Folk Song Suite
1. March, Seventeen Come Sunday - 3:25
2. Intermezzo, My Bonny Boy - 4:00
3. March, Folk Songs from Somerset - 3:45
Eb Soprano Clarinet
Bb Soprano Clarinet Solo
Bb Soprano Clarinet I-II-III
Eb Alto Clarinet
Bb Bass Clarinet
Bb Contrabass Clarinet (doubles the Bass Saxophone part)
Bass Saxophone (doubles the Contrabass Clarinet part)
Cornet (in Bb) Solo
Cornet (in Bb) I-II
Trumpet (in Bb) I-II
Horn in Eb I-II-III-IV (notated in Eb in the score only)
Trombone III (bass)
Percussion, 2-3 players, including:
- Bass Drum
- Cymbal (crash)
- Snare Drum
The older version published by Boosey & Hawkes is full of errata both minor and major. It is highly recommended that the 2008 revised edition published by Boosey & Hawkes and distributed by Hal Leonard be used. The following errata apply to the 2008 edition. These errors are present in the score and parts:
- Mvt. 1, m. 12, Hrn. 2 - & of b. 2; should be written F
- Mvt. 1, mm. 155–57, Perc. 1,2 - Perc 1, 2; snare drum and triangle parts should be swapped
- Mvt. 1, m. 97, Solo Cnt. - b. 2; should be marked "p"
- Mvt. 1, m. 116, Hrn. 2 - b. 2; should be written A-flat
- Mvt. 1, m. 124, Hrn. 1 - b. 1; should be written C
- Mvt. 2, mm. 34–35, Tba., Bass - should be slurred (to match other parts)
- Mvt. 2, m. 73, Perc. 2 - Eliminate cresc. marking
- Mvt. 3, m. 32, Eb Cl. - & of b. 2; should be written D
- Mvt. 3, m. 39, Ob. 2 - & of b. 2; should be written G
- Mvt. 3, m. 39, Cnt. 2 - & of b. 2; should be written E
- Mvt. 3, 48, Cl. 3 - & of b. 2; should be written F
- Mvt. 3, 92, Ob. 2 - & of b. 2; should be written B-flat
- Mvt. 3, 93, Cl. 3 - & of b. 2; should be written B-flat
Also note the proper title of the work: Folk Song Suite, not English Folk Song Suite.
See also Fennell article in Resources (below).
Folk Song Suite was commissioned by the band of the Royal Military School of Music. It was premiered on 4 July 1923, at Kneller Hall, H.E. Adkins conducting. In three movements, the suite contains many different folk songs from the Norfolk and Somerset regions of England, including Seventeen Come Sunday, Pretty Caroline, Dives and Lazarus, My Bonny Boy, Green Bushes, Blow Away the Morning Dew, High Germany, and The Tree So High. Historically, the suite is considered (along with Gustav Holst’s two suites for military band) to be a cornerstone work in the literature, and one of the earliest “serious” works for the wind band.
- Program Note by Nikk Pilato
English Folk Song Suite is a standard work for bands from one of the most significant composers of the early 20th century. Fortunately, the piece is playable by a wide range of performers: high school bands, honor bands, community ensembles, and secondary or primary college ensembles. As with other wind band works by this composer, the ensemble must approach articulations with lightness and buoyancy because thick scoring can lead to undue heaviness. Conductors should note a strong oboe or cornet is required for the exposed solo in the second movement. Additionally, a moderate amount of repetition in the work will require performers to capitalize upon all expressive opportunities to maintain musical interest throughout.
- Notes from Great Music for Wind Band
The English Folk Song Suite was written in 1923 and includes three movements. The first is a march entitled Seventeen Come Sunday and begins with the folksong of the movement's name with the melody in the woodwinds. It is followed by the folksong Pretty Caroline which features a solo clarinet and cornet, and the last melody in the first movement is Dives and Lazarus which features the lower instruments with the upper woodwinds playing against them.
The second movement is Intermezzo: My Bonnie Boy which opens with an oboe solo to the tune of My Bonnie Boy and is interrupted by the tune Green Bushes which is more upbeat and dance-like than the slow, emotional opening. The movement ends with a fragment of the original melody. The third movement is a march called Folk Songs from Somerset which opens with a light introduction of four measures before the first melody, the folk song Blow Away the Morning Dew, played by a solo cornet. The second melody, High Germany, is played by the lower instruments and transitions into The Tree So High' and John Barleycorn before repeating back to the beginning of the movement.
Historically, the piece is considered to be a cornerstone work in the literature, and one of the earliest “serious” works for wind band.
- Program Note from the Baldwin-Wallace College Symphonic Band concert program, 20 November 2015
The first movement is set as an English march, and is made up of three folk songs, I’m Seventeen Come Sunday, Pretty Caroline, and Dives and Lazarus. The first two folk songs deal with similar subject matter of military men falling in love with, and marrying, beautiful women. The styles of the two songs offset each other, the first is bouncy and jovial, the second legato and cantabile. The third folk song included in movement one is Dives and Lazarus. Lazarus repeatedly begs Dives, a rich man, for food but is denied. To portray the antagonism of the event, Vaughan Williams has set a firm duple meter melody in the low brass against a rigorous triple meter accompaniment in upper winds.
Both folk songs used in the Intermezzo deal with love betrayed, and Vaughan Williams’s keen sense of orchestration is on full display throughout this movement. My Bonny Boy begins the movement in a lonely F dorian with sparse accompaniment. The mood shifts slightly to the folk song Green Bushes set as a somewhat playful scherzando. The pace of this folk song belies the fact that the tonal center has remained F dorian, and thus never really feels happy or jovial.
The third movement, Folk Songs From Somerset, uses four different folk songs dealing loosely with unattainable love. Blow Away the Morning Dew, describes a country boy attempting to seduce a girl who quickly outwits him. The second folk song, High Germany, is about a young English woman’s lover and her three brothers being called off to war in Germany. Thirdly, Vaughan Williams modified a version of “The Trees They Do Grow High” which deals with a young woman who has been wed by her father to a much younger boy. The final folk song is John Barleycorn which is an allegory representing the harvesting of barley, and the imbibing of its final form (beer and whisky). accompaniment in upper winds.
- Program Note by Shawna Meggan Holtz for the University of Oklahoma Symphonic Band concert program, 3 October 2016
The original publication of this work contained a fourth movement, Sea Songs, which the publisher, Boosey & Hawkes, subsequently removed and published separately.
- Audio CD: London Wind Orchestra (Denis Wick, conductor)
- Audio CD: North Texas Wind Symphony (Eugene Corporon, conductor)
- Audio CD: Royal Northern College of Music Wind Orchestra (Timothy Reynish, conductor)
- Audio CD: Tokyo Kosei Wind Orchestra (Fredrick Fennell, conductor)
- Alabama: AL Band Class A
- Arkansas: Grade III
- California: Grade V Class A
- Florida: FBA Band Grade V -- (The Florida Bandmasters Association denotes this as "significant literature.")
- Georgia: GA Band Grade V
- Iowa: IA HS MUSIC ASSOC BAND GRADE IV
- Indiana: ISSMA SENIOR BAND GROUP I
- Louisiana: BAND 2011 GRADE V
- Maine: GRADE IV
- Michigan: JR HIGH BAND CLASS AA
- Michigan: SENIOR HIGH CLASS A
- Minnesota: MN HS LEAGUE BAND GRADE II
- Minnesota: Category II
- Mississippi: MS BAND CLASSES 4A, 5A, & 6A
- North Carolina: VI
- New York: 20 05 CONCERT BAND LEVEL V
- Oklahoma: CONCERT BAND CLASS 5A
- South Carolina: SC Band Grade V
- Tennessee: Grade V
- Texas: Band Grade V.Complete
- Virginia: CONCERT BAND GRADE V
- Wisconsin: Event 3000 Concert Band.Class B Std Rep
To submit a performance please join The Wind Repertory Project
- California Polytechnic State University, San Luis Obispo, Wind Orchestra (Nicholas P. Waldron, conductor) – 8 March 2020
- Illinois Valley Community College (Ogleby) Wind Ensemble (Phil Whaley, conductor) – 5 March 2020
- Central Texas (Waco) Youth Wind Ensemble (David W. Montgomery, conductor) – 1 March 2020
- Purdue University Fort Wayne (Ind.) Symphonic Band (Daniel Tembras, conductor) – 27 February 2020
- Ball State University (Muncie, Ind.) Symphony Band (Caroline Hand, conductor) – 26 February 2020
- University of the Incarnate Word (San Antonio, Tx.) Wind Ensemble (Brett A. Richardson, conductor) – 23 February 2020
- Austin (Tx.) Symphonic Band (Richard Floyd, conductor) – 1 February 2020
- College of New Jersey (Ewing Township) Gold Wind Ensemble (Eric Laprade, conductor) – 4 December 2019
- Manhattan (N.Y.) Wind Ensemble (Sarah Fernandez, conductor) – 23 November 2019
- University of Science and Arts of Oklahoma (Chickasha) (Kaleb Benda, conductor) - 18 November 2019
- James Madison University (Harrisonburg, Va.) Symphonic Band (Isaac McMahon, conductor) – 18 November 2019
- Case Western Reserve University (Cleveland, Ohio) Symphonic Winds (Ryan Scherber, conductor) – 18 November 2019
- Brigham Young University (Provo, Utah) Wind Symphony (Don L. Peterson, conductor) – 30 October 2019
- Hanover Wind Symphony (Whippany, N.J.) (Matthew Paterno, conductor) – 23 October 2019
- Lakeshore Wind Ensemble (Manitowoc, Wisc.) (Marc Sackman, conductor) – 19 October 2019
- Atlanta (Ga.) Youth Wind Symphony (Scott A. Stewart, conductor) - 7 October 2019
- Loveland High School (Colo.) Wind Symphony (Kyle Freesen, conductor) - October 2019
- Pacific Lutheran University (Parkland, Wash.) Wind Ensemble (Edwin Powell, conductor) – 13 October 2019
- Florida State University (Tallahassee, Fla.) Symphonic Band (Patrick Dunnigan, conductor) – 7 October 2019
- High School Concert Band [Interlochen, Mich.] (Frederick Fennell, conductor) - 1 August 1986
Works for Winds by this Composer
- Concerto for Bass Tuba (arr. Wick and Chambers) (1954/1992)
- Concerto Grosso (arr. Grechesky) (1924)
- Concerto in F minor for Tuba and Winds (arr. Hare) (1954/1992)
- England's Pleasant Land (arr. Noble) (1938/2017)
- English Folk Song Suite (1924)
- Fantasia on a Theme by Thomas Tallis (arr. Bocook) (1910/2006)
- Fantasia on Greensleeves (arr. Wagner) (1934/2011)
- Five Variants of "Dives and Lazarus" (arr. Gregson) (1939/2004)
- Flourish for Glorious John (or. Boyd) (1957/1998)
- Flourish for Wind Band (1939)
- Golden Vanity, The (arr. Wagner) (1933/2009)
- I Vow to Thee, My Country (as setter; ed. Grechesky) (1921/1988)
- Lark Ascending, The (tr. Silvester) (1914/1925/2003)
- Linden Lea (arr. Wagner) (1902/2013)
- Linden Lea (arr. Stout) (1902/1984)
- March Past of the Kitchen Utensils (arr. Erwin) (1909/2010)
- Norfolk Rhapsody (tr. Robert O'Brien) (1905)
- Overture to "The Wasps" (tr. Frank Hudson) (1909)
- Prelude: 49th Parallel (arr. Noble) (2014)
- Prelude from "49th Parallel" (tr. Osmon) (1941/1960/1987/2002)
- Prelude on Three Welsh Hymn Tunes (arr. Curnow) (1954/1982)
- Prelude: The New Commonwealth (arr. Grauer) (1940/2006)
- A Ralph Vaughan Williams Portrait (arr. Wagner) (2018)
- Rhosymedre (tr. by Beeler) (1972)
- Running Set, The (tr. Silvester) (1933)
- Scherzo alla Marcia (1953-5)
- Sea Songs (1925)
- Sea Songs (arr. Longfield) (1925/2006)
- Sine Nomine (arr. Reed) (1976)
- Sine Nomine (arr. Houseknecht) (1906/1960)
- Songs of Travel (arr. Patterson) (1901-4)
- Toccata Marziale (1924)
- Toccata Marziale (ed Battisti) (ed. Battisti) (1924/2005)
- Variations for Wind Band (trans. Hunsberger) (1957/1988/1997)
- Vaughan Williams Christmas, A (arr. Wagner) (1999)
- Wassail (arr. Smith)
- Fennell, Frederick. (1976, June). "Vaughan Williams' Folk Song Suite." The Instrumentalist 30(10), 45-48. Reprinted (May 2005) The Instrumentalist 59(10), 35-36, 28-31, 33. Reprinted in Conductors Anthology, Vol. II. 2nd ed. Northfield, IL: The Instrumentalist, 1993, pp. 155-158, and in Basic Band Repertory Evanston, Ill.: The Instrumentalist, 1980.
- Kish, David. (2013). Guides to Band Masterworks. Volume III. Delray Beach, Fla.: Meredith Music Publications, 2013. pp. 41–78.
- Miles, Richard B., and Larry Blocher. (2010). Teaching Music through Performance in Band. Volume 1. Chicago: GIA Publications. pp. 467-480.
- Mitchell, Jon Ceander. (2008) Ralph Vaughan Williams’ Wind Works Galesville, Md: Meredith Muisc Publications.
- Nicholson, Chad. (2009). Great Music for Wind Band: A Guide to the Top 100 Works in Grades IV, V, VI. Galesville, MD: Meredith Music Publications. pp 16-17.
- Van Gilder, Chris R. (2007). An Examination of Works for Wind Band Masters Report.