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Finzi: Clarinet Concerto; Love's Labours Lost Suite; Prelude, Romance for String Orch.

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Finzi, Gerald (Raphael)



(b London, 14 July 1901; d Oxford, 27 Sept 1956). English composer. The son of a shipbroker, he was educated privately,
and studied music with Ernest Farrar (1915–16) then, when Farrar joined the army, with Edward Bairstow at York
(1917–22). Finzi’s shock when Farrar was killed in France, following his own father’s death when he
was eight, and that of his three elder brothers, confirmed his introspective bent, his recourse to literature, and the
sense of urgency in his dedication to music. In 1922, drawn to the countryside of Elgar, Gurney and Vaughan Williams, he
moved to Painswick in Gloucestershire, working (as in a deeper sense he always did) in isolation. On advice from Boult
he took a course in counterpoint from R.O. Morris in 1925, then settled in London, moving for the first time in a circle
of young musicians which included Arthur Bliss, Howard Ferguson, Robin Milford and Edmund Rubbra, meeting Holst and
Vaughan Williams, and avidly going to concerts, exhibitions and the theatre. From 1930 to 1933 he taught at the RAM.
Some of his freshest, most individual music was written at this time, as well as some weaker pieces: he later withdrew
the Severn Rhapsody (Carnegie Award), a Violin Concerto conducted (1928) by Vaughan Williams and some songs. (His habit
of revising compositions years later makes dating them problematic).



In 1933 Finzi married Joyce Black (1907–91), herself an artist, whose liberating warmth and practical efficiency
eased his way; in 1935 they retired to Aldbourne in Wiltshire. Acutely aware of life’s transience, Finzi had
always a need to consolidate, collect and cultivate. In 1937 the Finzis found a 16-acre site on the Hampshire hills at
Ashmansworth, and built a house designed to work in. Living frugally by worldly standards, there he composed, assembled
a library and an orchard of rare apple trees, took such adjudicating, examining and committee work as came his way, and
gave hospitality to friends drawn by his zest and sense of endeavour. His first published Hardy sets of songs attracted
quiet admiration. More positive recognition was due when Dies natalis was to be performed at the 1939 Three Choirs
Festival; war caused the festival to be cancelled, and the first performance took place modestly at the Wigmore Hall on
26 January 1940. 



For all his carefully created environment, Finzi was politically alert, and, though he was an agnostic, his parents were
Jewish (his father’s forebears moved to England from Italy in the mid-18th century). By instinct and reason he was
a pacifist, with a distrust of dogmas and creeds (an attitude that drew him to Hardy, as did his preoccupation with
time, its changes, chances and continuities). His reluctant admission of the necessity for the 1939–45 war
deepened his conviction that the creative artist is the prime representative of a civilization. In December 1940 he
founded the Newbury String Players, a mainly amateur group which performed in local churches, schools and village halls,
and kept the group going when he worked in London at the Ministry of War Transport from 1941 to 1945, and afterwards
(when he died, his son Christopher took them over). Finzi was not a fluent pianist, and never a singer. This orchestra
became his instrument; through it he gave many a hearing to young performers and composers, and fiercely involved
himself in reviving 18th-century English works, his scholarly and practical research resulting in published editions. He
also collected and catalogued Parry’s scattered autograph manuscripts. He worked selflessly, too, for Ivor Gurney
(they never met), being a force behind the Music & Letters Gurney issue in 1938 and the publication of his songs and
poems.



The first performance of Finzi’s Intimations of Immortality at the 1950 Three Choirs Festival brought discussion
about whether Wordsworth’s ode was suitable for musical setting, a controversy bound to pursue a composer who had
also chosen texts from Traherne and Milton. Finzi’s principle was that no words were too fine or too familiar to
be inherently unsettable by a composer who wished to identify himself with their substance. He developed and formulated
his ideas in the Crees lectures, a knowledgeable, stimulating and on occasion provocative survey of the history and
aesthetics of English song.



In 1951 Finzi learnt that he was suffering from Hodgkin’s Disease, and had at most ten years to live. He kept the
knowledge within his family, and, between treatments, simply continued to work. During the 1956 Gloucester Festival he
took Vaughan Williams up to nearby Chosen Hill church, where as a young man he had heard the New Year rung in (those
bells peal through the exquisite In terra pax). The sexton’s children had chickenpox, which Finzi caught; weakened
by his disease, he suffered brain inflammation and died. In 1965 his library of music from about 1740 to 1780,
considered the finest of its period assembled privately in England at that time, went to St Andrews University, Fife.
His library of English literature, his sustenance and inspiration, is housed in the Finzi Book Room at Reading
University Library. The Finzi Trust, formed in 1969, promotes recordings, concerts, festivals and publications of the
music of Finzi and other English composers.



Finzi unerringly found the live centre of his vocal texts, fusing vital declamation with a lyrical impulse in supple,
poised lines. He was little concerned with word-painting, and his songs are virtually syllabic (in contrast with
Britten’s and Tippett’s). Hardy’s tricky, sometimes intractable verse released his creativity, and his
settings range from the loving Her Temple through the Wolfian bite of I look into my glass, and the distanced serenity
of At a Lunar Eclipse to the dramatic Channel Firing. Few of his songs are plainly strophic; many are cast in an arioso
style which can be colloquial or intense. Some, apparently improvisational, reveal a firm underlying structure.
Finzi’s sense of tonality and form was idiosyncratic. The accompaniments, not obviously pianistic, work
excellently with the voice; often they are formed from the kind of close imitative texture much used in his shorter
orchestral pieces. Some of his movements, meticulous in detail, are less sure in overall grasp, and his limited idiom
and the regularity of his harmonic pace can become monotonous. These drawbacks are balanced in the Clarinet Concerto by
the fertility and gaiety of the thematic invention, and in the Cello Concerto by a deeper passion – the turbulence
of its first movement suggests a line of development cut short by his death.



Though thoroughly aware of the contemporary music around him, Finzi preferred to fashion his style in the tradition of
Parry, Elgar, and Vaughan Williams, to whom he owed much in terms of melodic phraseology, harmony, and artistic ethics.
His larger choral works, notably Intimations of Immortality (written between 1936 and 1950) and the deeply affecting In
terra pax (1954), reveal his indebtedness to the grandeur of Parry's broad architectural writing. His two more ambitious
instrumental works, the Clarinet Concerto (1948–9) and the Cello Concerto (1951–5), exhibit respectively a
natural affinity for lyricism and a passion expressed by a more dissonant language. But Finzi's most personal utterances
may be found in his miniatures—the New Year Music op. 7, the Eclogue for piano and strings op. 10, and the Romance
op. 11—and even more intensely in his songs, notably his settings of Thomas Hardy (for whom he admitted a special
empathy), among which A Young Man's Exhortation op. 14, Earth, Air and Rain op. 15, and Before and After Summer op. 16
are especially fine, though even these are outshone by his masterpiece, the cycle of Thomas Traherne poems Dies natalis
op. 8.



Melodically and harmonically Finzi owed something to Elgar and Vaughan Williams; as well as occasional flashes of Bliss
and Walton, Finzi’s love and knowledge of Parry can be discerned. To none of these composers was he in debt for
the finesse of his response to the English language and imagery, or for his vision of a world unsullied by
sophistication or nostalgia. The adult’s sense of loss at his exclusion from this Eden inspires some of
Finzi’s strongest sustained passages, from the melancholy grandeur that informs Intimations to the brooding power
of Lo, the full, final sacrifice. Personal, too, is what he drew from Bach: in the Grand Fantasia the duality sets up a
challenging tension, and in the aria movements from Farewell to Arms and Dies natalis the rare marriage of disciplined
contrapuntal accompaniment and winged voice is logical and ecstatic. Dies natalis, a song cycle shaped like a Bach
cantata to verse and poetic prose by Traherne, is a minor masterpiece of English music.



Writings

‘Folk-Songs from Newfoundland’, JEFDSS, i (1932–4), 157 only [review]



‘Hubert Parry: a Revaluation’, Making Music, no.10 (1949), 4 only 



‘R.O. Morris, Obituary’, R.C.M. Magazine, xlv (1949), 54–6 



‘Environment and Music’, Mercury, no.7 (1950), 25 only 



‘John Stanley, 1713–1786’, PRMA, lxxvii (1950–51), 63–75 



‘Music and the Amateur’, Making Music, no.17 (1951), 13–14 



‘Vaughan Williams: the Roots and the Tree’, Philharmonic Post, vi/6 (1952), 64 only 



‘John Stanley (1713–1786)’, Tempo, no.27 (1953), 21–6 



‘Herbert Howells’, MT, xcv (1954), 180–83; repr. in MT, cxxxviii/Dec (1997), 26–9



‘The Composer's Use of Words’, Crees Lectures (MS, 1955, GB-ALb)



Bibliography

E. Duncan-Rubbra: ‘Gerald Finzi’, MMR, lix (1929), 193–4 



J. Russell: ‘Gerald Finzi: an English Composer’, Tempo, no.33 (1954), 9–15 



C.M. Boyd: ‘Gerald Finzi and the Solo Song’, Tempo, no.33 (1954), 15–18 



A. Bliss and A. Scott: ‘Gerald Finzi: an Appreciation’, Tempo, no.42 (1956–7), 5–6 



H. Ferguson: ‘Gerald Finzi, 1901–1956’, Hallé Magazine, no.100 (1957), 8–11 [on The Fall
of the Leaf]



H. Ferguson: ‘Gerald Finzi (1901–56)’, ML, xxxviii (1957), 130–35 



A. Walker: ‘Gerald Finzi (1901–1956)’, Tempo, no.52 (1959), 6–10 



M.C. Crum: ‘Working Papers of Twentieth-Century British Composers’, Bodleian Library Record, viii/2 (1968),
101–3 



H. Ferguson: disc notes, Lyrita SRCS 38 (1968), 51 (1971)



S. Banfield: ‘The Immortality Odes of Finzi and Somervell’, MT, cxvi (1975), 527–31 



D. McVeagh: disc notes, Lyrita SRCS 75 (1975), 92 (1977)



M. Hurd: The Ordeal of Ivor Gurney (Oxford, 1978), 181–90 



D. McVeagh: disc notes, Lyrita SRCS 84 (1978), 93, 112 (1979); Argo ZRG 896, 909 (1979)



D. McVeagh: ‘Gerald Finzi’, Records & Recording, xxiii/4 (1979–80), 30–33 [with
discography]



P. Dingley: The Finzi Book Room at the University of Reading: a Catalogue (Reading, 1981) [with introduction by A.
Ceasar]



D. McVeagh: disc notes, Hyperion A66015 (1981)



D. McVeagh: ‘Gerald Finzi, 1901–1956’, World of Church Music (1981), 16–20



C. Thorpe Davie: Catalogue of the Finzi Collection (St Andrews, 1982)



Finzi Trust Friends Newsletter (1983)



S. Banfield: ‘Time and Destiny: the Hardy Songs of Gerald Finzi’, Sensibility and English Song (Cambridge,
1985), 275–300 



D. McVeagh: disc notes, Hyperion A66161, A66162 (1985)



A. Burn: ‘Quiet Composure’, Country Life, clxxxi/29 (1987), 118–19 [on Finzi’s library at
Reading U.]



J. Finzi: In that Place: the Drawings of Joy Finzi (Marlborough, 1987)



S. Banfield: Gerald Finzi: an English Composer (London, 1997)



J.C. Dressler: Gerald Finzi: a Bio-Bibliography (Westport, CT, 1997) [incl. list of unpubd MS]



S. Banfield: ‘Vaughan Williams and Gerald Finzi’, Vaughan Williams in Perspective, ed. L. Foreman
(Colchester, 1998), 202–21 

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