Album Review: Vocal Works 1974–2015 by Michael Finnissy, Performed by Exaudi Vocal Ensemble
Released in 2018 on the Winter & Winter label, Vocal Works 1974–2015 is a deep dive into the mind of one of contemporary classical music’s most fascinating composers, Michael Finnissy. This collection isn’t your run-of-the-mill classical album—it’s more like an intellectual treasure hunt, where every track feels like uncovering a new layer of complexity. The Exaudi Vocal Ensemble, led by conductor James Weeks, brings these intricate compositions to life with precision and soul.
Let’s talk about two standout tracks that really stuck with me: "Gesualdo: Libro Sesto" and "Tom Fool’s Wooing."
First up, “Gesualdo: Libro Sesto.” If you know anything about Carlo Gesualdo, you’re aware he was basically the emo kid of Renaissance composers—wild harmonies, dark themes, and drama for days. Finnissy takes this vibe and cranks it up tenfold. The piece starts off almost eerily quiet, but then builds into these cascading vocal lines that feel like they’re unraveling right in front of you. It’s haunting yet strangely beautiful, like staring at storm clouds rolling in. What makes it unforgettable is how the ensemble handles the dissonance; their control turns what could’ve been chaotic into something hypnotic.
Then there’s “Tom Fool’s Wooing,” which flips the script entirely. Where “Libro Sesto” is brooding and intense, this one has a playful edge. Think of it as the quirky cousin at a family reunion. The lyrics are delightfully oddball, full of wordplay and wit, and the vocal delivery matches that energy perfectly. There’s this moment near the middle where the voices overlap in such a clever way—it’s hard not to smile. It reminds you that even in complex music, there’s room for fun.
The production quality deserves a shoutout too. Mixed and mastered by Adrian von Ripka, the sound is crystal clear without losing any warmth. And kudos to Stefan Winter, the producer (and co-executive producer alongside Mariko Takahashi), for keeping the focus firmly on the music while still giving everything a polished finish.
One thing worth mentioning is the liner notes by James Weeks. They’re insightful without being overly academic, making the album accessible even if you’re not steeped in contemporary classical jargon. Plus, the photography and design from Winter & Winter tie the whole package together nicely—it’s got a minimalist aesthetic that suits the music’s introspective nature.
In the end, Vocal Works 1974–2015 feels less like a typical album and more like a conversation between composer and listener. It challenges you, sure, but also rewards patience. You might need multiple listens to fully grasp its depth—and honestly, that’s part of the charm.
So here’s the kicker: after listening to this album, I found myself wondering whether Michael Finnissy ever just hums his own tunes in the shower. Because if he does, I bet it’s unlike anything anyone else has ever heard.
