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

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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
Page 1 and 2: HISTORY, ANALYSIS AND PERFORMANCECO
Page 3: . . . as surely as birds must sing,
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 38 and 39: 29Figure 15. “O Let that love”
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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