The Lark Ascending

A type of Lark that has ascended up a tree.

Today is Remembrance Day, or Armistice Day – the day the guns fell silent in World War 1. And I thought it fitting to look at this incredible piece of music by English composer Ralph Vaughan Williams – The Lark Ascending.

skřivan růžkatý (Eremophila bilopha, Temminck’s Lark), Jordánsko

The Lark Ascending was first composed in 1914 for violin and piano. However, due to the outbreak of the war, it was first performed in 1920. During this time, at the age of 42, Vaughan Williams volunteered for military service. He joined the Royal Army Medical Corps as a private, where he drove ambulance wagons in France and Greece. Commissioned as a lieutenant in the Royal Artillery in 1917, Vaughan Williams saw action in France from March 1918. Vaughan Williams brought home an emotional toll from the war. He lost many friends and comrades, including composer George Butterworth. Butterworth was shot by a sniper at the Battle of the Somme, buried on the battlefield, and his remains never recovered.

The Lark Ascending reworked

Vaughan Williams stopped writing music during the war years, and after the war took some time before he felt he was ready to write new works. It was in this time that he reworked some of his previously composed works, and the reworking of this piece for violin and orchestra is the result of this time. First performed in 1921, it is this version that is the more famous version.

First Performances

Marie Hall gave the first performance of The Lark Ascending. Vaughan Williams had written and dedicated the piece to Hall. She gave the premiere of the violin and piano version in December 1920, and again with the orchestral version on 14 June 1921 at Queen’s Hall, London with the British Symphony Orchestra. An early performance Holst’s The Planets dominated the program. Holst started writing the Planets in 1914, and its completion seemed to be affected by the war. Marilyn Cooley writing of the first movement, Mars, said “there’s a truly visceral sense of horror; what must have seemed like the end of the world to those who experienced The Great War.” At the time a music critic for The Times newspaper wrote that this performance

“stood apart from the rest as the only work in the programme which showed serene disregard of the fashions of to-day or of yesterday. It dreams its way along in “many links without a break, and though it never rises to the energy of the lines “He is the dance of children, thanks Of sowers, shout for primrose banks,” the music is that of the clean countryside, not of the sophisticated concert-room.”

Music Critic in The Times, 15 June 1921 (likely H.C. Colles).

The Planets contrasts the spectacle and the visceral horror with quiet introspection. In contrast, The Lark Ascending is tranquil, and promotes the hope of peace that was longed for after the war.

Sheet Music Editions: Oxford (preface by Michael Kennedy), Oxford Full Score, Oxford 1926 edition, Eulenburg Study Score.

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