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

76the word “chase” followed by a breath, more properly prepares the moving conclusion to thisstanza, “And for their veil give me thy Face.” This final text, returning to the initial subdueddynamic and timbre of the section, may be given freely, and conclusively, with a significantslowing on its last three words. The final open fifth on “Face” must be without vibrato, and withperfect, unblemished, timbre and pitch.The return of the framing theme, “Lo, the full final Sacrifice,” in measures 168-173,should employ the breaths and stresses as discussed in the first instance. While Finzi indicates adynamic of pianississimo, such may not be sustainable in the low registers of the second tenorsand second basses. The spirit of such a dynamic must then be enjoyed. Finzi has indicated atempo of M.M. 46 commencing in measure 166 through the end of this final statement. An evenslower tempo or gradual slowing of tempo in the span of this thematic-poetic conclusion maybring an even greater sense of dramatic rest.Coda‘Angelic’ and ‘ascension’ are the two words which might be most descriptive of the final“Amen.” Pureness of tone, light and unstrained in its upper ranges, should be the vocal colorsought for. There is little in the way of notation that is necessary to append, only a clarificationof the need for a tenor lift between “Amen”s, corresponding to the bass breath in measure 179.The rise and fall of each melismatic voice part dictates well the dynamic swells which Finzi hascarefully notated. The ritardando al fine should be significant, with the three tenuto eighth notesof the penultimate measure each increasingly lengthened so that the final, nonharmonic F againstE is an effective fermata itself leading to the final resolution. The transcendent E major whichfollows should fade for as long as staggered breath will sustain, voices closing at will to [n] inthis benediction upon Crashaw’s devotional subject and Finzi’s musical offering.