The folk song Dives and Lazarus was the source of inspiration for this lovely work for string orchestra and harp(s). With a text based on the Biblical characters Dives (pronounced Dy-vess), the rich man, and Lazarus, the poor man (from Luke 16:19-31), it caught the attention of Vaughan Williams, who had a keen interest in collecting and arranging folk music, like his Hungarian counterparts Bartók and Kodály. The English master first acquainted himself with the Dives and Lazarus folk tune in 1893.

The Five Variants opens with a simple statement of the folk song melody, a stately, slightly wistful creation that soars with a disarming warmth and beauty in the mellow, middle-range scoring here. It mostly ascends in its seeming heavenward trajectory, curling downward, however, in its closing bars to form an arched contour.

The first variant begins in the strings' upper ranges and has a slightly ethereal glaze to its sweeter treatment of the melody. The ensuing variation is livelier, but its animation produces a more fervent sense rather than greater rhythmic drive. Still, it provides fine contrast as it stands between two slower variants.

That said, the third variation does not lack a feeling of animation: it begins sweetly on solo violin and harp, but yields a vitality not of swift movement but in the buoyancy of its soaring character and vibrant beauty. The attractive brief coda to this section might almost be counted as an additional variation. The fourth variant is lively, though eschewing, once again, any sense of fleetness or impetuosity, instead brimming with a vivacious and colorful folk-ish character.

Vaughan Williams collected the last variation in 1905, on a visit to Norfolk, England. It is stately and triumphant in its first appearance, but turns serene and slightly wistful when taken up by the solo cello. The work concludes quietly amid a feeling of great tranquility. A typical performance of this composition lasts around 12 minutes.

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