The Dance Continued
- Musical Analysis Section
- Audio Recordings Section
- Unpublished Analysis Excerpts
- Van der Watt - The Songs of Gerald Finzi (1901-1956) To Poems by Thomas Hardy
- Carlisle - Gerald Finzi: A performance Analysis of A Young Man's Exhortation and Till Earth Outwears, Two Works for High Voice and
- Denning - A Discussion and Analysis of Songs for the Tenor Voice Composed by Gerald Finzi with Texts by Thomas Hardy
- Rogers - A Stylistic Analysis of A Young Man's Exhortation, Opus 14, by Gerald Finzi to words by Thomas Hardy
- Bray - An Analysis of Gerald Finzi's "A Young Man's Exhortation"
- John Keston - Two Gentlemen from Wessex, The Relationship of Thomas Hardy's Poetry to Gerald Finzi's Music
Poet: Thomas Hardy
Date of poem: (undated)
Publication date: In the collection: Satires of Circumstance (1914)
Publisher: Macmillan Publishing Company
Collection: Under the heading: "Miscellaneous Pieces" within Satires of Circumstance (1914)
History of Poem: James Osler Bailey writes: "The poem may have been suggested by Hardy's reading some poem with a similar theme, possibly Christina Rossetti's "Song" that begins "When I am dead, my dearest, / Sing no sad songs for me."
(Bailey, 320-1)
Poem
(‘Regret not me’) |
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| 1 | REGRET not me; | a |
| 2 | Beneath the sunny tree | a |
| 3 | I lie uncaring, slumbering peacefully. | a |
| 4 | Swift as the light | b |
| 5 | I flew my faery flight; | b |
| 6 | Ecstatically I moved, and feared no night. | b |
| 7 | I did not know | c |
| 8 | That heydays fade and go, | c |
| 9 | But deemed that what was would be always so. | c |
| 10 | I skipped at morn | d |
| 11 | Between the yellowing corn, | d |
| 12 | Thinking it good and glorious to be born. | d |
| 13 | I ran at eves | e |
| 14 | Among the piled-up sheaves, | e |
| 15 | Dreaming, ‘I grieve not, therefore nothing grieves.’ | e |
| 16 | Now soon will come | f |
| 17 | The apple, pear, and plum, | f |
| 18 | And hinds will sing, and autumn insects hum. | f |
| 19 | Again you will fare | g |
| 20 | To cider-makings rare, | g |
| 21 | And junketings; but I shall not be there. | g |
| 22 | Yet gaily sing | h |
| 23 | Until the pewter ring | h |
| 24 | Those songs we sang when we went gipsying. | h |
| 25 | And lightly dance | i |
| 26 | Some triple-timed romance | i |
| 27 | In coupled figures, and forget mischance; | i |
| 28 | And mourn not me | a |
| 29 | Beneath the yellowing tree; | a |
| 30 | For I shall mind not, slumbering peacefully. | a |
(Hardy, 388-9) |
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Content/Meaning of the Poem:
1st stanza: Don't mourn my death, I sleep happily.
2nd stanza: I lived my life free and enjoyed every moment.
3rd stanza: I lived without a care, not knowing that tomorrow might not come.
4th stanza: I enjoyed my life even when I was getting older, I was simply happy to be alive.
5th stanza: I lived every moment, I did not grieve and I was unaware of others that did.
6th stanza: Soon my life will end.
7th stanza: You will get through this grieving and you will once again enjoy what life has for you.
8th stanza: Sing songs of joy and play until your days end.
9th stanza: Dance for joy and love those that come into your life, don't worry about what could be.
10th stanza: Please don't morn my passing, I will enjoy my rest.
For additional comments as to possible meaning of the text please refer to: Content.
Mark Carlisle writes in his dissertation: "Parts of the poem are rather difficult, and therefore need some clarification. The opening lines of the second stanza, for instance, might be paraphrased to read: "My life moved as swiftly as light, like some enchanted flight." The sixth verse presents some problems for the modern performer. The poet is here referring to the coming of fall; metaphorically, the beginning of the death of the year representing the beginning of the end of life. He refers in this verse to fruits that ripen in the fall, and to "hinds," female red deer that make distinctive noises during the fall mating season. "Regret not me" bears great resemblance in thought to another Hardy poem that Finzi chose to set to music, "Life laughs onward." Both poems express the similar belief, without regret or rancor, that life moves forward, regardless of individual deaths, and that no one can halt the current of life from sweeping ahead without them. This belief was a cornerstone of Hardy's thinking, and one in which he took great comfort."
(Carlisle, 174)
Speaker: James Osler Bailey has suggested the speaker could be a woman: " "Regret Not Me" is something like a dramatic monologue, spoken as if by a dead woman to a lover mourning beside her grave. (Presumably the speaker is a woman, as phrases like "may faery flight" suggest.)"
(Bailey, 320)
Bailey also reports: "One critic has associated the poem with Tess of the D'Urbervilles. (Blyton, 219) Tess may have been in Hardy's mind in an imaginary scene, suggesting to Angel that he continue to find pleasure in the merrymakings they had enjoyed together at Talbothays. As the police approach Tess at Stonehenge, she says to Angel: "This happiness could not have lasted. It was too much. I have had enough," and when the police arrive, she says, "I am ready." (Chapter LVIII.) Angel's memory of her might have seemed to tell him what the poem says. It mentions activities not pictured in the novel, but so does "Tess's Lament." If Hardy did imagine Tess's spirit as the speaker, the poem is subtly ironic, for Tess recommends to Angel joys that had given him pleasure in the flush of their love at Talbothays, but that were alien to his basic nature. When asked why he did not give Tess a happy ending, Hardy said: "Do you not see that under any circumstances they were doomed to unhappiness? A sensitive man like Angel Clare could never have been happy with her. After the first few months he would inevitably have thrown her failings in her face."
(Blathwayt,
238)
(Bailey, 320-1)
Lastly, Bailey thinks it could be Hardy, himself. "The speaker need not be a woman. Perhaps, as he did in the poem "afterwards," Hardy wrote the poem in anticipation of his own death, summarizing what he had enjoyed in life: cider-makings, country dances, and similar "junketings." "
(Bailey, 321)
Setting: A festive pastoral setting that would support such text as: "cider-makings" and "junketings."
Purpose: Don't mourn the dead but instead rejoice with the living.
Idea or theme: Live life full and free without worrying for those who have gone on because they are enjoying their peace and rest.
Style: Gerhardus Daniël Van der Watt writes in his dissertation: "The poem has a strong pastoral bias. Some natural images will serve as an example: sunny tree, yellowing corn, sheaves, apple, pear and plum, insects hum, cider-making, yellowing tree. The pastoral style is tempered with the stark underlying message of the poem: do not bemoan the dead, for they do not mind or care about the world of the living."
(Van der Watt, 152)
Form: Gerhardus Daniël Van der Watt suggests in his dissertation: "The poem consists of 10 triplet stanzas with a uniform rhyme scheme: aaa bbb ccc etc. The outer two stanzas reinforce one another while the remaining eight are divided into two groups of four, the first dealing with the persona's youthful perceptions of the world and the second with pastoral joys of life. Iambic metre dominates throughout the poem."
(Van der Watt, 152)
Synthesis: Hardy it seems is telling the reader to not worry about those that have died: they wouldn't want you to fret over their passing. Instead live your life to the fullest without any regrets. Do the things that bring joy to your life. The dead will enjoy their sleep with or without your worries. For additional commentary about the poem please refer to: Synthesis.
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Satires of Circumstance
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Collection of 106 poems written by Thomas Hardy.
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Published in November of 1914 by Macmillan and Company.
Gerald Finzi set the following poems within this collection:
- Before and After Summer (Before and After Summer)
- Channel Firing (Before and After Summer)
- Exeunt Omnes (By Footpath and Stile)
- The Phantom Horsewoman [titled by Finzi as: The Phantom] (Earth and Air and Rain)
- Regret Not Me [titled by Finzi as: The Dance Continued] (A Young Man's Exhortation)
- When I Set Out for Lyonnesse ( Earth and Air and Rain)
- Where the Picnic Was ( By Footpath and Stile)
Helpful Links:
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Musical Analysis
Composition date: Stephen Banfield records the composition date simply as undated. (Banfield, 144)
Diana McVeagh records the composition date as somewhere between 1928 and 1929. (McVeagh, 42)
Publication date: Copyright 1933 by Oxford University Press, London.
Copyright © assigned 1957 to Boosey & Co. Ltd.
Publisher: Boosey & Hawkes - Distributed by Hal Leonard Corporation
Tonality: The song begins with a G minor chord and ends on a D minor chord. In between Finzi doesn't commit to either one of these tonalities for very long. He at times toys with F major but again doesn't commit to the key. For more information about the original key please refer to: Tonality - Van der Watt.
Transposition: Currently unavailable.
Duration: Approximately three minutes and fifty-eight seconds.
Meter: The first thirty measures are in 4/4 before switching to 6/8. The 6/8 continues until measure fifty where once again we return to 4/4. The 4/4 meter continues through to the end of the song. There are a total of thirty-eight measures of 4/4 and nineteen measures of 6/8. The use of the 6/8 gives one the impression of a gentle dance figure. The text expresses the dance in measures thirty-nine through forty-five. For additional information about meter within the song please refer to: Metre - Van der Watt.
Tempo: Andante con moto with the quarter note equaling c. 69. There are also a few deviations from the principle tempo. The first occurs in measure thirteen where a poco animando begins and last for four measures before a ritardando . . . a tempo occurs. The next deviation in tempo occurs in measure thirty with an allargando which prepares a transition to 6/8 meter in measure thirty-one. In measure thirty-one Finzi indicates the dotted quarter note equals the previous quarter note in 4/4. The next deviation in tempo occurs two measures before the last stanza of text where Finzi slows the 6/8 with a ritard and diminuendo in measure forty-seven. This prepares another transition back to the original 4/4 in measure fifty. In measure fifty Finzi places the mark Tempo I with the quarter note equalling the previous dotted quarter in the 6/8. The music seems to slow from this point on but Finzi achieves this not with tempo but rather with elongating note values and thereby stretching out the text. For a continuing discussion about the tempi within the song please refer to: Speed - Van der Watt.
Form: Gerhardus Daniël Van der Watt describes the form of this song quite succinctly in his dissertation of 1996: "The song is in episodic or chain form with the occasional irregular reference to the material of the first stanza, almost as a kind of refrain at odd intervals. The first and last stanzas are, furthermore, virtually identical a factor that strongly binds the song together. There are in the song's structure elements from many standard form types there is a ternary element with the recurrence of the first stanzas at the end; there is a rondo element with the reappearance of the third stanza, and there is a through-composed element with so many stanzas set differently. The result is an interesting form which, through its structure, contributes to the atmosphere of the song."(Van de Watt, 159)
For additional information about the specific sections of the song and other information about the form please refer to: Structure - Van der Watt.
Rhythm: The choices of rhythms found within the song are quite standard fare for Finzi and one will find his use of the eighth note, the most common rhythmic duration. What seems on display more so than specific rhythmic durations is Finzi's clever skills at setting the text idiomatically and yet energizing it at the same time. As to specific rhythmic motives there are a few according to Gerhardus Daniël Van der Watt but again there significance is minimal. What catches the eye when one observes the score are the frequent tied rhythms and how Finzi often dovetails one phrase over another between the vocal line and the accompaniment creating a seamless wave of rhythm and sound that has a calming or tranquil effect on the listener. The song is an obvious choice for Finzi to end the set. Here we find Hardy's common metaphors of age, death, and how no one will mind his parting in the greater scheme of things, in the last stanza. We can also see Finzi's choice of rhythms incorporates longer note values and frequent use of ties in the last stanza so as to emphasize Hardy's text. For additional discussion about the rhythm and the rhythmic motifs of the song please refer to: Rhythm - Van der Watt.
In order to justify the comments made in the above paragraph a rhythmic duration analysis was performed and for the results please refer to: Rhythm Analysis. Information contained within the rhythmic duration 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: As was mentioned above in the rhythm section holds true for the vocal line as well, one will find typical melodic material for Finzi with frequent step-wise motion and small leaps in this song. Typically the larger leaps to higher pitches are reserved for highlighting the text and we can find examples in several stanzas of this compositional technique. In the first stanza there is a leap of a perfect fifth to the [F] above middle [C] on the word "uncaring" and in the second stanza an ascending leap of a minor sixth on the word "Ecstatically." The fifth stanza begins with an ascending leap of a minor sixth on the word "ran" and the last stanza holds the largest leap of an ascending octave on the word "mourn" but interestingly Finzi marks the dynamic as pianissimo so as to negate the larger leaps significance. Even though this analysis so far has pointed out the large leaps, the melodic contour is primarily the shape of gentle waves that some times crest a little higher than others. For additional information about the melodic material within the song please refer to: Melody - Van der Watt.
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 primarily homophonic but there are occasional uses of polyphony. Mark Carlisle describes the song in three sections and makes reference to Finzi's use of homophony as his most common compositional technique for song writing but also one will also find it is usually difficult to make an all inclusive statement as to Finzi's compositions. This is due possibly to the fact that he frequently used fragments that he would later combine to make the complete song. This technique may serve the text best but makes it more difficult to label a song completely as one form of texture. 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. To read Dr. Carlisle's description of the song please refer to: Comments on the Music - Carlisle.
Vocal Range: The vocal range spans the interval of a perfect twelfth with the lowest pitch on the C below middle C and the highest pitch on the G above middle C.
Tessitura: The tessitura spans one octave from the F below middle C to the F above middle C. A pitch analysis of the vocal line was conducted for the purpose of determining the tessitura. The poem was written in ten three line stanzas and so it was determined that the pitch analysis would follow the same format. The exact location of each stanza is: second stanza begins in measure five on the third beat; third stanza begins in measure ten; fourth stanza begins in measure fourteen beat two; fifth stanza begins in measure eighteen; sixth stanza begins in measure twenty-three; seventh stanza begins in measure twenty-seven; eighth stanza begins in measure thirty beat four; ninth stanza begins in measure thirty-nine beat two; tenth stanza begins in measure forty-nine second beat. If you would like to review the pitch count for each stanza or for the entire song please refer to: Pitch Analysis.
Dynamic Range: The dynamic range begins at pianissimo in the opening chord of the accompaniment and by the time the song reaches measure thirty-one we reach fortissimo. Finzi uses various dynamics throughout the song with frequent crescendo and decrescendo marks. Sometimes the dynamic is sustained over several measures and then at other times may only last one half measure. One could make the assumption that Finzi uses the dynamics to exemplify the text and not for the sake of the music. This is a general trait of all of Finzi's songs that the text is superior to the music when it comes to dynamics in particular. 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 song begins somewhat oddly for Finzi in that the accompaniment begins with a fermata chord but after the vocal line enters the accompaniment becomes more typical. The next point of significance can be found in the shift of meter to 6/8 in measure thirty-one. Here the accompaniment should imitate the text of "singing gaily" and "lightly dancing." The dance soon fades and once again the meter shifts back to common time in measure fifty. For additional information about the accompaniment please refer to: Accompaniment - Van der Watt.
Pedagogical Considerations for Voice Students and Instructors: The range of this song is quite good for the tenor voice but there are two short sections, measures seventeen and thirty-five, where the range includes a high [G]. In measure seventeen the approach to the [G] is scaler beginning just below the passaggio which may cause some additional difficulty for younger voices. In the scaler passage, one will need to monitor the [E] pitch on the word "good" as this is a potential difficulty in the passaggio region for some voices. A positive to this ascending scale passage is the crescendo marking but one will need to monitor any tendency to push the voice while ascending and making the crescendo. The articulation of the [gl] combination needs to be made lightly so as to minimize the effort of the tongue. A tendency in most voices is to push extra breath while making the [gl] combination so this will need to be monitored as well. In measure thirty-five the high [G] is approached very well but one may encounter some difficulty with the fortissimo dynamic. If there is any difficulty sustaining the [G] back-up to the end of measure thirty and monitor the breath flow for those measures leading-up-to "sang" in measure thirty-five. If the [e] vowel has a tendency to spread while sustaining modify it slightly toward [E].
Dr. Mark Carlisle records in his dissertation the following observations and advice: "This song does not present either the technical or musical difficulties of some of the others in this cycle, although a few passages may cause some concern. Both range and tessitura in general are well within the capabilities of an undergraduate singer, and the gently flowing tempo through much of the piece helps alleviate most of the possibility of unclear diction. Such passages as those found in measure 16-17 and 31-36 may cause problems for a young tenor not yet capable of easily handling registration changes, but even these are helped by the greater sense of dynamic energy. The text, as always, requires a reasonably high level of literary sophistication, but should not be as difficult to comprehend or interpret as some others in this cycle. An undergraduate of junior or senior standing, perhaps even a gifted sophomore, should be able to render a very musical, artistic performance of this piece given a requisite amount of time and study. It is an inherently "musical" piece, and much care must be taken not to overdramatize it. However, if both performers are sensitive to the song's numerous expressive possibilities, they can enjoy a very rewarding experience that goes well beyond the relative ease of effort required to learn it." (Carlisle, 182-3)
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Below one will find excerpts from unpublished dissertations. The excerpts should provide a more complete analysis of The Dance Continued 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
Michael R. Bray - An Analysis of Gerald Finzi's "A Young Man's Exhortation"
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TABLES
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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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Songs by Britten, Finzi & Tippett |
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Songs of the Heart: Song Cycles of Gerald Finzi |
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The English Songbook |
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The following is a musical analysis of Gerald Finzi's song The Dance Continued 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 one hundred fifty-one and concludes on page one hundred sixty. 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 Satires of Circumstance (17 Nov. 1914) and from the specific section Miscellaneous Pieces. Hardy, by the hand of his second wife Florence, writes the following in Life, concerning the anthology as a whole:"
(Van der Watt, 151)
"The book being made up of the 'Satires in Fifteen Glimpses', published in a periodical in 1911, and other poems of a very different kind with which the satires ill harmonized - the latter filling but fifteen pages in a volume of 230 pages. These were caustically humorous productions which had been issued with a light heart before the war. So much shadow domestic and public, had passed over his head since he had written the satires that he was in no mood now to publish humour or irony, and hence he would readily have suppressed them if they had not already gained such currency from magazine publication that he could not do it. The 'Lyrics and Reveries', which fill the greater part of the volume, contained some of the tenderest and least satirical verse that ever came from his pen." (Florence Hardy, [The Later Years] 164 as quoted by Van der Watt) (Van der Watt, 151) |
2. Poem
"The persona of the poem encourages the beloved who lives on after his death, not to bemoan his absence. The persona refers to his innocent childhood experiences of life and also points out the fallacies in youthful perception (stanzas 2-5). The beloved is urged to join in life's seasonal activities (celebration of autumn, cider-making and junketing, harvest dancing, etc.) in spite of the persona's absence. The final stanza, a slightly darker variant on the first ("mourn" instead of "Regret"; "yellowing" instead of "sunny") reiterates the message of the poem: the dead should not be mourned, they are slumbering in peace."
(Van der Watt, 152)
"The poem has a strong pastoral bias. Some natural images will serve as an example: sunny tree, yellowing corn, sheaves, apple, pear and plum, insects hum, cider-making, yellowing tree. The pastoral style is tempered with the stark underlying message of the poem: do not bemoan the dead, for they do not mind or care about the world of the living."
(Van der Watt, 152)
"The poem consists of 10 triplet stanzas with a uniform rhyme scheme: aaa bbb ccc etc. The outer two stanzas reinforce one another while the remaining eight are divided into two groups of four, the first dealing with the persona's youthful perceptions of the world and the second with pastoral joys of life. Iambic metre dominates throughout the poem."
(Van der Watt, 152)
"An unconventionally peaceful acceptance of death shines through the poem. Those alive are to celebrate the pleasure of being alive; the dead do not begrudge them this. In fact, the dead do not really care about the actions of the living. The mainly pastoral style of the poem and the apparently simple structure support the undramatic, almost neutral atmosphere and philosophical message."
(Van der Watt, 152)
Setting
1. Timbre
VOICE TYPE/RANGE
"The poem is set for tenor voice and the range is a perfect twelfth from the first C below middle C." (Van der Watt, 152)
"The piano accompaniment ranges from the second C above middle C (which occurs only once) to the third E below middle C. The middle to low sonority of the piano is therefore favoured. The largely neutral range of the piano which is used contributes significantly to the setting of the atmosphere of the song: no extreme ranges are employed, in a context where no dramatic outbursts are made."
(Van der Watt, 153)
"There are no indications of the use of pedal even though it will certainly be necessary to use the pedal for the sake of achieving the correct legato playing required. Although legato indications are not used consistently, the term sostenuto can be taken to indicate legato touch, except where specified differently. Other indications of articulation include the portamento accent (b. 16, 17, 18, 19, 27, 31, 32, 33, 55, 56), a staccato under a slur (b. 16, 17) and a stronger accent (>) (b. 33, 34, 35, 36). The latter accentuates a counter melody in the piano part in the context where singing is mentioned in the text."
(Van der Watt, 153)
"The atmosphere created in the piano part is fairly peaceful and neutral. The section marked poco animando (b. 13), is slightly more active and is directly related to the text, "I skipped at morn". A further slight deviation from the enduring atmosphere occurs after the allargando indication in bar 30 where the metre changes to the compound duple. The gaiety of song and dance at harvest festivities introduces the more positive F major mood. The brief postlude is introduced with the term espressivo and the atmosphere returns to the neutral d minor of the opening."
(Van der Watt, 153)
2. Duration
"The textual metre is iambic and this is matched with a largely common-time time-signature. A third of the song is set in compound duple time to support the general meaning of the text in the particular context:"
Bar no. |
Metre |
No. of bars |
Total |
Suggested reason/s |
0⁴ |
4/4 |
30 |
38 |
Following the textual metre |
31 |
6/8 |
19 |
19 |
Supports the textual meaning: "triple-time romance" |
50 |
4/4 |
8 |
Return to opening material |
"The metric change is directly linked to the meaning of stanzas 8-9:"
Yet gaily sing |
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Until the pewter ring
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Those songs we sang when we went gipsying.
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And lightly dance |
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Some triple-timed romance
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In coupled figures, and forget mischance;
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"The metric lilt provided by the new time-signature, is immediately reminiscent of an old country dance." (Van der Watt, 153)
Rhythmic motifs
"A number of rhythmic motifs establish themselves in the course of the song. Motif 1, consisting four crotchets, occurs 18 times in the piano part only. Apart from providing the basic harmonic rhythm, the motif also provides metric stability which supports the largely neutral atmosphere of the song. The motif consisting of four quavers (motif 2) occurs 38 times in both piano and vocal parts. This motif, at double the speed of motif 1, provides rhythmic movement and stems from the vocal part in bar 2. Motif 3, consisting of two quavers and a crotchet (thus related to both motifs 1 and 2) occurs 21 times. This motif is almost always used stepwise and as such also gains melodic prominence and makes it a strong unifying factor in the song. A smaller motivic unit (motif 4), consisting of a quaver and two semi-quavers, occurs 20 times, largely localized between bars 13 and 17. The motif occurs with the poco animando indication, has melodic significance and occurs withe text, "I skipped at morn". The rhythmic and melodic activity as well as the brief imitations in bars 13 -15, are prominent examples of word painting of the adjacent text. A number of motifs establish themselves in the 6/8 - section. These, however, are directly related to the general painting of the atmosphere of bars 31 - 49 in which the merrymaking at a harvest dance is recalled."
(Van der Watt, 154)
Rhythmic activity vs. Rhythmic stagnation
"The basic rhythmic movement is that of a quaver and is varied on two occasions: bars 13 - 18 in which the movement is slightly quicker for reasons already mentioned and bars 31 - 49 in which the metre is changed with retention of the beat unit resulting in a slightly more active rhythmic movement. (The reasons have been discussed in the previous section.) There is slight stagnation of the rhythmic material at four important cadences: bars 9, 22, 49, 56-7."
(Van der Watt, 154)
Rhythmically perceptive, erroneous and interesting settings
"The following words have been set to music perceptively:"
"Rhythmic augmentation of the setting in bar four of the words "slumbering peacefully" occurs in bars 53-4. This augmentation is part of a carefully built-in ritardando on the final words of the song and is effective in supporting the immediate meaning, "slumbering peacefully"."
(Van der Watt, 154)
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, 154-5)
"The tempo indication is Andante con moto [quarter note equals] c. 69. Tempo deviations are listed below:"
Bar no. |
Deviation |
Bar no. |
Return |
Suggested reason/s |
13 |
poco animando |
17-18 |
ritardando ...a tempo |
Supporting the text |
30 |
Allargando |
31 |
a tempo [dotted quarter equals quarter] |
6/8 section, new meaning |
47 |
rit. e dim |
50 |
Tempo I (quarter equals dotted quarter |
Final stanza, original atmosphere |
3. Pitch
Intervals: Distance distribution
Interval |
Upwards |
Downwards |
Unison |
(17) |
|
Second |
62 |
51 |
Third |
14 |
17 |
Fourth |
10 |
11 |
Fifth |
3 |
8 |
Sixth |
2 |
0 |
Octave |
1 |
1 |
"There are 17 repeated pitches (or 9% of the total number), 92 rising intervals (or 47%) and 88 falling intervals (or 44%). The smaller intervals (a third and smaller) account for 161 intervals (82% of the total number) while the larger intervals (fourths and larger) account for 36 (or 18%). The intervals used in the song are voice-friendly although a number of downward fourths and fifths may present pitching problems. A number of specific setting are noted below."
(Van der Watt, 155)
Interval |
Bar no. |
Word/s |
Reason/s |
5th up |
1 |
Regret |
Emphasis |
5th down |
4 (53) |
slumbering |
Reinforce emotional content |
5th down |
4 (54) |
peacefully |
Reinforce emotional content |
6th up |
7 |
Ecstatically |
Reinforce emotional content |
8th down |
7 |
moved, I |
Change of register |
5th down |
15 |
morn Between |
Emphasis |
6th up |
18 |
I ran |
Emphasis |
5th up |
30-1 |
Yet gaily |
Reinforce meaning |
4th up |
35 |
we sing |
Emphasis |
8th up |
49-50 |
And mourn |
Emphasis |
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, 156)
Climaxes
"The two vocal climaxes are given below:"
Bar no. |
Pitch |
Word |
17 |
G |
glorious |
35-6 |
G |
sang |
Phrase lengths
"Phrases are mostly of singable length and separated by rests, conveniently placed for the sake of breathing. Two breathing indications are given by the composer (b. 12³ and 51³). Other places that would necessitate breathing, which are not indicated are: bars 24⁴, 28³, 34² and 42²." (Van der Watt, 156)
"The tonality hovers between d natural minor and F major with the occasional brief reference to g minor. To refer to these multiple changes of key a modulations would not be appropriate since the dominant-tonic relationship in either key is not strongly stressed. The result is a more ore less indiscriminate treatment of d natural minor and F major with chromatic interpolations of g minor (b. 7, 18, 20, 25, 43). With no raised leading note ever appearing in d minor, the tonality is modally poised without being in a specific mode. The tonality is suspended between two key without commitment to either and as such becomes the strongest contributor to the sensitive atmosphere created in the song."
(Van der Watt, 156-7)
Chromaticism
"The instances of chromaticism are listed below:"
- b. 7-8 A flat is a lowered step 2 in g minor, F# the raised leading note. These chromatic notes support the text: "Ecstatically I moved".
- b. 12 E flat is a lowered leading note in F major - no direct reference to meaning.
- b. 18-20 E flat explores g natural minor and anticipates and supports the text: "I grieve not".
- b. 25 E flat is a lowered leading note in F major - no direct reference to meaning.
- b. 30 A flat creates a minor third on the tonic triad (first inversion) in F major. G flat is a chromatic passing note. The chromaticism here supports the preceding statement, "I shall not be there" and contrasts with the following more joyous section.
- b. 33 B natural makes a brief reference to C major although it is largely the result of a descending, harmonic sequence in the bass - no direct reference to meaning.
- b. 43 E flat is a lowered note in F major - no direct reference to meaning.
"There is a sense of modality present in the song, although no specific mode can be isolated."
(Van der Watt, 157)
HARMONY AND COUNTERPOINT
"Formal harmonic analysis is ambiguous in large sections due to the fusion of the keys of d natural minor and F major."
(Van der Watt, 157)
Non-harmonic tones
"Non-harmonic tones are used freely as part of Finzi's standard contrapuntal procedures. Accented and unaccented passing notes as well as suspensions are used most frequently."
(Van der Watt, 157)
Harmonic devices
"Bar 17 has an interesting chord progression in support of the climactic text, "...glorious to be born"."
F: |
ii⁵₆, |
iii⁶₄, |
vi⁴₃, |
vi⁷, |
ii⁷, |
iii⁴₃, |
I⁹, |
iii, |
vi |
"Each change takes place on a quaver. Relating this mildly dissonant progression to the adjacent text, there are two possible interpretations: the composer expresses his personal perception of "gloriousness" or the dissonance can be seen as portraying the deeper irony of the meaning at large: it is not really "good and glorious to be born" - a typical Hardian perception."
(Van der Watt, 157)
"A number of short pedal point notes occur but these are not significant enough to discuss individually. It will suffice to mention that the opening chord (d. iv⁶) is prolonged again before the start of the final stanza and helps to make the connection for the return of the original material and atmosphere."
(Van der Watt, 157-8)
Counterpoint
"There are a number of short imitations between piano and voice:"
b. 9² piano - b. 10¹ voice |
b. 18¹ voice - 18² piano |
|
b. 20⁴voice - b. 21⁴piano |
b. 23¹ voice - 23³ piano |
|
b. 24² voice - b. 26³ piano |
b. 29² voice - 30² piano |
|
b. 42⁴voice - b. 46¹ piano |
"There are also imitations in the piano part, internally, in bars 13-15. These anticipate and support the text, "I skipped at morn" and individually consist of a six-note melodic and rhythmic motif. The order of occurrence is: Soprano - Bass - Alto (varied) - Bass (varied) - Soprano - Bass (varied). The interval of perfect fifth features prominently and can be directly related to the idea of a child's carefree skipping, as mentioned in the text."
(Van der Watt, 158)
"Loudness variation is given in the following summary:"
FREQUENCY
"There are 68 indications in the 57 bars which means that on average each bar contains an indication. In reality some bars do not contain indications while others contain two or three. There are numerous separate indications for the voice which mainly follow the indications in the piano part. This fact confirms the earlier suspicion that, where no separate indications are used in the vocal part, indications in the piano port should be adhered to."
(Van der Watt, 158)
RANGE
"The dynamic indications range from pp (b. 0⁴and 49) to ff (b. 31). The lowest level indications are used at the very opening and the parallel moment of the last stanza, and suitably accompany the words "Regret" and "mourn". The ff indication coincides with first reference to the harvest festivities and the words "And gaily sing"."
(Van der Watt, 158)
VARIETY
"The indications used are:"
(Van der Watt, 158)
DYNAMIC ACCENTS
"Portamento accents occur as mild accentuation of certain notes or small melodic motifs (b. 16-19, 27, 31-3, 55-6). Stronger accents are localized in bars 33-6. These are placed in such a way that the metre is changed internally to 9/8 (b. 33²-34², 35¹-36¹ and 36²-37²). This polyrhythmic effect serves the purpose of establishing an atmosphere of a rustic harvest feast."
(Van der Watt, 159)
"The density varies loosely between three 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 bars |
Percentage |
2 parts |
2 |
3.5 |
3 parts |
21 |
37 |
4 parts |
24 |
42 |
5 parts |
9 |
16 |
6 parts |
1 |
1.5 |
"Three- and four-part piano textures are used in virtually 80% of the bars. The thicker texture coincides with the text. "Yet gaily sing until the pewter ring" (b. 30-4). The thicker texture enhances the louder dynamic indication and livelier atmosphere suggested in this section. The two-part texture occurs in the bars 10²-11² with the words "I did not know" and could be symbolic of the lack of knowledge."
(Van der Watt, 159)
"The structure of the song can be represented in the following table:"
"The song is episodic or chain form with the occasional irregular reference to the material of the first stanza, almost as a kind of refrain at odd intervals. The first and last stanzas are, furthermore, virtually identical: a factor that strongly binds the song together. There are in the song's structure elements from many standard form types, there is a ternary element with the recurrence of the first stanza at the end; there is a rondo element with the reappearance of the third stanza; and there is a through-composed element with so many stanzas set differently. The result is an interesting form which, through its structure, contributes to the atmosphere of the song."
(Van der Watt, 159)
7. Mood and atmosphere
"The mood of the song is mostly neutral, passive and deliberately undramatic. The textual information is passed on unfretting, almost contentedly. There is a section in which an attempt is made to convey elements of harvest feast, but this mood does not last. Due to the modal approach and indiscriminate use of d minor and F major the tonality is suspended in a limbo and this strongly influences the atmosphere: non-committal, distant, ungrudging, peaceful."
(Van der Watt, 160)
General comment on style
"The use of intervals is most sympathetic towards the voice (79% smaller intervals). The use of rhythmic material is conservative while there are instances of metric interest (polymetric application in bars 33-7). The harmonic language is not novel but the tonal features are of significance: trapped between two related keys, not modal and not completely tonal either. The structural characteristics are an interesting and novel mixture of several standard form types. The setting of the tentative, fragile atmosphere suggested in the text, is handled masterfully by the composer."
(Van der Watt, 160)
Unpublished Analysis Excerpts
The following is an analysis of The Dance Continued by Dr. 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 one hundred seventy-five and concludes on page one hundred eighty three of the dissertation.
Comments on the Poem
""Regret not me," the title Hardy originally gave to this poem and changed by Finzi, seems a perfect and fitting conclusion to this cycle of songs. The poet speaks in it of his own death, not of the deaths of others as in previous poems. His monologue is not depressing or morbid, but is instead filled with peaceful acceptance of his own death. We do not know to whom the poet is speaking, but he tells that person to dance, sing, enjoy life, and not mourn his passing."
(Carlisle, 174)
"This poem was written between 1910 and 1914, and was included in the collection Satires of Circumstance, published in 1914. Parts of the poem are rather difficult, and therefore need some clarification. The opening lines of the second stanza, for instance, might be paraphrased to read: "My life moved as swiftly as light, like some enchanted flight." The sixth verse presents some problems for the modern performer. The poet is here referring to the coming of fall; metaphorically, the beginning of the death of the year representing the beginning of the end of life. He refers in this verse to fruits that ripen in the fall, and to "hinds," female red deer that make distinctive noises during the fall mating season. "Regret not me" bears great resemblance in thought to another Hardy poem that Finzi chose to set to music, "Life laughs onward." Both poems express the similar belief, without regret or rancor, that life moves forward, regardless of individual deaths, and that no one can halt the current of life from sweeping ahead without them. This belief was a cornerstone of Hardy's thinking, and one in which he took great comfort." (Carlisle, 174)
"This is a genuinely affecting song in that its style represents a final return to those characteristics prevalent in Finzi's song writing: a beautifully shaped, sensitive melody; traditional and generally conservative harmony that maintains interest through the extensive use of non-chord tones and very light chromaticism; and flexible musical rhythms and texture that are always sensitive to the necessities of accurate textual stress, rhythms, and nuance. It is not flamboyant in the style of the previous song, nor does it attempt to dramatize the poem excessively in an effort to produce a forceful ending for the cycle. On the contrary, while the song does contain a section toward the end that is fairly exuberant, it finishes with a short section that is tranquil and serene in fitting musical representation of the sentiment of 'peaceful slumbering.' It is an honest, quietly forthright piece that beautifully expresses the underlying text and provides a refined, graceful conclusion to the cycle." (Carlisle, 175)
"Finzi has created in this song a highly sectionalized work. Measures numbers corresponding to part are as follows: part one - measures 1-30; part two - measures 31-49; and part three - measures 50-57. The opening key of the piece, like many other of Finzi's songs, emphasizes the minor mode, this time D natural minor. The tonal focus of this work alternates between this and F major, its relative major. The beginning time signature is 4/4, and tempo is indicated as quarter note equals c. 69 (Andante con moto)." (Carlisle, 175)
"Part one begins in unusual fashion with an upbeat IV chord over which is found a fermata. This chord is tied over the bar line of the first measure, so that the next sound heard is that of the vocal entry in measure 1. There is no prelude material as exists in most of the other songs in this cycle; the IV chord is played to establish a tonal framework, and the voice then assumes responsibility for putting the song into motion. Nothing extraordinary is heard in this section; rather, it represents an overview of the characteristics that Finzi uses most regularly and with by far the greatest success in his vocal writing." (Carlisle, 175-6)
"First, there is the gently flowing, well-balanced, expressive melodic line that is more often than not attuned to both word stress and general textual meaning. The first notes of this melody do serve as a short motive, but its use and unifying strength is quite limited. Secondly, rhythm and texture are steady and consistent. The mixture of eighth-note and quarter-note motion in a predominantly chordal structure incorporating some light polyphonic movement is undoubtedly the most typical arrangement of these components found in Finzi's vocal music. Brief moments of syncopation in the vocal line in such measures as 4, 5, and 12 provide small touches of rhythmical interest, but do not in any way seriously influence the basic structure previously described. Harmonic variations are light, and chromatic alterations are heard only in the bass line in measures 7-8. The only notable, but brief, harmonic interest in this section involves the use of E flat in place of E natural in measures 12, 18, 20, and 25. This blends a delicate sense of Phrygian modality into the harmonic scheme of this part that adds some diversity without altering the basic dominance of D natural minor." (Carlisle, 176)
"These represent the primary characteristics found throughout this part, but a small passage of five measures within the larger structure does provide a few brief moments of noticeable change. Measures 13-17 incorporate both slight tempo and rhythmical variation to portray the textual concept of the words, 'I skipped at morn Between the yellowing corn, Thinking it good and glorious to be born.' Rhythm for these measures becomes focused around eighth-note, sixteenth-note patterns, and tempo is altered by an expressive marking of poco animando. The melodic structure even plays its part, with a 'skipping' rhythm in measure 1 and an energetic, ascending rise to the word 'glorious' in measure 17. Together these produce a 'livelier' musical quality than is found immediately surrounding this passage, as seen in Example 23, and one that well depicts the same inherent traits of the fourth poetic verse." (Carlisle, 177)
"Example 23. 'The Dance Continued,' measures 12-18." (Carlisle, 177-8) |
"Part two begins in measure 31, but the impetus for change actually starts in measure 30. The use of both an allargando marking and triplet rhythmical configurations in measure 30, although still in 4/4 meter, skillfully anticipate the metrical change to 6/8 in measure 31 that signals a distinct character change from previous material. The most significant characteristic of this part is its animation and vitality, not unlike that of measures 13-17, but in a more expansive structure further brightened by a swift change to F major. Homophonic traits are more predominant, with little of the occasional polyphonic movement found in the outer sections, and rhythm becomes almost singularly focused on producing two even beats per measure to reflect the wonderful imagery of the words, 'And lightly dance Some triple-timed romance In coupled figures, and forget mischance.' Eighth-note, dotted quarter-note rhythmical patterns, or very slight variations, govern this entire section, with only the slightest hint of syncopation in measures 33, 34, and 37. Clearly, the emphasis is on normal metrical accentuation to preserve the integrity of the 'dance' sensation, and not rhythmical diversity, as shown in Example 24." (Carlisle, 178)
"Example 24. 'The Dance Continued,' measures 29-36." (Carlisle, 179) |
"Two elements in particular help to provide a greater sense of breadth to part two. The first is the melodic structure, which becomes more 'sweeping' in nature, relying less on textual nuance and more on its own internal energy to generate direction. It is flamboyant, at least initially, and inspires the carefree quality the poet desires for his friends in this verse. Other factors, particularly rhythm, certainly provide much of the impetus for melodic motion, but it still represents one of the few times in a Finzi song when the shape of the melody assumes at least as much importance as facilitating the ease and accuracy of text delivery. The second important element is that of range extension, particularly the low range of the piano. This extension is anticipated in measures 27-30, and is used extensively through measure 38. It supplies for a short time an increased perception of expansiveness that is both very fitting and notably effective. The remainder of part two, measures 39-49, presents material in the melody and accompaniment reminiscent of that found in measures 10-13, now reset in 6/8 meter. These measures act as a transition, slowing the tempo and shifting the tonal focus back to D natural minor." (Carlisle, 179-80)
"The third and final part is a mere eight measures in length, providing musical material for the final stanza of the poem. both melody and accompaniment are a restatement of that heard at the beginning of the piece, with differences so slight as to be negligible. The three-note melodic motive heard in the first measure of the song is again reiterated in the measure 50, but this time slightly elongated. All of the other components revert to the same general characteristics of the first part, resulting in a near imitation of the opening measures of the song. The only minor alterations occur first in measures 53-54, the music of which is simply an augmentation of measure 4, and then in measures 55-57, which serve as a short postlude to finish the song. The poem and much of the music of this piece are a reflection of Finzi's most prominent personality traits, and it is therefore only fitting that both song and cycle should end in the same quiet, graceful, unassuming manner that so characterized his entire life." (Carlisle, 180)
Comments about Performance
"Given the basically uncomplicated nature of both poem and music, none of the performance aspects are terribly difficult to accommodate. The initial tempo marking of [quarter note] = c. 69 is reasonable, but one of [quarter note] = c. 58 permits an even grater range of expressive possibilities without disrupting the musical motion necessary to sustain interest. The poco animando in measure 13 should, of course, be followed, and a tempo of [quarter note] = c. 66-69 is suggested. The original tempo should return in measure 18, and remain until measure 30. Although the tempo for part two is indicated as [dotted quarter = quarter], if [dotted quarter] = c. 58 is used in the first part, this will not generate enough energy and vitality to maintain interest and fully express the exuberance of the poetry in part two. Therefore, a tempo of [dotted quarter] = c. 69-72 is recommended that will accomplish the desired ends without creating an unnecessarily frenetic character. Part three should return to the original tempo as indicated in measure 50, though this tempo should be anticipated in measure 49 at the upbeat entrance of the vocal line." (Carlisle,181)
"All of these markings are indicative of standard musical motion throughout the song, but performers should never hesitate to incorporate subtle change when possible. Ends of both musical and poetic phrases should never be rushed, but shaped to achieve expressive nuance. This is true in many Finzi songs, but quite essential in this one. Such measures as 4, 13, 21, and 9 all offer moments for rubato that are not indicted but would enhance the musicality of the passage, so performers are encouraged to take advantage of such places. Certainly the ritardando in measure 17, allargando in measure 30, ritardando e diminuendo in measure 47, and espressivo in measure 55 are all important, and should be respected. the senza ritardando in measure 44 of part two might seem the antithesis of this approach, since this moment represents both a potential phrasal point as well as textual ending, but it permits the more important retention of the "dance" feeling by the singer before the accompaniment gently and gracefully returns the musical motion to the at of the outer sections. Therefore, any change at this point should be very subtle and not indicative of a notable instance of musical phrasing."
(Carlisle,181-2)
"Finzi indicted a greater number of dynamic markings in this song than in most others, and all are highly appropriate for the respective passages. It is further suggested that, in lieu of any explicit dynamic markings in measures 13-18, the following scheme be used: the crescendo in the accompaniment in measure 13 should lead to a mezzo-forte for the entrance of the voice in measure 14 that continues until measure 16, at which time another crescendo in both voice line and accompaniment should lead to a forte at the beginning of measure 17 for the singer; this should be immediately followed by a decrescendo in all lines to mezzo-piano in measure 18 for the new poetic verse. This scheme is of course subjective, but it provides the necessary dynamic energy to highlight the basic character of both the music and text of this verse without undue dramatization." (Carlisle, 182)
"This song does not present either the technical or musical difficulties of some of the others in this cycle, although a few passages may cause some concern. Both range and tessitura in general are well within the capabilities of an undergraduate singer, and the gently flowing tempo through much of the piece helps alleviate most of the possibility of unclear diction. Such passages as those found in measure 16-17 and 31-36 may cause problems for a young tenor not yet capable of easily handling registration changes, but even these are helped by the greater sense of dynamic energy. The text, as always, requires a reasonably high level of literary sophistication, but should not be as difficult to comprehend or interpret as some others in this cycle. An undergraduate of junior or senior standing, perhaps even a gifted sophomore, should be able to render a very musical, artistic performance of this piece given a requisite amount of time and study. It is an inherently "musical" piece, and much care must be taken not to overdramatize it. However, if both performers are sensitive to the song's numerous expressive possibilities, they can enjoy a very rewarding experience that goe3s well beyond the relative ease of effort required to learn it." (Carlisle, 182-3)
Unpublished Analysis Excerpts
The following is an analysis of The Dance Continued by Dr. 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 seventy-one and concludes on page seventy-two of the dissertation.
"The text for the closing song for Finzi's A Young Man's Exhortation is derived from Hardy's Regret Not Me from the 'Satires of Circumstance' group published in his 1914 Lyrics and Reveries."
(Denning, 71)
"While this poem allows our character to speak from the grave, the mood is generally upbeat as we are asked not to pity the dead who have lived life joyously, but instead remember the best of times shared and continue to live life to the fullest as long as it lasts. There are contrasting moods within both poem and song; the first and last stanzas are appropriately somber as we are reminded of our friend's fate. The voice line is familiar and speech-like here, accompanied by a sparse piano part in d-minor. In the second stanza Hardy begins to discuss the happiness felt throughout the character's life experiences and Finzi suddenly begins to increase the intensity, which doesn't climax until the change to 6/8 and F-major for the sixth and seventh verses of text. The effect is of a rollicking sing-a-long remembering shard good times, but the experience is brief, for Finzi uses the seventh verse to bring the listener back to the reality and sobriety, where we began, using a similar vocal line, accompaniment, key and meter."
(Denning, 72)
"The effect is quite special and very intimate. The singer is asked to be diverse and dramatic here, yet subtle. It is possible to have achieved a bond with the audience throughout the set, and this song is the performer's opportunity not only to bid farewell, but to leave the audience on an uplifting note. The pitfall of performing Hardy text would be to express the pessimistic aspects as the most prevailing. The performer should become familiar enough with both music and text to express the other side. Certainly Finzi has managed to provide several opportunities to express the co-existing brighter side of life."
(Denning, 72)
Unpublished Analysis Excerpts
The following is an analysis of The Dance Continued by Carl Stanton Rogers. Permission to post this excerpt was extended by Dr. Rogers' widow, Mrs. Carl Rogers on March 1st, 2011. Dr. Rogers' thesis dated August 1960, is entitled:
A Stylistic Analysis of A Young Man's Exhortation, Opus 14, by Gerald Finzi to words by Thomas Hardy
This excerpt begins on page sixty and concludes on page sixty-five of the thesis. (Rogers, 60-5)
Part II, Number 5
"The Dance Continued"
This song consists of ten short stanzas, and its form could be designated A B C D E C¹ F G H A¹. The setting of the text is entirely syllabic and the song is in the style of a folk song. Its mood is rather lyric and meditative.
Since "The Dance Continued" does have the feeling of a folk song, its vocal line was examined to determine whether it is related to primitive folk-song scales, as earlier songs in this cycle have been. (See "Ditty," "Budmouth Dears," "Her Temple," and "The Sigh.") Table IX shows the relative total duration of each of the scale degrees in the vocal line of this song. The relatively short duration of the seventh degree in both of its forms (E-natural and E-flat) is especially noticeable.
TABLE IX
EMPHASIS ON SCALE DEGREES OF "THE DANCE CONTINUED"
BY DURATION
Scale Degree |
Number
of Beats |
|
3 |
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
28 5/12 |
1 |
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
28 |
5 |
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
26 13/24 |
2 |
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
21 1/12 |
6 |
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
19 1/4 |
4 |
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
17 11/24 |
7 |
(E-natural). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
1 3/4 |
7 |
(E-flat). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
1/2 |
*[quarter note] = unit of the beat |
This song is related to primitive English folk-song scales, as have been the scales of the earlier songs in this cycle, for the following reasons:
(a) The tonality of the song, which fluctuates between F-major and D-minor, is rather vague and shifting.
(b) The seventh scale degree is comparatively unimportant because of its short total duration.
The desultory use of the seventh scale degree places the scale of this song within that group of scales derived from the first pentatonic mode, as it is designated by Cecil Sharp (see Figure 8).
the meter signature of "The Dance Continued" is, for the most part, 4/4. However, changing meters are used by the composer in the vocal line to accord with the natural accents of the words. Figure 36 shows how changing meters are employed in the vocal line of the fourth and fifth stanzas of "The Dance Continued."
Fig. 36 -- "The Dance Continued," changing meters used in the vocal line of stanzas 4 and 5.
The rhythm shown in the line above the text (the line marked "Original") indicates the meter of the vocal line according to the printed bar lines. The rhythm shown in the line below the text (the line marked "Actual") indicates the changing meters employed by the composer according to the poetic accents. The meters employed are 3/4, 4/4, 2/4, 3/4, 4/4, and 3/4, respectively. A similarity, or link, should be noted between this type of changing meter used by Finzi with that of the music of early English madrigal composers, such as Thomas Morley, and also that of the lutenist song composers of the late sixteenth and early seventeenth centuries, such as Thomas Ford, Philip Rosseter, and John Dowland. In these early compositions, bar lines were absent, and the accents of the poetry were the sole determinants of the musical accents. One authority on the performance of madrigals has this to say concerning the matter:
It is therefore necessary to observe that, in Madrigal singing, bar signs should be absolutely disregarded as suggesting accent. No bar signs are marked in the old part-books. It was not till about 1650 that the use of bars was established, so that composers were not continually reminded of regular measure and the accent on the first beat that it is generally held to imply. The absence of bar signs might almost be said to have been a direct incentive to free rhythm, or at least permitted it with little sense of incongruity with musical notation . . . the cue to right accenting should be always the word and never the bar line. (Scott, 18, 24)
A meter signature of 6/8 is adopted for the eighth and ninth stanzas, where the poetry speaks of dancing and singing, as shown in Figure 37.
Fig. 37 -- "The Dance Continued," measures 31, 32, 33, beginning of eighth stanza.
In measure thirty-three, the composer's setting of the word "pewter" in the text does not accord with the way in which such words with a short accented syllable are often treated in earlier songs of the cycle. It must be assumed in the case of the word "pewter" that a speech-like setting of the word was avoided in order to preserve the smooth, even flow of the melody.
Beginning with the tenth stanza, a meter signature of 4/4 is again employed, and the song ends with the feeling of quiet repose with which it began. The cycle of life and death is completed with the words of the concluding stanza:
And mourn not me
Beneath the yellowing tree;
For I shall mind not, slumbering peacefully.
The preceding was an analysis of The Dance Continued by Carl Stanton Rogers. Permission to post this excerpt was extended by Dr. Rogers' widow, Mrs. Carl Rogers on March 1st, 2011. Dr. Rogers' thesis dated August 1960, is entitled:
A Stylistic Analysis of A Young Man's Exhortation, Opus 14, by Gerald Finzi to words by Thomas HardyThis excerpt began on page sixty and concluded on page sixty-five of the thesis.
Unpublished Analysis Excerpts
The following is an analysis of The Dance Continued by Michael R. Bray. Dr. Bray extended permission to post this excerpt from his thesis on March 19th, 2011. His thesis dated May 1975, is entitled:
An Analysis of Gerald Finzi's "A Young Man's Exhortation"
This excerpt begins on page sixty-four and concludes on page sixty-nine of the thesis.
(Bray, 64-9)
THE DANCE CONTINUED
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I lie uncaring, slumbering peacefully. |
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Ecstatically I moved, and feared no night. |
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But deemed that what was would be always so. |
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Thinking it good and glorious to be born. |
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Dreaming, ‘I grieve not, therefore nothing grieves.’ |
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And hinds will sing, and autumn insects hum. |
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And junketings; but I shall not be there. |
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Those songs we sang when we went gipsying. |
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In coupled figures, and forget mischance; |
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For I shall mind not, slumbering peacefully. |
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"Regret Not Me" resembles something like a dramatic dialogue, spoken as if by a dead woman mourning in her grave "Beneath the sunny tree." The phrase "I flew my faery flight," suggests that it is a woman. But, as Hardy did in the poem "Afterwards," he perhaps wrote the poem in anticipation of his own death, summarizing what he had enjoyed in life - cider-makings, country dances, and junketings. (Bailey, 321)
The poem, regardless of affinity to any one person, is country writing at its best. The poignant imagery is distinct, precise, and eventfully somewhat nostalgic. It is interesting to note that the grave site isn't the desensitized graveyard or pine box, but rather (with hints of reincarnated energies) beneath the sunny yellowing tree echoing the "transformations" from the previous song. The characteristic state of being hardy attributes to the dead is also noteworthy. He says:
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I lie uncaring, slumbering peacefully. |
The passing of time theme is again seen as Hardy says:
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But deemed that what was would be always so. |
and
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And junketings; but I shall not be there. |
"Regret Not Me" begins on a two chord in F major and skips of a fifth and fourth in the vocal line provide the tonality and "open" intervals for a peaceful (almost sorrowful) initial phrase. The fermata on the first note allows the vocalist a recitative-like freedom. "Beneath the sunny tree / I lie uncaring," however, consists of a "walking bass" line and of regular eighth note motion that lifts and moves the phrase to the poetic point - uncaring. As the phrase relaxes with the resolution of a 4-3 suspension, two more 4-3 suspensions are created that help to realize the peacefulness of slumbering through tension and release. The vocal line then establishes a rhythmic motif (two sixteenth notes together) which, through its motion alone, creates impetus for movement. "Ecstatically I moved" is portrayed effectively by this moving sixteenth note motif and by the emotional minor sixth leap on "Ecstatically." The thrust and carry over into the third verse is preceded by the introduction of the melody and the resolution of a 4-3 and 2-3 suspension.
The theme of passing time and the decay of youth is the textural idea of the next phrase and is accomplished through the steady bass and the scale wise eighth note motion within the range of a fourth pointing out the oscillating of the heydays as they "fade and go." Motion ceases at the end of the third verse implying the duration of "always."
In preparation for the third verse, an animated eighth-two sixteenth note figure anticipates the liveliness of skipping "at morn / Beneath the yellowing corn, . . . " This sixteenth note motion carries through the ascending line "Thinking
EXAMPLE 23: "The Dance Continued" measure 13-14.
it good and glorious" until the ritardando slackens the phrase. The word "glorious" is set in like fashion on the high G and the ritardando not only heightens and elongates the glorious feeling, but also gives added impetus to the next phrase as it begins in the original tempo. Motion is stopped again as the reality of "nothing grieves" materializes in the A minor chord.
The sixth verse (Now soon will come. . . ) is set with the same melody of the third (I did not know. . .) because, I believe, they not only have the same country type air about them in their description of things past and future, but also help to unify the inner sections of the song. The rhythmic thrust is maintained through the next verse as the melody, in fluent speech-like patterns, describes the "cider-makings rare, / And junketings, . . " The poignancy of the phrase "but I shall not be there" stings the heart of melancholy as the motionless chorded quarter notes, rich and warm in spacing, ascend and break loose in triplet patterns.
Finzi expressly holds back the caged emotions (marking the
EXAMPLE 24: "The Dance Continued" measures 29-30.
measure with an allargando) until the 6/8 measure unlashes the gaiety and goodness of life itself.
Finzi melodically paints the words "sing" and "sang" in the 6/8 section setting them on the high F and G respectively. The driving accompaniment in this section is characterized by the heavy octaves in the left hand and the ascending notes that climax on "Those songs we sang. . . " The sensitivity to the shaping of phrases is extraordinary in this section especially. No sooner does the phrase descend (even lower in register than it began) then the theme from verses three and six appear this time in the lilting 6/8 rhythm. The allusion here is timely as the music conveys the imagery the poetry yields.
As smoothly as was the transition into the 6/8 section with the duplet and the triplet figures, so too does Finzi effectively ease, in similar fashion, back to 4/4 meter. This transition is made even smoother as a ritardando and diminuendo veil the slowing 6/8 meter.
In unifying fashion, Finzi repeats the accompaniment for the similar first verse. The text is very subtly shaded with a few changed words to facilitate finality. "Regret" is now replaced with "mourn" and "sunny" by "yellowing" intimating the autumn of life. The accompaniment lingers over a reminiscent motif (as if stirring the last few fallen leaves) before the open fifth of the final chord gently closes the hand that held us in awe.
The preceding was an analysis of The Dance Continued by Michael R. Bray. Dr. Bray extended permission to post this excerpt from his thesis on March 19th, 2011. His thesis dated May 1975, is entitled:
An Analysis of Gerald Finzi's "A Young Man's Exhortation"
This excerpt began on page sixty-four and concluded on page sixty-nine of the thesis.
(Bray, 64-9)
Unpublished Analysis Excerpts
The following is an analysis of The Dance Continued by John Keston. Mr. Keston extended permission to post this excerpt from his thesis on September 30th, 2011. His thesis dated May 1981, is entitled:
Two Gentlemen from Wessex: The relationship of Thomas Hardy’s poetry to Gerald Finzi’s music.
This excerpt begins on page one hundred eleven and concludes on page one hundred nineteen of the thesis. To view Mr. Keston's Methodology please refer to: Methodology - Keston.
THE DANCE CONTINUED
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I lie uncaring, slumbering peacefully. |
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Ecstatically I moved, and feared no night. |
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But deemed that what was would be always so. |
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Thinking it good and glorious to be born. |
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Dreaming, ‘I grieve not, therefore nothing grieves.’ |
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And hinds will sing, and autumn insects hum. |
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And junketings; but I shall not be there. |
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Those songs we sang when we went gipsying. |
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In coupled figures, and forget mischance; |
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For I shall mind not, slumbering peacefully. |
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POETIC METER
This ten stanza poem entitled "The Dance Continued" is of simple metric construction. hardy uses ten feet for each stanza divided into three lines. The metric pulse is iambic, the first line has two feet, dimeter, the second trimeter, and the third pentameter. The last word of each line rhymes. All ten stanzas are so constructed.
RHYTHMIC RELATIONSHIP
Finzi has used four four time for this beautiful contemplative Hardy text. "The Dance Continued" is subtitled "Regret not me." In this final song of the cycle A Young Man's Exhortation for tenor, the natural rhythm and inflection of the words are strictly adhered to. To set the sombre tone of the text Finzi uses the device of a sustained chord with a hold over it as the only introduction to this song allowing the performer to begin singing with a gracious legato entry.
There are no anapests to be dealt with in this text, but it is interesting to note that where Finzi has used sixteenth notes in other songs to set the two weak pulses of that metric device, he similarly uses the sixteenth for words with three or more syllables in this song. "Peacefully," the last word in the first stanza is constructed with a dotted eighth note for the first stressed syllable, a sixteenth for the second unstressed syllable, and a quarter tied to an eighth for the third heavily stressed one. "Ecstatically," a four syllable word, third line of the second stanza, receives two sixteenth notes. With these simple unencumbered metric devices, Finzi urges the singer along in a parlando quasi conversational performance of the text that never jars the most acute poetic ear. Not until Hardy brightens the text considerably in the seventh stanza does Finzi change meter, but here as with "Former Beauties" when Hardy refers to merriment and dancing, the meter is changed to six eight time and the song swings along until the last stanza returning to four four for the fitting and final lines of A Young Man's Exhortation, "And mourn not me / Beneath the yellowing tree; / For I shall mind not, slumbering peacefully."
TRANSLATION
Perhaps the only phrase that needs to be clarified in "The Dance Continued" is Hardy's reference to "cider making rare." Somerset, Devon, Cornwall and Dorset are the Southwestern counties of England where English cider apples are grown. In Victorian times it would be a festive time when country folk extracted the juice from the ripened apples ready for fermentation. Reference is made to the cider maker in "Shortening Days," the first song in part two of A Young Man's Exhortation who would go from home to home to perform the task of juice extraction for a fee.
I MIND NOT SLUMBERING PEACEFULLY
It is not established that "Regret not me" is a dead woman talking to her lover who is visiting her grave, or if indeed Hardy wrote this in anticipation of his own death. Certainly the music, dancing, cider makings, and other junketings of rural England were enjoyed by Hardy life long. Bailey conjectures that it could be a woman, because of the line, "I flew my faery flight" and mentions a similarity to Christina Rossetti's "Song": "When I am dead my dearest, sing no sad songs for me." Hardy's first wife Emma is excluded on the grounds that she disliked country junketings. (Bailey, 320-1) The poem is a beautifully poignant message to the living to continue enjoying those things that the slumberer had enjoyed. It is a fitting end to A Young Man's Exhortation.
The preceding was an analysis of The Dance Continued by John Keston. Mr. Keston extended permission to post this excerpt from his thesis on September 30th, 2011. His thesis dated May 1981, is entitled:
Two Gentlemen from Wessex: The relationship of Thomas Hardy’s poetry to Gerald Finzi’s music.
This excerpt began on page one hundred eleven and concluded on page one hundred nineteen of the thesis.
