Ralph Vaughan Williams
by
Em Marshall-Luck
Ask any person in the
street what they know of Ralph Vaughan
Williams's music and the likelihood
is that their answer will include one
of Greensleeves, The Lark
Ascending or Fantasia on a Theme
of Thomas Tallis. If you happened
to have picked a churchgoer, they might
remember singing the odd RVW hymn-tune
(Down Ampney or Sine Nomine,
perhaps) once in a while. A slightly
more adventurous listener would be aware
of the Fifth Symphony and a film
enthusiast would probably think of him
as the man who wrote the score for Scott
of the Antarctic. Put all these
'average' views together and you get
the impression that our man wrote pretty
tunes that conjure up the English countryside
or remind you of singing evensong, with
an excursion into film music as an occasional
jeu d'esprit.
This view could hardly
be more misleading. Vaughan Williams
did enjoy cream buns (who doesn't?)
and was prone to wearing ill-fitting
tweed (someone once famously remarked
of him that "Vaughan Williams looks
like a farmer' on his way to judge the
shorthorns at an agricultural fair"!).
However the 'Classic FM' perception
of both the man and his music suggested
by the straw-poll I have just imagined
does him a grave disservice and does
not even hint at the great extent of
his importance to English music. Nor,
more importantly, does it make much
of a case for Vaughan Williams as one
of the greatest composers of the twentieth
century. Had his name been Rodolphus
Van Wilhelms, the general perception
of his work might be very different
but, at the moment, the quality and
nature of much of his music still tends
to be overlooked on account of his lazily-assumed
Englishness. All of which is both unfair
and rather odd, given that his rhythmic
chutzpah rivals much of Stravinsky and
Bartók, his ear for orchestral
colour that of Mahler and his dexterity
in manipulating tonality anything to
be found in Debussy and Ravel. To all
of this might be added that he was still
merrily experimenting away well into
his eighties (delighting in the Eighth
Symphony, for instance, in "all
the 'spiels and 'phones known to the
composer!"), the stage of life
by which most composers are usually
coming in for criticism along the lines
of 'tales twice told.'
If you were to play
one of the listeners imagined above
the beginning of either the Fourth
or the Sixth Symphony, they would
be astonished at what they heard. Here,
after all, are two works that were for
years thought to be, respectively, the
prophecy of war and the anticipation
of nuclear meltdown. The Fourth
can surely justify the title of the
'most astonishing inter-war symphony',
and what Vaughan Williams provides is
music of the utmost violence and anger,
commencing with snarling brass dissonances
and not letting go of the listener for
the entire duration of the piece. Although
there are moments of stillness and beauty
in the Fourth Symphony, they
never distract entirely from the maelstrom
surrounding them, and the final fortissimo
F minor chord punched out by the entire
orchestra will blow away any normal
listener or audience today ' and this
despite ears being familiar with the
Rite of Spring, Schoenberg and
Boulez! Vaughan Williams himself said
of this astonishing work that "I
don't know if I like it, but it's what
I meant," the full extent of which
can be heard on a famously brutal recording
of the work - its first - that the composer
conducted in 1937.
What exactly Vaughan
Williams 'meant' by his music is a question
- perhaps the question - crucial to
an understanding of how his music is
of universal, rather than exclusively
English, importance. The Fourth Symphony
is a case in point; VW himself never
intended the work (written around 1931-34)
to have any connotation with the onset
of war and he was moved to remark that
"it never seems to occur to anyone
that a man might simply want to write
a piece of music." In fact, recent
research has suggested that the F minor
symphony might actually have been VW's
own attempt to write a symphony along
similar structural lines to Beethoven's
Fifth. At any rate, the work
was not meant to be some prophecy of
doom, and VW was always greatly amused
to be held up as a sage or clairvoyant!
A better example still
of the way in which Vaughan Williams's
music has been prone to hijacking is
that of A Pastoral Symphony (No.
3). For years, it was assumed that this
was VW in 'misty morning in the lanes'
mood, with noble evocations of All Things
English, embodied by those eloquent-sounding
trumpet and horn solos in the second
movement. Suggest that the country depicted
might be France, however, and a very
different, much more powerful picture
emerges. A Pastoral Symphony,
as the composer later pointed out, has
got nothing to do with "lambkins
frisking about;" but it has everything
to do with the shell-torn landscape
of the Western Front, where VW was on
active service as an ambulance man.
Insofar as it does evoke a landscape,
there are plenty of half-tints and mists
about this portrayal (part of which
came to Vaughan Williams during the
sunrises he witnessed) but, rather than
being the kind of scene that Constable
might have painted, what VW gives us
is a musical version of Corot. Ultimately,
as Michael Kennedy points out in his
seminal book The Works of Ralph Vaughan
Williams (OUP), this is his War
Requiem and, as such, has a far more
significant message than was often thought.
Vaughan Williams's
most famous symphony, the Fifth,
demonstrates another way in which his
music has tended to be under-rated.
If you are a regular reader of concert
and CD reviews, you will probably notice
that critics tend to have very set ideas
on the approach required for British
music and are generally dismissive about
attempts to try anything a bit different
("it was a misguided but noble
idea to attempt follow Elgar's metronome
marking, quite outside the tradition
of..."). How peculiar, then, that
it's perfectly acceptable to play Beethoven
with vibrato, without vibrato, with
60+ strings, with 30 strings, with period
instruments and so on. What this rather
implies is that non-British music seems
to be credited with a greater ability
to take a range of approaches. In the
case of Elgar, this is partly justifiable;
if it doesn't have that warm, burnished
string tone and rock-solid brass, it
just isn't right (although you could
say the same for many late-Romantic
composers - look at Rachmaninov, for
example). What, then, of Vaughan Williams?
It is interesting to note that, especially
in recent years (as a result of efforts
by conductors such as Haitink, Vänskä,
Norrington and Ashkenazy, the latter
with the Czech Philharmonic), performances
of VW symphonies have been popping up
all over Europe. This clearly suggests
that the music has huge appeal and,
interestingly, it is what British audiences
would think of as the more gnarly works
that have been played (especially the
Sixth Symphony).
The Fifth Symphony's
outings on record provide a very useful
insight into just how great a range
of different, purely musical approaches
the work can take. In the main, there
are two methods which say something
useful about the piece; on the one hand,
it can be played in as passionate and
warm a manner as possible, with glowing
brass, singing strings and huge rubato
at climaxes (the best example of which
is probably Barbirolli's 1962 Philharmonia
recording). On the other hand, it can
be played as straight as possible with
little vibrato and a Ravelian restraint
(exemplified by LPO/Norrington on Decca
- one of the best re-thinkings of recent
years). The same might be said of the
Fantasia on a Theme by Thomas Tallis
- again, Barbirolli epitomises the 'from-the-heart'
approach, while Boult chooses to tap
in to the mystery and delicacy of the
work (think of light coming through
a window into a dingy room), both to
devastating but quite different effect.
So far, I have concentrated
on the symphonies, which in themselves
are enough to mark Vaughan Williams
out as an incontestably great composer.
Although the Sea Symphony (No.
1) is generally a weaker work, it contains
much glorious music, as does the popular
London Symphony (No. 2). If anyone
ever doubted VW's ability to think like
a great composer, they need only compare
the original version of this work, recently
recorded by Hickox on Chandos, with
the standard revised version. Although
the original contains extra passages
of appreciable beauty, the revision
is a much tauter, better balanced work
that makes its point far more intensely.
The later symphonies are less often
played but, in every case, VW manages
not only to produce something wholly
different to its predecessor in the
cycle, but also music that, whatever
its style, has a direct emotional appeal.
What of the rest of
his output? Vaughan Williams was enormously
prolific. Apart from the nine symphonies,
he produced five operas (or rather,
four plus a 'Morality,' The Pilgrim's
Progress), a number of concertos
including a rare example for bass tuba,
chamber music, choral works both accompanied
and a capella, and a great many songs.
In every genre, he produced at least
one masterpiece (although some might
quibble about the suitability of The
Pilgrim's Progress for the stage,
the performances of the work in Cambridge
in the 1950s showed what was possible
with the help of sympathetic direction).
It is difficult to suggest where to
dip in since so much of the music is
wholly characteristic of the composer,
but pieces well worth starting with
include the Mass in G minor,
Sancta Civitas, the Phantasy Quintet,
On Wenlock Edge, the Dona Nobis Pacem
and An Oxford Elegy.
As if this were not
enough, Vaughan Williams also has a
very strong claim to being the single
most significant musical figure that
England has ever produced (with due
respect to Purcell, Elgar and Britten).
He himself could be said to have had
a healthy mix of both the British and
the continental in his musical education.
He studied under two of the musical
"greats" of their time in
London ' Parry and Stanford at the Royal
College of Music, as well as with Charles
Wood at Trinity College, Cambridge.
Abroad, he was taught by Ravel (in Paris)
and Bruch (in Berlin). His own music,
however, stands firmly rooted in all
that is best in truly British music
' indeed, Ravel is said to have called
him "my only pupil who does not
write my music". Although, (despite
the greatness of works by Parry and
Stanford) Elgar is rightly credited
with demonstrating for the first time
since Purcell that English composers
were capable of producing masterpieces,
much of his work follows Germanic models
(albeit refracted through Elgar's own
unique lens).
Vaughan Williams however
was responsible for re-examining England's
musical heritage and making use of what
he found to forge a new, independent
and entirely English method of composition,
fusing elements of modal harmony, Tudor
polyphony and folksong, all of which
shine through in lilting, singing melodies
and dancing rhythms in a great deal
of his output. The work done by VW,
his great friend Holst and Cecil Sharp
in collecting folksongs from all over
the country was an act of cultural retrieval
of the utmost significance, since it
preserved a large part of a national
heritage that has now almost entirely
vanished (much like the work done by
Bartók for folksongs in Hungary).
Thus, it is from the rise to prominence
of Vaughan Williams, not Elgar, that
a genuine English musical renaissance
can be traced. VW's cultural preservation
work also extended to editing a number
of hymnals, projects which involved
collecting traditional tunes, composing
some himself and commissioning new ones
from contemporary composers. Today,
these provide the backbone of the music
used by the Church of England.
It says much for Vaughan
Williams's breadth of mind that he was
able to write works which, based on
folk tunes, have a simplicity and directness
of appeal that make them instantly popular
but that, as well as this, his more
'serious' vein still carries tremendous
emotional clout. Perhaps the final proof
of his greatness, though, lies in his
towering humanity. As the discussion
of A Pastoral Symphony above
suggests, VW was acutely responsive
to the world around him and, in such
ways as he was able, he made practical
efforts to help (including assisting
younger composers financially). One
story recounted by RVW's widow, Ursula,
exemplifies perfectly his sweet-natured,
compassionate, humorous and wholly congenial
character ' in the 1930s he helped out
with housing German refugees, even lodging
some of them at his own home. A representative
of the refugees once complained bitterly
that the houses they were staying in
were cold and damp, whereas back in
Germany most people had had central
heating. VW cut through the other Brit's
explosions at the man's ingratitude
to comment "Isn't it wonderful
that he can remember the good things
in Germany!"
The sheer range of
sympathies evinced by Vaughan Williams'
work shows the many facets to his character.
Whether in the riotous jollity of Hodie
(his Christmas Cantata), the simplicity
of the folksongs, the anger of the Fourth
Symphony or the Prospero-like acceptance
of the world's intransigence in the
finale of the Sixth Symphony, there
is never any doubt of the sincerity
of expression.
Instead of thinking
of Vaughan Williams as the Englishman
who wrote The Lark Ascending,
then, it is fairer to both the man and
the musician to accept him as one of
the truly outstanding composers of his
or any age. One who had all the techniques
one could wish for; who could experiment
with the best of them; who rejuvenated
a nation's musical life; who preserved
its musical heritage; and who remained
modest and unassuming throughout. This,
of course, was part of his greatness.
If you would be interested
in finding out more about the life and
music of Ralph Vaughan Williams, a good
way to meet like-minded people would
be to join the Ralph Vaughan Williams
Society, one of the largest and most active composer
societies in the UK. The Society's aims include the promotion of
performances of music by both RVW and those connected with him,
subsidising recordings and organising events to examine aspects of
his music. The Society also publishes a journal three times a
year.
Em Marshall-Luck
Managing and Artistic
Director, The English Music Festival
(www.englishmusicfestival.org.uk)
The above article first appeared in
the FRMS Bulletin