Rhosymedre was originally written by Vaughan Williams in 1920, but Arnold Foster orchestrated it and had his version published in 1938. Based on the melody by J.D. Edwards (1805 - 1885), this prelude is the most popular of the three in the prelude set and perhaps the most substantive. While the work is undoubtedly superior in its organ guise, it adapts well to the orchestra. Yet, the crucial Bachian linkages in the original fade somewhat in the warmer sonorities of the larger version.

That said, Foster manages to capture the serenity and celestial beauty of this organ prelude with his string-orchestra scoring and even points up a kinship between this and the composer's Fantasia on a Theme by Thomas Tallis (1910; rev, 1919). Both Rhosymedre and the third prelude in the set, Hyfrydol (also orchestrated by Foster), recall the mood and even the writing in Bach's Jesu, Joy of Man's Desiring and Sheep May Safely Graze. Nevertheless, the music divulges that post-Romantic sound associated with the style of Vaughan Williams and cannot be called imitative. This is an attractive prelude then, both in its orchestral and keyboard guises.

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Rhosymedre was originally written by Vaughan Williams in 1920, but Arnold Foster orchestrated it and had his version published in 1938. Based on the melody by J.D. Edwards (1805 - 1885), this prelude is the most popular of the three in the prelude set and perhaps the most substantive. While the work is undoubtedly superior in its organ guise, it adapts well to the orchestra. Yet, the crucial Bachian linkages in the original fade somewhat in the warmer sonorities of the larger version.

That said, Foster manages to capture the serenity and celestial beauty of this organ prelude with his string-orchestra scoring and even points up a kinship between this and the composer's Fantasia on a Theme by Thomas Tallis (1910; rev, 1919). Both Rhosymedre and the third prelude in the set, Hyfrydol (also orchestrated by Foster), recall the mood and even the writing in Bach's Jesu, Joy of Man's Desiring and Sheep May Safely Graze. Nevertheless, the music divulges that post-Romantic sound associated with the style of Vaughan Williams and cannot be called imitative. This is an attractive prelude then, both in its orchestral and keyboard guises.

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The name, R.H. Prichard, in the headnote above is given to acknowledge that it was his melody used in the hymn, Hyfrydol, that Vaughan Williams borrowed to fashion this organ prelude. Rowland H. Prichard (1811 - 1887) was not a well-known composer but did manage to write at least one popular hymn tune, still used in modern Christian worship in the hymns Alleluia! Sing to Jesus! and Praise to God, Whose Holy Spirit. Vaughan Williams would use this melody again in his Prelude On Three Welsh Hymn Tunes, for brass band (1955).

In this organ prelude the composer presents the theme in a lush Romantic manner, the whole sounding celestial and serene. Yet, one notices a Bachian manner here, strains of Jesu, Joy of Man's Desiring and Sheep May Safely Graze coming to mind. The connection to Bach is ultimately not one of imitation, however, as Vaughan Williams largely remains faithful to his own style. Marked Moderato maestoso, the prelude lasts about two minutes in performance. In sum, this, the second most popular of the three in the set (behind Rhosymedre), is a rewarding composition that has rightly achieved a fair measure of popularity. It was arranged for orchestra in 1951 by Arnold Foster and has received significant attention in that rendition, as well.

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Vaughan Williams did not have a large output for solo organ, and he is not known for his keyboard works in general. But he was certainly familiar with the organ from his many choral works (oratorios, motets, etc.) where he used it in a largely accompanimental role. These preludes belie his keyboard reputation: he demonstrates here his mastery of the organ, producing three worthwhile compositions that make the listener regret that he did not compose more for the instrument.

The first prelude, Bryn Calfaria, marked Maestoso, uses a melody by W. Owen (1814 - 1893). Vaughan Williams imparts a slightly flowery manner to the music in this piece, deftly shifting from the somber to the ornate, with brilliant runs up and down the keyboard. By contrast the second prelude, Rhosymedre, the most popular of the three, is a reserved work of great serenity and beauty. Marked Andantino, it is based upon the tune by J.D. Edwards (1805 - 1885).

The last of the three preludes, Hyfrydol (Moderato maestoso), probably the least complex in its expressive manner, has both a soothing and reverential tone. Its melody, by R.H. Prichard (1811 - 1887), is the best-known of the three and Vaughan Williams' treatment of it is imaginative and colorful. While the music in all three preludes certainly has a style of its own, uniquely recognizable as the work of Vaughan Williams, it also has strains of Bach's preludes. Rhosymedre, for example, recalls the serene mood of Bach's Jesu, Joy of Man's Desiring. Other Bach works come to mind in listening to these preludes, including Sheep May Safely Graze. All three were transcribed for piano in 1939 by Leslie Russell, and the last two were given popular arrangements for orchestra by Arnold Foster, in 1938 and 1951, respectively.

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