1

Not really Lambkins

frisking at all.

2
Introduction

Ralph Vaughan Williams Symphony no. 3 A Pastoral Symphony successfully combines
the elements of both English Folk Music and French Impressionism to create an ambiguous
atmosphere, and a rich modal harmony. In relation to Vaughan Williams compositional
output and style, it is said that
[VaughanWilliams] harmonies often reflect the modality of folk-song, but
also include Debussian and Ravelian Impressionist touches [his] style is a
synthesis of [impressionist] orchestral colour, and English folk-song
elements... and [he is] able to write in a rich post-Romantic vein tinged with
modal harmonies.
1

Through the analysis of Symphony no. 3, this essay will examine Vaughan Williams
synthesis of English Folk music and Impressionism with specific reference to the use
of pitch and tone colour. Firstly, Vaughan Williams unusual treatment of tonality, and
his interesting treatment of dissonance and bitonality will be discussed. Secondly, in
reference to tone colour, Vaughan Williams use of compositional devices and
instrumentation will be analysed. All of this will be in relation to how Vaughan
Williams constructs a distinct blend of English Folk Music and French Impressionism.
In order to understand how Vaughan Williams employs these two musical genres, the
context and features of English Folk Music and French Impressionism will firstly be
explored through the lens of the concepts of music.
Folk music
Folk Music is often described as varied blossoms of the same stock
2
, with peasant song and
church chant emerging from the thousand year stock of monophonic, modal music. Before
the introduction of Art Music in the 17
th
century, melodies were rarely composed, but instead,
existing melodies were manipulated and adapted over time. An example of this can be seen in
the comparison of the two English folk-tunes in figure 1.1 and 1.2.




1
Oracle ThinkQuest. 1998. The Symphony an interactive guide. [ONLINE] Available at:
http://library.thinkquest.org/22673/v-w.html. [Accessed 23 May 13].

2
Carlton, Richard. "Folk - Song, Chant, and the English Symphonic Renaissance. A Case Study of Ethnic
Musical Identity." International Review of the Aesthetics and Sociology of Music 24.2 (1993): 129-42. Print


100
200
300

3
Figure 1.1 Bushes and Briars (Essex) from Vaughan Williams on Music
3



Figure 1.2 This is the Truth (Herefordshire) from Vaughan Williams on Music
4









Both tunes use a natural minor (G Aeolian) and have similar contours. The similarities in the
opening and ending are highlighted in green. (Passing notes are in purple brackets). Outlined
in blue is an exact phrase in both, excepting two repeated notes. (repeated notes are in
brackets). In the red brackets is a pitch sequence of B
b
A G D. (Passing and repeated notes
are in brackets.) Finally, the last phrase in each song uses similar contouring, as demonstrated
by the orange arrows.






3
Vaughan, Williams Ralph, and David Manning. Vaughan Williams on Music. Oxford: Oxford UP, 2008. Print.
4
Ibid






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4
It is interesting to note that Vaughan Williams may have used other composers melodies, as
well as his own in this manner, such as The Miller of the Dee as revealed in fig.4.7 and 4.8,
page 14. Once scales replaced modes, composers started writing their own melodies
5
. English
Folk Music can be easily characterised and identified through its treatment of pitch, duration
and texture. English Folk Music is characterised by its heavy use of Greek modes

(Fig. 1.1
and 1.2), and use of pentatonic scales. (Fig. 1.3)
Figure 1.3 Down by the Sally Gardens (English/Irish 1889) By William Butler Yeats


Melody in English Folk Song uses a wide compass and often features leaps of wide intervals.
For example, in London Pride below. Outlined in green is the span of an octave in essentially
three notes.
Figure 1.4 London Pride









5
Sharp, Cecil J., and Lucy E. Broadwood. "Some Characteristics of English Folk-music."Folklore. 2nd ed. Vol.
19. N.p.: Taylor & Francis, 1908. 132-52. Print.

Greek modes (also known as church modes) were adopted by the Roman Catholic church, and eventually by
the people of England.


(CD Track 3)
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5
Finally, English Folk Music uses repeated melodic figures such as an ascending scale, or non-
harmonic passing notes. Non-harmonic passing notes in folk music feature regularly between
4ths and 5ths. For example:
Figure 1.5: Passing notes


Impressionism
Impressionism was a period of European music and art centred in France, which lasted circa
1875 to 1925. Two prominent people who composed in this style of music were Claude
Debussy (1862 1918) and Maurice Ravel (1875 1937). It is interesting to note that
Vaughan Williams may have been influenced by Ravel, who was his composition teacher
from 1907 to 1908.
Impressionist music was known for its atmospheric and suggestive mood, as can be seen in
Debussys evocative work Prelude a lApres midi dune faune. Impressionist music can be
distinguished through its unique treatment of structure and pitch. Some typical characteristics
of Impressionism include irregular phrasing, ambiguous form, avoidance of traditional
harmonic chord progressions and unresolved dissonances
6
.
Whole-tone scales were often used, for example in Voiles from Debussys Preludes Book 1 in
figure 1.6
Figure 1.6: Voiles Bars 1-4

Pentatonic scales were also often used, as can be seen in Voiles again (Fig.1.7). The scale
used in figure 1.7 is a G
b
major pentatonic scale.
Figure 1.7 Voiles Bars 43-45


6
Kauble, Martin E. "The Impressionist Period." Piano Studio of Martin E. Kauble, NCTM. Farnell Web Design,
2004. Web. 27 June 2013. <http://www.kaublepianostudio.com/history/impressionistic.html>.
4th 4th
or
(CD Track 5)
(CD Track 6)
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6
Due to the fascination with the medieval, Impressionist composers frequently experimented
with modes. Figure 1.8 demonstrates a D Aeolian scale being used in Debussys Des pas sur
la neige from Preludes Book 1.
Figure 1.8 Des pas sure la neige Bars 1-3

Colourful harmonies, extended chords and parallel chords were used - as can be seen in
Ravels Le Gibet from Gaspard de la Nuit (Fig. 1.9) - to create an illusion of bitonality, and
thus creating ambiguity.
Figure 1.9 Le Gibet

Outlined in red are successive parallel 9
th
chords, of E
b9
, C
b9,
D
b9
, and A
b9
.
Vaughan Williams uses the characteristics of Impressionism, in combination with the features
of Folk Music, as discussed earlier, to create a feeling of distance, and to convey an image of
war.







(CD Track 7)
(CD Track 8)
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7
Body

Symphony no. 3 A Pastoral Symphony About the work
Symphony no. 3 was completed in 1922, following Vaughan Williams involvement in WWI,
serving in the Royal Army Medical Corps in France. His comment on it was it's not
really lambkins frisking at all as most people take for granted as rather it is an elegy for the
dead and a meditation on war than a programmatic piece depicting a pastoral landscape. This
symphony is in four movements, mostly relatively slow and calm in nature.
Modality and tonality
As discussed, both English Folk Music and Impressionism largely feature the use of modes.
This is due to the traditional treatment of music within English folk music and the fascination
with the medieval within Impressionism.
Ralph Vaughan Williams throughout this work manipulates modality and tonality in differing
ways to ultimately create an ambiguous sound. Richard Carlton says Symphony no. 3 is
modal in the opening movement, exploring what has been termed polymodality from a
pentatonic theme.
7
Vaughan Williams has used the Impressionist device of polymodality to
create a sense of bitonality. The first movement begins in what seems at first to be G
mixolydian between the bassoon, clarinets and flutes, but Vaughan Williams infuses hints of
G dorian in addition.
Figure 2.1 A Pastoral Symphony Movement 1 bars 1-5 woodwind section







(CD Track 9)
900
1000
7
Carlton, Richard. "Folk - Song, Chant, and the English Symphonic Renaissance. A Case Study of Ethnic
Musical Identity." International Review of the Aesthetics and Sociology of Music 24.2 (1993): 129-42. Print


8
Oscillating chords are used in the opening, by the woodwinds, centred around a G major
chord (in green). It is in G mixolydian until the introduction of a Bb in bar three by the
clarinet (in red), when it is suggested to be in G dorian. This polymodality is one way in
which ambiguity is introduced in the work. Furthermore, this is an example of how Ralph
Vaughan Williams effectively combines the modality of English folk music and the
ambiguity of French Impressionism.
As can be seen in the melody of the harp (Fig. 2.2, ), Vaughan Williams has employed the
compositional technique of successive parallel chords using modal harmonies.
Figure 2.2 A Pastoral Symphony Movement 1 bars 4-5 harp part





These parallel chords take on a melodic function as there is no dominating pitch, or melody
within the chord. By utilising these chords, Vaughan Williams has avoided defining a tonal
centre, which successfully induces the uncertain mood of the piece.














(CD Track 10)
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1200

9
The opening of Symphony no. 3 is reminiscent of the opening of Stravinskys ballet
Petrushka in terms of melody and harmony.
Figure 2.3 Petrushka bars 1-12

Petrushka was composed in 1911; eleven years before Symphony no. 3. Therefore the
similarity between this work and Symphony no. 3 is significant as Ralph Vaughan Williams
may have been influenced by Stravinsky. This opening features modal oscillating harmony,
comparable to the opening of Symphony no. 3. The instrumentation of the two works is also
very similar, and the use of register is comparable between the two works. The cellos in this
work are used in a high register (highlighted in green), similar to the high register of the
bassoon in Symphony no. 3 (Fig. 2.1, page 6) producing a strained tone and slightly out of
tune sound. Highlighted in red in the flute part (fig 2.3) is the use of a non-harmonic passing
note (of a second) placed between the interval of a fifth. This is often seen in English folk
music, and will be discussed later in figure 4.7 and 4.8, page 15-16.


(CD Track 11)
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10
Stravinskys style in Petrushka is significant in this discussion as it can be compared with
Ralph Vaughan Williams compositional style. This piece is classified as Russian Folk
Music
8
. Furthermore, Stravinsky is also often recognised to have impressionist elements
fused into his pieces
9
.
The pentatonic scale was used in both Impressionism and English folk music, and Ralph
Vaughan Williams has made use of this scale in this work, to effectively combine these two
styles. Vaughan Williams has manipulated the main theme in the fourth movement in A
Aeolian by modulating it into an E major pentatonic scale at J (Fig. 2.3). By using the
pentatonic scale, Vaughan Williams has slightly disguised the tonal centre in this section
without the presence of a 4
th
and 7
th
degree in the scale.
Figure 2.4 A Pastoral Symphony Figure J, Movement 4 (flute melody)

Thus, with the fusion of the concepts of tonality within the style of Impressionism and
English folk music, Vaughan Williams has effectively produced an ambiguous sound, by
using differing modes and scales to ultimately convey a feeling of contemplation and
distance.













8
Sternfeld, Frederick W. "Some Russian Folk Songs in Stravinsky's Petrouchka." Notes. Vol. 2. N.p.: Music
Library Association, 1945. 95-107. Print. Ser. 2.
9
Ramos, Paul John. "Stravinsky - Le Sacre Du Printemps." Classical Net. Classical Net, 2003. Web. 13 May
2013. <http://www.classical.net/music/comp.lst/works/stravinsky/lesacre90.php>.
(CD Track 12)
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1600

11
Harmony
Unresolved dissonance, bitonality and unusual chord progressions were normally featured in
Impressionist music.
Ralph Vaughan Williams uses bitonality in this work in both obvious and obscure ways to
create a sense of dissonance and unrest. The most visible way can be seen in the opening of
movement two with a natural horn in F (major) (outlined in red) playing against an F minor
chord. The E, G and A within the melody of the horn (highlighted in blue) clash with the
orchestral accompaniment involving an F and an A flat, creating dissonance and ambiguity.
Figure 3.1 A Pastoral Symphony Movement 2, bars 1-8
Another instance of dissonance can be seen in the combination of chords that Vaughan
Williams uses. For example, in the first movement in the second bar at rehearsal mark E
within the string section, (Fig. 3.2) Vaughan Williams has superimposed A major, G major
and F major triads upon each other (outlined in green) creating dissonance and bitonality.
This further creates a momentary cluster of harmony, which is then resolved.
Figure 3.2 A Pastoral Symphony Movement 1, figure E b. 1-8





(CD Track 13)
(CD Track 14)
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1800

12
A particularly hidden example of dissonance and polymodality can be seen in the 4
th

movement in the 4
th
bar of figure A (Moderato maestoso) (Fig. 3.3). The melody/harmony
(highlighted in red) and the accompanying bass (highlighted in blue) are in two completely
separate keys. The melody and harmony in the upper and middle woodwinds (in parallel
chords) are in D dorian, whereas the parallel chords of the lower woodwinds and harp are in
B flat Lydian, which is quite an uncommon scale to use. This does not sound bitonal as no
dissonance is involved, until the 9
th
bar of A with the interspersion of a B minor chord
(outlined in purple). The B minor chord harmonically clashes with the second chord that the
upper and middle woodwinds play in that bar. Essentially the C in the woodwind harmony
(outlined in orange) clashes with the B.
Figure 3.3 A Pastoral Symphony Movement 4, figure A b. 1-12





Bar 1 2 3 4 5 6 7 8 9 10 11 12
Bar 1 2 3 4 5 6 7 8 9 10 11 12



(CD Track 15)
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13
In A Pastoral Symphony, Vaughan Williams frequently avoids traditional harmonic chord
progressions. In doing this, he often uses both unconventional chord patterns and extended
chords. In Impressionist music, harmonic and melodic conventions were often broken by
treating a chord as a melody itself. At figure Q in movement three, (Fig. 3.4) Vaughan
Williams treats the harmony as a melody itself
10
- as discussed earlier in figure 2.2 - and he
uses thick colourful

chords.
This movement is in a medieval style, as Impressionist composers had a fascination with
medieval sounds. However, despite the medieval nature of this movement, Vaughan Williams
has utilised many extended chords unbefitting to the medieval genre, and instead belonging to
the impressionist genre.
This can be heard in figure 3.4 bar 5 (in red), where B
b
maj
7
and A
b
maj
6
chords are used.
Figure 3.4 A Pastoral Symphony Movement 3, figure Q b. 2-13

10
Kauble, Martin E. "The Impressionist Period." Piano Studio of Martin E. Kauble, NCTM. Farnell Web
Design, 2004. Web. 27 June 2013. <http://www.kaublepianostudio.com/history/impressionistic.html>.

Colourful chords refer to the extended chords used by impressionist composers. They are termed colourful
as they may contain notes belonging to other keys, at times masking the tonal centre.

Bar 2 3 4 5 6 7 8 9
(CD Track 16)
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14
Highlighted in green is a C cluster chord, and in blue is an A
b
maj
11
chord.



Figure 3.5, piano reduction of figure 3.4

By using these complex chords, Vaughan Williams creates interest in this movement as he
blends a traditional medieval style with a more modern interpretation.
Therefore, with Vaughan Williams manipulation of regular dissonance, polymodality and
unusual chord progressions, he is able to effectively combine the elements of English Folk
Music and impressionist styles to construct a rich harmony, creating a feeling of unrest.
Tone Colour
Vaughan Williams includes instruments typically found in symphonic works, with the
addition of a harp, celesta and a solo voice. Despite this additional performing media,
Vaughan Williams orchestration is reminiscent of Debussys Prelude a lapres-midi dun
faune, with flourishes from the harp in a typical impressionist manner.


Bar 10 11 12 13
2200
2300

15
Figure 4.2 and 4.3 harp part from A Pastoral Symphony and Prelude a lApres-midi dun
Faune













Vaughan Williams has also used the natural trumpet (rehearsal mark F) and horn (rehearsal
mark L) so that only natural notes may be played and that the 7
th
partial and 9
th
partial
should have their true intonation as given by his performance instruction. The purpose of
using these traditional and primitive instruments is to give the 7
th
and 9
th
degree notes a
slightly out-of-tune sound. Vaughan Williams has also imitated a bugle call; the instrument of
war. This furthers the distant and ambiguous mood of this movement, which is a meditation
on war itself.
Figure 4.4 A Pastoral Symphony 2
nd
movement Trumpet solo (F) and horn solo (L)





A Pastoral Symphony
1
st
movement b. 9-12
Prelude a lApres-Midi Dune
Faune (bars 7-8)
(CD Track 17)
(CD Track 18)
(CD Track 19)
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16
Vaughan Williams has experimented with tessitura with the utilisation of the bassoon in a
high register (Fig.2.1 page 7) in the opening of this work. The bassoon, when used in its
higher register produces a tone colour which is quite lyrical. Vaughan Williams has
experimented with this unusual use of instrumentation to overall contribute to a distant and
contemplative mood. This can be comparatively viewed with Stravinskys The Rite of
Spring, which also features a high bassoon melody in the opening. The bassoon in a high
register in this instance produces a strained and eerie tone.
Figure 4.5 The Rite of Spring Opening bars, bassoon solo




Figure 4.6 A Pastoral Symphony Opening bars, bassoon part


Finally, in the 4
th
movement, Vaughan Williams has included a solo wordless voice
lamenting a plaintive melody. This meandering melody is reminiscent of English folk song
(figure 4.8) and plainchant

from medieval music (fig. 4.9), as it is in an A Aeolian mode and

lacks a metre.

Figure 4.7 A Pastoral Symphony Movement 4, bars 1-[3], solo voice


Evidence to demonstrate this English folk music style lies in the traditional version of The
Miller of the Dee (Sussex) (Fig. 4.8) which uses the same Aeolian scale. These two melodies
seem to be quite similar as they heavily feature the accented non-harmonic passing note of G
(within A-G-E).


Figure 4.8 The Miller of the Dee traditional version (Sussex)
Plainchant: a type of church chant that came after the Gregorian chant, similar in style as it
lacks a metre and often features melismas.
(CD Track 20)
(CD Track 21)
(CD Track 22)
2500
2600

17
Figure 4.8 The Miller of the Dee (traditional version, Sussex) from Vaughan Williams
on Music
11








Figure 4.9 Ave Maris Stella circa 1230 (Wells, Somerset)

Since the voice is the most common performing media for traditional English Folk Songs, the
use of a voice in this symphony is quite appropriate.
By combining instruments in unusual ways, Vaughan Williams has given the piece a distinct
rustic simplicity often felt in English folk music. However, despite this, his use of
instrumentation also creates an oriental atmosphere, typical of some other Vaughan Williams
works, such as The Lark Ascending. Impressionist music contained vast amounts of Chinese
and South-East Asian influences, and Vaughan Williams in this case may have been inspired
by the works of Ravel and Debussy. Debussy often used exotic scales and melodies in his
work, such as the octatonic scale in his 1
st
string quartet and pentatonic scale in Pagodes
from Estampes. Ravel also used pentatonic scales such as in Ma mre l'oye. Vaughan
Williams has combined the oboe and clarinet in a pentatonic scale to imitate a Chinese flute
(Dizi). He also features a solo flute and viola simultaneously playing the same melody.

11
Vaughan, Williams Ralph, and David Manning. Vaughan Williams on Music. Oxford: Oxford UP, 2008.
Print.

(CD Track 23)
(CD Track 24)
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2800

18
Through combining the Asian sound of the flute and the Western sound of the viola, Vaughan
Williams has achieved an overall unique blend of English folk music and French
impressionism.

Figure 4.10 A Pastoral Symphony 2
nd
Movement, figure B

Thus, with Vaughan Williams unique experimentation with tone colour in A Pastoral
Symphony, he has successfully combined the genres of English Folk Music and French
Impressionism by creating a patchwork of English and French sounds, which includes
influences of the Medieval and the Orient, furthermore generating a feeling of distance and
vagueness.


(CD Track 25)
2900


19
Conclusion
Through the analysis of this work, it can be proven that A Pastoral Symphony includes
Debussian and Ravelian Impressionist touches, is a synthesis of [Impressionist] orchestral
colour, and English folk-song elements, and finally is written in a rich post-Romantic vein
tinged with modal harmonies. Vaughan Williams successfully combines the characteristics
of French Impressionism and English folk music to effectively create an atmospheric and
suggestive mood, which ultimately evokes a feeling of distance and ambiguity, as this
nationalistic piece is a reflection on both his life in England, as well as his time spent at war
in France.

3000

20
Bibliography
Books
Vaughan, Williams Ralph, and David Manning. Vaughan Williams on Music. Oxford: Oxford UP,
2008. Print.
Carlton, Richard. "Folk - Song, Chant, and the English Symphonic Renaissance. A Case Study of
Ethnic Musical Identity." International Review of the Aesthetics and Sociology of Music 24.2 (1993):
129-42. Print
Sharp, Cecil J., and Lucy E. Broadwood. "Some Characteristics of English Folk-music."Folklore. 2nd
ed. Vol. 19. N.p.: Taylor & Francis, 1908. 132-52. Print.
Sternfeld, Frederick W. "Some Russian Folk Songs in Stravinsky's Petrouchka." Notes. Vol. 2. N.p.:
Music Library Association, 1945. 95-107. Print. Ser. 2.
Palmer, Christopher. Impressionism in Music. New York: C. Scribner's Sons, 1974. Print.
Du, Noyer Paul. "Folk." The Billboard Illustrated Encyclopedia of Music. New York: Billboard,
2003. 222-33. Print.
Articles from Journals
Kimmel, William. "Vaughan William's Melodic Style." The Musical Quarterly 27.4 (1941): 491-99.
Print.
Manning, David. "Listening to the Pastoral Symphony." The Ralph Vaughan Williams Society
Journal 36 (2006): n. pag. Print.
Jordan, Rolf. "The Grandeur of Desolation: A Rumination on the Pastoral Symphony." The Ralph
Vaughan Williams Society Journal 36 (2006): n. pag. Print.
Aldridge, Jeffrey. Some notes on A pastoral symphony. Journal of the RVW society 21 (June
2001): 29-31.
Grimley, Daniel M. Landscape and distance: Vaughan Williams, modernism and the symphonic
pastoral. In British musical modernism (1895-1960). Ed. Matthew Riley. Aldershot: Ashgate,
2010,147-74.
Webpages
Schwartz, Steve. "Vaughan Williams - Notes on the Symphonies." Classical Net. N.p., 2000. Web. 13
Mar. 2013. http://www.classical.net/music/comp.lst/works/v-w/v-wsymoverview.php>.
Oracle ThinkQuest. 1998. The Symphony an interactive guide. [ONLINE] Available at:
http://library.thinkquest.org/22673/v-w.html. [Accessed 23 May 13].
Kauble, Martin E. "The Impressionist Period." Piano Studio of Martin E. Kauble, NCTM. Farnell
Web Design, 2004. Web. 27 June 2013.
<http://www.kaublepianostudio.com/history/impressionistic.html>.
Ramos, Paul John. "Stravinsky - Le Sacre Du Printemps." Classical Net. Classical Net, 2003. Web. 13
May 2013. <http://www.classical.net/music/comp.lst/works/stravinsky/lesacre90.php>.

21

Scores
Vaughan Williams, R. 1922 Pastoral Symphony, London, Boosey & Hawkes Music Publishers. 1952.
Print
Anon. Bushes and Briars from Vaughan, Williams Ralph, and David Manning. Vaughan Williams
on Music. Oxford: Oxford UP, 2008. Print.
Anon. This is the Truth from Vaughan, Williams Ralph, and David Manning. Vaughan Williams on
Music. Oxford: Oxford UP, 2008. Print.
Butler Yeats, W. Down by the Sally Gardens accessed from Walshaw, Chris. "Down by the Sally
Gardens." Abc Notation. N.p., n.d. Web. 3 May 2013.
<http://abcnotation.com/tunePage?a=trillian.mit.edu/~jc/music/abc/mirror/mindspring.com/~thornton.
rose/SallyGardens/0001>.
Anon. London Pride from Sharp, Cecil J., and Lucy E. Broadwood. "Some Characteristics of
English Folk-music."Folklore. 2nd ed. Vol. 19. N.p.: Taylor & Francis, 1908. 132-52. Print.

Debussy, C. Voiles. 1910. Preludes, Book 1, Los Angeles, Alfred Publishing Co. 1992. Print
Debussy, C. Des pas sur la neige. 1910. Preludes, Book 1, Los Angeles, Alfred Publishing Co. 1992.
Print
Ravel, M. Le Gibet. Gaspard de la Nuit, Paris, Durand, 1909
Stravinsky, I. Petrushka. 1912. Mineola. Dover Publications. 1988. Print
Debussy, C. Prelude A Lapres-midi dune Faune. 1895. New York. Dover Publications. 1981. Print
Stravinsky, I. The Rite of Spring. 1913. Mineola. Dover Publications. 1989. Print
Anon. Ave Maris Stella. Accessed from Ottaway, Helen. "Benchmarks." Palace Intrusions. N.p.,
n.d. Web. 14 June 2013. <http://www.palaceintrusions.org.uk/benchmarksb.html>.
Discography
Ralph Vaughan Williams: Symphony No. 3 A Pastoral Symphony, The Lark Ascending, Symphony
No. 5 in D major (2013), CD, Past Classics
Debussy Complete Orchestra Works, Vol. 1, (2007), CD, Vox
Debussy: Preludes (Book 1), (1978), CD, Deutsche Grammophon GmbH, Hamburg
Celtic Road, (2011), CD, ABC, Sydney
Stravinsky:Petrushka The Firebird The Rite of Spring Orpheus, 1998, Universal International
Music



22