For most singers, their first attempts at performing are pretty forgettable affairs.  But for me, the memory of my very first song recital is as vivid to me today as it was all those years ago.  It was RVW’s Songs of Travel for a little flower festival at a church no bigger than a fives court; where the piano was in such a bad state that a ghastly contraption known as a clavinova had to be wheeled in at the very last minute!  Adding to that, the emotional and technical demands of such a work was frankly beyond the ability of a rookie-baritone who, apart from anything else, had to battle with a high pollen count – flower festivals are horrid things for singers!  It is perhaps easy to conclude that the heavens were conspiring against me that particular day – out for a duck on the very first - but this was somehow not the case.  That first outing remains one of the most enjoyable and educational performing occasions of my life, for it was the first time that I really came to terms with the notion that good music, sincere, heart-warming music, can carry over any adversities.  I should also add that I had a most sympathetic audience willing me on as they were clearly mesmerised by the music.  So, ultimately, it taught me that the ‘performed’ is always far more important than the ‘performer’ and that no singer is bigger than the music he sings.  To say that particular Songs of Travel made me the musician that I am today would not be an overstatement.  And for that, I am eternally grateful.

As Vaughan Williams played such an essential part in the English music tradition, too often, we make the mistake of considering him as someone who was ‘traditional’.  With a generous supply of folky melodies and plenty of diatonic hymn-like harmonies, it would be an easy conclusion.  But in so many respects, he was a musical revolutionary who broke down barriers and prejudices.  As a singer, I am inclined to think of him as the first English composer to make the song genre respectable - for before VW, song writing was consider sport:  ‘Proper’ English composers wrote music for the church as a day-job and in their spare time might tackle a symphony or two - for those who were really adventurous, they might even venture into the realms of ‘the oratorio’!  But what of songs?  It was generally considered that they were the pursuit of the amateur or lesser musicians – even the great Elgar was something of a failure as a song composer, relying heavily on the sentimental formulas of his day.  Vaughan Williams cared not for the shackles of form and fashion.  Looking at songs such as A New Ghost, one sees a composer willing to allow the structure of a worthy poem to determine the structure of the music, whilst some of his predecessors would simply have chosen a more four-squared strophe to enable a ‘good tune’.  Of course, there were plenty of ‘good tunes’ too: Wither must I wander is a good example. But the words were made all the more poignant when set alongside the chromatism of  In Dreams, a song that couldn’t possibly have been written by any of his contemporaries. Ultimately, his determination to treat the song genre seriously, as a marriage between words and music, paved the way for composers such as Gerald Finzi whose subsequent song output stands as tall as (if not taller than) any of their continental cousins. Of course, Vaughan Williams was not just a song writer and a quick glance at the list of his published works would show him to be one of the most prolific (not to mention industrious) composers ever: but as a singer (bias, perhaps), I am inclined to believe that the genesis of his genius was his songs – which began from his youthful fascination with collecting folksongs.

So, to our festival:  Vaughan Williams often described his own compositions, with characteristic modesty, as acts of ‘cribbing’, and he would probably be a little embarrassed by the notion of a weekend devoted to him.  But a celebration of his life and works is certainly called for, and well-deserved for a composer who did so much for English music.  Our festival during this important anniversary year gives us the perfect opportunity, not only to enjoy so much of his very original and wonderful music, but also to simply say, ‘Thank You’ to a great man. As an added personal note, I would like to thank our sponsor, the Vaughan Williams Society and our patrons for their support.  I should also like to thank all our participants, Fitzwilliam College, and in particular, Barry Landy, Fergus Macleod, Alex West and the members of Fitzwilliam College Music Society.  Last but not least, my deepest gratitude to Fitzwilliam’s inspirational new Director of Music, Francis Knights ,who has worked tirelessly to turn this festival from a dream into a reality. 

I hope you will all enjoy this weekend Festival as much as I definitely will.

As an added personal note, I would like to thank our sponsor, The Vaughan Williams Society and our patrons for their support.  I should also like to thank all our participants, Fitzwilliam College and in particular, Barry Landy, Fergus Macleod, Alex West and the members of Fitzwilliam Music Society.  Last but not least, my deepest gratitude to Fitzwilliam’s inspirational new Director of Music, Francis Knights who has worked tireless to turn this festival from a dream into a reality. 

Howard Wong