R. Vaughan Williams - Sir John in Love

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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 x
Act I (continued) expressed in his 1948 article ‘A Minim’s Rest’. This has been reprinted several times, for example in Some Thoughts on Beethoven’s Choral Symphony, with Writings on Other Musical Subjects (Oxford: Oxford University Press, 1953), 116–21. 124/587 Host: ever since F gave the unintelligible word ‘An-heires’ (adopted by RVW in aut and vs) there has been much scholarly dispute about this word. ‘Myn-heeres’, the Dutch word for ‘sirs’ or ‘gentlemen’, was first proposed by Thomas Hanmer in his 1743–4 edition of the 142–232 Works and seems obvious, especially since the Host takes pride in being a polyglot. To oup amends. ? bœ œbœ œ œ ˙ œ j ‰ U ? Œ bœ 132/631 Host: ‘Pheasar’ in F { q = q (hence RVW’s adoption œ of this spelling) but ‘Feezer’ & œœ ‰ is Ó œ œ { q = q now more œ To & ‰Ó ? accepted as deriving bœ œbœ œfrom œ the verb ˙ ‘feeze’ œ j ‰ U Œ & (as in OED), although { q = q œ some editors ? ˙ of MWW œ j U˙ ‰ believe œ j U ‰ ˙ œ j ? ‰ Œ Œ that the Host & œœ ‰ Ó œ œ intended the word & œ ‰Ó ? to be ‘vizier’. 141/669 Cl., Bsn.: amended from ? ˙ œ j ‰ U Œ of aut ? and msfs ? to ˙ œ j U ‰ ˙of œ j U vs ‰ ˙ œ j ‰ Œ Œ 141/670 Tempo: in ? msfs, ˙ œ j MS ‰Œ U has added ‘Moderato’ to ‘Allegretto’ { 155/754, 756 Fals.: ‘honour’ and ‘the’ is the F reading, but Q has ‘humor’ (i.e. habit, fashion) and ‘this’, which is now preferred by most editors of MWW 156/760 Tempo: Maestoso taken from vs 160/790–91 Nym, Pist.: in MWW, Pistol warns Ford and Nym warns Page. RVW clearly wanted to focus the action solely on Ford, so dispenses with the name Page, with the result that Nym also addresses Ford. 166/830 Tempo: no tempo indication in aut or msfs. RVW has added ‘Allegretto’ to msfs, to which MS has pencilled ‘not too fast’. Allegro moderato in vs., which oup adopts. 169/847 Ford: agitato taken from vs 177/896–7 Tpt.: in aut as in b. 895; the version given in orch pt has been preferred 178/901 Ford: ‘Heaven’ is F’s milder substitute for Q’s ‘God’ 178/903 Str.: this chord is marked fp in vs Act II 192/29 Picc., Fl.: the sextuplets, ending on C, of vs has been preferred to septuplets, ending on D, of aut { Scene I 193/33 Tempo: in aut accel., with a tempo in b. 35. Absent from vs and msfs, where the page has been recopied by RD due to a rescoring of bb. 33–4 by RVW. 195/44–5 Tempo: poco stringendo—a tempo not shown in vs 213/129 Tempo: RD has recopied this page in msfs and has added poco meno mosso in square brackets, with the note ‘not in Vocal Score’. Neither is it in aut, but RD would not have added it without RVW’s authority. 215–29/ msfs: as the rehearsal numbers indicate, this section was a late addition before the premiere, and has been recopied by RD in msfs. Originally To the score To went from the end of b. ? œbœ œ141 œ to b. 232, ˙ with œ j ‰ U the Œ bœ œbœ œ œ ˙ladies œsinging j ‰ U Œ ‘Knight’ ? in { q = q œ b. 232. œœ ‰ Ó œ œ œ œ ? 228/227 Tempo: & œœ & ‰ Ó ‰Ó œ œ & œ ‰Ó ? ‘rall.’ pencilled by RVW in aut but not shown in vs 228/229–30 ˙ Str.: œ? j U ‰ ˙ œ j ‰ œ˙ in j U ‰ œ j msfs ˙ but ‰ œ j Œ‰ Œ ˙ œ j ‰ Œ Œ in { ˙ œ j vs, { ‰ U which has Œ? ˙ œ j been ‰ U adopted Œ Scene II 246/331 Vcl., Db.: the low F has been extended editorially to a quaver beyond the double barline, as in vs 246/332 Tempo: in msfs, MS has written ‘Steady. Very Easy’ 247/337ff Str.: in would appear that the original RCM student who sang Mrs Quickly in 1929 was rather weak, hence the string reductions. ‘Tutti’ is given in b. 323 in aut. Probably no longer necessary. 248/341 Mrs Q.: text thus in F, but Q makes better sense of the reply by giving ‘That I am, I’ll be To sworn’ ? bœ œbœ œ œ ˙ œ j ‰ U Œ 248/343 Fl., Ob., { Mrs q = qQ.: RVW appears to have revised œ this in & vs; in œ aut, œ ‰ Ó œ œ msfs œ & ;‰ oup Ó as in vs 259/405 Tutti: poco più ? ˙ œ j U mosso from MS marking in msfs 262/417 Tempo: Allegretto ‰ added ˙ to œ j msfs ‰ ˙by RVW; œ j ‰ Œnot Œ in aut or vs 267/451 Tempo: Tranquillo added to msfs by RVW 268/456 Tempo: Allegretto added to msfs by RVW; Andante con moto in aut and vs 271/485 Fals.: staccato dots not in aut or msfs but present in vs. See also b. 664. 274/504 Fals.: in vs, the direction ‘falsetto’ is reserved for b. 509 (with the pause), but the word has been entered in this bar in msfs by RVW. The vs reading would appear to be the most considered version. Perusal Score Not for Performance xi
Page 1 and 2: 2 Ralph Vaughan Williams Sir John i
Page 3 and 4: 3 Great Clarendon Street, Oxford OX
Page 5 and 6: preface The Play The Merry Wives of
Page 7 and 8: esponsible for certain additions an
Page 9: Act II written by the first copyist
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Page 15 and 16: scenes Act I A Street in Windsor pa
Page 17 and 18: Preface TO WRITE yet another Opera
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R. Vaughan Williams - Sir John in Love

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