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

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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.
60The reduction of Section A’ shows the return of the expected chant-like pivot gestureunderlying the “Sacrifice” theme, first at the pitch level of A, and then at B in anticipation of thefinal structural resolution at the Coda (see Figure 40). The thematic structure of Section A’, asanticipated, corresponds with Section A in all details save order of theme appearance. Closingwith theme a, which initially opened the work, the thematic framing device is made effective andthe palindrome completed (see Table 7).Figure 40. Reduction of Section A’ (measures 158-174).Table 7Section A’ – Thematic StructureTheme Function Measures Texta’a(x)aThematicExtensionConclusion158-166166-167168-173When this dry soulInterludeLo, the full, final, SacrificeCodaNothing short of a beautiful, eight-part benedictory melisma on “Amen” completes theanthem and finalizes E major as the conclusive tonic of the large harmonic arch. Opening withthe soprano rising third reminiscent of the “Wine” theme, freely flowing melodic material isspun out, as if the materials and motives of the earthly experience have been set aside for a
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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
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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 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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