From Pub to Pulpit Programme - 11 February 2023

CONCERT TOUR OF UK CATHEDRALS 2022/23

Programme sponsored by

From A FEW CRUSTED CHARACTERS by Thomas Hardy

Absent-Mindedness in a Parish Church

It happened on Sunday after Christmas - the last Sunday they played in Longpuddle church gallery, as it turned out, thought they didn't know it then. As you may know, sir, the players formed a very good band - almost as good as the Mellstock parish players that were led by the Dewys, and that's saying a great deal. For that reason they were very much in demand Christmas week for little reels and dancing parties; for they could turn a jig or a hornpipe out of hand as well as ever they could turn out a psalm, and perhaps better, not to speak irreverent.

Well, this Christmas they'd been out to one rattling randy after another every night, and had got next to no sleep at all. Then came the Sunday after Christmas, their fatal day. 'Twas so mortal cold that year that they could hardly sit in the gallery; for though the congregation down in the body of the church had a stove to keep off the frost, the players in the gallery had nothing at all. So Nicholas said at morning service, when 'twas freezing an inch an hour, "Please the Lord I won't stand this numbing weather no longer; this afternoon we'll have something in our insides to make us warm, if it costs a king's ransom."

So he brought a gallon of hot brandy and beer, ready mixed, to church with him in the afternoon, and by keeping the jar well wrapped up in Timothy Thomas's bass-viol bag it kept drinkably warm till they wanted it, which was just a thimbleful in the Absolution, and another after the Creed, and the remainder at the beginning o' the sermon. When they'd had the last pull they felt quite comfortable and warm, and as the sermon went on - most unfortunately for 'em it was a long one that afternoon - they fell asleep, every man jack of 'em; and there they slept on as sound as rocks.

'Twas a very dark afternoon, and by the end of the sermon all you could see on the inside of the church were the parson's two candles alongside of him in the pulpit, and his spaking face behind 'em. The sermon being ended at last, the pa'son gie'd out the Evening Hymn. But no quire set about sounding up the tune, and the people began to turn their heads to learn the reason why, and then Levi Limpet, a boy who sat in the gallery, nudged Timothy and Nicholas, and said, "Begin! begin!".

"Hey? What?" says Nicholas, starting up; and the church being so dark and his head so muddled he thought he was at the party they had played at all the night before, and away he went, bow and fiddle, at 'The Devil among the Tailors', the favourite jig of our neighbourhood at the time. The rest of the band, being in the same state of mind and nothing doubting, followed their leader with all their strength, according to custom. They poured out that there tune till the lower bass notes of 'The Devil Among the Tailors' made the cobwebs in the roof shiver like ghosts; then Nicholas, seeing nobody moved, shouted out as he scraped (in his usual commanding way at dances when the folk didn't know the figures), "Top couples cross hands! And when I make the fiddle squeak at the end, every man kiss his pardner under the mistletoe!"

Then the unfortunate church band came to their senses, and remembered where they were; and 'twas a sight to see Nicholas Puddingcome and Timothy Thomas and John Biles creep down the gallery stairs with their fiddles under their arms, and poor Dan'l Hornhead with his serpent, and Robert Dowdle with his clarionet, all looking as little as ninepins, and out they went. The pa'son might have forgi'ed 'em when he learned the truth o't, but the squire would not. That very week he sent for a barrel-organ that would play two-andtwenty psalm tunes, so exact and particular that, however sinful inclined you was, you could play nothing but psalm-tunes whatsomever, and the old players played no more.

The Vaughan Williams Charitable Trust was set up to promote knowledge about Ralph Vaughan Williams (1872–1958), one of the great symphonists of the twentieth century and one of the UK’s most beloved composers.

The VWCT was established by Ursula Vaughan Williams (1911–2007), widow of the composer, and first became active in 2008. Many of the current trustees were closely connected with Ursula and Ralph Vaughan Williams during their life time. The trust supports the performance, recording and research into the music of Vaughan Williams by making grants in support of eligible projects.

2022 marks the 150th anniversary of his birth. As one of the great symphonists of the twentieth century, his extraordinary impact on British music cannot be underestimated.

Under the banner of RVW 150 a comprehensive programme of his work, cordinated by the Trust, is being presented throughout the UK and internationally from Spring 2022, continuing through his birthday in October until the end of the season in 2023. The Trust merged with the Vaughan Williams Society to form The Vaughan Willaims Foundation on 1 Jan 2023. www.vaughanwilliamsfoundation.org

Ralph Vaughan Williams is one of the most important composers of the 20th century. Drawing on the influences of English folk song and Tudor polyphony, he succeeded in reviving British music during a career that spanned more than six decades.

By the end of his life, he had composed in almost every genre, having written nine symphonies, six operas, a ballet and a variety of hymn tunes and scores for the stage and screen.

His interest in music began at an early age, when in addition to playing the violin; viola; piano and organ he became increasingly interested in composition.

He studied at the Royal College of Music alongside Gustav Holst, then for three years at Trinity College, Cambridge, where he was a pupil of Parry, Charles Wood and Stanford.

His early work was influenced by his dissatisfaction with the English music scene. He decided to draw on native resources, rather than turning to foreign influences, therefore English folksong became a pivotal part of his composition.

His first big public success came in 1910 at the premiere of his Fantasia on a Theme of Thomas Tallis, before achieving even greater praise for A London Symphony.

He took three years off his age in order to volunteer for the army during the 1914-1918 war. The carnage and the loss of close friends such as the composer George Butterworth deeply affected him and influenced his music after the war.

By 1919, Vaughan Williams had returned to the Royal College of Music as a member of the teaching staff and soon became conductor of the Bach Choir and the Handel Society.

He died peacefully in August 1958 and his ashes were placed by the grave of Henry Purcell in Westminster Abbey.

From Pub to Pulpit – The Response

Tamsin Waley-Cohen Artistic Director Two Moors Festival: It was everything I hoped would be and more. I had visions of everyone raising the roof at the end, and we did just that.

Benjamin Carter Canon Warden Carlisle Cathedral: A magical evening exceeding all expectations, drawing our biggest 900th Anniversary audience.

Ian Roberts Director Music Newcastle Cathedral. This was brilliant. The audience response was astonishing and singing was superb.

Bob Rushton, Artistic Director Derby Folk Festival: A fabulous concert and a great way to start our weekend.

James Anderson-Besant Assistant Director of Music Exeter Cathedral: We were so excited by this. Our choir threw themselves into it and the audience were fantastic.

Alex Hamilton, Director Wells Cathedral Chamber Choir: We thoroughly enjoyed your fabulous set and singing together was indeed electric.

Jo Tuffs, Artistic Director Broadstairs Folk Week: My favourite event at this year’s Festival. Standing room only and everyone singing.

Media responses:

Chosen as a “Highlight of RVW150 celebrations” by The Observer; The Times; Gramophone; Living Tradition and Songlines Magazines

Choir and Organ Magazine: A unique piece of live musical education and entertainment with a truly rollicking flavour

English Folk Dance and Song Society Magazine: Proves that the Devil doesn’t have all the Best Tunes. Brilliant

Classical Music Daily: An Excellent idea with excellent performers

Jonathan Hallewell BBC Radio 4 Sunday Programme: It’s such a brilliant idea and I’m not surprised at the audience response. Extremely uplifting.

Jon Bickley: Presenter Invisible Folk Club Radio: A wonderful idea brilliantly brought to life by talented and exciting performers. The joy it brings is amazing.

Wells Cathedral

Exeter Cathedral (Clive Barda / ArenaPAL)

Britain’s oldest brewer Shepherd Neame has been based in the market town of Faversham, Kent for over 300 years. Perhaps best known for great British classic ales such as Spitfire Amber, which carries the Royal Warrant, Shepherd Neame’s diverse portfolio includes Bear Island East Coast Pale Ale and the Whitstable Bay Collection. It also brews international lagers under licence including Samuel Adams Boston Lager and premium Thai lager Singha. The independent family business boasts an award-winning visitor centre and more than 300 pubs and hotels throughout London and the South East, from the historic heart of the City to the Kent coastline.

Shepherd Neame first brewed Bishops Finger Kentish Strong Ale in 1958, named after the finger-shaped Kentish signposts which pointed pilgrims on their way to Canterbury Cathedral. The beer has Protected Geographical Indication (PGI) status in recognition of the local provenance of its ingredients, as it is brewed in Faversham with chalk-filtered mineral water taken from the artesian well beneath the brewery, its own unique yeast, and hops grown in Kent. It has been honoured with numerous taste awards, most recently receiving a Silver Medal in the 2020 International Beer Challenge.

Find out more: www.shepherdneame.co.uk or follow Shepherd Neame on social media @shepherdneame

Vaughan Williams and Folk Music

When seventy-four-year-old Essex labourer Charles Potiphar sang him Bushes and Briars, Ralph Vaughan Williams proclaimed “ I felt it was something I had known all my life”. Vaughan Williams asked Charles about the origins of his songs and he replied: “If you can get the words the Almighty will send you the tune”.

That so-called “Ingrave Epiphany” in 1902 influenced Vaughan Williams' compositions for the rest of his career and is the inspiration for an imaginative concert tour called From Pub to Pulpit, marking his 150th birthday in 2022.

He went on to collect eight hundred folk songs, many of which he re-cycled for classical, brass and choral arrangements.

His creative inspiration from folk songs saw him compose Fantasia on Christmas Carols; English Folk Song Suite, originally composed for military bands; Fantasia on Greensleeves; Five Variants of Dives and Lazarus, Folk Songs from the Eastern Counties and his first opera, Hugh the Drover which he continued to revive throughout his life. For him, folk music was the music that defined the Nation: "National music should represent the people. Music is the expression of the soul of the nation… the same circumstances that produced our beautiful Folk Songs also produced our history, our customs; our incomparable landscapes, perhaps even I may add, our independable weather and our abominable food”.

Like his contemporaries Sharp and Butterworth, he feared that this musical soul of the nation would be lost as we turned from an agricultural to an industrial society.

“Every day some old village singer dies, and with him there probably die halfa-dozen beautiful melodies, which are lost to the world for ever: if we would preserve what still remains we must set about it at once”. He urged in a letter to the Morning Post in 1903.

BROOMDASHER are a five - voice London - based acapella group who already had many years’ experience between them before they first formed in 2016.

Since then, they’ve created an enviable reputation for their arrangements, harmonies and engaging live shows, which encourage the audience to join in.

They regularly play folk clubs and festivals and have hosted their own radio specials. All their recordings are in the British Library's National Sound Archive as "an outstanding example of grass roots folk music today". Fatea Folk Magazine featured them on a 2022 “Bands to Watch” album.

Their latest album, The Ingrave Epiphany, includes all their songs from the From Pub to Pulpit tour, as their own tribute to Ralph Vaughan Williams.

In 2021/2, they toured their much-praised folk musical, The Country Diary in Song based on Edith Holden’s Country Diary of an Edwardian Lady. The CD was hailed as an album of the year by some critics and described as “Brilliantly imaginative” and “A very and enjoyable listen”.

Broomdasher are: Chris Hayes, a former member of London Lubbers and The Hogeye Men; Deena Marcus-Jedamzik, who was taught by Leon Rosselsson; Josephine Swinhoe, classically trained by Vaughan Williams protégé John Carol Case; Margaret Moore, an actress and member of the Bloomsbury Woodwind Ensemble and Richard Cryan, a member of Dorten Yonder and formerly a regular on BBC Radio Derby as half of The Moonshine Duo.

CORACLE is a new trio bringing together three vastly experienced and wellrespected musicians who have large followings in their own right.

Their debut album Murmuration includes several pieces featured in From Pub to Pulpit.

Paul Hutchinson is an accordionist and one half of the extremely successful duo Belshazzar’s Feast, who have entertained audiences around the world for more than 25 years.

Performer, teacher, composer and humourist, he is much admired for his imaginative and inspiring compositions. His lockdown album Petrichor earned critical acclaim.

Karen Wimhurst is a clarinettist, composer and arranger who has worked with many top orchestras and ensembles. A long-term collaborator with Paul, their previous groups, Pagoda Project and The Maniacs were praised for their inventiveness.

Anna Tam is a classically trained musician who is a former member of the extremely popular Mediaeval Baebes. She plays a range of unusual instruments, including nyckelharpa, hurdy gurdy, viola da gamba and cello.

Shortlisted as Fatea Magazine 2021 Folk Instrumentalist of the Year, she is now concentrating on folk music and her debut album Anchoress gained fivestar reviews. Her second album Hatching Hares was released at the start of this tour.

Coracle (coracleband.co.uk)

From Pub to Pulpit Tour

Our Sponsors

Our Supporters

From Pub to Pulpit Tour Dates

3 June 2022 Down Ampney, Gloucestershire

25 June 2022 St Michaels and All Angels, Ledbury

9 August 2022 Broadstairs Folk Week

30 September 2022 Derby Cathedral

1 October 2022 St Nicholas Cathedral Newcastle

5 October 2022 Exeter Cathedral

8 October 2022 Lincoln Cathedral

12 October 2022 Wells Cathedral

20 October 2022 Carlisle Cathedral

26 November 2022 Hull Minster

11 February 2023 Coventry Cathedral

4 March 2023

20 May 2023

8 June 2023

Chelmsford Cathedral

Brecon Cathedral

Huddersfield Town Hall

9 June 2023 Leeds (workshops)

10 June 2023 Blackburn St Silas Church

17 June 2023 St Thomas, Kendal,

1 July 2023 All Saints Hove

27 July 2023

6 August 2023

Gloucester Cathedral Three Choirs Festival

Sidmouth Folk Week

Date tbc Croydon Minister (London Borough of Culture 2023)

SPECIAL THANKS TO:

Frontier Agriculture is delighted to support the RVW150 From Pub to Pulpit tour by sponsoring the sound system. The concerts bring together many musical genres in a popular and accessible way - and what’s better than singing to aid mental health and general wellbeing!

Frontier Agriculture is the UK's leading crop production and grain marketing business. Recognised for its close customer relationships with farmers and grain consumers and its successful management of the arable supply chain, it has 46 sites across the UK and employs more than 1100.

Frontier operates across all aspects of arable crop production and grain marketing and provides specialist agronomy advice. Its grain marketing business has well-established contracts with the UK's key bread and beer producers giving farmers unrivalled access to commercial markets.

The marvellous menthol confectioners, Jakemans has been creating confectionery for over 114 years in a range of mouth-watering flavours.

Jakemans soothing menthol lozenges are made from only the finest ingredients, with no artificial colours or flavours and are suitable for vegetarians. Each lozenge is bursting with menthol, an ingredient that releases natural vapours to soothe the symptoms of a sore throat and keeps airways clear.

The Jakemans range includes Throat & Chest, Honey & Lemon and Cherry in 41g stick pack format and the following flavours in traditional 100g bags; Throat & Chest, Honey & Lemon, Cherry, Peppermint, Menthol & Eucalyptus, Blackcurrant and Blueberry.

www.jakemans.com

From Pub to Pulpit Songs and Hymns

It is also possible that Vaughan Williams’ titling of tunes with the names of the villages and counties in which they were collected is the strongest reference he could make to their origins, and that as far as the constraints of context allowed him, he was honouring both songs and singers in making sure the tunes were forever wedded to those villages.

The geographical naming of the tunes had another effect, closely tied to Vaughan Williams’ cultural nationalism. By showcasing the origins of the tunes – rather than their original popular names – he reinforced their Englishness. The collection of place names built a musical topography of rural England, mapping English cultural life through the creation of a ‘nation of music’ in which villages were represented by tunes. “Lift Up a Living Nation”: Community and Nation, Socialism and Religion in The English Hymnal, 1906. Katie Palmer Heathman Cultural and Social History. The Journal of the Social History Society Volume 14, 2017Issue 2.

The transforming folk songs in this concert are:

The grisly The Murder of Maria Marten was collected from a Mr Booker in December 1904 in Kingsfold in Sussex. The tune is a variation of another much collected song, Dives and Lazarus, which Vaughan Williams also collected and used many times subsequently. It becomes I Heard the Voice of Jesus Say to a version of the tune Vaughan Williams called Kingsfold.

The tragic A Brisk Young Farmer, was collected in April 1904 from Mr Denny at Billericay Workhouse in Essex. It becomes Tis Winter Now the Fallen Snow to a tune called Danby.

The cautionary The Ploughboy’s Dream was collected in December 1903 from Henry Garman of Sheeps Green, a village near Forest Green in Surrey, who had previously sung it to other collectors. It becomes O Little Town of Bethlehem, to a tune Vaughan Williams called Forest Green. Some researchers suggest that he may have confused his villages in naming it.

The rousing call-to-arms Our Captain Calls, was collected in May 1904 from Mrs Harriet Verrall from Monks Gate in Sussex. Slightly adapted, it becomes He Who Would Valiant Be, to the tune Monks Gate.

The Murder of Maria Marten

Come all you thoughtless young men

A warning take by me.

And think of my unhappy fate.

To be hanged upon a tree. My name is William Corder

The truth I do declare

I courted Maria Marten

Both beautiful and fair.

I promised that I'd marry her

All on one certain day

Instead of that I was resolved

To take her life away.

I went unto her father’s house

The eighteenth day of May

Saying, “Come, my dearest Maria

Let us fix our wedding day.”

“If you meet me at the Red Barn

As sure as I have life

I'll take you down to Ipswich Town

And there make you my wife.”

I straight went home and fetched my gun

My pickaxe and my spade

I went unto the red barn

And there I dug a grave.

With heart so light I thought no harm

To meet me, I did go

He murdered me all in the barn, And he laid my body low. Now all things being silent

I could not take no rest

But appeared at my mother's house

That had suckled me at her breast.

Her mother dreamed a dreadful dream

She dreamed it three nights oe’r

She dreamed her dearest Maria

Lay beneath the red barn floor. They sent her father to the barn

And in the ground he thrust. And there he saw his daughter dear

All a-mingling with the dust.

Adieu adieu, remember me

My glass is almost run

For early in the morning

I am sentenced to be hung. So all young men that do pass by

With pity look on me

For the murder of Maria Martin I was hanged up on a tree.

Kingsfold: I Heard the Voice of Jesus Say

I heard the voice of Jesus say, “Come unto Me and rest; Lay down, thou weary one, lay down Thy head upon My breast.”

I came to Jesus as I was, Weary and worn and sad; I found in Him a resting place, And He has made me glad.

I heard the voice of Jesus say, “Behold, I freely give The living water; thirsty one, Stoop down, and drink, and live.” I came to Jesus, and I drank Of that life-giving stream; My thirst was quenched, my soul revived, And now I live in Him.

I heard the voice of Jesus say, “I am this dark world’s Light; Look unto Me, thy morn shall rise, And all thy day be bright.”

I looked to Jesus, and I found In Him my Star, my Sun; And in that light of life I’ll walk, Till trav’ling days are done.

I heard the voice of Jesus say, “My Father’s house above Has many mansions; I’ve a place Prepared for you in love.”

I trust in Jesus in that house, According to His word, Redeemed by grace, my soul shall live Forever with the Lord.

I am a ploughboy stout and strong as ever drove a team, Now three years since a-sleep in bed I had a dreadful dream Now since the dream has done me good I put it down in rhyme that other boys might read and sing whenever they have time.

I dreamt I drove my Master’s team with Dobbin, Bald and Star Before a stiff and handy plough as all my master’s are. I found the ground was baked so hard, ‘twas more like bricks than clay; I could not cut my furrow through nor would my beasts obey.

Now Dobbin lay down, both Bald and Star they kicked and snorted sore the more I lashed and cursed and swore, the less my cattle stir Then lo, above me are bright youth did seem to hang in air, With purple wings and golden hands as angels painted are.

‘Give over cruel wretch’ he cried, ‘nor thus thy beasts abuse. Think, if the ground was not as hard, would they their work refuse? Besides, I heard thee curse and swear, as if dumb beasts could know What all thy oaths and curses meant, or better for them go .

‘But though they know not there is one who knows thy sins full well, And what shall be thine after doom another shall thee tell.’ No more he said, but, light as air, he vanished from my sight; and with him went the sun’s bright beams and all was dark as night.

The thunder roared from under ground, the earth did seem to gape; Blue flames broke forth and in those flames’ a dire gigantic shape.

‘Soon shall I call the mine’, it cried, with voice so drear and deep

That quivering like an aspen leaf, I wakened from my sleep.

Forest Green: O Little Town of Bethlehem

O little town of Bethlehem

How still we see thee lie

Above thy deep and dreamless sleep

The silent stars go by Yet in thy dark streets shineth

The everlasting light

The hopes and fears of all the years Are met in thee tonight.

For Christ is born of Mary And gathered all above

While mortals sleep, the angels keep Their watch of wondering love

O morning stars together

Proclaim the holy birth

And praises sing to God the King And peace to men on Earth.

How silently, how silently

The wondrous Gift is given

So God imparts to human hearts

The blessings of His Heaven

No ear may hear His coming

But in this world of sin

Where meek souls will receive Him still

The dear Christ enters in.

O holy Child of Bethlehem

Descend to us, we pray

Cast out our sin and enter in Be born to us today

We hear the Christmas angels

The great glad tidings tell

O come to us, abide with us

Our Lord Emmanuel.

O come to us, abide with us

Our Lord Emmanuel.

Brisk Young Farmer

A brisk young farmer courted me And he stole away my liberty And from me took my free good will And I must confess I love him still.

There is a flower, I’ve heard him say Will give me ease both night and day I wish this flower I could but find That would give ease to my troubled mind.

There is an ale house in yon town Where my love goes and sits him down And takes a strange girl on his knee; Now, don’t you think that’s a grief to me?

A grief! A grief! I’ll tell you why, Because she’s got more gold than I; Her gold will waste, her beauty will blush She’ll become a poor girl like me at last.

I wish this baby it was born –Sitting on its daddie’s knee And me myself laid in my grave With green grass growing all over me.

This young man came all in last night, Looking for his hearts’ delight; He run up stairs and a door he broke, And found his love hanging on a rope.

He took his knife and cut her down, And in her bosom this note was found; If I am to be this young man’s wife, All in this room I’ll end my life.

Dig me a grave both long and deep, A marble stone at head and feet; And up above two turtle doves, Let all the world know I died for love.

Danby: ‘Tis Winter Now the Fallen Snow

'Tis winter now; the fallen snow Has left the heav'ns all coldly clear; Through leafless boughs the sharp winds blow, And all the earth lies dead and drear.

And yet God's love is not withdrawn; His life within the keen air breathes; His beauty paints the crimson dawn, And clothes the boughs with glittering wreaths.

And though abroad the sharp winds blow, And skies are chill, and frosts are keen, Home closer draws her circle now, And warmer glows her light within.

O God! Who giv'st the winter's cold

As well as summer's joyous rays, Us warmly in Thy love enfold, And keep us through life's wintry days.

Our Captain Calls

Our captain calls all hands to sail tomorrow, Leaving my dear to mourn in grief and sorrow

‘Dry up those briny tears, and leave off weeping So happy we may be at our next meeting’.

‘How can you go abroad fighting those strangers, You’d better stay at home free from all dangers.

I’’ll hold you in my arms, my dearest jewel, So stay at home with me, love, and don’t be cruel.

‘When I had gold in store I found you liked me; And now I’m lone and poor you seem to slight me. You courted me awhile just to deceive me; Now my poor heart you have won, you’re going to leave me.

Down on the ground she fell like one a-dying, Wringing her hands abroad, weeping and sighing:

‘There is no b’lief in man, not your own brother, So girls if you must love, love one another’.

I said: ‘Goodbye, my dear father and mother. I am your only child, I have no brother, But don’t you weep for me, for I am going To everlasting joy and fountains flowing.’

He who would valiant be 'Gainst all disaster, Let him in constancy Follow the Master. There's no discouragement Shall make him once relent His first avowed intent To be a pilgrim.

Who so beset him round With dismal stories, Do but themselves confoundHis strength the more is. No foes shall stay his might, Though he with giants fight: He will make good his right To be a pilgrim.

Since, Lord, thou dost defend Us with thy Spirit, We know we at the end Shall life inherit. Then fancies flee away! I'll fear not what men say, I'll labour night and day To be a pilgrim.

Newcastle Cathedral

Hull Minster

Carlisle Cathedral

The 20th century English composer Gerald Finzi is renowned for the lyricism of his songs (especially settings of poems by Thomas Hardy) and instrumental writing. A lover of reading, collector of books and conservationist – whether of 18th century music or apples – Finzi joined with his wife, the artist and poet Joyce (Joy) Black, in developing amateur music making, using their home to support the creativity of others.

Founded in 1969, the Gerald Finzi Trust (registered no. 313017) seeks to promote the music of Gerald Finzi and to further his ideals.

He first encountered Vaughan Williams when he wrote to him to for permission to use a folk tune which VW had collected in Herefordshire.

From this seed, friendship developed steadily. In 1925, Vaughan Williams obtained a teaching post for him at the Royal College of Music and by 1927 Gerald appears to have been coming to see VW regularly for advice about his compositions.

When Gerald and Joy were married in 1933, the Vaughan Williams were the sole witnesses at the ceremony in Dorking Registry Office. www.geraldfinzi.org

The Royal School of Church Music (RSCM) enables the flourishing of church music. We celebrate our rich heritage and 95 years of history; we encourage and resource churches, musicians, and church communities of all kinds, ensuring that they have access to relevant support, training and education resources to sustain them in the present; and we work to inspire the church musicians of the future.

Across the UK, Ireland and worldwide, our network of thousands of affiliated churches, schools and other institutions, together with thousands more individual members, supporters and volunteers help us achieve our vision of Bringing people closer to God through music. www.rscm.org.uk

The English Folk Dance and Song Society champions the folk arts at the heart of England’s rich and diverse cultural landscape. The organisation delivers an education programme across England through in-person activities together with a comprehensive online Resource Bank and other development initiatives. It expands access to the folk arts –encouraging participation, celebrating diversity and promoting equity.

It runs the acclaimed National Youth Folk Ensemble and supports professional folk artists through a flourishing artists development programme.

It manages England’s national folk music library and archive: the Vaughan Williams Memorial Library and its extensive and fascinating online resources are free to use.

The national headquarters is Cecil Sharp House, London. www.efdss.org

We have been making cheese at Hunts Court in Gloucestershire for nearly 50 years. Charles started by hand-milking his three Old Gloucester cows! The first cheese he made was a Double Gloucester from their milk.

This momentous (for us) event was documented on a BBC Television programme called a Taste of Britain which went out in 1973. PS This first cheese was awful! The lost Single Gloucester was revived on our farm in 1978. Stinking Bishop was developed and launched in 1994. We now produce seven different cheeses, including a sheep's milk cheese. That's surely enough for one farm.

Stinking Bishop is a Full Fat pasteurised cows’ milk soft cheese made with vegetarian rennet. The rind is washed in perry which gives it its characteristic flavour, brown/pink rind and pungent smell. The cheese is supported with a beechwood lath and is wrapped in waxed paper. www.charlesmartell.com

In 1858, two clergymen were in conversation during a journey on the old Great Western Railway and concluded that the Church of England needed a corporate hymn book, moulded from the various small high church collections available. One of them, Francis Murray, enlisted the help of Sir Henry Baker and, before long, in 1861 the first edition of Hymns Ancient & Modern was published. More than 160 years since and after worldwide sales of nearly 200 million copies, the works of Baker and Monk live on in the latest edition of A&M (Hymns & Songs for Refreshing Worship, published 2013).

Nowadays, the modern organisation is a charitable trust donating funds to projects working especially in the religious music and liturgical spheres. Our work now encompasses church newspaper and book publishing, bookselling, distribution, events and digital with 10 apps and over 200 000 unique web visitors per month. www.hymnsam.co.uk

The Ralph Vaughan Williams Society was formed in 1994 as a registered charity and his widow, Ursula Vaughan Williams was its first President.

With more than 1,000 members in over 25 countries, we hope to welcome you to our Society dedicated to learning about the life and music of RVW.

From the beginning, we have sought to educate and inform, including through our Society Journal, copies of which are in major libraries.

We have established a permanent RVW exhibition in the church at Down Ampney, the village where he was born. We have also influenced and supported many performances and recordings and continue to encourage live performances of RVW’s music, especially of rarely-heard works.

In 2007 we formed our own recording subsidiary, Albion Records, which has become a significant part of the Society’s work, with more than twenty releases. www.rvwsociety.com

From Pub to Pulpit Production Team

Project coordinator and director

John Palmer

Sound

Ed Bersey and Sarah Hutchinson

Project Support

Lorraine Stallard

Fundraising

Jane Rothery

Financial Controllers

Josephine Swinhoe and Lorraine Stallard

Hymn word and tune verification

Tim Ruffer of the Royal School of Church Music

Coracle CD

Paul Hutchinson CD

Anna Tam CDs