EPILOGUEFinzi died at the age <strong>of</strong> fifty-five. Diagnosed with Hodgkin’s Disease in 1951, he battledprivately until, in a countryside excursion with Vaughan Williams following the Three ChoirsFestival <strong>of</strong> 1956, he contracted chicken pox. In his already weakened state, Finzi passed withinthree weeks.While still a very young man he had tasted much <strong>of</strong> death. His father battled adebilitating cancer <strong>of</strong> the mouth which slowly took his jaw <strong>and</strong> eye, dying just prior to <strong>Gerald</strong>’seighth birthday. Of his three older brothers, one died <strong>of</strong> illness while away at boarding school,another by suicide, <strong>and</strong> another was killed during the final weeks <strong>of</strong> the first World War. His firstcomposition teacher, Ernest Farrar, a man described by McVeagh as “young enough to be hisfirst real friend, a man whose ideals became his own,” also was killed at the close <strong>of</strong> the war, thishaving a great impact upon Finzi. 71 Underst<strong>and</strong>ably then, he was acutely aware <strong>of</strong> the transience<strong>and</strong> uncertainty <strong>of</strong> life. While he could be pleasant, warm, <strong>and</strong> enthusiastic with visitors,discoursing on “food, apple trees, cats, literature, people, everything except his own music,” 72 hewas also very introspective, private, deeply thoughtful, <strong>and</strong> <strong>of</strong>ten tense, Joy Finzi describing:He experienced the isolation <strong>of</strong> the artist—the eternal onlooker. His lonely, hurt,incompatible early surroundings made his books his companions <strong>and</strong> his fewdeeply chosen friends. Aristocratic, acutely sensitive, he built round himself anemphatic positive reaction to life <strong>and</strong> work . . . . 7371 McVeagh, 15, <strong>and</strong> Crutchfield, 166.72 Russell, 630.73 McVeagh, 289.
78Finzi always had a sense that he would not live long enough to complete his work. 74 Indiscussing Farrar, he also self-prophesied to the unknowing Crees audience <strong>of</strong> 1955, “Sometimesdeath may come instead, before enough has been written to show a composer’s self worth.” 75Whether or not Finzi felt he had accomplished that showing musically, he did feel satisfaction inthe completeness <strong>of</strong> his life. While loss haunted his childhood <strong>and</strong> influenced his adulthood, hefound happiness not only in his compositional voice, but in his family, close friends, <strong>and</strong> serenesurroundings. Ursula Vaughan Williams reported surprise when, following a festival, the coupleswent to have c<strong>of</strong>fee <strong>and</strong> in the middle <strong>of</strong> chit chat he said, ‘I think I have doneeverything in my life that I have wanted to [do].’ 76Finzi did not set out to break new artistic ground, nor did he. His harmonies, while rich<strong>and</strong> interesting, are not aurally dem<strong>and</strong>ing. His melodic gestures, while refreshing <strong>and</strong>sometimes surprising, are romantically lyrical at most every turn. “That’s not to say,” asWillcocks pointed out, that “his music wasn’t original,” only that he wasn’t intent on “openingnew things” as other composers might set out to do. 77 Finzi knew however,just where he stood in this scheme <strong>of</strong> things. He never expected to be a big name,a popular or ‘great’ composer. But, to him, the thought <strong>of</strong> shaking h<strong>and</strong>s with agood friend over the years, just as if he were sitting in his kitchen atAshmansworth in the fading light chatting to Uncle Ralph or Joy, would havemeant more to him than any number <strong>of</strong> comparisons with this composer or that. 78That his music should speak to people <strong>and</strong> be enjoyed was his simple desire. A growinginterest in his work today invokes the image <strong>of</strong> his returning to numerous pleasant twilight chats,not at his country farm, but now in the kitchens <strong>of</strong> his many new friends made through the musicwhich spoke so well for him.74 Dressler, 8.75 Finzi, II.76 Crutchfield, 174.77 Ibid., 162.78 Paul Spicer in Dressler, 25.
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HISTORY, ANALYSIS AND PERFORMANCECO
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. . . as surely as birds must sing,
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LIST OF FIGURESFigurePage1. Constru
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LIST OF TABLESTablePage1. Section A
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HISTORICAL OVERVIEWIt was the summe
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3Hussey suggested a Eucharist theme
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Lo, the Full Final Sacrifice was at
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7miniaturist is now generally recog
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9Hardy (agnostic fatalist), Wordswo
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11According to Christopher, his fat
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14Examination of FormSection AThe a
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17However the arrival of A major at
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19Figure 7. Reduction of measures 1
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21Stanford, being of his generation
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23unique contour of these lines, a
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25Figure 12. Rising major third key
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- Page 38 and 39: 29Figure 15. “O Let that love”
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- Page 42 and 43: 33Crashaw’s images of “Food”
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