Analysis Of Gerald Finzi 's ' Beethoven Symphony '

1485 Words Dec 7th, 2016 6 Pages
One misunderstanding of Finzi’s style to those reflecting on his music, was that he refused to use higher dissonant notes, which was a component in twentieth-century music. This is a way that people recognized Finzi’s work because he kept his options open with new possibilities, but restricted himself from specific rules. For example, “a dominant seventh chord in a motet by Byrd is as dissonant in its context as the opening chord of the finale of Beethoven’s ninth symphony.” In other words, those characteristics were prominent in determining pieces by other composers, such that small notation was recognizable for Finzi’s work.
Subsequently, Gerald Finzi’s musical compositions gathered much fame, but in a rare storyline. Throughout his life, only two of Finzi’s pieces were physically made. Dies natalis, and White-flowering days are the pieces Finzi composed. Furthermore, he was not encouraged to record his compositions, he was only interactive in conducting his own music in concerts and broadcasts. During the 1939-1945 war, his musical talent was surpassed for the moment being. Finzi continued to develop as he felt more intentions for his musical skills when observing the new characteristics of his country during the war. Although he continued to compose, a majority of his music was not yet recorded until after his death. An example would be a clarinet concerto, Five Bagatelles, which was written during the war to portray the passing moments during his…
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