Gerald FINZI Three short elegies op.5 for mixed voices a cappella
(words by William Drummond). London: Boosey & Hawkes, 1936 [1999
printing]. ISMN M-060-03044-4.
Gerald FINZI Songs to poems by Christina
Rossetti op.1 for unison and two-part voices and piano. London: Boosey
& Hawkes, 1999. ISMN M-060-11036-8
www.boosey.com
hire library +44(0)20 7580 5815
Here are reprints, issued with the support of the Finzi Trust, which bring
back into circulation two examples of Finzi's skill and artistry as a
miniaturist.
The Three Short Elegies, first published in 1936 are very short indeed
- the third and longest is still less than two minutes. They set verses by
William Drummond, a Scottish aristocrat and supporter of the Royalist cause
in the English Civil War. Finzi had the acutest of ears for the rhythm and
pace of English verse - so much so that not only is his style of word-setting
instantly recognisable, but in its meticulousness it becomes, at times, almost
mannerist. Those who know the songs and larger scale choral works will find
copious pre-echoes not only of characteristic rhythmic groupings, but of
actual melodic fragments as well. These poems dwell on the transience of
human life, a favourite subject for Finzi, and he sets them lovingly, alive
to every expressive nuance. The mercurial changes of tempo, and dynamic will
need careful preparation and good choirs will find that the amount of work
needed to realise the expressive potential of this music may seem out of
proportion to its scale. But the trouble will be rewarded - these elegies
are well worth the effort.
The Rossetti settings are in another category altogether. Originally published
in two groups in 1936 and 1954, they were composed to service the market
for good school class singing music which was buoyant in the first half of
the twentieth century, but has largely sunk without trace now I fear. These
miniatures are just as scrupulously put together as the elegies reviewed
above, and the children who sang them, whether consciously or not, will have
imbibed something of their sense of flow, their sensitivity of phrasing.
But they are really no more than chippings from the workbench. The melodies
themselves are artless; many resemble folktunes in their simplicity. The
accompaniments are well within the grasp of the non-specialist teacher with
a smattering of piano technique. They are beautifully crafted and admirably
suited to their purpose - but what price that purpose now? I struggle to
recall singing classes even in my own primary school days in the early '60s,
and it is hard to imagine the streetwise kids of today keeping straight faces
through 'Rosy maiden Winifred with a milk-pail on her head' or 'There's snow
on the fields and cold in the cottage, while I sit in the chimney-nook supping
hot pottage'. This view of the world is past and gone. For similar reasons
I hardly think they could be reinvented as solo songs or duets - there is
far more characteristic mature Finzi still in need of performance. But they're
fun to read through, and its good to see them back in print in this centenary
year.
Paul Andrews
