DOCSLIB.ORG

Earth and Air and Rain Wizen Themselves to Lankness; Reproduced by Permission of Kennels Dribble Dankness

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Earth and Air and Rain Wizen Themselves to Lankness; Reproduced by Permission of Kennels Dribble Dankness ™ Exeunt omnes Folk all fade. And whither, DDD Everybody else, then, going, As I wait alone where the fair was? And I still left where the fair was?... Into the clammy and numbing night-fog The English Song Series • 15 8.557963 Much have I seen of neighbour loungers Whence they entered hither. Making a lusty showing, Soon one more goes thither! Each now past all knowing. FINZI There is an air of blankness In the street and the littered spaces; Thoroughfare, steeple, bridge and highway Tracks 14-16 © Copyright 1965 by Boosey & Co Ltd Earth and Air and Rain Wizen themselves to lankness; Reproduced by permission of Kennels dribble dankness. Boosey & Hawkes Music Publishers Ltd By Footpath and Stile • To a Poet Roderick Williams, Baritone Iain Burnside, Piano • Sacconi Quartet 8.557963 20 Page XX Page XX PMS PMS 000 000 0 Gerald Finzi (1901–1956) And faster then and faster All night eerily! Earth and Air and Rain • To a Poet • By Footpath and Stile Shall seek our rooty bed, All wasted in disaster! - The Lady Gertrude, proud, high-bred, Earth and Air and Rain, Op. 15 31:39 But you lift not your head. Sir or Madam, 1 Summer Schemes 2:34 Am I—this laurel that shades your head; 2 When I set out for Lyonesse 2:06 “I mark your early going, Into its veins I have stilly sped, 3 Waiting both 3:24 And that you’ll soon be clay, And made them of me; and my leaves now shine, 4 The phantom 3:45 I have seen your summer showing As did my satins superfine, 5 So I have fared 2:49 As in my youthful day; All day cheerily, 6 Rollicum-Rorum 1:41 But why I seem unknowing All night eerily! 7 To Lizbie Browne 4:01 Is too sunk in to say!” 8 The Clock of the Years 4:24 - I, who as innocent withwind climb, 9 In a churchyard 3:51 ¡ Voices from things growing in a churchyard Sir or Madam. 0 Proud Songsters 3:05 These flowers are I, poor Fanny Hurd, Am one Eve Greensleeves, in olden time Sir or Madam, Kissed by men from many a clime, To a Poet, Op. 13a 17:02 A little girl here sepultured. Beneath sun, stars, in blaze, in breeze, ! To a poet a thousand years hence 5:02 Once I flit-fluttered like a bird As now by glowworms and by bees, @ On parent knees 1:33 Above the grass, as now I wave All day cheerily, # Intrada 1:34 In daisy shapes above my grave, All night eerily! $ The birthnight 1:45 All day cheerily, % June on Castle Hill 2:01 All night eerily! - I’m old Squire Audeley Grey, who grew, ^ Ode on the rejection of St Cecilia 5:07 Sir or Madam, - I am one Bachelor Bowring, “Gent,” Aweary of life, and in scorn withdrew; By Footpath and Stile, Op. 2 23:14 Sir or Madam; Till anon I clambered up anew & Paying calls 3:47 In shingled oak my bones were pent; As ivy-green, when my ache was stayed, * Where the picnic was 4:04 Hence more than a hundred years I spent And in that attire I have longtime gayed ( The oxen 2:42 In my feat of change from a coffin-thrall All day cheerily, ) The master and the leaves 2:49 To a dancer in green as leaves on a wall. All night eerily! ¡ Voices from things growing in a churchyard 6:34 All day cheerily, ™ Exeunt omnes 3:17 All night eerily! - And so they breathe, these masks, to each Sir or Madam - I, these berries of juice and gloss, Who lingers there, and their lively speech Sir or Madam, Affords an interpreter much to teach, Roderick Williams, Baritone Am clean forgotten as Thomas Voss; As their murmurous accents seem to come Iain Burnside, Piano (1-^) • Sacconi Quartet (&-™) Thin-urned, I have burrowed away from the moss Thence hitheraround in a radiant hum, That covers my sod, and have entered this yew, All day cheerily, And turned to clusters ruddy of view, All night eerily! All day cheerily, 8.557963 2 19 8.557963 Page XX Page XX PMS PMS 000 000 0 I spoke to one and other of them ( The oxen Gerald Finzi (1901–1956) By mound and stone and tree Christmas Eve, and twelve of the clock. Earth and Air and Rain • To a Poet • By Footpath and Stile Of things we had done ere days were dim, “Now they are all on their knees,” But they spoke not to me. An elder said as we sat in a flock Gerald Finzi studied with Ernest Farrar, Edward much and from earliest days responded, not so much to By the embers in hearthside ease. Bairstow and R.O. Morris. He came to attention with an influence, as to a kinship with him.’ * Where the picnic was works like the orchestral miniature A Severn Rhapsody The songs that comprise Earth and Air and Rain Where we made the fire, We pictured the meek mild creatures where (1923) and a song-cycle to poems by Thomas Hardy, By were composed between 1928 and 1932 and published in In the summer time, They dwelt in their strawy pen, Footpath and Stile (1921-2). Finzi’s reputation grew 1936. Several songs were performed individually, or in Of branch and briar Nor did it occur to one of us there during the 1930s with performances of two groups of groups, but it was not until 1943 that the first complete On the hill to the sea To doubt they were kneeling then. Hardy settings, A Young Man’s Exhortation (1926-9) and performance took place on 23rd March with Robert I slowly climb Earth and Air and Rain (1928-32), and was consolidated Irwin, accompanied by Howard Ferguson. The work Through winter mire, So fair a fancy few would weave with the première in 1940 of his cantata Dies Natalis marks a significant step forward in Finzi’s development And scan and trace In these years! Yet, I feel, (1925-39). During World War II Finzi worked at the as his mature voice comes to the fore in the impressive The forsaken place If someone said on Christmas Eve, Ministry of War Transport and founded a fine, mainly range of emotions tackled. Quite readily. “Come; see the oxen kneel amateur, orchestra, the Newbury String Players. Two of In Summer Schemes, Finzi aptly captures the contrast his most popular works appeared during the war, the Five between the eager anticipation of the summer idylls that Now a cold wind blows, “In the lonely barton by yonder coomb Bagatelles for clarinet (1920s, 1941-3), and the the poet dreams he and his sweetheart will share, and the And the grass is gray, Our childhood used to know,” Shakespeare settings, Let us garlands bring (1938-40). measured caution of the caveat in the final lines of each But the spot still shows I should go with him in the gloom, To the post-war years belong the festival anthem Lo, verse – so long as fate does not intervene. When I set out As a burnt circle — aye, Hoping it might be so. the Full, Final Sacrifice (1946), the ceremonial ode For for Lyonesse, recalls Hardy’s visit to Cornwall as a young And stick-ends, charred, St Cecilia (1947) and a further Hardy song set Before and man when he fell in love with Emma Gifford who Still strew the sward ) The master and the leaves After Summer (1932-49), the Clarinet Concerto (1948-9) became his first wife. Its brisk march rhythm creates a Whereon I stand, We are budding, Master, budding, and Intimations of Immortality for chorus and orchestra sense of adventure and the song culminates radiantly as Last relic of the band We of your favourite tree; (late 1936-8, 1949-50). Although the final years of his the poet returns with ‘magic’ in his eyes. Who came that day! March drought and April flooding life were lived under the shadow of an incurable illness, Waiting both is an imaginary conversation between Arouse us merrily, he completed the Christmas scene In Terra Pax (1951-4) the poet and a star, each pondering on the meaning of Yes, I am here Our stemlets newly studding; and the Cello Concerto (1951-5). existence, with Finzi evoking the vastness of eternity Just as last year, And yet you do not see! Song-writing is at the heart of Finzi’s output and he through the use of the extremes of the piano’s range. The And the sea breathes brine made a significant contribution to British twentieth- phantom is Hardy’s recollection, after the death of his From its strange straight line We are fully woven for summer century music in this genre, especially the settings of first wife, of her as a young woman riding along the Up hither, the same In stuff of limpest green, Thomas Hardy, his favourite poet, whom he set more Cornish cliffs during their courtship. Finzi reflects this As when we four came. The twitterer and the hummer than any other. His volume of Hardy’s Collected Poems image in the cantering gait of the accompaniment, which — But two have wandered far Here rest of nights, unseen, was a treasured possession; as he wrote to a friend: ‘If I by the final verse, with its chromatic inflections in the From this grassy rise While like a long-roll drummer had to be cut off from everything that would be the one vocal line, has become an obsessive fixation in the poet’s Into urban roar The nightjar thrills the treen.
Load more

Recommended publications
  • TEM Issue 17 Cover and Front Matter
    TEMPAUTUMN O195° CONTENTS NOTES AND NEWS RALPH HAWKES KIRSTEIN, BALANCHINE AND OTHERS Cyril Beaumont KODALY'S LATER ORCHESTRAL MUSIC (I) John S. Weissmann RICHARD STRAUSS'S " DIE FRAU OHNE SCHATTEN " Dr. Otto Erhardt MUSIC IN ISRAEL Friede Rothe BOOK GUIDE RECORD GUIDE NUMBER QUARTERLY 17 TWO SHILLINGS Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.226, on 01 Oct 2021 at 07:56:33, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S0040298200054358 "HIS MASTER'S VOICE" New Records VICTORIA DE LOS ANGELES BENIAMINO GIGLI TULLIO SERAFIN with THE PHILHARMONIA Alba e tramonto—Gibilaro ORCHESTRA STABILE ORCHESTRA Che sso' turnato a fa ?—di Veroli ACCADEMIA DI SANTA CECILIA Elisabeth's Greeting "Tannhauser" DB2I096 Overture " L'ltaliana in Algeri "— (Act II)—Wagner : Elsa's Dream Rossini G4OI2 '* Lohengrin " (Act I)—Wagner (in ARTHUR FIEDLER German) DB2I095 BOSTON PROMENADE GUIDO CANTELLI ORCHESTRA N.B.C. SYMPHONY Overture " Fra Diavolo "—Auber ORCHESTRA JOAN HAMMOND and RUDOLF C40I0 Symphony No. 93 in D Major—Haydn SCHOCK with THE DB2I0I4-6 PHILHARMONIA ORCHESTRA cond. by Issay Dobrowen AMADEUS STRING QUARTET DESIRE DEFAUW Quartet in G Major, K. 387—Mozart CHICAGO SYMPHONY Cherry Duet : Suzel, buon di : Tutto (8th side) Serenade (Andante cantabile) ORCHESTRA tace *' L'Amico Fritz," Act II— from Quartet in F major, Op. 3, Overture "The Bartered Bride"— Mascagni DB2I098 (No. 5)—Haydn C40I4-7 Smetana DB2I088 All the above are standard records which can be enjoyed on your existing Gramophone or Radiogram THE GRAMOPHONE COMPANY LTD.
    [Show full text]
  • Deutsche Nationalbibliografie 2014 T 11
    Deutsche Nationalbibliografie Reihe T Musiktonträgerverzeichnis Monatliches Verzeichnis Jahrgang: 2014 T 11 Stand: 19. November 2014 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main) 2014 ISSN 1613-8945 urn:nbn:de:101-ReiheT11_2014-8 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. Die Titelanzeigen der Musiktonträger in Reihe T sind, wie sche Katalogisierung von Ausgaben musikalischer Wer- auf der Sachgruppenübersicht angegeben, entsprechend ke (RAK-Musik)“ unter Einbeziehung der „International der Dewey-Dezimalklassifikation (DDC) gegliedert, wo- Standard Bibliographic Description for Printed Music – bei tiefere Ebenen mit bis zu sechs Stellen berücksichtigt ISBD (PM)“ zugrunde.
    [Show full text]
  • Choral Music As Remembrance
    ~ 1 ~ Endings and Beginnings: Choral music as remembrance We all know that music has extraordinary power. Music, when we hear it performed artistically and well, has the ability to call up from within us any of a whole spectrum of emotions or feelings — joy, excitement, elation, happiness, humor, lust, tenderness, serenity, contentment, whimsy, sadness, fear, stress, tension — or perhaps some emotion or feeling that is undefined; perhaps simply a momentary sense that one is part of an indescribable and very lovely something-or-other that is greater than ourselves. Music that is purely instrumental can do this beautifully. Since it lacks words, instrumental music is always abstract (even if it is supposed to be about something). Think of (or listen to) your favorite instrumental piece, and the chances are that you’ll start to feel one of the emotions in the above list. It is a source of wonder that sounds that emanate from musical instruments, which after all are only physical objects, can have that effect on us. Choral music, on the other hand, is most often about something or other, because (most often) words are being sung. But, for choral music to affect us similarly to the way instrumental music does, the music that the choral voices are singing has to be a perfect match for the words. Recall some words-and-music mismatches that you have heard, and you’ll probably recall how ridiculous the effect can be. From this it follows that choral music (or any vocal music) has a component that it shares with instrumental music.
    [Show full text]
  • JULY 2011 LIST Genius Within
    tel 0115 982 7500 fax 0115 982 7020 JULY 2011 LIST See inside for valid dates Dear Customer British music is our primary theme this month. With the great Prom season looming, we felt that this was an ideal time of year to celebrate the many composers, some often unfairly overlooked, that were born within these isles. You will therefore find a plethora of labels on offer between pages 10-20 with all the repertoire being devoted entirely to British composers. Included are titles from the likes of Chandos, Lyrita, Dutton, EMI and Harmonia Mundi, plus more unusual offerings such as issues from The British Music Society. There is certainly plenty to tempt you here. Even we were amazed at how much is available, especially when you bear in mind that this is only a selection - plenty more titles can be found on our website. Amongst the notable new releases this month are Pappano’s William Tell, a re-issue of Havergal Brian’s ‘Gothic Symphony’ on Naxos (due to be performed at the proms this year), John Adams’ new ‘Son of Chamber Symphony’ on Nonesuch, plus a disc on Decca from a young pianist who promises to be very special - Benjamin Grosvenor plays Chopin, Liszt and Ravel. Another label featured this month is Supraphon - see pp.21-23 for a special multibuy offer. Best regards as ever from, The Europadisc Team DON’T FORGET - UK Carriage is FREE over £30 Genius Within: The Inner Life of Glenn Gould An enigmatic musical poet, world-renowned pianist Glenn Gould continues to captivate international audiences twenty-nine years after his untimely death.
    [Show full text]
  • FINZI BOOKLET:Bob.Qxd 14/4/08 16:08 Page 1
    FINZI BOOKLET:bob.qxd 14/4/08 16:08 Page 1 Finzi had a natural affinity with the timbre of the deep-hued tones of the clarinet, as is obvious in the instinctive, had when very young. For Finzi this became a crux of his artistic creed, that the artist must keep his or her vision idiomatic writing for the instrument in his Clarinet Concerto (1948-9), written for the greatest British clarinettist of alive and fresh at all costs, and by extension any adult too. The excerpt on this CD, Then sing, ye Birds, sing a joyous the day, Frederick Thurston, who gave the first performance at the Hereford Three Choirs Festival in September 1949 song! is a fast exultant passage from towards the end of the work. with the composer conducting. Since then the work has established itself as one of the most popular twentieth- A Young Man’s Exhortation (1926-9) received its première in 1933. The eponymous opening song ends with Finzi century concertos for the instrument. The dynamic of the first movement lies between the orchestra’s attempts to drawing a melodic phrase of wistful tenderness at the words ‘the passing preciousness of dreams’. The Best of establish the gritty, restless mood of the opening, and the soloist’s quiet determination to affirm a calm lyricism. It was a characteristic of Finzi to complete works slowly over a number of years; thus Dies natalis had its origins Another colour to which Finzi was drawn was the baritone voice as heard in his Shakespeare settings Let us in the 1920s, yet was not completed until 1939.
    [Show full text]
  • The Finzi Journal 2019
    The Finzi Journal 2019 1 The 2019 Journal oF Finzi FrienDS conTenTS Charity No. 1089033 Editorial Martin Bussey 6 Editor: Martin Bussey - [email protected] Gerald Finzi’s Shorter Choral Works Ralph Woodward 8 Howells and Finzi Jeremy Dibble 16 Published by Finzi Friends, December 2019 The Chapel, “Dear Cedie” - Discovering Finzi through his Worthenbury Road, correspondence with Cedric Thorp Davie Zen Kuriyama 28 Shocklach, Cheshire SY14 7BF The Constant Composers : Ina Boyle Articles © the contributors and Gerald Finzi Ita Beausang 45 Review: Finzi Choral Works, CD Martin Bussey 58 ISBN 978-0-9538288-7-6 Review: Parry: The Wanderer, CD Matt Pope 61 Review: Michael Tippett The Biography Martin Bussey 65 Contributors’ biographies 67 Cover drawing of Gerald Finzi by his wife Joy Finzi from In That Place, The Drawings of Joy Finzi, Libanus Press, 1987 2 3 Finzi FrienDS eDiTorial President Iain Burnside Vice Presidents Michael Berkeley CBE Philip Brunelle It is a great pleasure to commend to you this year’s Journal of the Finzi Jennie McGregor-Smith BEM Friends. The year 2019 has seen significant changes to Finzi Friends, focused Jim Page MBE on the development and launch of a new website. This enables us to lodge Raphael Wallfisch past copies of Newsletters and Journals, a task that is underway. While the Roderick Williams OBE Journal will remain in printed form for the foreseeable future, we are now Chairman Martin Bussey able to provide back copies digitally, to promote interest in Finzi still further Vice-Chairman Paul Ives and to enhance members’ enjoyment. Treasurer Adrian Williams This Journal continues to embrace scholarship across different Secretary Eric Hazelwood generations.
    [Show full text]
  • Gerald Finzi by Footpath and Stile
    Gerald Finzi By Footpath and Stile Finzi Quartet with Marcus Farnsworth baritone Robert Plane clarinet & Ruth Bolister oboe 9 0 1 0 1 S E R By Footpath and Stile Music for string quartet by Gerald Finzi (1901-1956) 1. Romance, Op. 11 [7:13] 10. Elegy, Op. 22 [7:52] arr. for string quartet by Christian Alexander arr. for string quartet by Christian Alexander By Footpath and Stile, Op. 2 Five Bagatelles, Op. 23 Finzi Quartet for baritone and string quartet arr. for clarinet and string quartet by Christian Alexander 2. Paying calls [4:13] 11. Prelude: Allegro deciso [3:27] Sara Wolstenholme violin 1 3. Where the picnic was [4:27] 12. Romance: Andante tranquillo [5:03] Natalie Klouda violin 2 4. The Oxen [3:11] 13. Carol: Andante semplice [1:51] Ruth Gibson viola 5. The master and the leaves [3:16] 14. Forlana: Allegretto grazioso [3:00] Lydia Shelley cello 6. Voices from things growing [7:01] 15. Fughetta: Allegro vivace [2:13] with in a churchyard 7. Exeunt omnes [3:21] Total playing time [73:05] Marcus Farnsworth baritone Robert Plane clarinet 8. Prelude [5:01] Ruth Bolister oboe About the Finzi Quartet: arr. for string quartet by Christian Alexander ‘… a beautiful, clean, elegant sound’ 9. Interlude, Op. 21 [11:47] www.bachtrack.com for oboe and string quartet ‘… quite exceptional ... they chose to play with a real sweetness’ Mundo Classico About Marcus Farnsworth: ‘... a conspicuously shining star ... classic dignity and elegance’ The Telegraph Gerald Finzi (1901-1956): national boundaries, peace treaties, By Footpath and Stile reparations, The League of Nations and spiralling inflation all served to restructure In 1941 Gerald Finzi wrote, in a document the routines of daily life and define the entitled Absalom's Place – a very personal decades to come.
    [Show full text]
  • Gerald Finzi by Footpath and Stile
    Gerald Finzi By Footpath and Stile Finzi Quartet with Marcus Farnsworth baritone Robert Plane clarinet & Ruth Bolister oboe 9 0 1 0 1 S E R By Footpath and Stile Music for string quartet by Gerald Finzi (1901-1956) 1. Romance, Op. 11 [7:13] 10. Elegy, Op. 22 [7:52] arr. for string quartet by Christian Alexander arr. for string quartet by Christian Alexander By Footpath and Stile, Op. 2 Five Bagatelles, Op. 23 Finzi Quartet for baritone and string quartet arr. for clarinet and string quartet by Christian Alexander 2. Paying calls [4:13] 11. Prelude: Allegro deciso [3:27] Sara Wolstenholme violin 1 3. Where the picnic was [4:27] 12. Romance: Andante tranquillo [5:03] Natalie Klouda violin 2 4. The Oxen [3:11] 13. Carol: Andante semplice [1:51] Ruth Gibson viola 5. The master and the leaves [3:16] 14. Forlana: Allegretto grazioso [3:00] Lydia Shelley cello 6. Voices from things growing [7:01] 15. Fughetta: Allegro vivace [2:13] with in a churchyard 7. Exeunt omnes [3:21] Total playing time [73:05] Marcus Farnsworth baritone Robert Plane clarinet 8. Prelude [5:01] Ruth Bolister oboe About the Finzi Quartet: arr. for string quartet by Christian Alexander ‘… a beautiful, clean, elegant sound’ 9. Interlude, Op. 21 [11:47] www.bachtrack.com for oboe and string quartet ‘… quite exceptional ... they chose to play with a real sweetness’ Mundo Classico About Marcus Farnsworth: ‘... a conspicuously shining star ... classic dignity and elegance’ The Telegraph Gerald Finzi (1901-1956): national boundaries, peace treaties, By Footpath and Stile reparations, The League of Nations and spiralling inflation all served to restructure In 1941 Gerald Finzi wrote, in a document the routines of daily life and define the entitled Absalom's Place – a very personal decades to come.
    [Show full text]
  • A Performance Study of Gerald Finzi's Song Cycle “Before and After Summer”
    A PERFORMANCE STUDY OF GERLAD FINZI’S SONG CYCLE “BEFORE AND AFTER SUMMER” D. M. A. DOCUMENT Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Chia-wei Lee, M. M. * * * * * The Ohio State University 2003 D. M. A. Document Committee: Approved by: Dr. Robin Rice, Adviser Dr. C. Patrick Woliver ____________ Adviser Dr. Graeme Boone School of Music ABSTRACT This document discusses the British composer, Gerald Finzi (1901-1956), the poet, Thomas Hardy (1840-1928), and Finzi’s song cycle, “Before and After Summer” (poems by Thomas Hardy). An overview of Finzi’s and Hardy’s biographies allows the reader/performer to clearly understand Finzi’s and Hardy’s positions in music/art history. Their composition/writing styles are also discussed to help the reader/performer understand their works. In the last chapter, the song cycle “Before and After Summer” is examined in terms of both its poetry and its music, although the analysis of the poetry receives more emphasis. Gerald Finzi can be regarded as one of the best British pastoral composers in the first half of the twentieth century. He began studying music in his teenage years. Most of his music works are in the vocal field, however, some of his concerto works, such as Clarinet Concerto and Severn Rhapsody, also earned him a high reputation. Finzi was also a collector of eighteenth century poems and music. His knowledge of both traditional eighteenth century art/music styles and early twentieth century music forms allowed him to express his music in a mixed way that included both traditional and contemporary styles.
    [Show full text]
  • The Continuity and Context of Gerald Finzi's Extended Choral Works
    Durham E-Theses Why do I go on doing these things?: The Continuity and Context of Gerald Finzi's Extended Choral Works WEEDON, ROBERT,ANDREW How to cite: WEEDON, ROBERT,ANDREW (2012) Why do I go on doing these things?: The Continuity and Context of Gerald Finzi's Extended Choral Works , Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/3567/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 R.A. Weedon ‘Why do I go on doing these things?’ The Continuity and Context of Gerald Finzi’s Extended Choral Works. Thesis submitted for the degree of Master of Arts in the Department of Music, Faculty of Arts, University of Durham, May 2012 ii Abstract iii Introduction 1 Chapter I – Context and biography 4 i. Literature Review ii. Biography iii.
    [Show full text]
  • Gerald and Joy Finzi Collection MS 1399
    University Museums and Special Collections Service Gerald and Joy Finzi Collection MS 1399 The collection contains typescript poems collected by the Finzis, including over 700 poems by Valentine Ackland arranged by Sylvia Townsend Warner, and work by Ursula Vaughan Williams and Averil Morley. Correspondence includes 21 letters from Edward, Lord Bridges, to Gerald Finzi 1950-1955, and around 170 letters and cards to Joy Finzi from Louis Bonnerot, Edmund Blunden, Valentine Ackland, Nigel Finzi and Helen Thomas. There is also a manuscript of Thomas Hardy's poem We field women, a manuscript of Edmund Blunden's poem All on a summer's day: a march, a collection of 45 letters from Robert Bridges to Sir Hubert Parry, 1894-1898, and a copy of the address given by Joy Finzi on the opening of the Library's Finzi Book Room in 1974. The Collection covers the year’s 1894-1974. The physical extent of the collection is 7 boxes containing c. 1200 items. Introduction Gerald Finzi was born in London on 14 July 1901 and spent his early childhood in London. His father died when he was just seven and following the outbreak of the First World War Finzi moved with his mother to Harrogate, in Yorkshire. There Finzi was able to study composition with the composer Ernest Farrar and from 1917 with Edward Bairstow at York Minster. But attracted by the beauty of the English Countryside, Finzi moved to Painswick, Gloucestershire, in 1922 where he was able to compose in tranquillity. His first published work was ‘By Footpath and Stile’ (1921-22), a song-cycle for baritones and string quartet to texts by Thomas Hardy, whose work Finzi greatly admired.
    [Show full text]
  • Gerald Finzi
    USIC EACHERS.CO.UK M T…the internet service for practical musicians. COMPOSERS AND THEIR MUSIC NO.1: GERALD FINZI Discernible Poetic and Philosophical Influences in the Works of Gerald Finzi Gavin Meredith © 2000 MusicTeachers.co.uk DISCERNIBLE POETIC AND PHILOSOPHICAL INFLUENCES IN THE WORKS OF GERALD FINZI - Gavin Meredith Literature, in particular English poetry, was a driving force behind much of Finzi's inspiration and creativity; this has biographical roots in that, after the death of his father and brothers, he became a lonely child, finding solace only in reading. At his death, he left a collection of over three thousand books, which now reside in the Finzi Book Room at Reading University. The range of authors in his collection shows that poetical inspiration was diverse, from medieval English poets through to contemporary twentieth-century writers. One figure, however, stands out dramatically in terms of influence, Thomas Hardy. Finzi found in his work some special affinity and his commitment to Hardy's poetry is unrivalled in the genre of English song, even though Finzi apparently cared little for his novels. As early as 1921, whilst the poet was still alive, he was devising a cycle of Hardy songs called The Mound (which remained incomplete). He did complete the cycle of six songs entitled By Footpath and Stile for baritone and string quartet, although he later withdrew this, apart from the two songs By Footpath and Stile and The Oxen. There are two recurring themes in Hardy’s poetry with which Finzi seems to have identified specifically, and these are reflected in his choice of texts: (i) the relentless passing of time (ii) man's subservience to nature and its cycles.
    [Show full text]