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

68To add further contrast with the subdued and sostenuto style of previous sections, a slightmarcato may be employed on the words “let that,” further corresponding with the declamatoryrhythms of “Mix with our,” and “(Mor)-tality,” while the phrases “which thus makes thee,” and“Lift our lean souls,” should remain legato, providing a more pleasing connection for theirassociated wider skips. An eighth rest should take the place of the rhythmic dot on the word“Souls” (measures 47 and 49), thus setting up a more effective “and set us up,” both from atextual aspect, as well as for the purely practical vocal need to breathe in preparation for a strongcrescendo in the following measures. The word “up” in particular calls for distinct dynamicgrowth, for which Finzi lengthens the value of the note relative to the eighth and quarter noteemphasis of the march, thus creating a strong anacrusis on the word “Convictor.” The hard “c”[k], [v], and [t] consonants of this word should accentuate the anguish of the subject, as well as atenuto stress on each the words “own full cup,” strengthening the peak of the crescendo. Whilethe word “cup” should be held for its full value, its length should be shortened by half, with aneighth rest inserted between it and the beginning of the concluding phrase “Coheirs of Saints.”Such separation provides for more accurate (and dramatic) placement of the [p] of “cup,” as wellas clearly divides the rise of this small dynamic arch into its ascent and descent. The twosyllables of “Coheirs” should be separated by a small glottal stop, as should also be usedbetween its [s] and the “of” which follows it, preventing what might otherwise result in thepoorly delivered and nonsensical conglomeration, “Coweirzof.” In the tenor voice, an eighth restshould take the place of the dot on “Saints” in measure 52, creating the same separation betweentextual repetitions of this phrase as is indicated in the remaining voice parts.Returning to a more subdued and slower idiom, the “Wine” theme should be performedin a legato style, and following the subtle swelling of dynamic as indicated with the rise and fall