Introduction
AnalysisThe first motif (Later developed as theme in cadenza)
Beginning of B Section (Violin solo line)
Second theme, introduced by Clarinet in A
Third Theme, introduced by Flutes
Motif in Section C, introduced by Clarinets in A (top line)
|
This piece was inspired by George Meredith’s 122 line poem by the same name. The violin and piano version was first written in 1914 and was premiered in 1920. In 1920, the orchestral version was also created and premiered in the consecutive year. The analysis will use the full orchestra version.
The Lark Ascending is written in arch form, ABCBA with the cadenza being the A section and development with the orchestra the B and C sections. However, unlike most pieces where there are only two themes, three themes can be heard, each corresponding to each section. This piece is written in G major, but for the most part, the piece is in D pentatonic with an occasional diatonic note. The main motif of the solo is introduced in the solo cadenza as small runs in 2nd intervals which is extrapolated and arpeggiated as a theme in the cadenza through different rhythmic variations and repetitions. It is usually played on intervals of 2nd's, 3rd's, or 4th's in pentatonic D major (D ,E, F-sharp, A, B). The ascending melody mirrors the ascent of the lark as it flies into the sky. The tempo here is relaxed, but not slow, often pausing sometimes as if the lark was in contemplation of where to fly next, and speeding up in the runs. The flight of the lark then slows to a languid melody, signifying the end of the A section leading into the B section. The B section takes on a complete contrast to the fast melodies of the solo. The orchestra joins with a peaceful undertone as the solo floats above. The second theme is introduced and reiterated by different sections of the orchestra and the soloist. During this time, the trills in the solo line flits intermittently in the melody, but does not establish itself until the next cadenza. The lark can be seen flying smoothly through foliage and trees as represented by the orchestra, while occasionally flying playfully when the A section motif is played by the soloist. The B section ends with a shorter version of the first cadenza with the arpeggiated section omitted. The C section begins with the flutes setting the new theme which is echoed by the first violins after its introduction. The motif in the third section is also introduced right after the theme by the flutes in the clarinets, but does not gain prominence until it is repeated by the oboe and other section soloists. The melody develops all the way to the Animato. During the development, the solo violin line utilizes many trills and runs to mimic increasingly fast pace of the lark's flight and chirps while the orchestration become increasingly complex harmonically. The climax occurs at the beginning of the Animato, but surprisingly, the solo line stops after the first two measures only to pick up again at the Tranquillo. Here, the orchestra drones on a note while the soloist plays a series of runs and trills to again mimic the flight and song of a lark. The third theme is repeated by the first violins in the Allegro molto tranquillo followed immediately by the C section motif in the clarinets. Meanwhile, the solo descends through double stop runs, and leads the piece back into the B section at Tempo del principio where the first beginning of the first B section violin solo line is repeated in the first violins. The second theme is repeated in the flute soli and the violin soloist before leading back to the cadenza. The last cadenza goes right into the development the first theme. Then, the arpeggiated section transitions between duple and triple meter, almost as if the lark was unsure whether to fly higher or fly to the ground. However, the melody does ascend higher and higher, and is pushed forward by a repeat of the arpeggiated section at a higher register until it slows down to the high note. Following the note pattern, one can see the lark flying off into the horizon at the end. |