From pre history onwards man has tried, with varying degrees accuracy, to imitate the song of birds. We look at two very different (or are they?) composers’ musical treatment and symbolic use of bird song: Vaughan-Williams’ pastoral idyll, The lark ascending; and Messiaen’s vision of the apocalypse, the Quartet for the end of time.
The jukebox below is for those who would like to hear the ‘profuse strains of unpremeditated art’ in their natural state (but be warned, while the skylark is entirely natural, some of the samples seem to have been recorded on a motorway during rush hour).
Any copyrighted material on these pages is included as “fair use”, for the purpose of study, and critical analysis only, and will be removed at the request of the copyright owner(s).
The jukebox below is for those who would like to hear the ‘profuse strains of unpremeditated art’ in their natural state (but be warned, while the skylark is entirely natural, some of the samples seem to have been recorded on a motorway during rush hour).
Any copyrighted material on these pages is included as “fair use”, for the purpose of study, and critical analysis only, and will be removed at the request of the copyright owner(s).
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