Research Point: Folk-song Arrangements

Six Studies in English Folk Song - Vaughan Williams

This particular example of folk song arrangements by Vaughan Williams was written for cello and piano. Vaughan Williams takes advantage of the continuous bowing action of cello by writing very long held notes at the ends of phrases which wouldn't be possible on a wind instrument or for a singer. In each movement, the cello plays the folk-song, the replays it with elaboration and ornamentation.

i. Adagio

The first movement is based on the folk-song 'Lovely on the Water'. Vaughan Williams stay true to the original folk-song by writing it in E modal minor. The piano accompaniment is only minimal throughout the movement; quaver rising broken chords adding texture to the cello melodic line. These interjections are provided at the end of each phrase, where the cello is on a held note. In the middle section the piano take over the melodic line along with involved accompaniment; rising arpeggios in the bass and chords under the melodic line in the right hand.

ii. Andante sostenuto

The second movement, based on the folk-song 'Spurn Point', is arranged differently to the first movement. The piano provides a more elaborate counter melody throughout the movement; in particular it occasionally mimics the cello line a few bars later, particularly when the cello is on a held note. This creates movement and flow when the cello line is static. To avoid the piano overpowering the cello, the piano dynamics are also marked one notch down throughout the movement; the piano is marked pp when the cello is marked p.

iii. Larghetto

The third movement is based on the folk-song 'Van Dieman's Land' and like the first movement is written the original mode of the folk-song; D modal minor. The cello provides an opening motif before the piano and cello enter in a homophonic passage. This creates a much fuller texture compared to the previous movement, so makes it feel a lot heavier and the D model minor setting gives it a dark feel; this is fitting given the folk-song is about poachers being deported to Tasmania (originally known as Van Dieman's Land). Like previous movements, Vaughan Williams uses the piano accompaniment to link the phrases together.

iv. Lento

The fourth movement is based on the folk-song 'She Borrowed Some of her Mother's Gold' and features a very flowing piano accompaniment; there is a counter melody in the right hand and rising arpeggios in the left hand. There are regular triplets in the left hand against duplets in the right hand. Vaughan Williams increases the range of the piano accompaniment and adds a lot of pedal to create a rich texture.

v. Andante tranquillo

The fifth movement, based on the folk-song 'The Lady and the Dragoon', is one of the movements where Vaughan Williams heavily elaborates the melodic line when it is replayed. Initially the piano part features chords in the right hand under three note bass motif which repeats every bar. As the melodic line is ornamented, Vaughan Williams uses hemiolas in the piano part to create contrast to the opening. At the end, there is a conversive passage between the cello and the piano.

vi. Allegro Vivace

The sixth movement, based on the folk-song 'As I walked over London Bridge', is a real contrast to the other movements as it's the only movement at a faster tempo. The melodic line and accompaniment are also very staccato, whereas the previous movements all featured long, legato lines. It opens with fast, staccato chords in the piano right hand whilst the cello plays the melodic line. The piano right hand then repeats the folk-song whilst the left hand plays a bass pedal and the cello plays a broken chord motif. The cello then takes over the melody, embellishing it with triple and quadruple stops. The piano right hand plays legato crochet chords on the beat while the left hand plays detached quaver chords off the beat for contrast. This theme continues, with the melodic line swapping between the piano and cello while deminuendoing. As the music dies away, parts are removed from the texture until we are left with just the cello. The movement concludes with a final, short quiet chord.