In December, I noted the date on which Vaughan Williams’ “Lark” first ascended 100 years before. That was in the version for violin and piano. Today marks the centennial of the first time it was heard in its definitive form for violin and orchestra.
Though written in 1914, it wasn’t played publicly until December 15, 1920 – as stated, on violin and piano – in the unassuming venue of Shirehampton Public Hall in Bristol. Marie Hall was the esteemed violinist. The pianist was Geoffrey Mendham.
Hall – who made the first recording of the Elgar Violin Concerto, with the composer conducting – was also the soloist at the premiere of the orchestral version, which received greater notice, when it was unveiled at the Queen’s Hall, London, 100 YEARS AGO TODAY. The British Symphony Orchestra was conducted on that occasion by Adrian Boult.
The score, which bears an inscription from a poem of George Meredith, is the quintessence of the composer’s elegiac pastoralism. Thanks in part to frequent radio airplay, the music’s popularity increases annually, with “The Lark Ascending” consistently ranked among top listener favorites. At the same time, it has been embraced by more and more violinists.
Vaughan Williams described his leisurely, contemplative, frankly gorgeous violin rhapsody as “a romance.” It now soars as some of his best-known music.
Hark, hark, the Lark.
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.
Marie Hall plays the Elgar Violin Concerto, heavily-abridged, in 1916:
