HISTORICAL OVERVIEWIt was the summer <strong>of</strong> 1946 <strong>and</strong> the world was finally at peace. Life however wasanything but easy. One year had not yet elapsed since the close <strong>of</strong> the most globally lethalconflict in human history. Still another year would pass before the Marshall Plan wouldcommence in assisting with the rebuilding <strong>of</strong> Europe. Rationing in Britain would continue formore post-war years than during the actual war itself. 1For <strong>Gerald</strong> Finzi however, it meant amuch needed release from his full-time war duties at the Ministry <strong>of</strong> 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 <strong>and</strong> Christopher (“Kiffer”), <strong>and</strong> the apple orchards at his serene countrysidehome in Ashmansworth was long anticipated. 4 While Finzi came face-to-face with the irritations1 Meat <strong>and</strong> bacon were the final items to become freely available on 3 July 1954. Manuscript paper <strong>and</strong> paper clips,let alone basic foodstuffs, were difficult to obtain. See Youngs, “My Wartime Menu;” <strong>and</strong> McVeagh, <strong>Gerald</strong> Finzi:His Life <strong>and</strong> Music, 143.2 “For the period 1939-1945 Finzi was employed in the Ministry <strong>of</strong> War Transport <strong>of</strong>fice <strong>and</strong> would have to againreturn to London. He was in charge <strong>of</strong> cargo shipping to South America. The British Imperial Calendar <strong>and</strong> CivilService Lists <strong>of</strong> both 1943 <strong>and</strong> 1945 show Finzi earning in excess <strong>of</strong> 600 pounds-sterling; the latter listing titlesFinzi an Administrative Officer. Although it was a job he detested, it was a very responsible one, <strong>and</strong> he performedhis duties well. The organist, Richard Lathom, was there too. Gilmore Jenkins, a good friend <strong>of</strong> Vaughan Williams,was the Head <strong>of</strong> that department. Finzi reportedly had little time to compose but was able to attend a few concerts<strong>and</strong> managed to write in the few moments available here <strong>and</strong> there,” Dressler, <strong>Gerald</strong> Finzi: A Bio-Bibliography, 13.3 To include directing <strong>of</strong> his amateur-based, Newbury String Players in local performances.4 Christopher would have been eleven, <strong>and</strong> Nigel nine. In addition to Joy <strong>and</strong> music, Finzi’s life-long loves includedthe country, literature, <strong>and</strong> all things English. To the end <strong>of</strong> his life he found great enjoyment in saving threatenedspecies <strong>of</strong> apple trees, <strong>of</strong> which he had 400 to 500 at Ashmansworth. See Dressler, 4, 5, 9, 12.
<strong>of</strong> home repair <strong>and</strong> putting daily life back into some semblance <strong>of</strong> normality, he managed to keepthings in perspective. 5 After listening to the domestic complaints <strong>of</strong> one friend he wrote:. . . when one thinks <strong>of</strong> all we have come through to be here at all. The onlysurvivor out <strong>of</strong> millions <strong>of</strong> spermatozoa, then one <strong>of</strong> the infants or children whodidn’t die. Then we escaped being one <strong>of</strong> the millions who were killed or died asa result <strong>of</strong> 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 <strong>of</strong> 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 <strong>and</strong> visual arts feeling it was hispersonal mission “to help re-forge the ancient link between the Church <strong>and</strong> the Arts.” 7 Previouscommissions for the church’s anniversary included works by such notables as Britten, Arnold,Tippett, Leighton <strong>and</strong> 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 <strong>and</strong> accepted the commission despite the severely short notice, <strong>and</strong> his most common<strong>and</strong> comfortable practice <strong>of</strong> allowing works to incubate over extended periods <strong>of</strong> time. 925 Joy had also housed German <strong>and</strong> 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, <strong>Gerald</strong> Finzi: An English Composer, 326-327.8 Britten’s Rejoice in the Lamb, together with Tippett’s Festival Fanfare, <strong>and</strong> Henry Moore’s Madonna <strong>and</strong> Childsculpture were created for the church’s golden Jubilee in 1943. Hussey later went on to become Dean <strong>of</strong> Chichester,where he commissioned Bernstein’s Chichester Psalms.9 “<strong>Gerald</strong>’s habit had always been to keep in his desk the sketches for a number <strong>of</strong> different works. These would beadded to from time to time—<strong>of</strong>ten over a period <strong>of</strong> years; then, when he felt the moment was ripe, one work wouldbe taken out <strong>and</strong> completed . . . . The process <strong>of</strong> completion was sometimes difficult, but at other timescomparatively easy. He was never a fluent composer, however, <strong>and</strong> even the most spontaneous-sounding song mighthave required innumerable sketches <strong>and</strong> rough drafts, with sometimes a break <strong>of</strong> years between its opening <strong>and</strong>closing 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 <strong>and</strong> hated artificially contrived music. One can underst<strong>and</strong> then, why hetook on a very few commissions. For these reasons he tended to put things away in a drawer <strong>and</strong> take them out later;
- Page 1 and 2: HISTORY, ANALYSIS AND PERFORMANCECO
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- Page 5: LIST OF FIGURESFigurePage1. Constru
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51Table 4Section D - Thematic Struc
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53famine, feeding its young with it
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55global humanity en masse, but mor
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57Figure 37. “And that long day
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59Figure 39. Reduction of Section B
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61sublime heavenly and musical asce
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PERFORMANCE CONSIDERATIONSPrinciple
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66and 16 to clarify structural punc
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68To add further contrast with the
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70breath in the vocal part to compl
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72pairings. A lift at the end of th
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74for the tenor soloist be placed a
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76the word “chase” followed by
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78Finzi always had a sense that he
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808 Lo the Bread of Life, this day
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82_____ . The Composer’s Use of W