Flos Campi

Flos Campi: Suite for Solo Viola, Small Chorus, and Small Orchestra is a composition by the English composer Ralph Vaughan Williams, completed in 1925. Its title is Latin for "flower of the field." It is neither a concerto nor a choral piece, although it prominently features the viola and a wordless choir. The piece is divided into six movements, played without pause, each headed by a verse from the Song of Solomon:
 * 1) Sicut Lilium inter spinas (Lento)
 * 2) Jam enim hiems transiit (Andante con moto - quarter note = 104)
 * 3) Quaesivi quem diligit anima mea (Lento - Allegro moderato)
 * 4) En lectulum Salomonis (Moderato alla marcia - quarter note = 90)
 * 5) Revertere, revertere Sulamitis! (Andante quasi lento)
 * 6) Pone me ut signaculum (Moderato tranquillo)

As in his Sinfonia antartica, the quotations are intended to be read by the listener and are not part of the performance. The quotations are:

In addition to the solo viola, the score calls for flute (doubling piccolo), oboe, clarinet, bassoon, horn, trumpet, percussion (bass drum, tabor, cymbals, and triangle), harp, celesta, and strings (not to number more than: 6 first violins, 6 second violins, 4 violas, 4 cellos, and 2 double basses). The eight-part chorus should consist of 20 to 26 singers (six to eight each of sopranos and altos plus four or five each of tenors and basses). The work lasts approximately 20 minutes.

The opening bars of the piece, which consist of a duet between the solo viola and the oboe, are well known as a classic example of bitonality.

The first performance of Flos Campi, on 10 October 1925, was conducted by Sir Henry Wood, with the Queen's Hall Orchestra, violist Lionel Tertis (the dedicatee), and voices from the Royal College of Music. Initial reactions to the piece were mixed; Gustav Holst, a fellow composer and close friend of Vaughan Williams, said he "couldn't get hold of it," for which he was disappointed more with himself than with the work. Over time, however, it has become an accepted part of the musical canon even if infrequently performed.

In a program note for a 1927 performance, Vaughan Williams admitted that "The title Flos Campi was taken by some to connote an atmosphere of 'buttercups and daisies....'" In reality, the piece is unabashedly sensual and lushly orchestrated, which is quite appropriate considering its subject matter.