Let me enjoy the earth
- Musical Analysis Section
- Audio Recordings Section
- Unpublished Analysis Excerpts
- Gerhardus Daniël Van der Watt - The Songs of Gerald Finzi (1901-1956) To Poems by Thomas Hardy
- Mark Carlisle - Gerald Finzi: A performance Analysis of A Young Man's Exhortation and Till Earth Outwears, Two Works for High Voice and
- Leslie Alan Denning - A Discussion and Analysis of Songs for the Tenor Voice Composed by Gerald Finzi with Texts by Thomas Hardy
Poet: Thomas Hardy
Date of poem: (undated)
Publication date: "First published in the Cornhill Magazine, April 1909, p. [433]; and in Putnam's Magazine (New York), April 1909, p. 60." (Purdy, 143)
Publisher: Macmillan Publishing Company
Collection: Time's Laughingstocks - A Set of Country Songs
History of Poem:
Thomas Hardy published "Let me enjoy" with a group of poems entitled A Set of Country Songs. James Osler Bailey records in his analysis of the poem that "Let me enjoy" is indeed the "theme-poem" of the set, he goes on to say, "A Set of Country Songs, lures the reader to find pleasure in the things of the earth. In the seventeen poems that follow, Hardy emphasizes the pleasures of rural life in realistic portrayals of Dorset scenes, places, and experiences. Seven are scenes at Dorchester fair; the other ten remain in the country near Dorchester. The poems present rural life as Hardy knew it from youth ("To Carrey Clavel" and "The Fiddler") to reflective middle age ("The Dark-Eyed Gentleman" and "The Husbands's View"). Some of the poems are ballad-like, retelling tales Hardy had heard. Not even "Julie-Jane" is pessimistic in tone, though it tells of two deaths. The series ends with the comedy of "The Homecoming."
(Bailey, 222)
"LET ME ENJOY appeared in both the Cornhill and Putnam's Magazine (New York) for April, 1909. Perhaps this poem should include "the Earth" as part of the title, for the last stanza, expressing doubt that Paradise exists, repudiates the idea of any other joy "for me" than the earth. Life offers "loveliness" to him who, accepting its conditions, can live in dreams; Hardy acknowledges his own somber temperament, but affirms that he "takes pleasure in countless sweet things." (Van Doren, 95) as quoted by (Bailey, 223)
Poem
| 1 | LET me enjoy the earth no less | a |
| 2 | Because the all-enacting Might | b |
| 3 | That fashioned forth its loveliness | a |
| 4 | Had other aims than my delight. | b |
| 5 | About my path there flits a Fair, | c |
| 6 | Who throws me not a word or sign; | d |
| 7 | I'll charm me with her ignoring air, | c |
| 8 | And laud the lips not meant for mine. | d |
| 9 | From manuscripts of moving song | e |
| 10 | Inspired by scenes and dreams unknown | f |
| 11 | I’ll pour out raptures that belong | e |
| 12 | To other, as they were my own. | f |
| 13 | And some day hence, toward Paradise | g |
| 14 | And all its blest – if such should be – | h |
| 15 | I will lift glad, afar-off eyes, | g |
| 16 | Though it contain no place for me. | h |
(Hardy, 238) |
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Content/Meaning of the Poem:
1st stanza: Let me enjoy my life now because God has other concerns than mine.
2nd stanza: I have found a beautiful girl, but she doesn't pay me any attention; I will amuse myself with her arrogance, and praise her lips from afar.
3rd stanza: I will compose songs from my imagination, I will write numerous pieces about lovers as if they were mine.
4th stanza: And one day when my life is ending, I will look towards heaven and all of the heavenly host - if there is a heaven - I will be glad for those there even though I will not be welcomed.
For additional comments as to possible meaning of the text please refer to: Content - Van der Watt.
Speaker: Thomas Hardy
Setting: The setting for the poem could be broken into four locations particular to each stanza. A pastoral setting for the first stanza in the outdoors enjoying nature. A town or a street locale with a beautiful girl who is flirting with other young men for the second stanza. The third stanza we see Hardy at his writing desk working passionately. The last stanza we find Hardy peering into heaven not knowing what he can or cannot see.
Purpose: Don't concern yourself with God. Instead live a full and free life. Pursue what your heart and mind draw you to. Worrying about the afterlife is a life spent in fear instead of joy.
Idea or theme: Live your life.
Style: Gerhardus Daniël Van der Watt writes in his dissertation: "The poem has a pastoral frame of reference but is mostly in the style of religious-philosophical speculation."
(Van der Watt, 360)
Form: Gerhardus Daniël Van der Watt makes the following observations as to the poems form: "The poem consists of four numbered quatrains each with a rounded rhyme scheme: abab cdcd etc. The metre is mainly iambic with slight variations in lines 1, 7, 10, 11 and 15."
(Van der Watt, 360)
Synthesis: The poem has four stanzas sprinkled with nature, love, plagiarism, and life after dearth; the first and last stanzas loosely sharing a theme of faith as well. The opening line of the first stanza begins extremely strong, commanding the attention of the audience but very quickly the energy begins to evaporate as Hardy feels compelled to qualify his remarks. He could have continued in the affirmative but his own pessimism creeps in to his lyrics. The first stanza also gives a clue to Hardy's belief in an "all enacting Might." He doesn't come out and say "God" or a "Supreme Being" but nevertheless "God" is implied. Instead he makes the audience wait until the last stanza to find out where his own beliefs lie. In the second stanza Hardy completely changes directions and suddenly becomes very personal, interjecting a story of a young girl. As to whether or not the girl is real or in Hardy's imagination doesn't seem to matter but possibly the third stanza could give clues as to the reality of the girl. If the third stanza is indeed autobiographical one could interpret Hardy's lyrics to mean that he enjoys writing about other individuals life experiences and claiming them for himself; the audience, unfortunately,is left without an answer to this question. In the last stanza there is no doubt that Hardy speaks of his own lack of faith in "Paradise" but this stanza also piques ones curiosity as to whether or not he wants to believe in life after death but cannot put his full faith behind it. Mark Carlisle in his dissertation writes: " 'Let me enjoy' exhibits Hardy's doubt that a biblical Paradise exists. There is, however, no anguish connected to this idea in Hardy's mind. He insists that he would view such a place with "glad" eyes from "far-off", even though he were not included in its boundaries. Hardy prefers instead to "enjoy the earth" and its loveliness." (Carlisle, 30) The poem has several clues within each stanza as to Hardy's own life and therefore could be categorized as autobiographical. The audience is never made fully aware . . . instead the question remains and one is left to his own thoughts and conclusions.
Published comments about the poem: F. B. Pinion writes: "The opening reveals an attitude all too rare in Hardy. As it progresses, the poem seems less authentic and more 'impersonative'. the poems which follow express a variety of moods." (Pinion, 75)
James Osler Bailey writes: "Perhaps because the poem is both a song and a hymn to earth, it is written in the long meter of many hymns. It has been set to music by Ivor R. Foster (London: Alfred Lengnick & Co., 1947)." (Bailey, 223)
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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)
Helpful Links:
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Musical Analysis
Composition date: The composition is undated but according to Diana McVeagh the song is from the 1930's. (McVeagh, 81)
Stephen Banfield records the date from the 1930's as well but believes Finzi began work on the song as early as 1927. There is evidence to support this argument according to Banfield in Sketchbook G. (Banfield, 241)
Publication date: © Copyright 1958 by Boosey and Co. Ltd. (Finzi, 86)
Publisher: Boosey & Hawkes - distributed by Hal Leonard Corporation
Tonality: The song remains in G flat major throughout with one surprise dissonance occuring in measure thirty-four in the accompaniment just as the vocal line concludes (see example below).
Surprise chord in the middle of measure 34. (Finzi, 88)
The surprise could be in response to Hardy and apparently Finzi's disbelief in life after death. Even though there are no modulations and only the one occurrence of chromaticism, the song does not seem static. Mark Carlisle in his analysis writes, "the lack of modulatory or chromatic material could cause some harmonic stasis in the piece were it not for Finzi's extensive use of non-chord tones and a rapidly paced harmonic rhythm, both of which add considerable variety and interest to the overall tonal scheme." (Carlisle, 30-1) For additional comments about the tonality please refer to: Tonality - Van der Watt.
Transposition: The song is available in E flat Major a minor third lower than the original key. The transposed version may be found in the Medium/Low Voice edition by Boosey & Hawkes entitled: Gerald Finzi Collected Songs 54 Songs Including 8 Cycles or Sets.
Duration: Approximately two minutes and seven seconds.
Meter: The song is in three quarter time throughout. Gerhardus Daniël Van der Watt writes in his analysis of the song saying the meter matches the mostly iambic textual metre. (Van der Watt, 361) To view Dr. Van der Watt's brief comments about the meter please refer to: Metre - Van der Watt.
Tempo: Andante, ma con moto quarter note = c. 69 (Finzi, 86) The tempo does deviate from Andante in measures 8, 10, 17, 23, and 29 through 30. In measure eight there is a ritard indicated with a tempo returning in measure nine. In measure ten a poco ritard is indicated followed by a tempo in measure eleven. A poco rallentando is indicated in measure seventeen followed by a tempo in measure eighteen. There is a poco ritard indicated in measure twenty-three followed by a tempo, ma con espansione in measures twenty-five and twenty-six. The last tempo indication is found in measures twenty-nine and thirty with largamente indicated followed by rallentando, poco a poco in measure thirty-two. The deviations from the original tempo of andante seem to follow a pattern that Finzi frequently uses in order to transition from one stanza of text to another. The last deviation in the song is simply to emphasize the close of the piece. For additional comments about the tempi within the song please refer to: Speed - Van der Watt.
Form: The song has four sections and Mark Carlisle describes the form as A B B¹ A¹ (Carlisle, 30) and Gerhardus Daniël Van der Watt describes the form as ternary or A B A. Dr. Van der Watt has created a table to show the structure and he actually makes reference to the same a b b¹ a¹ structure as Dr. Carlisle but simply chooses to call it ternary form. Dr. Van der Watt also writes in his analysis the "musical structure is completely congruent with the mental structure of the poem." (Van der Watt, 366) He is referencing the text "all enacting Might" in the first stanza and "Paradise" in the last stanza as the connecting theme. To view Dr. Van der Watt's comments please refer to: Structure - Van der Watt. To view Dr. Carlisle's comments please refer to: Comments on the Music - Carlisle.
Rhythm: The vocal line uses typical rhythms for a Finzi song and the accompaniment is no different but with regards to the accompaniment, there is much more rhythmic activity in the two middle sections. The piano accompaniment, for stanzas two and three could be described as flourishes of sixteenth notes. The rhythmic patterns that are most common in the accompaniment of these two sections are four sixteenth notes beamed together in both hand or sixteenth notes beamed in one hand while the other hand has two eighth notes or a dotted eighth and sixteenth. A rhythmic figure that occurs in all four sections of the piano accompaniment but never in the vocal line consists of a sixteenth note followed by and eighth followed by a sixteenth. Perhaps the best use of rhythm is also the most understated because Finzi would not want the listener to ponder his cleverness at setting the text but nevertheless this song displays Finzi's unique ability to set the text idiomatically. A unique setting occurs in measure twenty-six with the word "towards." Finzi chooses to write a grace note with a slash through it obviously wanting the first syllabe to be very short but on a lower pitch. This use of the grace note is highly unusual for Finzi (see example below).
Text setting using a grace note in measure 26. (Finzi, 88)
For additional comments about the rhythm and the rhythmic motifs of the song please refer to: Rhythm - Van der Watt.
A rhythmic duration analysis was performed and for the results please refer to: Rhythm Analysis. Information contained within the analysis includes: the number of occurrences a specific rhythmic duration was used; the phrase in which it occurred; the total number of occurrences in the entire song.
Melody: Finzi's use of melodic material not only unifies the structure of this song it is also in complete sympathy with the text. The melodic material found in the accompaniment has good variety as well and when it takes on the role of harmonic support, the energy continues moving forward with broken chords or scaler passages. There is frequent use of non-chord tones as one might suspect when moving stepwise as Finzi so often does it nevertheless enhances the the forward movement not allowing the listener to dwell very long on the sometimes dark and pensive text. There are two climatic moments in the song, the first occuring in measure six on the word "forth" and secondly, in measure thirty on the word "glad." Both climaxes are approached from below the passaggio and are not terribly difficult as such, the approach to "glad" is more difficult because writes a slower approach than he does for the word "forth" (see example below).
Climatic moments within the song in measures 5-6 and 29-31. (Finzi, 86, 88)
First climax in measures 5-6. 
Second climax in measures 29-31
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 see the table at the bottom of the page or click on: Interval Analysis.
Texture: Primarily homophonic with contrapuntal activity generally confined to stanzas two and three. For additional informantion 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 flat below middle C and the highest pitch is the A flat above middle C.
Tessitura: The tessitura spans a major tenth from the D flat below middle C to the E flat 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: There are frequent indications of dynamics within the piano accompaniment; the range spanning pianissimo to fortissimo. As to the dynamics for the vocal line, Finzi's first mark of crescendo can be found in measures twenty-nine and thirty. This location occurs at the climax of the song on the text: "I will lift glad." The last indication of dynamics for the vocal line occurs in measures thirty-two through thirty four and consists of crescendo decrescendo on the final words, "Though it contain no place for me." The dynamic marking in measure thirty-two indicates to begin at a piano level before making the crescendo. Even though there are only a couple of dynamic markings for the voice line in the song one may assume that the composer would want the voice line to emulate the dynamics found in the piano accompaniment. For additional comments about the dynamics including a table listing the location of each dynamic change indicated within the song please refer to: Dynamics - Van der Watt.
Accompaniment: The piano accompaniment is much more active than many of Finzi's songs and as such is therefore difficult to play. Both hands are very active throughout most of the song with the exception of the last few measures when the quick momentum gives way to pensive thought about life after death. With several indications for tempo adjustments as well as doubling the vocal line, it is critical for the pianist to be sensitive to the needs of the vocalist, thus compounding the difficulty of the song. For additional information about the accompaniment please refer to: Accompaniment - Van der Watt.
Published comments about the music: Diana McVeagh writes, " 'Let me enjoy the earth' has delightfully idiomatic piano writing; it is fresh, diatonic, and relaxed, until exclusion from Paradise prompts a surprising out-of-key fifth at the end. 'I need not go' also begins fluently. Not until 'by cypress sough' is it hinted that the over-patient lover is in her grave. The melody runs so naturally that it is easy to overlook how Finzi broadens the rhythm for 'the world somewhat' and 'if some day', and contracts it for 'I am come again' to make the sense clear; and how dramatically he inverts a rising fifth, prominent in the lyrical tune, for the negative 'Ah, no!'"
(McVeagh, 81)
Pedagogical Considerations for Voice Students and Instructors: The range and tessitura of the song are good for the tenor voice in the original high key and are equally good for a baritone or bass-baritone in the medium/low key. A difficulty some voices may encounter occurs in measure twenty-nine and involves the [ae] vowel sound in the word "glad." This vowel sound is difficult for some voices especially given the range in which it occurs. One suggestion that may help a student is to modify toward open [E]. It is also prudent to observe breath flow leading up to the climax and whether or not the larynx becomes elevated while attempting the note. Another suggestion, is to create a vocalise with the [ae] vowel sound, possibly on 1, 3, 5, 8 beginning on the [D] below middle [C] and building up to the [A] for the high voice edition. For the medium/low range begin the exercise on [C] below middle [C]. Some breaths in the song require practice in order to maintain good musicality. One such breath occurs in measure twenty before the text "I'll pour out raptures." It would be best if the line was unencumbered with a breath between the above mentioned text and "they were my own." Finzi has placed two rests in this line but they are best observed with a suspension of audible sound and not a breath. If one must breath, before the text "as . . . " in measure twenty-three, is the best spot. Another long breath occurs in measures twenty-five through twenty-nine with the text "And some day hence, towards Paradise And all its blest - if such should be -." This phrase is made more difficult because of the range of emotion from the contemplation of "Paradise" to the questions as to whether or not it exists in "if such should be-." One possible suggestion to help with this long breath would be to have the student think and visualize the phrase in four circling gestures. One circle for "And some day hence," another slightly larger for "towards Paradise," and still larger for "And all its blest," and then a more diminutive circle for "if such should be." Visualizing the breath moving in a circular fashion helps the student to learn the breath is always moving but not always as aggressively as it does in the apex or high point of the circle.
Dr. Mark Carlisle records in his dissertation the following observations and advice: "The general range and tessitura of this song are not overly extensive, and should cause few technical problems for most high voices. It does seem prudent to suggest, however, that due to the emphasis on an expressive, rising vocal line, this piece would not be as effective in a very light, high voice as it would in a high voice of more substantial vocal weight and power. The text of this song is not particularly difficult to understand or interpret, especially in comparison to other Hardy poems. The only words used with more archaic meanings are "Might" in measure 5, which refers to God, or a "supreme being", and "Fair" in measure 12, which in this instance means a beautiful woman. A junior or senior level student of reasonable vocal strength and technical security should be capable of providing a fine rendition of this piece. However, it contains sufficient challenges to consider it more than appropriate for a graduate level student as well." (Carlisle, 36)
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Below one will find excerpts from unpublished dissertations. The excerpts should provide a more complete analysis of Let me enjoy the earth for those wishing to see additional detail. Please click on the link or scroll down.
Gerhardus Daniël Van der Watt - The Songs of Gerald Finzi (1901-1956) To Poems by Thomas Hardy
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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 of the Heart: Song Cycles of Gerald Finzi |
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The following is an analysis of Let me enjoy the earth by Gerhardus Daniël Van der Watt. Dr. Van der Watt extended permission to post this excerpt from his dissertation on October 8th, 2010. His dissertation dated November 1996, is entitled:
The Songs of Gerald Finzi (1901-1956) To Poems by Thomas Hardy
This excerpt comes from Volume II and begins on page three hundred fifty-nine and concludes on page three hundred sixty-six. 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 (undated) comes form Time's Laughingstocks (1909) under the subsection, A Set of Country Songs. Martin Seymour-Smith says the following in his biography, Thomas Hardy, concerning the poem:"
(Van der Watt, 359)
"He [Hardy] always remained consistent in his view, or conviction, that the world had not been created with human happiness in mind; but his moods changed, so that he could write a poem like, 'Let Me Enjoy' as well. (Seymour-Smith, 579) (Van der Watt, 359) |
2. Poem
"The persona, in all probability Hardy, states that the Creator did not create the earth with human happiness in mind, but that this should not deter one from enjoying what can be enjoyed. Stanzas 2 and 3 proceed to give an example: the persona meets a beautiful woman, who ignores him, but he continues to praise (I'll pour out raptures). In the final stanza the persona anticipates the end of time, but doubts if "Paradise" will be all "blest" (- if such should be -), and states his glad approval even if there is no space in heaven for him."
(Van der Watt, 359)
"No definitive reason is given for the final statement other than the implication from the first stanza if the Creator has not made the earth with human happiness in mind, why would a Paradise be created for this purpose?"
(Van der Watt, 360)
"The poem has a pastoral frame of reference but is mostly in the style of religious-philosophical speculation."
(Van der Watt, 360)
"The poem consists of four numbered quatrains each with a rounded rhyme scheme: abab cdcd etc. The metre is mainly iambic with slight variations in lines 1, 7, 10, 11 and 15."
(Van der Watt, 360)
"Hardy's musing on the Creator's nature and purpose with the world should be seen against the background of his statement, quoted by Martin Seymour-Smith, at the age of sixty:"
(Van der Watt, 360)
"There may be a consciousness, infinitely far off, at the other end of the chain of phenomena, always striving to express itself, [and] always baffled and blundering." (Seymour-Smith, 621) (Van der Watt, 360) |
"A semi-conscious Creator is hardly going to bother about human happiness either on earth or in Paradise, hence Hardy's scepticism about the "blest" state of existence in Paradise if not the very existence of Paradise. The more positive moment is however: enjoy what life has to offer, it may well be all there is!"
(Van der Watt, 360)
Setting
1. Timbre
VOICE TYPE/RANGE
"The song is set for tenor voice and the range is a perfect twelfth from D flat below middle C."
(Van der Watt, 360)
"The highest pitch used in the song is the third G flat above middle C in bar 15. This pitch occurs in a short section (b. 14-6) localized in the high piano register and accompanying the text, "her ignoring air". The register employed on the piano is used to enhance the meaning of the text. The second A flat used in bar 30 coincides with the vocal climax but the rest of the right hand piano material occurs in the middle register. The lowest pitch, the third A flat below middle C, occurs three times (b. 1, 6 and 30) of which the final occurrence is with the vocal climax in bar 30. Again the lower extremes are employed sparingly, leaving the general register in use within the compass of the grand stave. There are no indications in relation to the use of pedal. The sostenuto indication (b. 1), however, implies the use of pedal at the performer's discretion."
(Van der Watt, 360)
"Legato playing is indicated quite fully and is the dominant piano touch feature. Portamento accents occur on individual notes to highlight them in performance (b. 8(4), 11(2), 13, 17(6), 18(2), 23, 24, 25(3), 34(2)) while three chords are strongly accentuated in bars 30 and 31. Two of these in bar 30 coincide with the climax of the song, "I will lift glad, afar off eyes". The text here deals with the persona's positive rejection of heaven as an option for himself."
(Van der Watt, 360)
"The atmosphere created in the song, largely carried by the piano part, follows the structure of the poem carefully. Stanzas 1 and 4 are slightly melancholic in spite of the positive opening remark: "Let me enjoy the earth". A sense of longing is created by the appoggiaturas in the opening motif of the piano part and echoed in varied form by the vocal line. A certain quietude and passiveness is suggested by the crotchet harmonic rhythm and almost rambling counterpoint in different voices. The middle stanzas, in contrast, are rhythmically and harmonically more active and textually thinner which results in a kind of mute excitation - never really joyous yet not melancholic like the outer stanzas."
(Van der Watt, 361)
2. Duration
"The textual metre is mostly iambic and is matched with a simple triple time-signature. There are no deviations form the metric scheme."
(Van der Watt, 361)
Rhythmic motifs
"Rhythmic motif 1, consisting of three crotchets, occurs 16 times in the piano part only (b. 1, 2, 4, 5(2), 6, 9, 15, 16, 17(2), 26, 27, 29, 32, 33) and forms the basic harmonic rhythm and rhythmic stability in stanzas 1 and 4. Motif 2, consisting of five or four quavers occurs 17 times in the piano part (b. 1, 3, 4(2), 5(2), 6, 7, 9, 11, 12, 14, 18, 24(2), 29, 30) and three times in the vocal part (b. 5, 16, 18). This motif occurs throughout the song but is still more prominent in the outer stanzas mainly as part of melodic counterpoint. The four semi-quavers (motif 3), almost exclusively found in stanzas 2 and 3, occur 51 times in the piano part (b. 3, 10(2), 11(2), 12(5), 13(6), 14(4), 15(4), 16(7), 17(6), 18, 19(3), 20(4), 21(5), 22, 23, 24) and once in the vocal part (b. 12). The different character that this section of the song has is largely due to the extensive use of the new, rhythmically active motif. This motif, in relation to the text, creates a sense of suppressed excitement. Motif 4 is used more or less evenly by both piano (13 times: b. 7, 10, 11, 12, 15(2), 16, 18-23) and vocal (16 times: b. 4(2), 5, 7, 8, 11(2), 12(2), 18, 19(2), 20-3) parts consists of a dotted quaver and a semi-quaver. The fairly extensive use of the motif in the vocal part results in it being a strong unifying factor in the song."
(Van der Watt, 361)
Rhythmic activity vs. Rhythmic stagnation
"As mentioned before, the rhythmically more stagnant sections are stanzas 1 (b. 1-9) and 2(b. 25-36), while the middle two stanzas are treated more actively (b. 10-24). These characteristics coincide with the text as follows:"
- Stanzas 1 and 4: Philosophical musing, tainted with scepticism - rhythmically less active
- Stanzas 2 and 3: An example of what could be enjoyed - rhythmically more active
(Van der Watt, 361)
Rhythmically perceptive, erroneous and interesting settings
"The following words have been set to music perceptively:"
(Van der Watt, 361)
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, 362)
"The tempo indication is Andante, ma con moto [quarter note equals] c. 69. Tempo deviations are listed below:"
Bar no. |
Deviation |
Bar no. |
Return |
Suggested reason/s |
8 |
rit. |
9 |
a tempo |
End of stanza 1 |
10 |
poco rit. |
11 |
a tempo |
Opening of stanza 2 |
17 |
poco rall. |
18 |
a tempo |
End of stanza 2 and opening of stanza 3 |
23 |
poco rit. |
25-6 |
a tempo, ma con espansione |
End of stanza 3 and opening of stanza 4 |
29-30 |
largamente |
32 |
rall. poco a poco |
Broader tempo to emphasize the climax of the song, end anticipated |
3. Pitch
Intervals: Distance distribution
Interval |
Upwards |
Downwards |
Unison |
(16) |
|
Second |
38 |
32 |
Third |
12 |
8 |
Fourth |
6 |
4 |
Fifth |
2 |
2 |
Sixth |
1 |
2 |
Octave |
2 |
0 |
"There are 16 repeated pitches (or 13% of the total number), 61 rising intervals (or 49%) and 48 falling intervals (or 38%). The smaller intervals (a third and smaller) account for 106 intervals (85% of the total number) while the larger intervals (fourths and larger) account for 19 (or 15%). It is clear from these figures that the vocal part is extremely sympathetic to the voice. Specific setting of larger intervals are summarized below."
(Van der Watt, 362)
Interval |
Bar no. |
Word/s |
Reason/s |
5th up |
2 |
Let me |
Emphasis |
8th up |
10-1 |
About |
Emphasis - stanza 2, new atmosphere |
6th down |
13 |
charm me |
Reinforce emotional content |
8th up |
17-8 |
From manuscripts |
Emphasis |
5th down |
18-9 |
moving song |
Reinforce emotional content |
5th up |
25-6 |
And someday |
Emphasis - final stanza |
5th down |
28 |
blest - if |
Change of register - parenthesis |
4th up 4th down |
30 |
lift glad afar |
Emphasis - main climax, reinforce meaning |
6th up |
32-3 |
contain |
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, 363)
Climaxes
"The two vocal climaxes are given below:"
Bar no. |
Pitch |
Word |
6 |
G flat |
forth |
30 |
A flat |
glad |
Phrase lengths
"The phrase and sub-phrase lengths are rather short and in most cases separated by rests to facilitate breathing. It will, however, be necessary to breathe in the following places which have not been indicated in the score other than by longer note values and a punctuation mark in the text: bars 4₂1, 13² and 20³."
(Van der Watt, 363)
"The song is set in G flat major (in spite of the sub-title of the poem: Minor Key) and no modulation occurs. There is a prominence of chord vi in bars 25 - 6 which may be seen as a hint at the relative minor (e flat) but this reference is too brief to be considered a modulation."
(Van der Watt, 363)
Chromaticism
"There is a single example of chromaticism in bar 34 during the brief piano postlude. A B and E double flat in the bass is sounded against the tonic triad in second inversion in the treble clef. The chord can be viewed as vi⁷ of which both the root and fifth have been lowered, a little reminiscent of the French and German augmented constructions but more dissonant with the B flat and D double flat clash. The question remains: why, in a wholly unchromatic setting, is this single chromaticism used? Working from the assumption that composers in general, taking their work seriously, adopt an intentional stance in their setting of words, this musical afterthought can have two meanings. First the full implication for the poet and composer of the text, "Through it [Paradise] contain no place for me", is realized: the alarming reality of what the alternative might be, is stressed. The second possibility lies within the larger context of the poem. The poem, in stanzas 2 and 3 indicates that there is little to enjoy, as the opening suggests and this final chromatic wring affirms the irony."
(Van der Watt, 363-4)
HARMONY AND COUNTERPOINT
"A number of strings of first inversion chords are used: bars 7³ - 8³, 19² - 20² and 23¹-³"
(Van der Watt, 364)
Non-harmonic tones
"The appoggiatura and passing note gain some prominence in the song. The former occurs as part of the opening theme in the piano part (b. 1) and again in bars 2, 9, 25 and 34. (See b. 1²(A flat), 1³(D flat), 9²(A flat), 22¹(D flat), 25²(F and A flat), 30¹(B flat), 34¹(A flat)). These function as a musical setting of longing due to the mild dissonance they create on the beat. The accented passing notes, though numerous, are rather part of the general creation of dissonance in an unchromatic context."
(Van der Watt, 364)
Harmonic devices
"A number of triads extended to the eleventh are used (b. 12², 17¹-²). These are not, however, substantial enough to let them become a significant feature of the song. There is one chord prolonged over three bars (b. 34-6 treble clef) and as such acts as pedal chord, in this case an extension of the final cadential chord. The significance of what happens against it has already been discussed."
(Van der Watt, 364)
Counterpoint
"A number of brief and mostly varied imitations occur between piano and voice or vice versa:"
b. Piano - b. 2 Voice (varied) |
|
b. 16¹ Voice - b. 6² Piano (varied) |
|
b. 26 Piano - b. 26 Voice |
|
b. 27² Voice - b. 28 Piano |
|
b. 30 Piano (middle part) - b. 31¹ Voice - b. 31² Piano |
"Loudness variation is given in the following summary:"
(Van der Watt, 364)
FREQUENCY
"There are 45 indications in the 36 bars which means that on average each bar contains an indiction. In reality some bars do not contain indications while others contain two or three. There are separate indications for the voice on two occasions. This implies that the voice should follow the indications given in the piano part."
(Van der Watt, 365)
RANGE
"The highest level indication is ff and occurs at the climax of the song (b. 30) on the word, "glad". The lowest level indication, pp occurs at the end of the song (b. 35) after the text, "Though it contain no place for me"."
(Van der Watt, 365)
VARIETY
"The indications used are:"
(Van der Watt, 365)
DYNAMIC ACCENTS
"All accents have been listed in an earlier paragraph. The only two stronger accents (^), are to be found at the climactic moment (b. 30²) and immediately afterwards (b. 31¹). The accent (^), dynamic level (ff), piano register (chord spread over four octaves), the texture (six-part chord), harmony (ii with D flat accented upper auxiliary) and the fact that A flat is the highest vocal pitch used in the song, all work together to enhance the climax. One could safely speculate that the composer heartily agrees with the poet, "I will lift glad, afar-off eyes". Glad about the fact that the end of Time has finally come and glad to have no part in the so-called Paradise."
(Van der Watt, 365)
"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 |
1 |
2.5 |
3 parts |
9 |
25 |
4 parts |
11 |
31 |
5 parts |
9 |
25 |
6 parts |
6 |
16.5 |
"The three- to five-part piano textures account for 81% of the bars. Six-part textures occur in bars 4-5, 8 and 35-6. There is no direct relation to meaning here. There is, however, a thicker five-part texture around the climax of the song (b. 29-31)."
(Van der Watt, 365)
"The structure of the song is represented in the following table:"
(Van der Watt, 365-6)"The song has a clear ternary musical structure which is completely congruent with the mental structure of the poem. This same structure will be discussed in the next paragraph."
(Van der Watt, 366)
7. Mood and atmosphere
"The atmosphere created in the setting follows the text carefully. Stanzas 1 and 4 are similar in musical material and both contain religious-philosophical musing on the part of the persona or poet,. Although there is an attempt at being positive: "Let me enjoy the earth" and "lift glad, afar-off eyes", darker melancholic thought colour the mood considerably: "other aims than my delight" and "Though it contain no place for me". This ambivalence is captured skillfully by the composer through the use of a major tonality, expressive appoggiaturas, and fairly passive rhythmic material. The middle section of the song has a similar ambivalence. Here the enjoyment of life is explored but ends in the agony of unanswered love. This suppressed excitement is portrayed by increased rhythmic activity, quicker harmonic rhythm and higher piano register."
(Van der Watt, 366)
General comment on style
"The use of intervals in the vocal part, is very sympathetic towards the voice. The harmonic language is tonal and significantly unchromatic (with one exception). Rhythm material is employed in direct relation to the mood and atmosphere in each section of the song. Accented non-essential tones are used to enhance the tonal harmony with mild dissonance where the text demands it."
(Van der Watt, 366)
The following is an analysis of Let me enjoy the Earth 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 thirty and concludes on page thirty-six of the dissertation.
Comments on the Poem
"This is the first in a set of seventeen poems Hardy published under the title of A Set of Country Songs. They were written at various times throughout Hardy's life, from childhood to adulthood, and eventually published as a single set in 1909. They emphasize the pleasures of rural life as Hardy knew them from his own experiences in rustic Dorset."
(Carlisle, 30)
""Let me enjoy" exhibits Hardy's doubt that a biblical Paradise exists. There is, however, no anguish connected to this idea in Hardy's mind. He insists that he would view such a place with "glad" eyes from "far-off", even though he were not included in its boundaries. Hardy prefers instead to "enjoy the earth" and its loveliness."
(Carlisle, 30)
"When the Royal Dolls' House of Windsor Castle was built for the daughters of Queen victoria, the library was designed to contain actual, though miniature, literary works. Hardy was asked to choose several of his poems for inclusion in the library; "Let me enjoy" was one of the nine poems he chose for this honor. It seems only reasonable to conclude that this poem, and the philosophy it expresses, held great significance for the poet."
(Carlisle, 30)
"Finzi chose to set this poem in a rather straight-forward manner, with few surprises, but much that is sensitive and very expressive. The form of the piece is A-B-B¹-A¹, clearly defining the four poetic stanzas, with each section anticipated by an eighth-note upbeat in the vocal line. The corresponding measure numbers are as follows: section A, measures 1-10; section B, mm. 11-17; section B¹, mm. 18-25; and section A¹, mm. 26-36. The opening time signature of 3/4 remains constant throughout, as does the key of G flat major, with only a momentary chromatic alteration in the accompaniment in measure 34. This lack of modulatory or chromatic material could cause some harmonic stasis in the piece were it not for Finzi's extensive use of non-chord tones and a rapidly paced harmonic rhythm, both of which add considerable variety and interest to the overall tonal scheme."
(Carlisle, 30-1)
"The piece opens with a short motive in the accompaniment that provides the basis for the opening notes of the vocal line in measure 2 that are also doubled in the accompaniment. This short motive, or a variation, returns in measures 9, 25, 26 and 34 in either the accompaniment or vocal line, and provides the most concrete unifying device of the piece (see Example 1)."
(Carlisle, 31)
"The musical energy of section A is provided primarily by a vocal melody of ascending quality, and an accompaniment that follows and responds in the same manner. This emphasis on melodic ascension provides the vitality and tension necessary to maintain interest in the opening section, in view of the lack of any other significant harmonic, rhythmical, or textural changes. The vocal melody rises in a beautifully controlled arch from the opening D to G on the word "forth" in measure 6, then eventually descends to B in measure 9. However, even given its descent to the harmonic resolution in measure 9, its basic ascending quality is still maintained, as can be seen below."
(Carlisle, 31)
"Example 1. 'Let me enjoy the Earth,' measures 1-9." (Carlisle, 32) |
"The accompaniment, while providing primarily underlying chordal support in this first section, nonetheless supports the energy of the vocal melody by either doubling or closely following its direction. This is clearly seen in measures 2-3 in the right hand of the accompaniment, which doubles the vocal line; in measure 6, where the accompaniment responds in arpeggiated fashion on beat two to the arpeggiated vocal notes of beat one; and measure 8, where the accompaniment again follows very closely the ascending pattern of the vocal line. All of this has the effect of giving strong, supporting musical motion to the poetic thought of enjoying life and what it has to offer, regardless of the problems that may arise."
(Carlisle, 32-3)
"Section B and B¹, consisting of measures 11-25, differ from the two outer musical sections in that they assume a more light-hearted and moving character. The melody continues to retain its basically ascendant quality, but the accompaniment changes from the vertical structure that characterizes section A to an independent, horizontal style based upon sixteenth-note movement and rhythmical variety. This textural change underlines the concepts found in the second and third stanzas of the poem. Such poetic phrases as 'About my path there flits a Fair, who throws me not a word or sign' and 'I'll pour out raptures that belong to others' portray the less introspective nature of these two middle stanzas, and Finzi has responded by writing music that is more extroverted in personality. Numerous dotted rhythms found throughout sections B and B¹ in both the vocal line and accompaniment add rhythmical interest and lightness, while the contrary motion of sixteenth-note sets in the accompaniment provide for rhythmical as well as harmonic musical direction. Even though the harmonic structure of these two sections remains essentially chordal, there is still a strong contrapuntal sense that gives them the extra musical impetus required by the text."
(Carlisle, 33)
"There is little significant harmonic innovation in either of these sections except in measure 25, which precedes the final musical section (A¹). Finzi chose to conclude this measure with a B flat - minor chord, or iii in the key of G flat major. Its use at this moment is quite expressive, even poignant, and musically represents the idea that, even seeking to always enjoy life, the poet must nevertheless accept moments of sadness that invariably remain a part of life."
(Carlisle, 34)
Section A¹ returns in measure 26 to the same basic character and texture as is found in the opening A section. The melody is again the dominant factor, as it reaches its most dramatic moment of the song at the words, 'I will lift glad, a-far-off eyes' in measures 29-31. The accompaniment returns to its earlier chordal structure with much use of non-chord tones to enrich the texture and add expressive musical 'color' to the section. Harmonic progressions are quite standard throughout the section, the only distinctive harmonic moment occurring in measure 34 at the conclusion of the vocal line. A simple, chromatic passing chord no doubt represents a musical 'twinge of sadness' reflecting the poet's realization that, even if a Paradise does exist, it still holds no place for him."
(Carlisle, 34)
Comments about Performance
"There is only one basic tempo marking for the song [quarter note] = c. 69 (Andante, ma con moto), but Finzi has indicated several other momentary expressive tempo changes, such as the poco ritardando, poco rallentando, and largamente found in measures 10, 17, and 29 respectively. All of these markings closely follow a sense of poetic and musical phrasing, and any performer of this song would be wise to adhere to them; they offer a "built-in" means for musical expressivity. The initial tempo marking is very comfortable for sections A and A¹, but slightly more animated movement is suggested for sections B and B¹ in order to highlight the more extroverted nature of these two poetic stanzas."
(Carlisle, 34-5)
"As is the case with many of Finzi's songs, this one contains few dynamic markings, most of which are found only in the accompaniment. The dynamic markings follow rather closely the general shape of the melodic line, as wee as the overall "architectural" shape of the musical phrases. The only specific dynamic marking in the vocal line, and one that should be observed, is the piano in measure 32 near the end of [the] piece. This follows the fortissimo in the accompaniment in measure 30, and represents an awareness on the poet's part that, even as he "lifts glad eyes to Paradise," in the next moment he is reminded that he is to have no place in this Paradise. Ample dynamic contrast and variety for this song will be achieved if the performer simply follows the contours of the melodic line, using a crescendo during ascending passages and a decrescendo during descending passages. While this may be a rather simplistic approach to dynamic contrast, the forthrightness of the poetry requires the same kind of musical directness in its interpretation. Both poetry and music are very expressive, but neither of them demand great subtlety of dynamics in order to achieve a musical performance of this song."
(Carlisle, 35-6)
"The general range and tessitura of this song are not overly extensive, and should cause few technical problems for most high voices. It does seem prudent to suggest, however, that due to the emphasis on an expressive, rising vocal line, this piece would not be as effective in a very light, high voice as it would in a high voice of more substantial vocal weight and power. The text of this song is not particularly difficult to understand or interpret, especially in comparison to other Hardy poems. The only words used with more archaic meanings are "Might" in measure 5, which refers to God, or a "supreme being", and "Fair" in measure 12, which in this instance means a beautiful woman. A junior or senior level student of reasonable vocal strength and technical security should be capable of providing a fine rendition of this piece. However, it contains sufficient challenges to consider it more than appropriate for a graduate level student as well." (Carlisle, 36)
Unpublished Analysis Excerpts
The following is an analysis of Let Me Enjoy the Earth 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 seventy-three and concludes on page seventy-five of the dissertation.
"Till Earth Outwears is framed by two even-tempered songs which compliment each other well and present Hardy as being closer to a resolved view of the universe than he appeared in earlier Finzi song sets. The set opens with "Let Me Enjoy the Earth" which presents a rather systematized approach to nature and a higher power. The text is derived from a section of Time's Laughingstocks titled "Set of Country Song." Poems in Time's Laughingstocks originally appeared in various periodicals, and were reassembled by Hardy. There is often a lack of connection between poems, probably due to the span of time over which they were written as well as the contrasting moods and circumstances of the text. Hardy's comments in the preface to this publication, which date form September 1909, give some insight into his intention and seem to also reflect Finzi's approach to grouping texts, as well as the appropriateness of the editors' efforts in Till Earth Outwears."
(Denning, 73-4)
" . . . This I cannot help, but the sense of disconnection, particularly in respect of those lyrics penned in the first person, will be immaterial when it is born in mind that they are to be regarded, in the main, as dramatic monologues by different characters. As a whole they will, I hope, take the reader forward, even if not far, rather than backward." (Hardy, 190) (Denning, 74) |
"The poet has specified that this song be thought of in a minor key, and Finzi has obliged, however, the tonality is a bit ambiguous due to numerous non-harmonic tones. The first stanza yields other typical Finzi traits such as the melodic pattern of ascending steps or leaps followed by larger ascending leaps such as occur on the text 'That fashioned forth...,' with a leap on the weak part of the beat, all textually motivated and appropriate. The piano accompaniment displays Finzi's ability with imitative counterpoint."
(Denning, 74)
"The piano interlude before the second stanza becomes a bit busier, depicting the bright mood of the following text and the flirting maidens which are mentioned. This movement is calmed at the end of the verse by the piano's arpeggiated figures which are marked poco rallentando. This direction should be taken to extreme here to emphasize the previous text '...the lips not meant for mine,' to help the listener interpret the underlying mood."
(Denning, 75)
"Thus far 'Let Me Enjoy the Earth' has appeared to be simple and primarily strophically set, yet the true meaning of Hardy's text is expressed in the last verse: the speaker in the poem fears being blocked from heavenly paradise just as he has been overlooked by other while living. Finzi achieves great emotion within this verse with simple means. Melodically, it is very similar to previous verses, but in this stanza Finzi chooses to place leaps and extremes of range on strong beats. The accompaniment is much calmer and ends quietly, reflecting Hardy's thoughtful ending. This lack of finality serves the dual purpose of allowing the listener to reflect on the previous messages yet being open to further suggestion. Though obviously not planned, this creates a perfect bridge to the second song of the set."
(Denning, 75)