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

59Figure 39. Reduction of Section B’ (measures 141-158).“Sacrifice” theme is used for the first time since its introduction in the organ prelude (measures9-10). Finzi begins the heavenly communion softly, carefully, and with agogic stresses andNeapolitan discords. A bit of emphasis is given to the words “dry soul,” and “eyes,” then, as ifthe believer is still hesitant to approach, the music takes a step back to A major on the word“see.” 62 The next step forward is then taken, again softly at first, but with more confidence as themusic begins its crescendo upon the text “And drink the unsealed source of thee.” Finally, thefull step into a heavenly embrace arrives as the closing climax is reached on the high and clear Dmajor triad, “When Glory’s sun,” followed by an immediate diminuendo, portraying the chasingaway of “faith” which is no longer necessary in the light of revelatory noonday. The hopefulprayer-vision continues with a request to exchange the Lord’s “veil” for his “Face.” 63 Fittingly, aharmonic obscuring occurs on the word “veil”—a compound harmony similar to thosepreviously noted on the words “name” (measure 99), and “cup” (measure 51)—the musicalresponse of which is a pure and clear open fifth on the word “Face.” The vision then begins tofade, the organ providing its interlude of the Cross figure one final time before the tenors andbasses, in their lowest registers, offer up as their final solemn observation with the framinganthem text “Lo, the full, final Sacrifice On which all figures fix’t their eyes.”62 “Lord, I believe; help thou mine unbelief.” Mark 9:24.63 “For now we see through a glass darkly; but then face to face: now I know in part; but then shall I know even asalso I am known.” 1 Cor. 13:12.