Lent Series

Michael Finnissy – “above earth’s shadow…”

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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;

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Michael Finnissy – Viitasaari

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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

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Michael Finnissy – Back on Earth (World Première)

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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

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Michael Finnissy – A-lang Felton Lonnen (World Première)

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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

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Michael Finnissy – Aijal

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On a number of occasions, informed by periods of time spent in Australia (due to a paucity of work opportunities in the UK), Michael Finnissy has composed works inspired by Aboriginal culture. Most of these date from 1982–3, one of the earliest being Aijal for oboe, clarinet and percussion, the title of which is the Australian Aboriginal word for ‘sky’. Read more

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Michael Finnissy – Dust (World Première)

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Perhaps the key recurring characteristic of Michael Finnissy‘s music is an engagement with existing musical ideas, embracing (and that’s exactly the right word) folk and popular idioms. This engagement is nothing less than an audible wrangling with it from root to tip, as though Finnissy were handling it like plasticine, moulding it into new shapes while considering its constituent elements, in ways that are both analytic and playful. And, indeed, unpredictable, as is the case with his short work Dust, composed in 2008. Read more

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Michael Finnissy – Wild Flowers

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Michael Finnissy‘s musical output is dominated by his works for piano, which to date number around 200, most for solo piano plus others for piano duet and two pianos. For many people, Finnissy’s most well-known work continues to be his first great piano cycle English Country Tunes, a 40-minute, eight-movement journey through music inhabiting the extremes of rage and sublimity. (Coincidentally, today is the 30th anniversary of the première of the final version of that piece, given by Finnissy himself at the BMIC in London). Although indicative of all his music, Finnissy’s works for piano, no doubt due in part to it being the composer’s own instrument, seem to tap to a greater extent into the most intimate and heartfelt aspects of his outlook, somehow finding an expressive modus operandi that’s simultaneously elemental yet agonisingly personal. In Finnissy’s hands, the piano finds both pain and ecstasy. Read more

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