Byron Adams is emeritus professor of musicology at the University of California, Riverside. He is an associate editor of the Musical Quarterly and editor of the volume Vaughan Williams Essays as well as the volume Edward Elgar and His World for the Bard Music Festival series, for which he also serves as a consultant. Daniel M. Grimley is professor of music and head of humanities at the University of Oxford and a professorial fellow at Merton College. His books include Grieg: Music, Landscape, and Norwegian Identity, Carl Nielsen and the Idea of Modernism, Delius and the Sound of Place, and Jean Sibelius: Life, Music, Silence.

• Permissions and CreditsAcknowledgmentsRalph Vaughan Williams: Man and Music—An IntroductionByron Adams and Daniel M. GrimleyVaughan Williams and CambridgeJulian RushtonVaughan Williams and the Royal College of MusicErica SiegelVaughan Williams’s “The Letter and the Spirit” (1920)Introduced and Annotated by Ceri OwenModernist Image in Vaughan Williams’s JobPhilip Rupprecht“Finest of the Fine Arts”: Vaughan Williams and FilmAnnika ForkertPilgrim in a New-Found-Land: Vaughan Williams in AmericaByron AdamsVaughan Williams’s Lecture on the St. Matthew Passion (1938)Introduced and Annotated by Eric SaylorVaughan Williams’s Common GroundSarah Collins and Daniel M. GrimleyTracing a Biography: Michael Kennedy’s Correspondence Concerning The Works of Ralph Vaughan WilliamsIntroduced and Annotated by Daniel M. Grimley and Byron Adams“His own idiom”: Vaughan Williams’s Violin Sonata and the Development of His Melodic StyleO. W. NeighbourCritical Reception: Early Performances of the Symphony No. 9 in E MinorIntroduced and Annotated by Alain FrogleyGoodness and Beauty: Philosophy, History, and Ralph Vaughan WilliamsLeon BotsteinIndexNotes on the Contributors

Byron Adams is emeritus professor of musicology at the University of California, Riverside. He is an associate editor of the Musical Quarterly and editor of the volume Vaughan Williams Essays as well as the volume Edward Elgar and His World for the Bard Music Festival series, for which he also serves as a consultant. Daniel M. Grimley is professor of music and head of humanities at the University of Oxford and a professorial fellow at Merton College. His books include Grieg: Music, Landscape, and Norwegian Identity, Carl Nielsen and the Idea of Modernism, Delius and the Sound of Place, and Jean Sibelius: Life, Music, Silence.

• Permissions and CreditsAcknowledgmentsRalph Vaughan Williams: Man and Music—An IntroductionByron Adams and Daniel M. GrimleyVaughan Williams and CambridgeJulian RushtonVaughan Williams and the Royal College of MusicErica SiegelVaughan Williams’s “The Letter and the Spirit” (1920)Introduced and Annotated by Ceri OwenModernist Image in Vaughan Williams’s JobPhilip Rupprecht“Finest of the Fine Arts”: Vaughan Williams and FilmAnnika ForkertPilgrim in a New-Found-Land: Vaughan Williams in AmericaByron AdamsVaughan Williams’s Lecture on the St. Matthew Passion (1938)Introduced and Annotated by Eric SaylorVaughan Williams’s Common GroundSarah Collins and Daniel M. GrimleyTracing a Biography: Michael Kennedy’s Correspondence Concerning The Works of Ralph Vaughan WilliamsIntroduced and Annotated by Daniel M. Grimley and Byron Adams“His own idiom”: Vaughan Williams’s Violin Sonata and the Development of His Melodic StyleO. W. NeighbourCritical Reception: Early Performances of the Symphony No. 9 in E MinorIntroduced and Annotated by Alain FrogleyGoodness and Beauty: Philosophy, History, and Ralph Vaughan WilliamsLeon BotsteinIndexNotes on the Contributors

Byron Adams is emeritus professor of musicology at the University of California, Riverside. He is an associate editor of the Musical Quarterly and editor of the volume Vaughan Williams Essays as well as the volume Edward Elgar and His World for the Bard Music Festival series, for which he also serves as a consultant. Daniel M. Grimley is professor of music and head of humanities at the University of Oxford and a professorial fellow at Merton College. His books include Grieg: Music, Landscape, and Norwegian Identity, Carl Nielsen and the Idea of Modernism, Delius and the Sound of Place, and Jean Sibelius: Life, Music, Silence.

• Permissions and CreditsAcknowledgmentsRalph Vaughan Williams: Man and Music—An IntroductionByron Adams and Daniel M. GrimleyVaughan Williams and CambridgeJulian RushtonVaughan Williams and the Royal College of MusicErica SiegelVaughan Williams’s “The Letter and the Spirit” (1920)Introduced and Annotated by Ceri OwenModernist Image in Vaughan Williams’s JobPhilip Rupprecht“Finest of the Fine Arts”: Vaughan Williams and FilmAnnika ForkertPilgrim in a New-Found-Land: Vaughan Williams in AmericaByron AdamsVaughan Williams’s Lecture on the St. Matthew Passion (1938)Introduced and Annotated by Eric SaylorVaughan Williams’s Common GroundSarah Collins and Daniel M. GrimleyTracing a Biography: Michael Kennedy’s Correspondence Concerning The Works of Ralph Vaughan WilliamsIntroduced and Annotated by Daniel M. Grimley and Byron Adams“His own idiom”: Vaughan Williams’s Violin Sonata and the Development of His Melodic StyleO. W. NeighbourCritical Reception: Early Performances of the Symphony No. 9 in E MinorIntroduced and Annotated by Alain FrogleyGoodness and Beauty: Philosophy, History, and Ralph Vaughan WilliamsLeon BotsteinIndexNotes on the Contributors