Ralph Vaughan Williams (Wikipedia featured)
Ralph Vaughan Williams ( RAYF vawn WIL-yəmz; 12 October 1872 – 26 August 1958) was an English composer.
拉尔夫·沃恩·威廉姆斯（RAYF vawn WIL-yəmz；1872年10月12日 - 1958年8月26日）是一位英国作曲家。
His works include operas, ballets, chamber music, secular and religious vocal pieces and orchestral compositions including nine symphonies, written over sixty years.
他的作品包括歌剧、芭蕾舞、室内乐、世俗和宗教声乐作品以及管弦乐作品，其中包括九部交响曲，创作时间超过六十年。
Strongly influenced by Tudor music and English folk-song, his output marked a decisive break in British music from its German-dominated style of the 19th century.
受到都铎音乐和英国民歌的强烈影响，他的作品标志着英国音乐与 19 世纪德国主导风格的决定性决裂。
Vaughan Williams was born to a well-to-do family with strong moral views and a progressive social outlook.
沃恩·威廉姆斯出生于一个富裕的家庭，有着强烈的道德观念和进步的社会观。
Throughout his life he sought to be of service to his fellow citizens, and believed in making music as available as possible to everybody.
在他的一生中，他致力于为同胞服务，并相信让每个人都能尽可能地接触到音乐。
He wrote many works for amateur and student performance.
他为业余和学生表演创作了许多作品。
He was musically a late developer, not finding his true voice until his late thirties; his studies in 1907–1908 with the French composer Maurice Ravel helped him clarify the textures of his music and free it from Teutonic influences.
他在音乐上是一个晚期的发展者，直到三十多岁才找到自己真正的声音。 1907年至1908年，他跟随法国作曲家莫里斯·拉威尔学习，帮助他理清了音乐的结构，使其摆脱了日耳曼音乐的影响。
Vaughan Williams is among the best-known British symphonists, noted for his very wide range of moods, from stormy and impassioned to tranquil, from mysterious to exuberant.
沃恩·威廉姆斯是英国最著名的交响乐家之一，以其丰富的情绪而闻名，从暴风雨、热情洋溢到平静，从神秘到旺盛。
Among the most familiar of his concert works are Fantasia on a Theme by Thomas Tallis (1910) and The Lark Ascending (1914).
他最广为人知的音乐会作品是托马斯·塔利斯（Thomas Tallis）的主题幻想曲（1910）和《云雀升天》（1914）。
His vocal works include hymns, folk-song arrangements and large-scale choral pieces.
他的声乐作品包括赞美诗、民歌改编和大型合唱作品。
He wrote eight works for stage performance between 1919 and 1951.
1919年至1951年间，他创作了八部舞台表演作品。
Although none of his operas became popular repertoire pieces, his ballet Job: A Masque for Dancing (1930) was successful and has been frequently staged.
虽然他的歌剧没有一部成为受欢迎的保留剧目，但他的芭蕾舞剧《工作：跳舞的假面》（1930）却很成功，并经常上演。
Two episodes made notably deep impressions in Vaughan Williams's personal life.
有两集给沃恩·威廉姆斯的个人生活留下了特别深刻的印象。
The First World War, in which he served in the army, had a lasting emotional impact.
第一次世界大战期间，他在军队服役，这对他的情感产生了持久的影响。
Twenty years later, though in his sixties and devotedly married, he was reinvigorated by a love affair with a much younger woman, who later became his second wife.
二十年后，尽管他已经六十多岁了，婚姻也很忠诚，但他因与一位年轻得多的女子的恋情而重新焕发活力，这位女子后来成为了他的第二任妻子。
He went on composing through his 70s and 80s, producing his last symphony months before his death at the age of 85.
他在 70 多岁和 80 多岁时继续创作，在 85 岁去世前几个月创作了最后一部交响曲。
His works have continued to be a staple of the British concert repertoire, and all his major compositions and many of the minor ones have been recorded.
他的作品仍然是英国音乐会曲目的主要内容，他的所有主要作品和许多次要作品都已被录制。
Vaughan Williams was born at Down Ampney, Gloucestershire, the third child and younger son of the Reverend Arthur Vaughan Williams, the vicar, and his wife, Margaret, née Wedgwood.
沃恩·威廉姆斯出生于格洛斯特郡唐安普尼，是牧师阿瑟·沃恩·威廉姆斯牧师和妻子玛格丽特（娘家姓韦奇伍德）的第三个孩子，也是小儿子。
His paternal forebears were of mixed English and Welsh descent; many of them went into the law or the Church.
他的父亲祖先是英国和威尔士混血儿。他们中的许多人进入了法律或教会。
The judges Sir Edward and Sir Roland Vaughan Williams were respectively Arthur's father and brother.
法官爱德华爵士和罗兰沃恩威廉姆斯爵士分别是亚瑟的父亲和兄弟。
Margaret Vaughan Williams was a great-granddaughter of Josiah Wedgwood and niece of Charles Darwin.
玛格丽特·沃恩·威廉姆斯是乔赛亚·韦奇伍德的曾孙女和查尔斯·达尔文的侄女。
Arthur Vaughan Williams died suddenly in February 1875, and his widow took the children to live in her family home, Leith Hill Place, Wotton, Surrey.
阿瑟·沃恩·威廉姆斯 (Arthur Vaughan Williams) 于 1875 年 2 月突然去世，他的遗孀带着孩子们住在她位于萨里郡沃顿市利斯希尔广场 (Leith Hill Place) 的家中。
The children were under the care of a nurse, Sara Wager, who instilled in them not only polite manners and good behaviour but also liberal social and philosophical opinions.
孩子们由护士萨拉·瓦格 (Sara Wager) 照顾，她不仅向他们灌输礼貌的举止和良好的行为，还向他们灌输自由的社会和哲学观点。
Such views were consistent with the progressive-minded tradition of both sides of the family.
这种观点与家族双方的进步思想传统是一致的。
When the young Vaughan Williams asked his mother about Darwin's controversial book On the Origin of Species, she answered, "The Bible says that God made the world in six days.
当年轻的沃恩·威廉姆斯向他的母亲询问达尔文备受争议的《物种起源》一书时，她回答说：“圣经说上帝在六天内创造了世界。
Great Uncle Charles thinks it took longer: but we need not worry about it, for it is equally wonderful either way".
查尔斯叔公认为花了更长的时间：但我们不必担心，因为无论哪种方式都同样精彩”。
In 1878, at the age of five, Vaughan Williams began receiving piano lessons from his aunt, Sophy Wedgwood.
1878 年，五岁的沃恩·威廉姆斯开始跟随他的姨妈苏菲·韦奇伍德 (Sophy Wedgwood) 学习钢琴。
He displayed signs of musical talent early on, composing his first piece of music, a four-bar piano piece called "The Robin's Nest", in the same year.
他很早就表现出了音乐天赋，同年创作了他的第一首音乐作品，一首名为“罗宾之巢”的四小节钢琴曲。
He did not greatly like the piano, and was pleased to begin violin lessons the following year.
他不太喜欢钢琴，很高兴第二年开始学习小提琴。
In 1880, when he was eight, he took a correspondence course in music from Edinburgh University and passed the associated examinations.
1880年，八岁的他在爱丁堡大学修读了音乐函授课程，并通过了相关考试。
In September 1883 he went as a boarder to Field House preparatory school in Rottingdean on the south coast of England, forty miles (64 km) from Wotton.
1883 年 9 月，他作为寄宿生前往位于英格兰南海岸罗廷迪恩的 Field House 预科学校，距离沃顿 40 英里（64 公里）。
He was generally happy there, although he was shocked to encounter for the first time social snobbery and political conservatism, which were rife among his fellow pupils.
他在那里总体上很快乐，尽管他第一次遇到同学中盛行的社会势利和政治保守主义，这让他感到震惊。
From there he moved on to the public school Charterhouse in January 1887.
1887 年 1 月，他从那里转到查特豪斯公立学校。
His academic and sporting achievements there were satisfactory, and the school encouraged his musical development.
他在那里的学业和体育成绩令人满意，学校鼓励他的音乐发展。
In 1888 he organised a concert in the school hall, which included a performance of his G major Piano Trio (now lost) with the composer as violinist.
1888年，他在学校礼堂组织了一场音乐会，其中包括由作曲家担任小提琴手演奏的G大调钢琴三重奏（现已遗失）。
While at Charterhouse Vaughan Williams found that religion meant less and less to him, and for a while he was an atheist.
在查特豪斯学院期间，沃恩·威廉姆斯发现宗教对他的意义越来越小，有一段时间他是一个无神论者。
This softened into "a cheerful agnosticism", and he continued to attend church regularly to avoid upsetting the family.
这种态度软化为“一种愉快的不可知论”，他继续定期去教堂，以避免惹恼家人。
His views on religion did not affect his love of the Authorised Version of the Bible, the beauty of which, in the words of his widow Ursula Vaughan Williams in her 1964 biography of the composer, remained "one of his essential companions through life." In this, as in many other things in his life, he was, according to his biographer Michael Kennedy, "that extremely English product the natural nonconformist with a conservative regard for the best tradition".
他对宗教的看法并没有影响他对《圣经》授权版本的喜爱，用他的遗孀乌苏拉·沃恩·威廉姆斯 (Ursula Vaughan Williams) 在 1964 年作曲家传记中的话来说，《圣经》的美妙之处仍然是“他一生中重要的伴侣之一”。在这一点上，正如他一生中的许多其他事情一样，根据他的传记作者迈克尔·肯尼迪的说法，他是“一位极端英国人的产物，是天生的不墨守成规者，对最佳传统持保守态度”。
In July 1890 Vaughan Williams left Charterhouse and in September he was enrolled as a student at the Royal College of Music (RCM), London.
1890 年 7 月，沃恩·威廉姆斯 (Vaughan Williams) 离开查特豪斯学院，并于 9 月就读于伦敦皇家音乐学院 (RCM)。
After a compulsory course in harmony with Francis Edward Gladstone, professor of organ, counterpoint and harmony, he studied organ with Walter Parratt and composition with Hubert Parry.
在跟随风琴、对位与和声教授弗朗西斯·爱德华·格拉德斯通（Francis Edward Gladstone）完成必修课程后，他跟随沃尔特·帕拉特（Walter Parratt）学习风琴，跟随休伯特·帕里（Hubert Parry）学习作曲。
He idolised Parry, and recalled in his Musical Autobiography (1950):
他崇拜帕里，并在他的音乐自传（1950）中回忆道：
Parry once said to me: "Write choral music as befits an Englishman and a democrat".
帕里曾经对我说：“写出适合英国人和民主党人的合唱音乐”。
We pupils of Parry have, if we have been wise, inherited from him the great English choral tradition, which Tallis passed on to Byrd, Byrd to Gibbons, Gibbons to Purcell, Purcell to Battishill and Greene, and they in their turn through the Wesleys, to Parry.
如果我们明智的话，我们帕里的学生从他那里继承了伟大的英国合唱传统，塔利斯将这一传统传给了伯德，伯德传给了吉本斯，吉本斯传给了珀塞尔，珀塞尔传给了巴蒂希尔和格林，而他们又通过卫斯理一家传给了帕里。
He has passed on the torch to us and it is our duty to keep it alight.
他已将火炬传递给我们，我们有责任让它继续燃烧。
Vaughan Williams's family would have preferred him to remain at Charterhouse for two more years and then go on to Cambridge University.
沃恩·威廉姆斯的家人希望他在查特豪斯学院再呆两年，然后继续进入剑桥大学。
They were not convinced that he was talented enough to pursue a musical career, but feeling it would be wrong to prevent him from trying, they had allowed him to go to the RCM.
他们不相信他有足够的天赋去追求音乐事业，但觉得阻止他尝试是错误的，所以他们允许他去 RCM。
Nevertheless, a university education was expected of him, and in 1892 he temporarily left the RCM and entered Trinity College, Cambridge, where he spent three years, studying music and history.
尽管如此，人们还是期望他接受大学教育，1892 年，他暂时离开了 RCM，进入剑桥三一学院，在那里学习了三年音乐和历史。
Among those with whom Vaughan Williams became friendly at Cambridge were the philosophers G.
沃恩·威廉姆斯在剑桥结交的朋友中有哲学家 G.
E.
E.
Moore and Bertrand Russell, the historian G.
摩尔和历史学家伯特兰·罗素 (Bertrand Russell) G.
M.
M。
Trevelyan and the musician Hugh Allen.
特里维廉和音乐家休·艾伦。
He felt intellectually overshadowed by some of his companions, but he learned much from them and formed lifelong friendships with several.
他觉得自己的一些同伴在智力上黯然失色，但他从他们身上学到了很多东西，并与其中一些人建立了终生的友谊。
Among the women with whom he mixed socially at Cambridge was Adeline Fisher, the daughter of Herbert Fisher, an old friend of the Vaughan Williams family.
在剑桥与他交往的女性中有艾德琳·费舍尔（Adeline Fisher），她是沃恩·威廉姆斯家族的老朋友赫伯特·费舍尔的女儿。
She and Vaughan Williams grew close, and in June 1897, after he had left Cambridge, they became engaged to be married.
她和沃恩·威廉姆斯 (Vaughan Williams) 关系越来越亲密，1897 年 6 月，沃恩·威廉姆斯离开剑桥后，他们订婚了。
During his time at Cambridge Vaughan Williams continued his weekly lessons with Parry, and studied composition with Charles Wood and organ with Alan Gray.
在剑桥期间，沃恩·威廉姆斯继续跟随帕里学习每周的课程，并跟随查尔斯·伍德学习作曲，跟随艾伦·格雷学习管风琴。
He graduated as Bachelor of Music in 1894 and Bachelor of Arts the following year.
1894年，他获得音乐学士学位，次年获得文学学士学位。
After leaving the university he returned to complete his training at the RCM.
离开大学后，他返回 RCM 完成培训。
Parry had by then succeeded Sir George Grove as director of the college, and Vaughan Williams's new professor of composition was Charles Villiers Stanford.
帕里当时已接替乔治·格罗夫爵士担任学院院长，沃恩·威廉姆斯的新作曲教授是查尔斯·维利尔斯·斯坦福。
Relations between teacher and student were stormy but affectionate.
老师和学生之间的关系虽然风雨飘摇，但却充满感情。
Stanford, who had been adventurous in his younger days, had grown deeply conservative; he clashed vigorously with his modern-minded pupil.
年轻时富有冒险精神的斯坦福现在变得非常保守。他与他具有现代思想的学生发生了激烈的冲突。
Vaughan Williams had no wish to follow in the traditions of Stanford's idols, Brahms and Wagner, and he stood up to his teacher as few students dared to do.
沃恩·威廉姆斯不想追随斯坦福偶像勃拉姆斯和瓦格纳的传统，他勇敢地反抗他的老师，很少有学生敢这么做。
Beneath Stanford's severity lay a recognition of Vaughan Williams's talent and a desire to help the young man correct his opaque orchestration and extreme predilection for modal music.
斯坦福大学严厉的态度背后是对沃恩·威廉姆斯才华的认可，并希望帮助这位年轻人纠正他不透明的编曲和对调式音乐的极端偏爱。
In his second spell at the RCM (1895–1896) Vaughan Williams got to know a fellow student, Gustav Holst, who became a lifelong friend.
在 RCM 的第二个任期（1895-1896），沃恩·威廉姆斯（Vaughan Williams）结识了一位同学古斯塔夫·霍尔斯特（Gustav Holst），两人成为了终生的朋友。
Stanford emphasised the need for his students to be self-critical, but Vaughan Williams and Holst became, and remained, one another's most valued critics; each would play his latest composition to the other while still working on it.
斯坦福大学强调他的学生需要自我批评，但沃恩·威廉姆斯和霍尔斯特成为并且仍然是彼此最有价值的批评家；每个人都会一边创作一边向对方演奏自己最新的作品。
Vaughan Williams later observed, "What one really learns from an Academy or College is not so much from one's official teachers as from one's fellow-students ...
沃恩·威廉姆斯后来观察到，“一个人真正从学院或学院学到的东西与其说是从官方老师那里学到的，不如说是从同学那里学到的......
[we discussed] every subject under the sun from the lowest note of the double bassoon to the philosophy of Jude the Obscure".
[我们讨论]阳光下的每一个主题，从双巴松管的最低音符到无名的裘德的哲学”。
In 1949 he wrote of their relationship, "Holst declared that his music was influenced by that of his friend: the converse is certainly true."
1949 年，他在描述他们的关系时写道：“霍尔斯特宣称他的音乐受到了他朋友的影响：反之亦然。”
Vaughan Williams had a modest private income, which in his early career he supplemented with a variety of musical activities.
沃恩·威廉姆斯拥有微薄的私人收入，在他早期的职业生涯中，他通过各种音乐活动来补充收入。
Although the organ was not his preferred instrument, the only post he ever held for an annual salary was as a church organist and choirmaster.
尽管管风琴不是他最喜欢的乐器，但他唯一拿年薪的职位是教堂管风琴师和唱诗班指挥。
He held the position at St Barnabas, in the inner London district of South Lambeth, from 1895 to 1899 for a salary of £50 a year.
1895 年至 1899 年间，他在伦敦内城区南兰贝斯的圣巴拿巴担任该职位，年薪为 50 英镑。
He disliked the job, but working closely with a choir was valuable experience for his later undertakings.
他不喜欢这份工作，但与合唱团的密切合作对他后来的事业来说是宝贵的经验。
In October 1897 Adeline and Vaughan Williams were married.
1897 年 10 月，艾德琳和沃恩·威廉姆斯结婚。
They honeymooned for several months in Berlin, where he studied with Max Bruch.
他们在柏林度了几个月的蜜月，他在那里师从马克斯·布鲁赫（Max Bruch）。
On their return they settled in London, originally in Westminster and, from 1905, in Chelsea.
返回后，他们定居在伦敦，最初定居在威斯敏斯特，从 1905 年起定居在切尔西。
There were no children of the marriage.
婚姻中没有孩子。
In 1899 Vaughan Williams passed the examination for the degree of Doctor of Music at Cambridge; the title was formally conferred on him in 1901.
1899年，沃恩·威廉姆斯通过了剑桥音乐博士学位考试； 1901年，该称号被正式授予他。
The song "Linden Lea" became the first of his works to appear in print, published in the magazine The Vocalist in April 1902 and then as separate sheet music.
歌曲“Linden Lea”成为他的第一首印刷作品，于 1902 年 4 月发表在《The Vocalist》杂志上，然后作为单独的乐谱。
In addition to composition he occupied himself in several capacities during the first decade of the century.
除了作曲之外，他在本世纪的第一个十年还从事多种工作。
He wrote articles for musical journals and for the second edition of Grove's Dictionary of Music and Musicians, edited the first volume of Purcell's Welcome Songs for the Purcell Society, and was for a while involved in adult education in the University Extension Lectures.
他为音乐期刊和第二版《格罗夫音乐与音乐家词典》撰写文章，为珀塞尔协会编辑珀塞尔欢迎歌曲第一卷，并有一段时间参与大学扩展讲座的成人教育。
From 1904 to 1906 he was music editor of a new hymn-book, The English Hymnal, of which he later said, "I now know that two years of close association with some of the best (as well as some of the worst) tunes in the world was a better musical education than any amount of sonatas and fugues".
从 1904 年到 1906 年，他担任一本新赞美诗集《英国赞美诗》的音乐编辑，他后来说，“我现在知道，与世界上一些最好的（以及一些最糟糕的）曲调密切接触两年，比任何奏鸣曲和赋格曲都更好的音乐教育”。
Always committed to music-making for the whole community, he helped found the amateur Leith Hill Musical Festival in 1905, and was appointed its principal conductor, a post he held until 1953.
他始终致力于为整个社区创作音乐，于 1905 年帮助创立了业余利斯山音乐节，并被任命为首席指挥，一直担任该职位直至 1953 年。
In 1903–1904 Vaughan Williams started collecting folk-songs.
1903 年至 1904 年，沃恩·威廉姆斯开始收集民歌。
He had always been interested in them, and now followed the example of a recent generation of enthusiasts such as Cecil Sharp and Lucy Broadwood in going into the English countryside noting down and transcribing songs traditionally sung in various locations.
他一直对这些歌曲很感兴趣，现在他效仿了塞西尔·夏普和露西·布罗德伍德等新一代狂热者的榜样，走进英国乡村，记下并转录了各地传统上演唱的歌曲。
Collections of the songs were published, preserving many that could otherwise have vanished as oral traditions died out.
这些歌曲的合集被出版，保留了许多原本可能随着口头传统的消亡而消失的歌曲。
Vaughan Williams incorporated some into his own compositions, and more generally was influenced by their prevailing modal forms.
沃恩·威廉姆斯将一些内容融入到他自己的作品中，更普遍的是受到其流行的调式形式的影响。
This, together with his love of Tudor and Stuart music, helped shape his compositional style for the rest of his career.
这一点，加上他对都铎王朝和斯图亚特音乐的热爱，帮助塑造了他余下职业生涯的作曲风格。
Over this period Vaughan Williams composed steadily, producing songs, choral music, chamber works and orchestral pieces, gradually finding the beginnings of his mature style.
在此期间，沃恩·威廉姆斯稳步创作，创作了歌曲、合唱音乐、室内乐作品和管弦乐作品，逐渐找到了他成熟风格的开端。
His compositions included the tone poem In the Fen Country (1904) and the Norfolk Rhapsody No. 1 (1906).
他的作品包括音诗《在沼泽》（1904年）和《诺福克狂想曲第一号》（1906年）。
He remained unsatisfied with his technique as a composer.
他对自己作为作曲家的技术仍然不满意。
After unsuccessfully seeking lessons from Sir Edward Elgar, he contemplated studying with Vincent d'Indy in Paris.
在向爱德华·埃尔加爵士求教失败后，他考虑前往巴黎跟随文森特·丹迪学习。
Instead, he was introduced by the critic and musicologist M.
相反，他是由评论家和音乐学家 M.
D.
D .
Calvocoressi to Maurice Ravel, a more modernist, less dogmatic musician than d'Indy.
卡尔沃科雷西（Calvocoressi）对莫里斯·拉威尔（Maurice Ravel）来说，他是一位比印地更现代、更少教条的音乐家。
Ravel took few pupils, and was known as a demanding taskmaster for those he agreed to teach.
拉威尔只收了很少的学生，而且对于他同意教的学生来说，他被认为是一个要求严格的监工。
Vaughan Williams spent three months in Paris in the winter of 1907–1908, working with him four or five times each week.
1907 年至 1908 年冬天，沃恩·威廉姆斯 (Vaughan Williams) 在巴黎待了三个月，每周与他一起工作四到五次。
There is little documentation of Vaughan Williams's time with Ravel; the musicologist Byron Adams advises caution in relying on Vaughan Williams's recollections in the Musical Autobiography written forty-three years after the event.
关于沃恩·威廉姆斯与拉威尔共事的文献很少。音乐学家拜伦·亚当斯建议谨慎依赖沃恩·威廉姆斯在事件发生四十三年后写的音乐自传中的回忆。
The degree to which the French composer influenced the Englishman's style is debated.
这位法国作曲家对英国作曲家的影响程度存在争议。
Ravel declared Vaughan Williams to be "my only pupil who does not write my music"; nevertheless, commentators including Kennedy, Adams, Hugh Ottaway and Alain Frogley find Vaughan Williams's instrumental textures lighter and sharper in the music written after his return from Paris, such as the String Quartet in G minor, On Wenlock Edge, the Overture to The Wasps and A Sea Symphony.
拉威尔宣称沃恩·威廉姆斯是“我唯一不写音乐的学生”；尽管如此，包括肯尼迪、亚当斯、休·奥塔维和阿兰·弗罗格利在内的评论家发现，沃恩·威廉姆斯从巴黎回来后创作的音乐中，如《G小调弦乐四重奏》、《温洛克边缘》、《黄蜂女序曲》和《海洋交响曲》中，他的器乐质感变得更加轻盈和锐利。
Vaughan Williams himself said that Ravel had helped him escape from "the heavy contrapuntal Teutonic manner".
沃恩·威廉姆斯本人表示，拉威尔帮助他摆脱了“沉重的对位日耳曼风格”。
In the years between his return from Paris in 1908 and the outbreak of the First World War in 1914, Vaughan Williams increasingly established himself as a figure in British music.
从 1908 年从巴黎返回到 1914 年第一次世界大战爆发期间，沃恩·威廉姆斯 (Vaughan Williams) 逐渐确立了自己在英国音乐界的地位。
For a rising composer it was important to receive performances at the big provincial music festivals, which generated publicity and royalties.
对于一个崭露头角的作曲家来说，在大型省级音乐节上演出非常重要，这可以带来宣传和版税。
In 1910 his music featured at two of the largest and most prestigious festivals, with the premieres of the Fantasia on a Theme by Thomas Tallis at the Three Choirs Festival in Gloucester Cathedral in September and A Sea Symphony at the Leeds Festival the following month.
1910 年，他的音乐在两个最大、最负盛名的音乐节上亮相，其中包括 9 月在格洛斯特大教堂举行的三合唱团音乐节上首演了托马斯·塔利斯的主题幻想曲，以及次月在利兹音乐节上首演的《海洋交响曲》。
The leading British music critics of the time, J.
当时英国著名的音乐评论家 J.
A.
A.
Fuller Maitland of The Times and Samuel Langford of The Manchester Guardian, were strong in their praise.
《泰晤士报》的富勒·梅特兰和《曼彻斯特卫报》的塞缪尔·兰福德都给予了强烈的赞扬。
The former wrote of the fantasia, "The work is wonderful because it seems to lift one into some unknown region of musical thought and feeling.
前者这样评价这部幻想曲：“这部作品非常棒，因为它似乎将一个人带入了音乐思想和感觉的某个未知领域。
Throughout its course one is never sure whether one is listening to something very old or very new".
在整个过程中，人们永远无法确定自己正在听的是非常古老的东西还是非常新的东西”。
Langford declared that the symphony "definitely places a new figure in the first rank of our English composers".
兰福德宣称这部交响曲“无疑在我们英国作曲家的第一梯队中树立了一个新人物”。
Between these successes and the start of war Vaughan Williams's largest-scale work was the first version of A London Symphony (1914).
在这些成功和战争爆发之间，沃恩·威廉姆斯最大规模的作品是《伦敦交响曲》的第一版（1914 年）。
In the same year he wrote The Lark Ascending in its original form for violin and piano.
同年，他为小提琴和钢琴创作了原版的《云雀上行》。
Despite his age—he was approaching forty-two in October—Vaughan Williams volunteered for military service on the outbreak of the First World War in August.
尽管沃恩·威廉姆斯已经年事已高——十月时已年近四十二岁——但他还是在八月第一次世界大战爆发时自愿参军。
Joining the Royal Army Medical Corps as a private, he served as a stretcher bearer in an ambulance crew in France and later in Greece.
他以二等兵身份加入皇家陆军医疗队，曾在法国和希腊的救护人员中担任担架手。
Frogley writes of this period that Vaughan Williams was considerably older than most of his comrades, and "the back-breaking labour of dangerous night-time journeys through mud and rain must have been more than usually punishing".
弗罗格利在谈到这一时期时写道，沃恩·威廉姆斯比他的大多数战友都要年长得多，“在泥泞和雨中危险的夜间旅行所带来的辛苦劳作肯定比平时更加痛苦”。
The war left its emotional mark on Vaughan Williams, who lost many comrades and friends, including the young composer George Butterworth.
战争给沃恩·威廉姆斯留下了情感上的印记，他失去了许多同志和朋友，其中包括年轻作曲家乔治·巴特沃斯。
In 1917 Vaughan Williams was commissioned as a lieutenant in the Royal Artillery, seeing action in France from March 1918.
1917 年，沃恩·威廉姆斯被任命为皇家炮兵中尉，从 1918 年 3 月开始在法国参加战斗。
The continual noise of the guns damaged his hearing, and led to deafness in his later years.
持续不断的枪声损害了他的听力，导致他晚年失聪。
After the armistice in 1918 he served as director of music for the British First Army until demobilised in February 1919.
1918 年停战后，他担任英国第一军音乐总监，直至 1919 年 2 月复员。
During the war Vaughan Williams stopped writing music, and after returning to civilian life he took some time before feeling ready to compose new works.
战争期间，沃恩·威廉姆斯停止了音乐创作，回到平民生活后，他花了一段时间才准备好创作新作品。
He revised some earlier pieces, and turned his attention to other musical activities.
他修改了一些早期的作品，并将注意力转向其他音乐活动。
In 1919 he accepted an invitation from Hugh Allen, who had succeeded Parry as director, to teach composition at the RCM; he remained on the faculty of the college for the next twenty years.
1919年，他接受了接替帕里担任院长的休·艾伦的邀请，到皇家音乐学院教授作曲；在接下来的二十年里，他一直在该学院任教。
In 1921 he succeeded Allen as conductor of The Bach Choir, London.
1921年，他接替艾伦担任伦敦巴赫合唱团的指挥。
It was not until 1922 that he produced a major new composition, A Pastoral Symphony; the work was given its first performance in London in May conducted by Adrian Boult and its American premiere in June conducted by the composer.
直到1922年，他才创作了一部重要的新作品《田园交响曲》；该作品于五月在伦敦首次演出，由阿德里安·博尔特指挥，并于六月由作曲家指挥在美国首演。
Throughout the 1920s Vaughan Williams continued to compose, conduct and teach.
整个 20 年代，沃恩·威廉姆斯继续创作、指挥和教学。
Kennedy lists forty works premiered during the decade, including the Mass in G minor (1922), the ballet Old King Cole (1923), the operas Hugh the Drover and Sir John in Love (1924 and 1928), the suite Flos Campi (1925) and the oratorio Sancta Civitas (1925).
肯尼迪列出了这十年间首演的四十部作品，包括《G小调弥撒》（1922年）、芭蕾舞剧《老国王科尔》（1923年）、歌剧《牧羊人休》和《恋爱中的约翰爵士》（1924年和1928年）、组曲《Flos Campi》（1925年）和清唱剧《Sancta Civitas》（1925年）。
During the decade Adeline became increasingly immobilised by arthritis, and the numerous stairs in their London house finally caused the Vaughan Williamses to move in 1929 to a more manageable home, "The White Gates", Dorking, where they lived until Adeline's death in 1951.
在这十年间，艾德琳因关节炎而变得越来越行动不便，伦敦的房子里有无数的楼梯，最终导致沃恩·威廉姆斯一家于 1929 年搬到了多尔金一处更容易管理的家，即“白门”，他们一直住在那里，直到 1951 年艾德琳去世。
Vaughan Williams, who thought of himself as a complete Londoner, was sorry to leave the capital, but his wife was anxious to live in the country, and Dorking was within reasonably convenient reach of town.
沃恩·威廉姆斯认为自己是一个彻头彻尾的伦敦人，他对离开首都感到遗憾，但他的妻子渴望住在乡下，而多尔金距离城镇也相当方便。
In 1932 Vaughan Williams was elected president of the English Folk Dance and Song Society.
1932 年，沃恩·威廉姆斯当选为英国民间歌舞协会主席。
From September to December of that year he was in the US as a visiting lecturer at Bryn Mawr College, Pennsylvania.
同年9月至12月，他在美国宾夕法尼亚州布林莫尔学院担任客座讲师。
The texts of his lectures were published under the title National Music in 1934; they sum up his artistic and social credo more fully than anything he had published previously, and remained in print for most of the remainder of the century.
1934年，他的讲座文本以《民族音乐》为题出版；这些书比他之前出版的任何作品都更全面地总结了他的艺术和社会信条，并在本世纪余下的大部分时间里一直在印刷。
During the 1930s Vaughan Williams came to be regarded as a leading figure in British music, particularly after the deaths of Elgar, Delius and Holst in 1934.
20 世纪 30 年代，沃恩·威廉姆斯被视为英国音乐界的领军人物，特别是在 1934 年埃尔加、戴利厄斯和霍尔斯特去世之后。
Holst's death was a severe personal and professional blow to Vaughan Williams; the two had been each other's closest friends and musical advisers since their college days.
霍尔斯特的去世对沃恩·威廉姆斯的个人和职业生涯都是沉重的打击。两人从大学时代起就一直是彼此最亲密的朋友和音乐顾问。
After Holst's death Vaughan Williams was glad of the advice and support of other friends including Boult and the composer Gerald Finzi, but his relationship with Holst was irreplaceable.
霍尔斯特去世后，沃恩·威廉姆斯很高兴得到包括博尔特和作曲家杰拉尔德·芬齐在内的其他朋友的建议和支持，但他与霍尔斯特的关系是不可替代的。
In some of Vaughan Williams's music of the 1930s there is an explicitly dark, even violent tone.
在沃恩·威廉姆斯 20 世纪 30 年代的一些音乐中，有一种明显的黑暗、甚至暴力的基调。
The ballet Job: A Masque for Dancing (1930) and the Fourth Symphony (1935) surprised the public and critics.
芭蕾舞剧《工作：舞蹈假面》（1930）和《第四交响曲》（1935）令公众和评论家感到惊讶。
The discordant and violent tone of the symphony, written at a time of growing international tension, led many critics to suppose the symphony to be programmatic.
这首交响曲是在国际局势日益紧张的时期创作的，其不和谐而暴力的基调使许多评论家认为这部交响曲是程序性的。
Hubert Foss dubbed it "The Romantic" and Frank Howes called it "The Fascist".
休伯特·福斯（Hubert Foss）称其为“浪漫主义者”，弗兰克·豪斯（Frank Howes）称其为“法西斯主义者”。
The composer dismissed such interpretations, and insisted that the work was absolute music, with no programme of any kind; nonetheless, some of those close to him, including Foss and Boult, remained convinced that something of the troubled spirit of the age was captured in the work.
作曲家驳斥了这种解释，并坚持认为这部作品是绝对的音乐，没有任何形式的程序；尽管如此，一些与他关系密切的人，包括福斯和博尔特，仍然相信这部作品捕捉到了那个时代的某种不安精神。
As the decade progressed, Vaughan Williams found musical inspiration lacking, and experienced his first fallow period since his wartime musical silence.
随着时间的推移，沃恩·威廉姆斯发现缺乏音乐灵感，并经历了战时音乐沉默后的第一个休整期。
After his anti-war cantata Dona nobis pacem in 1936 he did not complete another work of substantial length until late in 1941, when the first version of the Fifth Symphony was completed.
在 1936 年创作反战康塔塔《Dona nobispacem》之后，他直到 1941 年末才完成了另一部相当长的作品，当时第五交响曲的第一版完成。
In 1938 Vaughan Williams met Ursula Wood (1911–2007), the wife of an army officer, Captain (later Lieutenant-Colonel) Michael Forrester Wood.
1938 年，沃恩·威廉姆斯 (Vaughan Williams) 结识了乌苏拉·伍德 (Ursula Wood，1911-2007 年)，她是军官迈克尔·福雷斯特·伍德 (Michael Forrester Wood) 上尉（后来的中校）的妻子。
She was a poet, and had approached the composer with a proposed scenario for a ballet.
她是一位诗人，并向作曲家提出了芭蕾舞的拟议剧本。
Despite their both being married, and a four-decade age-gap, they fell in love almost from their first meeting; they maintained a secret love affair for more than a decade.
尽管他们都已经结婚了，而且年龄相差四十岁，但他们几乎从第一次见面就坠入爱河。他们秘密恋爱了十多年。
Ursula became the composer's muse, helper and London companion, and later helped him care for his ailing wife.
乌苏拉成为作曲家的缪斯、助手和伦敦伴侣，后来还帮助他照顾生病的妻子。
Whether Adeline knew, or suspected, that Ursula and Vaughan Williams were lovers is uncertain, but the relations between the two women were of warm friendship throughout the years they knew each other.
艾德琳是否知道或怀疑乌苏拉和沃恩·威廉姆斯是恋人尚不清楚，但这两个女人在认识的这些年里一直保持着温暖的友谊。
The composer's devotion to his first wife never faltered, according to Ursula, who admitted in the 1980s that she had been jealous of Adeline, whose place in Vaughan Williams's life and affections was unchallengeable.
乌苏拉表示，这位作曲家对第一任妻子的忠诚从未动摇过，她在 20 世纪 80 年代承认，她一直嫉妒艾德琳，因为艾德琳在沃恩·威廉姆斯的生活和情感中的地位是无可挑战的。
During the Second World War Vaughan Williams was active in civilian war work, chairing the Home Office Committee for the Release of Interned Alien Musicians, helping Myra Hess with the organisation of the daily National Gallery concerts, serving on a committee for refugees from Nazi oppression, and on the Council for the Encouragement of Music and the Arts (CEMA), the forerunner of the Arts Council, and even driving a lorry about to collect scrap metal.
第二次世界大战期间，沃恩·威廉姆斯积极参与民事战争工作，担任内政部释放实习外籍音乐家委员会主席，帮助迈拉·赫斯组织每日国家美术馆音乐会，在纳粹压迫难民委员会任职，并在音乐与艺术鼓励委员会（CEMA）（艺术委员会的前身）任职，甚至驾驶一辆卡车收集废金属。
In 1940 he composed his first film score, for the 49th Parallel, a tribute to the essential contribution of Canada to the war effort.
1940 年，他为《北纬 49 度》创作了他的第一部电影配乐，致敬加拿大对战争的重要贡献。
In 1942 Michael Wood died suddenly of heart failure.
1942 年，迈克尔·伍德 (Michael Wood) 因心力衰竭突然去世。
At Adeline's behest the widowed Ursula was invited to stay with the Vaughan Williamses in Dorking, and thereafter was a regular visitor there, sometimes staying for weeks at a time.
在艾德琳的要求下，丧偶的乌苏拉被邀请去多尔金的沃恩·威廉姆斯一家住下，此后就成了那里的常客，有时一次会住上几个星期。
The critic Michael White suggests that Adeline "appears, in the most amicable way, to have adopted Ursula as her successor".
评论家迈克尔·怀特表示，艾德琳“似乎以最友好的方式接受了乌苏拉作为她的继任者”。
Ursula recorded that during air raids all three slept in the same room in adjacent beds, holding hands for comfort.
乌苏拉记录说，空袭期间，三人都睡在同一个房间的相邻床上，手拉着手以求舒适。
In 1943 Vaughan Williams conducted the premiere of his Fifth Symphony at the Proms.
1943年，沃恩·威廉姆斯在逍遥音乐节上指挥了他的第五交响曲的首演。
Its serene tone contrasted with the stormy Fourth, and led some commentators to think it a symphonic valediction.
它平静的基调与暴风雨般的第四交响曲形成鲜明对比，并导致一些评论家认为这是一场交响乐式的告别。
William Glock wrote that it was "like the work of a distinguished poet who has nothing very new to say, but says it in exquisitely flowing language".
威廉·格洛克写道，它“就像一位杰出诗人的作品，没有什么新意可说，但却以优美流畅的语言表达出来”。
The music Vaughan Williams wrote for the BBC to celebrate the end of the war, Thanksgiving for Victory, was marked by what the critic Edward Lockspeiser called the composer's characteristic avoidance of "any suggestion of rhetorical pompousness".
沃恩·威廉姆斯为 BBC 创作的庆祝战争结束的音乐《胜利的感恩节》的特点是评论家爱德华·洛克斯佩泽 (Edward Lockspeiser) 称作曲家特有的避免“任何浮夸修辞的暗示”。
Any suspicion that the septuagenarian composer had settled into benign tranquillity was dispelled by his Sixth Symphony (1948), described by the critic Gwyn Parry-Jones as "one of the most disturbing musical statements of the 20th century", opening with a "primal scream, plunging the listener immediately into a world of aggression and impending chaos." Coming as it did near the start of the Cold War, many critics thought its pianissimo last movement a depiction of a nuclear-scorched wasteland.
任何关于这位七十多岁的作曲家已经陷入良性平静的怀疑都被他的《第六交响曲》（1948）打消了，评论家格温·帕里-琼斯将其描述为“20世纪最令人不安的音乐陈述之一”，以“原始的尖叫声开始，让听众立即陷入一个充满侵略性和即将到来的混乱的世界”。在冷战开始之际，许多评论家认为它的最后乐章极弱，描绘了核烧焦的荒原。
The composer was dismissive of programmatic theories: "It never seems to occur to people that a man might just want to write a piece of music."
这位作曲家对纲领性理论不屑一顾：“人们似乎从来没有想到一个人可能只想写一首音乐。”
In 1951 Adeline died, aged eighty.
1951 年，艾德琳去世，享年 80 岁。
In the same year Vaughan Williams's last opera, The Pilgrim's Progress, was staged at Covent Garden as part of the Festival of Britain.
同年，沃恩·威廉姆斯的最后一部歌剧《天路历程》在考文特花园上演，作为英国艺术节的一部分。
He had been working intermittently on a musical treatment of John Bunyan's allegory for forty-five years, and the 1951 "morality" was the final result.
四十五年来，他断断续续地对约翰·班扬的寓言进行音乐处理，最终的成果是 1951 年的《道德》。
The reviews were respectful, but the work did not catch the opera-going public's imagination, and the Royal Opera House's production was "insultingly half-hearted" according to Frogley.
评论是尊重的，但这部作品并没有引起歌剧观众的想象力，而且根据弗罗格利的说法，皇家歌剧院的制作是“侮辱性的三心二意”。
The piece was revived the following year, but was still not a great success.
这部作品于次年重演，但仍然没有取得巨大成功。
Vaughan Williams commented to Ursula, "They don't like it, they won't like it, they don't want an opera with no heroine and no love duets—and I don't care, it's what I meant, and there it is."
沃恩·威廉姆斯对乌苏拉评论道：“他们不喜欢它，他们不会喜欢它，他们不想要一部没有女主角、没有爱情二重唱的歌剧——我不在乎，这就是我的意思，就是这样。”
In February 1953 Vaughan Williams and Ursula were married.
1953 年 2 月，沃恩·威廉姆斯 (Vaughan Williams) 和乌苏拉 (Ursula) 结婚。
He left the Dorking house and they took a lease of 10 Hanover Terrace, Regent's Park, London.
他离开了多金的房子，他们租下了伦敦摄政公园汉诺威露台 10 号。
It was the year of Queen Elizabeth II's coronation; Vaughan Williams's contribution was an arrangement of the Old Hundredth psalm tune, and a new setting of "O taste and see" from Psalm 34, performed at the service in Westminster Abbey.
那一年是英国女王伊丽莎白二世加冕的一年。沃恩·威廉姆斯（Vaughan Williams）的贡献是对《旧第一百首圣诗》曲调的改编，以及对《诗篇》第 34 篇中的“哦，尝尝看”的新设置，并在威斯敏斯特教堂的仪式上表演。
Having returned to live in London, Vaughan Williams, with Ursula's encouragement, became much more active socially and in pro bono publico activities.
返回伦敦生活后，沃恩·威廉姆斯在乌苏拉的鼓励下，在社交和公益活动中变得更加活跃。
He was a leading figure in the Society for the Promotion of New Music, and in 1956 he set up and endowed the RVW Trust to support young composers and promote new or neglected music.
他是新音乐促进协会的领军人物，并于 1956 年成立并捐赠了 RVW 信托基金，以支持年轻作曲家并推广新音乐或被忽视的音乐。
He and his wife travelled extensively in Europe, and in 1954 he visited the US once again, having been invited to lecture at Cornell and other universities and to conduct.
他和妻子游历欧洲各地，并于1954年再次访问美国，应邀在康奈尔大学和其他大学讲学并担任指挥。
He received an enthusiastic welcome from large audiences, and was overwhelmed at the warmth of his reception.
他受到了大批观众的热烈欢迎，并对他的热情接待感到不知所措。
Kennedy describes it as "like a musical state occasion".
肯尼迪将其描述为“就像一次音乐盛会”。
Of Vaughan Williams's works from the 1950s, Grove makes particular mention of Three Shakespeare Songs (1951) for unaccompanied chorus, the Christmas cantata Hodie (1953–1954), the Violin Sonata, and, most particularly, the Ten Blake Songs (1957) for voice and oboe, "a masterpiece of economy and precision".
在沃恩·威廉姆斯 1950 年代的作品中，格罗夫特别提到了为无伴奏合唱而作的《莎士比亚三首歌》（1951 年）、圣诞清唱剧《霍迪》（1953-1954 年）、小提琴奏鸣曲，尤其是为声乐和双簧管而作的《布莱克十首歌》（1957 年），“一部简洁而精确的杰作”。
Unfinished works from the decade were a cello concerto and a new opera, Thomas the Rhymer.
这十年来未完成的作品包括一部大提琴协奏曲和一部新歌剧《托马斯押韵》。
The predominant works of the 1950s were his three last symphonies.
20世纪50年代的主要作品是他的最后三部交响曲。
The seventh—officially unnumbered, and titled Sinfonia antartica—divided opinion; the score is a reworking of music Vaughan Williams had written for the 1948 film Scott of the Antarctic, and some critics thought it not truly symphonic.
第七首——官方未编号，名为《南极交响曲》——意见分歧。该乐谱是沃恩·威廉姆斯 (Vaughan Williams) 为 1948 年电影《南极的斯科特》 (Scott of the Antarctic) 创作的音乐的改编版，一些评论家认为它不是真正的交响乐。
The Eighth, though wistful in parts, is predominantly lighthearted in tone; it was received enthusiastically at its premiere in 1956, given by the Hallé Orchestra under the dedicatee, Sir John Barbirolli.
第八首虽然有部分令人渴望，但基调主要是轻松愉快的。该作品于 1956 年由哈雷管弦乐团在奉献者约翰·巴比罗利爵士 (Sir John Barbirolli) 的指挥下首演，受到热烈欢迎。
The Ninth, premiered at a Royal Philharmonic Society concert conducted by Sir Malcolm Sargent in April 1958, puzzled critics with its sombre, questing tone, and did not immediately achieve the recognition it later gained.
《第九交响曲》于 1958 年 4 月在马尔科姆·萨金特爵士指挥的皇家爱乐协会音乐会上首演，其阴沉、探寻的基调令评论家感到困惑，但并没有立即获得后来获得的认可。
Having been in excellent health, Vaughan Williams died suddenly in the early hours of 26 August 1958 at Hanover Terrace, aged 85.
沃恩·威廉姆斯原本健康状况良好，于 1958 年 8 月 26 日凌晨在汉诺威台突然去世，享年 85 岁。
Two days later, after a private funeral at Golders Green, he was cremated.
两天后，在戈尔德斯格林举行私人葬礼后，他被火化。
On 19 September, at a crowded memorial service, his ashes were interred near the burial plots of Purcell and Stanford in the north choir aisle of Westminster Abbey.
9 月 19 日，在一场拥挤的追悼会上，他的骨灰被安葬在威斯敏斯特教堂北唱诗班过道的珀塞尔和斯坦福墓地附近。
Michael Kennedy characterises Vaughan Williams's music as a strongly individual blending of the modal harmonies familiar from folk‐song with the French influence of Ravel and Debussy.
迈克尔·肯尼迪 (Michael Kennedy) 将沃恩·威廉姆斯 (Vaughan Williams) 的音乐描述为民歌中常见的调式和声与拉威尔和德彪西的法国影响的强烈个人融合。
The basis of his work is melody, his rhythms, in Kennedy's view, being unsubtle at times.
他的作品的基础是旋律，在肯尼迪看来，他的节奏有时并不微妙。
Vaughan Williams's music is often described as visionary; Kennedy cites the masque Job and the Fifth and Ninth Symphonies.
沃恩·威廉姆斯的音乐经常被描述为富有远见的。肯尼迪引用了《假面约伯》以及《第五交响曲》和《第九交响曲》。
Vaughan Williams's output was prolific and wide-ranging.
沃恩·威廉姆斯的作品多产且涉猎广泛。
For the voice he composed songs, operas, and choral works ranging from simpler pieces suitable for amateurs to demanding works for professional choruses.
对于声乐，他创作了歌曲、歌剧和合唱作品，从适合业余爱好者的简单作品到适合专业合唱团的要求较高的作品。
His comparatively few chamber works are not among his better-known compositions.
他相对较少的室内乐作品并不属于他较知名的作品。
Some of his finest works elude conventional categorisation, such as the Serenade to Music (1938) for sixteen solo singers and orchestra; Flos Campi (1925) for solo viola, small orchestra, and small chorus; and his most important chamber work, in Howes's view—not purely instrumental but a song cycle—On Wenlock Edge (1909) with accompaniment for string quartet and piano.
他的一些最优秀的作品摆脱了传统的分类，例如为十六位独唱者和管弦乐队创作的《音乐小夜曲》（Serenade to Music，1938）； Flos Campi (1925) 为中提琴独奏、小型管弦乐队和小型合唱团而作；在豪斯看来，他最重要的室内乐作品《On Wenlock Edge》（1909 年）并非纯粹的器乐作品，而是一套歌曲组曲，配有弦乐四重奏和钢琴伴奏。
In 1955 the authors of The Record Guide, Edward Sackville-West and Desmond Shawe-Taylor, wrote that Vaughan Williams's music showed an exceptionally strong individual voice: Vaughan Williams's style is "not remarkable for grace or politeness or inventive colour", but expresses "a consistent vision in which thought and feeling and their equivalent images in music never fall below a certain high level of natural distinction".
1955年，《唱片指南》的作者爱德华·萨克维尔-韦斯特和德斯蒙德·肖-泰勒写道，沃恩·威廉姆斯的音乐表现出异常强烈的个人声音：沃恩·威廉姆斯的风格“并不因优雅、礼貌或创造性色彩而引人注目”，但表达了“一种一致的愿景，其中思想和感觉及其在音乐中的同等形象永远不会低于某种高水平的自然区别”。
They commented that the composer's vision is expressed in two main contrasting moods: "the one contemplative and trance-like, the other pugnacious and sinister".
他们评论说，作曲家的愿景通过两种主要的对比情绪来表达：“一种是沉思的、恍惚的，另一种是好斗的、险恶的”。
The first mood, generally predominant in the composer's output, was more popular, as audiences preferred "the stained-glass beauty of the Tallis Fantasia, the direct melodic appeal of the Serenade to Music, the pastoral poetry of The Lark Ascending, and the grave serenity of the Fifth Symphony".
第一种情绪通常在作曲家的作品中占主导地位，更受欢迎，因为观众更喜欢“塔利斯幻想曲的彩色玻璃之美、小夜曲对音乐的直接旋律吸引力、云雀上行的田园诗以及第五交响曲的庄严宁静”。
By contrast, as in the ferocity of the Fourth and Sixth Symphonies and the Concerto for Two Pianos: "in his grimmer moods Vaughan Williams can be as frightening as Sibelius and Bartók".
相比之下，正如《第四交响曲》和《第六交响曲》以及《两钢琴协奏曲》中的凶猛一样：“沃恩·威廉姆斯在阴郁的情绪中可能像西贝柳斯和巴托克一样令人恐惧”。
It is as a symphonist that Vaughan Williams is best known.
沃恩·威廉姆斯最出名的是一位交响乐家。
The composer and academic Elliott Schwartz wrote (1964), "It may be said with truth that Vaughan Williams, Sibelius and Prokofieff are the symphonists of this century".
作曲家兼学者埃利奥特·施瓦茨 (Elliott Schwartz) 于 1964 年写道：“可以说，沃恩·威廉斯、西贝柳斯和普罗科菲耶夫是本世纪的交响乐家”。
Although Vaughan Williams did not complete the first of them until he was thirty-eight years old, the nine symphonies span nearly half a century of his creative life.
尽管沃恩·威廉姆斯直到三十八岁才完成第一部交响曲，但这九部交响曲跨越了他近半个世纪的创作生涯。
In his 1964 analysis of the nine, Schwartz found it striking that no two of the symphonies are alike, either in structure or in mood.
在 1964 年对《九首交响曲》的分析中，施瓦茨发现令人惊讶的是，没有两部交响曲在结构或情绪上是相似的。
Commentators have found it useful to consider the nine in three groups of three—early, middle and late.
评论家发现将这九个分成三组（每组三组）——早、中、晚来考虑是有用的。
The first three symphonies, to which Vaughan Williams assigned titles rather than numbers, form a sub-group within the nine, having programmatic elements absent from the later six.
沃恩·威廉姆斯为前三部交响曲分配了标题而不是编号，在九部交响曲中形成了一个子组，而后六部交响曲中则没有程序元素。
A Sea Symphony (1910), the only one of the series to include a part for full choir, differs from most earlier choral symphonies in that the choir sings in all the movements.
《海洋交响曲》（1910）是该系列中唯一一部包含完整合唱部分的作品，与大多数早期的合唱交响曲不同，合唱团在所有乐章中演唱。
The extent to which it is a true symphony has been debated; in a 2013 study, Alain Frogley describes it as a hybrid work, with elements of symphony, oratorio and cantata.
它在多大程度上是一部真正的交响曲一直存在争议。在 2013 年的一项研究中，阿兰·弗罗格利 (Alain Frogley) 将其描述为一部混合作品，包含交响乐、清唱剧和清唱剧元素。
Its sheer length—about eighty minutes—was unprecedented for an English symphonic work, and within its thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow.
它的长度——大约八十分钟——对于一部英国交响乐作品来说是前所未有的，并且在其彻底的音调结构中，它包含了和声不和谐音，这些和谐音与后来的斯特拉文斯基的早期作品相呼应。
A London Symphony (1911–1913) which the composer later observed might more accurately be called a "symphony by a Londoner", is for the most part not overtly pictorial in its presentation of London.
作曲家后来观察到，《伦敦交响曲》（1911-1913）可能更准确地被称为“伦敦人的交响曲”，但它在很大程度上并没有公开描绘伦敦。
Vaughan Williams insisted that it is "self-expressive, and must stand or fall as 'absolute' music".
沃恩·威廉姆斯坚持认为它是“自我表达的，并且作为‘绝对’音乐必须经受住考验”。
There are some references to the urban soundscape: brief impressions of street music, with the sound of the barrel organ mimicked by the orchestra; the characteristic chant of the lavender-seller; the jingle of hansom cabs; and the chimes of Big Ben played by harp and clarinet.
其中有一些关于城市音景的参考：街头音乐的简短印象，管弦乐队模仿的管风琴的声音；薰衣草贩子特有的口号；双轮马车的叮当声；还有竖琴和单簧管演奏的大本钟的钟声。
But commentators have heard—and the composer never denied or confirmed—some social comment in sinister echoes at the end of the scherzo and an orchestral outburst of pain and despair at the opening of the finale.
但评论家们已经听到了——作曲家从未否认或证实过——一些社会评论，在谐谑曲结尾的险恶回响中，以及在结局开头管弦乐中爆发的痛苦和绝望中。
Schwartz comments that the symphony, in its "unified presentation of widely heterogeneous elements", is "very much like the city itself".
施瓦茨评论说，这部交响曲“统一呈现了广泛的异质元素”，“非常像这座城市本身”。
Vaughan Williams said in his later years that this was his favourite of the symphonies.
沃恩·威廉姆斯晚年表示，这是他最喜欢的交响曲。
The last of the first group is A Pastoral Symphony (1921).
第一组的最后一首是田园交响曲（1921）。
The first three movements are for orchestra alone; a wordless solo soprano or tenor voice is added in the finale.
前三个乐章为管弦乐队独奏；终曲中添加了无言的女高音独唱或男高音。
Despite the title the symphony draws little on the folk-songs beloved of the composer, and the pastoral landscape evoked is not a tranquil English scene, but the French countryside ravaged by war.
尽管有标题，这部交响曲并没有借鉴作曲家喜爱的民歌，所唤起的田园风光也不是宁静的英国场景，而是饱受战争蹂躏的法国乡村。
Some English musicians who had not fought in the First World War misunderstood the work and heard only the slow tempi and quiet tone, failing to notice the character of a requiem in the music and mistaking the piece for a rustic idyll.
一些没有参加过第一次世界大战的英国音乐家误解了这部作品，只听到了缓慢的节奏和安静的音调，没有注意到音乐中安魂曲的特征，并误认为这是一首乡村田园诗。
Kennedy comments that it was not until after the Second World War that "the spectral 'Last Post' in the second movement and the girl's lamenting voice in the finale" were widely noticed and understood.
肯尼迪评论说，直到第二次世界大战后，“第二乐章中幽灵般的‘最后的邮报’和结局中女孩哀叹的声音”才被广泛注意到和理解。
The middle three symphonies are purely orchestral, and generally conventional in form, with sonata form (modified in places), specified home keys, and four-movement structure.
中间三首交响曲是纯管弦乐，形式大体上是传统的，有奏鸣曲形式（在某些地方有所修改）、指定的主键和四乐章结构。
The orchestral forces required are not large by the standards of the first half of the 20th century, although the Fourth calls for an augmented woodwind section and the Sixth includes a part for tenor saxophone.
尽管第四交响曲要求增强木管乐器部分，而第六交响曲包括次中音萨克斯管部分，但按照 20 世纪上半叶的标准，所需的管弦乐队力量并不大。
The Fourth Symphony (1935) astonished listeners with its striking dissonance, far removed from the prevailing quiet tone of the previous symphony.
《第四交响曲》（1935）以其惊人的不和谐音让听众感到惊讶，这与上一部交响曲盛行的安静音调相去甚远。
The composer firmly contradicted any notions that the work was programmatical in any respect, and Kennedy calls attempts to give the work "a meretricious programme ...
作曲家坚决反驳任何认为该作品在任何方面都是程序性的观点，肯尼迪称试图赋予该作品“一个华而不实的程序......
a poor compliment to its musical vitality and self-sufficiency".
这是对它的音乐活力和自给自足的拙劣的赞美”。
The Fifth Symphony (1943) was in complete contrast to its predecessor.
第五交响曲（1943）与其前作形成鲜明对比。
Vaughan Williams had been working on and off for many years on his operatic version of Bunyan's The Pilgrim's Progress.
沃恩·威廉姆斯多年来一直断断续续地创作班扬歌剧《天路历程》。
Fearing—wrongly as it turned out—that the opera would never be completed, Vaughan Williams reworked some of the music already written for it into a new symphony.
由于担心这部歌剧永远无法完成（事实证明这是错误的），沃恩·威廉姆斯将一些已经为其编写的音乐重新创作成一部新的交响曲。
Despite the internal tensions caused by the deliberate conflict of modality in places, the work is generally serene in character, and was particularly well received for the comfort it gave at a time of all-out war.
尽管故意在某些地方的形态冲突造成了内部紧张，但这部作品总体上具有平静的性格，并且因其在全面战争时期所提供的安慰而受到特别好评。
Neville Cardus later wrote, "The Fifth Symphony contains the most benedictory and consoling music of our time."
内维尔·卡杜斯后来写道：“第五交响曲包含了我们这个时代最仁慈和安慰的音乐。”
With the Sixth Symphony (1948) Vaughan Williams once again confounded expectations.
沃恩·威廉姆斯的《第六交响曲》（1948）再次出乎意料。
Many had seen the Fifth, composed when he was seventy, as a valedictory work, and the turbulent, troubled Sixth came as a shock.
许多人将他七十岁时创作的第五首作品视为告别作品，而动荡不安、陷入困境的第六首则令人震惊。
After violent orchestral clashes in the first movement, the obsessive ostinato of the second and the "diabolic" scherzo, the finale perplexed many listeners.
在第一乐章中激烈的管弦乐冲突、第二乐章中强迫性的固定音调和“恶魔般的”谐谑曲之后，结局让许多听众感到困惑。
Described as "one of the strangest journeys ever undertaken in music", it is marked pianissimo throughout its 10–12-minute duration.
它被描述为“音乐史上最奇怪的旅程之一”，在整个 10 至 12 分钟的持续时间中都表现出极弱的特征。
The seventh symphony, the Sinfonia antartica (1952), a by-product of the composer's score for Scott of the Antarctic, has consistently divided critical opinion on whether it can be properly classed as a symphony.
第七交响曲《南极交响曲》（1952）是作曲家为《南极洲》的斯科特创作的配乐的副产品，对于它是否可以被正确归类为交响曲，批评意见一直存在分歧。
Alain Frogley in Grove argues that though the work can make a deep impression on the listener, it is neither a true symphony in the understood sense of the term nor a tone poem and is consequently the least successful of the mature symphonies.
格罗夫的阿兰·弗罗格利认为，尽管这部作品能给听者留下深刻的印象，但它既不是理解意义上的真正的交响曲，也不是音调诗，因此是成熟交响曲中最不成功的。
The work is in five movements, with wordless vocal lines for female chorus and solo soprano in the first and last movements.
这部作品共五个乐章，第一乐章和最后乐章都有女合唱的无词声线和女高音独唱。
In addition to large woodwind and percussion sections the score features a prominent part for wind machine.
除了大型木管乐器和打击乐部分外，乐谱还突出了管乐器的部分。
The Eighth Symphony (1956) in D minor is noticeably different from its seven predecessors by virtue of its brevity and, despite its minor key, its general light-heartedness.
D小调第八交响曲（1956）与它的七部前作明显不同，因为它的简洁性和尽管是小调，但总体上是轻松愉快的。
The orchestra is smaller than for most of the symphonies, with the exception of the percussion section, which is particularly large, with, as Vaughan Williams put it, "all the 'phones' and 'spiels' known to the composer".
乐团的规模比大多数交响曲都要小，但打击乐部分除外，打击乐部分特别大，正如沃恩·威廉姆斯所说，“所有的‘电话’和‘演奏’都是作曲家所知道的”。
The work was enthusiastically received at its early performances, and has remained among Vaughan Williams's most popular works.
该作品在早期演出中受到热烈欢迎，至今仍是沃恩·威廉姆斯最受欢迎的作品之一。
The final symphony, the Ninth, was completed in late 1957 and premiered in April 1958, four months before the composer's death.
最后一部交响曲《第九交响曲》于 1957 年末完成，并于 1958 年 4 月首演，即作曲家去世前四个月。
It is scored for a large orchestra, including three saxophones, a flugelhorn, and an enlarged percussion section.
它是为一个大型管弦乐队而创作的，其中包括三个萨克斯管、一个粗管号和一个扩大的打击乐部分。
The mood is more sombre than that of the Eighth; Grove calls its mood "at once heroic and contemplative, defiant and wistfully absorbed".
气氛比第八更阴沉。格罗夫称其情绪“既英勇又沉思，既挑衅又充满渴望”。
The work received an ovation at its premiere, but at first the critics were not sure what to make of it, and it took some years for it to be generally ranked alongside its eight predecessors.
该作品首映时受到热烈欢迎，但一开始评论家们并不确定如何评价它，花了几年时间才将其与八部前作并列。
Grove lists more than thirty works by Vaughan Williams for orchestra or band over and above the symphonies.
格罗夫列出了沃恩·威廉姆斯在交响乐之外为管弦乐队或乐队创作的三十多首作品。
They include two of his most popular works—the Fantasia on a Theme by Thomas Tallis (1910, revised 1919), and The Lark Ascending, originally for violin and piano (1914); orchestrated 1920.
其中包括他最受欢迎的两部作品——托马斯·塔利斯的《主题幻想曲》（1910 年，1919 年修订）和最初为小提琴和钢琴而作的《云雀上行》（1914 年）； 1920年精心策划。
Other works that survive in the repertoire in Britain are the Norfolk Rhapsody No 1 (1905–1906), The Wasps (An Aristophanic Suite) (1909) – the overture in particular – the English Folk Song Suite (1923) and the Fantasia on Greensleeves (1934).
英国保留曲目中的其他作品有《诺福克狂想曲第一号》（1905-1906）、《黄蜂》（阿里斯托芬组曲）（1909）——尤其是序曲——《英国民歌组曲》（1923）和《绿袖子幻想曲》（1934）。
Vaughan Williams wrote four concertos: for violin (1925), piano (1926), oboe (1944) and tuba (1954); another concertante piece is his "Romance for harmonica, strings and piano" (1951), written for Larry Adler.
沃恩·威廉姆斯创作了四首协奏曲：小提琴协奏曲（1925年）、钢琴协奏曲（1926年）、双簧管协奏曲（1944年）和大号协奏曲（1954年）；另一首协奏曲是他为拉里·阿德勒（Larry Adler）写的“口琴、弦乐和钢琴的浪漫曲”（1951）。
None of these works has rivalled the popularity of the symphonies or the short orchestral works mentioned above.
这些作品的受欢迎程度都无法与上述交响曲或短管弦乐作品相媲美。
Bartók was among the admirers of the Piano Concerto, written for and championed by Harriet Cohen, but it has remained, in the words of the critic Andrew Achenbach, a neglected masterpiece.
巴托克是《钢琴协奏曲》的崇拜者之一，这部钢琴协奏曲是为哈丽特·科恩创作并支持的，但用评论家安德鲁·阿亨巴赫的话来说，它仍然是一部被忽视的杰作。
In addition to the music for Scott of the Antarctic, Vaughan Williams composed incidental music for eleven other films, from 49th Parallel (1941) to The Vision of William Blake (1957).
除了《南极的斯科特》的音乐外，沃恩·威廉姆斯还为另外 11 部电影创作了配乐，从《平行四十九度》（49th Parallel）（1941 年）到《威廉·布莱克的幻象》（1957 年）。
By comparison with his output in other genres, Vaughan Williams's music for chamber ensembles and solo instruments forms a small part of his oeuvre.
与他在其他流派中的作品相比，沃恩·威廉姆斯的室内合奏和独奏乐器音乐仅占他全部作品的一小部分。
Grove lists twenty-four pieces under the heading "Chamber and instrumental"; three are early, unpublished works.
格罗夫在“室内乐和器乐”标题下列出了二十四首作品；其中三部是早期未发表的作品。
Vaughan Williams, like most leading British 20th-century composers, was not drawn to the solo piano and wrote little for it.
沃恩·威廉姆斯（Vaughan Williams）与 20 世纪大多数英国顶尖作曲家一样，对钢琴独奏不感兴趣，也很少为之创作。
From his mature years, there survive for standard chamber groupings two string quartets (1908–1909, revised 1921; and 1943–1944), a "phantasy" string quintet (1912), and a sonata for violin and piano (1954).
从他成熟的岁月开始，标准室内乐组中留下了两部弦乐四重奏（1908-1909年，1921年修订；以及1943-1944年）、一部“幻想”弦乐五重奏（1912年）以及一部小提琴和钢琴奏鸣曲（1954年）。
The first quartet was written soon after Vaughan Williams's studies in Paris with Ravel, whose influence is strongly evident.
第一个四重奏是沃恩·威廉姆斯在巴黎跟随拉威尔学习后不久写成的，拉威尔的影响是显而易见的。
In 2002 the magazine Gramophone described the second quartet as a masterpiece that should be, but is not, part of the international chamber repertory.
2002年，《留声机》杂志将第二四重奏描述为一部杰作，它应该是但实际上不是国际室内乐曲目的一部分。
It is from the same period as the Sixth Symphony, and has something of that work's severity and anguish.
它与第六交响曲属于同一时期，具有该作品的严肃性和痛苦感。
The quintet (1912) was written two years after the success of the Tallis Fantasia, with which it has elements in common, both in terms of instrumental layout and the mood of rapt contemplation.
这首五重奏（1912）是在《塔利斯幻想曲》成功两年后写成的，无论是在乐器布局还是全神贯注的沉思情绪上，它与塔利斯幻想曲都有一些共同之处。
The violin sonata has made little impact.
小提琴奏鸣曲影响甚微。
Ursula Vaughan Williams wrote of her husband's love of literature, and listed some of his favourite writers and writings:
乌苏拉·沃恩·威廉姆斯 (Ursula Vaughan Williams) 描述了她丈夫对文学的热爱，并列出了他最喜欢的一些作家和作品：
From Skelton and Chaucer, Sidney, Spenser, the Authorised Version of the Bible, the madrigal poets, the anonymous poets, to Shakespeare—inevitably and devotedly—on to Herbert and his contemporaries, Milton, Bunyan, and Shelley, Tennyson, Swinburne, both Rossettis, Whitman, Barnes, Hardy and Housman.
从斯克尔顿和乔叟、西德尼、斯宾塞、《圣经》授权版、牧歌诗人、无名诗人，到莎士比亚——不可避免地、虔诚地——到赫伯特和他的同时代人，弥尔顿、班扬、雪莱、丁尼生、斯温伯恩，还有罗塞蒂、惠特曼、巴恩斯、哈代和豪斯曼。
In addition to his love of poetry, Vaughan Williams's vocal music is inspired by his lifelong belief that the voice "can be made the medium of the best and deepest human emotion."
除了对诗歌的热爱之外，沃恩·威廉姆斯的声乐灵感还源于他一生的信念，即声音“可以成为人类最好、最深刻的情感的媒介”。
Between the mid-1890s and the late 1950s Vaughan Williams set more than eighty poems for voice and piano accompaniment.
1890 年代中期至 50 年代末，沃恩·威廉姆斯创作了八十多首声乐和钢琴伴奏诗。
The earliest to survive is "A Cradle Song", to Coleridge's words, from about 1894.
用柯勒律治的话来说，现存最早的是大约 1894 年的《摇篮曲》。
The songs include many that have entered the repertory, such as "Linden Lea" (1902), "Silent Noon" (1904) and the song cycles Songs of Travel (1905 and 1907) and On Wenlock Edge.
这些歌曲包括许多已进入剧目的歌曲，例如“Linden Lea”（1902年）、“Silent Noon”（1904年）以及歌曲组“Songs of Travel”（1905年和1907年）和“On Wenlock Edge”。
To Vaughan Williams the human voice was "the oldest and greatest of musical instruments".
对于沃恩·威廉姆斯来说，人声是“最古老、最伟大的乐器”。
He described his early songs as "more or less simple and popular in character", and the musicologist Sophie Fuller describes this simplicity and popularity as consistent throughout his career.
他将他的早期歌曲描述为“或多或少简单且流行”，音乐学家索菲·富勒将这种简单和流行描述为在他的整个职业生涯中始终如一的。
Many composers of the late 19th and early 20th centuries wrote sentimental works for female voice; by contrast, songs by Vaughan Williams, such as "The Vagabond" from Songs of Travel, to words by Robert Louis Stevenson, are "a particularly masculine breath of fresh air" (Fuller), "virile open-air verses" (Kennedy).
19世纪末20世纪初的许多作曲家都为女声创作了感伤的作品；相比之下，沃恩·威廉姆斯的歌曲，如《旅行之歌》中的《流浪者》，用罗伯特·路易斯·史蒂文森的词来说，是“一种特别阳刚的新鲜空气”（富勒），“阳刚的露天诗句”（肯尼迪）。
Some of Vaughan Williams's later songs are less well known; Fuller singles out the cycle Three Poems by Walt Whitman, a largely dark work, as too often overlooked by singers and critics.
沃恩·威廉姆斯后来的一些歌曲不太为人所知。富勒特别推荐了沃尔特·惠特曼的《三首诗》组曲，这是一部很大程度上黑暗的作品，经常被歌手和评论家忽视。
For some of his songs the composer expands the accompaniment to include two or more string instruments in addition to the piano; they include On Wenlock Edge, and the Chaucer cycle Merciless Beauty (1921), judged by an anonymous contemporary critic as "surely among the best of modern English songs".
对于他的一些歌曲，作曲家将伴奏扩展到除了钢琴之外还包括两种或更多弦乐器；其中包括《On Wenlock Edge》和乔叟的循环《Merciless Beauty》（1921），被一位匿名当代评论家评价为“无疑是现代英语歌曲中最好的歌曲之一”。
Despite his agnosticism Vaughan Williams composed many works for church performance.
尽管持不可知论，沃恩·威廉姆斯还是创作了许多教堂表演作品。
His two best known hymn tunes, both from c.
他的两首最著名的赞美诗曲调均来自c。
1905, are "Down Ampney" to the words "Come Down, O Love Divine", and "Sine nomine" "For All the Saints".
1905年，歌曲为“Down Ampney”，歌词为“Come Down，O Love Heaven”，以及“Sine nomine”“For All the Saints”。
Grove lists a dozen more, composed between 1905 and 1935.
格罗夫还列出了另外十几个创作于 1905 年至 1935 年间的作品。
Other church works include a Magnificat and Nunc Dimittis (1925), the Mass in G minor (1920–1921), a Te Deum (1928) and the motets O Clap Your Hands (1920), Lord, Thou hast been our Refuge (1921) and O Taste and See (1953).
其他教堂作品包括《圣母颂》和《迪米蒂斯颂歌》（1925年）、《G小调弥撒》（1920-1921年）、《感恩颂》（1928年）和经文歌《拍你的手，主啊，你曾是我们的避难所》（1921年）和《品味与看见》（1953年）。
The latter was first performed at the Coronation of Queen Elizabeth II, for which Vaughan Williams also produced an elaborate arrangement of All People that on Earth do Dwell for choir, congregation and orchestra.
后者首次在伊丽莎白二世女王加冕典礼上演出，沃恩·威廉姆斯还为合唱团、会众和管弦乐队精心编排了《All People that on Earth do Dwell》。
Vaughan Williams's choral works for concert performance include settings of both secular and religious words.
沃恩·威廉姆斯的音乐会合唱作品包括世俗和宗教词汇的背景。
The former include Toward the Unknown Region to words by Whitman (composed 1904–1906), Five Tudor Portraits, words by John Skelton (1935), and the Shakespearean Serenade to Music (in its alternative version for chorus and orchestra, 1938).
前者包括惠特曼作词的《走向未知的地区》（1904-1906 年创作）、约翰·斯凯尔顿作词的《五张都铎肖像》（1935 年）和莎士比亚音乐小夜曲（合唱团和管弦乐队的替代版本，1938 年）。
Choral pieces with religious words include the oratorio Sancta Civitas (1923–1925) and the Christmas cantata Hodie (1954).
带有宗教歌词的合唱作品包括清唱剧《Sancta Civitas》（1923-1925）和《圣诞清唱剧Hodie》（1954）。
In 1953 the composer said that of his choral works Sancta Civitas was his favourite.
1953年，作曲家表示，他的合唱作品《Sancta Civitas》是他的最爱。
The Dona Nobis Pacem, an impassioned anti-war cantata (1936) is a combination of both, with words from Whitman and others juxtaposed with extracts from the Latin mass, anticipating a similar mixture of sacred and secular text in Britten's War Requiem twenty-five years later.
《多纳·诺比斯·佩塞姆》（Dona Nobis Pacem）是一部热情洋溢的反战康塔塔（1936），它是两者的结合，惠特曼和其他人的文字与拉丁弥撒的摘录并列，预示着二十五年后布里顿的战争安魂曲中类似的神圣和世俗文本的混合。
Vaughan Williams was wary of conventional labels; his best known ballet is described on the title page as "a masque for dancing" and only one of his operatic works is categorised by the composer simply as an opera.
沃恩·威廉姆斯 (Vaughan Williams) 对传统标签持谨慎态度。他最著名的芭蕾舞剧在扉页上被描述为“舞蹈假面舞剧”，而他的歌剧作品中只有一部被作曲家简单地归类为歌剧。
For some of his theatre pieces that could be classed as operas or ballets, he preferred the terms "masque", "romantic extravaganza", "play set to music", or "morality".
对于他的一些可以归类为歌剧或芭蕾舞剧的戏剧作品，他更喜欢“假面”、“浪漫盛宴”、“音乐剧”或“道德”等术语。
In a 2013 survey of Vaughan Williams's stage works, Eric Saylor writes, "With the possible exception of Tchaikovsky, no composer's operatic career was less emblematic of his success elsewhere." Although Vaughan Williams was a regular opera-goer, enthusiastic and knowledgeable about works by operatic masters from Mozart to Wagner and Verdi, his success in the operatic field was at best patchy.
埃里克·塞勒 (Eric Saylor) 在 2013 年对沃恩·威廉姆斯舞台作品的调查中写道：“除了柴可夫斯基之外，没有哪个作曲家的歌剧生涯比他在其他地方的成功更能体现这一点。”尽管沃恩·威廉姆斯是一位歌剧常客，对莫扎特、瓦格纳和威尔第等歌剧大师的作品充满热情且知识渊博，但他在歌剧领域的成功充其量只是断断续续的。
There is widespread agreement among commentators that this was partly due to the composer's poor choice of librettists for some, though not all, of his operas.
评论家们普遍认为，这部分是由于作曲家为他的一些歌剧（尽管不是全部）选择了糟糕的剧本作者。
Another problem was his keenness to encourage amateurs and student groups, which sometimes led to the staging of his operas with less than professional standards.
另一个问题是他热衷于鼓励业余爱好者和学生团体，这有时导致他的歌剧演出达不到专业标准。
A further factor was the composer's expressed preference for "slow, long tableaux", which tended to reduce dramatic impact, although he believed them essential, as "music takes a long time to speak—much longer than words by themselves."
另一个因素是作曲家表达了对“缓慢、长的场景”的偏好，这往往会减少戏剧性的影响，尽管他认为它们很重要，因为“音乐需要很长时间才能表达——比单词本身长得多”。
Hugh the Drover, or Love in the Stocks (completed 1919, premiere 1924) has a libretto, by the writer and theatre critic Harold Child, which was described by The Stage as "replete with folksy, Cotswold village archetypes".
《牲畜休》或《股票之爱》（1919 年完成，1924 年首演）的剧本由作家兼戏剧评论家哈罗德·柴尔德 (Harold Child) 撰写，《舞台》杂志将其描述为“充满了科茨沃尔德乡村的民间风格”。
In the view of the critic Richard Traubner the piece is a cross between traditional ballad opera and the works of Puccini and Ravel, "with rhapsodic results." The score uses genuine and pastiche folk-songs but ends with a passionate love duet that Traubner considers has few equals in English opera.
在评论家理查德·特劳布纳看来，这部作品是传统民谣歌剧与普契尼和拉威尔作品的结合，“具有狂想曲的效果”。配乐使用了真实的和模仿的民歌，但以一段热情的爱情二重唱结束，特劳布纳认为这在英国歌剧中很少有对手。
Its first performance was by students at the Royal College of Music, and the work is rarely staged by major professional companies.
它的首演是由皇家音乐学院的学生表演的，该作品很少由大型专业公司演出。
Old King Cole (1923) is a humorous ballet.
老国王科尔（1923）是一部幽默的芭蕾舞剧。
The score, which makes liberal use of folk-song melodies, was thought by critics to be strikingly modern when first heard.
乐谱大量使用了民歌旋律，评论家第一次听到时就认为它具有惊人的现代感。
Kennedy comments that the music "is not a major work but it is fun." The piece has not been seen frequently since its premiere, but was revived in a student production at the RCM in 1937.
肯尼迪评论说，这首音乐“不是一部主要作品，但很有趣”。这部作品自首演以来就很少出现，但 1937 年在 RCM 的学生作品中又重新上演。
On Christmas Night (1926), a masque by Adolph Bolm and Vaughan Williams, combines singing, dancing and mime.
阿道夫·博尔姆 (Adolph Bolm) 和沃恩·威廉姆斯 (Vaughan Williams) 创作的《圣诞之夜》(1926) 结合了歌唱、舞蹈和哑剧。
The story is loosely based on Dickens's A Christmas Carol.
这个故事大致是根据狄更斯的《圣诞颂歌》改编的。
The piece was first given in Chicago by Bolm's company; the London premiere was in 1935.
这首曲子由博尔姆的公司在芝加哥首次演出。 1935年伦敦首映。
Saylor describes the work as a "dramatic hodgepodge" which has not attracted the interest of later performers.
塞勒将这部作品形容为“戏剧性的大杂烩”，并没有引起后来表演者的兴趣。
The only work that the composer designated as an opera is the comedy Sir John in Love (1924–1928).
作曲家唯一指定为歌剧的作品是喜剧《约翰爵士的爱情》（1924-1928）。
It is based on Shakespeare's The Merry Wives of Windsor.
它是根据莎士比亚的《温莎的风流娘儿们》改编的。
Folk-song is used, though more discreetly than in Hugh the Drover, and the score is described by Saylor as "ravishingly tuneful".
剧中使用了民歌，不过比《牧羊人休》更加谨慎，塞勒将配乐描述为“令人着迷的曲调”。
Although versions of the play had already been set by Nicolai, Verdi, and Holst, Vaughan Williams's is distinctive for its greater emphasis on the love music rather than on the robust comedy.
尽管尼古拉、威尔第和霍尔斯特已经创作了该剧的多个版本，但沃恩·威廉姆斯的剧本的独特之处在于它更加强调爱情音乐而不是强劲的喜剧。
In 1931, with the Leith Hill Festival in mind, the composer recast some of the music as a five-section cantata, In Windsor Forest, giving the public "the plums and no cake", as he put it.
1931 年，考虑到利斯山音乐节，作曲家将部分音乐重新改编为五段康塔塔《在温莎森林》，用他的话说，为公众提供“李子而不是蛋糕”。
The Poisoned Kiss (1927–1929, premiered in 1936) is a light comedy.
《毒吻》（1927-1929，1936 年首映）是一部轻喜剧。
Vaughan Williams knew the Savoy operas well, and his music for this piece was and is widely regarded as in the Sullivan vein.
沃恩·威廉姆斯（Vaughan Williams）非常了解萨沃伊歌剧，他为这部作品创作的音乐过去和现在都被广泛认为是继承了沙利文的风格。
The words, by an inexperienced librettist, were judged to fall far short of Gilbert's standards.
这些词出自一位缺乏经验的剧本作者之手，被认为远远达不到吉尔伯特的标准。
Saylor sums up the critical consensus that the work is something between "a frothy romantic comedy [and] a satirical fairy-tale", and not quite successful in either category.
塞勒总结了评论界的共识，即这部作品介于“一部泡沫浪漫喜剧和一部讽刺童话故事”之间，并且在这两个类别中都不太成功。
Job: A Masque for Dancing (1930) was the first large-scale ballet by a modern British composer.
《工作：跳舞的假面》（1930）是现代英国作曲家的第一部大型芭蕾舞剧。
Vaughan Williams's liking for long tableaux, however disadvantageous in his operas, worked to successful effect in this ballet.
沃恩·威廉姆斯喜欢长场面，尽管这在他的歌剧中不利，但在这部芭蕾舞剧中却取得了成功。
The work is inspired by William Blake's Illustrations of the Book of Job (1826).
该作品的灵感来自威廉·布莱克的《约伯记插图》（1826 年）。
The score is divided into nine sections and an epilogue, presenting dance interpretations of some of Blake's engravings.
乐谱分为九个部分和一个尾声，呈现了对布莱克的一些版画的舞蹈诠释。
The work, choreographed by Ninette de Valois, made a powerful impression at its early stagings, and has been revived by the Royal Ballet several times.
这部作品由尼内特·德·瓦卢瓦编舞，在早期的演出中给人留下了深刻的印象，并多次被皇家芭蕾舞团重演。
Kennedy ranks the score as "one of Vaughan Williams's mightiest achievements", and notes that it is familiar in concert programmes, having "the stature and cohesion of a symphony."
肯尼迪将该乐谱列为“沃恩·威廉姆斯最伟大的成就之一”，并指出它在音乐会节目中很常见，具有“交响乐的地位和凝聚力”。
In Kennedy's view the one-act Riders to the Sea (1925–1931, premiered 1937) is artistically Vaughan Williams's most successful opera; Saylor names Sir John in Love for that distinction, but rates Riders to the Sea as one of the composer's finest works in any genre.
在肯尼迪看来，单幕《海上骑士》（1925-1931，1937 年首演）在艺术上是沃恩·威廉姆斯最成功的歌剧；塞勒将约翰爵士命名为“爱情中的约翰”，以表彰这一殊荣，但他将《奔向大海的骑士》视为作曲家在任何流派中最优秀的作品之一。
It is an almost verbatim setting of J.
这几乎是 J 的逐字设定。
M.
M。
Synge's 1902 play of the same name, depicting family tragedy in an Irish fishing village.
辛格 1902 年创作的同名戏剧，描绘了爱尔兰渔村的家庭悲剧。
Kennedy describes the score as "organized almost symphonically" with much of the thematic material developed from the brief prelude.
肯尼迪将配乐描述为“几乎以交响乐的方式组织”，其中大部分主题材料都是从简短的前奏中发展而来的。
The orchestration is subtle, and foreshadows the ghostly finale of the Sixth Symphony; there are also pre-echoes of the Sinfonia antartica in the lamenting voices of the women and in the sound of the sea.
配器很微妙，预示着第六交响曲幽灵般的结局；妇女们的哀叹声和大海的声音中也有南极交响曲的预回声。
The Bridal Day (1938–1939) is a masque, to a scenario by Ursula, combining voice, mime and dance, first performed in 1953 on BBC television.
《新娘日》（1938-1939）是一部假面舞会，根据乌苏拉的剧本改编，结合了声音、哑剧和舞蹈，于 1953 年在 BBC 电视台首次演出。
Vaughan Williams later recast it a cantata, Epithalamion (1957).
沃恩·威廉姆斯后来将其改写为康塔塔《Epithalamion》（1957）。
The Pilgrim's Progress (1951), the composer's last opera, was the culmination of more than forty years' intermittent work on the theme of Bunyan's religious allegory.
《天路历程》（1951）是作曲家的最后一部歌剧，是四十多年来断断续续创作班扬宗教寓言主题的巅峰之作。
Vaughan Williams had written incidental music for an amateur dramatisation in 1906, and had returned to the theme in 1921 with the one-act The Shepherds of the Delectable Mountains (finally incorporated, with amendments, into the 1951 opera).
沃恩·威廉姆斯 (Vaughan Williams) 于 1906 年为一部业余戏剧创作了配乐，并于 1921 年以独幕剧《欢乐山的牧羊人》(最终经过修改并入 1951 年的歌剧) 回归主题。
The work has been criticised for a preponderance of slow music and stretches lacking in dramatic action, but some commentators believe the work to be one of Vaughan Williams's supreme achievements.
该作品因缓慢音乐占主导地位且缺乏戏剧性动作而受到批评，但一些评论家认为该作品是沃恩·威廉姆斯的最高成就之一。
Summaries of the music vary from "beautiful, if something of a stylistic jumble" (Saylor) to "a synthesis of Vaughan Williams's stylistic progress over the years, from the pastoral mediation of the 1920s to the angry music of the middle symphonies and eventually the more experimental phase of the Sinfonia antartica in his last decade" (Kennedy).
对音乐的总结各不相同，从“美丽，但风格上有些混乱”（塞勒）到“沃恩·威廉姆斯多年来风格进步的综合，从 1920 年代的田园调和音乐到中期交响曲的愤怒音乐，最后是他最后十年中更具实验性的南极交响曲阶段”（肯尼迪）。
Vaughan Williams conducted a handful of recordings for gramophone and radio.
沃恩·威廉姆斯为留声机和收音机录制了一些唱片。
His studio recordings are the overture to The Wasps and the ballet Old King Cole (both made in 1925), and the Fourth Symphony (1937).
他的录音室录音包括《黄蜂女》的序曲、芭蕾舞剧《老国王科尔》（均于 1925 年制作）以及《第四交响曲》（1937 年）。
Live concert tapings include Dona Nobis Pacem (1936), the Serenade to Music, and the Fifth Symphony, recorded in 1951 and 1952, respectively.
现场音乐会录音包括分别于 1951 年和 1952 年录制的《Dona Nobis Pacem》（1936 年）、《音乐小夜曲》和《第五交响曲》。
There is a recording of Vaughan Williams conducting the St Matthew Passion with his Leith Hill Festival forces.
有一段录音是沃恩·威廉姆斯 (Vaughan Williams) 与他的利斯山音乐节部队一起指挥《马太受难曲》。
In the early days of LP in the 1950s Vaughan Williams was better represented in the record catalogues than most British composers.
在 20 世纪 50 年代黑胶唱片的早期，沃恩·威廉姆斯 (Vaughan Williams) 在唱片目录中的表现比大多数英国作曲家更好。
The Record Guide (1955) contained nine pages of listings of his music on disc, compared with five for Walton, and four apiece for Elgar and Britten.
《唱片指南》（1955）包含了他的唱片音乐列表九页，而沃尔顿的音乐列表为五页，埃尔加和布里顿的音乐列表各为四页。
All the composer's major works and many of the minor ones have been recorded.
作曲家的所有主要作品和许多次要作品都已被录制。
There have been numerous complete LP and CD sets of the nine symphonies, beginning with Boult's Decca cycle of the 1950s, most of which was recorded in the composer's presence.
从 20 世纪 50 年代博尔特的 Decca 套曲开始，九部交响曲已经有许多完整的 LP 和 CD 集，其中大部分都是在作曲家在场的情况下录制的。
Although rarely staged, the operas have fared well on disc.
尽管很少上演，这些歌剧在唱片上却表现出色。
The earliest recording of a Vaughan Williams opera was Hugh the Drover, in an abridged version conducted by Sargent in 1924.
最早录制的沃恩·威廉姆斯歌剧是萨金特于 1924 年指挥的《休牧者》的删节版本。
Since the 1960s there have been stereophonic recordings of Hugh the Drover, Sir John in Love, Riders to the Sea, The Poisoned Kiss, and The Pilgrim's Progress.
自 20 世纪 60 年代起，就有了《牧羊人休》、《恋爱中的约翰爵士》、《海边骑士》、《毒吻》和《天路历程》的立体声录音。
Most of the orchestral recordings have been by British orchestras and conductors, but notable non-British conductors who have made recordings of Vaughan Williams's works include Herbert von Karajan, Leonard Bernstein, Dimitri Mitropoulos, Charles Munch, Leopold Stokowski, and, most frequently, André Previn, who conducted the London Symphony Orchestra in the first complete stereo cycle of the symphonies, recorded between 1967 and 1972.
大多数管弦乐唱片都是由英国管弦乐团和指挥家录制的，但录制过沃恩·威廉姆斯作品的著名非英国指挥家包括赫伯特·冯·卡拉扬、伦纳德·伯恩斯坦、迪米特里·米特罗普洛斯、查尔斯·蒙克、利奥波德·斯托科夫斯基，最常见的是安德烈·普雷文，他指挥伦敦交响乐团录制了第一套完整的立体声交响曲，录制于 1967 年至 1972 年之间。
Among the British conductors most closely associated with Vaughan Williams's music on disc and in concert in the generations after Boult, Sargent and Barbirolli are Vernon Handley, Richard Hickox, Sir Mark Elder and Sir Andrew Davis.
在博尔特、萨金特和巴比罗利之后的几代人中，与沃恩·威廉姆斯的唱片和音乐会音乐联系最密切的英国指挥家包括弗农·汉德利、理查德·希科克斯、马克·埃尔德爵士和安德鲁·戴维斯爵士。
Record companies with extensive lists of Vaughan Williams recordings include EMI, Decca, Chandos, Hyperion and Naxos.
拥有大量 Vaughan Williams 唱片的唱片公司包括 EMI、Decca、Chandos、Hyperion 和 Naxos。
Vaughan Williams refused a knighthood at least once, and declined the post of Master of the King's Music after Elgar's death.
沃恩·威廉姆斯至少拒绝了一次爵士封爵，并在埃尔加去世后拒绝了国王音乐大师的职位。
The one state honour he accepted was the Order of Merit in 1935, which confers no prenominal title: he preferred to remain "Dr Vaughan Williams".
他接受的一项国家荣誉是 1935 年的功绩勋章，该勋章不授予任何头衔：他更愿意保留“沃恩·威廉姆斯博士”的称号。
His academic and musical honours included an honorary doctorate of music from the University of Oxford (1919); the Cobbett medal for services to chamber music (1930); the gold medal of the Royal Philharmonic Society (1930); the Collard life fellowship of the Worshipful Company of Musicians (1934, in succession to Elgar); an honorary fellowship of Trinity College, Cambridge (1935); the Shakespeare prize of the University of Hamburg (1937); the Albert medal of the Royal Society of Arts (1955); and the Howland memorial prize of Yale University (1954).
他的学术和音乐荣誉包括牛津大学荣誉音乐博士学位（1919 年）；科贝特室内乐贡献奖章（1930 年）；皇家爱乐协会金奖（1930年）；音乐家敬拜团的科拉德终身奖学金（1934年，继承埃尔加）；剑桥三一学院荣誉院士（1935 年）；汉堡大学莎士比亚奖（1937年）；英国皇家艺术学会阿尔伯特奖章（1955年）；和耶鲁大学豪兰纪念奖（1954年）。
Although the Shakespeare Prize was awarded to Vaughan Williams in 1937, he travelled to Hamburg to receive it in June 1938; currency restrictions prevented him from taking the 10,000-mark prize money out of Germany.
尽管沃恩·威廉姆斯于 1937 年获得莎士比亚奖，但他于 1938 年 6 月前往汉堡领奖；由于货币限制，他无法将 10,000 马克的奖金带出德国。
After Vaughan Williams's death, The Times summed up his legacy in a leading article:
沃恩·威廉姆斯去世后，《泰晤士报》在一篇重要文章中总结了他的遗产：
[H]istorically his achievement was to cut the bonds that from the times of Handel and Mendelssohn had bound England hand and foot to the Continent.
从历史上看，他的成就是切断了亨德尔和门德尔松时代以来英国与欧洲大陆的手脚束缚。
He found in the Elizabethans and folk-song the elements of a native English language that need no longer be spoken with a German accent, and from it he forged his own idiom.
他在伊丽莎白时代的歌曲和民歌中发现了母语英语的元素，不再需要用德国口音来说话，并从中创造了自己的习语。
The emancipation he achieved thereby was so complete that the composers of succeeding generations like Walton and Britten had no longer need of the conscious nationalism which was Vaughan Williams's own artistic creed.
他由此实现的解放是如此彻底，以至于像沃尔顿和布里顿这样的后代作曲家不再需要沃恩·威廉姆斯自己的艺术信条——有意识的民族主义。
There is now an English music which can make its distinctive contribution to the comity of nations.
现在有一种英国音乐可以为各国的团结做出独特的贡献。
In 1994 a group of enthusiasts founded the Ralph Vaughan Williams Society, with the composer's widow as its president and Roy Douglas and Michael Kennedy as vice presidents.
1994年，一群爱好者成立了拉尔夫·沃恩·威廉姆斯协会，由作曲家的遗孀担任主席，罗伊·道格拉斯和迈克尔·肯尼迪担任副主席。
The society, a registered charity, has sponsored and encouraged performances of the composer's works including complete symphony cycles and a Vaughan Williams opera festival.
该协会是一家注册慈善机构，赞助并鼓励作曲家作品的演出，包括完整的交响乐周期和沃恩·威廉姆斯歌剧节。
The society has promoted premieres of neglected works, and has its own record label, Albion Records.
该协会提倡被忽视的作品首映，并拥有自己的唱片公司阿尔比恩唱片公司。
Composers of the generation after Vaughan Williams reacted against his style, which became unfashionable in influential musical circles in the 1960s; diatonic and melodic music such as his was neglected in favour of atonal and other modernist compositions.
沃恩·威廉姆斯之后的一代作曲家对他的风格做出了反应，这种风格在 20 世纪 60 年代的有影响力的音乐圈中变得不再流行；像他这样的全音阶和旋律音乐被忽视，取而代之的是无调性和其他现代主义作品。
In the 21st century this neglect has been reversed.
在21世纪，这种忽视已经得到扭转。
In the fiftieth anniversary year of his death two contrasting documentary films were released: Tony Palmer's O Thou Transcendent: The Life of Vaughan Williams and John Bridcut's The Passions of Vaughan Williams.
在他去世五十周年之际，上映了两部对比鲜明的纪录片：托尼·帕尔默的《哦，你超越：沃恩·威廉姆斯的一生》和约翰·布里德卡特的《沃恩·威廉姆斯的激情》。
British audiences were prompted to reappraise the composer.
英国观众被促使重新评价这位作曲家。
The popularity of his most accessible works, particularly the Tallis Fantasia and The Lark Ascending, increased, but a wide public also became aware of what a reviewer of Bridcut's film called "a genius driven by emotion".
他最平易近人的作品，尤其是《塔利斯幻想曲》和《云雀上行》，越来越受欢迎，但广大公众也开始意识到布里德卡特电影评论家所称的“一个受情感驱动的天才”。
Among the 21st-century musicians who have acknowledged Vaughan Williams's influence on their development are John Adams, PJ Harvey, Sir Peter Maxwell Davies, Anthony Payne, Wayne Shorter, Neil Tennant and Mark-Anthony Turnage.
承认沃恩·威廉姆斯对其发展影响的 21 世纪音乐家包括约翰·亚当斯、PJ·哈维、彼得·麦克斯韦·戴维斯爵士、安东尼·佩恩、韦恩·肖特、尼尔·坦南特和马克·安东尼·特纳奇。
The Royal College of Music commissioned an official portrait of the composer from Sir Gerald Kelly (1952) which hangs in the college.
皇家音乐学院委托杰拉尔德·凯利爵士 (Sir Gerald Kelly) 为这位作曲家绘制了一幅官方肖像（1952 年），并将其悬挂在学院内。
The Manchester Art Gallery has a bronze sculpture of Vaughan Williams by Epstein (1952) and the National Portrait Gallery (NPG) has drawings by Joyce Finzi (1947) and Juliet Pannett (1957 and 1958); versions of a bronze head of the composer by David McFall (1956) are in the NPG and at the entrance to the Music reading room of the British Library.
曼彻斯特艺术画廊 (Manchester Art Gallery) 收藏有爱泼斯坦 (Epstein) 创作的沃恩·威廉姆斯 (Vaughan Williams) 青铜雕塑 (1952 年)，国家肖像画廊 (NPG) 收藏有乔伊斯·芬兹 (Joyce Finzi) (1947 年) 和朱丽叶·潘尼特 (Juliet Pannett)（1957 年和 1958 年）的绘画作品；大卫·麦克福尔 (David McFall) 创作的作曲家青铜头像 (1956) 的版本现藏于 NPG 和大英图书馆音乐阅览室的入口处。
There is a statue of Vaughan Williams in Dorking, and a bust by Marcus Cornish in Chelsea Embankment Gardens, near his old house in Cheyne Walk.
多尔金 (Dorking) 有一尊沃恩·威廉姆斯 (Vaughan Williams) 的雕像，切尔西堤岸花园 (Chelsea Embankment Gardens) 则有马库斯·康尼什 (Marcus Cornish) 的半身像，靠近他位于切恩步行 (Cheyne Walk) 的老房子。
The Ralph Vaughan Williams Society
拉尔夫·沃恩·威廉姆斯协会
The Letters of Ralph Vaughan Williams
拉尔夫·沃恩·威廉姆斯的书信
"Discovering Vaughan Williams".
“发现沃恩·威廉姆斯”。
BBC Radio 3.
英国广播公司广播电台 3。
Works by Ralph Vaughan Williams at Faded Page (Canada)
拉尔夫·沃恩·威廉姆斯 (Ralph Vaughan Williams) 在 Faded Page（加拿大）的作品
Free scores by Ralph Vaughan Williams in the Choral Public Domain Library (ChoralWiki)
合唱公共领域图书馆 (ChoralWiki) 中拉尔夫·沃恩·威廉姆斯 (Ralph Vaughan Williams) 的免费乐谱
Free scores by Ralph Vaughan Williams at the International Music Score Library Project (IMSLP)
国际乐谱图书馆项目 (IMSLP) 中拉尔夫·沃恩·威廉姆斯 (Ralph Vaughan Williams) 提供的免费乐谱
Works by or about Ralph Vaughan Williams at the Internet Archive
互联网档案馆中拉尔夫·沃恩·威廉姆斯的作品或关于他的作品
"Archival material relating to Ralph Vaughan Williams".
“与拉尔夫·沃恩·威廉姆斯有关的档案材料”。
UK National Archives.
英国国家档案馆。
Portraits of Ralph Vaughan Williams at the National Portrait Gallery, London
拉尔夫·沃恩·威廉姆斯的肖像，伦敦国家肖像画廊