At a Lunar Eclipse
- Musical Analysis Section
- Audio Recordings Section
- Unpublished Analysis Excerpts
- Gerhardus Daniël Van der Watt - The Songs of Gerald Finzi (1901-1956) To Poems by Thomas Hardy
- Mark Carlisle - Gerald Finzi: A performance Analysis of A Young Man's Exhortation and Till Earth Outwears, Two Works for High Voice and
- Leslie Alan Denning - A Discussion and Analysis of Songs for the Tenor Voice Composed by Gerald Finzi with Texts by Thomas Hardy
Poet: Thomas Hardy
Date of poem: Written in the 1860's but as to the exact date of the poem, Richard Little Purdy, a scholar of Hardy's works, does not specify.
(Purdy, 111)
Publication date: Mid-November 1901 (Florence Hardy, 91)
Publisher: Macmillan Publishing Company
Collection: Poems of the Past and the Present (1901) under the heading: "Miscellaneous Poems."
History of Poem: James Osler Bailey cites Benjamin Vincent's book, Haydn's Dictionary of Dates as to the date of the comet that Thomas Hardy viewed. Benjamin Vincent has the date as: "July 18, 1860."
(Vincent, 271, as quoted by Bailey)
(Bailey, 142)
Poem
| 1 | THY shadow, Earth, from Pole to Central Sea, | a |
| 2 | Now steals along upon the Moon’s meek shine | b |
| 3 | In even monochrome and curving line | b |
| 4 | Of imperturbable serenity. | a |
| 5 | How shall I link such sun-cast symmetry | a |
| 6 | With the torn troubled form I know as thine, | b |
| 7 | That profile, placid as a brow divine, | b |
| 8 | With continents of moil and misery? | a |
| 9 | And can immense Mortality but throw | c |
| 10 | So small a shade, and Heaven’s high human scheme | d |
| 11 | Be hemmed within the coasts yon arc implies? | e |
| 12 | Is such the stellar gauge of earthly show, | c |
| 13 | Nation at war with nation, brains that teem, | d |
| 14 | Heroes, and women fairer than the skies? | e |
Content/Meaning of the Poem:
1st stanza: The Earth's shadow is visible from the Moon's Pole to its Central Sea, the shadow creeps along the Moon's surface, the shadow is a single color and has the shape of a curved line, the scene is calm and serene.
2nd stanza: How can this shadow represent the Earth with all of its problems, the shadow is as tranquil as if viewing the brow of God, and yet the Earth is full of drudgery and misery?
3rd stanza: How can mans existence seem so insignificant and cast such a small shadow, how can human existence be imprisoned within the borders the shadow represents?
4th stanza: Is this the true representation of the Earth, war between nations, minds capable of incredible thoughts and ideas, heroes, and women more beautiful than the skies?
For additional comments as to possible meaning of the text please refer to: Content.
Speaker: Thomas Hardy
Setting: Nothing specified but one can assume it would be a setting outdoors or in a conservatory in which one could view an eclipse.
Purpose: Putting one's ego in perspective.
Idea or theme: Man's insignificance in comparison to the cosmos.
Style: As to the style Gerhardus Daniël Van der Watt writes in his dissertation: "The poem has a pastoral inclination but a stronger emphasis on philosophical musing with the typical Petrarchan description-application structure."
(Van der Watt, 400)
Form: The form is well described by Gerhardus Daniël Van der Watt in his dissertation as: "The sonnet's octave is divided into two quatrains due to the fact that the description is only four lines long and the application already starts with the second quatrain. The sestet is also divided into two triplets to separate the two further rhetorical questions which are asked. The rhyme scheme conforms exactly to that of a standard Petrarchan sonnet: abba abba cde cde. The metre is mostly iambic but stanzas 2 and 3 have a fair number of dactylic interpolations."
(Van der Watt, 400)
Synthesis: The poem is a testament to the skill possessed by Thomas Hardy and how he could take a natural occurring stellar event and use it as a bully pulpit in his condemnation of mankind. One can also see within the poem the use of light and dark when Hardy compares the images of the eclipse from afar and then close-up. Hardy, frequently addressed the topic of mankind misusing the environment as well as each other, for example his largest work, The Dynasts and how it focuses on war and its awful effect on mankind. Hardy's poetry is generally categorized as highly pessimistic and yet this poem concludes with three positive images: "brains that teem, Heroes, and women fairer than the skies." Hardy obviously wanted to lecture mankind but at the same time he also wanted to remind us to live in harmony with nature and one another.
Published comments about the poem: James Osler Bailey suggests the following in his analysis of the poem: "This Miltonic sonnet expresses a thought that runs through Hardy's works. It meditates the contrast between the "ghast" cosmos of astronomy and the human world, or between vast imperturbable serenities and "Nation at war with nation" on a planet unimportant to the Will of the universe, yet important to man. In his Preface for Two on a Tower, Hardy stated this theme as his intention in the novel: "This slightly-built romance was the outcome of a wish to set the emotional history of two infinitesimal lives against the stupendous background of the stellar universe, and to impart to readers the sentiment that of these contrasting magnitudes the smaller might be the greater to them as men." In The Return of the Native, Clym Yeobright watches the moon as an eclipse begins and is led to dream of relative values: "More than ever he longed to be in some world where personal ambition was not the only recognized form of progress -such, perhaps, as might have been the cas at some time or other in the silvery globe then shining upon him." (Book Third, Chapter IV.) In Tess of the D'Urbervilles, Hardy draws a moral lesson from the relativity presented in the poem. Angel Clare learns from a world traveller to view Tess's fault in proportion. "The stranger had sojourned in many more lands and among many more peoples than Angel; to his cosmopolitan mind such deviations from the social norm, so immense to domesticity, were no more than are the irregularities of vale and mountain-chain to the whole terrestrial curve." This view "influenced Clare more than all the reasoned ethics of the philosophers." (Chapter XLIX.) In The Dynasts, the Napoleonic wars are presented through the Spirits in "stellar gauge," continents lying spread to view as on a map. Apparently Hardy's meditations upon an eclipse he saw in 1860 helped shape his view of the world for the rest of his life."
(Bailey, 142-3)
F. B. Pinion suggests comparing Hardy's "In Vision I Roamed, the preface to Two on a Tower, and the final hope of The Dynasts" when analyzing At a Lunar Eclipse.
(Pinion, 41)
Sarah Bird Wright in her reference guide to Thomas Hardy's works makes the following comments about At a Lunar Eclipse: "The poet addresses troubled Earth, whose shadow is creeping across the "imperturbable serenity" of the surface of the moon during the eclipse. He asks if this is the gauge of the significance of Earth, whose inhabitants take pride in the intellectual accomplishments of "brains that teem,/Heroes, and women fairer than the skies?" Taken in their entirety, they cast but a small shadow against the moon. Hardy argues that earth is relatively insignificant within the larger universe; achievements, events, and troubles that seem momentous to men are entirely miniscule when measured by the "stellar gauge" of its tiny "shade." The poem expresses a theme that is apparent in much of Hardy's work: the contrast between "vast imperturbable serenities" and warring nations "on a planet unimportant to the Will of the universe, yet important to man." "
(Wright, 13)
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Poems of the Past and the Present
- Collection of 99 poems written by Thomas Hardy.
- Published in November of 1901 by Harper and Brothers.
- Hardy's second collection of poems published.
"An anonymous reviewer of the volume for the Saturday Review called it a "grey book," but declared that every poem in the book had "something to say," even though it was sometimes said in a "slow, twisted, sometimes enigmatic manner." (Wright, 251)
"T. H. Warren, president of Magdalen College, Oxford, writing in The Spectator, suggested that poetry was not Hardy's "proper medium," and deplored his "morbid taste for the ghastly and the gruesome." (Wright, 251)
Gerald Finzi set the following poems within this collection:
- A Spot [titled by Finzi as: In Years Defaced] (Till Earth Outwears)
- At a Lunar Eclipse (Till Earth Outwears)
- The Comet at Yell'ham (A Young Man's Exhortation)
- I Need Not Go (I Said To Love)
- In Years Defaced (Till Earth Outwears)
- I Said to Love (I Said To Love)
- To Lizbie Browne (Earth and Air and Rain)
- The Self-Unseeing (Before and After Summer)
Helpful Links:
- Thomas Hardy Web site
- Project Gutenberg (e-text format of all poems within collection)
- Fullbooks.com (texts for all poems within collection)
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Musical Analysis
Composition date: 1929 (Banfield, 144) Revised in 1941
Publication date: © Copyright © 1958 by Boosey & Co. Ltd.
Publisher: Boosey & Hawkes - Distributed by Hal Leonard Corporation
Tonality: The song begins in D Major and ends in G Major but in between there are several modulations. The unsettled tonality supplies the sensation of wandering or in the case of the text the eclipse covering the Earth. For additional information about the original key please refer to: Tonality Van der Watt or Tonality Carlisle.
Transposition: The song is available a major third lower than the original key. The transposed version may be found in the Medium/Low Voice edition by Boosey & Hawkes entitled: Gerald Finzi Collected Songs 54 Songs Including 8 Cycles or Sets.
Duration: Approximately three minutes and thirty-three seconds.
Meter: The song is completely unmetered and because of this the quarter pulse is extremely important. It gives one a sense of a steady movement from beginning to end. For information about meter within the song please refer to: Metre.
Tempo: The only indication of tempo is: Andante sostenuto with the quarter note equalling sixty-three. Finzi, obviously chose to use one tempo and to not offer any variation so as to better portray an actual eclipse. One can almost feel the shadow creeping across the Earth with the steady pulse just as one would experience it in true life. For a discussion about the tempi within the song please refer to: Speed.
Form: Mark Carlisle in his dissertation describes the form as A-B-A¹-A² but Gerhardus Daniël Van der Watt records in his analysis the form to be a-b-c-a¹. For additional information as well as the complete description offered by Carlisle and Van der Watt about the form please refer to: Structure Van der Watt or Form Carlisle.
Rhythm: Finzi doesn't utilize any unique rhythms for the song but rhythm does play an important role in the piece. As was mentioned above under the heading "Tempo" there is a steady pulse of a quarter note and so when Finzi uses any rhythmic duration shorter it garners interest. Another rhythmic interest is a theme that Finzi uses to begin the song in the piano accompaniment and then echoes it in the vocal line. This particular pattern consists of a quarter-dotted quarter-eighth-quarter note. The pattern is found numerous times within the song either in the accompaniment or the vocal line. A variation of the pattern is used to begin the third and fourth sections of the vocal line as well. For additional discussion about the rhythm and the rhythmic motifs of the song please refer to: Rhythm Van der Watt.
A rhythmic duration analysis was performed and for the results please refer to: Rhythm Analysis. Information contained within the analysis includes: the number of occurrences a specific rhythmic duration was used; the phrase in which it occurred; the total number of occurrences in the entire song.
Melody: The vocal line is typical for Finzi in that it utilizes step-wise motion and most often small leaps. Perhaps the most unique feature of this line involves the use of unisons. Finzi judiciously sprinkles unisons throughout the song in the vocal line and even occasionally employs the unison in the piano accompaniment. The unison when coupled with a triplet rhythm gives one a sensation of something "mechanical" or possibly the feeling of steady clock pulse. Several of the vocal line phrases have typical "arches" for a Finzi phrase and upon further analysis and criticism one must wonder if the text could have been better served if Finzi would have made his ascent and consequent descent more deliberate in order to portray the slow arch of an eclipse. For additional information about the melodic material within the song please refer to: Melody Van der Watt or Melody Carlisle. Also, an interval analysis was performed for the purpose of discovering the number of occurrences specific intervals were used and also to see the similarities if there were any between stanzas. Only intervals larger than a major second were accounted for in the interval analysis. For a complete description of the results of the interval analysis please refer to: Interval Analysis.
Texture: The texture is contrapuntal predominately and according to Gerhardus Daniël Van der Watt it varies between two and seven parts, with five occurring more times than others. For a brief description about the texture including a table outlining the types of texture and the percentage in which they were used please refer to: Texture Van der Watt.
Vocal Range: The vocal range spans an interval of a perfect twelfth. The lowest pitch is the E below middle C and the highest pitch is the A above middle C. The song is also available a major third lower in the Medium/Low Voice edition by Boosey & Hawkes entitled: Gerald Finzi Collected Songs 54 Songs Including 8 Cycles or Sets.
Tessitura: The tessitura spans a major ninth from the E below middle C to the F sharp above middle C. For the purpose of accurately determining the tessitura a pitch analysis was performed and for the complete results please refer to: Pitch Analysis.
Dynamic Range: The only indication for dynamics beyond crescendo and decrescendo marks throughout the piece is that of pianissimo and it occurs within the piano accompaniment. There are no indications for the vocal line but one may assume that Finzi would want the voice to imitate the dynamics of the piano. The climax for the vocal line occurs on the text "fairer" in the next to the last system of the song. The climax coincides with the highest pitch of the song as well. Even though this song is perhaps the most unique to the set, some criticism seems in order: with the climax occurring so late in the song it gives very little time for the eclipse to recede and therefore seems a bit unsatisfying also the use of dynamics throughout seem to distract from the steady creep of the eclipse. Perhaps the interjections of dynamics are Finzi's attempt to point out man's influence or disturbance, if you will, of the natural phenomenon. A unique feature of the dynamics can be found in the separate crescendo and decrescendo marks for the right and left hand of the piano accompaniment. This is highly unusual for Finzi and especially so when one considers his remark to his good friend and colleague, Howard Ferguson that any competent performer should be able to know what dynamic is needed. For further discussion about dynamics including a table listing where each dynamic is indicated within each stanza please refer to: Dynamics Van der Watt.
Accompaniment: The accompaniment is somewhat difficult from several aspects: one, the static use of dynamics in ascending and descending lines; two, the separate dynamic marks for each hand; three, the frequent use of octaves in the left hand; fourth, the lack of bar lines. For additional information about the accompaniment please refer to: Accompaniment Van der Watt.
Published comments about the music: "In 1860 Hardy watched the eclipse of the moon, and the contrast between the stellar universe and infinitesimal human lives had a powerful hold on him. Finzi's setting of 'At a lunar eclipse' (1929) is austere and, though obviously influenced by Holst's Edgon Heath, audacious. The unbarred but regular piano chords move 'in even monochrome', the soaring voice in 'curving line'; voice and piano are linked by fugato and imitation. There is awe in the sudden thinning into three-octaves unison at 'and can immense mortality . . .' (Ex. 11.5c). As the uniform bass threatens to become monotonous Finzi breaks the rhythm with the perplexed cry 'nation at war with nation', and finally the singer reaches a triumphant top A."
(McVeagh, 42)
(McVeagh, 190)
Pedagogical Considerations for Voice Students and Instructors: At first glance this song does not seem too difficult if one only considers the range for either the tenor voice in the high key or the baritone in the medium/low key. One will quickly discover, however there are several layers of difficulty beyond the range. Breath management for one, will be critical to achieve success in the performance of this song. With this in mind the interpretation of the text will possibly be hampered if one attempts to not observe Finzi's tempo marking in order to alleviate difficulties in breath management. This is especially the case if one considers going faster. It is possible to slow the tempo a little but then one risks breaking the line of poetry and thus possibly negating the work the same as if going too fast. Ideally, the breaths fall best before the beginning of each line of the poem. For example, before "Now" in the second system; before "In" nearing the end of the second system; before "Of" in the third system; before "With" in the forth system; before "With" in the sixth system; before "Be" at the end of the eighth system; before "Nation" near the end of the tenth system. Beyond breath management there is also a climax near the end of the eleventh system on the text "fairer" which may cause some difficulties. In preparation for the high note one need be mindful of not spreading the final syllable of "women." If the high note is pinched or pressed, try emphasizing the [f] of "fairer" and be careful to sing an open [E]. Also, there need be only a hint of [r] before exiting the word, "fairer." So much of what will either make this song successful or not is dependent on good interpretation of the text with careful observation of the dynamics. Lastly, this is truly an ensemble piece and therefore careful work with a pianist is imperative.
Dr. Mark Carlisle records in his dissertation the following observations and advice: "This is without a doubt one of the most difficult of all of Finzi's songs, both technically and interpretively, so considerable care must be taken with performance elements. The only tempo marking in the entire piece is found at the very beginning, that of [quarter note] = c. 63 (Andante sostenuto). This tempo can be adjusted slightly to facilitate the needs of the singer with respect to tessitura, but it is certainly the best starting point. No substantial acceleration of tempo is suggested, however, as the interpretive "weight" of the poetry requires a certain corresponding "weight" in the musical performance." (Carlisle, 72)
"The only dynamic markings written in the music are those of pianissimo, and while this can be very effective at times in this song, especially at the words, "imperturbable serenity," the overall demands of tessitura and textual interpretation really require more diversity even from the most advanced singers. Such diversity can be more than adequately addressed by dynamically following the basic contours of the vocal line, which is all that is really necessary if the singer is expressive in textual pronunciation and enunciation. However, a very gradual but consistent crescendo of both energy and volume (to some extent) seems warranted, beginning with the text, "Is such the stellar gauge," and ending with the last line of text, "and women fairer than the skies?" This crescendo is basically built into the ascendancy pattern of the vocal line, but the singer should strive to intensify this section as much as good vocal technic will allow in order to express most vividly the intensity of the poet's need for his questions to be answered."
(Carlisle, 72-3)
"Although there are other Finzi songs with more substantial ranges, this piece has perhaps the most demanding tessitura and phrasing needs of any of them. The singer of this piece must be quite secure in his technique if he is to successfully overcome these difficulties. Also, there is the problem of textual understanding, and the how to most effectively relate that understanding to an audience. Hardy wrote many poems, including this one, of deep philosophical content that often present serious problems of interpretation for even the most intelligent and gifted of interpreters. A young, undergraduate tenor of considerable skills could possibly surmount the many difficulties of this piece, but it is much more highly recommended for advanced singers at the graduate or professional level. This song requires much patience in the learning process, but greatly rewards those who treat it with the care and respect it deserves."
(Carlisle, 73)
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Below one will find excerpts from unpublished dissertations. The excerpts should provide a more complete analysis of At a Lunar Eclipse for those wishing to see additional detail. Please click on the link or scroll down.
Gerhardus Daniël Van der Watt - The Songs of Gerald Finzi (1901-1956) To Poems by Thomas Hardy
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| Pitch Analysis | ||||||
|---|---|---|---|---|---|---|
| pitch | stanza 1 |
stanza 2 |
stanza 3 |
stanza 4 |
total | |
highest |
A |
1 |
1 |
|||
G |
2 |
2 |
4 |
|||
F |
4 |
1 |
4 |
9 |
||
E |
12 |
1 |
3 |
5 |
21 |
|
D |
8 |
5 |
4 |
7 |
24 |
|
middle C |
5 |
6 |
5 |
4 |
20 |
|
B |
7 |
9 |
7 |
4 |
27 |
|
A |
2 |
7 |
2 |
3 |
14 |
|
G |
4 |
2 |
6 |
|||
F |
3 |
4 |
7 |
|||
lowest |
E |
5 |
2 |
7 |
||
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Audio Recordings
The Songs of Gerald Finzi to Words by Thomas Hardy
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Gerald Finzi Song Collections |
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The English Song Series - 16 |
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Song Cycles for Tenor & Piano by Gerald Finzi |
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Oh Fair to See: Songs by English composers |
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Songs of the Heart: Song Cycles of Gerald Finzi |
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Twenty-Four Aspects of an Amorous Nature |
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Finzi |
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The following is an analysis of At a Lunar Eclipse by Gerhardus Daniël Van der Watt. Dr. Van der Watt extended permission to post this excerpt from his dissertation on October 8th, 2010. His dissertation dated November 1996, is entitled:
The Songs of Gerald Finzi (1901-1956) To Poems by Thomas Hardy
This excerpt comes from Volume II and begins on page three hundred ninety-nine and concludes on page four hundred seven. To view the methodology used within Dr. Van der Watt's dissertation please refer to: Methodology - Van der Watt.
1. Poet
Specific background concerning poem:
"The poem comes from Poems of the Past and the Present (1901) and is undated. Concerning this poem, Hardy's latest biographer, Martin Seymour-Smith says the following:
"He meditated on the subject [Astronomy] constantly, as two poems ('In vision I roamed' and 'At a lunar Eclipse' - perhaps that of 31 March [1883], otherwise the one of 24 September 1866) demonstrate. [But] if you are too prosaic to be awed by the immensity of the universe and the comparative puniness of human beings, you cannot appreciate the writings of someone who was." |
2. Poem
"The poet gives a detailed description of a lunar eclipse: the earth's shadow creeps over the moon's dim light. The dark curving line advances slowly and steadily. This fascinating and mysterious event prompts the poet to ask three questions about the earth, and man's relation to the universe."
(Van der Watt, 399)
How can this earth, so troubled by misery, cast such a perfectly symmetrical and apparently placid shadow? |
|
How can the entire mortal world (human and natural) cast such a minute shadow: can Heaven's great plan for humanity be contained within so small a compass? |
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Does the universe perceive the earth to be a puny little side-show? Nations at war; the ferment of ideas; heroic deeds; the beauty of women. (Van der Watt, 399) |
"The collective implication of these rhetorical questions is: does the existence (and suffering) of the earth make any impact at all on the universe? Is man and his earth as significant as he deems himself? Although these questions are not answered in the poem, one can speculate about Hardy's own answers, bearing in mind the broader perspective of his private philosophy: yes, the earth and its human inhabitants make little impact on the immense universe. We are only a minute part of a vast expanse and we are far too arrogant in our perception of our position in the universe."
(Van der Watt, 399-400)
"The poem has a pastoral inclination but a stronger emphasis on philosophical musing with the typical Petrarchan description-application structure."
(Van der Watt, 400)
"The sonnet's octave is divided into two quatrains due to the fact that the description is only four lines long and the application already starts with the second quatrain. The sestet is also divided into two triplets to separate the two further rhetorical questions which are asked. The rhyme scheme conforms exactly to that of a standard Petrarchan sonnet: abba abba cde cde. The metre is mostly iambic but stanzas 2 and 3 have a fair number of dactylic interpolations."
(Van der Watt, 400)
"The acute description of the lunar eclipse shows Hardy at the height of his poetic power and as was his custom, the natural event leads him to philosophical musing about the relationship between man, earth and the universe. The rhetorical questions are left unanswered, a technique used to draw the reader into the discussion. The formal constraints of the sonnet form complement the intellectual content of the poem."
(Van der Watt, 400)
Setting
"Due to the fact that no bar lines have been used in the notation of the song, the systems (s. 1-12) and beats (s. 1¹-¹⁷, 2¹-¹⁷ etc) have been numbered to facilitate close reference to the score."
(Van der Watt, 400)
1. Timbre
VOICE TYPE/RANGE
"The song is set for tenor voice and the range is a perfect eleventh from the first E below middle C." (Van der Watt, 400)
"The highest pitch that is used in the piano accompaniment is the fourth E above middle C and this occurs at system 3¹³ in an extremely high section from s. 3⁸- 4⁸. The adjacent text in this section is "O imperturbable serenity", referring to the shadow that the earth casts on the distant moon. the use of the extremely high register here, symbolizes the observer's peering into the night sky to perceive the phenomenon of the lunar eclipse. The lowest pitch which occurs in the bass part, is the fourth B below middle C (the third lowest note on a normal piano) and the final note of the song. The fourth D below middle C also occurs a number of times (s. 1¹, 2³, 9¹³, 9¹⁶, 10¹⁰). This use of the extremely low register of the piano is associated with the Earth and its trouble and misery, referred to in the poem. It is clear that the piano's sonorities have been fully explored in the song, not for the sake of exploring the sonority of the piano, but to support and enhance the text. Reference to the stars and universe are associated with the high register while man and earth are associated with the low register. The right and left hand material respectively fulfil these roles in a general sense."
(Van der Watt, 400)
"There are no indications for the use of pedalling but the indication, sostenuto sempre (s. 1¹), and the general chordal nature of the accompaniment suggest that the pedal should be used at the performer's discretion. Another indication, senza accento (s. 1¹) anticipates the fact that there are no indications of articulation in the piano part, apart from a single legato slur (s. 3¹³ - 4⁴) to ensure legato touch in the four-octave displacements of the left hand part. (this great ascending distance covered by the left hand in the interlude between stanzas 1 and 2, enhances the idea of looking heavenward and anticipates the text, "how shall I link", with its implication of earthly misery contrasted with the grace of planetary phenomenon.) The even flowing, unaccented piano accompaniment is directly related to the text in stanza 1: "even monochrome...line Of imperturbable serenity"."
(Van der Watt, 401)
"A uniform atmosphere is created in the song: Undisturbed, half mysterious, and an air of falsely perceived serenity. the harmonic dissonance, however, causes an utterly restrained expression of the misery of man's lot on earth. In the final stanza the atmosphere created in the piano part is influenced by the text, "heroes, and women fairer than the skies", during which a brief moment of upliftment is encountered. The postlude, nevertheless, returns to the original atmosphere by presenting the opening melodic material again. Apart from the four-octave, ascending displacement of the E in the left hand in systems 3¹³ - 4⁴, which has been discussed in the previous paragraph, there is another interesting melodic feature: in two separate sections (s. 4⁶ - 5¹⁵ and 6¹³ - 7⁹) the left hand has melodic descent over 25 and 12 beats respectively. This very pertinent downward tendency can be seen as representing the slow progress of the earth's shadow across the moon."
(Van der Watt, 401)
2. Duration
"The textual metre is mostly iambic with a number of dactylic deviations in stanzas 2 and 3. Finzi does not commit himself to a specific metric unit by introducing a time-signature. The crotchet beat, however, becomes the unit of movement and were the song notated in common time, it would have been exactly 50 bars long (200 beats divided by 4). The lack of an indiction is functional, in that it focuses the performers' attention on the absolute evenness of the metric movement (s. 1¹ senza accento). The listener experiences being ill at ease and being lost in the immensity of the universe due to the absence of accentuated beats - exactly as the composer intended."
(Van der Watt, 401)
Rhythmic motifs
"The rhythmic motif consisting of a dotted crotchet, quaver and two or more crotchets (motif 1), occurs 20 times in both piano and vocal parts (s. 1¹-⁵(bass), 1⁵-⁹(alto), 1¹¹-¹⁵(2 - soprano and voice), 1¹⁷-2⁴(soprano), 2¹³-2¹(varied - voice), 2¹⁶-3⁴(soprano), 3¹-⁵(bass), 5¹⁵-6²(bass), 6²-⁷(tenor), 6⁴-⁸ (soprano), 6⁶-¹⁰(bass), 7¹⁴-¹⁸(3 varied voice and soprano), 9⁷-¹¹(soprano), 9¹⁶-10³(bass), 10¹-⁵(2 voice and soprano), 10⁸-¹²(soprano) and 12⁷-¹¹(soprano)). This is not only a rhythmic but also a melodic motif which is used in stretto a number of times. The motif occurs throughout the song and in consequence has a strong function of unity. The only other rhythmic motif which is used a number of times is a triplet, of which the last note is tied to a quaver (motif 2) and occurs five times in the vocal part only, (s. 3¹³, 4⁸(v), 4¹⁴, 6¹⁰, 10¹²). This motif sets certain words perceptively as will be shown."
(Van der Watt, 401)
Rhythmic activity vs. Rhythmic stagnation
"While rhythmic motifs are few, the incessant forward movement of the crotchet overshadows any other rhythmic activity. This movement is impeded only on two occasions: system 7¹⁰-¹³ and the final chord, system 12¹⁶-²³. The former represents the only internal cadence in the song at the end of the interlude between stanzas 2 and 3 and the latter, the final cadence."
(Van der Watt, 402)
Rhythmically perceptive, erroneous and interesting settings
"The following words have been set to music perceptively:"
(Van der Watt, 402)
Lengthening of voiced consonants
"The following words containing voiced consonants have been rhythmically prolonged in order to make the word more singable:"
(Van der Watt, 402)
"The tempo indication is Andante sostenuto [quarter note equals] c. 63. There are no deviations from this tempo due to the composer's commitment to the establishment of an uninterrupted flowing musical movement in support of the text: "In even monochrome and curving line \ Of imperturbable serenity."
(Van der Watt, 402)
3. Pitch
Intervals: Distance distribution
Interval |
Upwards |
Downwards |
Unison |
(31) |
|
Second |
45 |
31 |
Third |
3 |
6 |
Fourth |
6 |
6 |
Fifth |
5 |
0 |
Sixth |
0 |
1 |
Seventh |
0 |
1 |
"There are 31 repeated pitches (or 23% of the total number), 59 rising intervals (or 44%) and 45 falling intervals (or 33%). The smaller intervals (a third and smaller) account for 116 intervals (86% of the total number) while the larger intervals (fourths and larger) account for 19 (or 14%). The incidence of small intervals is extremely high and consequently the vocal line is very sympathetic to the voice. A number of specific settings, involving larger intervals, are listed below:"
Interval |
Bar no. |
Word/s |
Reason/s |
4th up |
1¹⁴- ⁵ |
Earth from |
Emphasis |
6th down |
2¹²-³ |
meek shine |
Reinforce emotional content |
5th up |
4⁸-⁹ |
I link |
Emphasis |
5th up |
5¹-² |
troubled form |
Emphasis |
7th down |
5¹¹-² |
That profile |
Change of register |
4th up |
6⁹-¹⁰ |
and misery |
Reinforce emotional content |
5th up |
7¹⁶-⁷ |
immense |
Reinforce meaning |
4th down |
8³-⁴ |
small a shade |
Reinforce emotional content |
4th up |
10⁴-⁵ |
stellar gauge |
Emphasis |
5th up |
11³-⁴ |
that teem |
Reinforce meaning |
5th up |
11⁹-¹⁰ |
women fairer |
Emphasis, emotional content |
Melodic curve
"A melodic curve of the vocal line is represented below. Certain words are indicated to show the relationship between the melodic curve and the meaning."
(Van der Watt, 403)
Climaxes
"The vocal climaxes are given below:"
System no. |
Pitch |
Word |
1¹⁵ |
G |
from |
2⁸ |
G |
along |
10⁵ |
G |
gauge |
11¹⁰ |
A |
fairer |
The true vocal climax is the A which occurs on the word "fairer" and places the climax within 26 beats of the end of the song."
(Van der Watt, 404)
Phrase lengths
"The vocal phrases are extremely long and breathing needs to be considered carefully:"
Stanza 1 |
2⁴, 2¹⁴, 3³ |
|
Stanza 2 |
4¹⁸, 6³ (and rests) |
|
Stanza 3 |
8¹, 8¹⁴ (and rest) |
|
Stanza 4 |
10¹¹ (and rests) |
"The basic key is D major, although b natural minor with a tierce di Picardi, ends the song. All modulations are summarized below."
System no. |
From - To |
Suggested reason/s |
3¹⁰ |
D - e |
Text supported: "serenity" |
4¹¹ |
e - G |
Not text related |
5¹⁶ |
G - a |
Text supported: "a brow divine" |
6³ |
a - G |
Not text related |
7¹⁴ |
G - e |
Implication supported: questioning |
8³ |
e- b |
Text supported: "small a shade" |
9⁷ |
b - D |
Original material, original key |
12³ |
D - b |
Postlude: melancholy end |
"The more melancholy, b minor postlude possibly indicates that the composer answers these rhetorical questions in the affirmative. The tierce di Picardi may well indicate a last minute change of mind. Even this musical uncertainty, whatever the composer's view or sentiments, enhances the incompleteness of the rhetorical questions."
(Van der Watt, 404)
Chromaticism
"Due to the relatively frequent modulation, the song seems more chromatic than it actually is. The following instance can, however, be considered truly chromatic:"
System 8¹ |
"The A# in b minor context, is the only raised leading note in the song. Harmonically it is an interesting moment: iv and III have been superimposed on one another. There is no direct relationship to the text." |
|
System 8¹⁴ |
"The C natural in b minor alters vii, to be minor where the leading note is not raised and sounds against a tonic pedal note. the chord occurs in passing and as in the previous case, has no direct relationship with the text other than the more general purpose of dissonance, namely enhancing expression." |
|
System 12¹⁶ |
"The D# raises the third of the tonic chord in b minor so that it becomes major (tierce di Picardi). The question is: Why modulate to b minor at the start of the postlude, only to end on a major chord anyway? The answer, assuming that the composer acts intentionally, is that he wants to create exactly this sort of ambiguity, as a musical setting of the possible outcomes of the rhetorical questions posed by the poet." |
HARMONY AND COUNTERPOINT
"Triad extension is almost the norm of harmonic usage in the song and chords extended to the seventh are too numerous to list. Chords ii⁹ (s. 2⁴, 2⁸, 6⁷, 6¹¹, 6¹⁶, 7² and 11³) and iv⁹ (s. 4¹¹, 5², 5¹², 8¹¹ and 12¹³) occur regularly while vi⁹ (s. 3⁵), V⁹ (s. 7¹²) and I⁹ (s. 8³) and iii⁹ (s. 11¹) also occur. These chords and the chords with added tones (discussed below) create the diatonic dissonance which carries the atmosphere of the song: remoteness, mysteriousness and a restrained expression of wretchedness."
(Van der Watt, 405)
Non-harmonic tones
"Finzi's standard use of non-harmonic tones - creating dissonance on and off the beat - is highlighted by the use of three prominent appoggiaturas: system 8¹(B and D), 8⁶(F sharp and A) and 11¹⁰(F sharp and A) at the climax of the song."
(Van der Watt, 405)
Harmonic devices
"A pedalpoint or inverted pedalpoint on the tonic of e minor occurs for nine beats from systems 3¹³ - 4⁵. the E sounds in four different octaves and establishes some tonal stability against a dissonant, descending chordal meandering which largely constitutes the interlude between stanzas 1 and 2. Chords containing added tones are a prominent feature of the song's harmonic language. A triad with an added fourth occurs 16 times, with an added second six times and with an added sixth four times. The result is a richly coloured, diatonic dissonance which mainly carries the idea of suppressed misery or disillusionment."
(Van der Watt, 405)
Counterpoint
"There are some very obvious exchanges of material between piano and voice and piano internally which have been listed fully under the rhythmic material. A three-part stretto of the opening motif occurs in systems 1, 6 and 10. the repeated use of this motif and its imitation has a strong unifying effect on the song. One other brief motif which is imitated in the piano part occurs in system 9¹-⁴(voice) imitated in system 9³-⁶(piano)."
(Van der Watt, 405)
"Loudness variation is given in the following summary:"
(Van der Watt, 405-6)
FREQUENCY
"There are 32 indictions in the 200 beats (or 50 4/4 bars) which means that dynamic indictions are used sparingly. There are no separate indications for the voice which implies that the voice should follow the indication given in the piano part."
(Van der Watt, 406)
RANGE
"The composer only uses the pp (s. 1¹, 7¹³, 12⁷) indiction and some small scale crescendos and diminuendos. The indicated dynamic range is extremely small but tallies with the atmosphere of mysteriousness and remoteness."
(Van der Watt, 406)
VARIETY
"The indications used are:"
(Van der Watt, 406)
DYNAMIC ACCENTS
"There are no accents in the piano part (s. 1¹ senza accento) but the vocal part contains six portamento accents (s. 10¹²-11¹) on the words "Nation at war with nation". The tragic importance of these words is emphasized."
(Van der Watt, 406)
"The density varies loosely between two and seven parts including both piano and voice. The thickness of the piano part is represented in the following table:"
No. of parts |
No. of beats |
Percentage |
2 parts |
4 |
2 |
3 parts |
6 |
3 |
4 parts |
30 |
15 |
5 parts |
119 |
60 |
6 parts |
41 |
20 |
"A four to six-part chordal texture dominates in the song. The thinner texture only occurs in the prelude where the imitating voice has not yet entered. The six-part texture is most prominent in system 3⁴- ¹³ during which the higher register of the piano is explored with the words: "and curving line \ Of imperturbable serenity".
(Van der Watt, 406)
"The structure of the song is represented in the following table:"
"The song's structure has ternary characteristics without being explicitly ternary. The atmosphere and material are so closely knit that one could view the song as having a one-part episodic form with the initial episode returning at the end."
(Van der Watt, 406-7)
7. Mood and atmosphere
"The mood and atmosphere of the song is uniform throughout, except for one small deviation towards the climax (s. 11¹⁰). This uniformity is difficult to characterize: there is a sense of strangeness, linked to the phenomenon of a lunar eclipse; remoteness, linked to the vast expanse of the stellar universe; awe, man's humble perception of his place in the universe; misery, realization of the earth's toil and trouble; disillusionment, linked to human nature and man's puniness in the universe. The composer captures these complex emotions by using a combination of musical elements: no metric accents are provided; the tonality shifts regularly; the dynamic range is extremely small; extended chords and added tones are used to achieve a largely diatonic dissonance; a thick piano texture is used; and extended piano range is employed. These element are not individually responsible for any specific effect, but rather in combination, achieve a successful setting."
(Van der Watt, 407)
General comment on style
"The vocal intervals are extremely voice-friendly (86% smaller intervals). The harmonic language is fairly novel with the extensive use of added tones to the triad. The combination of a thick piano texture with a low dynamic level is a built-in dichotomy which results in the special strangeness of atmosphere. The notation without the use of bar lines supports the subject matter of the poem. The piano's range is fully explored for the sake of creating the required atmosphere."
(Van der Watt, 407)
Unpublished Analysis Excerpts
The following is an analysis of At a lunar Eclipse by Mark Carlisle. Dr. Carlisle extended permission to post this excerpt from his dissertation on September 7th, 2010. His dissertation dated December 1991, is entitled:
Gerald Finzi: A Performance Analysis of A Young Man's Exhortation and Till Earth Outwears, Two Works for High Voice and Piano to Poems by Thomas Hardy
This excerpt begins on page sixty-five and concludes on page seventy-three of the dissertation.
Comments on the Poem
"On June 18, 1860, a lunar eclipse was visible in England, and Hardy wrote this poem shortly thereafter. However, it was not published until 1901, as part of the collection, Poems of the Past and Present. It is in sonnet form, and addresses the planet Earth with deep questions regarding the importance of mankind."
(Carlisle, 65)
"Hardy has often been described as an agnostic who had a deep regard for human life, in spite of the fact that he felt mankind was insignificant in the scheme of the universe. He states in the preface to Two on a Tower his intentions to present the characters as ". . . two infinitesimal lives against the stupendous background of the stellar universe, and to impart to readers the sentiment that of these contrasting magnitudes the smaller might be the greater to them as men." (Bailey, 53) There can be no doubt that Hardy saw himself in this light, and therefore asked the searching questions of this poem on his own behalf."
(Carlisle, 65)
"Three terms in this poem need definition: "Pole to Central Sea" - landmarks of the Moon's topography; "moil" - toil, drudgery; "teem" - abound with knowledge."
(Carlisle, 65)
"'At a lunar Eclipse' represents not only one of Hardy's more sophisticated poems, but also one of Finzi's most complex, unusual, and truly inspired song settings. Hardy's uncertainty about earthly life and the probing questions he asks as a result are echoed in a musical setting that completely eschews the use of bar lines and meter signs, thus creating the effect of music moving with a great deal of uncertainty and unsettledness. The energy of musical direction is supplied primarily by the use of a motive heard in imitative fashion at the very beginning, and incorporated as a device for musical unification throughout the song. Also helping to direct musical energy is a melodic line structured for the longest possible sense of architecture. Ascending melodic patterns that are gradual but constant over the course of several beats, along with the above mentioned musical motive, provide an unwavering perception of musical motion that can be seen below."
(Carlisle, 65-6)
"Example 6. 'At a lunar Eclipse,' through 'of imperturbable serenity.'" (Carlisle, 66-7) |
"The key signature at the beginning of the piece is two sharps, remaining intact throughout the song even though tonal centers frequently shift. There is little if any actual chromaticism used, so a strong consonant feeling is created that beautifully expresses the last words of the first sentence, 'of imperturbable serenity.' Harmony is used in this piece to provide a basic framework of mood and thought rather than to highlight any particular words or phrases. Chords are determined by the melodic counterpoint of lines in both voice and accompaniment, one of the most prominent features of this song. Texture remains quite consistent throughout, although considerably fuller than in many of Finzi's other songs, and does not play a significant role in the development of this song."
(Carlisle, 67)
"Although the piece contains no bar lines, Finzi has produced a work that is subtly divided into four sections, reflecting the four stanzas of the poem. The motion of the music in the accompaniment does not pause or 'breathe' at any time from the very beginning until just before the words 'And can immense Mortality.' Full chords move unabated in mostly hymn-like,k quarter-note movement, with some eighth-note passing tones and half-note chords in either hand thrown in for rhythmical interest. This continually moving rhythmical structure creates an unsettled feeling throughout the song that effectively obscures the shifts between tonal centers."
(Carlisle, 67-8)
"The bulk of the first stanza is clearly set in D major until the final words, 'of imperturbable serenity.' The vocal line remains in D major at this point while the accompaniment moves to the key of G major as evidenced by the constant use of C natural. The second stanza, the piano interlude that follows, and the opening notes of stanza three remain clearly in this new key. However, the reappearance of C sharp indicates a subtle return to D major that is heard in the interlude before the final stanza. Although the fourth stanza remains entirely in D major, the piano postlude moves through the key of B minor to cadence with a B-major chord that underscores the previously mentioned harmonic nebulousness. These shifts of harmony therefore create a musical form that is best described as A-B-A¹-A²."
(Carlisle, 68)
"The two most important aspects of this song are the use of the musical motive found in the beginning eight notes of the piece, and a melodic architecture shaped to provide a meaningful enhancement of the text. The motive, which often varies in length, can be heard in stretto in voice and accompaniment throughout the song (see Example 6). Finzi's use of this motive not only provided the means for perhaps the strongest sense of musical unification to be found in any of his songs, but also the mens for considerable expressiveness, as the motive is certainly one of the most attractive of any that he composed."
(Carlisle, 68-9)
"The basic structure of the vocal melody is not its unusual aspect; it consists of substantially consonant, conjunct motion with some disjunct motion for particularly expressive interest, very typical of Finzi's style. What makes the melody unusual is first, the careful pacing of directional change in order most effectively to express and entire sentence or phrase of the poem, and secondly, the sheer length of each melodic phrase. The distance each phrase must cover is more substantial than is customary, due to the lack of bar lines and constant rhythmical movement. This piece actually contains only four distinctly separate melodic phrases, a remarkable feat in a piece of this poetic and musical length. The opening phrase spans a full two and one-half systems without a rest, for instance, which is considerably longer than most vocal melodies. The same consideration of length can be seen in the other three melodic phrases, even though all of them at some point contain brief instances of rest. Each of the four phrases is made separate by a significant number of rest, usually amounting to minimum of eight to ten beats (assuming the quarter note gets one beat). In this way, the distinction is made clear between a complete melodic phrase and a mere musical/textual pause in the middle of a phrase."
(Carlisle, 69)
"What makes these extended melodic phrases successful is their balanced proportion; each melody is shaped in such a way that a change of direction from ascending to descending motion or vice versa is a gradual but constant process over a period of several beats. No abrupt changes occur, thus allowing the inherent energy of an ascending or descending passage to maintain great consistency and vitality. The second full phrase, beginning with the words, 'How shall I link,' is a particularly good example of this perception. The first half of the melody is of an ascending nature, covering slowly but surely over the period of twenty-one beats the distance of an octave, while the second half is a predominantly descending pattern, covering the distance of only a minor sixth in the span of seventeen beats. The substantial length of time covered by each half of this particular phrase, in combination with the relative shortness of musical distance that each half travels, creates a strongly focused sense of energy from beginning to end (see Example 7)."
(Carlisle, 70)
"Example 7. 'At a lunar Eclipse,' from 'How shall I link' through 'of moil and misery.'"(Carlisle, 70-1) |
"This perception holds true for all four melodic phrases; while none ascend or descend in necessarily equal proportions, the basic characteristic of balanced proportion can be heard and seen in all of them."
(Carlisle, 71)
"The overall structure of this piece, from no meter signs or bar lines to a texture and rhythmical pulse that change little from beginning to end, could easily result in a song filled with monotonous phrases and lackluster energy. This is particularly true with a text such as this, where importance lies in the question, not the answer. However, through Finzi's remarkable grasp of writing for larger poetic proportions, this song is able to fully overcome that ignominious fate. The expansive and well-balanced melodic phrases, in combination with the very expressive unifying motive, provide for much melodic beauty, strength, and vitality; they conquer what could easily be banal, an supply the listener with a wonderful feeling of musical continuity throughout the entire song."
(Carlisle, 71-2)
Comments about Performance
"This is without a doubt one of the most difficult of all of Finzi's songs, both technically and interpretively, so considerable care must be taken with performance elements. The only tempo marking in the entire piece is found at the very beginning, that of [quarter note] = c. 63 (Andante sostenuto). This tempo can be adjusted slightly to facilitate the needs of the singer with respect to tessitura, but it is certainly the best starting point. No substantial acceleration of tempo is suggested, however, as the interpretive "weight" of the poetry requires a certain corresponding "weight" in the musical performance."
(Carlisle, 72)
"The only dynamic markings written in the music are those of pianissimo, and while this can be very effective at times in this song, especially at the words, "imperturbable serenity," the overall demands of tessitura and textual interpretation really require more diversity even from the most advanced singers. Such diversity can be more than adequately addressed by dynamically following the basic contours of the vocal line, which is all that is really necessary if the singer is expressive in textual pronunciation and enunciation. However, a very gradual but consistent crescendo of both energy and volume (to some extent) seems warranted, beginning with the text, "Is such the stellar gauge," and ending with the last line of text, "and women fairer than the skies?" This crescendo is basically built into the ascendancy pattern of the vocal line, but the singer should strive to intensify this section as much as good vocal technic will allow in order to express most vividly the intensity of the poet's need for his questions to be answered."
(Carlisle, 72-3)
"Although there are other Finzi songs with more substantial ranges, this piece has perhaps the most demanding tessitura and phrasing needs of any of them. The singer of this piece must be quite secure in his technique if he is to successfully overcome these difficulties. Also, there is the problem of textual understanding, and the how to most effectively relate that understanding to an audience. Hardy wrote many poems, including this one, of deep philosophical content that often present serious problems of interpretation for even the most intelligent and gifted of interpreters. A young, undergraduate tenor of considerable skills could possibly surmount the many difficulties of this piece, but it is much more highly recommended for advanced singers at the graduate or professional level. This song requires much patience in the learning process, but greatly rewards those who treat it with the care and respect it deserves."
(Carlisle, 73)
Unpublished Analysis Excerpts
The following is an analysis of At a lunar Eclipse by Leslie Alan Denning. Dr. Denning extended permission to post this excerpt from his dissertation on September 8th, 2010. His dissertation dated May 1995, is entitled:
A Discussion and Analysis of Songs for the Tenor Voice Composed by Gerald Finzi with Texts by Thomas Hardy
This excerpt begins on page eighty-four and concludes on page eighty-six of the dissertation.
"Hardy's poem At a lunar Eclipse was published in 1901 among the verses collectively known as Poems of the Past and Present. Because of both form and meter, this poem might appear unapproachable from a musical standpoint. Finzi, however, not only tackled but embraced this poem with great success. The theme again presents several concerns of both poet and composer: the contrast between nature and human form and the discrepancies between the universe and man's inhumanity towards man. Hardy expressed this relationship within the poem:
"How shall I link such suncast symmetry With the torn troubled form I know as thine" |
Both in celestial theme and style Finzi's 1929 composition "At a Lunar Eclipse" is quite experimental and is this set's equivalent of "The Comet at Yell'ham." Like "The Comet at Yell'ham," "At a Lunar Eclipse" is one of Finzi's least characteristic pieces and exists in contrast to the songs surrounding it in the set. In similar style to "The Comet at Yell'ham," this example is also unbarred, and creates an atmospheric setting depicting one' relationship to the vast universe. The song opens with low-pitched octaves which eventually become heavy chords. The harmony is often intense but remains characteristically Finzi and is not as experimental as that used in "The Comet at Yell'ham." The ominous effect of the chords, which provide motion for the piece, are perhaps suggested by the text "The shadow Earth." The regularly occurring chords also find their inspiration in the movement of the eclipse in "even monochrome," reflected in the accompaniment just as the "curving line" exists in the melody. This juxtaposition is also descriptive of a human form as it opposes the universe."
(Denning, 84-5)
"The melodic line is typical of Finzi, employing ascending steps or small leaps usually on a weak beat, followed by larger leaps to an accented tone. Here Finzi has also used effective syncopation to draw attention to certain passages. This freedom of vocal line coexists successfully within the strict framework of the accompaniment. The heavy chordal writing, which Finzi has used to represent earth's shadow, dominates the entire song, showing no resolution or progression in the relationship between man and the universe or, indeed, among mankind during the course of the song. Its intensity can especially be seen in the striking text "Nation at war with nation" (musical Example 25)."
(Denning, 85)
"Example 25: At a Lunar Eclipse, Nation at war with nation." (Denning, 85) |
"While the expression here is basic and uncomplicated it seems too excessive in the context of the entire song, often limiting the overall communication of the text and bogging down the pace of the song. Considering the nature of the song it is interesting to note that Finzi ends quietly on a major chord."
(Denning, 86)
"The vocal line alone is quite sustained and dramatic with great leaps and intensity. The heaviness of the accompaniment often deters the singer's attempt at lyricism and fosters a heavy approach."
(Denning, 86)