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

57Figure 37. “And that long day” motivic construction (measures 43 and 144).appeared in Finzi’s, Come Away Death, written in 1938, then later in his Welcome Sweet andSacred Feast, written in 1953. Undoubtedly his general readiness with this motive helped movealong the writing process of this section of the rushed commission (see Figure 38).As the final tenor and bass strains of “come away” fade to imperceptibility, the gentleorgan rippling makes its own final descent. Slowing in tempo and rhythm, the melody of the“Wine” theme briefly but clearly emerges from the interlude, marking the completion of SectionB’, and with a preparatory pause on its final chord, invites the listener as at first, to behold thefinal Sacrifice (see Table 6).The underlying background structure of B’ consists of a rising line from F♯ to A. Thisline is preparatory to the return of the fundamental underlying pitch B, which will follow inSection A’, and serve as the anacrusis for the conclusion of the anthem (see Figure 39).Section A’The conclusion of the anthem’s formal palindrome is a vision of paradise, the hope for apersonal audience with the Lord. Finzi’s a cappella and homophonic setting provides the musicalparallel to the scene, all other earthly things being stripped away. The a’ version of the