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

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Youngs, Ian. “My Wartime Menu.” BBC News, 30 June 2004.http://news.bbc.co.uk/1/hi/magazine/3847041.stm (accessed 26 February 2008).83
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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”
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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 and 90: 808 Lo the Bread of Life, this day
Page 91: 82_____ . The Composer’s Use of W
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