Tune in America a Study of Our Coming Musical Independence

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It was a moment of high art. No wonder the listeners fairly held their breaths, seemed almost audibly to sigh with their perception of this so native and peculiar beauty, before they burst forth in cheers for the unostentatious man on the platform, conducting like some friendly bear, who could perform this miracle for them, translating into tones what was 135 TUNE IN, AMERICA.
most individual and most dear to them in their native land. . . . And the music, one may add, took something from their
... friendly understand ing; they gave as well as received. Neither at its first performance (under the composer's direc tion) at a Norfolk Festival, nor later in Carne gie Hall, had it seemed so illuminated by those who heard it, its essential character so empha sized by their response, as here in Queen's Hall, speaking to its own people of their common country.
There are naturally not many works so intensely English as this reserved, almost monotonous Pas toral Symphony of Vaughan Williams: even his own London Symphony is English city rather than country and the countryside is the essential Eng land.


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