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

73of arrival for the subito piano crescendo. Another rest should be placed after “distributed,” forboth improved placement of the consonant, as well as a cleaner phrase distinction before the nextsmall dramatic arch. A significant change of dynamic and articulation takes place on the lastbeat of measure 122, with piano and sostenuto as indicated by Finzi. In the role of a storyteller, afeeling of hushed energy should prevail. The low register of the alto, tenor, and bass on the word“When” may call for some tenor and bass voices, respectively, to assist to those voice parts. Asthis final quick rise to “die of love” unfolds, each voice must swell though not to the extent ofany previous climatic crescendo, this line being the last fading moment of dramatic energy ofSection D. Finzi has indicated that the dynamic high point of this phrase specifically not takeplace on the melodic high point, but rather on the word “die.” Attention should therefore bebrought to the soprano and tenor voices to relax their dynamic on the word “love.” In addition,the soprano leaps on “die of love” can be problematic as gesture falls to an F♯, dipping below thealto G♯, before rising again a minor seventh to E. Some soprano voices will naturally be inclinedto match the alto pitch. Careful rehearsal of this specific figure will remedy the potential fordifficulty. More than the poco ritardando indicated by Finzi, a molto ritardando should concludethe final measures of Section D, clarifying the end of this literally pivotal stretch of the anthem.Section C’A return to the “Memorial” theme in the image of the deeply poignant “Pelican,”embraces the full statement of Section C’. Ideally solo voices should fill the roles of thepersonally imploring penitent, and in the tender unadorned style previously employed. Thepoints of breath are of importance here not only for textual and musical delineation, but simplyfor the physical demands upon the individual singers, without the assistance of additional voiceparts to help stagger the line. It is therefore suggested that, in addition to notated rests, breaths