"History, Analysis and Performance Considerations of Gerald Finzi's ...

HISTORY, ANALYSIS AND PERFORMANCECONSIDERATIONS OF GERALD FINZI’SLO, THE FULL FINAL SACRIFICEByCameron J. RoseA paper submitted to the faculty ofThe University of Utahin partial fulfillment of the requirements for the degree ofDoctor of Musical ArtsSchool of MusicThe University of UtahMay 2008

Copyright © 2008 by Cameron J. RoseAll Rights Reserved

. . . as surely as birds must sing, so long as words exist and man is capable offeeling, there will be song.Gerald FinziCrees Lectures, 1955

TABLE OF CONTENTSLIST OF FIGURES ....................................................................................................................... ivLIST OF TABLES......................................................................................................................... viACKNOWLEDGMENTS ............................................................................................................ viiHISTORICAL OVEVIEW ..............................................................................................................1CREATIVE PROCESSES & POETIC INFLUENCES ..................................................................8FORMAL ANALYSISPreliminary Studies............................................................................................................12Examination of Form .........................................................................................................14PERFORMANCE CONSIDERATIONSPrinciples............................................................................................................................65Practices .............................................................................................................................66EPILOGUE....................................................................................................................................77APPENDIX: SELECTION AND ARRANGEMENT OFCRASHAW TEXTS FOR LO, THE FULL FINAL SACRIFICE..................................................79BIBLIOGRAPHY..........................................................................................................................81

LIST OF FIGURESFigurePage1. Construction of theme a, “Sacrifice” (measures 1-5) ........................................................142. Reduction of theme a (measures 1-5) ................................................................................153. Organ “Cross figure” (measures 7-8) ................................................................................154. Reduction of theme a(x) (measures 6-8)............................................................................165. Reduction of theme a’ (measures 9-11).............................................................................166. Theme d, “Wine,” motivic construction (measures 12, 55)...............................................187. Reduction of measures 17-20.............................................................................................198. Reduction of organ prelude (measures 1-20).....................................................................199. E-B-F / F-B-E palindrome (measures 24-26) ....................................................................2110. Reduction of “The ransomed Isaac” (measures 24-32) .....................................................2211. “Jesu Master” imploring leaps (measures 33, 39-40) ........................................................2412. Rising major third key transition (measures 38-39) ..........................................................2513. Reduction of theme a(x), organ interlude (measures 32-38) .............................................2514. Rising major third transition with plagal formula (measures 42-43).................................2815. “O Let that love” motivic construction (measures 43-44).................................................2916. “Jesu Master” organ echo (measures 52-54) .....................................................................3117. “Relationships of themes d and e, “Wine” and “Pasture,”(measures 55-57, 61-63) ...................................................................................................3218. “To feed of Thee” organ echo (measures 64-67)...............................................................33

41. Reduction of Lo, the Full Final Sacrifice ..........................................................................62vi

LIST OF TABLESTablePage1. Section A – Thematic Structure.........................................................................................262. Section B – Thematic Structure .........................................................................................363. Section C – Thematic Structure .........................................................................................424. Section D – Thematic Structure.........................................................................................515. Section C’ – Thematic Structure........................................................................................556. Section B’ – Thematic Structure........................................................................................587. Section A’ – Thematic Structure........................................................................................608. Palindrome – Arch Form of Lo, the Full Final Sacrifice ..................................................63

ACKNOWLEDGMENTSThe author wishes to convey his gratitude to Ms. Diana McVeagh, for providing a copyof the Crees Lectures which she is currently editing for publication.CJRThe University of UtahMay 2008

HISTORICAL OVERVIEWIt was the summer of 1946 and the world was finally at peace. Life however wasanything but easy. One year had not yet elapsed since the close of the most globally lethalconflict in human history. Still another year would pass before the Marshall Plan wouldcommence in assisting with the rebuilding of Europe. Rationing in Britain would continue formore post-war years than during the actual war itself. 1For Gerald Finzi however, it meant amuch needed release from his full-time war duties at the Ministry of Transportation in London,with an eye fixed once again towards compositional activities which had been all but impossiblefor six years. 2While weekend visits were made during the war period, 3 Finzi’s full return to his belovedwife Joy, sons Nigel and Christopher (“Kiffer”), and the apple orchards at his serene countrysidehome in Ashmansworth was long anticipated. 4 While Finzi came face-to-face with the irritations1 Meat and bacon were the final items to become freely available on 3 July 1954. Manuscript paper and paper clips,let alone basic foodstuffs, were difficult to obtain. See Youngs, “My Wartime Menu;” and McVeagh, Gerald Finzi:His Life and Music, 143.2 “For the period 1939-1945 Finzi was employed in the Ministry of War Transport office and would have to againreturn to London. He was in charge of cargo shipping to South America. The British Imperial Calendar and CivilService Lists of both 1943 and 1945 show Finzi earning in excess of 600 pounds-sterling; the latter listing titlesFinzi an Administrative Officer. Although it was a job he detested, it was a very responsible one, and he performedhis duties well. The organist, Richard Lathom, was there too. Gilmore Jenkins, a good friend of Vaughan Williams,was the Head of that department. Finzi reportedly had little time to compose but was able to attend a few concertsand managed to write in the few moments available here and there,” Dressler, Gerald Finzi: A Bio-Bibliography, 13.3 To include directing of his amateur-based, Newbury String Players in local performances.4 Christopher would have been eleven, and Nigel nine. In addition to Joy and music, Finzi’s life-long loves includedthe country, literature, and all things English. To the end of his life he found great enjoyment in saving threatenedspecies of apple trees, of which he had 400 to 500 at Ashmansworth. See Dressler, 4, 5, 9, 12.

of home repair and putting daily life back into some semblance of normality, he managed to keepthings in perspective. 5 After listening to the domestic complaints of one friend he wrote:. . . when one thinks of all we have come through to be here at all. The onlysurvivor out of millions of spermatozoa, then one of the infants or children whodidn’t die. Then we escaped being one of the millions who were killed or died asa result of the Nazis. And after all that we get in a frenzy because a plug won’tpull, or a man hammers a nail in or a pencil gets mislaid! 6On June 6, Finzi was contacted by the Reverend Walter Hussey, vicar of St. Matthew’s inNorthampton, for a commission to be performed on September 21 at the church’s annualfounder’s celebration. Hussey had long supported the musical and visual arts feeling it was hispersonal mission “to help re-forge the ancient link between the Church and the Arts.” 7 Previouscommissions for the church’s anniversary included works by such notables as Britten, Arnold,Tippett, Leighton and Howells. 8 In 1944, the commission had been awarded to Alan Rawsthorne,whose place was taken by Edmund Rubbra’s motet, The Revival, when he failed to produce anywork. The following year Lennox Berkeley received the commission, producing his FestivalAnthem. When Rawsthorne again failed to produce any work in 1946, Finzi was approached byHussey and accepted the commission despite the severely short notice, and his most commonand comfortable practice of allowing works to incubate over extended periods of time. 925 Joy had also housed German and Czech refugees during the war years. See McVeagh, 107.6 Letter from Finzi to Antonio ‘Toty’ de Navarro, 17 March 1946, in McVeagh, 143.7 Letter from Walter Hussey to Finzi, 6 June 1946, in Banfield, Gerald Finzi: An English Composer, 326-327.8 Britten’s Rejoice in the Lamb, together with Tippett’s Festival Fanfare, and Henry Moore’s Madonna and Childsculpture were created for the church’s golden Jubilee in 1943. Hussey later went on to become Dean of Chichester,where he commissioned Bernstein’s Chichester Psalms.9 “Gerald’s habit had always been to keep in his desk the sketches for a number of different works. These would beadded to from time to time—often over a period of years; then, when he felt the moment was ripe, one work wouldbe taken out and completed . . . . The process of completion was sometimes difficult, but at other timescomparatively easy. He was never a fluent composer, however, and even the most spontaneous-sounding song mighthave required innumerable sketches and rough drafts, with sometimes a break of years between its opening andclosing bars,” Howard Ferguson in Dressler, 4. “Finzi would not be happy until he was totally satisfied with a piece;he did not like tinkering with a composition and hated artificially contrived music. One can understand then, why hetook on a very few commissions. For these reasons he tended to put things away in a drawer and take them out later;

3Hussey suggested a Eucharist theme:We have not so far had anything on the theme of the Eucharist . . . . The sort oftexts that pass through my mind are verses from Vaughan’s The Feast, or his TheHoly Communion, or Herbert’s Holy Communion, and many others of similarand other sorts. 10Henry Vaughan had been set by both Rubbra and Berkeley, and Finzi, likely in the interest oftime and familiarity, suggested a Vaughan text he was well acquainted with from his 1922setting of Psalm 121. 11Hussey responded favorably, and while providing additional options,kept his preferences clear:Yes, I think the Vaughan ‘Up to those bright and gladsome hills’ would beincluded within the limits . . . . Some of the old latin hymns are lovely and verysuitable . . . . But other things being equal, I am inclined to think than an Englishtext is preferred. 12Finzi settled upon a combination of stanzas from Richard Crashaw’s poetic versions ofthe St. Thomas Aquinas hymns, Adoro te, and Lauda Sion, and in so doing certainly met all ofHussey’s requirements. The two texts are English and, like Vaughan, metaphysical. They arebased on Latin sources, intensely devotional and subject-relevant, subtitled by Crashaw “inadoration of” and “for the Blessed Sacrament.” It would also seem of no small significance thatthe two poems are arranged side-by-side in Turnbull’s, The Complete Works of Richard Crashaw(1858), Waller’s edition of Crashaw’s, Steps to the Temple (1904), and Martin’s, The Poemssometimes while out of mind, the problem with the pieces in progress would vanish. Many of his compositions werewritten over a long period of time; e.g., Dies Natalis, one of his most respected earlier works took almost twentyyears to complete,” Dressler, 11-12.10 Hussey to Finzi, 6 June 1946, in Banfield, 327.11 Known as also as the first of “Two Motets.”12 Hussy to Finzi, 12 June 1946, in Banfield, 327.

English, Latin and Greek of Richard Crashaw (1927), all three editions of which were owned by4Finzi. 13 Despite the length and weighty nature of the verses, a month following Hussey’sinvitation Finzi still viewed the commission as a small work. Writing to Tony Scott on July 7 henoted:At the moment I’m doing a short anthem for that remarkable parson, WalterHussey of Northampton, who annually commissions composers & artists to doworks for his church. 14In the same letter he also described the anthem, “Mine’s only a little thing, organ & SATB.” 15Whether this was false modesty or simply initial misjudgment of the work’s potential, byAugust the full impact of the once “little thing” had certainly taken hold. Lo, the Full FinalSacrifice had become the longest single span of music Finzi had yet written. 16 The passage of yetanother month found him still at work. While the family went mackerel fishing in Cornwallwithout him, Finzi contacted long-time friend and composer Howard Ferguson who came andhelped. 17 Clearly his “short anthem” had developed into something much larger than he hadanticipated. What specific assistance Ferguson provided is not clear, but after his visit he closeda letter of August 29 to Finzi with the postscript, “I do like that Crashaw setting: it’s mostbeautiful.” 1813 Over 6,000 printed volumes comprising Finzi’s personal literature and poetry collection were donated by hisfamily to the University of Reading Library in 1974. Formerly held in the Finzi Book Room, the collection is nowfound at the Special Collections Service. Online scans of the card catalogue indicate Finzi’s personal books with theannotation: “Finzi Book Room.”14 Letter from Finzi to Tony Scott, 7 July 1946, in McVeagh, 147.15 Banfield, 327.16 Ibid.17 McVeagh, 147.18 Letter from Howard Ferguson to Finzi, 29 August 1946, in Ferguson and Hurd, eds., Letters of Gerald Finzi andHoward Ferguson, 244.

Lo, the Full Final Sacrifice was at some point completed in time for Ferguson to receivea printed score and respond on September 12, “So glad to get a copy of ‘The Sacrifice’, forwhich very many thanks indeed. It looks good in print, and I like your Amen!” Ferguson thenapologized for a few misprints, “So sorry for these, my sins of omissions (or are theycommission?),” and offered his best wishes for the next-day’s performance of yet anothersignificant Finzi work:I’ll be holding thumbs for ‘Dies’ tomorrow, and am delighted that old trout [SirIvor Atkins, organist and conductor at Worcester] gave you 20 minutes for it inthe Cathedral. 19The “Dies” of which Ferguson referred was Finzi’s cantata, Dies Natalis, for soprano andstrings. Originally to be premiered at the Three Choirs Festival of 1939 in Gloucester, theoutbreak of war cancelled his first major performance which would likely have brought him topublic prominence sooner. 20Finzi conducted Dies Natalis at Hereford on September 13, the first Three Choirs Festivalin six years, and received a positive review:Distinctive too were Samuel Barber's conducting of his Adagio for strings, andGerald Finzi's conducting of his ‘Dies Natalis' for solo soprano and strings, towords by Thomas Traherne. Time and again history has recorded cases ofcomposers unable to obtain satisfactory interpretations of their own compositions.But that was decidedly not the case at this year's Three Choirs Festival; here thecompletely satisfying moments came when composers were in charge of their519 Ferguson to Finzi, 12 September 1946, in Ferguson, 244.20 “There had been a six-month gap in Joy’s Journal. Then came September 1 [1939] Declaration of war. In fact,that was the day Germany invaded Poland. The Finzis were at the Royal College of Music in London, for the finalThree Choirs rehearsals. As Dies Natalis was being sung, it was announced that the festival was cancelled: Geraldnoted it on his programme of the abandoned festival. It was to have been his first performance at a major occasion.There is no mention of this setback in the Journal, but Gerald wrote to Toty de Navarro: ‘A more unfortunate day forpublication than Sept 1 st cd not have been chosen & I must resign myself to the work being a complete flop for thetime being. However it’s there for the future, whatever that may be, & I was lucky enough to get as far as the 2 ndrehearsal (when it sounded quite all right).’ His loss seemed to him ‘a very small thing in a very big upheaval’,”McVeagh, 106.

6own works . . . . Beautiful too was Finzi's setting of the meditative philosophy ofTraherne, and again the craftsmanship was impeccable. 21Finzi, obviously pleased with the performance wrote a few days later in a relieved and happymood to Tony Scott, thanking him for the use of his suit:I can’t pretend that the whole Three Choirs Festival was dependent on yourmorning suit, but I certainly was! It was a perfect fit & what with Tom Scott’s[their doctor’s] shirt & collar, & John’s [Sumsion’s] tie—together with John andfour assistants to help me put the things on in the right order—I got through it allright. 22With that much-needed public success achieved, he and Joy traveled the following weekto Northampton for the September 21 premier of Lo, the Full Final Sacrifice, Alec Wyntonconducting. No reviews of this first performance have been found, 23 however the anthem waswell enough received to be performed again at St. Matthew’s that November for the unveiling ofGraham Sutherland’s painting, Crucifixion. Hussey also invited Finzi to compose anunaccompanied mass for the coming year, but the composer declined. Already in the midst ofanother rushed project to underscore a radio play of Love’s Labour’s Lost (three weeks), perhapshe felt he had had enough of commissions for the time being. 24An orchestrated version of Lo, the Full Final Sacrifice was performed (together with DiesNatalis) at the Three Choirs Festival in 1947, and again in 1948. The 1947 performance, withFinzi in his first professional directing attempt, did not go well, although his reputation as acomposer was strengthened:Finally, Finzi’s cantata, ‘Lo, the Full, Final Sacrifice,’ originally composed for St.Matthew’s, Northampton, was introduced to a wider audience under thecomposer’s own direction. It was not very well sung, as the choir had difficultieswith pitch and intonation, but it showed that the composer, whose mastery as a21 Nettel, “The Three Choirs Festival, Hereford.”22 Finzi to Scott, 16 September 1946, in McVeagh, 147.23 Crutchfield, “A Conductor’s Analysis,” 85.24 Banfield, 331.

7miniaturist is now generally recognized, can also handle a larger form with a suretouch. 25In 1948, the same reviewer reported:Finzi’s ‘The Full Final Sacrifice’ was repeated from the Gloucester programme oflast year, and was conducted by Dr. Herbert Sumsion. Like Rubbra in ‘TheMorning Watch,’ Finzi catches the spirit of the metaphysical poets and writes afree flowing music whose melodiousness is in the last resort derived fromfolksong as Rubbra’s is from Tudor polyphony. Both, therefore, write acharacteristically English kind of music, not music for the market-place, it is true,nor necessarily for the church, but for any place or occasion of meditation. 26And of the latter performance The Musical Times related:The repetition of Finzi's cantata 'The Full, Final Sacrifice', first heard at last year'sFestival, was ample testimony of its worth. This composer's gentle and graciouslyricism must be as soothing to the singers as it is to the audience in our brusqueand angular melodic age. 27Devotional and celebratory, brooding and triumphant, penitent and dramatic, Lo, the FullFinal Sacrifice is viewed today as one of Finzi’s finest works. His delayed entrance into thepublic eye now inconsequential, the anthem—his first mature choral setting—continues to find arespected place among both secular and ecclesiastical ensembles, and has been commerciallyrecorded by such choirs as the Choir of King’s College, Choir of St. Paul’s Cathedral, Choir ofWorcester Cathedral, and The Finzi Singers. 2825 Frank Howells, “From Our Music Critic,” The Times, [London], 13 September 1947, in Crutchfield, 85.26 Ibid.27 “The Three Choirs Festival,” 252.28 For a more extensive list see Dressler, 34, 62-75.

CREATIVE PROCESSES & POETIC INFLUENCESWhile Lo, the Full Final Sacrifice was a commissioned work with a pressing deadline,Finzi generally enjoyed the liberty of composing at his leisure, not out of financial necessity, butsimply because he felt to do so. By marriage, Finzi had the benefit of money from Joy’s familyupon which they could subsist. 29Prior to marriage, Finzi taught briefly at the Royal Academy ofMusic, a position he was all too happy to leave, writing “Allylewya! Allylewya! Allylewya!” toThorpe Davie on his last day. 30Finzi however was in no way ignorant of, nor ungrateful for hisgood fortune to live and compose so freely. He later mused on the origin of “mean-spirited”professors, and the toll of life’s rigors upon the working musician:. . . perhaps the pressure of life, of competition has been too much for spirits toofrail to bear it. I don’t like to think of how much worse I shd [sic] have been if Ihad not been a comparatively free man, for I cd [sic] never have earned my livingas a musician, not even as a pedagogue; and how sour that might have turned me.. . . 31While Joy was indeed his “joy,” 32 so also was English literature, of which he amassed asignificant collection throughout his life, poetry being his chief source of compositionalinspiration. It goes without saying that he was extremely well read. The diversity of his tastes isevidenced in the authors he set including: Crashaw, Vaughan, and Taylor (metaphysical),29 McVeagh indicates that while Finzi immediately fell in love with Joy, among his many fears of marriage at thetime was, ironically, that her money might be an “unacknowledged attraction.” See McVeagh, 69. By all accountsthey became quite a successful team, Joy running the ‘business’ of home and life, clearing the way each day forGerald to work in whatever way he found best.30 In July 1933. See McVeagh, 71.31 Letter from Finzi to Robin Milford, 8 March 1948, in Banfield, 2.32 Finzi completed the partsong My Spirit Sang All Day shortly after his marriage. The final line of the RobertBridges text exclaims, “thou art my Joy!” See McVeagh, 78.

9Hardy (agnostic fatalist), Wordsworth (lyric romantic), Bridges (prosody), Rosetti (children’stexts) Shakespeare, Milton, and Bridges. Text selection was a very instinctive and sometimesinstantaneous experience for Finzi. Quoting his father, Christopher indicated that he did not“choose texts,” rather “they chose [him].” 33In The Composers Use of Words, his series of threeCrees Lectures given at the Royal College of Music in 1955, Finzi describes (in academic thirdperson) his own experience with the creative impulse and its relationship to text:The process from the composer’s angle is this. He may read some lines. Instantly,with the reading, musical phrases will bind themselves to the words . . . musicmay even be brought about by the sounds, irrespective of the senses. 34John Russell described his personally witnessing such a creative moment with Finzi:Once, as I came into Gerald Finzi’s music room, I found him reading a poem ofHenry Vaughan. He looked up, smiled, and by way of humorous greeting sang:“O rose of Sharon! O the lily of the valley! How art thou now.” He put it straightdown on paper (talking with me at the same time) and it became the main musicalidea of his anthem, ‘Welcome, Sweet and Sacred Feast.’ There, I realized, wasFinzi in the very act of finding out a musical tune. The words sang themselvessimply and effortlessly. The melody was immediately accepted and set downbecause every note of it was fused together with the poetry; the accompanyingharmonies and contrapuntal texture were equally sure and inevitable. 35Finzi described such inspirations as a “lyrical impulse—an unanalysable burning quality,” and “asurcharge of emotion, a passion.” An intense and immediate sympathy for the text was for him,the “germ of the creative impulse.” Not remiss to point out that “a balance between intellect andemotion is the foundation of the greatest works of art,” 36 he nonetheless relied heavily upon hisinitial spark to both sustain and guide him through the creative process:33 Crutchfield, 155. Finzi’s views on textual inspiration were formed early. He wrote to Ferguson while Christopherwas still in infancy, “ . . . the first and last thing is that a composer is (presumably) moved by a poem and wishes toidentify himself with it and to share it . . . . I don’t think everyone realizes the difference between choosing a textand being chosen by one.” Letter from Finzi to Ferguson, 19 December 1936, in Ferguson, 139-140.34 Gerald Finzi, The Composer’s Use of Words, Crees Lectures II, unpublished manuscript provided to the author byDiana McVeagh.35 Russell, “Gerald Finzi.”36 Finzi, II.

10Some composers have never written a song or a choral work without at least oneline being instantaneously matched with a musical equivalent on the very firstreading of the words. That does not make a work of art, but it is the initialexcitement which brings the intellect into play to carry the emotion to its end. 37What then of Finzi’s specific impetus for the selection and combination of the twoCrashaw texts comprising Lo, the Full Final Sacrifice? The specific impetus or moment, the turnof phrase, textually or melodically if there be any, which moved him from Vaughan to Crashawis not a matter of published record. Perhaps a close study of his sketches might inform moreauthoritatively on this question, but until the author is able to arrange such a viewing, Finzi’sprogram note from the 1947 Three Choirs Festival will need to suffice:If Crashaw’s work has a reputation for remarkable inequality it is generallyagreed that there are moments of religious emotion where he reaches an ecstasyhardly surpassed in English poetry. It was this element rather than the ornateimagery and baroque conceits which led to the choice of the text. 38Despite his spiritual-like view of the creative impulse, Finzi described himself, much likehis close friend Vaughan Williams, as an agnostic. Yet the “religious emotion” and “ecstasy” ofCrashaw certainly found sympathy with him. Over the years, many a listener to Finzi’s religioussettings may have been persuaded (like Agrippa by St. Paul), that Finzi was indeed a Christian.How does one respond to the question of Finzi’s sensitivities and gifts towards portraying sowell such sacred texts in a meaningful manner? In writing to Tony Scott the day following thepremiere at St. Matthew’s, Finzi addressed this seeming incongruity with the words of A.C.Ward describing Leonardo da Vinci:. . . not what would ordinarily be called a religious man, the Last Supper shows hecould understand what Christian Faith meant to others, and respect and minister toit. 3937 Finzi, III.38 Crutchfield, 81.39 McVeagh, 147.

11According to Christopher, his father had a great respect for religion, “knew the Bible welland loved it as literature,” and would in his viewpoint, have been attracted to Crashaw simply forthe poetic aspects, rather than any personal religious devotion. 40 If Finzi and son are being honestin their personal spiritual assessments (and we currently have little reason to believe otherwise),the composer certainly deserves our recognition, if not high admiration, for his ability to writewith a fitting musical voice, as John Russell put it, that could only be described as “inevitable” toits text, whatever the subject. 4140 Crutchfield, 155-156.41 Christopher Finzi also observed, “He always showed such respect for all texts. In a sense, the words were alwaysput first. The music was subservient to the words, always.” Ibid., 157.

FORMAL ANALYSISPreliminary StudiesIn the course of preparing a structural analysis of Lo, the Full Final Sacrifice, the authormade a full study of the published interpretations of Kathleen Robinson, John Crutchfield, JohnDickson, Stephen Banfield and Diana McVeagh. Robinson provides the most voluminousexamination of the five, a measure-by-measure viewpoint based primarily upon the reappearanceand relationship of similar cellular motives. She also provides detailed analyses of harmonic,melodic, and rhythmic topics, although each is addressed in separate chapters rather than beingintegrated with one other in context of the entire work. By comparison, Crutchfield discusses nomusical motives at all, rather, he provides a structural analysis founded primarily uponidentifying the antecedent and consequent phrases of Crashaw’s couplets completely outside thecontext of all musical elements. Crutchfield does however provide brief examinations ofharmonic, melodic, and rhythmic characteristics, though like Robison, in separate unrelatedsections. In an article for Choral Journal, Dickson discusses the important role of textualanalysis in preparation of a choral score, and uses the Crashaw/Finzi text as his first case study.Dickson discusses a loose type of palindrome in the arrangement of text, as the poetic subjects ofsacrifice, wine, bread and personal petition as introduced in the first half of the anthem, arereversed in appearance as the work proceeds to its conclusion: petition, bread, wine, andsacrifice. Dickson’s examination of the Finzi was not intended to address the musical aspects ofthe composition, and while this author does not entirely agree with his

14Examination of FormSection AThe anthem opens with a subdued and brooding organ prelude. Also functioning as a typeof abbreviated overture, the prelude introduces some of the primary thematic and gesturalmaterials of the composition, while setting the mood for the liturgical drama of Christ’s sacrificeand its modern manifestation in the celebration of the Eucharist.The opening period in measures 1-5 comprises a full instrumental statement of theopening vocal text to come, “Lo, the full final Sacrifice,” evidencing that the introduction wasmost likely composed after the work had substantially progressed, or perhaps was otherwise fullycomplete. The antecedent phrase of the “Sacrifice” or ‘a’ theme outlines the rise and fall of aperfect fifth, a leap that returns throughout the anthem in various thematic contexts and moods.The consequent phrase contains instances of the melodic third in two distinct forms—presentedby skip in measure 3, and by step in measures 4-5, both of which will also be woven naturallythroughout the work (see Figure 1).Figure 1. Construction of theme a, “Sacrifice” (measures 1-5).

16a (See Figure 4). This line, containing the upper neighbor to E, varied by the melodic thirddescending in the alto voice of the organ, clearly maintains the underlying form of the“Sacrifice” theme, and shall therefore be identified simply as an extension of this material, ora(x) (see Figure 4).The “improvisation” is interrupted by an abbreviated return of the initial theme pitched aperfect fifth below its original statement. With the bass descending to a low C♯ at measure 10,accompanied by the contrary rise to the neighbor tone B♭ in the treble, harmonic preparation ismade for the first clear arrival of the tonic center of A major at measure 12 (see Figure 5).Figure 4. Reduction of theme a(x) (measures 6-8).Figure 5. Reduction of theme a’ (measures 9-11).It should be noted that the predominance of E throughout the opening measures of theprelude affects a sense of E minor, or more accurately, E Phrygian as the primary key center.

17However the arrival of A major at measure 12 calls for the preceding measures to be understoodas functioning in the role of dominant (borrowed), rather than the tonic. Moreover, crossrelations obscuring the modality of the first eleven measures, infer that the tonic of A will arrivein minor, not in major as actually occurs. Thus, both modal variants of A have been identified askey centers in the formal reductions presented thus far.The primary motive for a new thematic statement enters at measure 12, with the distinctrising third in A major foreshadowing the “Wine” text to come at measure 55 (see Figure 6). Themelodic rise in measure 12 continues to high A, then arches downward in three successivedescending treble sighs, from high A to C♯ (measure 13), E to A (measures 14-15), and C to G♯(measures 15-16). The final resting G♯ functions as both the color tone of the augmented chordwhich cadences this second improvisatory interlude, as well as the common tone linking thereturn of a at measure 17. Because of its forward-looking reference to a more extended statementlater in the work, it shall be identified as theme d, corresponding to its later thematic placementin the anthem as a whole.The prelude closes with a final shortened return to a, voiced for the first time with aprominent G♯, the common tone from theme d, and again emphasizing again the dominantfunction of the “Sacrifice” theme (see Figure 7). Taken as a whole, the entire background line ofthe Prelude reveals a statement-departure-return, with the departure being to the tonic, and theprimary statement and its return in the dominant (see Figure 8).

Figure 6. Theme d, “Wine,” motivic construction (measures 12, 55).18

19Figure 7. Reduction of measures 17-20.Figure 8. Reduction of organ prelude (measures 1-20).Eliding on the conclusive E of the prelude, the opening choral statement reveals thetextual inspiration behind theme a. Finzi’s most notable compositional gift was his textualdelineation—his ability to remain true to the spoken, dramatic rhythm of a given verse, whilecreating a musical setting for it which was still naturally lyrical. He loved words, and he felt astrong sense of obligation to be true to the poet, and true to the beauty of the original sound,flow, rhythm, and meaning a text. Meter, register, melodic gesture, stress placement, dynamicsand tempo were all among his tools in bringing text to musical life. In a 1959 tribute, AlanWalker praised:The music of bad song-writers sets words; the music of good song-writers is setby words. It is one of the hallmarks of Finzi's excellence that his vocal musicnever shows the slightest evidence of strain between the separate and to someextent opposed demands of music and poetry. Finzi had a great love for, and asuperb understanding of, the human voice. He also possessed an ear that wasperfectly attuned to the subtleties of the English language. Finzi allows the poetryto mould his musical thought; he never imposes himself upon the words but ratherallows himself to be imposed upon by them. The poet dictates to him; never theother way about. It is this receptiveness to the changing nuances of poetry thatmakes Finzi, in my opinion, one of the finest English song-writers of this or anyother age. His mastery of the mechanics of word-setting can be demonstrated by

20any one of a score of works, and I think it is here that we must form our judgmentof Finzi's worth. More than any other composer that I can think of, he identifieshimself so closely with the text that at times he never makes a musical move thathas not been sanctioned by the poet. 44It is even more remarkable that Finzi achieved such poetic musicality in his vocal works throughthe use of strictly syllabic text settings. Ferguson identified only one instance of melisma—theoft favored tool of composers in achieving vocal expressivity—in all of Finzi’s compositions. 45A wide range of note durations and frequent change of meter characterize a Finzichoral/vocal score. In the opening choral text the words “Lo,” “full,” and “Sac-rifice” areemphasized through stresses of length (agogic). “Sacrifice” and “figures” are also emphasizedthrough rises of pitch in the otherwise flat, chant-like melody. Placement on strong beats withinthe measures also draws out the alliterative “f”s in “full,” “final,” “Sacrifice,” “figures,” and“fix’t.”A change of meter to 7/8 at measure 24 appears visually jarring in the score, but createsno aural distraction, serving to effectively accelerate the text delivery 46 and enunciate the naturalstresses of, “Ran-somed,” “I-sacc,” “ram,” “Man-na,” and finally, “Pas-chal Lamb” uponreturning to 4/4. Regarding his priority in the maintenance of proper word stresses Finzi noted,Most of us have learnt the difference between quantity [meter] and accent, andhow in reading poetry, and also setting it, the natural rhythm and stress of wordsmust be preserved at the expense of metrical accents. 47Furthermore, he viewed his freedom in working with meters a natural outgrowth of a historicallyincreasing rhythmic flexibility among composers:44 Walker, “Gerald Finzi (1901-1956).”45 He references the twelve-note descent on the final word “weep” in Come away, Death (see Dressler, 6). Howeverhe overlooks the beautiful “Amen” melisma concluding Lo, the Full Final Sacrifice that he himself helped complete.There must be then, at least two such instances of melisma in Finzi’s oeuvre.46 Robinson, “A Critical Study,” 430.47 Finzi, I.

21Stanford, being of his generation, found absolute accuracy of declamationimpossible to carry out in measured song—the barline saw to that. Today, asindeed centuries before, this worries us less, and if we really want such accuracywe can have it . . . . in the later choral works of Vaughan Williams, groups ofnotes are bracketed together over or within the bar-lines, to show that they aresubservient to the word accents. Walton does just this sort of thing, with accentsinstead of brackets in Belshazzar’s Feast. 48While continuous metrical variation and syllabic text setting might result in a wearisome overdeclamatoryidiom from another composer, Finzi’s writing approaches no such boundary, erringif at all, towards a lyrical, connected voice, even in his music’s most angular moments.The interesting melodic line spanning measures 24 (with pickup) to 26, is an outgrowthof the rise and fall of the 5 th in theme a. It is also a palindrome, outlining the small arch of E-B-F in the antecedent phrase, and the reverse arch F-B-E in the consequent phrase (see Figure 9).These short melodic rises are not only compressed versions of the “Sacrifice” theme in agestural sense, but also in their structural background. A reduction of this period, together withthe returning theme elided in measures 26-30, reveals an extended version of a (compare Figures2 and 10).Figure 9. E-B-F / F-B-E palindrome (measures 24-26).48 Finzi, III.

22Figure 10. Reduction of “The ransomed Isaac” (measures 24-32).The restatement of the opening text at measure 26 is used as a formal framing device inthis opening section, and again as a large-scale framing device by its appearance at the close ofthe anthem. In these openings lines then, the listener is presented with a large-scale anacrusis tothe entire anthem. As Finzi specifically selected from among the closing lines of Lauda Sion toopen (no less title) the work, he is instructing us from the first subdued organ tones of theprelude to fix our eyes on the end of the drama, both figuratively and literally—“Lo!” there is thefinal sacrifice towards which all have looked forward. No less similar to Bach’s stirringcommand “See him!” in the opening chorus of the St. Matthew Passion, the drama of which thenplays out through its numerous successive movements, Finzi sets our minds towards theconclusion of the anthem as a giant arch which will bring us back to (and from) the “Lamb slainfrom the foundation of the world.” 49The organ interlude of measures 31-35 functions as both an extension of a (as in theprelude, measures 6-8), and a transition into the next structural division of the work. Theaffirming of A major as the key center at measure 32 releases the listener from the broodingdominant E which has sounded almost without break from the onset of the work. This arrivalhowever is almost immediately obscured by the sinewy gestures of contrary motion and crossrelations which follow, with a mode return to A minor sounding clearly at measure 35. The49 Rev. 13:8

23unique contour of these lines, a mix of linear and angular motion, is reminiscent of the Crossimagery identified in the corresponding measures of the prelude (see Figure 3). Banfield suggestshis own metaphor for the interlude, that of portraying activity in the chancel. 50 Among the otherpurposes these measures satisfy is introducing the dramatic melodic gesture of the downwardleap of a fifth, answered by an upward octave at measure 33, an echo of prelude measure 6, andin anticipation of similarly wide leaps on “Jesu, Master” following in measures 39-40 (see Figure11). Finally, the winding contrapuntal lines redirect the anthem into fresh harmonic ground,closing with the familiar rising major third as the harmonic link between A and F major inmeasures 38-39. In this cadential figure we find another Finzi signature—his use of mediantrelationships and/or common tones for key transitions (see Figure 12).A reduction of the interlude shows the familiar stepwise movement away from andreturning to the key center (see Figure 13). Consistent with the reductions, a structural outline ofSection A in its entirety indicates one primary thematic element (see Table 1). Together with thelong-sustained E harmony, and the use of dramatic text repetition, this section is thereby unlikeany other structural division to follow. In particular, the remaining large sections of the anthemare typically characterized by the use of successive multiple themes and numerous keytransitions.50 Banfield, 328.

Figure 11. “Jesu Master” imploring leaps (measures 33, 39-40).24

25Figure 12. Rising major third key transition (measures 38-39).Figure 13. Reduction of theme a(x), organ interlude (measures 32-38).

26Table 1Section A – Thematic StructureTheme Function Measures Texta / a(x) / a’ / daa(x)IntroductoryThemeExtension/Conclusion1-2020-3232-39Organ preludeLo, the full, final, SacrificeOrgan interludeSection BThe pastoral F major entrance of “Jesu Master” marks the beginning of the secondstructural division of the anthem, comprising measures 39-67. In Finzi’s selection of the finalthree stanzas of Lauda Sion to open the work, the listener is first introduced in Section A to theSacrifice of the New Testament, juxtaposed with the sacrifices of the Old. Within Section B,those images are bridged to “this day’s” subject, the Eucharist, with the bringing forth of thesacramental wine.The first brief statement of Section B, comprising measures 39-43, serves as a simple buteffective opening to the musical and poetic themes to follow. The abbreviated length of thistheme b, its lack of extension or development and—most importantly to an examination ofform—the resulting sense of it being introductory in nature, stems from Finzi’s electing to omitthe rhyming couplet which follows in the original Crashaw text. Stanza 13 of Lauda Sion readsin its entirety: “Jesu Master, Just & true! / Our Food, & faithfull SHEPHARD too! / O by thy selfevouchsafe to keep, / As with thy selfe thou feed’st thy SHEEP.”The initial soprano leaps downward and corresponding tenor answer on “Jesu Master” ishighly effective in portraying a sense of spiritual reaching or prayerful imploring. “Just and true”is set to the same two voices in united octaves, the clarity of line underscoring the meaning of thetext. “Our Food, and faithful shepherd too” continues the subtle message of personal stretching

27with the downward leap of a minor seventh followed by an upward minor sixth on “Our Food.”A slowing of text delivery, and a poetic sense of longing, takes place with the meter change to3/2 and a poco ritardando at measure 42, the moment of period closure and key shift. 51 In theseopening measures, gentle, undulating eighth-note runs in the organ manuals, together with asubtle scale descent in the pedal, introduce the figures for what will be an accompanimentalostinato in the sections to follow, and most importantly, providing continuity for what mayotherwise be perceived as four disparate musical statements in Section B. This introductorymaterial closes with the familiar rising melodic third bridging measures 42 and 43 and,employing a literal melodic repetition of measures 38-39, creates another mediant shiftdownward, in this instance to D major. The underling cadential formula is plagal, G minor inmeasure 42 being the subdominant (modally inflected) of D major (see Figure 14).The bass ostinato now distinct, a little “Holstian” march ensues, perhaps a procession tothe altar, 52building in energy in measures 43-51. The organ opens the march with twoconsecutive octave-leaps downward from A, a direct reference to the “Jesu Master” themepreviously concluded. The tenor, in a distinct ‘men’s chorus’-styled entrance, answers the organfrom the same A, incorporating the outline of the organ leaps, as well as the rising major thirdgesture into one new unified turn on the text “O let that love” (see Figure 15).In this theme c, overlapping entrances between soprano/alto and tenor/bass voicesreiterate the textual statements, “O let that love, “Lift our lean souls,” and the well-paintedleaping gesture, “and set us up,” building to the first climax of the work, all voices exclaimingsimultaneously, “Convictors of thine own full cup.” Heightening the importance of the moment,51 This text slowing is an interesting opposite to the text quickening at measures 24-25 previously discussed.52 Banfield, 328.

Figure 14. Rising major third transition with plagal formula (measures 42-43).28

29Figure 15. “O Let that love” motivic construction (measures 43-44).Finzi stretches the anacrusis of the climax with a change at measure 49 to 5/4 meter, prolongingthe rhythmic value of the word “up” and by the two, increasing the moment of anticipation andopportunity for crescendo. He also infuses the harmonically straightforward D major march withthe dramatic borrowed submediant (♭VI), now additionally colored by the strong sopranoappoggiatura E to D on the words “thine own.” The resolution away from ♭VI first proceeds tothe dominant on the word “full,” colored briefly by another strong nonharmonic neighbor, G♯, inthe organ. The G♯ is then re-articulated on the word “cup,” becoming the root of the leadingtoneharmony. Yet this diminished chord is also colored most strongly by placement of the

30dissonant and prominent A in the upper tenor and organ manual. In hindsight a perceptivelistener might ascertain its function as anticipation to the ensuing key shift. However in contextof the musical build-up, as well as the sequence of highly pronounced nonharmonic tones itbelongs to, it is simply the perfect musical metaphor to play upon the bitterness of that “fullcup.” 53 As Finzi has thus heightened our tension as “Convictors of [His] cup,” he then releases usinto a clear and placid A major as “Coheirs of Saints,” each vocal echo independently enteringand fading as if beckoning heavenly voices are as still as yet veiled and just out of reach. Theaccompanimental eighth-note march slowing to a close, a final reminder of “Jesu Master” isvoiced in the organ in response to the choral retreats (see Figure 16).The rhythmic augmentation of the pedal ostinato to quarter notes, and reduced tempo,poco meno mosso at measure 55, set a hushed atmosphere for the introduction of the Eucharistwine, Crashaw’s fitting parallel in the present for Christ’s “full cup” in the Passion. In this thethird division of Section B, the triadic “Wine” theme (‘d’), as initially and briefly sounded in theprelude is now fully stated, first in the alto voice in the previously established A major (seeFigure 6). The modal ambiguity and contrary motion to the choral line as introduced by the G♮and F♮ pedals contribute to the mystery of the sacramental presentation. The bass voice,answering the alto, completes the two-statement sequence by repeating the theme in the higherrelative key of C♯ minor.In this the fourth and final division of Section B, a lifting of modality (and mood) by theshift to the enharmonic D♭ major at measure 61, accompanied by a fresh underlying rhythmicemphasis on triplets, paint a return to pastoral images in theme e. The alto melody, an outgrowth53 Finzi uses this exact convention to obscure the harmony on the word “veil” in measure 165—see the examinationof Section A’.

Figure 16. “Jesu Master” organ echo (measures 52-54).31

32of the “Wine” theme, paints a triadic outline with emphasis given to two intervals of a thirdwithin the span of a fifth (see Figure 17).Figure 17. Relationships of themes d and e, “Wine” and “Pasture,” (measures 55-57, 61-63).

33Crashaw’s images of “Food” and “Shepherd” (measure 42) return in the form of the“Pasture,” as a final slowing of tempo and subsiding of pedal motion bring the underlyingstructural connection of measures 39-67 to completion. In these closing lines of Lauda Sion,petitioners seek not for a change in spiritual nourishment, only of “Place,” that they may feedwithin a more close communion of the Lord—“in thine own Face.” Such a longing for personal,even physical closeness with deity will also be repeated in the closing lines of the anthem, “Andfor thy veil give me thy Face” (measures 164-165). In the same manner that “Coheirs of Saints”closed theme c, another Finzian fading-away occurs in measures 65-67 as the organ again echoesa prior text, “To feed of thee,” and the choir falls silent. A fermata and lift of the final organtones mark a clear and distinct end to Section B (see Figure 18).Figure 18. ”To feed of Thee” organ echo (measures 64-67).

34The colorful and prominent usage of nonharmonic pitches identified in measures 50-51,together with an interesting succession of key shifts woven throughout Section B, present anopportunity to examine another important aspect of Finzi’s compositional method, his basis forharmonic construction. As seen in these examples, Finzi’s language consists of a unique mix oflate 19 th and early 20 th century idioms, mixed modality, and traditional triadic structures withadded seconds, sevenths, ninths and so forth. For the sake of clarity, the nonharmonic tonespreviously discussed have been identified using their traditional nomenclature, however thestatements of those who worked closely with Finzi provide the revealing insight that hisharmonic constructions, large and small, resulted not from planned vertical formalities, but fromlinear inevitabilities. Ferguson observed:His original ideas with vocal music always started with a melodic line followingthe words. He worked so much from a melodic standpoint that he never realizedthe harmonic implications. They were absolutely secondary to him. He had nohesitation of starting a very short song in one key and ending it in another. Theharmony didn’t occur to him in connection to the structure. 54Recollecting the unique experience of being Finzi’s private pupil (perhaps his only one),Tony Scott indicated that while “bogged down in composing harmonic progressions,” Finziprovided a clever pedagogical solution to “introduce a linear character to the music”:He gave me a series of the two-part Bach inventions for clavier and set me anexercise which consisted of adding a third part to each invention. I liked doingthese exercises, and I found that the effect was startling; I began to think in linesand threaded them though the harmonic progressions which appealed to me. Thiswas a very different approach indeed to the arid exercises in sterile 'paper work',so called harmony and counterpoint. My efforts with the 3-part inventions wouldbe rewarded with a visit to the fruit cage, where we would gorge on black andwhite currants, gooseberries or raspberries, whichever was ripe. 5554 Crutchfield, 165.55 Scott, “Gerald Finzi as a Tutor.”

35Harmony then, falls among every other aspect of Finzi’s work that attests to his lyrical muse andlinear mode of operations. As words were the poetic impulse for an intuitive Finzi melody, soalso was a Finzi melody the poetic gesture from which his harmonies naturally sprang.If Finzi is to be criticized at all on his methodologies, it must simply be that, if we are totake his colleagues at their word, he may not have always set out from the beginning with theend squarely in mind. In Lo, the Full Final Sacrifice, the voices flow most lyrically and naturallyupon a thematic statement or within a short musical section, but the work as a whole isunashamedly stanzaic in matching the Crashaw texts, and heard as a collection of beautiful butshort antecedent and consequent pairs connected by smooth harmonic and melodic transitions (inshort, a song of songs). Ferguson described Finzi’s nine-stanza setting of Wadsworth’s,Intimations of Immortality as similar in construction:I think he was a very great song writer. I think much more that than a choralwriter—it was much more natural to him. Partly because that is his typical lengthof music . . . . All the sections [of Intimations] are very moving, but I get thefeeling that it tends to go up and down (into a shorter climax and then downagain, and another short climax and then down again). I think that’s why he wrotevery few full scale instrumental works because he didn’t think of a large scale.But he was a very natural songwriter. 56Structural divisiveness aside, the completed analysis of Lo, the Full Final Sacrifice willreveal a clear palindrome-arch, indicating that Finzi did indeed consider the larger form in thecomposition or at least arrangement of the anthem’s stanazs (this evidenced most distinctly bythe opening and concluding usage of the “Sacrifice” theme). Thought it is uncertain to whatextent Finzi’s underlying harmonic movement was conscious or intuitive, Shenkerian-typereductions are helpful in this regard as in so mapping the work, 1) thematic statements aresimplified and underlying structural similarities revealed, 2) the connecting melodic and56 Crutchfield, 169.

36harmonic background line, with or without a conscious Finzi goal, becomes coherent, and theconnections between larger musical structures clarified, and 3) in the definition of those largerstructures (sections), the hierarchy of large and small divisions comes more clearly into view,and hence the entire work with them.A reduction of Section B shows a different form of background line than those of SectionA or its subdivisions. No longer pivoting by semi-tone around a harmonic center, theprolongation of the A-line descends somewhat chromatically to G♭ (see Figure 19). Thethematic summary of Section B outlines the clear division of each of its four distinct melodicelements and their functional roles within the section (see Table 2).Figure 19. Reduction of Section B (measures 39-67).Table 2Section B – Thematic StructureTheme Function Measures TextbcdeIntroductoryThematic (March)Thematic (Slowing)Extension/Conclusion39-4343-5555-6161-67(PAUSE)Jesu Master, just and trueO let that loveThat so all may DrinkNor change the Pasture

37Section CAn immediate resetting of the key center to B♭ minor takes place at measure 68,following the dramatic vocal pause closing Section B, and signaling the beginning of the nextmajor structural division of the anthem. Here as before, Finzi builds a small but climactic archfrom more contemplative to more dramatic text, and back again. In Section C, Finzi introducesthe second of the Crashaw poems, Adoro Te, commencing with its sixth stanza. As the subject ofthe sacramental wine has been previously presented, the sacramental bread now follows.In a series of overlapping and sequential entrances, each voice carries the text “O dearMemorial of that Death / Which lives still, and allows us breath!” The opening soprano intervalof this theme f is related to previous anthem motives by the prominence of the major third. Inaddition it is directly related to the preceding theme (e) by the common foundational pitches, D♭,F, and A♭, and by contour, each line descending into a stressed tied pitch at the bar line (seeFigure 20). Finzi carefully places the word stresses to emphasize “Me-mo-rial,” “lives,” and“still,” reminding the listener that while the bread is symbol of the past, in its partaking liesFigure 20. Descending contours of “To feed of Thee,” and “Which lives still”(measures 63, 68-69).

38spiritual renewal today (“allows us breath”). Each successive voice entry adds its ownpersonalized request for blessing, varying the opening interval of “O dear.” Tenors skip by minorsixth to a high A♭, altos by octave, and basses by minor seventh before building together to asectional climax. The appeal of this theme’s intense lyricism and strong emotional effect whencoupled with the texts, certainly begs consideration whether this melodic line was one of thosethat came intuitively to Finzi, the text having “chosen him,” as he was fond of saying.Underneath these choral statements, the organ provides a flowing eighth-noteaccompaniment that, by its free and non-repetitive nature, gives the impression of being spun-outin Finzi’s compositional process. In measures 69-70, a series of suspensions and contrarymovement remind of the Cross imagery in measure 7 (see Figure 3). This same motive willreturn in measures 128-129 as a “weeping” gesture to portray the sacrifice of the “self-woundingPelican” (see Figure 21).Moving to a climax the choral voices declare in united homophony, “Rich Royal Food,”reaching the peak of their gesture at “Bountiful Bread”—sopranos, tenors, and basses in theirhighest registers—before a quick dynamic descent closes this small sectional arch. The harmonicmovement within this theme transitions freely between the closely related keys of B♭ minor, Fminor and A♭ major, before concluding upon the common-tone and mediant-related F major atmeasure 79. The rising major third melodic figure in the organ, together with the oppositelydirectedkey shift downward of a third on the final note of the phrase, and the plagal cadentialmovement underscoring “denies us to the dead,” is a return of the distinct Finzi formulapreviously observed (see Figures 14 and 22).The final dissipation of musical energy in Section C is played out through the briefclosing soprano solo, “Live ever Bread of loves” (theme g). Speaking for the first time in

Figure 21. “Weeping” organ gesture (measures 69-70, 128-129).39

40Figure 22. “Denies us to the dead” rising major third transition (measures 78-79).the first person singular, the couplet is a personal petition, both pastoral in its key connection to“Jesu Master” (measure 39), and chant-like in its gesture and relationship with the theme tofollow. Here F serves as the recitation tone, around which the other tones of the chant are drawn.The intervallic skip and return of a third on “Bread of loves,” is a familiar melodic gesture,recalling the feeding of the pasture its closest prior occurrence (see Figures 1, 18 and 23).As Finzi omitted two Crashaw lines following the pastoral “Our Food, and faithfulShepherd too,” making the couplet an effective musical introduction to Section B, in similarmanner he omitted the two Crashaw lines preceding the text of theme g (see Appendix), creatingFigure 23. “Bread of Loves” motivic construction (measures 63, 80-81).

41another shortened verse and fitting formal structure to conclude Section C. This abbreviatedchant theme is extended by a short organ interlude, transitioning to the mediant D major by useof the identical plagal formula found in measures 42-43, and moving easily to its relative, Bminor, at measure 87. In this transition Finzi provides both a final “winding down,” through theslowing of tempo and harmonic motion, as well as a bridging of references to the theme justcompleted (see Figure 24), as well as that to come (see Figure 25).Figure 24. “Bread of Loves” organ echo (measures 84-85).Figure 25. “Help Lord, my Faith” incipit (measures 88-90).

42A reduction of Section C shows that the background line of this small climactic arch,despite its numerous harmonic transitions remains fixed around F, moving only to F♯, then B,preparatory to the entrance of Section D (see Figure 26 and Table 3).Figure 26. Reduction of Section C (measures 68-87).Table 3Section C – Thematic StructureTheme Function Measures Textfg(g / h)ThematicConclusionExtension/Transition68-7980-8484-89(PAUSE)O Dear MemorialLive Ever Bread of lovesOrgan interludeSection DThe closing of Section C is made sure with the held organ octave on B, creating adramatic pause, and simultaneously providing the cue note for the ensuing choral entrance whichmarks the beginning of Section D. In setting the Crashaw verses for Sections C and D, Finzielected to exchange the order of the Adoro Te stanzas, one benefit being an improved textualconnection bridging the closing of the sixth stanza, “Live ever Bread of loves,” with the openingof the fifth, “Help, Lord my Faith” (see Appendix). Continuing the psalm tone style at measure90, this second petition is made, hushed, and in the more earnest B minor, now from all voices in

43unison/octaves. The preceding organ pause, subdued choral dynamic and—quite unlike anyprevious thematic statement—the straightforward simplicity of all voices combining in a single,quasi-free-flowing chant line, instill an air of religious mystery and anticipation, a sense ofimportance for this moment dramatically and structurally within the anthem. Indeed, Section Das a whole functions as the point of pivot in the palindrome-arch, and the entrance of theme hwith its prayer, “Help Lord, my Faith,” its moment of introduction.After “faith,” “hope,” and “peace” are requested by the petitioning voices, the familiarrising melodic third (also voiced vertically in thirds) provides another instance of the “Finzian”transitional device as the opening phrase cadences on E major (see Figure 27).Figure 27. “In thy peace” rising major third transition (measures 93-94).

44Immediately shifting by mediant and common tone to G major, a simple but beautifulharmonic blossoming occurs on “Give love for life” at measure 95. As the ensuing text requestsgrowth in “powers” and “praise” to the name of the Lord, so also the music paints a growingintensity through agogic stresses, gesture (rising on “let my days Grow”), crescendo, tempo(poco ravvivando), heightening of vocal register, and a contraction of meter to 3/4. The strongharmonic content of the chord on “name and” in measure 99, is not unlike that on “cup” inmeasure 51, with an emphasized tritone and semitone strengthening the need for cadentialresolution. In addition to the uninterrupted text connection in grammatical person between thepetitions of Section C and D, an additional benefit Finzi gained in reversing the stanzas of AdoroTe is that the climatic build to the word “praise” at measure 100, can be more successfullyfollowed by the triumphant invitation “Rise, Royal Sion!” from Lauda Sion (stanza 1).This second march or procession within the anthem (theme i) is a call to praise. Jubilantfrom its opening elision at measure 100, the organ responds with a rising eight-note figure in thepedals, embellished by triplet sixteenth runs in the manuals, a fitting accompaniment to thestaggered choral invitations, “Rise, Royal Sion!” commencing at measure 102. A leap combininginterlocking octaves requires singers to heed the text literally, “Stretch all thy powers.” As Finziseemed to let his melodies dictate his harmonies, the semitone embedded in this vocal gestureinvites the colorful Neapolitan harmony to support the sequential voice entrances, quicklyshifting the key center away from G, through B and E major, and finally, A minor (see Figure28).A distinct falling gesture sets the text “call if you can” in all voices in measure 108, butwith particular attention drawn to the soprano descent from high A, a vivid vocal imagerymatching the request for “Harps of Heaven” to be brought down “to hands of man.” Crashaw

45Figure 28. “Stretch all thy powers” interlocking octaves (measures 106-107).further emphasizes the great disparity between human devotions when compared with the divinelove, reminding that this sacrament and what it symbolizes, “sits above the best ambition of thy[Sion’s] love.” In this the climax of the anthem, Finzi begins the phrase “This sovereign subject”upon a dramatic upward leap of a minor ninth—the largest leap within the work—for bass, tenorand soprano voices in their upper registers. Such a significant gesture, set to the first instance ofan accented, clear declamatory style in measure 112, leaves no room for doubt in the listener’s(or singer’s) mind that this subject does indeed sit not simply “above,” but perhaps high abovethe best mortality attempts to offer in return (see Figure 29).

46Figure 29. “This sovereign subject” (measure 112).In his survey of “Twenty English Song-Composers,” Trevor Hold offers the followingobservation on role of gesture in Finzi’s music:The expressiveness of his vocal lines is usually achieved by contour rather thanchromaticism, in a mixture of conjunct movement and large expressive leaps. 57Both types of note movement have now been observed in this study, the linear-lyrical, and thedisjunct-declamatory. 5857 Hold, Parry to Finzi, 397.58 In the Crees Lectures, Finzi discussed the importance of balance between gesture and pitch, line and lyric:“Hitler, Mussolini, and even Lloyd George could rouse an audience to a frenzy with pauses, gestures and theatricaleffects, but a complete lack of sense of logic, in a way which no unfortunate lecturer, through talking sound sense,could ever do. Thus it is only at the extremes that it is impossible to reconcile manner and matter, and it is nocondemnation of virtuosity to say that in any age where the cadenza becomes more important than the song, thecomposer for whom words have any significance finds himself in a vacuum. To turn to the opposite extreme. Most

47Arriving at the word “love” at measure 114, the choir decisively cadences the “Rise”theme in D major while the organ provides three of its own final echoes of the “sovereignsubject” motive, its own harmonic resolution delayed until the second beat of measure 115 (seeFigure 30). The dramatic build-up to the organ’s harmonic arrival in D major is short-livedhowever, as the inclusion of C♮ in its scale flourish into measure 116 clarifies the key area as atemporary tonicization only, the entire cadential gesture simply functioning as the dominant of Gmajor. The reduction of themes h (“Help, Lord”) and i (“Rise, Royal Sion”) indicates a subtledownward shift in the background line from B to A, the precursor to the return of G in measure116 (see Figure 31).With a return to the initial key of “Rise, Royal Sion,” the new celebratory text, “Lo, theBread of Life” (theme j) is set with open voicing and fanfare-like declamatory rhythms. Thismoment is literally pivotal, the climax of the work having been previously reached at “Thissovereign subject,” it is from this point on that the anthem arch begins the return back on itself.While themes i and j are not palindromic in a strict thematic sense, they are in so larger aestheticand structural context. Each one celebratory, each a distinct statement of praise, each a parallelof one another, “Rise, Royal Sion” marks the conclusion of the arch-rise, while “Lo, the Bread ofLife” marks the commencement of its descent.As “This sovereign subject” included a strong, two-measure cadential fanfare on theword “love,” so also “This day’s triumphant text” provokes a parallel two-measure organexclamation on the word “praise” at measures 119-120, another indication that the work hasbegun its reverse recapitulation. As examined previously, Finzi’s use of changing meter andmusic students are expected in their paperwork to give the correct note values to a few lines of verse. This is no badexercise, but there is no greater fallacy than to imagine that a detailed note-for-note accentuation, following the riseand fall of natural speech, can in itself make good song. Even ordinary recitative can be alive or dead, and so toowith syllabic song. Here the composer may be full of respect for the poet, but nothing will redeem his setting if ithas not got something beyond that.” Finzi, III.

48Figure 30. “This sovereign subject” organ echo (measures 114-115).Figure 31. Reduction of themes h and i, “Help Lord,” and “Rise, Royal Sion”(measures 90-114).

49agogic stresses to achieve a fitting text accentuation is strikingly apparent than in his setting ofthe lines of Crashaw’s, “Lo, the Bread of Life” stanza. Such statements as “This day’sTriumphant Text,” and “To the great twelve distributed,” highlight Finzi’s ability to find theaural and notational gesture most fitting the spirit and rhythm of a text, while (contrary to itsawkward appearance in the score) maintaining a most effective and natural musicality.As Section D draws to a close, its own dynamic arch rapidly descending at measure 123,the music takes an unanticipated turn. Here Finzi sets one last gasp, a short and final rise on“When Life, himself, at point to,” reaching a musical peak at Crashaw’s poetically moving “dieof love.” The soprano D♯ against the organ pedal E, heightened by emotive downward andupward leaps of resolution, 59 paint a bittersweet glow around the image of the Last Supper.Theme j having transitioned through the common tone relationships of G major, E major, and G♯minor (in a dominant capacity), comes finally to harmonic rest in C♯ major on the word“Legacy” (measure 125). Plagally-prepared and mode-shifted on the last note of the section, thiscadential formula, together with final organ intimations of “this sovereign subject,” follows thefavored Finzian figure (see Figures 22 and 32).A reduction of theme j indicates a subtle upward shift in the background line from G toG♯, balancing in small degree the earlier descent of themes h and i (see Figures 31 and 33). Tosummarize the thematic structure of Section D, following the psalm tone introduction, the twonew celebratory march themes delineate the anthem midpoint, providing both its climax and thebeginning of its long recapitulation (see Table 4).59 Double appoggiatura with octave transfer.

50Figure 32. “This sovereign subject” organ echo (measures 125-126).Figure 33. Reduction of theme j, “Lo the Bread of Life” (measures 116-126).

51Table 4Section D – Thematic StructureTheme Function Measures TexthijIntroductory (Petition)Thematic (March)Continuation/Return90-100100-115116-126(PAUSE)Help Lord, my FaithRise, Royal SionLo the Bread of LifeHaving examined the anthem to the current point of arch-recapitulation, it is helpful tonow present a wide-view reduction of the background line commencing from measure 1 (seeFigure 34). What is striking about this particular analysis is that, regardless of how much (orlittle) structural pre-planning he undertook in the composition of Lo, the Full Final Sacrifice,Finzi certainly had a sense of structural breathing from at least a mid-range point of view. Afterthe extended opening focusing on E, the background line makes a long descent from A, andarriving at its lowest point on F, rises a semitone in harmonic and melodic release. The samemotion is observed at the resetting of the background to B at measure 87, and after a shorterdescent, also provides a release in ascending by semitone at measure 119. While these ‘note’movements represent large-scale gestures spanning multiple measures, the underlying aestheticis that of providing a final dissipation or release of musical energy at the close of a sectionthrough some unique harmonic shift. And it is this exact technique that we have repeatedlyFigure 34. Reduction of Section A through D (measures 1-126).

52observed as used by Finzi on the small scale in his cadential formulas, shifting by common tone,mediant, and/or mode on the conclusive chord of thematic statements! What is consciouslyrecognized or simply subconsciously sensed by a composer in regards to creating wide-viewstructural gestures certainly varies by individual. While this subject as specifically relating toFinzi has not been explored anywhere in detail, Walker provides the following in regards to his“constructions”:Nowadays it is fashionable to separate composers into those who compose fromthe head and those who compose from the heart. The truth is that all music mustbe organised if it is to be coherent. Whether such organisation involves'intellectual' labour or whether it occurs quite spontaneously, i.e., comes from 'theheart', is a purely secondary consideration. The thematic relationships set upwithin a work are neither good nor bad simply because they occurred consciouslyor unconsciously. Finzi is not the sort of composer whom friends and criticsgenerally regard as having 'constructed' his music. In my submission both partieshave a totally wrong evaluation of the word 'construction' which they incorrectlyequate with 'consciousness'. Finzi had the sort of mind that could achieveremarkable results in musical craftsmanship when prompted by words thatcaptured his imagination.” 60It remains therefore, an interesting speculation only, as to the underlying relationships of similarmacro- and micro-gestural elements in this work.Section C’Section C’ is marked by the return of theme f in its original key of B♭ minor(transitioning by common organ tone in measure 126), as well as the return of the Adoro Te text,the last stanza of which is used for all remaining anthem sections. The extended tenor and basssolos comprising the entirety of C’ (measures 127-141) paint a lyrical and poignant image of the“soft self-wounding Pelican” which, according to mythology, would strike its breast in times of60 Walker, 9-10.

53famine, feeding its young with its own blood. 61Like the image of the Paschal lamb, theconnection to the self-sacrificing Christ is well known in Christian symbolic tradition. The use ofa common theme for the “Pelican” and “O Dear Memorial” texts is highly fitting, as bothelements of the Eucharist, bread and wine, have now been musically and symbolically bridged. Itshould also be observed that as Finzi, through stanza selection, set the order for the initialintroductions of the wine (measure 51) and bread (measure 77), so also he reverses theirreappearance in the descent of the palindrome-arch, with the bread (measure 116) followed by anallusion to the wine (measure 161).The distinct surprise at hearing the word “Pelican” sung in any work (regardless of itssymbolic connection) is made even more articulate by the straight-forward sixteenth note rhythmto which Finzi sets it. Clearly in his mind, this is an image that needs not to be missed orobscured by an unaccented placement or overly-speedy text delivery. While this rhythmic motiveis as distinct as its text (strong-weak-weak in quick succession), it is however not new to theanthem, its most recent presentation occurring just three measures previous on the word“Legacy.” Related rhythmic motives, sometimes prolonged with a dotted rhythm or shortened bythe dropping of an unaccented beat, appear on the words “distributed” (measure 122), “living”(measure 121), “Mortality” (measures 45-49), “Manna” (measure 25), and “Sacrifice” (measure21). Similar figures in sections yet to follow include: “come away” (measures 146-151), and“eyes shall see” (measure 160) (see Figure 35).Finzi’s portrayal of “weeping” (see Figure 21), “bleeding,” and “gasp[ing],” in thissection are well painted by appoggiaturas or appoggiatura-like figures, a leap or skip (typically61 Saunders, “The Symbolism of the Pelican.”

54Figure 35. Rhythmic relations to the “Pelican” motive.ascending), followed by a step (typically descending) in the opposite direction. As theinterwoven solo parts continue to unfold and develop in overlapping entrances and responses, thesoprano and alto sections vary the register and texture with subdued background leaps on “Thatblood.” These entrances not only prompt the tenor to respond in kind with his own octave leap(measure 136), but prepare the ear for similar leaps to come on “Come love! Come Lord!” inSection B’.The closing Crashaw lines of this duet describe the power of the blood of the Pelican-Christ to cleanse from sin. In the original Aquinas text from which Crashaw created his poeticparaphrase, it is the combined sin of the entire world that a drop of blood cleanses. Crashaw, byturning the phrase, makes a powerful personalization as the penitent seeks not reconciliation for

55global humanity en masse, but more honestly and with much more intensity, “to wash my worldsof sins from me” (italics added). Finzi’s indications for two soloists (“or a few voices”) topresent this moving petition is therefore highly appropriate.The harmonic movement of Section C’ is quite transitory, progressing from B♭ minorthrough the key areas of A♭, D♭, and C♯ major, F♯ minor, and D major in the span of thirteenmeasures. As the section draws to a close at measure 140, Finzi prepares what is anticipated tobe the familiar minor plagal gesture confirming D major, but instead, by one subtle shift of theorgan B♭ to B♮ creates a minor plagal cadence into B major, eliding with Section B’(see Figure36). Thematically, Section C’ is an abbreviated return of Section C, presenting only one if itsthemes. Interestingly however, theme f itself is not abbreviated, but a more developed andlyrically intricate version of itself, and is therefore identified here as f ’ (see Table 5).Figure 36. Reduction of Section C’ (measures 127-141).Table 5Section C’ – Thematic StructureTheme Function Measures Textf ’ Thematic 126-141 O Soft self-wounding Pelican

56Section B’The Crashaw text of Section B’ presents a loving appeal to the Lord for his awaited “longday” to come, while Finzi’s musical setting incorporates reaching gestures, an undulatingaccompaniment reminiscent of lapping ocean waves, subdued dynamics and extendeddiminuendos which together effectively portray, not an arrival, but rather a long fading awayuntil that which is most longed for is yet out of reach.Structurally, as Section C’ did not include full returns of all previously associated themes,so also Section B’ contains segments and inferences of Section B elements. The paralleling of B’and B however remains structurally and referentially intact.While at first glance the thematic materials comprising the majority of B’ appearunrelated to any previous sections of the anthem, a closer examination reveals not only motivicsimilarities, but direct restatements of Section B materials. The primary connecting elementbetween B’ and B is the scalar movement of the organ pedal, a direct reference to the originalmarch comprising theme d, and most particularly theme c in its quarter-note motion and limitedrise and fall (see Figure 6). Following the “Come love! Come Lord!” invitation from the sopranoand alto voices Finzi presents us with the rising soprano figure “and that long day” at measure144, and again at measure 148 by the tenors and basses. This ascending melodic third followedby the upward leap of a sixth, is also a thematic return, being first introduced with the text “O letthat love” in the original B march, and in the identical key at measure 43 (see Figure 37).The distantly beckoning rising third on “come away” has been previously examined in itsrhythmic relation to the “Pelican” motive. However this exact figure also maintains aninteresting independent identity outside of Lo, the Full Final Sacrifice, having previously

57Figure 37. “And that long day” motivic construction (measures 43 and 144).appeared in Finzi’s, Come Away Death, written in 1938, then later in his Welcome Sweet andSacred Feast, written in 1953. Undoubtedly his general readiness with this motive helped movealong the writing process of this section of the rushed commission (see Figure 38).As the final tenor and bass strains of “come away” fade to imperceptibility, the gentleorgan rippling makes its own final descent. Slowing in tempo and rhythm, the melody of the“Wine” theme briefly but clearly emerges from the interlude, marking the completion of SectionB’, and with a preparatory pause on its final chord, invites the listener as at first, to behold thefinal Sacrifice (see Table 6).The underlying background structure of B’ consists of a rising line from F♯ to A. Thisline is preparatory to the return of the fundamental underlying pitch B, which will follow inSection A’, and serve as the anacrusis for the conclusion of the anthem (see Figure 39).Section A’The conclusion of the anthem’s formal palindrome is a vision of paradise, the hope for apersonal audience with the Lord. Finzi’s a cappella and homophonic setting provides the musicalparallel to the scene, all other earthly things being stripped away. The a’ version of the

58Figure 38. “Come away” motive in Come Away Death; Lo, the Full Final Sacrifice;Welcome Sweet and Sacred Feast.Table 6Section B’ – Thematic StructureTheme Function Measures Textd’ / c’dThematic (Slow March)Slowing/Conclusion141-155156-158(PAUSE)Come loveInterlude (That So All May Drink)

59Figure 39. Reduction of Section B’ (measures 141-158).“Sacrifice” theme is used for the first time since its introduction in the organ prelude (measures9-10). Finzi begins the heavenly communion softly, carefully, and with agogic stresses andNeapolitan discords. A bit of emphasis is given to the words “dry soul,” and “eyes,” then, as ifthe believer is still hesitant to approach, the music takes a step back to A major on the word“see.” 62 The next step forward is then taken, again softly at first, but with more confidence as themusic begins its crescendo upon the text “And drink the unsealed source of thee.” Finally, thefull step into a heavenly embrace arrives as the closing climax is reached on the high and clear Dmajor triad, “When Glory’s sun,” followed by an immediate diminuendo, portraying the chasingaway of “faith” which is no longer necessary in the light of revelatory noonday. The hopefulprayer-vision continues with a request to exchange the Lord’s “veil” for his “Face.” 63 Fittingly, aharmonic obscuring occurs on the word “veil”—a compound harmony similar to thosepreviously noted on the words “name” (measure 99), and “cup” (measure 51)—the musicalresponse of which is a pure and clear open fifth on the word “Face.” The vision then begins tofade, the organ providing its interlude of the Cross figure one final time before the tenors andbasses, in their lowest registers, offer up as their final solemn observation with the framinganthem text “Lo, the full, final Sacrifice On which all figures fix’t their eyes.”62 “Lord, I believe; help thou mine unbelief.” Mark 9:24.63 “For now we see through a glass darkly; but then face to face: now I know in part; but then shall I know even asalso I am known.” 1 Cor. 13:12.

60The reduction of Section A’ shows the return of the expected chant-like pivot gestureunderlying the “Sacrifice” theme, first at the pitch level of A, and then at B in anticipation of thefinal structural resolution at the Coda (see Figure 40). The thematic structure of Section A’, asanticipated, corresponds with Section A in all details save order of theme appearance. Closingwith theme a, which initially opened the work, the thematic framing device is made effective andthe palindrome completed (see Table 7).Figure 40. Reduction of Section A’ (measures 158-174).Table 7Section A’ – Thematic StructureTheme Function Measures Texta’a(x)aThematicExtensionConclusion158-166166-167168-173When this dry soulInterludeLo, the full, final, SacrificeCodaNothing short of a beautiful, eight-part benedictory melisma on “Amen” completes theanthem and finalizes E major as the conclusive tonic of the large harmonic arch. Opening withthe soprano rising third reminiscent of the “Wine” theme, freely flowing melodic material isspun out, as if the materials and motives of the earthly experience have been set aside for a

61sublime heavenly and musical ascension. Yet in the final two measures of the work, Finzireminds of the Sacrifice which proffers this moment to us, the organ and three voices outliningthe semitone rise and fall of the initial thematic motive. Of this poignant conclusion, John Scottoffered the following:I well remember how I was haunted by this particular passage for days after I firstcame across the piece, when accompanying the BBC Singers for a broadcast someyears ago. If Finzi had composed nothing else, his reputation could surely rest onthese two pages alone. 64While not a structural element of the palindrome, the Coda represents the closing of thearch, finalizing the Sacrifice upon which all figures, including those musical, have “fix’t theireyes.” It also confirms, structurally, the prominence of E as a fundamental pitch as introduced atthe commencement of the work (See Figure 41). A representation of the entire thematicstructure of the anthem, clarifying both palindrome and arch may be viewed in Table 8.Like acting, delivering a speech, or reading aloud, understanding phrase structure,subordination, parenthetical statements and the like, greatly aid in communicating clearly, and tothe best effect of the drama. Successful delivery then, as in staging Shakespeare, enables anaudience to possess a greater understanding of (and hence appreciation for) the message, even ifmany of the smaller grammatical elements are new to their individual vocabularies. So also is thedelivery of the musical art. An able interpreter (conductor, artistic director) will, through hisunderstanding of the small elements in context of the underlying structural foundation of a work,be vastly more capable of bringing his audience to a place of common artistic communication,illuminating for them both the small and the large in their proper balance. In short, that is theconductor’s purpose in the analytical study of any composition.64 Dressler, 26.

Figure 41. Reduction of Lo, the Full Final Sacrifice.62

PERFORMANCE CONSIDERATIONSPrinciplesIn preparing a performance of Lo, the Full Final Sacrifice, two underlying principlesshould be considered. First, Finzi’s gift was in song, and his love was for words. As alreadyexplored here, he took great strains to be true to the meaning, spirit and dramatic rhythm of atext. Hold observed:The genius lies in his subtle handling of rhythm: the imaginative way in which hetranslates verbal rhythm into musical rhythm . . . . This rhythmic flexibility—some might say finickiness—enables him to set words with great delicacy,lending his songs the quality of intimate conversation. One has only to follow thepoet’s original text when listening to a Finzi setting to appreciate this. Suchrightness and beauty of scansion is a joy in itself and, in one respect, achieves themelo-poetic ideal. No wonder he has been called the ‘poet’s composer.’ ” 65The result of Finzi’s “finickiness” is a great naturalness in his line, the ebb and flow of vocalrhythms strengthening the poetic meaning (no less the intelligibility) of the verse. Words then,the successful delivery of both their diction and drama are of utmost importance.The second principle is trust. Finzi was not a composer who demanded that his musicshould be performed in exactly this way or that. In his early years (pre-World War II), hedespised notating dynamics and phrasing, stating “any musical person should know how itshould go.” 66 According to both his son Christopher and Howard Ferguson, he also allowed65 Hold, 398.66 However as he began his first conducting activities (the Newbury String Players), he learned that such indicationssaved a great deal of time for the performers. See McVeagh, 175.

65musicians who performed his works to take many liberties with them. 67 He was always open tomusical suggestion. Ferguson, with whom he met regularly, described this characteristic of Finzias being more a result of his self-doubt, than open-mindedness:He asked me my opinion an enormous amount. And in the early days when I toldyou he was incapable of putting dynamics in, I would put them in for him . . . . Heinvariably agreed with what one said. And right though his life, even when he gotbetter in that respect, he always asked someone’s opinion. I’d sit beside him andask him “is this a B-flat or an A,” and he’d ask what I thought. If I answered oneor the other, he’d say “all right.” He was extremely uncertain about practicalthings. 68David Willcocks provided this insight into a conductor’s relationship with Finzi:He was very trusting of other’s thoughts. He liked to have other people conducthis work. I found that he never interfered. His compositions were always set atjust the right speed, kind of like Vaughan Williams. Of course, Britten was muchmore dictatorial. It had to be exactly this way or exactly that way, whererasVaughan Williams and Finzi said that [tempo] depends on the building you areperforming in, how many people are taking part, etc. 69The source of his uncertainty set aside for the moment, it is nevertheless clear that the composervalued the recommendations and performance practices of his colleagues. Given thesestatements and sentiments, he has clearly entrusted us to approach this anthem with extra-scoreconsiderations that will lend themselves to a successful performance.PracticesSection AAs the organ prelude is comprised of three short statements of the “Sacrifice” theme andone reference to the “Wine” theme, tempo and breath should be used in such a way as todelineate these phrases. Finzi in fact, specifically included rests at the ends of measures 8, 11,67 Crutchfield, 107.68 Ibid., 167.69 Ibid., 160.

66and 16 to clarify structural punctuation. It is natural then to take a slight ritardando just prior tothese lifts or pauses. While there is also an eighth rest indicated at the end of measure 4, no suchtempo fluctuation should take place at this point as the resolution to E in measure 5, and elidedstatement which follows in measures 6-8, is an extension of this primary a material for which asense of continuation is necessary. In contrast, a slight lengthening of the final eighth rest inmeasure 11 will more clearly articulate the register shift and entrance of the new “Wine” themein measure 12.The subject of the choir entrance is dark, subdued, and brooding, and as such, the vocaltimbre should match. Vibrato would be out of place in this context. A lift (eighth rest) may begiven after the word “Lo,” drawing upon Crashaw’s comma and (like the word “look!”) pointingour minds more distinctly in the direction of the text to come. Another lift should also be placedafter the word “Sacrifice” in measure 21, as holding the dotted quarter rhythm its full value (anoticeable length of time at Adagio solenne) would likely give cause to crescendo when it is adiminuendo that is called for. The five alliterative [f]s should not be taken for granted inmeasures 20-25, with clear diction necessary to bring each one to poetic attention. A slightslowing and tenuto on each of the words “fix’t their eyes” properly closes this opening statement.Pushing the tempo slightly for “The ransomed Isaac . . .” makes the Finzi’s mixed metrical textquickening additionally effective. Another lift after the word “ram” in measure 25 followsCrashaw’s punctuation, and combines that subject with “Isaac” separately from “Manna” and“Lamb.” Word stresses on “ran-somed,” “I-saac,” “ram,” “Man-na,” “Pas-chal,” and “Lamb”should support the metrical stress placements discussed previously. As the initial text returns,elided in the alto and bass voices at measure 26, all performance considerations of the initial

67entrance remain applicable. A diminuendo on the word “eyes” draws the opening choral sectionto a close, and brings the organ interlude into focus.The use of rubato within all the anthem’s organ solos supports the improvisatory natureof Finzi’s writing. The written poco ritardando at measure 38 should be observed, perhaps evena full ritardando (but not molto) particularly on the final three eighth notes of the organ pedal,providing the listener with the sense that the first large structural division of the anthem hasarrived.Section BThe pastoral nature of theme b calls for a pure, floating (non-heroic), tone from sopranos(an ideal boy-soprano timbre) and tenors. A short breath should be placed at the end of eachappeal, “Jesu Master,” prior to the bar line. These lifts—preceding the soprano rest in measure40 and the tenor continuation at measure 41—create a more distinct musical comma tocorrespond with the text, and emphasize the imploring nature of these opening reaching-gestures.An eighth rest should be substituted for the first note of measure 42, providing a small separationbetween the two lines of the couplet, and more effectively highlighting the description of theMaster, “Our Food, and faithful Shepherd too!” All of Crashaw’s “f”s should be clear anddistinct, and those words stressed as set by Finzi on the metrically strong portions of themeasure. The indicated slowing of tempo (in this instance, a true poco ritardano) should beobserved, delineating the key transition and entrance of the second thematic statement of SectionB.The underlying march characteristic of theme c suggests a slightly stronger dynamic fromthe tenor and bass voices in their ‘men’s chorus’ entrance at measure 44. Mezzo piano or mezzoforte would be more in order, relative to the acoustic of the room and balance of the ensemble.

68To add further contrast with the subdued and sostenuto style of previous sections, a slightmarcato may be employed on the words “let that,” further corresponding with the declamatoryrhythms of “Mix with our,” and “(Mor)-tality,” while the phrases “which thus makes thee,” and“Lift our lean souls,” should remain legato, providing a more pleasing connection for theirassociated wider skips. An eighth rest should take the place of the rhythmic dot on the word“Souls” (measures 47 and 49), thus setting up a more effective “and set us up,” both from atextual aspect, as well as for the purely practical vocal need to breathe in preparation for a strongcrescendo in the following measures. The word “up” in particular calls for distinct dynamicgrowth, for which Finzi lengthens the value of the note relative to the eighth and quarter noteemphasis of the march, thus creating a strong anacrusis on the word “Convictor.” The hard “c”[k], [v], and [t] consonants of this word should accentuate the anguish of the subject, as well as atenuto stress on each the words “own full cup,” strengthening the peak of the crescendo. Whilethe word “cup” should be held for its full value, its length should be shortened by half, with aneighth rest inserted between it and the beginning of the concluding phrase “Coheirs of Saints.”Such separation provides for more accurate (and dramatic) placement of the [p] of “cup,” as wellas clearly divides the rise of this small dynamic arch into its ascent and descent. The twosyllables of “Coheirs” should be separated by a small glottal stop, as should also be usedbetween its [s] and the “of” which follows it, preventing what might otherwise result in thepoorly delivered and nonsensical conglomeration, “Coweirzof.” In the tenor voice, an eighth restshould take the place of the dot on “Saints” in measure 52, creating the same separation betweentextual repetitions of this phrase as is indicated in the remaining voice parts.Returning to a more subdued and slower idiom, the “Wine” theme should be performedin a legato style, and following the subtle swelling of dynamic as indicated with the rise and fall

69of the vocal arpeggio. Higher bass voices may be necessary to provide support on the low D andC♯ of the second tenor at the words “and the same Way.” A slight ritardando may also be usedon this short consequent phrase prior to the bass response in measure 58. Likewise, a slightslowing of tempo at measure 60, and tenuto on the final word “same” provides a strong sense ofharmonic and thematic relief upon arrival of the D♭ “Pasture” theme.Finzi’s slower tempo and più sostenuto indications at measure 61 support the function oftheme e as being the final dissipation of energy of the Section B march. The octave alto leap andrising organ line in measure 62 provides a moment for a small crescendo prior to the dynamicresolution which follows on “To feed of Thee.” A very subtle lift following the first eighth notein measure 64 will better articulate Crashaw’s stanza-ending text, “in thine own Face” withoutdistracting from the lyrical connectivity of this section’s theme. Each of these final three wordsshould be treated with a tenuto stress, strengthening the slowing of motion and sense ofconclusion. The low register voicing of this final chord may require some higher bass voices toadd an E♭ one octave higher than that indicated, while others may be needed to support the tenorlow C♭.Section CFinzi’s love for words is most strongly felt in his slow, lyrical writing. Ferguson in fact,indicates that many of his works began with slow movements, and that his initial ideas werethemselves typically slow and lyrical. 70 In “O dear Memorial,” Finzi calls for a tender delivery(con tenerezza), and by metrical placement or rise in line provides for stresses on each of theseopening three words. An eighth rest should be inserted after the word “death,” providing greatermusical and dramatic weight to the words “lives still,” and to insure (fittingly) that there is ample70 Crutchfield, 169, and Dressler, 4.

70breath in the vocal part to complete the phrase, “and allows us breath.” Glottal stops should beplaced between the words “and allows us” for clarity of initial vowels. Each successive vocalentrance within this section should employ the same phrase articulation, although no breathshould occur after the bass “breath” in measure 75, as such would interrupt the propellingcrescendo into “Rich, Royal Food!” Tenuto and a slight broadening of tempo will enhance thecontinued swell in measure 76 into the sectional climax “Bountiful Bread!” As the dynamic andmelodic arch then quickly descends from the first beat of measure 77 through measure 79, careshould be taken that each voice part is sensitive to the stretch of diminuendo and poco ritardandothat must take place within that span.Another return to pastoral images, the shift to the intimate first person singular, and thefolk-like ‘la-do’ motion used for “Bread of loves,” invites a pure, unaffected tone and delivery inthe soprano solo of theme g (measure 80). Lifts after the words, “life,” and “soul” in measure 82annunciate the prayerful list of the petitioner, as well as maintain a sense of honest simplicity. Aslight ritardando should be placed upon the penultimate word of the solo “to,” prior to its keyshiftingresolution on “me” in the following measure. A molto ritardando should take place inthe final notes of the organ interlude, with an effectual fermata on the B octave in measure 89,this bringing Section C to a discernable close and preparing the listener for the pivot sections ofthe anthem arch.Section DA soft, senza vibrato tone should be used for the chant style of measures 89-94. In thistradition, the tempo should ebb and flow freely, more sustained for the longer rhythmic values“Help, Lord, my Faith,” pressing forward for the eighth note rise of “my hope increase” anddescent of “And fill my portion,” with a final relaxing on the cadence “in thy peace.” Lifts may

71be placed after the words “faith,” and “increase,” to help in the delineation of the prayerfulrequests. The word “peace” may be held as a fermata, as would the end of a chant phrase. Aslightly warmer tone will support the harmonic and textual blossoming on the word painting“Give love for life.” Replacing the rhythmic dot with an eighth rest after the word “life” inmeasure 96 provides better ensemble placement of the [f]. as well as clearer delineation of theensuing musical phrase. “Nor let my days grow. . .” is marked by an increase in both tempo anddynamic. As previously observed on the word “up” in measures 47 and 49, the dotted quarternote length of the word “powers” in measure 98 gives particular cause to crescendo, movingenergy into “thy name.” Here the tempo should be quickly restrained ritenuto and a strong tenutogiven to “name,” with its [m] being placed distinctly on the breath comma notated by Finzi. Asthe word “and” is the anacrusis into the climax of the phrase, it should be stressed, held longerthan its full value, and upon it a crescendo given.The rising motion of “Rise, Royal Sion!” is expressed through the gesture of the organaccompaniment as well as the extended vocal crescendo on the word “Rise.” The tempo of thissecond march should not be so fast as to be unplayable or unclear on the manuals, or that thecrescendo too quickly sung through and rendered ineffective. On the other hand, it should not beso slow as to undermine the forward motion of this theme. Finzi’s marking of M.M. 63 may beadequate for large cathedral-like spaces, but it may be too leaden for smaller or less acousticallylively venues. As in the first march, a slight separation of syllables, particularly successive eighthnotes, is effective in maintaining a sense of buoyancy at such moments as in the alto voice “riseand sing Thy soul’s kind shepherd” (measures 104-105). “Stretch all thy powers” requires byboth its text and gesture a legato treatment in all voices. The [k] of “call” should be accented inmeasure 108, drawing attention to the antiphonal entrances of alto/tenor and soprano/bass

72pairings. A lift at the end of that same measure should be given to the alto voice, re-accentuatingthe repetition of the text in the following measure. An eighth rest should also be given to allvoice parts at the end of measure 109, just prior to the soprano/tenor “Harps,” also supporting theseparation of musical phrases. The antiphonal nature of the “Harps” entrances should beemphasized, as both are set by Finzi squarely and decisively one full beat apart. A moltocrescendo should take place on the half note “man” in measure 111, bringing us to the climax ofthe anthem in the ensuing phrase, “This sovereign subject.” Each note of this dramatic lineshould be fully accentuated as indicated by Finzi. The placement of [v] in “above” should bedistinct and voiced clearly on the second beat (tied sixteenth note) of measure 113. The words“The best am-” should function as unstressed upbeats into the syllable “bi-” which should beweighted heavily, with the final syllable, “-tion,” an unstressed schwa [ə]. A slight ritardandomay again be employed at the phrase ending “of thy,” before returning to original march tempoon the word “love” in measure 114.Theme j, “Lo, the Bread of Life,” is a triumphant fanfare, and as such, articulation shouldbe largely detached. Rhythms should be marked and declamatory, perhaps even to the point ofover-dotting. Lifts to articulate the text and word-ending consonants should be placed after“Life” in measure 116, and “Text” in measure 118. The short but dramatic crescendo indicatedon “provokes thy” should be heightened, as the note value of “-vokes” is specifically extendedby Finzi to enable this treatment, literally invoking the fortissimo on “praise” in measures 119-120. The “r” of this word should be flipped or tapped [ɾ], avoiding at all costs the unsuitableAmerican hard or swallowed [r]. In measure 121-122, word stresses on “liv-ing,” “life,” and“bread” should be particularly asserted, as also “great,” “twelve” and “dis-tri-buted.” A quick liftbetween “bread” and “To the” provides more accurate placement of the [d], and a distinct point

73of arrival for the subito piano crescendo. Another rest should be placed after “distributed,” forboth improved placement of the consonant, as well as a cleaner phrase distinction before the nextsmall dramatic arch. A significant change of dynamic and articulation takes place on the lastbeat of measure 122, with piano and sostenuto as indicated by Finzi. In the role of a storyteller, afeeling of hushed energy should prevail. The low register of the alto, tenor, and bass on the word“When” may call for some tenor and bass voices, respectively, to assist to those voice parts. Asthis final quick rise to “die of love” unfolds, each voice must swell though not to the extent ofany previous climatic crescendo, this line being the last fading moment of dramatic energy ofSection D. Finzi has indicated that the dynamic high point of this phrase specifically not takeplace on the melodic high point, but rather on the word “die.” Attention should therefore bebrought to the soprano and tenor voices to relax their dynamic on the word “love.” In addition,the soprano leaps on “die of love” can be problematic as gesture falls to an F♯, dipping below thealto G♯, before rising again a minor seventh to E. Some soprano voices will naturally be inclinedto match the alto pitch. Careful rehearsal of this specific figure will remedy the potential fordifficulty. More than the poco ritardando indicated by Finzi, a molto ritardando should concludethe final measures of Section D, clarifying the end of this literally pivotal stretch of the anthem.Section C’A return to the “Memorial” theme in the image of the deeply poignant “Pelican,”embraces the full statement of Section C’. Ideally solo voices should fill the roles of thepersonally imploring penitent, and in the tender unadorned style previously employed. Thepoints of breath are of importance here not only for textual and musical delineation, but simplyfor the physical demands upon the individual singers, without the assistance of additional voiceparts to help stagger the line. It is therefore suggested that, in addition to notated rests, breaths

74for the tenor soloist be placed after the words “Pelican” (measure 128), “flood,” (measure 131),and “Heart” (measure 132). In like manner, breaths for the bass soloist not already notated maybe taken after the words “Pelican” (measure 131 with the tenor) and “flood” (measure 135). Thedynamic of this beautiful duet may follow the rise and fall of the interwoven vocal lines, withemphasis given to emotive upward leaps. The choral leaps of “That blood” in the soprano andalto voices are purely background, and must be dynamically subdued, the swells notated by Finziever so subtle. Relative to the size the ensemble, it may be necessary for only a portion of thehigh voices to participate in those two rises. The slowing of tempo at measure 140 should belengthened more so than Finzi’s poco ritard, giving a due moment to the soloists to completetheir moving contribution to the liturgical drama. The cadential bass E on “from,” together withthe anticipation of a new harmonic shift, may be prolonged according to good musical taste.Section B’All performance considerations for Section B’ should reflect a continued sense ofwinding-down in the overall structure of the anthem. The beckoning of “Come love! ComeLord!” in measures 141-143 and 146-147, should be distant. The rising gesture on “And thatlong day” in all its vocal entrances should be legato and convey a spirit of longing. Observationof the small crescendo on this figure will aid in this aesthetic. Proper stressing of “lan-guish”which follows will bring greater depth to the Crashaw text and draw increased emotionalresponse from performer and audience alike. “Come away,” a figure shown to have been enjoyedby Finzi for use in multiple works, should be inviting, but fleeting, with an emphasis on the [k]consonant to invoke the energy of the call, followed by an immediate and extended diminuendofor the remainder of the word “away.” Each voice part, as independently staggered, should fade aniente on this text, not unlike birds embarking over the distant horizon, or the fading of a

75pleasant dream upon being awakened from a deep sleep. As the organ interlude draws thissection to a close, it would not be out of character to begin a slight ritardando in measure 157,prior to Finzi’s indicated tenuto at measure 158. While the final choral recapitulation in thismeasure is highly significant, the slowness of the final resulting tempo (starting from thesuggested M.M. 52 at measure 156), and prolongation of final organ notes may or may notnecessitate any additional significant pause prior to the choral entrance at the end of measure158. A sensitive conductor will ascertain the most effective dramatic timing of this moment.Section A’As the spirit of the a theme returns, so also should the dark and senza vibrato vocaltimbre employed in its original presentation, always however, with an underlying sense offervent energy regardless of tempo. Finzi has placed Crashaw’s text with great sensitivity to thestresses of “dry,” “soul,” and “eyes” in the opening choral phrase (measures 158-160). As Finziindicates a small crescendo to the word “eyes,” a small diminuendo should complete the swell,following the fall of the small arch, and preparing for the next phrase at the dynamic of piano. Abreath should also be placed after the word “see,” to delineate the organization of the Crashawlines and separate the gesture Finzi uses for each. The second phrase, “And drink. . .” should beslightly stronger in overall dynamic, with emphasis given to “drink,” “un-sealed,” “source,” and“thee,” with a tenuto on this final word, followed again by a breath to prepare for the finaldramatic phrase of the work. “When” should be treated as the most significant anacrusis of thepiece, freely holding for perhaps twice its value, in order to give a full measure of crescendo into“Glory’s sun” whereupon time is also stretched to enjoy the unfolding of the glorious heavenlyvision in measures 162-164. As fading has been shown to be a recurring element of this work,each word of “faith’s shades shall chase” should decrease in dynamic level. A fermata placed on

76the word “chase” followed by a breath, more properly prepares the moving conclusion to thisstanza, “And for their veil give me thy Face.” This final text, returning to the initial subdueddynamic and timbre of the section, may be given freely, and conclusively, with a significantslowing on its last three words. The final open fifth on “Face” must be without vibrato, and withperfect, unblemished, timbre and pitch.The return of the framing theme, “Lo, the full final Sacrifice,” in measures 168-173,should employ the breaths and stresses as discussed in the first instance. While Finzi indicates adynamic of pianississimo, such may not be sustainable in the low registers of the second tenorsand second basses. The spirit of such a dynamic must then be enjoyed. Finzi has indicated atempo of M.M. 46 commencing in measure 166 through the end of this final statement. An evenslower tempo or gradual slowing of tempo in the span of this thematic-poetic conclusion maybring an even greater sense of dramatic rest.Coda‘Angelic’ and ‘ascension’ are the two words which might be most descriptive of the final“Amen.” Pureness of tone, light and unstrained in its upper ranges, should be the vocal colorsought for. There is little in the way of notation that is necessary to append, only a clarificationof the need for a tenor lift between “Amen”s, corresponding to the bass breath in measure 179.The rise and fall of each melismatic voice part dictates well the dynamic swells which Finzi hascarefully notated. The ritardando al fine should be significant, with the three tenuto eighth notesof the penultimate measure each increasingly lengthened so that the final, nonharmonic F againstE is an effective fermata itself leading to the final resolution. The transcendent E major whichfollows should fade for as long as staggered breath will sustain, voices closing at will to [n] inthis benediction upon Crashaw’s devotional subject and Finzi’s musical offering.

EPILOGUEFinzi died at the age of fifty-five. Diagnosed with Hodgkin’s Disease in 1951, he battledprivately until, in a countryside excursion with Vaughan Williams following the Three ChoirsFestival of 1956, he contracted chicken pox. In his already weakened state, Finzi passed withinthree weeks.While still a very young man he had tasted much of death. His father battled adebilitating cancer of the mouth which slowly took his jaw and eye, dying just prior to Gerald’seighth birthday. Of his three older brothers, one died of illness while away at boarding school,another by suicide, and another was killed during the final weeks of the first World War. His firstcomposition teacher, Ernest Farrar, a man described by McVeagh as “young enough to be hisfirst real friend, a man whose ideals became his own,” also was killed at the close of the war, thishaving a great impact upon Finzi. 71 Understandably then, he was acutely aware of the transienceand uncertainty of life. While he could be pleasant, warm, and enthusiastic with visitors,discoursing on “food, apple trees, cats, literature, people, everything except his own music,” 72 hewas also very introspective, private, deeply thoughtful, and often tense, Joy Finzi describing:He experienced the isolation of the artist—the eternal onlooker. His lonely, hurt,incompatible early surroundings made his books his companions and his fewdeeply chosen friends. Aristocratic, acutely sensitive, he built round himself anemphatic positive reaction to life and work . . . . 7371 McVeagh, 15, and Crutchfield, 166.72 Russell, 630.73 McVeagh, 289.

78Finzi always had a sense that he would not live long enough to complete his work. 74 Indiscussing Farrar, he also self-prophesied to the unknowing Crees audience of 1955, “Sometimesdeath may come instead, before enough has been written to show a composer’s self worth.” 75Whether or not Finzi felt he had accomplished that showing musically, he did feel satisfaction inthe completeness of his life. While loss haunted his childhood and influenced his adulthood, hefound happiness not only in his compositional voice, but in his family, close friends, and serenesurroundings. Ursula Vaughan Williams reported surprise when, following a festival, the coupleswent to have coffee and in the middle of chit chat he said, ‘I think I have doneeverything in my life that I have wanted to [do].’ 76Finzi did not set out to break new artistic ground, nor did he. His harmonies, while richand interesting, are not aurally demanding. His melodic gestures, while refreshing andsometimes surprising, are romantically lyrical at most every turn. “That’s not to say,” asWillcocks pointed out, that “his music wasn’t original,” only that he wasn’t intent on “openingnew things” as other composers might set out to do. 77 Finzi knew however,just where he stood in this scheme of things. He never expected to be a big name,a popular or ‘great’ composer. But, to him, the thought of shaking hands with agood friend over the years, just as if he were sitting in his kitchen atAshmansworth in the fading light chatting to Uncle Ralph or Joy, would havemeant more to him than any number of comparisons with this composer or that. 78That his music should speak to people and be enjoyed was his simple desire. A growinginterest in his work today invokes the image of his returning to numerous pleasant twilight chats,not at his country farm, but now in the kitchens of his many new friends made through the musicwhich spoke so well for him.74 Dressler, 8.75 Finzi, II.76 Crutchfield, 174.77 Ibid., 162.78 Paul Spicer in Dressler, 25.

APPENDIXSelection and Arrangement of Crashaw Texts for Lo, the Full Final SacrificeFinzi SettingLauda Sion (L), Adoro Te (A)Stanza Text Text Stanza1 Lo, the full, final SacrificeOn which all figures fix’t their eyes.The ransomed Isaac, and his ram;The Manna, and the Paschal Lamb.2 Jesu Master, just and true!Our Food, and faithful Shepherd too!3 O let that love which thus makes theeMix with our low Mortality,Lift our lean Souls, and set us upConvictors of thine own full cup,Coheirs of Saints. That so all mayDrink the same wine; and the same Way.Nor change the Pasture, but the PlaceTo feed of Thee in thine own Face.4 O dear Memorial of that DeathWhich lives still, and allows us breath!Rich, Royal food! Bountiful Bread!Whose use denies us to the dead!5 Live ever Bread of loves, and beMy life, my soul, my surer self to me.6 Help Lord, my Faith, my Hope increase;And fill my portion in thy peace.Give love for life; nor let my daysGrow, but in new powers to thy nameand praise.7 Rise, Royal Sion! rise and singThy soul’s kind shepherd, thy heart’s King.Stretch all thy powers; call if you canHarps of heaven to hands of man.This sovereign subject sits aboveThe best ambition of thy love.Lo, the full, finall, SACRIFICEOn which all figures fix't their eyes.The ransom'd ISACK, & his ramme;The MANNA, & the PASCHAL Lamb.Jesu Master, Just & true!Our Food, & faithfull SHEPHARD too!O by thy self vouchsafe to keep,As with thy selfe thou feed'st thy SHEEP.O let that love which thus makes theeMix with our low Mortality,Lift our lean Soules, & sett us upConvictors of thine own full cup,Coheirs of SAINTS. That so all mayDrink the same wine; and the same WAY.Nor chang the PASTURE, but the PLACE;To feed of THEE in thine own FACE.Amen.O dear memoriall of that DeathWhich lives still, & allowes us breath!Rich, Royall food! Bountyfull BREAD!Whose use denyes us to the dead;Whose vitall gust alone can giveThe same leave both to eat & live;Live ever Bread of loves, & beMy life, my soul, my surer selfe to mee.Help, lord, my Faith, my Hope increase;And fill my portion in thy peace.Give love for life; nor let my dayesGrow, but in new powres to thy name& praise.RISE, Royall SION! rise & singThy soul's kind shepheard, thy hart's KING.Stretch all thy powres; call if thou canHarpes of heavn to hands of man.This soveraign subject sitts aboveThe best ambition of thy love.L 12L 13L 14A 6A 5L 1

808 Lo the Bread of Life, this day’sTriumphant Text provokes thy praise.The living and life-giving bread,To the great twelve distributedWhen Life, himself, at point to dieOf love, was his own Legacy.9 O soft self-wounding Pelican!Whose breast weeps Balm forwounded manAll this way bend thy benign floodTo’a bleeding Heart that gasps for blood.That blood, whose least drops sovereign beTo wash my worlds of sins from me.Come love! Come Lord! And that long dayFor which I languish come away.When this dry soul those eyes shall see,And drink the unseal’d source of thee.When Glory’s sun faith’s shades shall chase,And for thy veil give me thy Face.[Lo, the full, final SacrificeOn which all figures fix’t their eyes.]Amen.Lo the BREAD of LIFE, this day'sTriumphant Text, provokes thy prayse.The living & life-giving bread,To the great twelve distributedWhen LIFE, himself, at point to dyOf love, was his own LEGACY.O soft self-wounding Pelican!Whose brest weepes Balm forwounded man.Ah this way bend thy benign floudTo'a bleeding Heart that gaspes for blood:That blood, whose least drops soveraign beTo wash my worlds of sins from me.Come love! Come LORD! & that long dayFor which I languish, come away;When this dry soul those eyes shall see,And drink the unseal'd sourse of thee,When Glory's sun faith's shades shall chase,And for thy veil give me thy FACE.AMEN.L 2A 7

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