R. Vaughan Williams - Sir John in Love

Textual notes
To
Abbreviations ?
35–6/208–10 Bsn. 1, 2: the notes in smaller type were
bœ
œbœ
œ œ ˙ œ j ‰ U Œ
deleted in aut, but are present in msfs on a
aut autograph
{
full score, q including = q Episode and Interlude
page of later provenance copied by RD, and are
(holograph)
msfs OUP copyist’s full score
œ preserved in orch pts
used by Malcolm Sargent at
&
œ œ ‰ Ó œ œ
&
œ ‰ Ó
the first performance in 1929, photocopies of which 38–9/221–4 Fl., Ob.: the doubling shown in smaller type
have since served as the Hire Library full scores.
has been heavily crossed out in aut, almost
Subsequent copyist’s full scores of the Episode and
certainly by RVW. His note was added on 6
Interlude have been included.
January 1949.
?
orch pt(s) manuscript orchestral ˙ part(s) œ j U ‰ ˙ œ j ‰
46/264 ˙ œ j Str.:
‰ Œ Œ
in vs, in second half of bar, with
vs 1930 OUP publication of the vocal score
pp subito in b. 265
ep, int 1936 OUP publication of the vocal score of the
49/278ff Anne: here RVW has made an imaginative
Episode and Interlude
jump forward to Act III, Scene IV of MWW.
MWW The Merry Wives of Windsor
See also bb. 370ff and 407ff.
Q 1602 First Quarto edition of the play
F 1623 First Folio edition of Shakespeare
53/323 Ob. 1: the last note in msfs and vs is D, but it
RVW Ralph Vaughan Williams
has been altered in aut and clearly marked by
MS Malcolm Sargent (first conductor)
RVW with the letter E
RD Roy Douglas (copyist)
54/324 Tempo: it has been Andante since b. 287; vs
RCM Royal College of Music
omits the repetition but adds ‘q = q’
oup this edition of the opera
54/328ff Tutti: it is clear from aut that the writing of the
SD stage direction
start of this love duet gave RVW considerable
b., bb. bar(s)
trouble, which is why there are three new
n., nn. note(s)
pages of msfs (bb. 328–343) in his own hand
62–3/367–8 Fl. 1: this line appears only in vs and has
therefore been added conjecturally
65/382 Tempo: in msfs, MS has marked ‘mosso’
66/387 Tempo: in msfs, MS has marked ‘accel.’
67/390 Tempo: in msfs, MS has marked ‘allarg.’
70/403–4 Ob. 1: oup adopts the revised, broader phrasing
of vs
77/437 Caius: ‘What’ of aut and vs changed to ‘Vot’
of F
78/442 Caius: ‘the’ of aut and vs changed to ‘de’ of F
88/477 Caius: ‘will’ in aut and vs, ‘vill’ in F. On the
other hand, Shakespeare (or his scribe) has
been inconsistent by writing ‘will’ in b. 485.
Act I
page/bar
5/24 Str.: leggiero from earlier version in aut
5/28ff Shall.: alternative lower notes shown in vs (but
not in aut) for Shallow and for Simple later
on, clearly derive from the capabilities of the
student cast at the RCM in 1929. They are
unlikely to be needed today and are therefore
excluded from OUP.
8/44 Cym.: added to aut lightly in pencil by RVW
12/72 Tempo: at the end of this bar MS has pencilled
‘Poco meno’
12/73–4 Page: in his recopying of this passage in msfs
RD has added the note, ‘There is some evidence
that the composer may have later preferred this
phrase to be sung one bar later than it is printed
in the Vocal Score’
17–18/111–13 Slen.: ‘They carried me … picked my pocket’
does not appear in F, and therefore is absent
from many editions, but it is present in Q and
is often incorporated in more modern texts,
including the volume used by RVW
29/178ff Shall.: RVW has waited till here to use the
well-known opening lines of MWW
35/208 Bsn. 1, n.3: quaver in aut, roughly corrected
Perusal Score
Not for Performance
Episode
116/39 Bar.: strictly speaking, Bardolph, who has
earlier changed from serving Falstaff to
becoming the Host of the Garter Inn’s tapster,
should not appear again, as in MWW
116/42 Nym: both Q and F are agreed that the correct
word is ‘minute’s’, and scholars have been able
to defend this reading. The understandable
amendment to ‘minim’s’ (after Bardolph’s
‘he kept not time’) was first proposed by
John Payne Collier in his 1853 edition of the
Works and has been much adopted, notably by
RVW, who had strong views on this matter as
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