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

70breath in the vocal part to complete the phrase, “and allows us breath.” Glottal stops should beplaced between the words “and allows us” for clarity of initial vowels. Each successive vocalentrance within this section should employ the same phrase articulation, although no breathshould occur after the bass “breath” in measure 75, as such would interrupt the propellingcrescendo into “Rich, Royal Food!” Tenuto and a slight broadening of tempo will enhance thecontinued swell in measure 76 into the sectional climax “Bountiful Bread!” As the dynamic andmelodic arch then quickly descends from the first beat of measure 77 through measure 79, careshould be taken that each voice part is sensitive to the stretch of diminuendo and poco ritardandothat must take place within that span.Another return to pastoral images, the shift to the intimate first person singular, and thefolk-like ‘la-do’ motion used for “Bread of loves,” invites a pure, unaffected tone and delivery inthe soprano solo of theme g (measure 80). Lifts after the words, “life,” and “soul” in measure 82annunciate the prayerful list of the petitioner, as well as maintain a sense of honest simplicity. Aslight ritardando should be placed upon the penultimate word of the solo “to,” prior to its keyshiftingresolution on “me” in the following measure. A molto ritardando should take place inthe final notes of the organ interlude, with an effectual fermata on the B octave in measure 89,this bringing Section C to a discernable close and preparing the listener for the pivot sections ofthe anthem arch.Section DA soft, senza vibrato tone should be used for the chant style of measures 89-94. In thistradition, the tempo should ebb and flow freely, more sustained for the longer rhythmic values“Help, Lord, my Faith,” pressing forward for the eighth note rise of “my hope increase” anddescent of “And fill my portion,” with a final relaxing on the cadence “in thy peace.” Lifts may