A great deal of Michael Finnissy‘s output is choral, encompassing the same broad range of expression as his instrumental music. John the Baptist, a short work composed in 2014, falls at the simpler, more immediate end of the continuum. Adapting words from the York Mystery Plays, Finnissy creates both a mouthpiece for the titular figure as well as something of a portrait of him. Two portions of the piece are bold and declamatory, full of confidence and heft but articulated in triple metre such that there’s a distinct element of dance. It’s a serious dance, through, the choir united in a punchy statement of both believe and intent, one that points the way to a greater power, “entire in fire”. But this bullish invocation of the trinity is also turned towards the absurdity of the idea of a deity requiring something its creation. It’s a line of uncertainty that emerges first in the other pair of sections, when pulse yields to a slow, soft form of introspection, laden with both awe and wonder as well as doubts, “I thank him ever, but am a-feared / I am not able to fulfil this deed.” Read more
Happy 70th Birthday, Michael!
To celebrate his birthday, it seems appropriate to revisit Michael Finnissy‘s most recent large-scale composition, the piano cycle Beat Generation Ballads, premièred at the 2014 Huddersfield Contemporary Music Festival. The work comprises five movements, the first four of which are very short, only two or three minutes each, followed by a long finale lasting well over half an hour. As usual for Finnissy, the piece is an engagement with music and events from the past:
…everything I do is nostalgic, because it’s all about memory, the distortions of memory; also, as I get older, I get closer to death, and it’s changed the way I think about my life a lot […] we live in a multi-stranded world, I’ve always loved a lot of other types of music, and it’s been something of a mission to bring all of these musics together, whether they’re supposed to be brought together or not […] Beat Generation Ballads is another episode of that.
“Brought together”, of course, means articulated through the interpretative gauze of Finnissy’s personal response to them, a process that in all of his output leads to complex results that evoke, allude and pay homage while simultaneously spiralling off into Finnissy’s own internal reveries launched from these inspirational starting points. Read more
Michael Finnissy‘s chamber work Judith Weir was composed as a 50th birthday present for her in 2004. Back in 1985, Weir had written a short piano piece as a gift for Finnissy titled Michael’s Strathspey, an all-too-momentary dazzlement littered with ‘scotch snaps’, the familiar rhythmic device associated with that traditional Scottish dance tune. For his return gift, Finnissy too calls on the strathspey, exploring it in a way that offers something of a variation on the approach taken in in Viitasaari and A-lang Felton Lonnen. Read more
It’s abundantly clear in the works explored so far in this Lent Series that Michael Finnissy has a keen interest in melody. The ways in which he presents, transforms and contextualises melody are often startlingly simple, but in the case of “above earth’s shadow…”, for solo violin and ensemble, it’s handled in a more complex way. Composed in 1985, the piece takes its title from William Blake’s The Marriage of Heaven and Hell, specifically a passage from one of the work’s later ‘Memorable Fancies’ in which a visionary encounter with an angel takes place. It’s not without a certain degree of extreme surreal imagery, even by Blake’s standards (including vast spiders revolving on fiery tracks around a “black but shining” sun within an “infinite abyss”; you get the idea); the encounter is somewhat confrontational, culminating in the narrator grabbing the angel:
I by force suddenly caught him in my arms, & flew westerly thro’ the night, till we were elevated above the earth’s shadow; then I flung myself with him directly into the body of the sun;
In 2009, Michael Finnissy was composer-in-residence at the annual ‘Time of Music’ contemporary music festival that takes place in the town of Viitasaari, in central Finland. Finnissy composed a short chamber work for the occasion, named after the town and including the kantele, a traditional Finnish string instrument similar to the hammered dulcimer. The work has similarities with a number of the works featured earlier in this Lent series, partly because of the relationship between the four players, which again is indeterminate, lacking specifics of vertical alignment, but more due to its relationship with folk music, which draws a direct comparison with his 2011 re-imagining of the folk tune ‘A-lang Felton Lonnen’. Read more
In 2004, Michael Finnissy was invited to contribute to an edition of the journal The Liberal, specifically an issue devoted to the subject of outer space. Finnissy chose to adopt the journal’s title and apply the idea to perfomers responding “liberally to the score”, which comprised two pages of graphic notation, designed “to roughly convey an impression of Saturn’s rings”. The two pages are independent, performed simultaneously, one intended for single-stave instruments, the other for keyboards; the members of the ensemble, which is unspecified, make their own way through this material, guided both by the individual notes and phrases themselves as well as by the looming concentric rings that dominate the pages (see below). Read more
An interesting, small-scale example of Michael Finnissy‘s take on folk music is his re-thinking of the Northumbrian tune ‘A-lang Felton Lonnen’ (“a long Felton lane”). Finnissy places the traditional Northumbrian pipes alongside piano, viola and cello, all of which initially sound saturated by the harmony, contours and the tone of the tune, which stands out in the foreground. The piano offers similarly decorative counterpoint, weaving around the pipes, while the strings lay down slow-moving sustained notes, effecting a kind of extension of the pipes’ drones. Read more