1889
Three Kyries
Composed at Charterhouse.

1893
Music, when Soft Voices Die
(Shelley). Part-song for male voices.

1891
Gloria
Student exercise for Hubert Parry, RCM, Summer Term 1891

1891
Anthem: I heard a Voice from heaven
(Revelations, 14:13) for tenor and chorus. RCM, Summer Term 1891.

1891
Super Flumina Babylonis
(Psalm 137). RCM, Spring Term 1892.

1894
Vexilla Regis.
Hymn for soprano solo, mixed 5-part chorus (SSATB) strings, and organ. Mus. Bac. Exercise. Four movements: Vexilla Regis; Impleta sunt; O Crux; Fons salutis.

1895
Peace, Come away
(Tennyson). For four voices and small orchestra.

1896
Wine, Vine and Eglantine
(Tennyson). Vocal valse for SATB and piano.

1895-6
Sonnet 71
(Shakespeare). For six voices (SSATBB).

1895-6
Echo's Lament of Narcissus
('Slow, slow, fresh fount') (Jonson). Madrigal for double chorus.

1897-9
Mass
For soloists (SATB), mixed double chorus and orchestra (1897-9). Degree exercise for Doctorate of Music at Cambridge. Five movements: Cred; Offertorium; Sanctus; Hosanna; Benedictus.

Works for chorus and orchestra

1899
The Garden of Proserpine
(Swinburne).

Willow Wood
(D. G. Rossetti). Cantata for baritone or mezzo-soprano solo and orchestra. Four movements: Adagio quasi andante; Andante con moto; Adagio quasi andante; Allegro quasi andante.

1903
Sound Sleep
(Christina Rossetti). For female voices (SSA) and pianoforte. Orchestrated in 1903. Dedication: Mrs Massingberd.

1906
Toward the Unknown Region
(Whitman). Song for chorus (SATB) and orchestra.
Dedication: To F.H.M. (Florence Maitland, RVW's sister-in-law).

1908
Three Nocturnes
(Whitman). For baritone solo, semi-chorus, and orchestra. I. Come, O voluptuous sweet-breathed earth; II. By the Bivouac's fitful flame, III. Out of the rolling ocean. Nos. I and III are dated 18 August 1908. A theme used in III recurs in a modified form in Sancta Civitas. Substantial but incomplete.

1914
Symphony 1: A Sea Symphony
For soprano, baritone, mixed chorus, and orchestra. Words by Walt Whitman.
Dedication: To R.L.W. [(Sir) Ralph Wedgwood].
Four movements; A Song for All Seas, All Ships; On the Beach at Night, Alone; Scherzo (The Waves) Allegro brillante; The Explorers: Grave e molto adagio.

1911
Five Mystical Songs
(George Herbert). For baritone soloist, mixed chorus (SATB) ad lib, and orchestra. Easter; I got me flowers; Love bade me welcome; The Call; Antiphon.

1912
Fantasia on Christmas Carols (trad.)
For baritone soloist, mixed chorus (SATB), and orchestra.

1921
Lord, Thou Has Been Our Refuge
Motet for chorus (SATB), semi-chorus (SATB), and orchestra (Psalm 90).

1921
Fanfare: 'So he passed over ....'
For double chorus of women's voices (SA), trumpets, cello, double bass, and bells.

1923-5
Sancta Civitas (The Holy City)
Oratorio for tenor and baritone soloists, mixed chorus (SATB), semi-chorus, distant chorus, and orchestra. Text from the Authorised Version of the Bible, with additions from Taverner's Bible (1539) and other sources.

1928
Te Deum in G
For Decani and Cantoris (SATB men's and boys''voices) with organ or orchestra. Instrumentation by Arnold Foster.

1929
In Windsor Forest
Cantata for mixed chorus (SATB) and orchestra. Music adapted from the opera Sir John in Love. Five sections: The Conspiracy; Drinking Song; Falstaff and the Fairies; Wedding Chorus; Epilogue.

1929
Benedicite
For soprano, mixed chorus (SATB), and orchestra. Words from 'The Song of the Three Holy Children' (the Apocrypha) and ÔHark, my soul, how everything' (John Austin).
Dedication: to L.H.M.C. [Leith Hill Musical Competition] Towns Division.

1929
The Hundredth Psalm
For mixed chorus (SATB) and orchestra. Words from Psalm 100 and Doxology from Daye's Psalter, 1561.

1929
Three Choral Hymns
For baritone (or tenor) solo, mixed chorus (SATB), and orchestra. Words by Miles Coverdale, translated from the German. Three movements: Easter Hymn; Christmas Hymn; Whitsunday Hymn. (The words of 2 and 3 were translated by Coverdale from Luther.)
Dedication: To L.H.M.C. Division I.

1929
Three Children's Songs for A Spring Festival
For voices in unison with string accompaniment. Words by Frances M. Farrer. Three movements: Spring; The Singers; An Invitation.
Dedication: To L.H.M.C. Children's Division.

1932
Magnificat
For contralto solo, women's choir (SA), solo flute, and orchestra. Words adapted from the Bible.
Dedication: To Astra Desmond.

1935
Five Tudor Portraits
(Skelton). For contralto (or mezzo-soprano), baritone, mixed chorus (SATB), and orchestra. Five movements: The Tunning of Elinor Rumming (Ballad); Pretty Bess (Intermezzo); Epitaph on John Jayberd of Diss (Burlesca); Jane Scroop (Her Lament for Philip Sparrow) (Romanza); Jolly Rutterkin (Scherzo).

1936
Nothing is here for tears
(Milton). Choral song (unison or SATB) with accompaniment for pianoforte, organ or orchestra.

1936
Dona Nobis Pacem
Cantata for soprano and baritone soloists, mixed chorus (SATB), and orchestra. Five sections: Agnus Dei (the Liturgy); Beat! Beat! Drums! (Whitman); Reconciliation (Whitman); Dirge for Two Veterans3 (Whitman); The Angel of Death (John Bright) and sections from the Old and New Testaments.

1937
Flourish for a Coronation
For mixed chorus (SATB) and orchestra. Three movements: Let the priest and the prophet anoint him (The Bible); O prince, desire to be honourable (Chaucer); Now gracious God he save our King (The Agincourt Song).

1937
Festival Te Deum in F major
Founded on traditional themes. For mixed chorus (SATB) and organ or orchestra.

1938
Serenade to Music
(Shakespeare). For 16 solo voices.

1940
Six Choral Songs – To be Sung in Time of War
(Shelley). For unison voices with pianoforte or orchestra. A Song of Courage; A Song of Liberty; A Song of Healing; A Song of Victory; A Song of Pity; A Song of the New Age.

1940
The New Commonwealth
(Harold Child). For unison voices with pianoforte accompaniment or orchestra.

1941
England My England
(W. E. Henley). Choral song, for baritone soloist, double choir, unison voices, and orchestra.

1944
Thanksgiving for Victory
(renamed A Song of Thanksgiving in 1952)
Words from various sources including The Bible, Shakespeare, and Kipling. For soprano solo, speaker, mixed chorus (SATB), and orchestra.

1947
The Voice out of the Whirlwind
Motet for mixed chorus (SATB) and orchestra or organ. Adapted from 'Galliard of the Sons of the Morning', from Job.

1924
A Cotswold Romance
Cantata for tenor and soprano soloists, mixed chorus (SATB), and orchestra, adapted from the opera Hugh the Drover by Maurice Jacobson. Ten movements: Chorus: Men of Cotsall; SATB unaccompanied: Sweet Little Linnet; Tenor and SATB: Song of the Road; Tenor, soprano and SATB: Love at First Sight; SATB with baritone solo: The Best Man in England; Tenor solo: Alone and Friendless; Tenor, Soprano and SATB: The Fight and its Sequel; Tenor solo: Alone and Friendless; Tenor, Soprano and SATB: The Fight and its Sequel; Tenor solo: Hugh in the Stocks (Gaily I go to die); Soprano and SATB: Mary escapes (a) alternative version for women's voices: Here, Queen Uncrown'd; Tenor, soprano and SATB: Freedom at Last.

1904-49
Folk Songs of the Four Seasons
Cantata, based on traditional folk songs, for women's voices (SSAA) and orchestra. Four movements: Prologue: To the Plough Boy; Spring; Summer; Autumn; Winter.

1949
An Oxford Elegy
(Matthew Arnold). For speaker, small mixed chorus (SATB) and small orchestra.

1949
Fantasia (Quasi Variazione) on the 'Old 104th' Psalm Tune
For pianoforte solo, accompanied by mixed chorus (SATB), and orchestra. The choral text is that attributed to Sternhold and Hopkins.

1950
The Sons of Light
[Ursula Vaughan Williams]. Cantata for mixed chorus (SATB) and orchestra. Three movements: I. Darkness and Light; II. The Song of the Zodiac; III. The Messengers of Speech.
First performed 6th May 1951, Royal Albert Hall, London. (Massed choirs, 1150 voices, LPO /Boult).
Dedication: To Bernard Shore.
Sections of this work were adapted into Sun, Moon, Stars, and Man, a cycle of four songs for unison voices with accompaniment for strings and/or pianoforte, first performed at Birmingham Town Hall on 11 March 1955.

1953
The Old Hundredth Psalm Tune
('All People that on Earth do Dwell') (W. Kethe). Arranged for mixed choir (SATB), congregation, orchestra, and organ. First performance: Westminster Abbey, 2 June 1953 at the coronation of Queen Elizabeth II.

1954
This Day (Hodie)
A Christmas Cantata for soprano, tenor, and baritone soloists with mixed chorus (SATB), boys' voices, organ (optional), and full orchestra. Words from various sources. Sixteen movements: Prologue; Narration; Song (Milton: soprano and women's voices); Narration; Choral; Narration; The Oxen (Thomas Hardy: baritone and orch.); Narration; Pastoral (George Herbert: baritone and orch.); Narration; Lullaby (William Ballet: soprano and women's voices); Hymn (William Drummond: tenor and orch.); Narration; The March of the Three Kings (Ursula Vaughan Williams: soprano, tenor, baritone, chorus, and orch.); Choral (v. 1 anon.; v. 2 Ursula Vaughan Williams); Epilogue (adapted from St John's Gospel, 1: 1-14 and Milton's Nativity Hymn).
Dedication: To Herbert Howells.
The dedication continues: 'Dear Herbert, I find that in this Cantata I have inadvertently cribbed a phrase from your beautiful Hymnus Paradisi. Your passage seems to germane to my context that I have decided to keep it.' RVW.

1955
Song for a Spring Festival
(Ursula Vaughan Williams)
For mixed chorus. Written for and given to the Leith Hill Musical Festival in April 1955, by the author and composer, to be performed nowhere else.

1957
Epithalamion
Cantata founded on the Masque The Bridal Day, for baritone, mixed chorus, and small orchestra. Words chosen by Ursula Vaughan Williams from Spenser's Epithalamion. Eleven movements: Prologue; 'Wake now'; The Calling of the Bride; The Minstrels; Procession of the Bride; The Temple Gates; The Bellringers; The Lover's Song; The Minstrel's Song; Song of the Winged Lovers: Prayer to Juno.

Unaccompanied
nb Apart from the Five English Folk Songs, this list does not include folk-song arrangements.

1899
Three Elizabethan Songs
For chorus (SATB): Sweet Day (George Herbert); The Willow Song (Shakespeare); O Mistress Mine (Shakespeare).

1899
Come away, Death

1899
Rise early Sun

1902
Ring out your Bells
(Philip Sidney)
Dedication: To Lionel Benson Esq. & the members of the Magpie Madrigal Society.

1902
Rest
(Christina Rossetti)
Dedication: To Lionel Benson Esq. & the members of the Magpie Madrigal Society.

1907
Fain would I change that note
(anon.).
Canzonet for four voices (SATB).

1913
Love is a Sickness
(Samuel Daniel).
Ballet for four voices (SATB).

1913
O Praise the Lord of Heaven
Anthem for two full choirs and semi-chorus (Psalm 148).

1913
Five English Folk Songs
Freely arranged for mixed chorus (SATB). Five movements: The Dark-eyed Sailor; The Springtime of the Year; Just as the Tide was Flowing; The Lover's Ghost; Wassail Song.

1922
O Vos Omnes (Is it nothing to you?)
Words from the Maundy Thursday office of Tenebrae. Motet for mixed voices (SSAATTBB) with alto solo.
Dedication: To Dr R. R. Terry.

1922
Mass is G minor
For soloists (SATB) and double chorus, unaccompanied, with organ part ad lib: Kyrie; Gloria; Credo; Sanctus, Osanna I, Benedictus, Osanna II; Agnus Dei.
Dedication: to Gustav Holst and his Whitsuntide Singers.

1947
The Souls of the Righteous
Motet for treble (or soprano), tenor, baritone soloists, and mixed chorus (Treble ATB or SATB) unaccompanied. Words from The Wisdom of Solomon, III vv. 1-5.

1940
Valiant for Truth
(Bunyan). Motet for mixed chorus (SATB) unaccompanied, or with organ or pianoforte.

1948
Prayer to the Father of Heaven
(Skelton). Motet for mixed chorus (SATB)
Dedication: To the memory of my master Hubert Parry.

1951
Three Shakespeare Songs
For mixed chorus (SATB) unaccompanied. 1. Full Fathom Five; 2. The Cloud-Capp'd Towers; 3. Over Hill, Over Dale.
Dedication: To C. Armstrong Gibbs.

1952
O Taste and See
Words from Psalm 34, v. 8. Motet for mixed choir (S or treble solo, ATB), with an organ introduction. Composed November - December 1952. Words from Psalm 34:8 Andante sostenuto.
First performance London Westminster Abbey, 2 June 1953. Coronation of Queen Elizabeth II. Sung by christers during the Queen’s Communion, conducted by Sir WIlliam McKie.
Publication London Oxford University Press (© 1953)

1953
Silence and Music
(Ursula Wood [Ursula Vaughan Williams]). For mixed chorus (SATB). No. 4 of A Garland for the Queen.
Dedication: To the Memory of Charles Villiers Stanford, and his Blue Bird.

1954
Heart's Music
(Campion). Song for mixed chorus (SATB).
Dedication: Written for Wilfrid Dykes Bower and the St Thomas's Hospital Musical Society.

1956
A Choral Flourish
Words from Psalm 22 (AV, Psalm 33). For mixed chorus (SAT and high bar; B) with introduction for organ or two trumpets. In Latin, with English version as alternative.
Dedication: To Alan Kirby.

Works for choir or unison voices and piano or organ accompaniment

1900-23
Let Us Now Praise Famous Men
Text selected from Ecclesiasticus, Ch. 44. Unison Song, with accompaniment for pianoforte, organ, or small orchestra.

1925
Darest Thou Now, O Soul
(Whitman). Unison song.

1925
Magnificat and Nunc Dimittis (The Village Service)
Set to music for the use of village choirs for mixed chorus (SATB) and organ.

1934
The Pilgrim Pavement
(Margaret Ridgeley Partridge). Hymn for soprano solo, mixed chorus (SATB), and organ.

1934
O How Amiable
Words from Psalms 84 and 90. Anthem for the dedication of a church or other Festivals. For mixed chorus (SATB) and organ. Originally composed for the Abinger Pageant, 1934.
Dedication: to F.F. [Dame Frances Farrer].

1939
Services in D minor
For unison voices, mixed choir (SATB) and organ. Morning Service: te Deum; Benedictus; Jubilate. Communion Service: Kyrie, Responses, Before the Gospel; After the Gospel; Creed; Sursum Corda; Sanctus; Benedictus qui venit; Agnus Dei; Gloria. Evening service: Magnificat; Nunc Dimittis.
Dedication: Written for and dedicated to Dr C. S. Lang and his singers at Christ's Hospital.

1939
A Hymn of Freedom
(Canon G. W. Briggs). For unison voices with pianoforte or organ.
See also Five Wartime Hymns.

1942
A Call to the Free Nations
(Canon G. W. Briggs). Hymn for choral or unison singing.
See also Five Wartime Hymns.

1942
Five Wartime Hymns
(Canon G. W. Briggs). For unison voices with pianoforte or organ, by RVW, Martin Shaw, and Ivor Atkins.

1943
The Airmen's Hymn
Words by the Second Earl of Lytton. Unison song with pianoforte or organ.

1948
Hymn for St Margaret ('St Margaret')
(Ursula Wood [Ursula Vaughan Williams]). No. 748 in Hymnal for Scotland, incorporating the English Hymnal.

1954
Te Deum and Benedictus
Set to well-known metrical psalm tunes for unison voices . . . or mixed voices (with occasional optional harmony) with accompaniment of organ, harmonium, or pianoforte.

1956
A Vision of Aeroplanes
Motet fro mixed chorus (SATB) and organ. First performance. London, St Michael’s Church, Cornhill, 4th June 1956, Publication Oxford University Press (© 1956). Dedication: To Harold Darke and his St Michael’s Singers.

Solo works
(Pianoforte accompaniment unless otherwise stated)
Student and unpublished works.

1892
Crossing the Bar
(Tennyson)

1893
Wishes
Words by 'T', from the Cambridge Observer of August 1893.

1905
The Virgin's Cradle Song
(S. T. Coleridge). Performed at Cambridge University Musical Club, 3 November 1894.

1895
To Daffodils
(Herrick).

1895
Lollipops Song; Spinning Song
Settings from Rumpelstiltskin.

1896
Spring
(Tennyson). Vocal Valse for voice and pianoforte.

1896
Winter
(Tennyson). Vocal Valse for voice and pianoforte.

1896
Rondel
(Swinburne). For contralto or baritone with pianoforte accompaniment.

1892-1938
The Willow Whistle
(M. E. Fuller). For voice and pipe. Undated. Possibly 1938 or 1939).

Solo works
(Pianoforte accompaniment unless otherwise stated)
Published works

1896
How can the tree but wither?
(Thomas, Lord Vaux).

1899
Claribel
(Tennyson).

1901
Linden Lea
Sub-titled 'A Dorset Folk Song'.
(William Barnes)
RVW's first published work.
Dedication: To Mrs Edmund Fisher.
Michael Kennedy lists thirteen arrangements as well as a Fantasia on this song.

1902
Blackmore by the Stour
(Williams Barnes). 'A Dorset folk song'

1902
Whither must I wander?
(R. L. Stevenson)

1902
Boy Johnny
(Christina Rossetti)
Dedication: To J. Campbell McInnes, Esq.

1902
If I were a Queen
(Christina Rossetti).

1903
Tears, Idle Tears
(Tennyson)
Dedication: To J. Francis Harford, Esq.

1903
Silent Noon
(D. G. Rossetti).

1903
Orpheus with his Lute
(Shakespeare)
Dedication: To Miss Lucy Broadwood.

1903
When I Am Dead, my Dearest
(Christina Rossetti).

1903
The Winter's Willow
(William Barnes).

1904
The House of Life
(D. G. Rossetti)
A cycle of six sonnets: Love-Sight; Silent Noon; Love's Minstrels; Heart's Haven; Death in Love; Love's Last Gift.

1904
Songs of Travel
(R. L. Stevenson). The Vagabond; Let beauty awake; The Roadside Fire; Youth and Love; In Dreams; The Infinite Shining Heavens; Whither must I wander?; Bright is the ring of words; I have trod the upward and the downward slope.
Vaughan Williams orchestrated the accompaniment to the songs of the original Book I in 1905 and Roy Douglas orchestrated the remainder in 1961-2

1905
Ye Little Birds
(Thomas Heywood).

1905
A Cradle Song
(S. T. Coleridge).

1905
The Splendour Falls
(Tennyson).

1905
Dreamland
(Christina Rossetti).

1908
Buonaparty
(Thomas Hardy).

1908
The Sky above the Roof
(Paul Verlaine, trans. Mabel Dearmer).

1908
Is my team ploughing?
(A. E. Housman).

1914
Four Hymns
For tenor voice, with accompaniment of pianoforte and viola obbligato. Lord! Come Away (Bishop Jeremy Taylor); Who is this fair one? (Isaac Watts); Come love, come Lord (Crashaw); Evening Hymn (trans. from the Greek by Robert Bridges). Probably more familiar in the version with orchestral accompaniment as first performed.
Dedication: To J.S.W. (Sir Steuart Wilson).

1895-1922
Dirge for Fidele
(Shakespeare). Song for two mezzo-sopranos, with pianoforte accompaniment.

1922
It was a lover and his lass
(Shakespeare). Part-song for two voices with piano accompaniment.

1925
Two Poems by Seumas O'Sullivan
(James Starkey): The Twilight People; A Piper.

1925
Three Songs from Shakespeare
Take, O take those lips away; When icicles hang by the wall; Orpheus with his lute.
The first two of these songs also appeared as unison songs in 1926 (OUP) 'Orpheus with his lute' is also available for mixed chorus (SATB) and as a unison song with string orchestra accompaniment.

1922-25
Four Poems by Fredegond Shove:
Motion and Stillness (dated 1922); Four Nights; The New Ghost; The Water Mill.

1925
Three Poems by Walt Whitman
Nocturne; A Clear Midnight; Joy, Shipmate, Joy!

1927
Along the Field
(A. E. Housman). Eight songs for voice and violin. We'll to the woods no more; Along the Field; The half-moon westers low; In the Morning; The Sigh that Heaves the Grasses; Goodbye; Fancy's Knell; With rue my heart is laden.

1952
In the Spring
(William Barnes).
Dedication: To the members of the Barnes Society.

1954
Menelaus on the Beach at Pharos
(Ursula Vaughan Williams)
Dedication: To Keith Falkner.

1955
Hands, Eyes and Heart
(Ursula Vaughan Williams).

1957
Ten Blake Songs
For voice and oboe.
Infant Joy; A Poison Tree; The Piper; London (oboe tacet); The Lamb; The Shepherd (oboe tacet); Ah! Sunflower; Cruelty has a human heart; The Divine Image (oboe tacet); Eternity. Eight of these songs were used for the film. The Vision of William Blake, produced in commemoration of the bicentenary of Blake's birth in 1957.
Dedication: To Wilfred Brown and Janet Craxton.

1958
Four Last Songs
(Ursula Vaughan Williams): Procris; Tired; Hands, Eyes and Heart; Menelaus.

1958
Three Vocalises
For soprano voice and B flat clarinet. Prelude: Moderato; Scherzo: Allegro moderato; Quasi menuetto: Moderato.
Dedication: To Margaret Ritchie.