composed for a stage version of the book. For the Hymnal, he adapted the tune as a setting of Joseph Addison's hymn "When rising from the bed of death". Fantasia The term "fantasia", according to Frank Howes in his study of Vaughan Williams's works, referred to the 16th-century forerunner of the fugue "in that a thread of theme was enunciated and taken up by other parts, then dropped in favour of another akin to it which was similarly treated". Vaughan Williams's fantasia draws on but does not strictly follow this precept, containing sections in which the material is interrelated, although with little wholly imitative writing, and antiphony in preference to contrapuntal echoing of themes. The Fantasia is scored for double string orchestra with string quartet, employing antiphony between the three contributory ensembles. Orchestra I is the main body of strings; Orchestra II is smaller. The published score does not stipulate the number of players in Orchestra I; Orchestra II consists of two first violins, two seconds, two violas, two cellos and one double bass The composer's metronome marking indicates a playing time of 11½ minutes, but in recorded performances the duration has varied between 12m 40s (Dmitri Mitropoulos, 1958) and 18m 12s (Leonard Bernstein, 1976), with a more typical time of between 15 and 16½ minutes. The piece begins in B-flat major in time, with all three groups playing together, ppp molto sostenuto. Kennedy describes the opening as "the theme … first hinted at on pizzicato lower strings in a hauntingly poetic introduction before we hear its first full statement in Tallis's four-part harmonisation". From the ninth bar the two orchestras together continue into a section, marked largamente. Howes comments that "a phrase of swaying chords" after the initial statement of the theme "acts as a kind of recurrent refrain" throughout the main body of the piece. After eighteen bars the time signature changes to and the music rises to an appassionato climax before a section after which the two orchestras divide. The music switches to C major, with the time signature (but not the pulse of the music) changing rapidly, and solo viola, first heard above the orchestras and then solo in a più animato passage. The other three members of the quartet join, followed by the two orchestras, now playing different parts from each other, also piu animato. The music moves poco a poco animando to a crescendo