Oxford University Press is proud to publish musical works by some of the most significant composers of the 20th and 21st centuries, with a catalogue that includes a broad range of choral, orchestral and chamber music.
The one-act ballet Job has been described as one of Vaughan Williams's mightiest achievements. It is a work which, in a full production, combines painting, literature, music, and dance. The work was inspired by William Blake's Illustrations of the Book of Job, and includes quotations from the King James Bible. The result is a musical masterpiece, combining the ancient and the modern: Vaughan Williams's earlier style is in evidence, including tranquil pastoral melodies, but the work also anticipates the composer's later style. This new, scholarly edition, edited by Julian Rushton, will replace the existing OUP edition from 1934, and includes detailed preliminary matter, comprising a preface, sources and editorial method, and detailed textual notes.
Fl. Ob. 1 2 3 1 2 5 ° &
Fl. Ob. 1 2 3 1 2 5 ° & bb & bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ C.A. & b œ œ œ œ œ j œ œ œ œ œ œ œ œ œ œ Cl. (Bb) 1 2 & œ œ œ œ œ j œ œ œ œ œ œ œ œ œ œ B.Cl. & œ œ œ œ œ œ œ œ œ œ œ œ œ œ Bsn. Cbsn. Hrn. (F) 1 2 1 2 3 4 Bb b ° & ¢ & œ œ œ œ ∑ œ J œ œ œ œ œ œ œ œ œ œ ? ¢ b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ bœ bœ œ œ œ œ œ œ Œ œ œ œ œ ∑ œ œ œ œ œ œ œ œ ∑ œ œ for online perusal only Perc. Hp. 1 Hp. 2 Vln. I / ˙ Œ œ ˙ ∑ & bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & bb œ ? œ œ œ & œ œ œ œ & bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ { { & bb œ ? œ œ œ œ & œ œ œ ° & bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Vln. II Vla. Vcl. Cb. & bb Bb b ? b b ? ¢ b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Scene IX One bar is cut between bars 22 and 23. The original bar 23 was identical to bar 22 except for the entry on the fourth beat (flutes and violins); had VaughanWilliams cut bar 22 instead, the result would have been the same. xvii
Appendix 2 Minor alterations in the autograph, including percussion deleted after advice from Holst (see Preface); pasted-over pages are not accessible, so this list is not necessarily complete. Scene III 52/77 Cymbal clash deleted on first beat Scene IV 59/51–2 Cymbal roll deleted from the fourth beat of b. 51 to the end of b. 52 60/56–8 Cymbal roll deleted from the fourth beat of b. 56 beat 4 to end of b. 58 61/61–5, 68–72 Triangle deleted, the rhythm doubling trumpets and (68–72) xylophone Pages 114–15 in the autograph were pasted over, but the leaf covering p. 114 (bars 79–81) has become detached, and it can be seen that the orchestration was lightened by excising from the second half of bar 80 and the first half of bar 81 low woodwind (bass clarinet and bassoon), brass (trumpet, trombone, tuba), and contrabass. Presumably further changes were made to the following bars on the original p. 115. for online perusal only Scene VI 80/30–2 Side-drum deleted in places where it doubles the rhythm of the trumpets Cymbal rolls deleted from bars 56, 60–2, 65, 69–71, 74–5, 77–8. Scene VII 96/74–6 Timpani deleted: ? c bœ œ bœ œ œ bœ Œ ˙ bœ 97/85, 87 Timpani roll on Ab flat deleted. œ œ bœ œ œ Scene VIII Cymbals deleted from bars 22, 31, 40, 49, and 87; then after the reprise of the Pavane, from bars 128, 130, 134, 136, 138, 146, 148, and 153. Timpani deleted in bars 55–6, 65–6, and 68. xviii
