Style
Vaughan Williams's music has often been said to be characteristically English, in the same way as that of Gustav Holst, Frederick Delius, George Butterworth and William Walton. In Albion: The Origins of the English Imagination, Peter Ackroyd writes, "If that Englishness in music can be encapsulated in words at all, those words would probably be: ostensibly familiar and commonplace, yet deep and mystical as well as lyrical, melodic, melancholic, and nostalgic yet timeless." Ackroyd quotes music critic John Alexander Fuller Maitland, whose distinctions included editing the second edition of the Grove Dictionary of Music and Musicians in the years just before 1911, as having observed that in Vaughan Williams's style "one is never quite sure whether one is listening to something very old or very new."
His style expresses a deep regard for and fascination with folk tunes, the variations upon which can convey the listener from the down-to-earth (which he always tried to remain in his daily life) to the ethereal. Simultaneously the music shows patriotism toward England in the subtlest form, engendered by a feeling for ancient landscapes and a person's small yet not entirely insignificant place within them. His earlier works sometimes show the influence of Maurice Ravel, his teacher for three months in Paris in 1908. Ravel described Vaughan Williams as the only one of his pupils who did not write music like Ravel.
Read more about this topic: Ralph Vaughan Williams
Famous quotes containing the word style:
“Style is the dress of thoughts; and let them be ever so just, if your style is homely, coarse, and vulgar, they will appear to as much disadvantage, and be as ill received, as your person, though ever so well-proportioned, would if dressed in rags, dirt, and tatters.”
—Philip Dormer Stanhope, 4th Earl Chesterfield (1694–1773)
“I might say that what amateurs call a style is usually only the unavoidable awkwardnesses in first trying to make something that has not heretofore been made.”
—Ernest Hemingway (1899–1961)
“On the first days, like a piece of music that one will later be mad about, but that one does not yet distinguish, that which I was to love so much in [Bergotte’s] style was not yet clear to me. I could not put down the novel that I was reading, but I thought that I was only interested in the subject, as in the first moments of love when one goes every day to see a woman at some gathering, or some pastime, by the amusements to which one believes to be attracted.”
—Marcel Proust (1871–1922)