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

69of the vocal arpeggio. Higher bass voices may be necessary to provide support on the low D andC♯ of the second tenor at the words “and the same Way.” A slight ritardando may also be usedon this short consequent phrase prior to the bass response in measure 58. Likewise, a slightslowing of tempo at measure 60, and tenuto on the final word “same” provides a strong sense ofharmonic and thematic relief upon arrival of the D♭ “Pasture” theme.Finzi’s slower tempo and più sostenuto indications at measure 61 support the function oftheme e as being the final dissipation of energy of the Section B march. The octave alto leap andrising organ line in measure 62 provides a moment for a small crescendo prior to the dynamicresolution which follows on “To feed of Thee.” A very subtle lift following the first eighth notein measure 64 will better articulate Crashaw’s stanza-ending text, “in thine own Face” withoutdistracting from the lyrical connectivity of this section’s theme. Each of these final three wordsshould be treated with a tenuto stress, strengthening the slowing of motion and sense ofconclusion. The low register voicing of this final chord may require some higher bass voices toadd an E♭ one octave higher than that indicated, while others may be needed to support the tenorlow C♭.Section CFinzi’s love for words is most strongly felt in his slow, lyrical writing. Ferguson in fact,indicates that many of his works began with slow movements, and that his initial ideas werethemselves typically slow and lyrical. 70 In “O dear Memorial,” Finzi calls for a tender delivery(con tenerezza), and by metrical placement or rise in line provides for stresses on each of theseopening three words. An eighth rest should be inserted after the word “death,” providing greatermusical and dramatic weight to the words “lives still,” and to insure (fittingly) that there is ample70 Crutchfield, 169, and Dressler, 4.