold Child(1869–1945), a feature writer for The Times newspaper. It was begun in 1910 andfinished in vocal score in May 1914. The opera had to wait until 1920 to be fullyscored. Vaughan Williams’ intention was to write a genuinely English opera, boxingmatch, stocks, may-day carols, the Constable, soldiers, the maiden aunt, Morrisdancing and all. It has a wonderful range of lyrical melodies for Hugh and Marywhich Michael Kennedy has compared to Puccini. If later VW operas are moremature, Hugh the Drover has a special place in the affection of those who admirethis composer.A number of traditional tunes are used in the opera including Primroses, MariaMartin, Maying Song and the psalm-tune York. The Act 1 song, Tuesday Morning, issung by Mary after the first stanza is presented by a Ballad-Seller. It was collected byCecil Sharp under the title The Sign of the Bonny Blue Bell in September, 1903 inHambridge, Somerset.In this excerpt from the opera, the poignant folk song brings home to Mary her lackof enthusiasm for the proposed marriage with John the Butcher, set for the followingday. Mary’s father, the Constable, views John as a good match since he earns ‘threehundred pounds a year’. The bullying and blood-thirsty sides of John are shown inhis song that follows, leaving Mary to draw back – ‘I’m yours tomorrow; I’m my owntoday!’

21 Londonderry Air (arranged Kreisler)

This much-loved air was collected by singer Jane Ross in New Town, Limavady andpublished in The Ancient Music of Ireland in 1855. The well-known vocal setting

(Oh, Danny Boy, the pipes, the pipes are calling…) dates from 1913. This version,beautifully performed by Leon Goossens (1897–1988) was arranged by the violinistFritz Kreisler (1875–1962) in 1922.

22 Brigg Fair (arranged Grainger)

Percy Grainger (1882–1961) became influenced by Cecil Sharp’s enthusiasm forcollecting English folk song and North Lincolnshire proved to be a successful andrich source for the composer. At the Brigg Festival of 10–11 April, 1905, he heardMr Joseph Taylor, a bailiff from Saxby-All-Saints, sing Creeping Jane for which hewon first prize, of 10 shillings and sixpence, at the Festival. Frank Kidson was thejudge. Joseph Taylor also sang the lovely Brigg Fair which prompted Grainger towrite to Winefride Lewis (1868–1959) saying that the results of the Festival were sorousing that: ‘I am going to see I get a week off some time in the summer and do asort of bike tour through Lincolnshire gathering tunes.’ He found some of the bestsingers in the Brigg workhouse.Joseph Taylor only remembered the first two stanzas so Grainger added versesfrom related folk songs from Sussex when he came to arrange his setting for tenorand mixed chorus in 1906. It was first performed at the 1906 Brigg Festival with thecomposer conducting and Gervase Elwes as the soloist. Grainger showed thehaunting tune to Delius in 1907 who then went on to compose his own version ofBrigg Fair as an orchestral rhapsody, which he dedicated to Percy Grainger. At thefirst performance on 31 March, 1908 in London, Grainger had invited JosephTaylor to the concert. It seems that, on hearing the tune, Taylor stood up and sangalong with the orchestra.

23 Two Interlinked French Folksongs from Entente Cordiale (Smyth)

Dame Ethel Smyth (1858–1944) is, perhaps, best known for her operas TheWreckers and The Boatswain’s Mate and as a writer, Suffragette and feminist; shewrote several works for ‘the Cause’. She was a friend of Tchaikovsky, who strongly

influenced her music, and of G. Bernard Shaw whose encouragement was ofimmense importance to her, especially in the mid-1920s. Despite having been a‘law breaking Suffragette’, she received the honour of Dame Commander of theOrder of the British Empire in January, 1922 and declared: ‘It is curious how thethings you don’t want and never would dream of asking for, or suggesting toothers to ask for, come to you.’The Two Interlinked French Folksongs are from her one-act ballad-opera EntenteCordiale and date from 1925, being revised and re-arranged in 1928 and 1929.They are an arrangement of the ‘Intermezzo’ from the opera of 1923–24 whichthe composer described as ‘A Post-War Comedy’ to her own ‘divine libretto’which was ‘founded on fact’. There is much rustic humour in the opera whichmixes solo songs, vocal ensembles and spoken dialogue – much as VaughanWilliams was to do in 1936 with The Poisoned Kiss. The plot, which deals withmisunderstandings between British soldiers and the people of a small town inFrance in 1919 is replete with army slang and is unlikely to be performed.Ethel Smyth was affected by increasing deafness whilst writing the music. Shesaid in April, 1924: ‘My ears have got very, very bad. If they don’t get better, Imust give in and say good-bye to music.’ You would not guess at her difficultiesfrom these charming and delicate French melodies, based on a Burgundian‘vintage-song’ and a wistful Breton folk-tune. These French folksongs at leastensure that her last opera is not completely forgotten.

24 A Shropshire Lad – Rhapsody for Orchestra (Butterworth)

George Butterworth (1885–1916) was shot by a bullet through the head on 5August, 1916 at 4.45 a.m. He had been ordered to proceed as quickly as possiblefrom his position in the newly-dug but shallow and blown-in ButterworthTrench to take part in action at Munster Alley, just a short distance north of thevillage of Pozières in the Somme area of Northern France. He had beenpromoted Lieutenant for the 13/Durham Light Infantry in May, 1915 and

moved to the Somme in June, 1916. He was awarded the MC for his action atContalmaison on 27 July.What a loss to British music. What might he have achieved if the wound he hadsustained on 27 July had taken him to Blighty rather than – with unseemly haste –back to the front-line? His most important composition is A Shropshire Lad which hebegan composing whilst teaching at Radley School in 1909–10. He finished the workin 1911. Based on his earlier setting of Housman’s Loveliest of Trees, Butterworthdescribed it as being: “In the nature of an orchestral epilogue to my two sets ofShropshire Lad songs; the thematic material is chiefly derived from the melody ofLoveliest of Trees... The intention of the Rhapsody is to express the home-thoughts ofthe exiled ‘Shropshire Lad’”. It is music of a gentle, modal, elegiac style which recallsVaughan Williams’ war-inspired A Pastoral Symphony (1921) or Howells’ ruminativeQuartet in A minor (1916).This HMV version from 1920 is Adrian Boult’s first of four recordings of AShropshire Lad. He had attended the first performance on 2 October, 1913 and thework made a deep impression on him. This recorded performance is abridged, beingaround two minutes shorter than Boult’s other versions.

25 The Turtle Dove (arranged Vaughan Williams)

Our collection of folk songs returns to The Turtle Dove but in a very different settingof Vaughan Williams’ lovely folk song arrangement. Here the massed voices of theGlasgow Orpheus Choir under Sir Hugh Roberton provide a typically richinterpretation, taking well over three minutes compared to just over two minutes inthe English Singers’ lithe version heard at Track 1. That these two contrastingrecordings sound like different works shows how folk songs are capable of aremarkable variety of interpretation, from singer to singer, from choir to choir andfrom generation to generation.

© Stephen ConnockVice-President, The Ralph Vaughan Williams Society

1 THE TURTLE DOVE (arranged Vaughan Williams)Fare you well, my dear, I must be goneAnd leave you for a while;If I roam away I’ll come back againThough I roam ten thousand miles, my dear,Though I roam ten thousand miles.

As fair thou art my bonny lassSo deep in love am I;But I never will prove false to the bonny lass I loveTill the stars fall from the sky, my dear,Till the stars fall from the sky.The sea will never run dry, my dear,Nor the rock never melt with the sun;But I never will prove false to the bonny lass I loveTill all these things be done, my dear,Till all these things be done.O yonder doth sit that little turtle doveHe doth sit on yonder high tree;A-making a moan for the loss of his loveAs I will do for thee, my dear,As I will do for thee.

2 JUST AS THE TIDE WAS FLOWING (arranged Vaughan Williams)One morning in the month of MayDown by some rolling river,A jolly sailor, I did stray,When I beheld my lover.She carelessly along did strayA-picking of the daisies gay,And sweetly sang her roundelayJust as the tide was flowing.

Oh! her dress it was so white as milkAnd jewels did adorn her,Her shoes were made of a crimson silkJust like some lady of honour.Her cheeks were red, her eyes were brown,Her hair in ringlets hanging down;She’d a lovely brow without a frown,Just as the tide was flowing.I made a bow and said: ‘Fair maid,How came you here so early?My heart by you it is betrayedFor I do love you dearly.I am a sailor far from sea,If you will accept of my companyTo walk and view the fishes play.’Just as the tide was flowing.No more we said, but on our wayWe gang’d along together;The small birds sang and the lambs did play,And pleasant was the weather.When we were weary we did sit down,Beneath a tree with branches round;For my true love at last I’d found,Just as the tide was flowing.

3 DOWN IN YON FOREST (arranged Vaughan Williams)Down in yon forest there stands a hall, The bells of paradise I heard them ring,It’s covered all over with purple and pall, And I love my Lord Jesus above anything.In that hall there stands a bed,It’s covered all over with scarlet so red.

In that bed there lies a knight,Whose wounds do bleed by day and by night.At the bedside there lies a stone,Which the sweet Virgin Mary knelt upon.Under that bed there runs a flood,The one half runs water, the other runs blood.At the bed’s foot there grows a thorn,Whichever grows blossoms since he was born.Over that bed the moon shines bright,Denoting our Saviour was born this night.

4 AN ACRE OF LAND (arranged Vaughan Williams)My father left me an acre of land Ivy, sing ivery,My father left me an acre of land And a bunch of green holly and ivery.I ploughed it with a ram’s horn,I sowed it with a thimble,I harrowed it with a bramble bush,I reaped it with a penknife.I sent it home in a walnut shell,I threshed it with my needle and thread,I winnowed it with my handkerchief,I sent it to mill with a team of great rats.The carter bought a curly whip,The whip did pop and the wagon did stop.

5 A FARMER’S SON (arranged Vaughan Williams)A farmer’s son so sweet,Was keeping of his sheepAnd careless fell asleepWhile his lambs were playing.A fair young lady gay,By chance she came that wayAnd sound asleep he layWhom she loved so dear.She kissed his lips so sweet,As he lay fast asleep,‘I fear my heart will breakFor you, my dear.’She said: ‘Awake I pray,The sun is on the hay,Your flock will go astrayFrom you, my dear.’‘For your sweet sake alone,I wandered from my home,My friends are dead and gone,I am left alone.’His flock he laid aside,Made her his gentle bride,In wedlock she was tiedTo the farmer’s son.

6 CA’ THE YOWES (arranged Vaughan Williams)Ca’ the yowes to the knows, (Ca’ = call; yowes = ewes; knows = knolls)Ca’ them where the heather grows,Ca’ them where the burnie rowes, (burnie rowes = wild brook rolls)My bonnie dearie!Fair and lovely as thou art,Thou hast stown my very heart; (stown = stolen)I can die – but canna part,My bonnie dearie!While waters wimple to the sea, (wimple = ripple)While day blinks in the lift sae hie, (lift sae hie = rise so high)Till clay-cauld death sall blin’ my e’e, (cauld = cold; e’e = eye)Ye sall be my dearie!Ca’ the yowes to the knows,Ca’ them where the heather grows,Ca’ them where the burnie rowes,My bonnie dearie!

7 THE DARK-EYED SAILOR (arranged Vaughan Williams)It was a comely young lady fairWas walking out for to take the air,She met a sailor all on her waySo I paid attention to what they did say.Said William: ‘Lady, why walk alone?The night is coming and the day near gone.’She said, while tears from her eyes did fall,‘It’s a dark-eyed sailor that’s proving my downfall.

It’s two long years since he left the land,He took a gold ring from off my hand,We broke the token, here’s part with me,And the other half lies rolling at the bottom of the sea.’Then half the ring did young William show,She was distracted ‘midst joy and woe,‘O welcome, William, I’ve lands and goldFor my dark-eyed sailor, so manly, true and bold.’Then in a village down by the seaThey joined in wedlock and well agree.So maids be true while your love’s away,For a cloudy morning brings forth a shining day.

8 IT’S OF A LAWYER (arranged Vaughan Williams)It’s of a lawyer, fine and gayAs he rode to the city,Oh, there he spied on a lovely maid,She was handsome, fair and pretty.‘Good morning unto you fair maidAnd where are you a-going?’‘Down in yonder green meadows,’ said she,‘Where my father there is a-mowing.’‘So now you come to London,’ says he,‘It’s there a fine lady I’ll make you.There you shall enjoy a silken gown,Diamond rings and golden laces.’‘I’d rather be a poor man’s wife,And sit at my wheel a-spinning,Than I would be a lawyer’s jadeAnd go to London a-roaming.’So now she is a poor man’s wife,Her husband dearly loves her.She lives a sweet and contented life,There’s no lady in town above her.

9 WE’VE BEEN A-WHILE A-WANDERING (arranged Vaughan Williams)We’ve been a-while a-wandering amongst the leaves

so green,But now we come a-wassailing so plainly to be seen; For it’s Christmas time, when we travel far and near, May God bless you and send you a happy new year!We are not daily beggars that beg from door to door,We are our neighbours’ children, for we’ve been

here before;We’ve got a little purse made of leathern ratchin skin,We want a little of your money to line it well within;Call up the butler of this house, likewise the

mistress too,And all the little children that round the table go;So bring us out a table and spread it with a cloth,And bring us out a mouldy cheese and then your

Christmas loaf;Good Master and good Mistress, while you’re sitting

by the fire,Pray think of us poor children that’s wandered

in the mire.

10 WASSAIL SONG (arranged Vaughan Williams)Wassail, wassail, all over the town,Our bread it is white and our ale it is brown,Our bowl it is made of the green maple tree,In the wassail bowl we’ll drink unto thee.Here’s a health to the ox and to his right eye,Pray God send our master a good Christmas pie,A good Christmas pie as e’er I did see,In the wassail bowl we’ll drink unto thee.

Here’s a health to the ox and to his right horn,Pray God send our master a good crop of corn,A good crop of corn as e’er I did see,In the wassail bowl, we’ll drink unto thee.Here’s a health to the ox and to his long tail,Pray God send our master a good cask of ale,A good cask of ale as e'er I did see,In the wassail bowl we'll drink unto thee.Come butler, come fill us a bowl of the best,Then I pray that your soul in heav’n may rest,But if you do bring us a bowl of the small,May the devil take butler, bowl and all!Then here’s to the maid in the lilywhite smock,Who tripped to the door and slipped back the lock,Who tripped to the door and pulled back the pin,For to let these jolly wassailers walk in.

11 THE KEYS OF CANTERBURY (arranged Sharp)‘Oh, madam, I will give to you the keys of Canterbury,And all the bells in London shall ring to make us merry,If you will be my joy, my sweet and only dear,And walk along with me anywhere.’ ‘I shall not, sir, accept of you the keys of Canterbury, Though all the bells in London shall ring to make

me merry, I will not be your joy, your sweet and only dear, Nor walk about with you anywhere.’‘Oh, madam, I will give to you a pair of boots of cork,Though one was made in London, the other made

in York,If you will be my joy, my sweet and only dear,And walk along with me anywhere.’ ‘I shall not, sir, accept of you that pair of boots of cork,

Though both were made in London or both were made in York,

I will not be your joy, your sweet and only dear, Nor walk along with you anywhere.’‘Oh, madam, I will give to you a little golden bell,To ring for all your servants and make them serve

you well,If you will be my joy, my sweet and only dear,And walk along with me anywhere.’ ‘I shall not, sir, accept from you that little golden bell, To ring for all my servants and make them serve

me well, I will not be your joy, your sweet and only dear, Nor walk about with you anywhere.’‘Oh, madam, I will give to you a broidered silken gown,With nine yards a-trailing and drooping on the ground,If you will be my joy, my sweet and only dear,And walk about with me anywhere.’ ‘Oh, sir, I will accept of you that broidered silken gown, With nine yards a-trailing and drooping on the ground, And I will be your joy, your sweet and only dear, And walk about with you anywhere.’

12 RIO GRANDE (arranged Wilson)O, the anchor is weighed and the sails they are fair, Away, Rio!And the girls that we’re leaving we’ll never forget,For we’re bound for the Rio Grande. And away, Rio, My Rio! Sing fare thee well, my bonny young girl, For we’re bound for the Rio Grande.There all of the caps can take one more turn round, Away, Rio!

We’ll heave up the anchor for this jolly sound,For we’re bound for the Rio Grande.We’ll sing as we heave for the maidens we leave, Away, Rio!You know in parting how sadly we grieve,For we’re bound for the Rio Grande.Then heave with a will and heave long and strong, Away, Rio!And sing a good chorus for ‘tis a good song,For we’re bound for the Rio Grande.We’re bulled by the faery and bulled by the tool, Away, Rio!And you who are listening, goodbye to you,For we’re bound for the Rio Grande.

13 THE CROCODILE (arranged Broadwood)Now listen you landsmen unto me,To tell you the truth I’m bound,What happened to me by going to sea,And the wonders that I found;Shipwrecked I was once off Perouse,And cast upon the shore,So there I did resolve to roam,The country to explore. Tomy rit fal lal li bollem tit! Tomy rit fal lal li dee! Tomy rit fal lal li bollem tit! Tomy rit fall al li dee!‘Twas far I had not scouted outWhen close alongside the ocean,I saw something move which at first I thoughtWas all the world in motion;

But steering up close alongside,I thought ‘twas a crocodile,And from his nose to the tip of his tailHe measured a thousand mile.This crocodile I plainly could see,Was not of a common race,For I was obliged to climb a high treeBefore I could see his face.And when he lifted up his jaw,Though perhaps you may think it’s a lie,He reached above the clouds for miles three score;And almost touched the sky.While up aloft the wind was high,It blew a gale from the south.I lost my hold and away did flyRight into the crocodile’s mouth.He quickly closed his jaws on me,And thought he got a victim,But I ran down his throat, d’ye see,And that’s the way I tricked him.I travelled on for a month or twoTill I got into his maw,For I found there brown kegs not a fewAnd a thousand fat bullocks in store.Of life I banished all my careFor on grub I was not stinted;And in this crocodile I lived ten years,And very well contented.

This crocodile being very old,One day at last he died;He was ten long years a-getting cold,He was so long and wide.His skin was eight miles thick, I’m sure,Or very near about;For I was ten full years and moreA-cutting my way out.And now I am once more got on earth,I’ve vowed no more to roam.In a ship that passed I took a berth,And now I’m safe at home.And if my story you should doubt,Should you ever travel the Nile,It’s ten-to-one you’ll find the skinOf the wonderful crocodile.

14 ADMIRAL BENBOW (arranged Sharp)Come all you seamen bold, and draw near,,And draw near,Come all you seamen bold, and draw near,It’s of an admiral’s fameO brave Benbow was his nameHow he fought all on the mainYou shall hear, you shall hear.Brave Benbow he set sail, for to fight,For to fight,Brave Benbow he set sail, for to fight.Brave Benbow he set sail,With a fine and pleasant galeBut his captains they turn’d tailIn a fright, in a fright.

Says Kirby unto Wade: ‘We will run,We will run.’Says Kirby unto Wade: ‘We will run.For I value no disgraceOr the losing of my place,But the enemy I won’t faceNor his guns, nor his guns.’Then Ruby and Benbow fought the FrenchFought the French,Then Ruby and Benbow fought the French,They fought them up and down‘Till the blood came trickling down,‘Till the blood came trickling down,Where they lay, where they lay.Brave Benbow lost his legs by chain shotBy chain shot,Brave Benbow lost his legs by chain shot.Brave Benbow lost his legsAnd all on his stumps he begsFight on, my English lads,‘Tis our lot, ‘tis out lot.The surgeon dress’d his wounds, cries BenbowCries Benbow,The surgeon dress’d his wounds, cries Benbow.‘Let a cradle now in hasteOn the quarterdeck be placed,That the enemy I may face‘Til I die, ‘til I die.’

15 O NO, JOHN! (arranged Sharp)On yonder hill there stands a maiden,Who she is I do not know;I’ll go and court her for her beauty,She must answer yes or no: Oh no John, no John, no John, no!My father was a Spanish Captain,Went to sea a month ago.First he kissed me, then he left me,Bid me always answer ‘no’: Oh no John, no John, no John, no!Oh madam in your face is beauty,On your lips red roses grow,Will you take me for your lover?Madam, answer yes or no: Oh no John, no John, no John, no!Oh madam since you are so cruel,And that you do scorn me so,If I may not be your lover,Madam, will you let me go? Oh no John, no John, no John, no!Oh hark, I hear the church-bells ringing,Will you come and be my wife?Oh dear madam, have you settledTo live single all your life? Oh no John, no John, no John, no!

16 SEA SORROW (Kennedy-Fraser, arranged Bantock)Hu io ho hug o, hu io ho.Mouth of gladness! Music’s laughter!Sad that I am not beside thee.On ridge of ocean, shelf of shore,What place so e’er the tide has left thee.Side by side, my love, dear heart,Side by side, nor thought to part,Ever quiet to sleep a-falling,Croon of waves, O love our lulling song.Ah! my wound! he hears no more,Wave drown’d is my cry of woe.Mouth of gladness! Music’s laughter!Sad that I am not beside thee.Hear’st not my cry now?

17 I LOVE MY LOVE (arranged Holst)Abroad as I was walking, one evening in the spring,I heard a maid in Bedlam so sweetly for to sing;Her chains she rattled with her hands, and thus

replied she:‘I love my love because I know my love loves me!’‘O cruel were his parents who sent my love to sea,And cruel was the ship that bore my love from me;Yet I love his parents since they’re his although

they’ve ruined me;I love my love because I know my love loves me!’‘With straw I’ll weave a garland, I’ll weave it very fine;With roses, lilies, daisies, I’ll mix the eglantine;And I’ll present it to my love when he returns from sea.For I love my love because I know my love loves me.’

Just as she there sat weeping, her love he came on land,Then, hearing she was in Bedlam, he ran straight out

of hand;He flew into her snow-white arms, and thus replied he:‘I love my love because I know my love loves me.’She said: ‘My love, don’t frighten me; are you my love

or no?’‘Oh yes, my dearest Nancy, I am your love, alsoI am returned to make amends for all your injury;I love my love because I know my love loves me.’So now these two are married, and happy may they be,Like turtle doves together, in love and unity.All pretty maids with patience wait that have got

loves at sea;‘I love my love because I know my love loves me!’

18 THE CRYSTAL SPRING (arranged Sharp)Down by some crystal spring, where the

nightingales sing,Most pleasant it is, in season, to hear the groves ring.Down by the riverside, a young captain I espied,Entreating of his true love, for to be his bride.Dear Phyllis, says he, can you fancy me?All in your soft bowers a crown it shall be;And you shall take no pain, I will you maintain,My ship she’s a-loaded just come in from Spain.Whenever you dine, there you shall drink wine;And so sweetly in the season then you shall be mine.Like a lady so rare, I’ll maintain you so fair;There’s no lady in the navy with you shall compare.If e’er I prove false to my soft little dove,May the ocean turn desert, and the elements move;For wherever I shall be, I’ll be constant to thee,My heart is no rover, if I rove through the sea.

19 I WILL GIVE MY LOVE AN APPLE(arranged Vaughan Williams)I will give my love an apple without e’er a core,I will give my love a house without e’er a door,I will give my love a palace wherein she may be,And she may unlock it without any key.My head is the apple without e’er a core,My mind is the house without e’er a door,My heart is the palace wherein she may be,And she may unlock it without any key.

20 TUESDAY MORNING (from Hugh the Drover by Vaughan Williams)Ballad-Seller: Ballads, buy my ballads, all the new

ballads and songs, Three yards a penny.Chorus: Sing to us one of the old songs we love

so well.William: Sing us a love song.Chorus: Yes! a love song.Ballad-Seller : Have your way then. As I was a-walking one morning in spring To hear the birds whistle and the nightingale sing,Mary: So neat and so gay is my golden ring, Oh! I’m to be married on a Tuesday morning.Constable: Here have I, like a father wise and good, Picked her a husband – this young fellow here, Strong as an ox and fond of his good ale,Chorus : And earning his three hundred pounds a year.Constable: And here’s her aunt and she – the

stuck-up stuff – Tell you what ‘tis John, you’re not good enough!

Chorus: That’s it! You’re right! Not good enough!John : What! I not good enough? Show me a richer man in all this town, I’ll – knock him down. A stronger if you can, A better fed, I’ll crack his head! See here this brawny arm, An ox’s crown It crashes down, And the red blood runs warm. Of pig or goat I slit in the throat Who’s ready for a fall? Who’ll try my skill To smash or kill? I’m ready for you all. Your skulls I’ll break, Your bets I’ll take, And pop them in my till, I will, And pop them in my till.Constable : Not they, my boy! They know your fists

too well.John : Then all this pack of fools may go to hell! Come, Mary! finest man and trimmest maid Should show themselves together through the fair. Give me your arm, my wench, don’t be afraid.Mary : You’ve no right yet! Oh, you hurt me, stay! I’m yours tomorrow; I’m my own today!

22 BRIGG FAIR (arranged Grainger) It was on the fifth of August, er’ the weather fine

and fair, Unto Brigg Fair I did repair, for love I was inclined. I rose up with the lark in the morning, with my

heart so full of glee, Of thinking there to meet my dear, long time I’d

wished to see. I took hold of her lily-white hand, O merrily was

her heart: ‘And now we’re met together, I hope we ne’er

shall part’. For it’s meeting is a pleasure, and parting is a grief, But an un-constant lover is worse than any thief. The green leaves they shall wither and the branches

they shall die, If ever I prove false to her, to the girl that loves me.

25 THE TURTLE DOVE (arranged Vaughan Williams)Fare you well, my dear, I must be goneAnd leave you for a while;If I roam away I’ll come back againThough I roam ten thousand miles, my dear,Though I roam ten thousand miles.

So fair thou art my bonny lassSo deep in love am I;But I never will prove false to the bonny lass I loveTill the stars fall from the sky, my dear,Till the stars fall from the sky.The sea will never run dry, my dear,Nor the rocks never melt with the sun;But I never will prove false to the bonny lass I loveTill all these things be done, my dear,Till all these things be done.O yonder doth sit that little turtle doveHe doth sit on yonder high tree;A-making a moan for the loss of his loveAs I will do for thee, my dear,As I will do for thee.

David Michell

David Michell with one of his first78s in 1934 at the age of 5

David Michell in 2015

The recordings included on this CD are mainly taken from the collection ofDavid Michell.David was born in 1929 in Beckenham, South London, and began his passion forcollecting 78s in his very early years. He was educated at Gresham’s School andwent into a career in the railways. Retirement provided the opportunity to searchfor rare gramophone records with even more determination. By 2015, he hadcollected many thousands of discs. His records have been much sought after forreissue and Albion Records is deeply grateful to him for his support andencouragement.David plays his beloved 78s on an enormous EMG horn gramophone whichreproduces even the earliest of his discs with remarkable clarity and warmth.

Executive Producer and booklet notes: Stephen ConnockRecordings from the collection of David Michell and Stephen Connock. Albion Recordswould like to thank Andrew Neill whose advice and support have been essential to thisrecording, and Brian Godfrey for his assistance with recording dates and matrix numbers.The original 78s have been re-mastered by Pete Reynolds of Reynolds Mastering.The title of this CD, I Love My Love, is taken from the folk song that features in Track 17.Front cover: The Milkmaid by James Walter Gozzard (1888–1950), number 310 in a series ofpostcards published by J.W.B of London.Booklet and artwork: S L Chai (Colourblind)

Chairman: John FrancisDirector: Mark HammettFulfilment: Mark and Sue HammettA & R Manager: Charles PadleySince its formation in 1994, The Ralph Vaughan Williams Society – a registeredcharity with around 1,000 members worldwide – has sought to raise the profile of thecomposer through publications, seminars and sponsorship of recordings.The Society’s recording label, Albion Records, was formed in 2007 and is devoted torecordings of works by Vaughan Williams. Each recording contains at least one worldpremière recording. Two recordings (The Solent and Discoveries) were nominated for aGrammy award, and many recordings have spent some weeks in the UK’s specialistclassical chart.

Previous “archive” recordings, all still available, include:

About Albion Records

For further information visit:www.rvwsociety.com

rvwsociety.com/albionrecords

ALBCD014 Archive Recordings of VaughanWilliams: On Wenlock Edge,Merciless Beauty, Prelude onThree Welsh Hymn Tunes forbrass band, Five TudorPortraits, Bach – The GreatBourgeois (A talk by RalphVaughan Williams)

ALBCD023/024 The Pilgrim’s Progress: Thecomplete Radio Play from1943, starring John Gielgudand V C Clinton-Baddeley;Adrian Boult conducts the BBCSymphony Orchestra and thesingers in incidental music byVaughan Williams.

ALBCD027 Heirs and Rebels: Earlyrecordings of works by Holstand Vaughan Williams.