| dc.description.abstract | While many of the choral works by Gerald Finzi have become standard repertoire,
his early Violin Concerto remains relatively unknown to most, receiving only one
full performance in the composer’s lifetime and lying discarded for the larger part of
the twentieth century. Finzi rejected the first movement and wrote a replacement
work in its stead, which in turn was also rejected along with the third movement.
The original first movement has never been performed. In 1999 the Finzi Trust
elected to reassemble the concerto for the composer’s forthcoming centenary and a
new edition of the work was commissioned.
A dissertation by Iain Cooper and books by Diana McVeagh and Stephen Banfield
acknowledge the important role the Violin Concerto played in Finzi’s development
as a composer. This thesis expands on these studies and revives the original
discarded first movement, which has to date had little or no expression of interest.
The chronology of the concerto and Finzi’s treatment of each movement are
catalogued and discussed. Finzi’s Violin Concerto owes much to the models by
Ralph Vaughan Williams, Gustav Holst and Ernest Bloch. These three influences
are considered and analysed as are the importance of folksong, J. S. Bach and
neoclassicism to the work. Through analysis of Finzi’s Violin Concerto his
compositional techniques are explored and Finzi’s changes of approach in the
concerto are examined and discussed.
New editions of the solo violin part of all four movements, with contemporary
bowings and phrasing, are discussed, which in turn further expose Finzi’s choices
and influences. A performer’s approach is outlined with the difficulties in execution
considered and the style explored to gain a greater understanding of this work. The
original first movement, which illustrates the potential that Finzi was displaying and
the flaws that kept the work from ever being performed, has been transcribed from
the manuscript into digital format for ease of analysis and consideration. Ideas that
Finzi had for developing the discarded movements as a clarinet concertino and the
subsequent connection between Finzi’s later Clarinet Concerto is presented.
Consequently the merits of reviving Finzi’s Violin Concerto, about which the
composer obviously had grave misgivings, are considered. | en |
