1

Ralph Vaughan

Williams'

A Pastoral Symphony:

Not really Lambkins

frisking at all.

2

Introduction

Ralph Vaughan Williams’ Symphony no. 3 “A Pastoral Symphony” successfully combines

the elements of both English Folk Music and French Impressionism to create an ambiguous

atmosphere, and a rich modal harmony. In relation to Vaughan Williams’ compositional

output and style, it is said that

“[VaughanWilliams’] harmonies often reflect the modality of folk-song, but

also include Debussian and Ravelian Impressionist touches… [his] style is a

synthesis of… [impressionist] orchestral colour, and English folk-song

elements... and [he is] able to write in a rich post-Romantic vein tinged with

modal harmonies.”1

Through the analysis of Symphony no. 3, this essay will examine Vaughan Williams’

synthesis of English Folk music and Impressionism with specific reference to the use

of pitch and tone colour. Firstly, Vaughan Williams’ unusual treatment of tonality, and

his interesting treatment of dissonance and bitonality will be discussed. Secondly, in

reference to tone colour, Vaughan Williams’ use of compositional devices and

instrumentation will be analysed. All of this will be in relation to how Vaughan

Williams constructs a distinct blend of English Folk Music and French Impressionism.

In order to understand how Vaughan Williams employs these two musical genres, the

context and features of English Folk Music and French Impressionism will firstly be

explored through the lens of the concepts of music.

Folk music

Folk Music is often described as “varied blossoms of the same stock”2, with peasant song and

church chant emerging from the thousand year ‘stock’ of monophonic, modal music. Before

the introduction of Art Music in the 17th

century, melodies were rarely composed, but instead,

existing melodies were manipulated and adapted over time. An example of this can be seen in

the comparison of the two English folk-tunes in figure 1.1 and 1.2.

1 Oracle ThinkQuest. 1998. The Symphony an interactive guide. [ONLINE] Available at:

http://library.thinkquest.org/22673/v-w.html. [Accessed 23 May 13].

2 Carlton, Richard. "Folk - Song, Chant, and the English Symphonic Renaissance. A Case Study of Ethnic

Musical Identity." International Review of the Aesthetics and Sociology of Music 24.2 (1993): 129-42. Print

100

200

300

3

Figure 1.1 ‘Bushes and Briars’ (Essex) from Vaughan Williams on Music3

Figure 1.2 ‘This is the Truth’ (Herefordshire) from Vaughan Williams on Music4

Both tunes use a natural minor (G Aeolian) and have similar contours. The similarities in the

opening and ending are highlighted in green. (Passing notes are in purple brackets). Outlined

in blue is an exact phrase in both, excepting two repeated notes. (repeated notes are in

brackets). In the red brackets is a pitch sequence of Bb A G D. (Passing and repeated notes

are in brackets.) Finally, the last phrase in each song uses similar contouring, as demonstrated

by the orange arrows.

3 Vaughan, Williams Ralph, and David Manning. Vaughan Williams on Music. Oxford: Oxford UP, 2008. Print.

4 Ibid

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It is interesting to note that Vaughan Williams may have used other composers’ melodies, as

well as his own in this manner, such as ‘The Miller of the Dee’ as revealed in fig.4.7 and 4.8,

page 14. Once scales replaced modes, composers started writing their own melodies5. English

Folk Music can be easily characterised and identified through its treatment of pitch, duration

and texture. English Folk Music is characterised by its heavy use of Greek modes† (Fig. 1.1

and 1.2), and use of pentatonic scales. (Fig. 1.3)

Figure 1.3 ‘Down by the Sally Gardens’ (English/Irish 1889) By William Butler Yeats

Melody in English Folk Song uses a wide compass and often features leaps of wide intervals.

For example, in London Pride below. Outlined in green is the span of an octave in essentially

three notes.

Figure 1.4 ‘London Pride’

5 Sharp, Cecil J., and Lucy E. Broadwood. "Some Characteristics of English Folk-music."Folklore. 2nd ed. Vol.

19. N.p.: Taylor & Francis, 1908. 132-52. Print.

† Greek modes (also known as church modes) were adopted by the Roman Catholic church, and eventually by

the people of England.

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Finally, English Folk Music uses repeated melodic figures such as an ascending scale, or non-

harmonic passing notes. Non-harmonic passing notes in folk music feature regularly between

4ths and 5ths. For example:

Figure 1.5: Passing notes

Impressionism

Impressionism was a period of European music and art centred in France, which lasted circa

1875 to 1925. Two prominent people who composed in this style of music were Claude

Debussy (1862 – 1918) and Maurice Ravel (1875 – 1937). It is interesting to note that

Vaughan Williams may have been influenced by Ravel, who was his composition teacher

from 1907 to 1908.

Impressionist music was known for its atmospheric and suggestive mood, as can be seen in

Debussy’s evocative work “Prelude a l’Apres midi d’une faune”. Impressionist music can be

distinguished through its unique treatment of structure and pitch. Some typical characteristics

of Impressionism include irregular phrasing, ambiguous form, avoidance of traditional

harmonic chord progressions and unresolved dissonances6.

Whole-tone scales were often used, for example in Voiles from Debussy’s Preludes Book 1 in

figure 1.6

Figure 1.6: ‘Voiles’ Bars 1-4

Pentatonic scales were also often used, as can be seen in Voiles again (Fig.1.7). The scale

used in figure 1.7 is a Gb

major pentatonic scale.

Figure 1.7 ‘Voiles’ Bars 43-45

6 Kauble, Martin E. "The Impressionist Period." Piano Studio of Martin E. Kauble, NCTM. Farnell Web Design,

2004. Web. 27 June 2013. <http://www.kaublepianostudio.com/history/impressionistic.html>.

4th 4th

or

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Due to the fascination with the medieval, Impressionist composers frequently experimented

with modes. Figure 1.8 demonstrates a D Aeolian scale being used in Debussy’s Des pas sur

la neige from Preludes Book 1.

Figure 1.8 ‘Des pas sure la neige’ Bars 1-3

Colourful harmonies, extended chords and parallel chords were used - as can be seen in

Ravel’s Le Gibet from Gaspard de la Nuit (Fig. 1.9) - to create an illusion of bitonality, and

thus creating ambiguity.

Figure 1.9 ‘Le Gibet’

Outlined in red are successive parallel 9th

chords, of Eb9

, Cb9,

Db9

, and Ab9

.

Vaughan Williams uses the characteristics of Impressionism, in combination with the features

of Folk Music, as discussed earlier, to create a feeling of distance, and to convey an image of

war.

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Body

Symphony no. 3 “A Pastoral Symphony” – About the work

Symphony no. 3 was completed in 1922, following Vaughan Williams’ involvement in WWI,

serving in the Royal Army Medical Corps in France. His comment on it was “it's not

really lambkins frisking at all as most people take for granted” as rather it is an elegy for the

dead and a meditation on war than a programmatic piece depicting a pastoral landscape. This

symphony is in four movements, mostly relatively slow and calm in nature.

Modality and tonality

As discussed, both English Folk Music and Impressionism largely feature the use of modes.

This is due to the traditional treatment of music within English folk music and the fascination

with the medieval within Impressionism.

Ralph Vaughan Williams throughout this work manipulates modality and tonality in differing

ways to ultimately create an ambiguous sound. Richard Carlton says “Symphony no. 3 is

modal in the opening movement, exploring what has been termed ‘polymodality’ from a

pentatonic theme.”7 Vaughan Williams has used the Impressionist device of polymodality to

create a sense of bitonality. The first movement begins in what seems at first to be G

mixolydian between the bassoon, clarinets and flutes, but Vaughan Williams infuses hints of

G dorian in addition.

Figure 2.1 ‘A Pastoral Symphony’ Movement 1 bars 1-5 woodwind section

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7 Carlton, Richard. "Folk - Song, Chant, and the English Symphonic Renaissance. A Case Study of Ethnic

Musical Identity." International Review of the Aesthetics and Sociology of Music 24.2 (1993): 129-42. Print

8

Oscillating chords are used in the opening, by the woodwinds, centred around a G major

chord (in green). It is in G mixolydian until the introduction of a Bb in bar three by the

clarinet (in red), when it is suggested to be in G dorian. This polymodality is one way in

which ambiguity is introduced in the work. Furthermore, this is an example of how Ralph

Vaughan Williams effectively combines the modality of English folk music and the

ambiguity of French Impressionism.

As can be seen in the melody of the harp (Fig. 2.2, ), Vaughan Williams has employed the

compositional technique of successive parallel chords using modal harmonies.

Figure 2.2 ‘A Pastoral Symphony’ Movement 1 bars 4-5 harp part

These parallel chords take on a melodic function as there is no dominating pitch, or melody

within the chord. By utilising these chords, Vaughan Williams has avoided defining a tonal

centre, which successfully induces the uncertain mood of the piece.

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The opening of Symphony no. 3 is reminiscent of the opening of Stravinsky’s ballet

‘Petrushka’ in terms of melody and harmony.

Figure 2.3 ‘Petrushka’ bars 1-12

Petrushka was composed in 1911; eleven years before Symphony no. 3. Therefore the

similarity between this work and Symphony no. 3 is significant as Ralph Vaughan Williams

may have been influenced by Stravinsky. This opening features modal oscillating harmony,

comparable to the opening of Symphony no. 3. The instrumentation of the two works is also

very similar, and the use of register is comparable between the two works. The cellos in this

work are used in a high register (highlighted in green), similar to the high register of the

bassoon in Symphony no. 3 (Fig. 2.1, page 6) producing a strained tone and slightly ‘out of

tune’ sound. Highlighted in red in the flute part (fig 2.3) is the use of a non-harmonic passing

note (of a second) placed between the interval of a fifth. This is often seen in English folk

music, and will be discussed later in figure 4.7 and 4.8, page 15-16.

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Stravinsky’s style in Petrushka is significant in this discussion as it can be compared with

Ralph Vaughan Williams’ compositional style. This piece is classified as Russian Folk

Music8. Furthermore, Stravinsky is also often recognised to have impressionist elements

fused into his pieces9.

The pentatonic scale was used in both Impressionism and English folk music, and Ralph

Vaughan Williams has made use of this scale in this work, to effectively combine these two

styles. Vaughan Williams has manipulated the main theme in the fourth movement –in A

Aeolian – by modulating it into an E major pentatonic scale at J (Fig. 2.3). By using the

pentatonic scale, Vaughan Williams has slightly disguised the tonal centre in this section

without the presence of a 4th

and 7th

degree in the scale.

Figure 2.4 ‘A Pastoral Symphony’ Figure J, Movement 4 (flute melody)

Thus, with the fusion of the concepts of tonality within the style of Impressionism and

English folk music, Vaughan Williams has effectively produced an ambiguous sound, by

using differing modes and scales to ultimately convey a feeling of contemplation and

distance.

8 Sternfeld, Frederick W. "Some Russian Folk Songs in Stravinsky's Petrouchka." Notes. Vol. 2. N.p.: Music

Library Association, 1945. 95-107. Print. Ser. 2. 9 Ramos, Paul John. "Stravinsky - Le Sacre Du Printemps." Classical Net. Classical Net, 2003. Web. 13 May

2013. <http://www.classical.net/music/comp.lst/works/stravinsky/lesacre90.php>.

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Harmony

Unresolved dissonance, bitonality and unusual chord progressions were normally featured in

Impressionist music.

Ralph Vaughan Williams uses bitonality in this work in both obvious and obscure ways to

create a sense of dissonance and unrest. The most visible way can be seen in the opening of

movement two with a natural horn in F (major) (outlined in red) playing against an F minor

chord. The E, G and A within the melody of the horn (highlighted in blue) clash with the

orchestral accompaniment involving an F and an A flat, creating dissonance and ambiguity.

Figure 3.1 ‘A Pastoral Symphony’ Movement 2, bars 1-8

Another instance of dissonance can be seen in the combination of chords that Vaughan

Williams uses. For example, in the first movement in the second bar at rehearsal mark E

within the string section, (Fig. 3.2) Vaughan Williams has superimposed A major, G major

and F major triads upon each other (outlined in green) creating dissonance and bitonality.

This further creates a momentary cluster of harmony, which is then resolved.

Figure 3.2 ‘A Pastoral Symphony’ Movement 1, figure E b. 1-8

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A particularly hidden example of dissonance and polymodality can be seen in the 4th

movement in the 4th

bar of figure A (Moderato maestoso) (Fig. 3.3). The melody/harmony

(highlighted in red) and the accompanying bass (highlighted in blue) are in two completely

separate keys. The melody and harmony in the upper and middle woodwinds (in parallel

chords) are in D dorian, whereas the parallel chords of the lower woodwinds and harp are in

B flat Lydian, which is quite an uncommon scale to use. This does not sound bitonal as no

dissonance is involved, until the 9th

bar of A with the interspersion of a B minor chord

(outlined in purple). The B minor chord harmonically clashes with the second chord that the

upper and middle woodwinds play in that bar. Essentially the C in the woodwind harmony

(outlined in orange) clashes with the B.

Figure 3.3 ‘A Pastoral Symphony’ Movement 4, figure A b. 1-12

Bar 1 2 3 4 5 6 7 8 9 10 11 12

Bar 1 2 3 4 5 6 7 8 9 10 11 12

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In ‘A Pastoral Symphony’, Vaughan Williams frequently avoids traditional harmonic chord

progressions. In doing this, he often uses both unconventional chord patterns and extended

chords. In Impressionist music, harmonic and melodic conventions were often broken by

treating a chord as a melody itself. At figure Q in movement three, (Fig. 3.4) Vaughan

Williams treats the harmony as a melody itself10

- as discussed earlier in figure 2.2 - and he

uses thick ‘colourful’† chords.

This movement is in a medieval style, as Impressionist composers had a fascination with

medieval sounds. However, despite the medieval nature of this movement, Vaughan Williams

has utilised many extended chords unbefitting to the medieval genre, and instead belonging to

the impressionist genre.

This can be heard in figure 3.4 bar 5 (in red), where Bbmaj

7 and A

bmaj

6 chords are used.

Figure 3.4 ‘A Pastoral Symphony’ Movement 3, figure Q b. 2-13

10

Kauble, Martin E. "The Impressionist Period." Piano Studio of Martin E. Kauble, NCTM. Farnell Web

Design, 2004. Web. 27 June 2013. <http://www.kaublepianostudio.com/history/impressionistic.html>.

†’Colourful’ chords refer to the extended chords used by impressionist composers. They are termed ‘colourful’

as they may contain notes belonging to other keys, at times masking the tonal centre.

Bar 2 3 4 5 6 7 8 9

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Highlighted in green is a C cluster chord, and in blue is an Abmaj

11 chord.

Figure 3.5, piano reduction of figure 3.4

By using these complex chords, Vaughan Williams creates interest in this movement as he

blends a traditional medieval style with a more modern interpretation.

Therefore, with Vaughan Williams’ manipulation of regular dissonance, polymodality and

unusual chord progressions, he is able to effectively combine the elements of English Folk

Music and impressionist styles to construct a rich harmony, creating a feeling of unrest.

Tone Colour

Vaughan Williams includes instruments typically found in symphonic works, with the

addition of a harp, celesta and a solo voice. Despite this additional performing media,

Vaughan Williams’ orchestration is reminiscent of Debussy’s ‘Prelude a l’apres-midi d’un

faune,’ with flourishes from the harp in a typical impressionist manner.

Bar 10 11 12 13

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Figure 4.2 and 4.3 harp part from ‘A Pastoral Symphony’ and ‘Prelude a l’Apres-midi d’un

Faune’

Vaughan Williams has also used the natural trumpet (rehearsal mark F) and horn (rehearsal

mark L) “so that only natural notes may be played and that the 7th

partial and 9th

partial

should have their true intonation” as given by his performance instruction. The purpose of

using these traditional and primitive instruments is to give the 7th

and 9th

degree notes a

slightly out-of-tune sound. Vaughan Williams has also imitated a bugle call; the instrument of

war. This furthers the distant and ambiguous mood of this movement, which is a meditation

on war itself.

Figure 4.4 ‘A Pastoral Symphony’ 2nd

movement Trumpet solo (F) and horn solo (L)

A Pastoral Symphony

1st movement b. 9-12

Prelude a l’Apres-Midi D’une

Faune (bars 7-8)

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Vaughan Williams has experimented with tessitura with the utilisation of the bassoon in a

high register (Fig.2.1 page 7) in the opening of this work. The bassoon, when used in its

higher register produces a tone colour which is quite lyrical. Vaughan Williams has

experimented with this unusual use of instrumentation to overall contribute to a distant and

contemplative mood. This can be comparatively viewed with Stravinsky’s ‘The Rite of

Spring’, which also features a high bassoon melody in the opening. The bassoon in a high

register in this instance produces a strained and eerie tone.

Figure 4.5 ‘The Rite of Spring’ Opening bars, bassoon solo

Figure 4.6 ‘A Pastoral Symphony’ Opening bars, bassoon part

Finally, in the 4th

movement, Vaughan Williams has included a solo wordless voice

lamenting a plaintive melody. This meandering melody is reminiscent of English folk song

(figure 4.8) and plainchant† from medieval music (fig. 4.9), as it is in an A Aeolian mode and

lacks a metre.

Figure 4.7 ‘A Pastoral Symphony’ Movement 4, bars 1-[3], solo voice

Evidence to demonstrate this English folk music style lies in the traditional version of ‘The

Miller of the Dee’ (Sussex) (Fig. 4.8) which uses the same Aeolian scale. These two melodies

seem to be quite similar as they heavily feature the accented non-harmonic passing note of G

(within A-G-E).

Figure 4.8 ‘The Miller of the Dee’ traditional version (Sussex) † Plainchant: a type of church chant that came after the Gregorian chant, similar in style as it

lacks a metre and often features melismas.

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Figure 4.8 ‘The Miller of the Dee’ (traditional version, Sussex) from Vaughan Williams

on Music11

Figure 4.9 ‘Ave Maris Stella’ circa 1230 (Wells, Somerset)

Since the voice is the most common performing media for traditional English Folk Songs, the

use of a voice in this symphony is quite appropriate.

By combining instruments in unusual ways, Vaughan Williams has given the piece a distinct

rustic simplicity often felt in English folk music. However, despite this, his use of

instrumentation also creates an oriental atmosphere, typical of some other Vaughan Williams

works, such as ‘The Lark Ascending’. Impressionist music contained vast amounts of Chinese

and South-East Asian influences, and Vaughan Williams in this case may have been inspired

by the works of Ravel and Debussy. Debussy often used exotic scales and melodies in his

work, such as the octatonic scale in his 1st string quartet and pentatonic scale in ‘Pagodes’

from Estampes. Ravel also used pentatonic scales such as in Ma mère l'oye. Vaughan

Williams has combined the oboe and clarinet in a pentatonic scale to imitate a Chinese flute

(Dizi). He also features a solo flute and viola simultaneously playing the same melody.

11

Vaughan, Williams Ralph, and David Manning. Vaughan Williams on Music. Oxford: Oxford UP, 2008.

Print.

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Through combining the Asian sound of the flute and the Western sound of the viola, Vaughan

Williams has achieved an overall unique blend of English folk music and French

impressionism.

Figure 4.10 ‘A Pastoral Symphony’ 2nd

Movement, figure B

Thus, with Vaughan Williams’ unique experimentation with tone colour in ‘A Pastoral

Symphony’, he has successfully combined the genres of English Folk Music and French

Impressionism by creating a patchwork of English and French sounds, which includes

influences of the Medieval and the Orient, furthermore generating a feeling of distance and

vagueness.

(CD Track 25)

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Conclusion

Through the analysis of this work, it can be proven that ‘A Pastoral Symphony’ includes

“Debussian and Ravelian Impressionist touches”, is a “synthesis of [Impressionist] orchestral

colour, and English folk-song elements”, and finally is written “in a rich post-Romantic vein

tinged with modal harmonies”. Vaughan Williams successfully combines the characteristics

of French Impressionism and English folk music to effectively create an atmospheric and

suggestive mood, which ultimately evokes a feeling of distance and ambiguity, as this

nationalistic piece is a reflection on both his life in England, as well as his time spent at war

in France.

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Bibliography

Books

Vaughan, Williams Ralph, and David Manning. Vaughan Williams on Music. Oxford: Oxford UP,

2008. Print.

Carlton, Richard. "Folk - Song, Chant, and the English Symphonic Renaissance. A Case Study of

Ethnic Musical Identity." International Review of the Aesthetics and Sociology of Music 24.2 (1993):

129-42. Print

Sharp, Cecil J., and Lucy E. Broadwood. "Some Characteristics of English Folk-music."Folklore. 2nd

ed. Vol. 19. N.p.: Taylor & Francis, 1908. 132-52. Print.

Sternfeld, Frederick W. "Some Russian Folk Songs in Stravinsky's Petrouchka." Notes. Vol. 2. N.p.:

Music Library Association, 1945. 95-107. Print. Ser. 2.

Palmer, Christopher. Impressionism in Music. New York: C. Scribner's Sons, 1974. Print.

Du, Noyer Paul. "Folk." The Billboard Illustrated Encyclopedia of Music. New York: Billboard,

2003. 222-33. Print.

Articles from Journals

Kimmel, William. "Vaughan William's Melodic Style." The Musical Quarterly 27.4 (1941): 491-99.

Print.

Manning, David. "Listening to the Pastoral Symphony." The Ralph Vaughan Williams Society

Journal 36 (2006): n. pag. Print.

Jordan, Rolf. "The Grandeur of Desolation: A Rumination on the Pastoral Symphony." The Ralph

Vaughan Williams Society Journal 36 (2006): n. pag. Print.

Aldridge, Jeffrey. “Some notes on A pastoral symphony.” Journal of the RVW society 21 (June

2001): 29-31.

Grimley, Daniel M. “Landscape and distance: Vaughan Williams, modernism and the symphonic

pastoral.” In British musical modernism (1895-1960). Ed. Matthew Riley. Aldershot: Ashgate,

2010,147-74.

Webpages

Schwartz, Steve. "Vaughan Williams - Notes on the Symphonies." Classical Net. N.p., 2000. Web. 13

Mar. 2013. http://www.classical.net/music/comp.lst/works/v-w/v-wsymoverview.php>.

Oracle ThinkQuest. 1998. The Symphony an interactive guide. [ONLINE] Available at:

http://library.thinkquest.org/22673/v-w.html. [Accessed 23 May 13].

Kauble, Martin E. "The Impressionist Period." Piano Studio of Martin E. Kauble, NCTM. Farnell

Web Design, 2004. Web. 27 June 2013.

<http://www.kaublepianostudio.com/history/impressionistic.html>.

Ramos, Paul John. "Stravinsky - Le Sacre Du Printemps." Classical Net. Classical Net, 2003. Web. 13

May 2013. <http://www.classical.net/music/comp.lst/works/stravinsky/lesacre90.php>.

21

Scores

Vaughan Williams, R. 1922 Pastoral Symphony, London, Boosey & Hawkes Music Publishers. 1952.

Print

Anon. ‘Bushes and Briars’ from Vaughan, Williams Ralph, and David Manning. Vaughan Williams

on Music. Oxford: Oxford UP, 2008. Print.

Anon. ‘This is the Truth’ from Vaughan, Williams Ralph, and David Manning. Vaughan Williams on

Music. Oxford: Oxford UP, 2008. Print.

Butler Yeats, W. ‘Down by the Sally Gardens’ accessed from Walshaw, Chris. "Down by the Sally

Gardens." Abc Notation. N.p., n.d. Web. 3 May 2013.

<http://abcnotation.com/tunePage?a=trillian.mit.edu/~jc/music/abc/mirror/mindspring.com/~thornton.

rose/SallyGardens/0001>.

Anon. ‘London Pride’ from Sharp, Cecil J., and Lucy E. Broadwood. "Some Characteristics of

English Folk-music."Folklore. 2nd ed. Vol. 19. N.p.: Taylor & Francis, 1908. 132-52. Print.

Debussy, C. Voiles. 1910. Preludes, Book 1, Los Angeles, Alfred Publishing Co. 1992. Print

Debussy, C. Des pas sur la neige. 1910. Preludes, Book 1, Los Angeles, Alfred Publishing Co. 1992.

Print

Ravel, M. Le Gibet. Gaspard de la Nuit, Paris, Durand, 1909

Stravinsky, I. Petrushka. 1912. Mineola. Dover Publications. 1988. Print

Debussy, C. Prelude A L’apres-midi d’une Faune. 1895. New York. Dover Publications. 1981. Print

Stravinsky, I. The Rite of Spring. 1913. Mineola. Dover Publications. 1989. Print

Anon. ‘Ave Maris Stella’. Accessed from Ottaway, Helen. "Benchmarks." Palace Intrusions. N.p.,

n.d. Web. 14 June 2013. <http://www.palaceintrusions.org.uk/benchmarksb.html>.

Discography

Ralph Vaughan Williams: Symphony No. 3 ‘A Pastoral Symphony’, The Lark Ascending, Symphony

No. 5 in D major (2013), CD, Past Classics

Debussy Complete Orchestra Works, Vol. 1, (2007), CD, Vox

Debussy: Preludes (Book 1), (1978), CD, Deutsche Grammophon GmbH, Hamburg

Celtic Road, (2011), CD, ABC, Sydney

Stravinsky:Petrushka – The Firebird – The Rite of Spring – Orpheus, 1998, Universal International

Music

22