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28 September 2022

The vision of Ralph Vaughan Williams

In reviving local and popular musical traditions, the composer found haunting new expressions of Englishness.

By Rowan Williams

One of the most intriguing features of British social history of the later 19th century is the emergence of a cultivated, liberal upper-middle class whose roots lay in industry and craft as well as in the more traditional world of the “professions”: teaching, medicine, church and law. Often originating in the Midlands and the north of England, and with connections in the networks of dissenting (non-Church of England) religion, they built modest fortunes, sometimes allied themselves by marriage with more conventional establishment dynasties, and provided a seedbed for much of the radical and creative thinking of the late Victorian age and beyond.

Prominent in any catalogue of such families are the Wedgwoods and the Darwins; the Trevelyans, Sidgwicks and Bensons are among other names that come to mind. The narrowness of the English university system in the 19th century meant that gifted young men from these families were likely to meet as students – and, for whatever reason, Cambridge attracted more of them than Oxford. Their families intermarried, and created a huge spider’s web of cousinage across the cultural world of Victorian and Edwardian England.

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