Dona nobis pacem (Vaughan Williams)

The work is in five continuous movements:

1. Agnus Dei, whose Latin text comes from the last movement of the same name in the Catholic Mass. The soprano introduces the theme, singing it over the orchestra and choir. The text translates as "Lamb of God, grant us peace."
2. Beat! Beat! Drums!, is based on the first Whitman poem. The text describes the drums and bugles of war bursting through doors and windows, disrupting the peaceful lives of church congregations, scholars, bridal couples, and other civilians.
3. Reconciliation, uses the entire second Whitman poem. The baritone soloist introduces the first half of the poem, which the choir echoes and varies. The baritone then continues with the rest of the poem, followed by the choir presenting a new variation of the first half. At the end, the soprano repeats a variation of the Dona nobis pacem of the first movement, hauntingly soaring above the final lines of the chorus.

   Word over all, beautiful as the sky,

   Beautiful that war and all its deeds of carnage must in time be utterly lost,

   That the hands of the sisters Death and Night incessantly softly wash again

   and ever again, this soiled world;

   For my enemy is dead, a man divine as myself is dead,

   I look where he lies white-faced and still in the coffin - I draw near,

   Bend down and touch lightly with my lips the white face in the coffin.

4. Dirge for Two Veterans, uses most of the Whitman poem. The movement was originally composed in 1914 and later incorporated into Dona nobis pacem. Here the drums return, but now in a dirge for the father and son, "dropped together", being marched in a "sad procession" to their "new-made double grave", overlooked by the "immense and silent moon". Still, for all the solemnity, the notes of hope in Whitman's poem are set to a swelling choral paean, as if to reassure us that we have indeed learned from the carnage of World War I.
5. The final movement, which bears no title in the original score, is often divided into two parts in recordings:
   • It starts with the baritone soloist and a quote from the John Bright speech with which he tried to prevent the Crimean War ("The Angel of Death has been abroad throughout the land . . ."). It continues with sombre quotes from the Book of Jeremiah, with the soprano and choir intervening with the Dona nobis pacem plea.
   • The music become more optimistic during an orchestral interlude, as do the texts, starting with the baritone's "O man, greatly beloved, fear not!" A brief setting of the opening lines of the Gloria in English is followed by an a cappella coda, marked pianissimo, in which the soprano, supported by the choir, sings Dona nobis pacem.

• BBC Music MM340 (included with BBC Music Magazine, Vol. 20 no. 4, January 2012): BBC Symphony Orchestra and BBC Chorus, Ralph Vaughan Williams, Cond.; Renée Flynn, soprano; Roy Henderson, baritone. Recorded before an audience in the Concert Hall, BBC Broadcasting House, November 13, 1936.[2]
• EMI CDM 7 69820 2: London Philharmonic Orchestra, Sir Adrian Boult, Cond.; London Philharmonic Choir; Sheila Armstrong, soprano; John Carol Case, baritone.
• Philips, SGL 5876 (original LP): Utah Symphony Orchestra; Maurice Abravanel, conductor[3]
• Chandos CHAN 8590: Edith Wiens, Brian Raynor Cook; London Philharmonic Orchestra; London Philharmonic Choir; Bryden Thomson, conductor
• Naxos Catalogue No. 8.572424: Bach Choir, Bournemouth Symphony Orchestra, cond. David Hill (choral director); Christina Pier, Matthew Brook. Released Mar 29, 2010. c/w Sancta Civitas
• Telarc 80479: Atlanta Symphony Orchestra and Chorus, cond. Robert Shaw; Carmen Pelton, soprano; Nathan Gunn, baritone. Grammy winner for Best Classical Album and Best Choral Performance.