Ralph Vaughan Williams is a fascinating composer—one of those brilliant musical voices I wish was heard more often. Well, heard more often on this side of the Atlantic. In his native Britain, he holds a much more prominent place in the musical firmament and in the public’s affections; his lyrical Lark Ascending routinely tops the charts of Britain’s favorite piece of classical music.
“Lyrical” seems to be the quality most people associate with this quintessentially English composer. The word perfectly encapsulates the musical language of the Lark Ascending, and also describes such works as his early symphonies, the Fantasia on a Theme by Thomas Tallis, the Oboe Concerto, and one of my absolute favorite works of music, the Serenade to Music.
This is not, however, the musical language of his Fourth Symphony.
While previous works were beguiling, the Fourth is aggressive. Earlier works were often painted in pastels, but the Fourth is a work of primary colors. It is craggy with dissonance and sharp angles. And for those who love Vaughan Williams’s romanticism, this powerful work comes as a bit of a shock.
That said, it is a masterpiece of the highest order—a work that shows Vaughan Williams’ versatility as a composer, as well as his ability to create drama and musical tension. Continue reading →