THE LETTERS OF RALPH VAUGHAN WILLIAMS

[1st February 1905]

Dear Randolph

I am so touched at your writing – & glad to have such dear words from you – I was so hard & matter of fact at York I felt very unhappy afterwards but it wasn’t that I was not feeling things.  I can say so little & can never say what you are to us – & whatever the circumstances it is so lovely to see you.
I had been meaning to write but waited to see if any more notices would come in – Would you kindly keep these 2 for us – one is amusing – to be no less interesting than Chakta is indeed praise.¹
Ralph had tea on Sunday with Miss Block & Steele.  They are trembling lest the house s^d not be all y^r mother likes.
Come soon dear Randolph.
Yr affectionate

Adeline

1. The Heroic Elegy and Triumphal Epilogue, Catalogue of Works, 1900-1901/1, had been performed in Leeds by the Leeds Municipal Orchestra, as well as the tone poem Chakta by Herman Van Dyk. The notices from the Leeds and Yorkshire Mercury and the Yorkshire Observer on 23 January are preserved with the letter, see British Library MS Mus. 1714/1/3, ff.70-73. The notice reads:
‘There were two interesting novelties in the programme of the Municipal Concert on Saturday night, and their composers were present to conduct them. One of these was Mr. R. Vaughan Williams’s “Heroic Elegy” and the other a Symphonic poem entitled “Chakta”, by Mr. Herman Van Dyk, of Halifax. Of Mr. Vaughan Williams one knows very little. He is the author of an able article on “Conducting” in the new edition of Groves’ [sic] Dictionary, and has written compositions that entitle him to respectful consideration. The “Heroic Elegy” proved well worth hearing. It displayed the true elegiac feeling, and was scored with much felicity and grasp of tonal climax.
‘The other novelty, by Mr. Van Dyk, proved no less interesting. It is presumably based upon some programme or poetic basis, though no suggestion as to this was forthcoming. Mr. Van Dyk is a composer who has done much good work deserving wider recognition than it has yet received. One recalls with pleasure a Cantata and a “Faust” Symphony of his composition, and “Chakta” merits a place alongside them. The command of contrast and the feeling for colour and dramatic point exemplified called for cordial recognition, and raised a desire to hear more of the Halifax musician’s productions. Both the novelties were ably played, under the direction of their respective composers.’