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

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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
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HISTORY, ANALYSIS AND PERFORMANCECO
Page 3 and 4:
. . . as surely as birds must sing,
Page 5:
LIST OF FIGURESFigurePage1. Constru
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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 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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