Weeks, James (2019) 'Finnissy's voices.', in Critical perspectives on Michael Finnissy : bright futures, dark pasts. London: Routledge. Ashgate studies in theory and analysis of music after 1900.
The human voice has a central place in Michael Finnissy’s work. As Finnissy attests, part of the voice’s significance to him lies in its tendency to melody: his is an art of line, of connective lyric movement spun out over a breath. This chapter aims to probe the generalisations a little more deeply and investigates the nature and nuances of Finnissian vocality in two vocal ensemble works written thirty-five years apart: Tom Fool’s Wooing and Gesualdo: Libro Sesto. Demanding as it may be, much of the vocality of Tom Fool’s Wooing is rooted in fundamental vocal archetypes, connected with the work’s similarly archetypal themes of love, courtship and coupling. Thus Finnissy adopts and develops Gesualdo’s harmonic and textural strategies, and the expressive principles underlying them, in different directions within the work. Finnissy’s voices are not only bodies but someone’s bodies, placed in relation to these cardinal questions through which they interrogate their own humanity.
|Item Type:||Book chapter|
|Full text:||Publisher-imposed embargo until 24 November 2021. |
(AM) Accepted Manuscript
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|Publisher Web site:||https://doi.org/10.4324/9781351031547|
|Publisher statement:||This is an Accepted Manuscript of a book chapter published by Routledge in Critical perspectives on Michael Finnissy : bright futures, dark pasts on 24 May 2019 available online: http://www.routledge.com/9781138491977|
|Date accepted:||No date available|
|Date deposited:||13 December 2019|
|Date of first online publication:||24 May 2019|
|Date first made open access:||24 November 2021|
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