The Lark Ascending : Work information
- Ralph Vaughan Williams ( Music, Images,)
- Performed by
- Jonathan Carney (Violin), Royal Philharmonic Orchestra, Christopher Seaman (Conductor)
- Work name
- The Lark Ascending
- Work number
- 1914-01-01 02:00:00
- Royal Philharmonic Orchestra
- Alan Peters
- Dick Lewzey
- Recording date
Ralph Vaughan Williams
Ralph (pronounced “Raif”) Vaughan Williams was born in Gloucestershire in 1872, descended from such distinguished figures as Charles Darwin and Josiah Wedgwood III. Before he went to the Royal College of Music in 1890 he had learned the piano, violin, viola, organ, figured bass and harmony. After leaving the RCM he went to Trinity College, Cambridge and then back to the RCM for a further year. He was taught composition by Parry, Wood and Stanford . He later studied with Max Bruch in Berlin and Maurice Ravel in Paris. He felt drawn irresistibly to English folksongs, a passion he shared with his friend Gustav Holst. By 1910 he had written the Fantasia on a theme by Thomas Tallis and was an established writer, lecturer, music editor and folksong collector, as well as his composing.
After the First World War, having served in Salonika and in France, VW began to teach at the RCM, as well as conducting numerous societies including the Bach Choir and the Handel Society. He revised The Lark Ascending and A London Symphony and continued to compose. In 1922 a new friend, Adrian Boult, conducted the premiere of A Pastoral Symphony (No. 3), and his music was being performed in Salzburg, Venice, Prague, Geneva and London. From the 1920’s, VW specialised as a composer-conductor, particularly with works such as the London Symphony and Symphony No. 4 (1931-4). He was awarded many prizes, including honorary doctorates, the Gold Medal of the Royal Philharmonic Society (1930), the Collard Life Fellowship (1934), the OM (1935), and the Albert Medal of the Royal Society of Arts (1955).
In 1939 Vaughan Williams objected to the plight of German refugees, and as a result his music was banned in Germany. He worked during the war for the benefit of interned musicians and helped other bodies which promoted music. His 6th Symphony was hailed as a ‘War Symphony’, although VW denied that it had been composed as such. He felt that more and more he was being treated as a ‘grand old man’, and objected to the idea by writing facetious programme notes. In 1951 his wife Adeline died at the age of 80, and married Ursula Wood 2 years later, moving to London. Although he was quite deaf, he enjoyed London and travelled abroad, lecturing at Cornell University in the USA, among others. His film music enjoyed great success, and he continued to be outspoken on subjects about which he felt strongly. Among these were the BBC’s Third Programme and the new organ for the Festival Hall. He also continued to write music, including three more symphonies. When he died in 1958, his ashes were interred in Westminster Abbey near the graves of Purcell and Stanford.
He rises and begins to round,
He drop the silver chain of sound,
of many links without a break,
In chirrup, whistle, slur and shake
For singing till his heaven fills,
'Tis love of earth that he instills,
And ever winging up and up,
Our valley is his golden cup,
And he the winde which overflows
To loft us with him as he goes,
Till lost on his aerial rings
In light, and then the fancy sings
(extract from The Lark Ascending by George Meredith)
Inspired by a George Meredith poem, Vaughan Williams wrote The Lark Ascending in 1914, revising it in 1920. The first performance took place on 14 June 1921 and was given by the British Symphony Orchestra under Adrian Boult; the violin soloist was the piece's dedicatee, Marie Hall.
This magical piece wonderfully expresses the interdependence of man and nature. The opening section is a wonderful evocation of the English landscape, the allegretto 2/4 section represents man. The link between the two is the violin (the Lark) which soars above all. Eventually the two musics coalesce, the Larks music loosening the shackles of man. The ending returns to the violin cadenza that began the work and the Lark is left to ascend beyond audibility.