I consider Vaughan Williams to be the greatest symphonist of the 20th century, Sibelius is a close second. The 1st, Sea Symphony is very much in the late romantic style and doesn't appeal to me. the 2nd, London Symphony is moving cautiously into the 20th century with sweeping romantic gestures and is quite lovely. It is a sonic panorama of turn of the century London, one can hear hackney cabs and squeeze box musicians busking on the bustling streets. The 3rd, Pastoral Symphony is a more somber modal and mellifluous work that, in part, is his benediction to those friends and colleagues he lost in WWI. It is his emphatic statement as a master of the symphonic form and unique melodic organization. As Michael Kennedy put it, "There is much ingenious use of rhythm to bind these elements..." (melodies)"...together, and marvelous diatonic counterpoint which has proved to be inimitable, though many have tried to imitate it." #4 is a towering 20th century edifice. It's furious rhythm and tonality is breathtaking. The Scherzo is a swirling dynamo that leads to an even more ferocious finale. His quotes about it are legendary, such as "I don't know whether I like it, but it's what I meant." The 5th symphony is an epiphany. From the first measures it breathes a serene peace like no other musical expression. This work is strongly related to his opera "Pilgrim's Progess", an egregiously neglected theatrical masterpiece. The last movement brings us back to the serenity of the opening statement by the horn section and builds to a glorious vision of celestial tranquility. Where the 4th is a symphonic rampage the 5th is an embrocation that reaches to the very soul. The only other work that is nearly as deeply moving is his Fantasia on a Theme of Thomas Tallis. From here Vaughan Williams continues delving and experimenting with the symphonic form like no other composer save for Sibelius. They both chose to express their musical intentions with a tonal palette, albeit stretched to its limits. The 6th encompasses grand vistas, mysterious and oracular orchestral utterances by separate instrumental families, demonic dances which are shadows of some of his music for Job and a final movement that has been mislabeled as a vision of a nuclear wasteland when in reality it was inspired by the "...rounded by a little sleep." quote from Shakespeare's Tempest. 7 is a wondrous and tragic musical rendering of Capt. Robert Scott's doomed Antarctic expedition. It utilizes music written for the 1948 film "Scott of the Antarctic. It is an immersive experience and never fails to chill one to the bone and immobilize the listener into stunned awe at the gargantuan and towering mountains of solid, sparkling menace. 8 and 9 are delightful and show Vaughan Williams indefatigable experimentation were not attenuated by his advancing age but they don't reach the inspired genius of symphonies 2 through 7. They would be splendid works perhaps even masterpieces by a lesser composer.