SRCD.236 STEREO ADD

GERALD FINZI (1901-1956) FINZICello Concerto YO-YO MA Concerto for Clarinet and String Orchestra Op. 31 (1949) (29’19”) Clarinet Concerto JOHN DENMAN 1 1st movement: Allegro vigoroso (8’51”) 2 2nd movement: Adagio ma senza rigore (11’52”) 3 3rd movement: Allegro giocoso (8’36”) Royal Philharmonic Orchestra New Philharmonia Orchestra Concerto for Cello and Orchestra Op.40 (1955) * (41’06”) 4 1st movement: Allegro moderato (16’52”) VERNON HANDLEY 5 2nd movement: Andante quieto (14’38”) 6 3rd movement: Adagio – Allegro giocoso (9’36”) (70’28”) John Denman, clarinet New Philharmonia Orchestra (led by Bernard Partridge) Yo-Yo Ma, cello Royal Philharmonic Orchestra (leader Barry Griffiths) conducted by Vernon Handley

The above individual timings will normally each include two pauses. One before the beginning of each movement or work, and one after the end. ൿ 1977 * ൿ 1979 The copyright in these sound recordings is owned by Lyrita Recorded Edition, England This compilation and the digital remastering ൿ 2007 Lyrita Recorded Edition, England. © 2007 Lyrita Recorded Edition, England. Lyrita is a registered trade mark. Made in the UK LYRITA RECORDED EDITION. Produced under an exclusive license from Lyrita by Wyastone Estate Ltd, PO Box 87, Monmouth NP25 3WX, UK movement have been ‘exorcised by the calm spirit of the slow movement’, as Frank Howes wrote in The Times after its first performance on 19th July 1955. Apart from some single songs, the Cello Concerto was Finzi’s last completed work; and a erald Finzi’s Clarinet Concerto was composed during the richest, fullest little over a year later it was the last music he heard, for it was arranged for him to Gperiod of his life.The war over, he had returned to the house he and his wife listen in hospital to the broadcast which happened to be given on the evening had built in 1938-9 high on the Hampshire downs. There, in his vigorous forties, before he died. with two young sons growing up, he cultivated his life and his garden - these are the DIANA McVEAGH conditions I have always longed for, this is what I have always wanted - adding to his orchard old apple-tree varieties in danger of extinction with the same passionate quest for conservation as he added the little-known, the forgotten or the slender talents, as well as the great established poets, to his library of English literature. www.lyrita.co.uk Though, so long as he lived simply, he had no need to turn to work other than Notes ©1977 & 1979 Lyrita Recorded Edition, England composing to earn a living, he was more active than his publications alone might Photographs of YO-YO MA taken during the recording sessions by REG WILSON. suggest. In the dark early days of the war, when all programmes of the arts ceased, to fill that terrible hollow feeling he gathered together some local amateur string Cover based on an original design by KEITH HENSBY players and gave An Hour of Music in Ashmansworth Church, across the lane from Original recordings made in association with the FINZI & RVW TRUSTS his house. He kept the group going, and became deeply involved in searching out Digital Remastering Engineer: Simon Gibson fresh music for them, playing not only the standard romantic string repertory but Other works by GERALD FINZI available on Lyrita: untried works by young composers and neglected early English music, which led to Intimations of Immortality* & PATRICK HADLEY The Trees so High** his editions of, among others, John Stanley, Charles Wesley, John Garth and *Ian Partridge, Guildford Philharmonic Choir & Orchestra **Thomas Allen, Guildford Philharmonic Choir, New Philharmonia Orchestra William Boyce. Finzi refused to perform his own music with the Newbury String conducted by Vernon Handley……………………………………………………………………………SRCD.238 Players, but rehearsing them weekly and conducting them in a dozen or so public concerts a year gave him practical assurance, and the young eager professionals A Severn Rhapsody, Nocturne (New Year Music), 3 Soliloquies (Love’s Labours Lost), who came to play concertos or when wind was needed stimulated him and added Romance, Prelude,The Fall of the Leaf, Introit*, Eclogue**, Grand Fantasia & Toccata** *Rodney Friend, London Philharmonic Orchestra, conducted by Sir Adrian Boult themselves to the group of close older friends the Finzis gathered round them. **Peter Katin, New Philharmonia Orchestra conducted by Vernon Handley…………………SRCD.239 In 1947 came his first major postwar performance of a new work, The Ode to St Cecilia, conducted by Boult at the Albert Hall, London; the text was written for the occasion by Edmund Blunden, and to collaborate in this way with a fine living WARNING Copyright subsists in all Lyrita Recordings. Any unauthorised broadcasting. public performance, copying, rental or re-recording thereof in any manner whatsoever will constitute an poet gave Finzi a particular sense of achievement. Of those years, before the illness infringement of such copyright. In the United Kingdom licences for the use of recordings for public performance may be obtained from Phonographic Performance Ltd., 1 Upper James Street, London, W1F 9DE 2 7 security of key, in the continuous unrolling of suspensions and unvarying tread, he was to die of in 1956 had been diagnosed, he could indeed have said in Robert such passages are musical intimations of immortality that, like folksongs or Bridges’ words (ironically, he set them only a month before his death): lullabies, touch a need and a response deeper than reason. Years earlier, Finzi set All my joys my hope excel Hardy’s ‘Proud Songsters’, and for the final thought - that today’s young songbirds All my work hath prospered well were so short a time ago inanimate specks of earth and air and rain - he drew on In 1948 he was asked by the Three Choirs Festival to compose a work for the identical mood as in this slow movement. Change brings no end, only Hereford the following year, and so the Concerto for Clarinet and Strings had its transformation.This was probably to Finzi, an agnostic, as near a religious attitude first performance there on 9 September 1949. His Five Clarinet Bagatelles, first as he would permit himself, and in this Andante quieto it receives its finest performed by Pauline Juler and Howard Ferguson in 1943, had quickly become expression. popular, and though Finzi was inclined to grumble they’re not worth much, but got The slow movement now seems a great summing-up of a familiar Finzi better notices than my decent stuff, he obviously loved the instrument. Finzi had mood; but the first is an extension of his range, the music of a tougher, angrier Pauline Juler in mind for Hereford, but she was to be married, and so Frederick man. It and the third movement were composed some four years after the second, Thurston was the first performer. Finzi conducted. in response to a request from Barbirolli in 1954 for a major work (not necessarily While it is by no means always the case that the mood of a composer and his a concerto) for the following Cheltenham Festival. Christopher Bunting, the young composition match, it is tempting to perceive in Finzi’s succinct yet relaxed cellist Barbirolli chose to give the first performance, visited Finzi at his home on Concerto the flowering of his days. Throughout, the balance between energy and the Hampshire hills early in 1955. It was a time of apprehension and pressure for repose is most skillfully maintained. The vigour of the orchestral opening is Finzi, of medical treatments and a major operation, and - quite apart from the surprisingly turned aside by the clarinet’s soft answer, but any feeling that Finzi completing of this concerto - of working against time on two projects close to his has evaded his own strong proposition is powerfully contradicted as the movement heart: editing for first publication a volume of William Boyce, and preparing three comes towards its close: a big crescendo gathers over a dominant pedal and bursts London lectures on ‘The Composer’s Use of Words’. His numbered years were onto bare octaves, the clarinet has its first overtly rhetorical gesture in a solo passing swiftly, and he still felt himself in his prime, ‘with all my work before me’. cadenza, then together soloist and orchestra pound out eight bars over a tonic The urgency and frustration of that cry tore down any inhibitions and made it pedal. The movement is short enough for this first-and-last balancing to work possible for him to assimilate the conflict and bravura of a big first movement into excellently. For one thing, it stabilizes Finzi’s otherwise wayward tonality. For his personal style. another, it releases the clarinet from the conventional concerto role of ‘opponent’, Finzi was not such a subjective, autobiographical composer that he would so that it can soar freely and lyrically. Finzi is so noted a songwriter that there is a allow his predicament to overthrow the traditional cheerful last movement. His is special pleasure in hearing this ‘singer’ range happily through, say Ferrier to a rondo, in the main a high-spirited ‘under-the-greenwood-tree’ music familiar Baillie, in easy carefree melodies that have no heed to pay to verbal values. The from his Shakespeare songs. Towards the end the mood darkens, turns clarinet’s fleet arabesques in the Adagio point up the candour and gravity of the introspective, but only for a moment, and Finzi is too fastidious to quote strings’ music, and its rondo-theme in the last movement must be among the most nostalgically from his earlier movements: other cello concertos had thoroughly joyous composed in our century. worked that vein. Instead, the rondo tune shines out on trumpets in a brief chorale and then the end is a quick scamper. It is as if the presentiments of the first 6 3 Traditionally, the classical concerto involves contest and virtuosity. The chord.The main theme, laid out low in the orchestra (within the cello’s register, in relationship between soloist and orchestra is dramatic, the soloist having the fact), is ominous, with energy packed into trill and snap. Gathering speed and agility, eloquence and intimacy of a personal voice, the orchestra in their turn weight, the music rushes upscale to a bar’s climax in which chords holding E and having mass, weight, power. Before a note is played, a scene is set for one against F natural grind against each other. Finzi’s range of dissonance is solidly based on a crowd, with moving implications of opponents or partners, conflict, defeat or diatonicism, and one extreme degree he often uses is, as here, the clash of minor reconciliation. ninth and major seventh. In his songs such a clash is usually a stab under a crucial, In most of Finzi’s music, conflict (on any large scale) and virtuosity are poignant word, a striking but momentary effect. But at this point in the Cello among the least important features. Of virtuosity, indeed, he held a certain Concerto he hurls the dissonance as the climax of the exposition, which rises to the mistrust. He found little delight in it for its own sake (though there is a real musical same disconsolate ferocity as the opening bars of Vaughan Williams’s Fourth faculty involved) and seldom took interest in performance, scarcely ever in Symphony (possibly its inspirational source). Just before the cellist’s entry, the performers. It would not have occurred to him to go to a concert to hear, say, orchestra breaks onto a hollow octave dominant, crouches and springs three times, Casals or Schnabel, though he might well have gone to hear Bach’s Suites or then subsides sullenly for the soloist. He brings some balm to this turbulent world, Beethoven’s Sonatas. He was not stimulated to compose out of love or admiration and, in the second subject, a noble resolve. But again and again he is abandoned for a particular artist; even his songs were not created ‘on’ his own equivalent of high and alone on a semitone clash; and chill winds blow through the orchestra in Peter Pears or Janet Baker. Though his respect for a fine serious player was high, pedal points during the passages which lead, first into the development, later into and in running and conducting the Newbury String Players he worked with the cadenza. At the movement’s end there is no escape.The chords of the opening, amateurs and professionals, it was always the music that mattered most. heavier still with menace, threaten the soloist whose bravura flights are finally Before his Opus 40, Finzi had composed four works in concerto style. Of an pinned down on to a single desperate note. early Violin Concerto, he withdrew the outer movements and let stand only a This movement must surely, whether Finzi was conscious of it or not, have meditative Introit; similarly, there is an Eclogue from an incompleted Piano been the working-out of a personal and tragic situation, and it is possibly this that Concerto. The Clarinet Concerto (first performed in 1949) is for string orchestra, gave him the authority over a form which might not have been thought suited to and though the first movement opens with a tough proposition, Finzi composes his temperament. For Finzi, time was running out. All his life he had been aware with the pliant nature of the instrument and in general allows it to return a soft of time’s imperative: ‘time on his shoulder’ is a phrase that runs through his letters answer.The Grand Fantasia and Toccata for piano and full orchestra is thoroughly from early to late. It seems almost a self-fulfilling prophecy that as he approached individual, almost quirky and cross-grained in that piano and orchestra play much fifty he should have been told that his years were numbered. Soon after the form of the time independently: the pressure that builds up during the long solo Fantasia of leukaemia he suffered from was diagnosed in 1951 he composed the slow is triumphantly released in the Toccata and the piece works by imbalance, movement of this concerto. The opening is music of absolute simplicity, in which precariously. It succeeds, but would be a dangerous model. So nothing in Finzi’s Finzi trusts to the oldest, plainest, most common-tongued idiom of his period. output quite prepares one for the force and mastery of his Cello Concerto. When he composed like this, critics of his day could accuse him of being old- It opens - as if a movement already going on has been sliced into - with a fashioned, and rightly. But they saw only as far as the technique.This music is itself strained, impatient gesture reaching a tonic root (A minor) only on the third a symbol, and by being so ‘out of time’ becomes timeless. Lapped in the basic

4 5 GERALD FINZI: CLARINET CONCERTO DENMAN / NPO / HANDLEY LYRITA CELLO CONCERTO YO-YO MA / RPO / HANDLEY SRCD.236 (8’51”) (8’36”) (9’36”) (16’52”) (11’52”) (14’38”) (41’06”) (29’19”) 70’28”) ( after the end. SRCD.236 STEREO ADD (1949) (1955) * (leader Barry Griffiths) (1901-1956) (led by Bernard Partridge) conducted by Yo-Yo Ma, cello Yo-Yo Vernon Handley Vernon John Denman,John clarinet GERALD FINZI GERALD Allegro moderato Allegro vigoroso Adagio ma senza rigore Adagio ma Andante quieto Allegro giocoso Adagio – Allegro giocoso Royal Philharmonic Orchestra Royal 1979 The copyright in these sound recordings is owned by 1979 The copyright in these sound recordings New Philharmonia Orchestra 1st movement: Concerto for Clarinet and String Orchestra Op. 31 String Orchestra for Clarinet and Concerto Op.40 and Orchestra Concerto for Cello 1st movement: 1st movement: 2nd movement: 2nd movement: 3rd movement: 3rd 3rd movement: 3rd 5 6 1 2 3 4 1977 * 2007 Lyrita Recorded Edition, England. Lyrita is a registered trade mark. Made in the UK is a registered Edition, England. Lyrita Recorded 2007 Lyrita © The above individual timings will normally each include two pauses. One before the beginning of each movement or work, and one before The above individual timings will normally each include two pauses. One Lyrita Recorded Edition, England. Recorded Lyrita LYRITA RECORDED EDITION. Produced under an exclusive license from Lyrita Lyrita under an exclusive license from RECORDED EDITION. Produced LYRITA UK by Wyastone Estate Ltd, PO Box 87, Monmouth, NP25 3WX,

GERALD FINZI: CLARINET CONCERTO DENMAN / NPO / HANDLEY LYRITA CELLO CONCERTO YO-YO MA / RPO / HANDLEY SRCD.236