“I Think I Am Improving” (1902–1908)

Abstract

Two enormously influential events transformed Vaughan Williams’s career during the first decade of the twentieth century: his firsthand study, collection, and preservation of English folk songs—through which he came to know the influential collector Cecil Sharp—and his acceptance of the editorship for The English Hymnal. As he later claimed, “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.” The results were apparent in the flood of music that came forth during this period—songs, chamber compositions, stage works, choral music, and orchestral pieces—all of which began receiving public performances in London, Bournemouth, and other cities throughout England. He also lectured widely, accepted the position as conductor for the Leith Hill Musical Competition, and began to lead his own works in performances as well. Despite these accomplishments, Vaughan Williams still felt in need of further guidance in finding his musical voice. This goal led him to undertake a short period of study with Maurice Ravel in Paris, a decision as successful as it was improbable, and which helped him resolve the conflicts between his conservatory training and the vernacular traditions he had come to admire.