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

67entrance remain applicable. A diminuendo on the word “eyes” draws the opening choral sectionto a close, and brings the organ interlude into focus.The use of rubato within all the anthem’s organ solos supports the improvisatory natureof Finzi’s writing. The written poco ritardando at measure 38 should be observed, perhaps evena full ritardando (but not molto) particularly on the final three eighth notes of the organ pedal,providing the listener with the sense that the first large structural division of the anthem hasarrived.Section BThe pastoral nature of theme b calls for a pure, floating (non-heroic), tone from sopranos(an ideal boy-soprano timbre) and tenors. A short breath should be placed at the end of eachappeal, “Jesu Master,” prior to the bar line. These lifts—preceding the soprano rest in measure40 and the tenor continuation at measure 41—create a more distinct musical comma tocorrespond with the text, and emphasize the imploring nature of these opening reaching-gestures.An eighth rest should be substituted for the first note of measure 42, providing a small separationbetween the two lines of the couplet, and more effectively highlighting the description of theMaster, “Our Food, and faithful Shepherd too!” All of Crashaw’s “f”s should be clear anddistinct, and those words stressed as set by Finzi on the metrically strong portions of themeasure. The indicated slowing of tempo (in this instance, a true poco ritardano) should beobserved, delineating the key transition and entrance of the second thematic statement of SectionB.The underlying march characteristic of theme c suggests a slightly stronger dynamic fromthe tenor and bass voices in their ‘men’s chorus’ entrance at measure 44. Mezzo piano or mezzoforte would be more in order, relative to the acoustic of the room and balance of the ensemble.