Concert audiences have an enduring affection for the music of Ralph Vaughan Williamsa composer of dance, symphony, opera, song, hymnody, and film musicand serious scholarship on his music is currently enjoying a revival. 2008 marks the 50th anniversary of Vaughan Williams passing (and 2007 his 135th birthday); his worksparticularly his orchestral musicwill likely find themselves programmed widely for this season, and groups like the RVW Society which regularly hold symposiums may have events planned in honor of the composer. OUP-UK will be publishing a volume of Vaughan Williams Letters, edited by Hugh Cobbe, likely to pub in 2008. We should consider promoting the two volumes together. This collection brings together a host of lively writingssome for the first time, and many for the first time since their initial publicationby one of the most articulate, beloved and engaging English composers. Making available essays, articles, broadcasts, and speech transcripts from 1901-1958, Vaughan Williams on Music exemplifies the multi-faceted nature of his contributions: active supporter of amateur music and English music, a leader in the folksong revival, educator, performer, and polemicist. Vaughan Williams was one of the cultural giants of his day, a figure of iconic stature whose influence stretched far beyond musical circles; his friendships with Bertrand Russell and G. M. Trevelyan, and his tireless work on behalf of a variety of organizations and causes, from Jewish refugees to the Third Programme, gave him a unique place in British national life. He also had a powerful influence in the United States, at a time when the special relationship was approaching its zenith. Through all these perspectives, the words are unmistakably those of a practicing composera young composer at the turn of the last century, trying to find his own musical voice amid widely diverse stylistic influences of the dominant and successful figures of Brahms, Strauss, and Tchaikovsky, and a mature composer in the mid-century, having found that glorious voice which continues to resound across the globe. The volume will be an important contribution to the literature not only on British music, but also on nineteenth- and twentieth-century British cultural and intellectual life as a whole, placing Vaughan Williamss political and aesthetic thought in a broader cultural perspective. It will be a welcome read as well for the general audience which loves the music of Vaughan Williams, that will be listening to and remembering the composer as this anniversary of his death approaches.