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

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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
58Figure 38. “Come away” motive in Come Away Death; Lo, the Full Final Sacrifice;Welcome Sweet and Sacred Feast.Table 6Section B’ – Thematic StructureTheme Function Measures Textd’ / c’dThematic (Slow March)Slowing/Conclusion141-155156-158(PAUSE)Come loveInterlude (That So All May Drink)
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HISTORY, ANALYSIS AND PERFORMANCECO
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. . . as surely as birds must sing,
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LIST OF FIGURESFigurePage1. Constru
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LIST OF TABLESTablePage1. Section A
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HISTORICAL OVERVIEWIt was the summe
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3Hussey suggested a Eucharist theme
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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 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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