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

71be placed after the words “faith,” and “increase,” to help in the delineation of the prayerfulrequests. The word “peace” may be held as a fermata, as would the end of a chant phrase. Aslightly warmer tone will support the harmonic and textual blossoming on the word painting“Give love for life.” Replacing the rhythmic dot with an eighth rest after the word “life” inmeasure 96 provides better ensemble placement of the [f]. as well as clearer delineation of theensuing musical phrase. “Nor let my days grow. . .” is marked by an increase in both tempo anddynamic. As previously observed on the word “up” in measures 47 and 49, the dotted quarternote length of the word “powers” in measure 98 gives particular cause to crescendo, movingenergy into “thy name.” Here the tempo should be quickly restrained ritenuto and a strong tenutogiven to “name,” with its [m] being placed distinctly on the breath comma notated by Finzi. Asthe word “and” is the anacrusis into the climax of the phrase, it should be stressed, held longerthan its full value, and upon it a crescendo given.The rising motion of “Rise, Royal Sion!” is expressed through the gesture of the organaccompaniment as well as the extended vocal crescendo on the word “Rise.” The tempo of thissecond march should not be so fast as to be unplayable or unclear on the manuals, or that thecrescendo too quickly sung through and rendered ineffective. On the other hand, it should not beso slow as to undermine the forward motion of this theme. Finzi’s marking of M.M. 63 may beadequate for large cathedral-like spaces, but it may be too leaden for smaller or less acousticallylively venues. As in the first march, a slight separation of syllables, particularly successive eighthnotes, is effective in maintaining a sense of buoyancy at such moments as in the alto voice “riseand sing Thy soul’s kind shepherd” (measures 104-105). “Stretch all thy powers” requires byboth its text and gesture a legato treatment in all voices. The [k] of “call” should be accented inmeasure 108, drawing attention to the antiphonal entrances of alto/tenor and soprano/bass