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

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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’.
Page 1 and 2: HISTORY, ANALYSIS AND PERFORMANCECO
Page 3 and 4: . . . as surely as birds must sing,
Page 5: LIST OF FIGURESFigurePage1. Constru
Page 8 and 9: LIST OF TABLESTablePage1. Section A
Page 10 and 11: HISTORICAL OVERVIEWIt was the summe
Page 12 and 13: 3Hussey suggested a Eucharist theme
Page 14 and 15: Lo, the Full Final Sacrifice was at
Page 16 and 17: 7miniaturist is now generally recog
Page 18 and 19: 9Hardy (agnostic fatalist), Wordswo
Page 20 and 21: 11According to Christopher, his fat
Page 23: 14Examination of FormSection AThe a
Page 26 and 27: 17However the arrival of A major at
Page 28 and 29: 19Figure 7. Reduction of measures 1
Page 30 and 31: 21Stanford, being of his generation
Page 32 and 33: 23unique contour of these lines, a
Page 34 and 35: 25Figure 12. Rising major third key
Page 36 and 37: 27with the downward leap of a minor
Page 40 and 41: Figure 16. “Jesu Master” organ
Page 42 and 43: 33Crashaw’s images of “Food”
Page 44 and 45: 35Harmony then, falls among every o
Page 46 and 47: 37Section CAn immediate resetting o
Page 48 and 49: Figure 21. “Weeping” organ gest
Page 50 and 51: 41another shortened verse and fitti
Page 52 and 53: 43unison/octaves. The preceding org
Page 54 and 55: 45Figure 28. “Stretch all thy pow
Page 56 and 57: 47Arriving at the word “love” a
Page 58 and 59: 49agogic stresses to achieve a fitt
Page 60 and 61: 51Table 4Section D - Thematic Struc
Page 62 and 63: 53famine, feeding its young with it
Page 64 and 65: 55global humanity en masse, but mor
Page 66 and 67: 57Figure 37. “And that long day
Page 68 and 69: 59Figure 39. Reduction of Section B
Page 70 and 71: 61sublime heavenly and musical asce
Page 73 and 74: PERFORMANCE CONSIDERATIONSPrinciple
Page 75 and 76: 66and 16 to clarify structural punc
Page 77 and 78: 68To add further contrast with the
Page 79 and 80: 70breath in the vocal part to compl
Page 81 and 82: 72pairings. A lift at the end of th
Page 83 and 84: 74for the tenor soloist be placed a
Page 85 and 86: 76the word “chase” followed by
Page 87 and 88: 78Finzi always had a sense that he
Page 89 and 90:
808 Lo the Bread of Life, this day
Page 91 and 92:
82_____ . The Composer’s Use of W
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