Former Beauties
- 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- Unpublished Analysis Excerpts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: 1902 (Purdy, 143)
Publication date: Within the collection: Time's Laughingstocks (1909) (Purdy, 138)
Publisher: Macmillan Publishing Company
Collection: Former Beauties is found in a group of seven poems that Hardy entitled:
At Casterbridge Fair. He included At Casterbridge Fair in a group of seventeen poems entitled: Time's Laughingstocks under the heading: "A Set of Country Songs."
History of Poem: James Osler Bailey writes with regards to: At Casterbridge Fair. "As "Casterbridge" is Hardy's name for Dorchester, the poems under "At Casterbridge Fair" treat his observations at the annual fair held in Dorchester until the mid-1930's, when automobile traffic through the town caused it to be abandoned. It was originally called Candlemas Fair as it was held in early February; [Candlemas according to Bailey was on Feb. 2nd] later it came to be called St. Valentine's Fair and held on or near February 14.
(Bailey, 223)
With reference to the date of the poem Bailey writes: "As one of the poems, "The Ballad Singer," was dated in the manuscript "1901," and another, "After the Fair," is dated 1902, probably the poems describe incidents at fairs of the period 1900-1902."
(Bailey, 223)
Bailey also records the poem has been set to music by "Alfred Hale in At Casterbridge Fair (in manuscript in the Colby College Library)."
(Bailey, 225)
Poem
| 1 | THESE market-dames, mid-aged, with lips thin-drawn, | a |
| 2 | And tissues sere, | b |
| 3 | Are they the ones we loved in years agone, | a |
| 4 | And courted here? | b |
| 5 | Are these the muslined pink young things to whom | c |
| 6 | We vowed and swore |
d |
| 7 | In nooks on summer Sundays by the Froom, | c |
| 8 | Or Budmouth shore? | d |
| 9 | Do they remember those gay tunes we trod | e |
| 10 | Clasped on the green; | f |
| 11 | Aye; trod till moonlight set on the beaten sod | e |
| 12 | A satin sheen? | f |
| 13 | They must forget, forget! They cannot know | g |
| 14 | What once they were, |
h |
| 15 | Or memory would transfigure them, and show | g |
| 16 | Them always fair. | i |
(Hardy, 239-40)
Content/Meaning of the Poem:
1st stanza: Are these the ladies from years ago that sold their wares? Their lips are no longer plump, their skin is dried and withered. Are these ladies the ones we loved and dated years ago?
2nd stanza: Are these the pretty pink skinned young girls that we once told we would love forever while romancing on the weekends in the summer by the river or the shore?
3rd stanza: Do they remember the dances we had together, how we held each other so closely in the grass, and how we remained entwined until the moonlight was replaced by the dawn's light.
4th stanza: Please let them have forgotten our promises and how they once were beauties. If not, please let them remain in their glory in our memory.
For additional comments as to the possible meaning of the text please refer to: Content - Van der Watt. Michael R. Bray's comments in his thesis as to the meaning of the poem and how Finzi treated the text. He references several of the songs within A Young Man's Exhortation and how Finzi's compositional technique is somewhat different for "Former Beauties." To view his comments please refer to: Content - Bray.
Speaker: Thomas Hardy - James Osler Bailey writes: "Former Beauties doubtless expresses Hardy's memories as he observed aging "market-dames" at the fair and recalled his and their youth." (Bailey, 225)
Setting: A fair in Dorchester between 1900 and 1902 with busy and crowded streets lined with canvas covered stalls.(Bailey, 224) There is also a reference made in the poem to the "Froom" which is the Frome River. Scholars of Hardy often refer to the Frome River as "Hardy's River." Please refer to: Frome - Bray for additional information.
Purpose: Beauty fades with time but memories often remain the same.
Idea or theme: Bailey writes with regards to the theme: "the decay of beauty with the passage of time and nostalgia for vanished youth."
(Bailey, 225)
Style: F. B. Pinion writes: "Written in a more sober style, to accord with the subject."
(Pinion, 75)
Form: Gerhardus Daniël Van der Watt describes the form in his dissertation as: "The poem consists of four quatrains with lines of uneven length, the second and fourth of each being shortened. The rhyme scheme is rounded (abab etc.) and although the metre is mostly trochaic, the third stanza contains dactylic lines."
(Van der Watt, 135)
Synthesis: This poem is full of questions and even when it is not a direct question one is left feeling as if Hardy has some regrets. The poem is possibly just simple nostalgia for the beautiful girls Hardy encountered at a fair or from one of his many walks in the country. The metaphors present in all of the poem is age and memory, and more specifically what effects they have on the mind. The last stanza is an example of Hardy's passion where one can hear him pleading for the girls to not remember their beauty or those that once toyed with them, otherwise he asks, that they see themselves in their "former beauty." This last stanza could also be turned so instead of the girls seeing themselves in their "former beauty" the speaker instead, would be the one who would see them in their "former beauty." One might recall E.T.A. Hoffmann's Dr. Spalanzani's glasses. For additional comments please refer to: Synthesis - Van der Watt.
Published Comments: James Osler Bailey writes with regards to the poem: "Can the "market-dames" with "tissues sere" be the "muslined pink young things" of former trysts and dances? The mind falter to acknowledge them the same, and they, too, must have forgotten what they were, or their memory "would transfigure them" in the Biblical sense, perhaps, so spiritualizing them that inner beauty would shine through their aging faces."
(Bailey, 225)
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Time's Laughingstocks and Other Verses
- Collection of 94 poems written by Thomas Hardy.
- Published in December of 1909 by Macmillan and Company.
- Poems were written over a period of 40 years.
F. B. Pinion categorizes the poems as generally somber in tone with some having a more light-hearted nature. (Pinion, 64)
Edmund Gosse wrote on Dec. 7, 1909, "how poignantly sad! What makes you take such a hopelessly gloomy view of existence?" (Pinion, 64)
"A reviewer for the Daily News complained that, throughout the volume, 'the outlook [is] that of disillusion and despair." (Wright, 313)
Hardy responded to the reviewer by saying more than half do not fit the description. (Wright, 313)
Gerald Finzi set the following poems within this collection:
- 1967 [titled by Finzi as: In five-score summers!] (I Said To Love)
- Former Beauties (A Young Man's Exhortation)
- He Abjures Love (Before and After Summer)
- In The Mind's Eye (Before and After Summer)
- I Say, 'I'll Seek Her' (Oh Fair To See)
- Let Me Enjoy (Till Earth Outwears)
- The Market Girl (Till Earth Outwears)
- The Sigh (A Young Man's Exhortation)
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At Casterbridge Fair
- A seven part-poem written by Thomas Hardy and dated 1902.
- At Casterbridge Fair was published in the collection of poems entitled Times Laughingstocks in 1909. (Wright, 14)
- Hardy it seems enjoyed attending "fairs" and from these outings he drew inspiration for The Mayor of Casterbridge and more specifically At Casterbridge Fair. The fairs most likely to have given Hardy his inspiration were originally held on Feb. 2nd each year and were called "Candlemas." Later the date was moved to Feb. 14th and renamed "St. Valentine's Fair." (Wright, 14)
- The occasion of the fair was primarily for the hiring of agricultural workers. The workers hired would then assume their duties on "Lady Day" or the Feast of the Annunciation, April 6th. (Wright, 14)
- The Mayor of Casterbridge is a book found in Hardy's Wessex novels.
- Casterbridge is a fictional town based on the real life town of Dorchester.
- Dorchester is located in Dorset.
"The seven sections are vignettes of scenes at the fair, depicting the heartbreak, painful memories, and hopes (both futile and realized) of various people attending the festivities."(Wright, 14)
Part II: Former Beauties was set by Gerald Finzi in a set of songs entitled A Young Man's Exhortation. The text expresses the feelings of one man having seen women middle-aged in a location that he remembered them as being young. He asks the question, are these the same girls we once danced with near the river, Frome and "Budmouth shore."
- Hardy uses the river "Froom" but it is clear he is speaking of the river Frome.
- "Budmouth" is Hardy's fictional name for a town that is the real life boroughs of "Melcombe Regis and Weymouth."(Wright, 29)
Part IV: The Market-Girl was also set by Gerald Finzi. The song can be found in Finzi's song set entitled: Till Earth Outwears. The speaker in the text is a man who observes a young girl attempting to sell honey, apples, and herbs. The man at first feels sorry for the young lady because there are no buyers but later is attracted to the young girl when he approaches her and engages in conversation. He discovers her true beauty and though no others had taken notice of her he had found a gem.
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Musical Analysis
Composition date: 1927 (Banfield, 144)
Publication date: Copyright 1933 by Oxford University Press, London.
Copyright © assigned 1957 to Boosey & Co. Ltd. (Finzi, 158)
Publisher: Boosey & Hawkes - distributed by Hal Leonard Corporation
Tonality: The first three quarters of the song revolves around e natural minor and G major before establishing D major firmly in measure thirty-four. It remains in D major through to the end of the song. For additional information about the original key please refer to: Tonality - Van der Watt.
Transposition: Currently unavailable.
Duration: Approximately three minutes and three seconds.
Meter: The song utilizes multiple meters. It begins in 4/4 and remains in common time through the end of the second stanza before transitioning to 6/8 in measure fourteen. The meter changes from 6/8 to 9/8 for one bar at measure twenty-seven. The meter returns to 4/4 in measure twenty-eight and remains so until the last word of the text, "fair" where Finzi uses two bars of 6/8 for measures thirty-eight and thirty-nine. He finishes the song in 4/4 for the last four measures. The shifts from common time to compound meter flavor the song with vignettes of gay happy times when the speaker recalls the "former beauties." In contrast the common time seems to indicate the present and therefore the more realistic view of the "former beauties." For additional comments as to the meter please refer to: Metre - Van der Watt.
Tempo: The tempo marking at the beginning of the song is: Pensieroso quasi Recitativo with the quarter note equalling c. 58. In measure thirteen a ritard is indicated for the piano accompaniment setting-up a transition to the 6/8 meter in measure fourteen where a tempo is indicated as well as the articulation of Leggiero in the piano and then in measure fifteen for the vocal line. Also in measure fourteen there is a marking for the dotted quarter note of the 6/8 meter to equal that of the former quarter note. The next tempo indication is found in measure twenty-eight where Tempo I is marked and Finzi has returned to 4/4 meter. Also, in measure twenty eight it is indicated that the quarter note is now equal to the former dotted quarter note of the 6/8. Piu animando is indicated for the second half of measure thirty-four through measure thirty-seven where on the second beat a ritard is marked for the remaining three beats of that measure. Once again in measure thirty-eight Finzi transitions to 6/8 meter and a tempo is indicated with the dotted quarter note equalling the former quarter note. The last markings for tempi occur in measure forty where the meter returns to 4/4 and thus the quarter note equals the former dotted quarter note. The tempo markings along with the meter shifts seem to transport one from the present to the past. The tempi has less to do with this than the meter shift but when a ritard occurs before a meter shift one can imagine Finzi intentions to slowly fade from present to past or vice-versa. The a tempo and piu animando indications can be justified as accelerations of the passion the speaker has for the "former beauties." For additional discussion about the tempi within the song please refer to: Speed - Van der Watt.
Form: The form of the song has been described in several ways by various authors, one describes it as through-composed, another as ternary with a coda, still another as A B C A¹. The common ground the three share is the song possesses four sections and whether or not to call the last section a coda or A¹ doesn't seem to matter greatly. Gerhardus Daniël Van der Watt describes the form in his dissertation as through-composed but he creates a table to indicate the different sections of the song as well as calling the last section a coda. To view his table as well as his other comments about the specific sections of the song please refer to: Structure - Van der Watt. Mark Carlisle describes the form in his dissertation as ternary with a coda. To view Dr. Carlisle's comments please refer to: Form - Carlisle. Carl Rogers in his thesis describes the form as A B C A¹ and to view his comments please refer to: Form - Rogers.
Rhythm: The rhythms utilized by Finzi are once again standard fare for his compositions. We find strings of eighth notes broken with shorter or longer note values. One will also find frequent use of tied notes, again this is normal for a Finzi song. What is also standard is Finzi's clever setting of the text. As an example of his skill of text setting observe the beginning of the fourth stanza or measure thirty how he sets the text "They must forget, forget!" The first "forget" is short and crisp where the second is more determined. This is typical of Finzi's skill when setting the text.
"Former Beauties" measures 28-31 (Finzi, 160-1)
Gerhardus Daniël Van der Watt in his dissertation discusses the rhythm and more specifically the rhythmic motives found in the song, his analysis is extensive and very specific. To view Dr. Van der Watt's comments please refer to: Rhythm - Van der Watt.
A rhythmic duration analysis of the vocal line was also performed on the song and it found the eighth note was the most common note value used at 58%. The next three note values were almost equally used and they were the dotted quarter note equalling 11%, the sixteenth note equalling 10%, and the quarter note equalling 9% of the vocal line. For the complete 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 not completely typical for Finzi, there is greater emphasis on leaps and less step-wise motion than most of his songs. The most common interval beyond the major and minor second is the descending 5th and close behind in the number of occurrences is the ascending 4th. Finzi also seems to use pin-point moments of dissonance in this song so as to jab the listener and to make one observe the pain of these memories, Hardy is recalling. The first example of dissonance can be found in the first measure where Finzi uses a minor ninth in the piano accompaniment to begin the song. Carl Rogers and Mark Carlisle both mention the use of dissonance in this song in their analysis. This is not to say that the song is particularly dissonant but rather there are moments of dissonance sprinkled in among the more tonal music one expects from Finzi. Mark Carlisle's comments on the music are very thorough and highly recommended. To view Dr. Carlisle's comments in total please refer to: Comments on the Music - Carlisle. Gerhardus Daniël Van der Watt has also written at length about the melodic and harmonic material within the song and to view his comments please refer to: Melody - Van der Watt.
An interval analysis was also performed on this song 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 see the table at the bottom of the page or click on: Interval Analysis.
Texture: The texture is primarily homophonic with some moments of contrapuntal material. 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 D below middle C and the highest pitch is the A above middle C.
Tessitura: The span of the tessitura is one octave from the E below middle C to the E above middle C. A pitch analysis was performed for the purpose of accurately determining the tessitura and for the complete results please refer to: Pitch Analysis.
Dynamic Range: The dynamic range for the song spans the distance from pianissimo to forte, most of the song, however is at the softer dynamics. With this in mind it is extremely important to make the most of the moments that call for a louder dynamics so as to strengthen the passion within the text. The most difficult section for most singers will be measures nine through eleven where the tessitura is very high. At the beginning of this section Finzi has forte indicated but there is a decrescendo mark at the end of measure ten. The piano accompaniment in measure eleven is marked with mezzo-piano, this decrescendo is not difficult for the piano but it is quite a different story for the voice. The vowel sounds may help the vocal line to make this decrescendo more easily but it will still prove to be difficult for most. For a discussion about dynamics please refer to: Dynamics - Carlisle and for additional comments including a table listing where each dynamic is indicated within each stanza please refer to: Dynamics - Van der Watt.
Accompaniment: The accompaniment plays a more critical role of establishing the mood for the various sections of this song. The songs about "space" or "stellar" events are reminiscent of this style of piano accompaniment present in "Former Beauties." The "space" and "stellar" songs are: "The Comet at Yell'ham" from this song set, "At a Lunar Eclipse" from Till Earth Outwears, and "Waiting Both" from Earth and Air and Rain. The piano accompaniment features more use of dissonance as well as transitions from pensive moments to gay dancing. This is one of the more unique songs within A Young Man's Exhortation because of its variety of accompaniment and its use of dissonance. For specific information about the accompaniment please refer to: Accompaniment - Van der Watt. Dr. Carl Rogers has also made some interesting comments about the accompaniment and its role in the ensemble of this song. To view his remarks please see: Accompaniment - Rogers.
Pedagogical Considerations for Voice Students and Instructors: The range of the song is good for the tenor but measures nine through eleven may cause some difficulty as the tessitura is predominately in the passaggio region and the dynamic is forte to begin with. Good breath management will greatly assist in these measures while being careful to not push in order to sustain the dynamic. All three of the high notes are approached nicely by leap but the last one in measure eleven to the word "nooks" may be more difficult for some tenor voices. It is also made more difficult as the dynamic is lowering. If one has difficulty landing the [G] on the word "nooks" try substituting "nicks." The [I] vowel is more common and if one immediately feels some relief the next step would be to create an exercise utilizing the [U] vowel. A good starting point would be the [E] below middle [C]. Try using the [U] vowel while singing scale degree's 1, 3, 5, and 6. Work the lower passaggio until the vowel feels more natural and then progress up to the [G].
Dr. Mark Carlisle records in his dissertation the following observations and advice: "There are few technical problems in this song; only the tessitura of measures 9-11 would cause a young singer any concern, but the high notes are not sustained and movement is steady, so the inherent difficulties are mitigated to some degree. However, these measures also contain the most dramatically-charged music of the piece, so if serious range or tessitura problems do exist, there may be other Finzi songs that are more appropriate. Dynamic requirements are not extensive, and rhythmical complexities are quite minimal, but the necessary plaintive quality is not always easily attained. Further, the poem is of sufficient literary difficulty that an adequate, let alone maturely refined, performance by a very young singer is highly unlikely. Therefore, this song at the earliest should be considered as repertoire for a junior or senior undergraduate with excellent literary knowledge and sensitive interpretive skills. It would not be unreasonable to suggest that a student wait until graduate school for this one. However, for one willing to plumb this song's musical and poetic depths, which by any standard are not overly severe, it can be a very rewarding experience." (Carlisle, 162)
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Below one will find excerpts from unpublished dissertations. The excerpts should provide a more complete analysis of Former Beauties 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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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 following is an analysis of Former Beauties 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 thirty-four and concludes on page one hundred thirty-five. 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 Time's Laughingstocks (1909), is part of a subsection entitled: "A set of Country Songs" and is the second in a set of poems called: "At Casterbridge Fair", the set dated 1902. Casterbridge is the fictitious name for Dorchester, in Hardy's Wessex which "he half-accidently created"..(Seymour-Smith, 323) The novel, The Mayor of Casterbridge, was completed in 1885 and as a result, it is likely that the present poem was written between 1885 and 1902. In this period Hardy and his wife moved to Dorchester and built Max Gate within a couple of miles of where Hardy was born and raised. It is conceivable that Hardy after some twenty years, met a number of these "Former Beauties" in the market-place; hence the poem."
(Van der Watt, 134)
2. Poem
"On seeing the middle-aged women in the market-place, the poet wonders: can they be the same young girls he knew and danced with as a young man. Their present-day description is realistic rather than flattering ("mid-aged, lips thin-drawn, tissues sere, transfigure them"), while there is a sincere attempt to restore them to their former, beautiful selves through the process of his own vivid memory ("we loved and courted, muslined pink young things, we vowed and swore, clasped, satin sheen, always fair"). In the final stanza he says that they must have forgotten all about their pleasant youth or else their memory would have kept them young."
(Van der Watt, 134)
"The poem is a love lyric mingled with a little melancholy about the effects of aging on human beings."
(Van der Watt, 135)
"The poem consists of four quatrains with lines of uneven length, the second and fourth of each being shortened. The rhyme scheme is rounded (abab etc.) and although the metre is mostly trochaic, the third stanza contains dactylic lines."
(Van der Watt, 135)
"The process of memory and its effects, a favourite Hardy topic, is the strong undercurrent of the poem: the present reality is compared to and contrasted with the idealized past, through the illusions of human memory. Hardy argues, in the final stanza, that these ladies could not possibly remember themselves the way he remembers them or else if they remembered, their memory would have transformed them to be more like their former selves. In effect he laments the decay of the physical beauty and blames not only time, "the tyrant" but also their defective memory."
(Van der Watt, 135)
Setting
1. Timbre
VOICE TYPE/RANGE
"The poem is set for tenor voice and the range is a perfect twelfth from the first D below middle C."
(Van der Watt, 135)
"The piano accompaniment is largely restricted to the middle range of the piano, except in bars 26-30 (part of the interlude between stanzas 3 and 4) where the upper range is explored with the left hand part notated in the treble clef and the right hand part reaching the third G above middle C; and in bars 41-43 (the last three bars of the postlude) where the lower register of the piano is explored reaching the third D below middle C. The fact that these extremes are explored by the piano part alone, focuses the attention on the importance of the piano part in setting, maintaining and changing the atmosphere of the song. The second half of the only substantial interlude (b. 24-30) recalls the prelude but an octave higher. The implication is that the memory is fading into oblivion. The text that follows, confirms the assumption: "They must forget, forget!". The warmer sonority of the second half of the postlude (b. 38-43) suggests the pleasantness of the persona's memory of these "market-dames"."
(Van der Watt, 135)
"There are no indications for the use of pedal but the many legato slurs and sometimes the chordal accompaniment suggest that the performer is responsible for the use of pedal. Apart from the legato indications being prevalent (b. 11 cantabile) a number of portamento accents are used in the song (b. 6²(voice), 9²(voice), 11, 12, 29, 33, 34, 40, 41 and 42). They have the function of mildly accentuating certain passages. The indication Leggiero (b. 14) is used in conjunction with change of metre to 6/8 so that a dance-like atmosphere is achieved. The first three bars of this section contain a number of quaver rests to strengthen the dance character."
(Van der Watt, 135)
"The atmosphere starts out as being melancholy, pensive and longing (b. 0⁴Pensiero quasi Recitativo). The thin texture, vagueness of the e natural minor key and the almost accidental dissonance, support the character indication. In bar 14, (Leggiero) the atmosphere changes to a more light-hearted, dance-like character. This, supported by a delicate dance metre and some modal influence, remains until the end of stanza 3, half way through the interlude when the original atmosphere is re-introduced. The original melancholy becomes more sombre in bars 32-33 but is rejected in bar 34. Now a new positive tone is introduced with quicker tempo (b. 34 piu animato), an abrupt modulation to the dominant major and slightly more active rhythmic accompaniment. The dance character is briefly recalled (b. 39-39) and the positive frame of mind is retained towards the end. The implication is that the persona's memory of the market-dames in their youth is stronger than the visible, present-day decay."
(Van der Watt, 135-6)
2. Duration
"The mainly trochaic metre of the text is appropriately matched with a largely common-time time-signature. The dactylic metre of the third stanza is set with compound duple time-signature, characteristic of a lot of dance music. The text here (b. 13-23), refers to the dancing exploits of yesteryear:"
"Do they remember those gay tunes we trod
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Clasped on the green; |
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Aye; trod till moonlight set on the beaten sod
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A satin sheen" |
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"All metric variations are given below:"
Bar no. |
Metre |
No. of bars |
Total |
Suggested reason/s |
0⁴ |
4/4 |
13 |
27 |
Following textual metre |
14 |
6/8 |
13 |
15 |
Following textual metre, dance-character |
27 |
9/8 |
1 |
1 |
Bar extended to anticipate change of metre |
28 |
4/4 |
10 |
Follow textual metre, opening atmosphere |
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38 |
6/8 |
2 |
Recalls dance-character |
|
40 |
4/4 |
4 |
End in original metre |
"The two metres are strongly associated with the two main atmospheres of the song: the common-time time-signature with the pensive, more restrained mood and the compound duple time-signature with the light-hearted, dance-like mood."
(Van der Watt, 136)
Rhythmic motifs
"There are two motifs associated with each of the two main sections. Firstly, motif 1 consists of a dotted quaver, semiquaver and crotchet which is sometimes lengthened and sometimes shortened. This motif stems from the setting of the first line (. 3 "market-dames") and is used 14 times in both piano and voice (b. 1, 2, 3, 5, 6, 8, 9, 10, 11, 28, 29, 32, 33, 35). The second motif consists of four quavers and has a more general function of providing rhythmic movement. The motif occurs mostly in the piano part and in total 16 times (b. 4, 5(2), 6(2), 6-7, 7(3), 8, 9, 11, 13, 31, 32, 33). In the second main sections motif 3, consisting of a dotted quaver, semi-quaver and quaver group in 6/8, occurs 23 times (b. 14(2), 15(3), 16, 17, 18(2), 19(2), 21(5), 22(2), 23(2), 25, 26, 30). Motif 4, consisting of a crotchet and quaver, occurs 32 times (b. 15, 16(2), 18, 19(6), 20, 21(3), 22(3), 23(2), 24(4), 25(3), 26, 27(4), 28). Both these motifs (3 and 4) are largely responsible for the dance-like character which prevails in stanza 3."
(Van der Watt, 136)
Rhythmic activity vs. Rhythmic stagnation
"The general movement as indicated above, is a quaver movement. In a three sections this rhythmic movement is slightly slower: Bars 0⁴- 3 (prelude), 28 -30 (interlude) and 42 -43 (postlude). The first two help to establish a pensive, melancholy mood while the last simply anticipates the end of the song. There are two bars in which the rhythmic activity suddenly increases, namely bars 35 -36. This sudden surge of activity accompanies the text: (Or memory would transfigure them and show them always fair." The increased rhythmic activity supports the undercurrent of excitement in the prospect of having the "market-dames" restored to their former splendour."
(Van der Watt, 137)
Rhythmically perceptive, erroneous and interesting settings
"The following words have been set to music perceptively:"
(Van der Watt, 137)
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, 137)
"The tempo indication is Pensiero quasi recitativo [quarter note equals] 58. Tempo deviations are listed below:"
Bar no. |
Deviation |
Bar no. |
Return |
Suggested reason/s |
13 |
rit. |
14 |
[dotted quarter = quarter] of preceding a tempo Leggiero |
New dance-like section |
28 |
Tempo I [quarter = dotted quarter] of preceding |
Original atmosphere |
||
34 |
piu animato |
Excitement over former beauties is relived |
||
37 |
rit. |
38 |
a tempo [dotted quarter = quarter] |
Anticipate the end of stanza, Dance-like atmosphere recalled |
3. Pitch
Intervals: Distance distribution
Interval |
Upwards |
Downwards |
Unison |
(16) |
|
Second |
30 |
24 |
Third |
5 |
4 |
Fourth |
7 |
4 |
Fifth |
1 |
13 |
Sixth |
3 |
0 |
Octave |
2 |
0 |
"There are 16 repeated pitches (or 15% of the total number), 48 rising intervals (or 44%) and 45 falling intervals (or 41%). The smaller intervals (a third and smaller) account for 79 intervals (72% of the total number) while the larger intervals (fourths and larger) account for 30 (or 28%). The recitativo indication (b. 1) anticipates the parlando vocal style in which the rhythmic material is varied, following the rhythm of the text and the high incidence of repeated pitches on the one hand, and the large number of expressive perfect fifth, descending intervals on the other. These and other larger intervals are listed below."
(Van der Watt, 138)
Interval |
Bar no. |
Word/s |
Reason/s |
5th down |
3¹ |
These market |
Reinforce emotional content |
5th down |
4⁴ |
lips thin |
Emphasis |
5th down |
5³ |
tissues sere |
Reinforce emotional content |
6th up |
6¹ |
Are they |
Change of register, emphasis |
5th down 4th up |
6³-⁴ |
ones we loved |
Reinforce emotional content |
5th down 4th up |
7¹-² |
loved in years |
Sequence, reinforce emotional content |
6th up |
9¹ |
Are these |
Emphasis |
4th up |
10² |
we vowed |
Reinforce emotional content |
4th up |
11¹ |
in nooks |
Emphasis |
5th down |
12³ |
Or Budmouth |
Change of register |
5th up |
15² |
remember |
Reinforce meaning |
5th down 4th up |
16²-17¹ |
tunes we trod |
Reinforce meaning |
4th up 5th down |
20²-21¹ |
trod till moonlight |
Reinforce meaning |
4th down |
22¹ |
beaten |
Reinforce meaning |
5th down |
31⁴ |
cannot |
Reinforce emotional content |
5th down |
32³ |
they were |
Reinforce emotional content |
8th up 4th down |
34³ |
Or memory |
Emphasis, reinforce emotional content |
6th up |
37² |
show them |
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, 138)
Climaxes
"The three vocal climaxes are given below:"
Bar no. |
Pitch |
Word |
9 |
G |
these |
10 |
A |
vowed |
11 |
G |
nooks on |
"The climaxes occur in bars 9 - 11 where the text suggests the persona's delight at the memory of the "former beauties". A thick, chordal piano texture supports the climactic notes harmonically."
(Van der Watt, 139)
Phrase lengths
"Sub-phrases are mostly separated by rests so that breathing is mostly convenient. There are, however, extra breathing places necessary in some of the stanzas: bars 7⁴, 11¹ and 20¹ (the composer's indication)."
(Van der Watt, 139)
"Although the key-signature remains unchanged, three keys are present in the song. The initial key is e natural minor with one single raised seventh, the first not in the left hand part. There is a vagueness about the key due to the chromatically altered notes (b. 1⁴, 3¹&⁴, 5² 5³) and the sporadic appearance of the relative major key, G major. The ambiguity between e natural minor and G major also results in a modal sound framework which remains until bar 34 when D major evolves out of the preceding chromaticism (b. 29¹, 29⁴, 31¹, 32²-³, 33¹-²). This brighter key accompanies the idea that in the persona's memory, these "market-dames" will always be fair, if they would only see themselves as such."
(Van der Watt, 139)
Chromaticism
"Examples of chromaticism have already been listed. These notes do not allow themselves to be explained in conventional harmonic terms. They are, however, vital to the atmosphere of the two relevant sections (b. 1-8 and 28-33) because of the tonal vagueness in their wake and the momentary rather crude dissonance that they create. One could speculate that these discordant notes are related to the "market-dames' thin-drawn lips" and "sere tissues". The dissonances are placed in such a way that they seem deliberately nasty or ill-natured - much as the text suggests the "market-dames" were."
(Van der Watt, 139)
HARMONY AND COUNTERPOINT
"The harmonic moments of significance are mainly those involving the aforementioned chromatic notes. Extension of the triad is a common practice and results in dissonance associated with the initial atmosphere of melancholy (b. 4¹&⁴, 7², 8¹&², 9³, 10¹, 10³-⁴, 11²-⁴, 20¹&³, 31¹&⁴, 35¹, 36⁴, 37¹&³, 38¹, 40¹&³). The higher incidence of this extension between bars 8 and 11 coincides with the climax of the song and the height of the persona's arousal at the memory of the "former beauties". Chord I⁶₅ used on bar 38¹, seems to be particularly ironic with the word fair - no doubt an intentional choice. Bar 33 and the first beat of bar 34 do not allow tonal analysis, in the conventional sense. The bass line of the piano part consists of four descending whole tones and is accompanied by an ostinato figure based on F#-A-D-E. This ostinato figure is a varied imitation of the preceding melodic line. The harmonic awkwardness enhances the market-dames' physical deterioration and possibly social inhibitions, now that they are not seemly any more."
(Van der Watt, 139-40)
Non-harmonic tones
"Non-harmonic tones are used freely, many of which are accented (b. 6¹&², 8²&⁴, 9¹&³, 12¹, 21¹, 37⁴, 40³). These merely enhance the dissonance required to set the atmosphere of pensiveness and longing."
(Van der Watt, 140)
Harmonic devices
"There are no significant instances of pedal point. There is some attempt at non-triadic construction in the use of fourth constructed segments in the treble clef in bars 10¹&³. These are not true fourth constructions but it is clear from the fact the no resolution of the chord is offered, that the composer is, at best, entertaining the idea of a fourth constructed chord."
(Van der Watt, 140)
Counterpoint
"Imitation is used sparsely (b. 1-3, 28-30, 38-39 in the piano part) but large chunks of the song rely on free contrapuntal style. The exceptions are the chordal approach in bars 9 - 13 of the more homophonic third stanza (b. 14-21)."
(Van der Watt, 140)
"Loudness variation is given in the following summary:"
(Van der Watt, 140)
FREQUENCY
"There are 31 indications in the 43 bars of which three are separate indications for voice. The few separate indications for the voice suggest that the voice should follow the indications given in the piano part as a general rule."
(Van der Watt, 140)
RANGE
"The lowest level indication is pp and occurs in bar 28 (during the interlude) at the return of the opening material and atmosphere. The opening atmosphere is intensified in that the material is presented an octave higher and dynamically a level lower. The loudest indication is f and occurs in bar 9. This indication last until bar 10³ where the main climax of the song occurs. The dynamic level therefore supports the meaning and mood directly."
(Van der Watt, 140)
VARIETY
"The indications used are:"
(Van der Watt, 141)
DYNAMIC ACCENTS
"No stronger accent than the portamento is used. There are two indications for voice (b. 6² and 9²) which both emphasize a pronoun, referring to the "market-dames" in astonished disbelief. The indications in the piano are largely localized to bars 11 and 12. The emphasis is here on an ostinato figure in the treble clef and a repeated E in the bass of bar 11. The ostinato figure in bars 33 - 34 is emphasized again. These accents merely attract attention to the melodic detail in the piano part at the various moments. the same is true of the portamento accent in the postlude (b. 40-42 - treble clef)."
(Van der Watt, 141)
"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:"
(Van der Watt, 141)
No. of parts |
No. of bars |
Percentage |
2 parts |
3 |
7 |
3 parts |
20 |
46 |
4 parts |
11 |
26 |
5 parts |
4 |
9 |
6 parts |
5 |
12 |
"Bars 1 - 3 have a two-part texture in the piano part and suggest a faint memory of the former beauty of the "market-dames". The most dominant texture is a three-part counterpoint and is made thicker for specific purposes. Firstly, bars 9 -12 have a six-part texture to support the vocal climaxes and the excitement around the memory of the beautiful girls. A four- and five-part piano texture occurs from bar 35 -43. This thicker texture occurs with the final section which is in D major and initially at a slightly quicker tempo. The text of this section is almost an invocation to restore the "market-dames" to their former splendour."
(Van der Watt, 141)
"The structure of the song is represented in the following table:"
(Van der Watt, 141) "The vocal material is through-composed. The final stanza is at the same time a Coda and a varied reference to the opening piano material and as such the song has ternary tendencies without being explicitly in ternary form."
(Van der Watt, 141)
7. Mood and atmosphere
"The mood of the song varies between a feeling of pensive regret for, and disillusionment with the effects of ageing on physical beauty and a vivid recollection of that self-same beauty which gave intense pleasure so many years earlier. The former has been achieved by tonal and modal wondering and a parlando singing style. The latter by the 6/8 metre and its associated dance-like character. The song ends confidently, with the persona's pleasant memory intact (a secure D major, a quicker tempo and more active rhythmic material). These elements help to achieve this positive end."
(Van der Watt, 142)
General comment on style
"The harmonic language has a large modal component and a number of deliberately dissonant, chromatic notes. Metric variation and rhythmic material follow the atmosphere of the text closely. The melodic interval of a descending perfect fifth is used 13 times and as a result becomes a strong feature in the song. With an almost 30% incidence of larger intervals, the song has a fairly adventurous vocal style without being un-vocal. There are certain parlando tendencies which tally with a listless pensive atmosphere."
(Van der Watt, 142)
Unpublished Analysis Excerpts
The following is an analysis of Former Beauties 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 one hundred fifty-two and concludes on page one hundred sixty-two of the dissertation.
"This poem was published as part of Time's Laughingstocks, under the heading, "A Set of Country Songs." A further set of seven poems within "A Set of Country Songs" is grouped together under the title, "At Casterbridge Fair." Casterbridge was Hardy's name for Dorchester, the area where he spent his childhood. Annual fairs were held there each February, many of which Hardy attended as a boy. Some of the other poems in this set were dated 1901 and 1902, so it seems only logical to assume that these poems were inspired by Hardy's attendance at the fair during these years." (Carlisle, 152)
""Former Beauties" is perhaps the most despondent poem in this cycle, one in which the poet muses on the middle-aged women he sees, and the unpleasant changes time has wrought on them. His bewilderment by the passing years is evident, and requires little explanation. Translations of a few of the more unfamiliar words in the poem are as follows: "sere" - dried up, withered; "muslined" - dressed in the fabric muslin; "Froom" - The Frome River that runs through Dorchester on its way to Budmouth. It is often called "Hardy's River" because he wrote of it frequently." (Carlisle, 152-3)
Comments on the Music
"The music of 'Former Beauties' moves a step forward in compositional depth from its predecessor as it seeks to reflect the melancholy nature of the poetry. The importance of textual clarity remains strong, but other elements vie for equal prominence in an effort to provide suitable and convincing musical 'attire' for this poem. The basic musical components in this song combine in such a way as to produce a very respectable level of intensity and variety, although separately none of them is of particularly remarkable quality. It represents some of Finzi's more interesting writing, and serves as a reminder that the use of basically traditional and conservative musical language in composing need not necessarily end in a product that is bland, tedious, and devoid of personality." (Carlisle, 153)
"The 43 measures of this song are structured in a ternary-type form, with a coda of six measures at the end. The format is outlined as follows: A- measures 1-13; B = measures 14-27; A¹ = measures 28-37; coda = 38-43. The opening key signature indicates the key of E minor, but because of the lack of D sharp beyond that heard in measure 1, much of the melody is actually heard within the framework of A natural minor (Aeolian mode). This harmonic quality remains in effect until measure 14, at which time the harmony shifts to e natural minor (Aeolian). In measures 31-33 a brief transitional passage occurs that leads to the coda in the key of D major. The meter in both of the A sections is 4/4, while the B section and codetta are in 6/8. It is this factor above all others that determines the sectionalization of the song, as both tempi and musical character are altered with the change in time signatures." (Carlisle, 153-4)
"Section A begins with a prelude of two measures in the accompaniment, including an upbeat in the right hand that functions both in a rhythmical as well as melodic sense. There are several points of interest in this opening prelude: 1) there is an obvious emphasis on imitative counterpoint in these measures, although no actual imitation occurs until the voice part enters in measure 3; 2) this imitative quality is enhanced by the use of a very thin, polyphonic texture of only one note per hand; 3) the falling melodic pattern followed by neighbor tones in the right hand serves as a combination melodic/rhythmic motive that returns in varied forms in the third section as the most obvious unifying device in the piece; and 4) the use of D sharp and A sharp in measure 1 in the left hand against the Aeolian modality heard in the right hand creates a forceful bitonal effect that is not fully eradicated until measure 4. Individually these factors mean little, but collectively they produce, in conjunction with a relatively slow opening tempo, the stark, bleak character inherent in the poetry. This technique has also been used even more extensively in such pieces as 'The Comet at Yell'ham' of this cycle and 'At a Lunar Eclipse' of Till Earth Outwears, but it is still of importance in this song." (Carlisle, 154-5)
"Example 19. 'Former Beauties,' measures 1-3." (Carlisle, 155) |
"The entrance of the vocal melody in measure 3 is in clear imitation of the first notes in the right hand of the accompaniment. It continues to follow this direction in a broken, halting manner into measure 4 before separating itself from those initial, imitative considerations. Once on its own, the melody in this opening section assumes very expressive traits that compare favorably with those of many other songs: the use in particular of melodic leaps followed by scalar passages, intermixed with the more chordally-conceived structures, help to fashion a melody strong in purpose and direction but maintaining an underlying sense of artistic elegance and refinement. It is at its greatest level of importance in this first section, corresponding to a comparable degree of poetic intensity, before other elements assume increased significance in the following sections." (Carlisle, 155)
"There is little unusual harmonic activity in the first section beyond that heard in the prelude, as the A natural minor remains throughout in almost complete control. Only the dissonances caused by the clash of B natural and C natural on beat one of measure 4, and B flat and B natural on beat two of measure 5, disrupt the quiet plaintiveness of the modal character, but the brevity of these moments assures them relative anonymity within the larger scope of the entire section. They are most certainly meant as musical responses to the 'dissonant' poetic vision of 'market dames, mid-aged, with lips thin-drawn, And tissues sere,' and as such, serve their purpose well. Rhythm and texture also move along in a comparatively restrained manner, with little that is of a prominent or exceptional nature. An increase in textural fullness and homorhythmic movement that begins in measure 9 does provide, along with an emphasis on melodic expansiveness, a greater sense of music al breadth necessary to match the poetic intensification of stanza two. However, it lasts for only a few short measures before assuming new characteristics at the beginning of the B section in measure 14." (Carlisle, 155-6)
"Section B is defined by a change of meter, from 4/4 to 6/8, and a harmonic shift to E natural minor, that considerably alters its character in relationship to the previous A section. Tempo increases, as indicated by a marking of dotted quarter note equals a quarter note of preceding, and the entire section adopts the 'light and nimble' temperament associated with the Leggiero marking found in measure 14. The change is a wonderful reflection of the text in the third stanza that begins, 'Do they remember those gay tunes we trod Clasped on the green,' and adds both variety and a subtle poignancy to the song that are quite positive in their effect." (Carlisle, 156)
"The section is fourteen measures in length, including a 9/8 measure at the end, and all maintain a strong connection to a three-note rhythmical motive shown below in Example 20." (Carlisle, 157)
"Example 20. 'Former Beauties,' measures 12-17." (Carlisle, 157) |
"This motive severs as the basis for an effect similar to that of a gigue, a dance style common in English history. It permeates the section, moving back and forth between hands of the accompaniment as well as the vocal line, and represents by far the most significant aspect of these measures. Some minor syncopation occurs in the voice line in measure 17 and again in measure 22, but this adds only a touch of variety without disrupting the basic rhythmical flow. Melody and accompaniment 'play' back and forth in a mixture of polyphonic and homophonic textures within the framework of E natural minor until measure 22, when a shift to G major is perceived. While each of the basic musical components has some degree of importance, that of the gigue-like dance rhythm is distinctly paramount, relegating the others to a position of lesser importance in this second musical section." (Carlisle, 157-8)
"It is interesting to note at this point that Finzi chose to set both of the first two stanzas in one section while differentiating and sectionalizing the music for both stanzas 3 and 4. Certainly there are the previously mentioned aspects of a thicker, more homophonically conceived texture, and more expansiveness to the melody, that together provide some amount of distinctiveness for stanza two, but the basic character clearly remains the same. The nature of the poetry itself might have suggested a musical arrangement of stanzas 1 and 4, and 2 and 3 respectively, but Finzi obviously wanted to continue the musical response of the poet's bewildered questioning through the second stanza before making a substantive change. It is clear that stanza 3 provided the inherent impetus to create such change, with its emphasis on the memory of 'dancing to gay tunes,' so while the musical grouping of the stanzas may be somewhat unusual, the overall quality of the song is not diminished because of it." (Carlisle, 158)
"Section A¹ begins in measure 28, and represents a return to much of the same musical structure as found in section A. A mixture of homophonic and lightly polyphonic textural elements is heard, along with a slightly varied repetition of the melodic/rhythmic motive found in the opening two measures of the song. The harmonic framework of G major remains in effect, at least at the beginning, as the basic disposition of the section resumes the plaintive, melancholy manner so characteristic of the first section. The primary differences between the two A sections revolve around harmonic and melodic aspects, and the level of importance that each possesses." (Carlisle, 158-9)
"The melody, which was of significant importance in section A, is of notably secondary prominence in section A¹. It does have the usual sense of expressiveness that characterizes Finzi's melodies, but is much more subservient to harmonic considerations than in both previous sections. There is little of the sense of expansive and dramatic impetus found in parts of the first section, but rather a reversion to the type that is used by Finzi to provide a simple, unaffected means of relating the poetry." (Carlisle, 159)
"Harmony assumes the lead role in an analysis of this third section, for it is during these measures that occurs a change of harmonic focus, from G major to D major. The first measure of the section, measure 28, is still plainly in G major, but this dissolves into ambiguity in measures 31-33. These measures contain the primary modulatory material that leads to D major. The harmonic shift in these two measures occurs as a result of purely chromatic movement, particularly in the bass line, that offers no traditional resolution into the key of D major. Instead, after the chromaticism of these measures, a C sharp is heard in the bass line of measure 34 that serves a s the first clear indication of D major. It is not until a brief but important resolution in measure 35 that the key of D major is fully established. This resolution is weakened by the fact that it is to a tonic chord in first inversion rather root position, but since no accidentals other than C sharp occur at any time throughout the remainder of the piece, the tonality of D major is unquestionable. The reason for this type of unusual harmonic change from Finzi is somewhat vague, but the text provides the most suitable answer. The final lines of poetry, 'Or memory would transfigure them, and show Them always fair' are matched by a response in which the music is itself 'transfigured' in an ambiguous way from G major to the 'fairness' of D major. This creates a subtle, pleasant sensation on which to end the song that softens the underlying plaintiveness of the text." (Carlisle, 159-60)
"The coda, which also acts as a postlude, is a short six measures long, and merely reiterates in the key of D major the basic musical material of the preceding sections. Measures 38-39 briefly revive the gigue-like quality of section B, the text of which asks the question, 'Do they remember those gay tunes we trod?; This reminiscence is accomplished by changing to 6/8 meter and a tempo approximately double that of section A¹, before finally returning to the familiar 4/4 time signature, tempo of quarter note equals c. 58, and predominantly homophonic textural quality of sections A and A¹." (Carlisle, 160)
Comments about Performance
"Performance demands are more extensive than in the previous song, "The Sigh," but more guidance is also provided by Finzi through his use of more interpretive markings. One such example is seen at the very beginning, that of Pensieroso quasi Recitativo, or "pensive like a recitative." It is somewhat difficult to understand the association with recitative, as not all recitatives are "pensive" in nature, and the structure of this song does not permit the tempo and textual flexibility of a recitative, but a pensive, melancholy quality is certainly necessary. The opening tempo marking is adequate, but a slightly less moving speed, such as [quarter note] = c. 52, would serve even better to express and emphasize the desired plaintive quality."
(Carlisle, 160-1)
"It is especially important, however, that regardless of the tempo used, there should be a subtle but tangible flexibility to the musical motion. This is true only of sections A and A¹, as the tempo of the B section creates the illusion of a dance and should therefor be much more consistent. Nothing excessive is warranted, nor could the structure of the outer sections tolerate it, but a strictly "metronomic" tempo would not permit the nuance and pliability of delivery that the poem requires. Importance should also be placed on the piu animando in measure 34, but the operative word is "piu." No substantial change of tempo should occur; just enough to make the final poetic swords distinctive without undue drama. Finally, both performers should convincingly approximate the leggiero quality indicated in measures 14-15 at the beginning of the B section. A feeling of two beats per measure, in a tempo nearly double that of the A and A¹ sections, will suffice to reproduce the wonderful poetic imagery of "dancing to gay tunes."
(Carlisle, 161)
"The poem is not of an overtly dramatic type, so dynamic gradations should be gradual, but certainly both singer and accompanist should observe the dynamic markings that do exist. In particular, piano at the very beginning of the piece, forte and its preceding crescendo in measures 8-9, pianissimo in measure 14, and the crescendo to mezzo-forte in measures 34-35 are all quite important and essential to the expressiveness of their respective moments. While there may be passages in other Finzi songs when a dynamic change from what is written might be suggested, no such recommendation is made for this one. Much of this song actually falls within a very modest dynamic spectrum, usually pianissimo to mezzo-piano, but when the opportunity for greater expansiveness does exist, as in measures 9 and 35, the performers should avail themselves of the opportunity for greater dynamic contrast." (Carlisle, 161-2)
"There are few technical problems in this song; only the tessitura of measures 9-11 would cause a young singer any concern, but the high notes are not sustained and movement is steady, so the inherent difficulties are mitigated to some degree. However, these measures also contain the most dramatically-charged music of the piece, so if serious range or tessitura problems do exist, there may be other Finzi songs that are more appropriate. Dynamic requirements are not extensive, and rhythmical complexities are quite minimal, but the necessary plaintive quality is not always easily attained. Further, the poem is of sufficient literary difficulty that an adequate, let alone maturely refined, performance by a very young singer is highly unlikely. Therefore, this song at the earliest should be considered as repertoire for a junior or senior undergraduate with excellent literary knowledge and sensitive interpretive skills. It would not be unreasonable to suggest that a student wait until graduate school for this one. However, for one willing to plumb this song's musical and poetic depths, which by any standard are not overly severe, it can be a very rewarding experience." (Carlisle, 162)
Unpublished Analysis Excerpts
The following is an analysis of Former Beauties 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 sixty-seven and concludes on page sixty-eight of the dissertation.
"In 'Former Beauties,' both poet and composer describe a vision relived in the memory, a direct contrast to 'Budmouth Dears.' The verse is again form Hardy's Time's Laughingstocks and is the second in a group of seven poems headed At Casterbridge Fair, Casterbridge being the ancient name of Dorchester Finzi responds to these four verses with a much different style than in the preceding 'The Sigh,' yet it is also typical of his style. Here again we see a more angular vocal line, a blurred tonality, and irregular meter as well as four distinct moods reflecting changes in the mood of each stanza."
(Denning, 67)
"The song opens almost eerily in quasi-recitative as poet and composer invoke the image of elderly women. While giving the appearance of e-minor, the listener is bombarded with chromaticism which almost suspends the tonality. The second verse reverts to more traditional harmonic usage as the text tells of the women's past and days spent 'by the Froom or Budmouth Shore.' The 'Froom,' sometimes Frome, is a river flowing through Dorchester and, as previously mentioned, Budmouth is now known as Weymouth."
(Denning, 68)
"The second stanza dissolves into the new meter of 6/8 and the piano accompaniment, which is very lyric, an omen of the upcoming text about 'gay tunes' and moonlit nights together rolling in the grass."
(Denning, 68)
"The piano interlude before the last stanza wafts into the distance before the listener returns to the reality of the present, depicted by speech-like melody with harsher harmonic treatment. After one measure of 9/8, measure twenty-nine resumes the original tempo and meter, but it seems more effective here to allow the accompanist more freedom to navigate the mood change, perhaps even to permit the vocal entrance to startle us back to the matter at hand. The last stanza begins with the cruel side of aging and preoccupation with past youth, but Finzi carries this out optimistically. The last two lines of text Finzi has marked piu animando and is preparing to end in D-major. Perhaps this indicates that Finzi believes that reliving a bit of youth may not be too bad after all, and certainly the women at least had their memories to live in."
(Denning, 68)
Unpublished Analysis Excerpts
The following is an analysis of Former Beauties 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 fifty-one and concludes on page fifty-five of the thesis. (Rogers, 51-5)
Part II, Number 3
"Former Beauties"
"Former Beauties" is characterized by a syllabic text setting. It consists of four stanzas and its form is A B C A¹. Each stanza of this song is quite different in mood and sentiment. In order, therefore, to facilitate a discussion of both the music and the poetry of each stanza, the poem in its entirety is given below:
These market-dames, mid-aged, with lips thin-drawn,
And tissues sere,
Are they the ones we loved in years agone,
And courted here?Are these the muslined pink young things to whom
We vowed and swore
In nooks on summer Sundays by the Froom,
Or Budmouth shore?Do they remember those gay tunes we trod
Clasped on the green;
Aye; trod till moonlight set on the beaten sod
A satin sheen?They must forget, forget! They cannot know
What once they were,
Or memory would transfigure them, and show
Them always fair.
A rather spare and harsh accompaniment is used by the composer at the beginning of the song to depict the commonness and even ugliness of women, now middle-aged and wasted, who were once beautiful and desirable. Figure 28 shows how this mood is established in the piano accompaniment. The accompaniment, consisting of only two voices, is contrapuntal and appears to be somewhat bitonal.
Fig. 28 -- "Former Beauties," measures 1 and 2, word painting in piano accompaniment.
A very harsh dissonance is used on the words "tissues sere" to depict the withered countenances of these women, as shown in Figure 29.
Fig. 29 -- "Former Beauties," measure 5, dissonance between vocal line and accompaniment.
Dissonance is completely abandoned in the next stanza, and the pleasant and idyllic mood of youthful courtship is reinforced in the piano accompaniment by an unobtrusive homophonic style of writing. Parallel chord structures are found in the piano accompaniment of this stanza, as shown in Figure 30.
Fig. 30 -- "Former Beauties," measure 9, parallel chord structures.
The meter of the song changes at the beginning of the third stanza (from 4/4 to 6/8). The stanza is marked "leggiero" by the composer. Because dancing is mentioned in the poetry, the composer makes use of a little dance-like figure to enhance the gay mood of the stanza. Figure 31 shows the interplay of this little dance figure between the vocal line and the piano accompaniment.
Fig. 31 -- "Former Beauties," measures 15, 16, 17, interplay of dance-like figure between vocal line and accompaniment.
The composer's setting of the word "satin," as shown in Figure 32, again demonstrates his careful treatment in the setting of individual words to accord with their pronunciation in ordinary speech. The accented syllable is a very short one; therefore, it is given the value of a sixteenth note. The second syllable is given a longer note value but is not stressed, because it is unaccented.
Fig. 32 -- "Former Beauties," measure 23, composer's setting of the word "satin."
In the fourth stanza, a 4/4 meter signature is again used together with an accompaniment similar to that of the first stanza. The two stanzas are related thematically; and, in addition, harsh dissonances are used once more to represent the physical deterioration of the women, as shown in Figure 33, especially in measures thirty-two and thirty-three (second count in both measures).
Fig. 33 -- "Former Beauties," measures 31, 32, 33, harsh dissonances in piano accompaniment.
On the concluding words, "and show Them always fair," the little dance theme shown in Figure 31 appears for two measures, thus recalling again the former beauty of the "market-dames" mentioned in the first stanza of the poetry. In the final four measures, however, a return to the somewhat dissonant and harsh mood established at the beginning of the song emphasizes with finality the present undesirability of the women.
The preceding was an analysis of Former Beauties 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 fifty-one and concluded on page fifty-five of the thesis.
Unpublished Analysis Excerpts
The following is an analysis of Former Beauties 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 fifty-two and concludes on page fifty-seven of the thesis.
(Bray, 52-7)
FORMER BEAUTIES
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These market-dames, mid-aged, with lips thin-drawn, |
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Are they the ones we loved in years agone, |
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Are these the muslined pink young things to whom |
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In nooks on summer Sundays by the Froom, |
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Do they remember those gay tunes we trod |
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Aye; trod till moonlight set on the beaten sod |
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They must forget, forget! They cannot know |
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Or memory would transfigure them, and show |
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"Former Beauties" expresses, almost nostalgically, one of Hardy's memories as he observed the aging "market-dames" and recalled his and their youth. The theme is so characteristically Hardy - the decay of beauty through passing time and memoric nostalgia of younger days. Can the "market-dames, with lips thin-drawn, / And tissues sere" be the "muslined pink young things" of past days/ The mind falters to acknowledge them the same, and they, too, must have forgotten what they were, or their memory "would transfigure them" in the Biblical sense, perhaps, so spiritualizing them that inner beauty would shine through their aging faces. (Neumeyer, 263-6)
Notice here again, the inclusion of actual sites of Hardy's childhood memories. The Froom (Frome) River has been called "Hardy's River." It originates about twelve miles northwest of Dorchester, flows around and through Dorchester, and travels south of Lower Bockhampton. (Bailey, 39)
Once more we sense a change of feeling in the last verse. In the first three verses Hardy merely poses questions - stirs from memories the tender years of courting, of dances, of "summer Sundays by the Froom." The last verse sharply retorts: "they must forget, forget!" He does, in a sense, deny everything that went before except his memories. "Former Beauties" takes on different dimensions than have been previously displayed. "Budmouth Dears," "Her Temple," and "The Comet at Yell'ham" have all dealt with reflections of past memories, but all in a pleasant vein. The opening phrase of "Former Beauties" conjures up the realism of old age complete with lips thin-drawn and aging skin. the opening phrase of the accompaniment too, paints this morose aging picture. This song marks the first one of the cycle to be set in a minor key. The mood, therefore, is given added emphasis and the pensive recitative-like style marking reinforce it. The vocal line, which has the wide range of a twelfth, is also introduced in the beginning accompaniment. This pensive theme of old age is strangely portrayed by the use of harsh major seventh intervals moving in a somewhat disfigured dotted eighth pattern. The accompaniment maintains this unsettled feeling with syncopated rhythms and again, poignantly showing the aged tissues, employs the harsh biting major sevenths.
But, as soon as the disbelieving memories become nostalgic (Are they the ones we loved in years agone, / And courted here?), the harmony turns sonorously congruent with thirds and sixths moving in parallel scale wise motion. A motif occurs in the melodic line that was intimated in the opening measures. The dotted eighth - sixteenth pattern occurs seven times during the first three verses preluding the searching questions from younger days.
The second verse pictures one such scene from Hardy's youth. Finzi felt the importance of this verse and subordinated the accompaniment to the voice. The chorded quarter note accompaniment takes on similarities in function and textural impetus as does the "gay sling jacket glow again" section from "Budmouth Dears." The effect is one of heightening the emotional impact of the scene. In characteristic style, the ending phrase of verse two ritards to the forthcoming change of meter and mood. Reminiscent parallel thirds seem to linger on as if hanging on to those precious memories.
The phrase "Do they remember those gay tunes we trod" conjures up thought of folk-like dances that are extremely simple yet beautiful. In a gay lilting 6/8 rhythm, Finzi depicts the imagery. Prior to the third verse, Hardy was talking about those market dames, but here he seems to talk to them. This dance-like transition is indicative of the change in reference. While this 6/8 
rhythm pattern is a constant undertone during the vocal line, the pleasant nostalgia gives way to an ascending accompaniment that lifts those gay tunes and satin sheens from view. As the 9/8 bar merges into the next measure, the music precipitates the grim reality of the situation. The motif from the first measure,
EXAMPLE 18: "Former Beauties" measures 28-29.
with its disfigured warning of old age, is hidden among two major minor seventh chords. The veil lifts, however as a G A[flat] C grouping cadences in a stark open fifth. Another unifying factor lies in the return of the harsh major seventh-interval laden fifth measure so effective in picturing "thin-drawn, and tissues sere. . . " Finzi realistically pictures the total phrase "They must forget, forget! They cannot know What once they were. . . " The functional harmony of the 6/8 section is enveloped and obliterated by the end of the phrase.
EXAMPLE 19: "Former Beauties" measures 32-33.
As the above phrase ritards toward the cadence, the accompaniment becomes as obscure as the memory of those former beauties.
The memory comes back as a vi-ii progression emerges from Schoenberg-like obscurity to remind us that the memories are more important than the realities at hand. On the word "transfigure," sixteenth note patterns seem to work their way in busy change to transfigure the occasion. Through a short reintroduction of the carefree 6/8 dance section, the memory of the "fair" girls is revived.
This oscillating effect that Finzi pictured in the poem is well executed. The transitions are smooth and the text painting exquisite. After struggling with this dipolarity, the now unfaltering mind carries on with reaffirmed faith! The richness in harmony, the characteristic descending bass line, and the sequential pattern in the closing measures lift the message to a reestablished and reaffirmed faith in life.
The preceding was an analysis of Former Beauties 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 fifty-two and concluded on page fifty-seven of the thesis.
(Bray, 52-7)
Unpublished Analysis Excerpts
The following is an analysis of Former Beauties 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 ninety-six and concludes on page one hundred two of the thesis. To view Mr. Keston's Methodology please refer to: Methodology - Keston.
FORMER BEAUTIES
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These market-dames, mid-aged, with lips thin-drawn, |
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Are they the ones we loved in years agone, |
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|
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Are these the muslined pink young things to whom |
||
|
||
In nooks on summer Sundays by the Froom, |
||
|
||
Do they remember those gay tunes we trod |
||
|
||
Aye; trod till moonlight set on the beaten sod |
||
|
||
They must forget, forget! They cannot know |
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|
||
Or memory would transfigure them, and show |
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POETIC METER
Iambic pentameter is used in "Former Beauties" for lines one and three which are rhyming: lines two and four are rhyming dimeter. The remaining three stanzas are treated in the same way; lines one and three having five feet and lines two and four two feet.
RHYTHMIC RELATIONSHIP
In setting "Former Beauties" to music Finzi has again allowed the natural rhythm of the words and their accepted syllabic stresses to dictate note values and meter. He begins the song in four four time and when the text is introduced after a two bar introduction, he stresses important words and syllables with long and syncopated beats. Once again the dotted notes play an important role in stresses. The first two stanzas remain in four four as Finzi allows Hardy's verse to set the reflective tone of the song. In the third stanza he changes the meter to six eight, giving the song at this point a swinging dance rhythm as Hardy writes of dancing on the village green with the pretty young things of yesteryear.
TRANSLATION
In country towns in England market days are still a bi-weekly event. People bring their wares to sell in the market place, the center of the town. Hardy refers to these older women who visit or sell in the market, reminiscing about how they appeared years before. In stanza number two "Froom" refers to the river of that name and "Budmouth" which is Weymouth. The third stanza speaks of dancing on the village green.
THE ONES WE LOVED
In "Former Beauties" Hardy has been impressed by the looks of the aging "market dames" and recalls his and their youth.
The theme is characteristic: the decay of beauty with the passage of time and nostalgia for vanished youth. Can the "market-dame' with 'tissues sere' be the 'muslined pink young things' of former trysts and dances? The mind falters to acknowledge them the same, and they, too, must have forgotten what they were, or their memory 'would transfigure them' in the Biblical sense, perhaps, so spiritualizing them that inner beauty would shine through their aging faces. (Bailey, 225)
The preceding was an analysis of Former Beauties 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 ninety-six and concluded on page one hundred two of the thesis.