THE LETTERS OF RALPH VAUGHAN WILLIAMS

The White Gates,
Dorking,

12th August, 1948.

Dear Steuart¹

Yesterday I sent to you by Registered Post, vocal score and libretto of my “Pilgrim’s Progress.”²  Even if you do not feel inclined to go further with it I should be very grateful for any criticisms that you or any other expert that you like to show it to, has to make.
Of course the obvious criticism is that it is not “dramatic” – but then it is not meant to be.  Whether this is a good excuse I do not know.  It is more of a ceremony really than a drama. This applies especially to the end of Act I.  I do not know whether Act I of “Parsifal” is any precedent for this, but even here there is a certain amount of what dramatic experts call “conflict” when Amfortas makes his rather melodramatic interruption.  On the other hand my ceremony only takes about seven minutes whereas Wagner’s takes over half an hour.
Perhaps the initiation scene from the “Magic Flute” is a nearer parallel.
As regards James Robertson’s objection, it seemed to be chiefly the apparent large size of the cast, but perhaps he did not realise that there is a different cast for each Act, and the parts can be doubled, trebled or even quadrupled.  Also many of the small parts, especially in “Vanity Fair”, which consist only of one or two sentences could be sung by members of the chorus.
It would want a full orchestra but nothing abnormal.
Yrs

RVW

1.  Recently appointed Director of Music at the BBC.
2.  Catalogue of Works 1951/1.