I am not very confident of understanding what T. S. Eliot meant when he said he had “shored” various fragments against his ruin (The Waste Land), but, knowing no more companionable and discreetly strengthening a composer, I intend to ‘shore’ plenty of Finzi against mine. He is the best comforter, restorer of faith in beauty and civilization, incapable (as an artist) of cheapness or corruption. On hearing the Intimations of Immortality again, I find the Waltonisms (obvious Belshazzar) puzzling in the “Now while the birds” section and its recapitulation. Is it deliberately allusive or simply an influence running round in his head at the time, pervasive yet not quite recognized? The latter is hard to believe, but the former seems more puzzling still as the reference (if such it be) can hardly be seen as apt.
Still, that’s incidental. What is central, and essential, is the capacity of his music (in both works) to grow in the listener’s mind over long years, deepening in appeal, strengthening in the conviction of its purpose. Moreover, these performances are marvellously good at clarifying the strengths (I shall ‘shore’ them up too). Rather more than their predecessors, with Langridge as soloist, Hickox conducting (his Argo Dies natalis, 5/79, is currently unavailable), they clarify structure and texture. The soloist is more distinctly focused in the recording-balance, and this makes an important difference when the poet’s words are as vital an element as they are here. Best takes a very slightly quicker tempo than Hickox and that helps to focus attention. Another factor is the sharper differentiation of instruments, more distinctive in flavour – an example of all these points is found in the danza, “The Rapture”, in Dies natalis.
Ainsley sings with grace and clarity, if (but it will take time to tell) not quite so memorably, or with such spiritual intensity, as Langridge. The choir are a less full and immediate presence than in Hickox’s recording of the Intimations; but for much of the time this kind of halo over the sound is appropriate, and in certain important passages the smaller numbers (Hickox has the Liverpool Philharmonic) help to compensate with clearer definition.
Andrew Burn’s booklet-notes and Harold Hitchcock’s fine painting, Sunrise through Trees, also make appreciable contributions. Highly recommended.'