This release of Finzi songs, the fifteenth volume in the acclaimed
Naxos ‘English Song Series’ contains three separate song
cycles, sets or collections. This is the second volume of
Finzi songs in the series; the first volume was released
on Naxos 8.557644 (see reviews 1 and 2).
The issue opens with the cycle Earth and Air and Rain of
Thomas Hardy settings; a masterpiece in the genre of English
song.
Next comes an assortment of song settings of various poets
for baritone and piano that were assembled into a set after
Finzi’s death and given the title To a Poet. The final
cycle is By Footpath and Stile is an early collection
of Hardy settings scored for baritone and string quartet.
The London-born Finzi was not prolific in terms of his output
but his scores display a consistently fastidious, high quality
craftsmanship, an attribute not always present in the works
of his contemporaries. Finzi had an unbridled passion for
literature, especially English poetry. At his death I understand
that he left a stunning collection that contained over three
thousand books. The thoughtful Finzi excelled as a particularly
effective and sensitive setter of texts of his favourite
poets. A large proportion of his scores were written for
the voice. Finzi certainly made a major contribution to twentieth-century
English song that has endured with considerable fondness
both in the recording studio and in the recital hall. In
the sleeve-notes it is claimed that Finzi, “made an unrivalled
contribution to British twentieth century song-writing…” As
outstanding as Finzi was as a song setter he certainly wasn’t “unrivalled” in
twentieth century British song. I cannot overlook the extraordinary
contribution made by his English-born contemporaries such
as: Ivor Gurney, Peter Warlock, Roger Quilter, John Ireland,
Herbert Howells, Frederick Delius, George Butterworth, Ralph
Vaughan Williams, and Benjamin Britten.
Composed between 1928-32 the song-cycle Earth and Air and Rain is
a collection of ten songs set from Thomas Hardy who was the
poet he most responded to and revered. Andrew Burn writes
of Finzi, “He felt an empathy with Hardy’s bleak fatalism,
his sense of transience, and his anger at the suffering that
mankind afflicts on mankind.” The cycle contains two
of Finzi’s most celebrated and contrasting settings, the
drinking song Rollicum-Rorum and the poignant To
Lizbie Browne.
Finzi at his death in 1956 left some twenty-four miscellaneous
songs that he had composed throughout his career. They comprised
settings of various poets. Howard Ferguson, Finzi’s wife
Joy and his son Christopher assembled the songs into four
groups, one set of six songs for baritone and piano was given
the title To a Poet. I experienced slight disappointment
with this ad hoc collection of songs. The lack of a coherent
connecting theme from Finzi seemed evident.
The six songs for baritone and string quartet By Footpath and Stile was
composed between 1921 and 1922 which makes them the earliest collection cycle
set using the beloved poems of Thomas Hardy. The decision to employ a string
quartet as an alternative to the piano accompaniment makes an astonishing
and successful difference. Andrew Burn highlights the composer’s, “… preoccupation
with death and the transience of life…” features that are so apparent
in his choice of Hardy poems for the cycle. There is a sticker placed on
the CD jewel case announcing that these Naxos recordings of By Footpath
and Stile, Op.2 are world premiere recordings. Owing to the appeal of
these scores it is astonishing that the song-cycle has not been recorded
previously.
The baritone Roderick Williams seems to be everywhere at the
moment but on the evidence of these performances it is not surprising
he is much sought after in the recording studio. I first
came across him fairly recently singing on the Vaughan Williams
cantata Willow-Wood (1909) on Naxos 8.557798
(see reviews 1
and 2).
Since then I have followed his career with great interest.
Williams seems to have a special affinity for these Finzi scores,
displaying a rich pliable tone that is incisive and extremely
dramatic as required. He is comfortable right across his
range and his expressive interpretations are sincere and
thought-provoking. It is pleasing to hear a baritone in this
repertoire that does not have a distinctive intrusive vibrato,
detracting from the enjoyment of the music. In the song cycle Earth
and Air and Rain Williams’ interpretation of the memorable Rollicum-Rorum is
deft and nimble and in To Lizbie Browne, which I believe
to be the finest work contained on this release, we hear
Williams articulate the expressive ache and the remorseful
pining for what might have been. The baritone confidently
provides measures of darkness and morbidity in The Clock
of the Years and conveys an unearthly beauty In a
churchyard. In the song cycle To a Poet, especially
enjoyable is the way Williams communicates mystery and melancholy
in To a poet a thousand years hence. By Footpath
and Stile is impressive for Williams’ charming pastoral
lyricism in Paying calls and the gravely brooding,
dark emotions of Voices from things growing in a churchyard.
First class, well balanced sound quality from Naxos and interesting
and informative booklet notes from Andrew Burn. Full texts
are provided. Williams is in wonderful voice and the accompaniments
from pianist Iain Burnside and the Sacconi Quartet are perfect.
Any lover of English song would want to obtain this Naxos
issue.
Michael
Cookson
see also review by Anne
Ozorio and Gwyn Parry-Jones
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of British composers on Musicweb
Roderick Williams (baritone) 
