key early member of the school, although his stylistic influcnes were extremely broad and drew as much if not more on Classical mythology, Eastern Philosophy and Sanskrit literature as native influcnes. Relatively few of his works are overtly pastoral in character, however there are notable examples such as the Symphonic Poem Egdon Heath and his single Symphony, subtitled The Cotswolds. Standing somewhat apart from these was Frederick Delius, who was also older. His works, while certainly drawing on folk and pastoral elements, were as likely to do so from American models (Delius worked briefly in the United States during the 1880s). However, works such as the mature tone poems Brigg Fair (1907), In a Summer Garden (1908, revised 1911), Summer Night on the River (1911), and On Hearing the First Cuckoo in Spring (1912) certainly exhibit an English pastoral character. George Butterworth, a victim of the first world war, composed only a very small amount of music in his short life; however most of what he did write explicitly evokes the English countryside, such as his settings of A.E. Housman's poetic cycle A Shropshire Lad. Later Generation Later composers associated with the style include E. J. Moeran, who had thoroughly digested the pastoral idiom of Vaughan Williams and whose music is perhaps the purest archetype of the English Pastoral Style; and Edmund Rubbra, who sought to evolve and further develop the style. Ruth Gipps was another composer of the second half of the twentieth century who's music bears many of the stylistic hallmarks, though by the time it was composed her music could be described as reactionary; and in fact this later generation of composers are somewhat outside the mainstream of English music in the middle of the twentieth century, as perhaps typfied by composers such as Benjamin Britten, William Walton and Michael Tippett, whose music may in fact be understood as a reaction against the pastoral and folk elements of the English pastoral school. The choral tradition as established by Howells was a significant impact on later composers however, however, and its influence can be heard in later composers who have written extensively for religious purposes such as John Tavener, Scottish composer James MacMillan and the Welshman William Mathias. References Bibliography Composition schools English music