This beloved suite for military band, English Folk Song Suite, was premiered in 1923 and originally included a fourth movement, “Sea Songs.” After the premiere, “Sea Songs” was removed from the Suite and used as a standalone piece by the same name. Percy Grainger and Ralph Vaughan Williams collected the majority of the folk songs that were used as the inspiration of this work between 1906 and 1909. Along with Broadwood and Sharp, they carefully transcribed both text/lyric and tune of the songs sung by rural singers. Some were also recorded on wax cylinders, many of which still exist, though in poor condition due to the delicate nature of such recordings. There was a bit of a difference of opinion between Broadwood, who wanted to painstakingly note every nuance, every detail of each song to make sure the music was captured as exactly as possible, and Sharp’s opinion that many of these singers were aged and that time was of the essence in capturing as many of these tunes as possible. This came into play especially regarding lyrics as some did not meet the moral values of the day and revisions were thought to be appropriate. Vaughan Williams saw the value in both perspectives.
This Folk Song Suite has three movements. Movement I begins with the sprightly “Seventeen Come Sunday” which leads to the more legato melody of “Pretty Caroline,” with simple yet beautiful orchestration of these tunes. “Dives and Lazarus” is then heard in the basses as a countermelody before reprising the opening theme. The Intermezzo, Movement II, features “Green Bushes” and “My Bonny Boy,” and opens with a lovely oboe solo in the Dorian mode. Motifs found in “My Bonny Boy” are swapped around the band before entering the lively melody of “Green Bushes” before “My Bonny Boy” repeats, bringing the movement to a quiet close. Movement III opens with the light-hearted “Blow Away the Morning Dew” played by a clarinet solo and answered by the whole ensemble. The juxtaposition of the trumpet fanfare and basses playing “High Germany” centers the next section which then reverts to the opening theme. “John Barleycorn” is carried by the trombones and basses, and the trumpets then enter above before the final chord. (Source: Cindy Blanchard)
