"Each chapter begins with a discussion of its composer's song-output and of the poets and poetry he sets, and goes on to give an account of the influences on him and the hallmarks of his style; the songs are then discussed in detail, focusing on the major works. The text is illustrated with musical examples and there is a comprehensive bibliography and index"--Jacket.

My book begins with a brief consideration of what we mean by “English music” and what factors are involved. I explain the reasons behind my choice of composers for consideration, and for the omissions from the survey.

Critically acclaimed biography of one of England's best loved composers, with a full discussion and evaluation of his works. Gerald Finzi is one of the best-known modern English composers. While he is especially famous as a song-writer, for his sensitive settings of poets such as Hardy and Wordsworth, he also wrote in other genres; notable works includethe exquisite cantata Dies Natalis, and his cello concerto. He also exerted a major influence in the musical world as a whole, championing the neglected Ivor Gurney and reviving eighteenth-century composers with the amateur orchestra he founded. In this lively and sensitive study of his life and works, Diana McVeagh, the renowned Elgar and Finzi scholar, has made use of interviews with the main figures in his life, correspondence with contemporaries such as Vaughan Williams, Edmund Blunden, Arthur Bliss, Edmund Rubbra, Howard Ferguson and Herbert Howells, and her access to previously unpublished material in the form of his widow, Joy's, unpublished journal. The Finzithat emerges is a multi-faceted and complex character. The author shows how he developed from a solitary, introverted youth into a man with strong views and a myriad of interests: everything from education, pacifism, vegetarianism, to the Arts and Crafts movement, the English pastoral tradition, English apple varieties, and the significance of ancestry, friendship and marriage in an artist's life. She also discusses every work within the narrative of Finzi's life, and shows what makes his output so outstanding. Diana McVeagh is the author of the highly acclaimed Elgar the Music Maker [2007]; of the entries on Elgar and Finzi for The New Grove Dictionary of Music and Musicians [1980, 2001]; and of the Finzi entry in The Oxford Dictionary of National Biography [2004].

A fully annotated edition of more than 1600 letters from and to Gerald Finzi, spanning the composer's life from ca. the early 1920s up until his untimely death in 1956. Gerald Finzi's (1901-1956) masterpiece is the radiant and touching cantata Dies Natalis. He is also highly regarded for his Thomas Hardy song-settings, for his Intimations of Immortality, and for his fine cello and clarinet concertos. As a scholar, he championed the then neglected composers Hubert Parry and Ivor Gurney, and the eighteenth-century John Stanley, William Boyce and Richard Mudge, composers he revived with the amateur orchestra he founded. Diana McVeagh, Finzi's biographer, brings together more than 1600 letters from and to Gerald Finzi, spanning the composer's life from the early 1920s until his untimely death in 1956. His more than 160 correspondents include Ralph Vaughan Williams, Herbert Howells, Edmund Rubbra, Arthur Bliss and Howard Ferguson, Michael Tippett, Benjamin Britten and Sir John Barbirolli, the poet Edmund Blunden, and the artist John Aldridge, making this a portrait not only of Gerald Finzi but also of his group of composer, musician and artist friends in the first half of the twentieth century. In these mostly unpublished letters Finzi emerges as a multi-faceted and complex character, developing from a solitary, introverted youth into a man with strong views and wide interests: education, pacifism, vegetarianism, the Arts and Crafts movement and the English pastoral tradition, among others. From amusing trivia to the deeply serious ideas and principles Finzi set out at the onset of war and in the 1950s, these letters allow for first-hand insights into his personality and background. This definitive edition is fully annotated, offering context with substantial commentaries on the correspondence, illustrations by Joy Finzi, a chronology, bibliography and a catalogue of works.

"This compendium reflects the latest international research into the many and various uses of music in relation to Shakespeare's plays and poems, the contributors' lines of enquiry extending from the Bard's own time to the present day. The coverage is global in its scope, and includes studies of Shakespeare-related music in countries as diverse as China, the Czech Republic, France, Germany, India, Italy, Japan, Russia, South Africa, Sweden, and the Soviet Union, as well as the more familiar Anglophone musical and theatrical traditions of the UK and USA. The range of genres surveyed by the book's team of distinguished authors embraces music for theatre, opera, ballet, musicals, the concert hall, and film, in addition to Shakespeare's ongoing afterlives in folk music, jazz, and popular music. The authors take a range of diverse approaches: some investigate the evidence for performative practices in the Early Modern and later eras, while others offer detailed analyses of representative case studies, situating these firmly in their cultural contexts, or reflecting on the political and sociological ramifications of the music. As a whole, the volume provides a wide-ranging compendium of cutting-edge scholarship engaging with an extraordinarily rich body of music without parallel in the history of the global arts"--

The rehabilitation of British music began with Hubert Parry and Charles Villiers Stanford. Ralph Vaughan Williams assisted in its emancipation from continental models, while Gerald Finzi, Edmund Rubbra and George Dyson flourished in its independence. Stephen Town's survey of Choral Music of the English Musical Renaissance is rooted in close examination of selected works from these composers. Town collates the substantial secondary literature on these composers, and brings to bear his own study of the autograph manuscripts. The latter form an unparalleled record of compositional process and shed new light on the compositions as they have come down to us in their published and recorded form. This close study of the sources allows Town to identify for the first time instances of similarity and imitation, continuities and connections between the works.