Finzi Songs
Another singer and pianist fully in tune with the spirit of these elusive songs
View record and artist detailsRecord and Artist Details
Composer or Director: Gerald (Raphael) Finzi
Genre:
Vocal
Label: Linn Records
Magazine Review Date: 8/2005
Media Format: CD or Download
Media Runtime: 63
Mastering:
Stereo
Catalogue Number: CKD253

Tracks:
Composition | Artist Credit |
---|---|
Oh fair to see, Movement: I'll seek her (wds T Hardy) |
Gerald (Raphael) Finzi, Composer
Anna Tilbrook, Piano Gerald (Raphael) Finzi, Composer James Gilchrist, Tenor |
Oh fair to see, Movement: Oh fair to see (wds C Rossetti) |
Gerald (Raphael) Finzi, Composer
Anna Tilbrook, Piano Gerald (Raphael) Finzi, Composer James Gilchrist, Tenor |
Oh fair to see, Movement: As I lay in the early sun (wds E Shanks) |
Gerald (Raphael) Finzi, Composer
Anna Tilbrook, Piano Gerald (Raphael) Finzi, Composer James Gilchrist, Tenor |
Oh fair to see, Movement: Only the wanderer (wds I Gurney) |
Gerald (Raphael) Finzi, Composer
Anna Tilbrook, Piano Gerald (Raphael) Finzi, Composer James Gilchrist, Tenor |
Oh fair to see, Movement: To Joy (wds E Blunden) |
Gerald (Raphael) Finzi, Composer
Anna Tilbrook, Piano Gerald (Raphael) Finzi, Composer James Gilchrist, Tenor |
Oh fair to see, Movement: Harvest (wds E Blunden) |
Gerald (Raphael) Finzi, Composer
Anna Tilbrook, Piano Gerald (Raphael) Finzi, Composer James Gilchrist, Tenor |
Oh fair to see, Movement: Since we loved (wds R Bridges) |
Gerald (Raphael) Finzi, Composer
Anna Tilbrook, Piano Gerald (Raphael) Finzi, Composer James Gilchrist, Tenor |
Till Earth outwears, Movement: Let me enjoy the earth |
Gerald (Raphael) Finzi, Composer
Anna Tilbrook, Piano Gerald (Raphael) Finzi, Composer James Gilchrist, Tenor |
Till Earth outwears, Movement: In years defaced |
Gerald (Raphael) Finzi, Composer
Anna Tilbrook, Piano Gerald (Raphael) Finzi, Composer James Gilchrist, Tenor |
Till Earth outwears, Movement: The Market Girl |
Gerald (Raphael) Finzi, Composer
Anna Tilbrook, Piano Gerald (Raphael) Finzi, Composer James Gilchrist, Tenor |
Till Earth outwears, Movement: I look into my glass |
Gerald (Raphael) Finzi, Composer
Anna Tilbrook, Piano Gerald (Raphael) Finzi, Composer James Gilchrist, Tenor |
Till Earth outwears, Movement: It never looks like summer here |
Gerald (Raphael) Finzi, Composer
Anna Tilbrook, Piano Gerald (Raphael) Finzi, Composer James Gilchrist, Tenor |
Till Earth outwears, Movement: At a Lunar Eclipse |
Gerald (Raphael) Finzi, Composer
Anna Tilbrook, Piano Gerald (Raphael) Finzi, Composer James Gilchrist, Tenor |
Till Earth outwears, Movement: Life laughs onwards |
Gerald (Raphael) Finzi, Composer
Anna Tilbrook, Piano Gerald (Raphael) Finzi, Composer James Gilchrist, Tenor |
(A) Young Man's Exhortation, Movement: A young man's exhortation (?1926) |
Gerald (Raphael) Finzi, Composer
Anna Tilbrook, Piano Gerald (Raphael) Finzi, Composer James Gilchrist, Tenor |
(A) Young Man's Exhortation, Movement: Ditty |
Gerald (Raphael) Finzi, Composer
Anna Tilbrook, Piano Gerald (Raphael) Finzi, Composer James Gilchrist, Tenor |
(A) Young Man's Exhortation, Movement: Budmouth dears (Hussar's Song) |
Gerald (Raphael) Finzi, Composer
Anna Tilbrook, Piano Gerald (Raphael) Finzi, Composer James Gilchrist, Tenor |
(A) Young Man's Exhortation, Movement: Her temple |
Gerald (Raphael) Finzi, Composer
Anna Tilbrook, Piano Gerald (Raphael) Finzi, Composer James Gilchrist, Tenor |
(A) Young Man's Exhortation, Movement: The comet at Yell'ham |
Gerald (Raphael) Finzi, Composer
Anna Tilbrook, Piano Gerald (Raphael) Finzi, Composer James Gilchrist, Tenor |
(A) Young Man's Exhortation, Movement: Shortening days |
Gerald (Raphael) Finzi, Composer
Anna Tilbrook, Piano Gerald (Raphael) Finzi, Composer James Gilchrist, Tenor |
(A) Young Man's Exhortation, Movement: The sigh |
Gerald (Raphael) Finzi, Composer
Anna Tilbrook, Piano Gerald (Raphael) Finzi, Composer James Gilchrist, Tenor |
(A) Young Man's Exhortation, Movement: Former beauties |
Gerald (Raphael) Finzi, Composer
Anna Tilbrook, Piano Gerald (Raphael) Finzi, Composer James Gilchrist, Tenor |
(A) Young Man's Exhortation, Movement: Transformations |
Gerald (Raphael) Finzi, Composer
Anna Tilbrook, Piano Gerald (Raphael) Finzi, Composer James Gilchrist, Tenor |
(A) Young Man's Exhortation, Movement: The dance continued |
Gerald (Raphael) Finzi, Composer
Anna Tilbrook, Piano Gerald (Raphael) Finzi, Composer James Gilchrist, Tenor |
Author: John Steane
This is the third encounter with Finzi in recent months. Mark Padmore with Roger Vignoles (Hyperion, 5/05) and Roderick Williams with Ian Burnside (Naxos, 6/05) have both won praise and, it’s reasonable to suppose, have enhanced the general receptivity to the very personal voice of this quietly spoken composer whose affections lie so deep within him, their utterance at once heartfelt and restrained. This recital, of three sets of songs, is well in tune with his spirit, the singer freshly living out the poem in his imagination, the pianist sensitive to the thought and development of mood behind, or within, the written notes. Anna Tilbrook has the touch for Finzi (I would like to hear her play the Eclogue): melody and rhythm are clearly articulated but not promoted or insisted upon beyond the modest pleasure of the player (and composer).
James Gilchrist’s singing is at one with this approach. It is good to hear the voice gain resonance and make the comparatively rare forte carry more in the way of release than a more habitually robust manner would do. His clarity and precision are warmed by a rare sweetness of tone, and the ‘lie’ of these songs appears to suit him to perfection. Yet one could do without so much of what I think of as the chorister’s crescendo – that way of growing on each note, good for choral singing but spoiling a soloist’s legato. Compare Martyn Hill in A Young Man’s Exhortation: his voice resembles Gilchrist’s in kind but his phrases are more evenly bound, with no loss of sensitivity to music or words.
That, however, is the only misgiving – except for one other, totally different matter. In recitals like this we really want to see the track numbers; it would greatly help if they were printed clearly, black on white, and included alongside the text.
James Gilchrist’s singing is at one with this approach. It is good to hear the voice gain resonance and make the comparatively rare forte carry more in the way of release than a more habitually robust manner would do. His clarity and precision are warmed by a rare sweetness of tone, and the ‘lie’ of these songs appears to suit him to perfection. Yet one could do without so much of what I think of as the chorister’s crescendo – that way of growing on each note, good for choral singing but spoiling a soloist’s legato. Compare Martyn Hill in A Young Man’s Exhortation: his voice resembles Gilchrist’s in kind but his phrases are more evenly bound, with no loss of sensitivity to music or words.
That, however, is the only misgiving – except for one other, totally different matter. In recitals like this we really want to see the track numbers; it would greatly help if they were printed clearly, black on white, and included alongside the text.
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