This Lark Ascending: a Romance for Violin and Orchestra by Ralph (pronounced Rafe, like Ralph Fiennes) Vaughan Williams is an astounding achievement. Especially in Britain, this piece has become one of the most popular of this generation, often topping classical music charts (yes, there are classical music charts). Interestingly, The Lark Ascending is not a new piece. It’s been around since the 1920’s. These last ten years or so, it seems Vaughan Williams’ music is experiencing its own little Renaissance, and thank goodness for that because The Lark Ascending may very well be my favorite instrumental piece.
Ralph Vaughan Williams is a quintessential Contemporary composer. His music borrows from myriad avenues such as previous classical works, folk tunes, world music, literature, anything he can get his hands on. This smorgasbord approach to music composition is indicative of the Contemporary period of music. The Contemporary period is certainly marked by, and possibly caused by, the development of recording technology. With music of all shapes and sizes at their fingertips, composers were given a playground of sounds to explore. This particular piece covers pretty much every aspect that makes Contemporary music great.
So what makes this piece special? Is it beautiful? What makes it beautiful? What emotions are being portrayed? Does this piece paint a picture for you? What of?
Upon first listening to this music, you may think to yourself, this sounds kind of… Asian? To that I say, good catch. You’ve got a musical ear! That’s because a large portion of this piece is composed using a pentatonic scale. (There she goes using big music words again.) Pentatonic scales are made up of five notes. Have you ever noticed that if you plink out a tune on a piano using nothing but the black keys, it sounds like Asian music? (Just to be clear, when I say “Asian music”, I am only referring to those Asian countries that use pentatonic scales, like China and Japan. Countries like the Philippines and India have their own scales.) That is because there are five black keys for every seven white keys. The white keys make up our diatonic scale. The black keys make up the pentatonic scale. (For musician readers, I am, of course, referring to the C major scale.) Like the Debussy piece we covered, this different scale is very effectively used to make us forget about the tonic (home base).
As the violin, representing the lark, plays notes from the pentatonic scale, the orchestra accompanies, often using our own diatonic scale. This gives us the sense that the violin is flying above them. By never letting the violin touch home base, the lark never has to touch the ground. The orchestra, I think, begins as the wind, the breeze which the lark caches with ease. It effortlessly rides the calm current, relishing in the freedom of living above gravity, all the while singing joyfully.
The title The Lark Ascending: a Romance for Violin and Orchestra refers to the love the skylark holds for his home. In this case, the home is England. After the otherworldly, freeing melody of the skylark’s song, the orchestra changes the song at around 6:00, offering up a simple English folk tune. Now we have a setting. The lark is no longer just soaring on the wind but exploring the gorgeous English countryside. You see the sprawling valleys, and the lark soars effortlessly above them. The orchestra and violin begin to mimic each other, at one with another. The exhilaration of opening motif is now abandoned for a calmer, sweeter love song, which the countryside and the bird sing back and forth. This ends with the lark itself singing the English folk tune and the orchestra accompanying, and they join together in a solemn and meditative harmony. The flight begins again, this time calm and composed. At 13:00, the lark’s song begins again, sweet and supple, without the orchestra accompaniment. The lark’s song fills the void of empty quiet and slowly fades to silence.
Ralph Vaughan Williams included a portion of a poem by George Meredith with this piece.
He rises and begins to round,
He drops 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 instils,
And ever winging up and up,
Our valley is his golden cup
And he the wine which overflows
to lift us with him as he goes.
Till lost on his aerial rings
In light, and then the fancy sings.
So, did Vaughan Williams capture these words? Can we hear the sound of the lark’s delicate song, the chirrups and whistles? Do we see the valley, quietly enfolding the lark like a golden cup? I think so.
P.S.- While this version of the music is gorgeous in its own right, it’s not actually my favorite recording. David Nolan certainly plays a lovely melody, but I feel the tempo is a rushed and the dynamics too simple. I was, unfortunately, unable to find a Nigel Kennedy version of The Lark Ascending that was not poor quality or split into separate sections. For this, I apologize. If this piece moved you, I urge you to find Nigel Kennedy’s recording of The Lark Ascending. The subtlety and beauty is beyond compare.