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

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BIBLIOGRAPHY“About the Festival.” Three Choirs Festival. www.3choirs.org (1 February 2008).“Biography [of Gerald Finzi].” The Finzi Trust. www.geraldfinzi.org (1 February 2008).“A Short Biography of Gerald Finzi.” Gerald Finzi. www.geraldfinzi.com (1 February 2008).Banfield, Stephen. Gerald Finzi: An English Composer. London: Faber and Faber, 1998.Beechey, Gwilym. “The Church Music of Gerald Finzi.” The Musical Times 118 (1977): 667-670.Chissel, Joan. “The Three Choirs Festival.” The Musical Times 89 (1948): 313-314.Crashaw, Richard. Steps to the Temple, Delights of the Muses and Other Poems. Edited by A.R.Waller. London: Cambridge, 1904.Crutchfield, Jonathan Eric. "A Conductor's Analysis of Gerald Finzi's Intimations ofImmortality; Lo, the Full Final Sacrifice; and Magnificat. DMA dissertation, TheSouthern Baptist Theological Seminary, 1994.“Culture at St. Matthew’s.” Time, 21 July 1947.www.time.com/time/printout/0,8816,779241,00.html (accessed 9 March 2008).Dickson, John. “Score Study: A ‘Magical Eye’ for Musical Blueprints.” Choral Journal 39(March 1999): 9-22.Dressler, John C. Gerald Finzi: A Bio-Bibliography. Bio-Bibliographies in Music 64. Westport,CT: Greenwood Press, 1997.F.B. “The Three Choirs Festival.” The Musical Times 88 (1947): 328.Ferguson, Howard and Michael Hurd, eds. Letters of Gerald Finzi and Howard Ferguson.Woodbridge: The Boydell Press, 2001.Finzi, Gerald. Lo, the Full Final Sacrifice. London: Boosey & Hawkes, 1946._____. “Herbert Howells.” The Musical Times 95 (1954): 180-183.
82_____ . The Composer’s Use of Words: A discussion of words and music, fusion and conflict,problems of composers and poets, vocal forms and many theories, all of which leave thebirds still singing and Pilate’s question unanswered. Crees Lectures, a series of threelectures given at the Royal College of Music, Summer Term, 1955 (Lecture I, Friday,May 6; Lecture II, Friday, May 13; Lecture III, Friday, May 20). Unpublished manuscriptprovided to the author by Diana McVeagh, editor._____ . Finzi: Choral Works. The Finzi Singers. Paul Spicer. 1992. Chandos 8936 (CompactDisc).“Gerald Finzi.” Boosey & Hawkes. www.boosey.com (accessed 1 February 2008).Hold, Trevor. Parry to Finzi: Twenty English Song-Composers. Woodbridge: The Boydell Press,2002.McVeagh, Diana. Gerald Finzi: His Life and Music. Woodbridge: The Boydell Press, 2005._____ . “Gerald Finzi.” Grove Music Online. Edited by L. Macy. www.grovemusic.com(accessed 1 March 2008).Nettel, R. “The Three Choirs Festival, Hereford, September 8-14.” The Musical Times 87 (1946):315-316.“News of the Day.” Tempo 3 (1947): 30.“Reading University Library Online Card Catalogue.” The University of Reading.https://www.micromediauk.net/Retrieve/Search.aspx (accessed 1 February 2008).Robinson, Kathleen E. "A Critical Study of Word/Music Correspondence in the Choral Works ofGerald Finzi (Volumes I and II)." PhD dissertation, Northwestern University, 1994.Russell, John. “Gerald Finzi.” The Musical Times 97 (1956): 630-631.Saunders, William P. “The Symbolism of the Pelican.” The Arlington Catholic Herald, 20November 2003. www.catholicherald.com/saunders/03ws/ws031120.htm (accessed 1April 2008).Scott, Anthony. “Gerald Finzi as a Tutor of Composition.” The Finzi Trust. www.geraldfinzi.org(1 February 2008).“The Three Choirs Festival.” The Musical Times 89 (1948): 252.Turnbull, William B., ed. The Complete Work of Richard Crashaw. London: John Russell Smith,1858.Walker, Alan. “Gerald Finzi (1901-1956).” Tempo 52 (1959): 6-10, 18.
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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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27with the downward leap of a minor
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29Figure 15. “O Let that love”
Page 40 and 41: Figure 16. “Jesu Master” organ
Page 42 and 43: 33Crashaw’s images of “Food”
Page 44 and 45: 35Harmony then, falls among every o
Page 46 and 47: 37Section CAn immediate resetting o
Page 48 and 49: Figure 21. “Weeping” organ gest
Page 50 and 51: 41another shortened verse and fitti
Page 52 and 53: 43unison/octaves. The preceding org
Page 54 and 55: 45Figure 28. “Stretch all thy pow
Page 56 and 57: 47Arriving at the word “love” a
Page 58 and 59: 49agogic stresses to achieve a fitt
Page 60 and 61: 51Table 4Section D - Thematic Struc
Page 62 and 63: 53famine, feeding its young with it
Page 64 and 65: 55global humanity en masse, but mor
Page 66 and 67: 57Figure 37. “And that long day
Page 68 and 69: 59Figure 39. Reduction of Section B
Page 70 and 71: 61sublime heavenly and musical asce
Page 73 and 74: PERFORMANCE CONSIDERATIONSPrinciple
Page 75 and 76: 66and 16 to clarify structural punc
Page 77 and 78: 68To add further contrast with the
Page 79 and 80: 70breath in the vocal part to compl
Page 81 and 82: 72pairings. A lift at the end of th
Page 83 and 84: 74for the tenor soloist be placed a
Page 85 and 86: 76the word “chase” followed by
Page 87 and 88: 78Finzi always had a sense that he
Page 89: 808 Lo the Bread of Life, this day
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