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

74for the tenor soloist be placed after the words “Pelican” (measure 128), “flood,” (measure 131),and “Heart” (measure 132). In like manner, breaths for the bass soloist not already notated maybe taken after the words “Pelican” (measure 131 with the tenor) and “flood” (measure 135). Thedynamic of this beautiful duet may follow the rise and fall of the interwoven vocal lines, withemphasis given to emotive upward leaps. The choral leaps of “That blood” in the soprano andalto voices are purely background, and must be dynamically subdued, the swells notated by Finziever so subtle. Relative to the size the ensemble, it may be necessary for only a portion of thehigh voices to participate in those two rises. The slowing of tempo at measure 140 should belengthened more so than Finzi’s poco ritard, giving a due moment to the soloists to completetheir moving contribution to the liturgical drama. The cadential bass E on “from,” together withthe anticipation of a new harmonic shift, may be prolonged according to good musical taste.Section B’All performance considerations for Section B’ should reflect a continued sense ofwinding-down in the overall structure of the anthem. The beckoning of “Come love! ComeLord!” in measures 141-143 and 146-147, should be distant. The rising gesture on “And thatlong day” in all its vocal entrances should be legato and convey a spirit of longing. Observationof the small crescendo on this figure will aid in this aesthetic. Proper stressing of “lan-guish”which follows will bring greater depth to the Crashaw text and draw increased emotionalresponse from performer and audience alike. “Come away,” a figure shown to have been enjoyedby Finzi for use in multiple works, should be inviting, but fleeting, with an emphasis on the [k]consonant to invoke the energy of the call, followed by an immediate and extended diminuendofor the remainder of the word “away.” Each voice part, as independently staggered, should fade aniente on this text, not unlike birds embarking over the distant horizon, or the fading of a