Letting the Lark Ascend: Vaughan Williams's ‘Most Popular Work’ and the Limits of Revisionism

Ralph Vaughan Williams's The Lark Ascending is a perennial favourite in the British classical music radio station Classic FM's ‘Hall of Fame’ poll. In spite of its apparent popularity, however, the work sits uncomfortably with the way revisionist critics and scholars have wanted to portray the composer. As an escapist piece of English musical pastoralism, The Lark undermines their preferred view of Vaughan Williams as a progressive or even ‘modernist’ participant in his artistic milieu. To combat this image, some critics and musicologists have argued for complex, harder-edged interpretations of the work that have little to no basis in the music's primary source materials or the composer's stated priorities in his own writings. Such emphases reflect a problem in recent revisionist literature, wherein traditionalist, nationalist, or Romantic aspects of Vaughan Williams's music are excessively downplayed (or re-situated) in favour of arguments that better support elite sensibilities. As a work consisting of accessible, melody-centric music, and following from a poem excerpt suggesting an idyllic scene, The Lark serves as a bulwark against revisionist overreach and a check against over-emphasis on trendy priorities.