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

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.