Roy Douglas

In 1937 Roy Douglas first worked with Richard Addinsell, on the score for Dark Journey. They went on to work on such films as Victoria the Great (1937), The Lion Has Wings (1939), Gaslight (1940), Old Bill and Son (1941), Dangerous Moonlight (1941, which contained the famous Warsaw Concerto), Love on the Dole (1941), This England (1941), This Is Colour (1942), The Big Blockade (1942), The Day Will Dawn (aka The Avengers, 1942) and The New Lot (1943).

The extent of his involvement in Addinsell's scores is somewhat unclear. Some sources suggest Addinsell had good musical ideas but no skills in orchestration, and that Douglas's role was much more than a mere assistant or copyist. Some even suggest that the Warsaw Concerto was entirely the work of Roy Douglas.

Douglas also worked for a long period with William Walton. This collaboration started in November 1940, on the film score for Major Barbara. He later worked on Went the Day Well?, Next of Kin, The First of the Few (1942) and Henry V (1944). He generally orchestrated the shorter sections of Walton's film scores, based on Walton's jottings on 2 or 3 staves, and according to specific instructions or in Walton's style.[1] Walton was commissioned to write the score for The Bells Go Down, but declined and instead offered it to Roy Douglas to write his own music.[2]

Douglas and Ernest Irving helped Walton complete the ballet The Quest by his birthday, 29 March 1943, in time for its premiere performance only a week later.[3]

Walton arranged the Valse from Facade for piano, but all other piano arrangements from the score were made by others, including Douglas, Constant Lambert, Herbert Murrill and Mátyás Seiber.[4]

Douglas worked with Walton on the revised version of Belshazzar's Feast, but regretted Walton's decision to use less percussion than in the original.[5] The vocal score of Troilus and Cressida was largely the work of Roy Douglas, assisted by Franz Reizenstein in Act III.[6]

From 1947 until the elder composer's death in 1958, Roy Douglas worked as Ralph Vaughan Williams' musical assistant and amanuensis. His job included producing legible copies of RVW's scores, and in the process he identified numerous issues of orchestration needing resolution, deciphered RVW's often illegible handwriting, and made various suggestions for improvement, most of which were accepted.[7] They worked together on symphonies nos. 6–9, the opera The Pilgrim's Progress, the Tuba Concerto and other works. In this way he was able to produce manuscripts that were even more authoritative than the composer's originals, since all issues of notation had been discussed and clarified with the composer himself.[8] He has been described as "the most important surviving witness of Vaughan Williams's technique as a musician".[9]

Douglas was not generally exposed to RVW's new compositions until they had been substantially sketched in short score.[10] For example, he was first made aware that RVW had written his 6th Symphony in a letter from the composer dated 13 February 1947, but he was not given the score to work on until almost seven months later.[8]

In an apparent departure from the usual method, Douglas was asked to write out the score for the Tuba Concerto in 12 days to meet a deadline, but without the opportunity of checking with RVW's piano sketches. This later led to uncertainties of scoring, which had to be clarified.[11]

Sometimes Douglas's involvement with Vaughan Williams' works became more than that of a mere assistant. RVW considered the orchestral suite arranged in 1952 from his 1949 cantata Folk Songs of the Four Seasons to be so much the work of Roy Douglas, that he arranged for it to be published as Douglas's composition based on his own, rather than his own arrangement of an earlier work. This was first recorded in 2012.[7][12]

• Oboe quartet (1932)
• 2 quartets for flute, violin, viola and harp (1934/1938)
• Trio for flute, violin and viola (1935)
• Six Dance Caricatures for wind quintet (1939)
• Two Scottish Tunes for strings (1939)
• Elegy for strings (1945)
• Cantilena for strings (1957)
• Festivities and A Nowell Sequence for strings (1991)
• scores for 5 feature and 6 documentary films
• music for 32 radio programmes

• Frédéric Chopin: Les Sylphides (1936; written to improve on what he considered "very bad orchestrations" of Chopin's music)[14]
• Richard Addinsell: the "Warsaw Concerto" from the film Dangerous Moonlight (1941)
• Lord Berners: ballet Les Sirènes (1946); the autograph score is entirely in Douglas's hand[15]
• Georges Bizet: Jeux d'enfants (5 numbers; these, along with 2 numbers orchestrated by Hershy Kay, were added to the 5 numbers scored by Bizet himself as his Petite Suite, to round out the complete orchestral version of Jeux d'enfants)[16]
• Franz Liszt: Funérailles
• Ralph Vaughan Williams: Songs of Travel (the composer orchestrated only the first, third and eighth songs, Douglas doing the remaining six songs)