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Whilst Elgar was by far the most artistically successful of these composers, the most important from the perspective of the
English Pastoral School was Stanford. Whilst Stanford's own music is not normally considered as part of the school, within it can be seen some hints of what was to come: in his
416:
was another composer of the second half of the twentieth century whose music bears many of the stylistic hallmarks, though by the time it was composed her music could be described as reactionary; and in fact this later generation of composers are somewhat outside the mainstream of
English music in
111:
The
English Pastoral school was not a formal group and the composers associated with the style were not necessarily collaborators nor associates, nor did they share any kind of manifesto. As a result, there is some degree of debate about which works, and which composers, should and should not be
161:
A composer's association with the school does not necessarily indicate that all of their music displays all or any of these features, and even
Vaughan Williams - perhaps the name most frequently associated with the concept - composed music well outside these stipulations (such as in his
358:, who was also older. His works, while certainly drawing on folk and pastoral elements, were as likely to do so from American models (Delius worked briefly in the United States during the 1880s). However, works such as the mature tone poems
233:, one of the most famous of all English composers and the most noteworthy of those whose models were primarily continental. Whilst these composers' music, like those of their precursors, drew largely on German models (especially
432:
The choral tradition as established by
Howells was a significant impact on later composers, however, and its influence can be heard in later composers who have written extensively for religious purposes such as
289:
exhibit the main stylistic influences associated with the school. Vaughan
Williams also collected folk songs (much as many composers did in Europe during the period), and arranged some of these such as in his
120:; whether by directly setting folk melodies for classical instrumentation, quoting folk melodies within larger works, or more often by composing original music drawing on folk music, for example with
386:, a victim of the first world war, composed only a very small amount of music in his short life; however most of what he did write explicitly evokes the English countryside, such as his settings of
309:
Howells composed a large body of chamber works with strong pastoral elements that immediately place them within the style; such as his third String
Quartet subtitled
408:, who had thoroughly digested the pastoral idiom of Vaughan Williams and whose music is perhaps the purest archetype of the English Pastoral Style; and
343:
as native influences. Relatively few of his works are overtly pastoral in character, however there are notable examples such as the
Symphonic Poem
214:
enjoyed some popularity in their day, their music drew mainly on continental (especially German) models and their music is rarely performed today.
989:
648:
51:
working during the early to mid 20th century, who sought to build a distinctively
English style of music by composing in a style informed by
331:
is often cited as a key early member of the school, although his stylistic influences were extremely broad and drew as much if not more on
186:
was a significant centre of
European music-making, many of its most important musical figures were foreign-born naturalised citizens like
604:
A New English Music: Composers and Folk Traditions in England's Musical Renaissance from the Late 19th to the Mid-20th Century
429:, whose music may in fact be understood as a reaction against the pastoral and folk elements of the English pastoral school.
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incorporation of folk-song elements for example. Of greater significance was his role as a teacher: as a founder of the
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The final decades of the nineteenth century saw something of a renaissance of native English music in the figures of
167:
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also enjoyed considerable popularity in England. While native English composers in the nineteenth century, such as
313:. Perhaps Howells' main legacy however was as the key figure in the revival of the English (and particularly the
237:), the professionalism and the quality of their output have ensured it a more lasting place in the repertoire.
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Particularly in choral music, a similar influence of the music of the English renaissance, for example that of
16:
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in vocal and choral contexts, particularly by poets associated with pastoral themes such as
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considered a part of the school. Nevertheless, the following key threads can be identified:
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Perhaps the archetypical composer, and the one most closely associated with the style, was
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277:(1872-1958). Many of the works with which he is most strongly associated, such as the
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in 1695, art-music in England drew largely from that of the European continent. While
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The English Musical Renaissance, 1840-1940: Constructing a National Music
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Composing music evoking the English countryside; often explicitly and
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294:. Other key early composers were Vaughan Williams's friend
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404:Later composers associated with the style include
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354:Standing somewhat apart from these was
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178:Following the death of
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37:English Pastoral School
885:Viennese preclassicism
368:(1908, revised 1911),
275:Ralph Vaughan Williams
251:Ralph Vaughan Williams
243:Royal College of Music
61:Ralph Vaughan Williams
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601:Rayborn, Tim (2016),
559:Howes, Frank (1966),
124:melodies and harmony.
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247:Cambridge University
1009:Composition schools
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740:English Virginalist
658:Composition schools
341:Sanskrit literature
333:Classical mythology
790:Khrennikov's Seven
384:George Butterworth
365:In a Summer Garden
337:Eastern Philosophy
311:In Gloucestershire
286:The Lark Ascending
118:English folk music
107:Stylistic features
97:Ernest John Moeran
73:George Butterworth
57:English folk music
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