HISTORY, ANALYSIS AND PERFORMANCE
CONSIDERATIONS OF GERALD FINZI’S
LO, THE FULL FINAL SACRIFICE
By
Cameron J. Rose
A paper submitted to the faculty of
The University of Utah
in partial fulfillment of the requirements for the degree of
Doctor of Musical Arts
School of Music
The University of Utah
May 2008
Copyright © 2008 by Cameron J. Rose
All Rights Reserved
. . . as surely as birds must sing, so long as words exist and man is capable of
feeling, there will be song.
Gerald Finzi
Crees Lectures, 1955
TABLE OF CONTENTS
LIST OF FIGURES ....................................................................................................................... iv
LIST OF TABLES......................................................................................................................... vi
ACKNOWLEDGMENTS ............................................................................................................ vii
HISTORICAL OVEVIEW ..............................................................................................................1
CREATIVE PROCESSES & POETIC INFLUENCES ..................................................................8
FORMAL ANALYSIS
Preliminary Studies............................................................................................................12
Examination of Form .........................................................................................................14
PERFORMANCE CONSIDERATIONS
Principles............................................................................................................................65
Practices .............................................................................................................................66
EPILOGUE ....................................................................................................................................77
APPENDIX: SELECTION AND ARRANGEMENT OF
CRASHAW TEXTS FOR LO, THE FULL FINAL SACRIFICE ..................................................79
BIBLIOGRAPHY..........................................................................................................................81
LIST OF FIGURES
Figure
Page
1.
Construction of theme a, “Sacrifice” (measures 1-5) ........................................................14
2.
Reduction of theme a (measures 1-5) ................................................................................15
3.
Organ “Cross figure” (measures 7-8) ................................................................................15
4.
Reduction of theme a(x) (measures 6-8)............................................................................16
5.
Reduction of theme a’ (measures 9-11).............................................................................16
6.
Theme d, “Wine,” motivic construction (measures 12, 55)...............................................18
7.
Reduction of measures 17-20.............................................................................................19
8.
Reduction of organ prelude (measures 1-20).....................................................................19
9.
E-B-F / F-B-E palindrome (measures 24-26) ....................................................................21
10.
Reduction of “The ransomed Isaac” (measures 24-32) .....................................................22
11.
“Jesu Master” imploring leaps (measures 33, 39-40) ........................................................24
12.
Rising major third key transition (measures 38-39) ..........................................................25
13.
Reduction of theme a(x), organ interlude (measures 32-38) .............................................25
14.
Rising major third transition with plagal formula (measures 42-43).................................28
15.
“O Let that love” motivic construction (measures 43-44) .................................................29
16.
“Jesu Master” organ echo (measures 52-54) .....................................................................31
17.
“Relationships of themes d and e, “Wine” and “Pasture,”
(measures 55-57, 61-63) ...................................................................................................32
18.
“To feed of Thee” organ echo (measures 64-67)...............................................................33
19.
Reduction of Section B (measures 39-67) .........................................................................36
20.
Descending contours of “To feed of Thee,” and “Which lives still”
(measures 63, 68-69)..........................................................................................................37
21.
“Weeping” organ gesture (measures 69-70, 128-129).......................................................39
22.
“Denies us to the dead” rising major third transition (measures 78-79)............................40
23.
“Bread of Loves” motivic construction (measures 63, 80-81) ..........................................40
24.
“Bread of Loves” organ echo (measures 84-85)................................................................41
25.
“Help Lord, my Faith” incipit (measures 88-90) ...............................................................41
26.
Reduction of Section C (measures 68-87) .........................................................................42
27.
“In thy peace” rising major third transition (measures 93-94) ..........................................43
28.
“Stretch all thy powers” interlocking octaves (measures 106-107)...................................45
29.
“This sovereign subject” (measure 112) ............................................................................46
30.
“This sovereign subject” organ echo (measures 114-115) ................................................48
31.
Reduction of themes h and i, “Help Lord,” and “Rise, Royal Sion”
(measures 90-114)..............................................................................................................48
32.
“This sovereign subject” organ echo (measures 125-126) ................................................50
33.
Reduction of theme j, “Lo the Bread of Life” (measures 116-126)...................................50
34.
Reduction of Section A through D (measures 1-126)........................................................51
35.
Rhythmic relations to the “Pelican” motive.......................................................................54
36.
Reduction of Section C’ (measures 127-141)....................................................................55
37.
“And that long day” motivic construction (measures 43 and 144)....................................57
38.
“Come away” motive in Come Away Death; Lo, the Full Final Sacrifice;
Welcome Sweet and Sacred Feast......................................................................................58
39.
Reduction of Section B’ (measures 141-158)....................................................................59
40.
Reduction of Section A’ (measures 158-174)....................................................................60
v
41.
Reduction of Lo, the Full Final Sacrifice ..........................................................................62
vi
LIST OF TABLES
Table
Page
1.
Section A – Thematic Structure.........................................................................................26
2.
Section B – Thematic Structure .........................................................................................36
3.
Section C – Thematic Structure .........................................................................................42
4.
Section D – Thematic Structure.........................................................................................51
5.
Section C’ – Thematic Structure........................................................................................55
6.
Section B’ – Thematic Structure........................................................................................58
7.
Section A’ – Thematic Structure........................................................................................60
8.
Palindrome – Arch Form of Lo, the Full Final Sacrifice ..................................................63
ACKNOWLEDGMENTS
The author wishes to convey his gratitude to Ms. Diana McVeagh, for providing a copy
of the Crees Lectures which she is currently editing for publication.
CJR
The University of Utah
May 2008
HISTORICAL OVERVIEW
It was the summer of 1946 and the world was finally at peace. Life however was
anything but easy. One year had not yet elapsed since the close of the most globally lethal
conflict in human history. Still another year would pass before the Marshall Plan would
commence in assisting with the rebuilding of Europe. Rationing in Britain would continue for
more post-war years than during the actual war itself.1 For Gerald Finzi however, it meant a
much needed release from his full-time war duties at the Ministry of Transportation in London,
with an eye fixed once again towards compositional activities which had been all but impossible
for six years.2
While weekend visits were made during the war period,3 Finzi’s full return to his beloved
wife Joy, sons Nigel and Christopher (“Kiffer”), and the apple orchards at his serene countryside
home in Ashmansworth was long anticipated.4 While Finzi came face-to-face with the irritations
1
Meat and bacon were the final items to become freely available on 3 July 1954. Manuscript paper and paper clips,
let alone basic foodstuffs, were difficult to obtain. See Youngs, “My Wartime Menu;” and McVeagh, Gerald Finzi:
His Life and Music, 143.
2
“For the period 1939-1945 Finzi was employed in the Ministry of War Transport office and would have to again
return to London. He was in charge of cargo shipping to South America. The British Imperial Calendar and Civil
Service Lists of both 1943 and 1945 show Finzi earning in excess of 600 pounds-sterling; the latter listing titles
Finzi an Administrative Officer. Although it was a job he detested, it was a very responsible one, and he performed
his duties well. The organist, Richard Lathom, was there too. Gilmore Jenkins, a good friend of Vaughan Williams,
was the Head of that department. Finzi reportedly had little time to compose but was able to attend a few concerts
and managed to write in the few moments available here and there,” Dressler, Gerald Finzi: A Bio-Bibliography, 13.
3
To include directing of his amateur-based, Newbury String Players in local performances.
4
Christopher would have been eleven, and Nigel nine. In addition to Joy and music, Finzi’s life-long loves included
the country, literature, and all things English. To the end of his life he found great enjoyment in saving threatened
species of apple trees, of which he had 400 to 500 at Ashmansworth. See Dressler, 4, 5, 9, 12.
2
of home repair and putting daily life back into some semblance of normality, he managed to keep
things in perspective.5 After listening to the domestic complaints of one friend he wrote:
. . . when one thinks of all we have come through to be here at all. The only
survivor out of millions of spermatozoa, then one of the infants or children who
didn’t die. Then we escaped being one of the millions who were killed or died as
a result of the Nazis. And after all that we get in a frenzy because a plug won’t
pull, or a man hammers a nail in or a pencil gets mislaid!6
On June 6, Finzi was contacted by the Reverend Walter Hussey, vicar of St. Matthew’s in
Northampton, for a commission to be performed on September 21 at the church’s annual
founder’s celebration. Hussey had long supported the musical and visual arts feeling it was his
personal mission “to help re-forge the ancient link between the Church and the Arts.”7 Previous
commissions for the church’s anniversary included works by such notables as Britten, Arnold,
Tippett, Leighton and Howells.8 In 1944, the commission had been awarded to Alan Rawsthorne,
whose place was taken by Edmund Rubbra’s motet, The Revival, when he failed to produce any
work. The following year Lennox Berkeley received the commission, producing his Festival
Anthem. When Rawsthorne again failed to produce any work in 1946, Finzi was approached by
Hussey and accepted the commission despite the severely short notice, and his most common
and comfortable practice of allowing works to incubate over extended periods of time.9
5
Joy had also housed German and Czech refugees during the war years. See McVeagh, 107.
Letter from Finzi to Antonio ‘Toty’ de Navarro, 17 March 1946, in McVeagh, 143.
7
Letter from Walter Hussey to Finzi, 6 June 1946, in Banfield, Gerald Finzi: An English Composer, 326-327.
8
Britten’s Rejoice in the Lamb, together with Tippett’s Festival Fanfare, and Henry Moore’s Madonna and Child
sculpture were created for the church’s golden Jubilee in 1943. Hussey later went on to become Dean of Chichester,
where he commissioned Bernstein’s Chichester Psalms.
9
“Gerald’s habit had always been to keep in his desk the sketches for a number of different works. These would be
added to from time to time—often over a period of years; then, when he felt the moment was ripe, one work would
be taken out and completed . . . . The process of completion was sometimes difficult, but at other times
comparatively easy. He was never a fluent composer, however, and even the most spontaneous-sounding song might
have required innumerable sketches and rough drafts, with sometimes a break of years between its opening and
closing bars,” Howard Ferguson in Dressler, 4. “Finzi would not be happy until he was totally satisfied with a piece;
he did not like tinkering with a composition and hated artificially contrived music. One can understand then, why he
took on a very few commissions. For these reasons he tended to put things away in a drawer and take them out later;
6
3
Hussey suggested a Eucharist theme:
We have not so far had anything on the theme of the Eucharist . . . . The sort of
texts that pass through my mind are verses from Vaughan’s The Feast, or his The
Holy Communion, or Herbert’s Holy Communion, and many others of similar
and other sorts.10
Henry Vaughan had been set by both Rubbra and Berkeley, and Finzi, likely in the interest of
time and familiarity, suggested a Vaughan text he was well acquainted with from his 1922
setting of Psalm 121.11 Hussey responded favorably, and while providing additional options,
kept his preferences clear:
Yes, I think the Vaughan ‘Up to those bright and gladsome hills’ would be
included within the limits . . . . Some of the old latin hymns are lovely and very
suitable . . . . But other things being equal, I am inclined to think than an English
text is preferred.12
Finzi settled upon a combination of stanzas from Richard Crashaw’s poetic versions of
the St. Thomas Aquinas hymns, Adoro te, and Lauda Sion, and in so doing certainly met all of
Hussey’s requirements. The two texts are English and, like Vaughan, metaphysical. They are
based on Latin sources, intensely devotional and subject-relevant, subtitled by Crashaw “in
adoration of” and “for the Blessed Sacrament.” It would also seem of no small significance that
the two poems are arranged side-by-side in Turnbull’s, The Complete Works of Richard Crashaw
(1858), Waller’s edition of Crashaw’s, Steps to the Temple (1904), and Martin’s, The Poems
sometimes while out of mind, the problem with the pieces in progress would vanish. Many of his compositions were
written over a long period of time; e.g., Dies Natalis, one of his most respected earlier works took almost twenty
years to complete,” Dressler, 11-12.
10
Hussey to Finzi, 6 June 1946, in Banfield, 327.
11
Known as also as the first of “Two Motets.”
12
Hussy to Finzi, 12 June 1946, in Banfield, 327.
4
English, Latin and Greek of Richard Crashaw (1927), all three editions of which were owned by
Finzi.13
Despite the length and weighty nature of the verses, a month following Hussey’s
invitation Finzi still viewed the commission as a small work. Writing to Tony Scott on July 7 he
noted:
At the moment I’m doing a short anthem for that remarkable parson, Walter
Hussey of Northampton, who annually commissions composers & artists to do
works for his church.14
In the same letter he also described the anthem, “Mine’s only a little thing, organ & SATB.”15
Whether this was false modesty or simply initial misjudgment of the work’s potential, by
August the full impact of the once “little thing” had certainly taken hold. Lo, the Full Final
Sacrifice had become the longest single span of music Finzi had yet written.16 The passage of yet
another month found him still at work. While the family went mackerel fishing in Cornwall
without him, Finzi contacted long-time friend and composer Howard Ferguson who came and
helped.17 Clearly his “short anthem” had developed into something much larger than he had
anticipated. What specific assistance Ferguson provided is not clear, but after his visit he closed
a letter of August 29 to Finzi with the postscript, “I do like that Crashaw setting: it’s most
beautiful.”18
13
Over 6,000 printed volumes comprising Finzi’s personal literature and poetry collection were donated by his
family to the University of Reading Library in 1974. Formerly held in the Finzi Book Room, the collection is now
found at the Special Collections Service. Online scans of the card catalogue indicate Finzi’s personal books with the
annotation: “Finzi Book Room.”
14
Letter from Finzi to Tony Scott, 7 July 1946, in McVeagh, 147.
15
Banfield, 327.
16
Ibid.
17
McVeagh, 147.
18
Letter from Howard Ferguson to Finzi, 29 August 1946, in Ferguson and Hurd, eds., Letters of Gerald Finzi and
Howard Ferguson, 244.
5
Lo, the Full Final Sacrifice was at some point completed in time for Ferguson to receive
a printed score and respond on September 12, “So glad to get a copy of ‘The Sacrifice’, for
which very many thanks indeed. It looks good in print, and I like your Amen!” Ferguson then
apologized for a few misprints, “So sorry for these, my sins of omissions (or are they
commission?),” and offered his best wishes for the next-day’s performance of yet another
significant Finzi work:
I’ll be holding thumbs for ‘Dies’ tomorrow, and am delighted that old trout [Sir
Ivor Atkins, organist and conductor at Worcester] gave you 20 minutes for it in
the Cathedral. 19
The “Dies” of which Ferguson referred was Finzi’s cantata, Dies Natalis, for soprano and
strings. Originally to be premiered at the Three Choirs Festival of 1939 in Gloucester, the
outbreak of war cancelled his first major performance which would likely have brought him to
public prominence sooner.20
Finzi conducted Dies Natalis at Hereford on September 13, the first Three Choirs Festival
in six years, and received a positive review:
Distinctive too were Samuel Barber's conducting of his Adagio for strings, and
Gerald Finzi's conducting of his ‘Dies Natalis' for solo soprano and strings, to
words by Thomas Traherne. Time and again history has recorded cases of
composers unable to obtain satisfactory interpretations of their own compositions.
But that was decidedly not the case at this year's Three Choirs Festival; here the
completely satisfying moments came when composers were in charge of their
19
Ferguson to Finzi, 12 September 1946, in Ferguson, 244.
“There had been a six-month gap in Joy’s Journal. Then came September 1 [1939] Declaration of war. In fact,
that was the day Germany invaded Poland. The Finzis were at the Royal College of Music in London, for the final
Three Choirs rehearsals. As Dies Natalis was being sung, it was announced that the festival was cancelled: Gerald
noted it on his programme of the abandoned festival. It was to have been his first performance at a major occasion.
There is no mention of this setback in the Journal, but Gerald wrote to Toty de Navarro: ‘A more unfortunate day for
publication than Sept 1st cd not have been chosen & I must resign myself to the work being a complete flop for the
time being. However it’s there for the future, whatever that may be, & I was lucky enough to get as far as the 2nd
rehearsal (when it sounded quite all right).’ His loss seemed to him ‘a very small thing in a very big upheaval’,”
McVeagh, 106.
20
6
own works . . . . Beautiful too was Finzi's setting of the meditative philosophy of
Traherne, and again the craftsmanship was impeccable.21
Finzi, obviously pleased with the performance wrote a few days later in a relieved and happy
mood to Tony Scott, thanking him for the use of his suit:
I can’t pretend that the whole Three Choirs Festival was dependent on your
morning suit, but I certainly was! It was a perfect fit & what with Tom Scott’s
[their doctor’s] shirt & collar, & John’s [Sumsion’s] tie—together with John and
four assistants to help me put the things on in the right order—I got through it all
right.22
With that much-needed public success achieved, he and Joy traveled the following week
to Northampton for the September 21 premier of Lo, the Full Final Sacrifice, Alec Wynton
conducting. No reviews of this first performance have been found,23 however the anthem was
well enough received to be performed again at St. Matthew’s that November for the unveiling of
Graham Sutherland’s painting, Crucifixion. Hussey also invited Finzi to compose an
unaccompanied mass for the coming year, but the composer declined. Already in the midst of
another rushed project to underscore a radio play of Love’s Labour’s Lost (three weeks), perhaps
he felt he had had enough of commissions for the time being.24
An orchestrated version of Lo, the Full Final Sacrifice was performed (together with Dies
Natalis) at the Three Choirs Festival in 1947, and again in 1948. The 1947 performance, with
Finzi in his first professional directing attempt, did not go well, although his reputation as a
composer was strengthened:
Finally, Finzi’s cantata, ‘Lo, the Full, Final Sacrifice,’ originally composed for St.
Matthew’s, Northampton, was introduced to a wider audience under the
composer’s own direction. It was not very well sung, as the choir had difficulties
with pitch and intonation, but it showed that the composer, whose mastery as a
21
Nettel, “The Three Choirs Festival, Hereford.”
Finzi to Scott, 16 September 1946, in McVeagh, 147.
23
Crutchfield, “A Conductor’s Analysis,” 85.
24
Banfield, 331.
22
7
miniaturist is now generally recognized, can also handle a larger form with a sure
touch.25
In 1948, the same reviewer reported:
Finzi’s ‘The Full Final Sacrifice’ was repeated from the Gloucester programme of
last year, and was conducted by Dr. Herbert Sumsion. Like Rubbra in ‘The
Morning Watch,’ Finzi catches the spirit of the metaphysical poets and writes a
free flowing music whose melodiousness is in the last resort derived from
folksong as Rubbra’s is from Tudor polyphony. Both, therefore, write a
characteristically English kind of music, not music for the market-place, it is true,
nor necessarily for the church, but for any place or occasion of meditation.26
And of the latter performance The Musical Times related:
The repetition of Finzi's cantata 'The Full, Final Sacrifice', first heard at last year's
Festival, was ample testimony of its worth. This composer's gentle and gracious
lyricism must be as soothing to the singers as it is to the audience in our brusque
and angular melodic age.27
Devotional and celebratory, brooding and triumphant, penitent and dramatic, Lo, the Full
Final Sacrifice is viewed today as one of Finzi’s finest works. His delayed entrance into the
public eye now inconsequential, the anthem—his first mature choral setting—continues to find a
respected place among both secular and ecclesiastical ensembles, and has been commercially
recorded by such choirs as the Choir of King’s College, Choir of St. Paul’s Cathedral, Choir of
Worcester Cathedral, and The Finzi Singers.28
25
Frank Howells, “From Our Music Critic,” The Times, [London], 13 September 1947, in Crutchfield, 85.
Ibid.
27
“The Three Choirs Festival,” 252.
28
For a more extensive list see Dressler, 34, 62-75.
26
CREATIVE PROCESSES & POETIC INFLUENCES
While Lo, the Full Final Sacrifice was a commissioned work with a pressing deadline,
Finzi generally enjoyed the liberty of composing at his leisure, not out of financial necessity, but
simply because he felt to do so. By marriage, Finzi had the benefit of money from Joy’s family
upon which they could subsist.29 Prior to marriage, Finzi taught briefly at the Royal Academy of
Music, a position he was all too happy to leave, writing “Allylewya! Allylewya! Allylewya!” to
Thorpe Davie on his last day.30 Finzi however was in no way ignorant of, nor ungrateful for his
good fortune to live and compose so freely. He later mused on the origin of “mean-spirited”
professors, and the toll of life’s rigors upon the working musician:
. . . perhaps the pressure of life, of competition has been too much for spirits too
frail to bear it. I don’t like to think of how much worse I shd [sic] have been if I
had not been a comparatively free man, for I cd [sic] never have earned my living
as a musician, not even as a pedagogue; and how sour that might have turned me.
. . .31
While Joy was indeed his “joy,”32 so also was English literature, of which he amassed a
significant collection throughout his life, poetry being his chief source of compositional
inspiration. It goes without saying that he was extremely well read. The diversity of his tastes is
evidenced in the authors he set including: Crashaw, Vaughan, and Taylor (metaphysical),
29
McVeagh indicates that while Finzi immediately fell in love with Joy, among his many fears of marriage at the
time was, ironically, that her money might be an “unacknowledged attraction.” See McVeagh, 69. By all accounts
they became quite a successful team, Joy running the ‘business’ of home and life, clearing the way each day for
Gerald to work in whatever way he found best.
30
In July 1933. See McVeagh, 71.
31
Letter from Finzi to Robin Milford, 8 March 1948, in Banfield, 2.
32
Finzi completed the partsong My Spirit Sang All Day shortly after his marriage. The final line of the Robert
Bridges text exclaims, “thou art my Joy!” See McVeagh, 78.
9
Hardy (agnostic fatalist), Wordsworth (lyric romantic), Bridges (prosody), Rosetti (children’s
texts) Shakespeare, Milton, and Bridges. Text selection was a very instinctive and sometimes
instantaneous experience for Finzi. Quoting his father, Christopher indicated that he did not
“choose texts,” rather “they chose [him].”33 In The Composers Use of Words, his series of three
Crees Lectures given at the Royal College of Music in 1955, Finzi describes (in academic third
person) his own experience with the creative impulse and its relationship to text:
The process from the composer’s angle is this. He may read some lines. Instantly,
with the reading, musical phrases will bind themselves to the words . . . music
may even be brought about by the sounds, irrespective of the senses.34
John Russell described his personally witnessing such a creative moment with Finzi:
Once, as I came into Gerald Finzi’s music room, I found him reading a poem of
Henry Vaughan. He looked up, smiled, and by way of humorous greeting sang:
“O rose of Sharon! O the lily of the valley! How art thou now.” He put it straight
down on paper (talking with me at the same time) and it became the main musical
idea of his anthem, ‘Welcome, Sweet and Sacred Feast.’ There, I realized, was
Finzi in the very act of finding out a musical tune. The words sang themselves
simply and effortlessly. The melody was immediately accepted and set down
because every note of it was fused together with the poetry; the accompanying
harmonies and contrapuntal texture were equally sure and inevitable.35
Finzi described such inspirations as a “lyrical impulse—an unanalysable burning quality,” and “a
surcharge of emotion, a passion.” An intense and immediate sympathy for the text was for him,
the “germ of the creative impulse.” Not remiss to point out that “a balance between intellect and
emotion is the foundation of the greatest works of art,”36 he nonetheless relied heavily upon his
initial spark to both sustain and guide him through the creative process:
33
Crutchfield, 155. Finzi’s views on textual inspiration were formed early. He wrote to Ferguson while Christopher
was still in infancy, “ . . . the first and last thing is that a composer is (presumably) moved by a poem and wishes to
identify himself with it and to share it . . . . I don’t think everyone realizes the difference between choosing a text
and being chosen by one.” Letter from Finzi to Ferguson, 19 December 1936, in Ferguson, 139-140.
34
Gerald Finzi, The Composer’s Use of Words, Crees Lectures II, unpublished manuscript provided to the author by
Diana McVeagh.
35
Russell, “Gerald Finzi.”
36
Finzi, II.
10
Some composers have never written a song or a choral work without at least one
line being instantaneously matched with a musical equivalent on the very first
reading of the words. That does not make a work of art, but it is the initial
excitement which brings the intellect into play to carry the emotion to its end.37
What then of Finzi’s specific impetus for the selection and combination of the two
Crashaw texts comprising Lo, the Full Final Sacrifice? The specific impetus or moment, the turn
of phrase, textually or melodically if there be any, which moved him from Vaughan to Crashaw
is not a matter of published record. Perhaps a close study of his sketches might inform more
authoritatively on this question, but until the author is able to arrange such a viewing, Finzi’s
program note from the 1947 Three Choirs Festival will need to suffice:
If Crashaw’s work has a reputation for remarkable inequality it is generally
agreed that there are moments of religious emotion where he reaches an ecstasy
hardly surpassed in English poetry. It was this element rather than the ornate
imagery and baroque conceits which led to the choice of the text.38
Despite his spiritual-like view of the creative impulse, Finzi described himself, much like
his close friend Vaughan Williams, as an agnostic. Yet the “religious emotion” and “ecstasy” of
Crashaw certainly found sympathy with him. Over the years, many a listener to Finzi’s religious
settings may have been persuaded (like Agrippa by St. Paul), that Finzi was indeed a Christian.
How does one respond to the question of Finzi’s sensitivities and gifts towards portraying so
well such sacred texts in a meaningful manner? In writing to Tony Scott the day following the
premiere at St. Matthew’s, Finzi addressed this seeming incongruity with the words of A.C.
Ward describing Leonardo da Vinci:
. . . not what would ordinarily be called a religious man, the Last Supper shows he
could understand what Christian Faith meant to others, and respect and minister to
it.39
37
Finzi, III.
Crutchfield, 81.
39
McVeagh, 147.
38
11
According to Christopher, his father had a great respect for religion, “knew the Bible well
and loved it as literature,” and would in his viewpoint, have been attracted to Crashaw simply for
the poetic aspects, rather than any personal religious devotion.40 If Finzi and son are being honest
in their personal spiritual assessments (and we currently have little reason to believe otherwise),
the composer certainly deserves our recognition, if not high admiration, for his ability to write
with a fitting musical voice, as John Russell put it, that could only be described as “inevitable” to
its text, whatever the subject.41
40
Crutchfield, 155-156.
Christopher Finzi also observed, “He always showed such respect for all texts. In a sense, the words were always
put first. The music was subservient to the words, always.” Ibid., 157.
41
FORMAL ANALYSIS
Preliminary Studies
In the course of preparing a structural analysis of Lo, the Full Final Sacrifice, the author
made a full study of the published interpretations of Kathleen Robinson, John Crutchfield, John
Dickson, Stephen Banfield and Diana McVeagh. Robinson provides the most voluminous
examination of the five, a measure-by-measure viewpoint based primarily upon the reappearance
and relationship of similar cellular motives. She also provides detailed analyses of harmonic,
melodic, and rhythmic topics, although each is addressed in separate chapters rather than being
integrated with one other in context of the entire work. By comparison, Crutchfield discusses no
musical motives at all, rather, he provides a structural analysis founded primarily upon
identifying the antecedent and consequent phrases of Crashaw’s couplets completely outside the
context of all musical elements. Crutchfield does however provide brief examinations of
harmonic, melodic, and rhythmic characteristics, though like Robison, in separate unrelated
sections. In an article for Choral Journal, Dickson discusses the important role of textual
analysis in preparation of a choral score, and uses the Crashaw/Finzi text as his first case study.
Dickson discusses a loose type of palindrome in the arrangement of text, as the poetic subjects of
sacrifice, wine, bread and personal petition as introduced in the first half of the anthem, are
reversed in appearance as the work proceeds to its conclusion: petition, bread, wine, and
sacrifice. Dickson’s examination of the Finzi was not intended to address the musical aspects of
the
composition,
and
while
this
author
does
not
entirely
agree
with
his
13
identification of the anthem’s structural divisions outside of that context, the general concept of
the palindrome is valid and provides a formal reference point, in full context of the music, for the
analysis presented here. Banfield provides a brief, but useful discussion of a few primary motivic
figures and their basic transformations. McVeagh provides a succinct overview of the anthem
and its salient features. Neither Banfield nor McVeagh provides an in-depth study of the work as
their biographies are designed only to introduce such pieces generally and within the historic
context of Finzi’s life.
It is the observation of the author that a successful approach to analyzing this work may
draw upon some of the more helpful of the insights of each of the referenced studies.
Additionally, that while many of these examinations concentrate on motivic construction, Finzi,
by all accounts, was not a cellular composer, but a lyrical composer. While there are appearances
of similar motivic fragments throughout the work, care should be given as not to define its
construction solely by the discovery of perceived underlying musical atoms. On the contrary, the
appearance of recurring figures actually lends support as evidence to the nature of Finzi’s
personal and intuitive approach to composition—that similar gestures or characteristics of one
melody or theme would naturally reappear, even numerous times, throughout such an extended
work as this as evidence of his personal handiwork. Together with the fact that this commission
was to be fulfilled in an extremely short period of time—and Finzi would out of creative impulse
or scheduling necessity (or both), compose this work “at white heat”42—this analysis will
therefore seek to identify and examine both small and large formal elements in a context
supportive of Finzi’s modus operadi.
42
Finzi, II.
14
Examination of Form
Section A
The anthem opens with a subdued and brooding organ prelude. Also functioning as a type
of abbreviated overture, the prelude introduces some of the primary thematic and gestural
materials of the composition, while setting the mood for the liturgical drama of Christ’s sacrifice
and its modern manifestation in the celebration of the Eucharist.
The opening period in measures 1-5 comprises a full instrumental statement of the
opening vocal text to come, “Lo, the full final Sacrifice,” evidencing that the introduction was
most likely composed after the work had substantially progressed, or perhaps was otherwise fully
complete. The antecedent phrase of the “Sacrifice” or ‘a’ theme outlines the rise and fall of a
perfect fifth, a leap that returns throughout the anthem in various thematic contexts and moods.
The consequent phrase contains instances of the melodic third in two distinct forms—presented
by skip in measure 3, and by step in measures 4-5, both of which will also be woven naturally
throughout the work (see Figure 1).
Figure 1. Construction of theme a, “Sacrifice” (measures 1-5).
15
A linear reduction of a reveals a chant or groan-like pivoting around E, approached by upper
neighbor, upper third, and step-wise from a third from below. (see Figure 2).
Theme a is followed by a transitional statement styled, as Banfield suggests, in the
“Anglican conventions of improvisation” (measures 6-8).43 This brief material gives one the
impression of a through-composed interlude, however the emotive octave leap, followed by a
step-wise descent also returns in varied forms later in the work, thus functioning as small
recurring motive (measures. 33-34, 68-70, and 127-129). Also of particular interest is the Crosslike figure resulting from the contrary motion in measures 7-8. Whether a conscious Bach-like
construction, or a natural outgrowth of Finzi’s free-flowing linearism (or a mixture of both), the
element is most fitting for the poetic subject of the anthem (see Figure 3).
Figure 2. Reduction of theme a (measures 1-5).
Figure 3. Organ “Cross figure” (measures 7-8).
With such prominent melodic elements, this segment might be viewed as a new structural
subdivision, however a reduction of these measures reveals a background line based upon theme
43
Banfield, 328.
16
a (See Figure 4). This line, containing the upper neighbor to E, varied by the melodic third
descending in the alto voice of the organ, clearly maintains the underlying form of the
“Sacrifice” theme, and shall therefore be identified simply as an extension of this material, or
a(x) (see Figure 4).
The “improvisation” is interrupted by an abbreviated return of the initial theme pitched a
perfect fifth below its original statement. With the bass descending to a low C♯ at measure 10,
accompanied by the contrary rise to the neighbor tone B♭ in the treble, harmonic preparation is
made for the first clear arrival of the tonic center of A major at measure 12 (see Figure 5).
Figure 4. Reduction of theme a(x) (measures 6-8).
Figure 5. Reduction of theme a’ (measures 9-11).
It should be noted that the predominance of E throughout the opening measures of the
prelude affects a sense of E minor, or more accurately, E Phrygian as the primary key center.
17
However the arrival of A major at measure 12 calls for the preceding measures to be understood
as functioning in the role of dominant (borrowed), rather than the tonic. Moreover, cross
relations obscuring the modality of the first eleven measures, infer that the tonic of A will arrive
in minor, not in major as actually occurs. Thus, both modal variants of A have been identified as
key centers in the formal reductions presented thus far.
The primary motive for a new thematic statement enters at measure 12, with the distinct
rising third in A major foreshadowing the “Wine” text to come at measure 55 (see Figure 6). The
melodic rise in measure 12 continues to high A, then arches downward in three successive
descending treble sighs, from high A to C♯ (measure 13), E to A (measures 14-15), and C to G♯
(measures 15-16). The final resting G♯ functions as both the color tone of the augmented chord
which cadences this second improvisatory interlude, as well as the common tone linking the
return of a at measure 17. Because of its forward-looking reference to a more extended statement
later in the work, it shall be identified as theme d, corresponding to its later thematic placement
in the anthem as a whole.
The prelude closes with a final shortened return to a, voiced for the first time with a
prominent G♯, the common tone from theme d, and again emphasizing again the dominant
function of the “Sacrifice” theme (see Figure 7). Taken as a whole, the entire background line of
the Prelude reveals a statement-departure-return, with the departure being to the tonic, and the
primary statement and its return in the dominant (see Figure 8).
18
Figure 6. Theme d, “Wine,” motivic construction (measures 12, 55).
19
Figure 7. Reduction of measures 17-20.
Figure 8. Reduction of organ prelude (measures 1-20).
Eliding on the conclusive E of the prelude, the opening choral statement reveals the
textual inspiration behind theme a. Finzi’s most notable compositional gift was his textual
delineation—his ability to remain true to the spoken, dramatic rhythm of a given verse, while
creating a musical setting for it which was still naturally lyrical. He loved words, and he felt a
strong sense of obligation to be true to the poet, and true to the beauty of the original sound,
flow, rhythm, and meaning a text. Meter, register, melodic gesture, stress placement, dynamics
and tempo were all among his tools in bringing text to musical life. In a 1959 tribute, Alan
Walker praised:
The music of bad song-writers sets words; the music of good song-writers is set
by words. It is one of the hallmarks of Finzi's excellence that his vocal music
never shows the slightest evidence of strain between the separate and to some
extent opposed demands of music and poetry. Finzi had a great love for, and a
superb understanding of, the human voice. He also possessed an ear that was
perfectly attuned to the subtleties of the English language. Finzi allows the poetry
to mould his musical thought; he never imposes himself upon the words but rather
allows himself to be imposed upon by them. The poet dictates to him; never the
other way about. It is this receptiveness to the changing nuances of poetry that
makes Finzi, in my opinion, one of the finest English song-writers of this or any
other age. His mastery of the mechanics of word-setting can be demonstrated by
20
any one of a score of works, and I think it is here that we must form our judgment
of Finzi's worth. More than any other composer that I can think of, he identifies
himself so closely with the text that at times he never makes a musical move that
has not been sanctioned by the poet.44
It is even more remarkable that Finzi achieved such poetic musicality in his vocal works through
the use of strictly syllabic text settings. Ferguson identified only one instance of melisma—the
oft favored tool of composers in achieving vocal expressivity—in all of Finzi’s compositions.45
A wide range of note durations and frequent change of meter characterize a Finzi
choral/vocal score. In the opening choral text the words “Lo,” “full,” and “Sac-rifice” are
emphasized through stresses of length (agogic). “Sacrifice” and “figures” are also emphasized
through rises of pitch in the otherwise flat, chant-like melody. Placement on strong beats within
the measures also draws out the alliterative “f”s in “full,” “final,” “Sacrifice,” “figures,” and
“fix’t.”
A change of meter to 7/8 at measure 24 appears visually jarring in the score, but creates
no aural distraction, serving to effectively accelerate the text delivery46 and enunciate the natural
stresses of, “Ran-somed,” “I-sacc,” “ram,” “Man-na,” and finally, “Pas-chal Lamb” upon
returning to 4/4. Regarding his priority in the maintenance of proper word stresses Finzi noted,
Most of us have learnt the difference between quantity [meter] and accent, and
how in reading poetry, and also setting it, the natural rhythm and stress of words
must be preserved at the expense of metrical accents.47
Furthermore, he viewed his freedom in working with meters a natural outgrowth of a historically
increasing rhythmic flexibility among composers:
44
Walker, “Gerald Finzi (1901-1956).”
He references the twelve-note descent on the final word “weep” in Come away, Death (see Dressler, 6). However
he overlooks the beautiful “Amen” melisma concluding Lo, the Full Final Sacrifice that he himself helped complete.
There must be then, at least two such instances of melisma in Finzi’s oeuvre.
46
Robinson, “A Critical Study,” 430.
47
Finzi, I.
45
21
Stanford, being of his generation, found absolute accuracy of declamation
impossible to carry out in measured song—the barline saw to that. Today, as
indeed centuries before, this worries us less, and if we really want such accuracy
we can have it . . . . in the later choral works of Vaughan Williams, groups of
notes are bracketed together over or within the bar-lines, to show that they are
subservient to the word accents. Walton does just this sort of thing, with accents
instead of brackets in Belshazzar’s Feast.48
While continuous metrical variation and syllabic text setting might result in a wearisome overdeclamatory idiom from another composer, Finzi’s writing approaches no such boundary, erring
if at all, towards a lyrical, connected voice, even in his music’s most angular moments.
The interesting melodic line spanning measures 24 (with pickup) to 26, is an outgrowth
of the rise and fall of the 5th in theme a. It is also a palindrome, outlining the small arch of E-BF in the antecedent phrase, and the reverse arch F-B-E in the consequent phrase (see Figure 9).
These short melodic rises are not only compressed versions of the “Sacrifice” theme in a
gestural sense, but also in their structural background. A reduction of this period, together with
the returning theme elided in measures 26-30, reveals an extended version of a (compare Figures
2 and 10).
Figure 9. E-B-F / F-B-E palindrome (measures 24-26).
48
Finzi, III.
22
Figure 10. Reduction of “The ransomed Isaac” (measures 24-32).
The restatement of the opening text at measure 26 is used as a formal framing device in
this opening section, and again as a large-scale framing device by its appearance at the close of
the anthem. In these openings lines then, the listener is presented with a large-scale anacrusis to
the entire anthem. As Finzi specifically selected from among the closing lines of Lauda Sion to
open (no less title) the work, he is instructing us from the first subdued organ tones of the
prelude to fix our eyes on the end of the drama, both figuratively and literally—“Lo!” there is the
final sacrifice towards which all have looked forward.
No less similar to Bach’s stirring
command “See him!” in the opening chorus of the St. Matthew Passion, the drama of which then
plays out through its numerous successive movements, Finzi sets our minds towards the
conclusion of the anthem as a giant arch which will bring us back to (and from) the “Lamb slain
from the foundation of the world.”49
The organ interlude of measures 31-35 functions as both an extension of a (as in the
prelude, measures 6-8), and a transition into the next structural division of the work. The
affirming of A major as the key center at measure 32 releases the listener from the brooding
dominant E which has sounded almost without break from the onset of the work. This arrival
however is almost immediately obscured by the sinewy gestures of contrary motion and cross
relations which follow, with a mode return to A minor sounding clearly at measure 35. The
49
Rev. 13:8
23
unique contour of these lines, a mix of linear and angular motion, is reminiscent of the Cross
imagery identified in the corresponding measures of the prelude (see Figure 3). Banfield suggests
his own metaphor for the interlude, that of portraying activity in the chancel.50 Among the other
purposes these measures satisfy is introducing the dramatic melodic gesture of the downward
leap of a fifth, answered by an upward octave at measure 33, an echo of prelude measure 6, and
in anticipation of similarly wide leaps on “Jesu, Master” following in measures 39-40 (see Figure
11). Finally, the winding contrapuntal lines redirect the anthem into fresh harmonic ground,
closing with the familiar rising major third as the harmonic link between A and F major in
measures 38-39. In this cadential figure we find another Finzi signature—his use of mediant
relationships and/or common tones for key transitions (see Figure 12).
A reduction of the interlude shows the familiar stepwise movement away from and
returning to the key center (see Figure 13). Consistent with the reductions, a structural outline of
Section A in its entirety indicates one primary thematic element (see Table 1). Together with the
long-sustained E harmony, and the use of dramatic text repetition, this section is thereby unlike
any other structural division to follow. In particular, the remaining large sections of the anthem
are typically characterized by the use of successive multiple themes and numerous key
transitions.
50
Banfield, 328.
24
Figure 11. “Jesu Master” imploring leaps (measures 33, 39-40).
25
Figure 12. Rising major third key transition (measures 38-39).
Figure 13. Reduction of theme a(x), organ interlude (measures 32-38).
26
Table 1
Section A – Thematic Structure
Theme
Function
Measures
Text
a / a(x) / a’ / d
a
a(x)
Introductory
Theme
Extension/Conclusion
1-20
20-32
32-39
Organ prelude
Lo, the full, final, Sacrifice
Organ interlude
Section B
The pastoral F major entrance of “Jesu Master” marks the beginning of the second
structural division of the anthem, comprising measures 39-67. In Finzi’s selection of the final
three stanzas of Lauda Sion to open the work, the listener is first introduced in Section A to the
Sacrifice of the New Testament, juxtaposed with the sacrifices of the Old. Within Section B,
those images are bridged to “this day’s” subject, the Eucharist, with the bringing forth of the
sacramental wine.
The first brief statement of Section B, comprising measures 39-43, serves as a simple but
effective opening to the musical and poetic themes to follow. The abbreviated length of this
theme b, its lack of extension or development and—most importantly to an examination of
form—the resulting sense of it being introductory in nature, stems from Finzi’s electing to omit
the rhyming couplet which follows in the original Crashaw text. Stanza 13 of Lauda Sion reads
in its entirety: “Jesu Master, Just & true! / Our Food, & faithfull SHEPHARD too! / O by thy selfe
vouchsafe to keep, / As with thy selfe thou feed’st thy SHEEP.”
The initial soprano leaps downward and corresponding tenor answer on “Jesu Master” is
highly effective in portraying a sense of spiritual reaching or prayerful imploring. “Just and true”
is set to the same two voices in united octaves, the clarity of line underscoring the meaning of the
text. “Our Food, and faithful shepherd too” continues the subtle message of personal stretching
27
with the downward leap of a minor seventh followed by an upward minor sixth on “Our Food.”
A slowing of text delivery, and a poetic sense of longing, takes place with the meter change to
3/2 and a poco ritardando at measure 42, the moment of period closure and key shift.51 In these
opening measures, gentle, undulating eighth-note runs in the organ manuals, together with a
subtle scale descent in the pedal, introduce the figures for what will be an accompanimental
ostinato in the sections to follow, and most importantly, providing continuity for what may
otherwise be perceived as four disparate musical statements in Section B. This introductory
material closes with the familiar rising melodic third bridging measures 42 and 43 and,
employing a literal melodic repetition of measures 38-39, creates another mediant shift
downward, in this instance to D major. The underling cadential formula is plagal, G minor in
measure 42 being the subdominant (modally inflected) of D major (see Figure 14).
The bass ostinato now distinct, a little “Holstian” march ensues, perhaps a procession to
the altar,52 building in energy in measures 43-51.
The organ opens the march with two
consecutive octave-leaps downward from A, a direct reference to the “Jesu Master” theme
previously concluded. The tenor, in a distinct ‘men’s chorus’-styled entrance, answers the organ
from the same A, incorporating the outline of the organ leaps, as well as the rising major third
gesture into one new unified turn on the text “O let that love” (see Figure 15).
In this theme c, overlapping entrances between soprano/alto and tenor/bass voices
reiterate the textual statements, “O let that love, “Lift our lean souls,” and the well-painted
leaping gesture, “and set us up,” building to the first climax of the work, all voices exclaiming
simultaneously, “Convictors of thine own full cup.” Heightening the importance of the moment,
51
52
This text slowing is an interesting opposite to the text quickening at measures 24-25 previously discussed.
Banfield, 328.
28
Figure 14. Rising major third transition with plagal formula (measures 42-43).
29
Figure 15. “O Let that love” motivic construction (measures 43-44).
Finzi stretches the anacrusis of the climax with a change at measure 49 to 5/4 meter, prolonging
the rhythmic value of the word “up” and by the two, increasing the moment of anticipation and
opportunity for crescendo. He also infuses the harmonically straightforward D major march with
the dramatic borrowed submediant (♭VI), now additionally colored by the strong soprano
appoggiatura E to D on the words “thine own.” The resolution away from ♭VI first proceeds to
the dominant on the word “full,” colored briefly by another strong nonharmonic neighbor, G♯, in
the organ. The G♯ is then re-articulated on the word “cup,” becoming the root of the leadingtone harmony. Yet this diminished chord is also colored most strongly by placement of the
30
dissonant and prominent A in the upper tenor and organ manual. In hindsight a perceptive
listener might ascertain its function as anticipation to the ensuing key shift. However in context
of the musical build-up, as well as the sequence of highly pronounced nonharmonic tones it
belongs to, it is simply the perfect musical metaphor to play upon the bitterness of that “full
cup.”53 As Finzi has thus heightened our tension as “Convictors of [His] cup,” he then releases us
into a clear and placid A major as “Coheirs of Saints,” each vocal echo independently entering
and fading as if beckoning heavenly voices are as still as yet veiled and just out of reach. The
accompanimental eighth-note march slowing to a close, a final reminder of “Jesu Master” is
voiced in the organ in response to the choral retreats (see Figure 16).
The rhythmic augmentation of the pedal ostinato to quarter notes, and reduced tempo,
poco meno mosso at measure 55, set a hushed atmosphere for the introduction of the Eucharist
wine, Crashaw’s fitting parallel in the present for Christ’s “full cup” in the Passion. In this the
third division of Section B, the triadic “Wine” theme (‘d’), as initially and briefly sounded in the
prelude is now fully stated, first in the alto voice in the previously established A major (see
Figure 6). The modal ambiguity and contrary motion to the choral line as introduced by the G♮
and F♮ pedals contribute to the mystery of the sacramental presentation. The bass voice,
answering the alto, completes the two-statement sequence by repeating the theme in the higher
relative key of C♯ minor.
In this the fourth and final division of Section B, a lifting of modality (and mood) by the
shift to the enharmonic D♭ major at measure 61, accompanied by a fresh underlying rhythmic
emphasis on triplets, paint a return to pastoral images in theme e. The alto melody, an outgrowth
53
Finzi uses this exact convention to obscure the harmony on the word “veil” in measure 165—see the examination
of Section A’.
31
Figure 16. “Jesu Master” organ echo (measures 52-54).
32
of the “Wine” theme, paints a triadic outline with emphasis given to two intervals of a third
within the span of a fifth (see Figure 17).
Figure 17. Relationships of themes d and e, “Wine” and “Pasture,” (measures 55-57, 61-63).
33
Crashaw’s images of “Food” and “Shepherd” (measure 42) return in the form of the
“Pasture,” as a final slowing of tempo and subsiding of pedal motion bring the underlying
structural connection of measures 39-67 to completion. In these closing lines of Lauda Sion,
petitioners seek not for a change in spiritual nourishment, only of “Place,” that they may feed
within a more close communion of the Lord—“in thine own Face.” Such a longing for personal,
even physical closeness with deity will also be repeated in the closing lines of the anthem, “And
for thy veil give me thy Face” (measures 164-165). In the same manner that “Coheirs of Saints”
closed theme c, another Finzian fading-away occurs in measures 65-67 as the organ again echoes
a prior text, “To feed of thee,” and the choir falls silent. A fermata and lift of the final organ
tones mark a clear and distinct end to Section B (see Figure 18).
Figure 18. ”To feed of Thee” organ echo (measures 64-67).
34
The colorful and prominent usage of nonharmonic pitches identified in measures 50-51,
together with an interesting succession of key shifts woven throughout Section B, present an
opportunity to examine another important aspect of Finzi’s compositional method, his basis for
harmonic construction. As seen in these examples, Finzi’s language consists of a unique mix of
late 19th and early 20th century idioms, mixed modality, and traditional triadic structures with
added seconds, sevenths, ninths and so forth. For the sake of clarity, the nonharmonic tones
previously discussed have been identified using their traditional nomenclature, however the
statements of those who worked closely with Finzi provide the revealing insight that his
harmonic constructions, large and small, resulted not from planned vertical formalities, but from
linear inevitabilities. Ferguson observed:
His original ideas with vocal music always started with a melodic line following
the words. He worked so much from a melodic standpoint that he never realized
the harmonic implications. They were absolutely secondary to him. He had no
hesitation of starting a very short song in one key and ending it in another. The
harmony didn’t occur to him in connection to the structure.54
Recollecting the unique experience of being Finzi’s private pupil (perhaps his only one),
Tony Scott indicated that while “bogged down in composing harmonic progressions,” Finzi
provided a clever pedagogical solution to “introduce a linear character to the music”:
He gave me a series of the two-part Bach inventions for clavier and set me an
exercise which consisted of adding a third part to each invention. I liked doing
these exercises, and I found that the effect was startling; I began to think in lines
and threaded them though the harmonic progressions which appealed to me. This
was a very different approach indeed to the arid exercises in sterile 'paper work',
so called harmony and counterpoint. My efforts with the 3-part inventions would
be rewarded with a visit to the fruit cage, where we would gorge on black and
white currants, gooseberries or raspberries, whichever was ripe.55
54
55
Crutchfield, 165.
Scott, “Gerald Finzi as a Tutor.”
35
Harmony then, falls among every other aspect of Finzi’s work that attests to his lyrical muse and
linear mode of operations. As words were the poetic impulse for an intuitive Finzi melody, so
also was a Finzi melody the poetic gesture from which his harmonies naturally sprang.
If Finzi is to be criticized at all on his methodologies, it must simply be that, if we are to
take his colleagues at their word, he may not have always set out from the beginning with the
end squarely in mind. In Lo, the Full Final Sacrifice, the voices flow most lyrically and naturally
upon a thematic statement or within a short musical section, but the work as a whole is
unashamedly stanzaic in matching the Crashaw texts, and heard as a collection of beautiful but
short antecedent and consequent pairs connected by smooth harmonic and melodic transitions (in
short, a song of songs). Ferguson described Finzi’s nine-stanza setting of Wadsworth’s,
Intimations of Immortality as similar in construction:
I think he was a very great song writer. I think much more that than a choral
writer—it was much more natural to him. Partly because that is his typical length
of music . . . . All the sections [of Intimations] are very moving, but I get the
feeling that it tends to go up and down (into a shorter climax and then down
again, and another short climax and then down again). I think that’s why he wrote
very few full scale instrumental works because he didn’t think of a large scale.
But he was a very natural songwriter.56
Structural divisiveness aside, the completed analysis of Lo, the Full Final Sacrifice will
reveal a clear palindrome-arch, indicating that Finzi did indeed consider the larger form in the
composition or at least arrangement of the anthem’s stanazs (this evidenced most distinctly by
the opening and concluding usage of the “Sacrifice” theme). Thought it is uncertain to what
extent Finzi’s underlying harmonic movement was conscious or intuitive, Shenkerian-type
reductions are helpful in this regard as in so mapping the work, 1) thematic statements are
simplified and underlying structural similarities revealed, 2) the connecting melodic and
56
Crutchfield, 169.
36
harmonic background line, with or without a conscious Finzi goal, becomes coherent, and the
connections between larger musical structures clarified, and 3) in the definition of those larger
structures (sections), the hierarchy of large and small divisions comes more clearly into view,
and hence the entire work with them.
A reduction of Section B shows a different form of background line than those of Section
A or its subdivisions. No longer pivoting by semi-tone around a harmonic center, the
prolongation of the A-line descends somewhat chromatically to G♭ (see Figure 19).
The
thematic summary of Section B outlines the clear division of each of its four distinct melodic
elements and their functional roles within the section (see Table 2).
Figure 19. Reduction of Section B (measures 39-67).
Table 2
Section B – Thematic Structure
Theme
Function
Measures
Text
b
c
d
e
Introductory
Thematic (March)
Thematic (Slowing)
Extension/Conclusion
39-43
43-55
55-61
61-67
(PAUSE)
Jesu Master, just and true
O let that love
That so all may Drink
Nor change the Pasture
37
Section C
An immediate resetting of the key center to B♭ minor takes place at measure 68,
following the dramatic vocal pause closing Section B, and signaling the beginning of the next
major structural division of the anthem. Here as before, Finzi builds a small but climactic arch
from more contemplative to more dramatic text, and back again. In Section C, Finzi introduces
the second of the Crashaw poems, Adoro Te, commencing with its sixth stanza. As the subject of
the sacramental wine has been previously presented, the sacramental bread now follows.
In a series of overlapping and sequential entrances, each voice carries the text “O dear
Memorial of that Death / Which lives still, and allows us breath!” The opening soprano interval
of this theme f is related to previous anthem motives by the prominence of the major third. In
addition it is directly related to the preceding theme (e) by the common foundational pitches, D♭,
F, and A♭, and by contour, each line descending into a stressed tied pitch at the bar line (see
Figure 20). Finzi carefully places the word stresses to emphasize “Me-mo-rial,” “lives,” and
“still,” reminding the listener that while the bread is symbol of the past, in its partaking lies
Figure 20. Descending contours of “To feed of Thee,” and “Which lives still”
(measures 63, 68-69).
38
spiritual renewal today (“allows us breath”). Each successive voice entry adds its own
personalized request for blessing, varying the opening interval of “O dear.” Tenors skip by minor
sixth to a high A♭, altos by octave, and basses by minor seventh before building together to a
sectional climax. The appeal of this theme’s intense lyricism and strong emotional effect when
coupled with the texts, certainly begs consideration whether this melodic line was one of those
that came intuitively to Finzi, the text having “chosen him,” as he was fond of saying.
Underneath these choral statements, the organ provides a flowing eighth-note
accompaniment that, by its free and non-repetitive nature, gives the impression of being spun-out
in Finzi’s compositional process. In measures 69-70, a series of suspensions and contrary
movement remind of the Cross imagery in measure 7 (see Figure 3). This same motive will
return in measures 128-129 as a “weeping” gesture to portray the sacrifice of the “self-wounding
Pelican” (see Figure 21).
Moving to a climax the choral voices declare in united homophony, “Rich Royal Food,”
reaching the peak of their gesture at “Bountiful Bread”—sopranos, tenors, and basses in their
highest registers—before a quick dynamic descent closes this small sectional arch. The harmonic
movement within this theme transitions freely between the closely related keys of B♭ minor, F
minor and A♭ major, before concluding upon the common-tone and mediant-related F major at
measure 79. The rising major third melodic figure in the organ, together with the oppositelydirected key shift downward of a third on the final note of the phrase, and the plagal cadential
movement underscoring “denies us to the dead,” is a return of the distinct Finzi formula
previously observed (see Figures 14 and 22).
The final dissipation of musical energy in Section C is played out through the brief
closing soprano solo, “Live ever Bread of loves” (theme g). Speaking for the first time in
39
Figure 21. “Weeping” organ gesture (measures 69-70, 128-129).
40
Figure 22. “Denies us to the dead” rising major third transition (measures 78-79).
the first person singular, the couplet is a personal petition, both pastoral in its key connection to
“Jesu Master” (measure 39), and chant-like in its gesture and relationship with the theme to
follow. Here F serves as the recitation tone, around which the other tones of the chant are drawn.
The intervallic skip and return of a third on “Bread of loves,” is a familiar melodic gesture,
recalling the feeding of the pasture its closest prior occurrence (see Figures 1, 18 and 23).
As Finzi omitted two Crashaw lines following the pastoral “Our Food, and faithful
Shepherd too,” making the couplet an effective musical introduction to Section B, in similar
manner he omitted the two Crashaw lines preceding the text of theme g (see Appendix), creating
Figure 23. “Bread of Loves” motivic construction (measures 63, 80-81).
41
another shortened verse and fitting formal structure to conclude Section C. This abbreviated
chant theme is extended by a short organ interlude, transitioning to the mediant D major by use
of the identical plagal formula found in measures 42-43, and moving easily to its relative, B
minor, at measure 87. In this transition Finzi provides both a final “winding down,” through the
slowing of tempo and harmonic motion, as well as a bridging of references to the theme just
completed (see Figure 24), as well as that to come (see Figure 25).
Figure 24. “Bread of Loves” organ echo (measures 84-85).
Figure 25. “Help Lord, my Faith” incipit (measures 88-90).
42
A reduction of Section C shows that the background line of this small climactic arch,
despite its numerous harmonic transitions remains fixed around F, moving only to F♯, then B,
preparatory to the entrance of Section D (see Figure 26 and Table 3).
Figure 26. Reduction of Section C (measures 68-87).
Table 3
Section C – Thematic Structure
Theme
Function
Measures
Text
f
g
(g / h)
Thematic
Conclusion
Extension/Transition
68-79
80-84
84-89
(PAUSE)
O Dear Memorial
Live Ever Bread of loves
Organ interlude
Section D
The closing of Section C is made sure with the held organ octave on B, creating a
dramatic pause, and simultaneously providing the cue note for the ensuing choral entrance which
marks the beginning of Section D. In setting the Crashaw verses for Sections C and D, Finzi
elected to exchange the order of the Adoro Te stanzas, one benefit being an improved textual
connection bridging the closing of the sixth stanza, “Live ever Bread of loves,” with the opening
of the fifth, “Help, Lord my Faith” (see Appendix). Continuing the psalm tone style at measure
90, this second petition is made, hushed, and in the more earnest B minor, now from all voices in
43
unison/octaves. The preceding organ pause, subdued choral dynamic and—quite unlike any
previous thematic statement—the straightforward simplicity of all voices combining in a single,
quasi-free-flowing chant line, instill an air of religious mystery and anticipation, a sense of
importance for this moment dramatically and structurally within the anthem. Indeed, Section D
as a whole functions as the point of pivot in the palindrome-arch, and the entrance of theme h
with its prayer, “Help Lord, my Faith,” its moment of introduction.
After “faith,” “hope,” and “peace” are requested by the petitioning voices, the familiar
rising melodic third (also voiced vertically in thirds) provides another instance of the “Finzian”
transitional device as the opening phrase cadences on E major (see Figure 27).
Figure 27. “In thy peace” rising major third transition (measures 93-94).
44
Immediately shifting by mediant and common tone to G major, a simple but beautiful
harmonic blossoming occurs on “Give love for life” at measure 95. As the ensuing text requests
growth in “powers” and “praise” to the name of the Lord, so also the music paints a growing
intensity through agogic stresses, gesture (rising on “let my days Grow”), crescendo, tempo
(poco ravvivando), heightening of vocal register, and a contraction of meter to 3/4. The strong
harmonic content of the chord on “name and” in measure 99, is not unlike that on “cup” in
measure 51, with an emphasized tritone and semitone strengthening the need for cadential
resolution. In addition to the uninterrupted text connection in grammatical person between the
petitions of Section C and D, an additional benefit Finzi gained in reversing the stanzas of Adoro
Te is that the climatic build to the word “praise” at measure 100, can be more successfully
followed by the triumphant invitation “Rise, Royal Sion!” from Lauda Sion (stanza 1).
This second march or procession within the anthem (theme i) is a call to praise. Jubilant
from its opening elision at measure 100, the organ responds with a rising eight-note figure in the
pedals, embellished by triplet sixteenth runs in the manuals, a fitting accompaniment to the
staggered choral invitations, “Rise, Royal Sion!” commencing at measure 102. A leap combining
interlocking octaves requires singers to heed the text literally, “Stretch all thy powers.” As Finzi
seemed to let his melodies dictate his harmonies, the semitone embedded in this vocal gesture
invites the colorful Neapolitan harmony to support the sequential voice entrances, quickly
shifting the key center away from G, through B and E major, and finally, A minor (see Figure
28).
A distinct falling gesture sets the text “call if you can” in all voices in measure 108, but
with particular attention drawn to the soprano descent from high A, a vivid vocal imagery
matching the request for “Harps of Heaven” to be brought down “to hands of man.” Crashaw
45
Figure 28. “Stretch all thy powers” interlocking octaves (measures 106-107).
further emphasizes the great disparity between human devotions when compared with the divine
love, reminding that this sacrament and what it symbolizes, “sits above the best ambition of thy
[Sion’s] love.” In this the climax of the anthem, Finzi begins the phrase “This sovereign subject”
upon a dramatic upward leap of a minor ninth—the largest leap within the work—for bass, tenor
and soprano voices in their upper registers. Such a significant gesture, set to the first instance of
an accented, clear declamatory style in measure 112, leaves no room for doubt in the listener’s
(or singer’s) mind that this subject does indeed sit not simply “above,” but perhaps high above
the best mortality attempts to offer in return (see Figure 29).
46
Figure 29. “This sovereign subject” (measure 112).
In his survey of “Twenty English Song-Composers,” Trevor Hold offers the following
observation on role of gesture in Finzi’s music:
The expressiveness of his vocal lines is usually achieved by contour rather than
chromaticism, in a mixture of conjunct movement and large expressive leaps.57
Both types of note movement have now been observed in this study, the linear-lyrical, and the
disjunct-declamatory.58
57
Hold, Parry to Finzi, 397.
In the Crees Lectures, Finzi discussed the importance of balance between gesture and pitch, line and lyric:
“Hitler, Mussolini, and even Lloyd George could rouse an audience to a frenzy with pauses, gestures and theatrical
effects, but a complete lack of sense of logic, in a way which no unfortunate lecturer, through talking sound sense,
could ever do. Thus it is only at the extremes that it is impossible to reconcile manner and matter, and it is no
condemnation of virtuosity to say that in any age where the cadenza becomes more important than the song, the
composer for whom words have any significance finds himself in a vacuum. To turn to the opposite extreme. Most
58
47
Arriving at the word “love” at measure 114, the choir decisively cadences the “Rise”
theme in D major while the organ provides three of its own final echoes of the “sovereign
subject” motive, its own harmonic resolution delayed until the second beat of measure 115 (see
Figure 30). The dramatic build-up to the organ’s harmonic arrival in D major is short-lived
however, as the inclusion of C♮ in its scale flourish into measure 116 clarifies the key area as a
temporary tonicization only, the entire cadential gesture simply functioning as the dominant of G
major. The reduction of themes h (“Help, Lord”) and i (“Rise, Royal Sion”) indicates a subtle
downward shift in the background line from B to A, the precursor to the return of G in measure
116 (see Figure 31).
With a return to the initial key of “Rise, Royal Sion,” the new celebratory text, “Lo, the
Bread of Life” (theme j) is set with open voicing and fanfare-like declamatory rhythms. This
moment is literally pivotal, the climax of the work having been previously reached at “This
sovereign subject,” it is from this point on that the anthem arch begins the return back on itself.
While themes i and j are not palindromic in a strict thematic sense, they are in so larger aesthetic
and structural context. Each one celebratory, each a distinct statement of praise, each a parallel
of one another, “Rise, Royal Sion” marks the conclusion of the arch-rise, while “Lo, the Bread of
Life” marks the commencement of its descent.
As “This sovereign subject” included a strong, two-measure cadential fanfare on the
word “love,” so also “This day’s triumphant text” provokes a parallel two-measure organ
exclamation on the word “praise” at measures 119-120, another indication that the work has
begun its reverse recapitulation. As examined previously, Finzi’s use of changing meter and
music students are expected in their paperwork to give the correct note values to a few lines of verse. This is no bad
exercise, but there is no greater fallacy than to imagine that a detailed note-for-note accentuation, following the rise
and fall of natural speech, can in itself make good song. Even ordinary recitative can be alive or dead, and so too
with syllabic song. Here the composer may be full of respect for the poet, but nothing will redeem his setting if it
has not got something beyond that.” Finzi, III.
48
Figure 30. “This sovereign subject” organ echo (measures 114-115).
Figure 31. Reduction of themes h and i, “Help Lord,” and “Rise, Royal Sion”
(measures 90-114).
49
agogic stresses to achieve a fitting text accentuation is strikingly apparent than in his setting of
the lines of Crashaw’s, “Lo, the Bread of Life” stanza.
Such statements as “This day’s
Triumphant Text,” and “To the great twelve distributed,” highlight Finzi’s ability to find the
aural and notational gesture most fitting the spirit and rhythm of a text, while (contrary to its
awkward appearance in the score) maintaining a most effective and natural musicality.
As Section D draws to a close, its own dynamic arch rapidly descending at measure 123,
the music takes an unanticipated turn. Here Finzi sets one last gasp, a short and final rise on
“When Life, himself, at point to,” reaching a musical peak at Crashaw’s poetically moving “die
of love.” The soprano D♯ against the organ pedal E, heightened by emotive downward and
upward leaps of resolution,59 paint a bittersweet glow around the image of the Last Supper.
Theme j having transitioned through the common tone relationships of G major, E major, and G♯
minor (in a dominant capacity), comes finally to harmonic rest in C♯ major on the word
“Legacy” (measure 125). Plagally-prepared and mode-shifted on the last note of the section, this
cadential formula, together with final organ intimations of “this sovereign subject,” follows the
favored Finzian figure (see Figures 22 and 32).
A reduction of theme j indicates a subtle upward shift in the background line from G to
G♯, balancing in small degree the earlier descent of themes h and i (see Figures 31 and 33). To
summarize the thematic structure of Section D, following the psalm tone introduction, the two
new celebratory march themes delineate the anthem midpoint, providing both its climax and the
beginning of its long recapitulation (see Table 4).
59
Double appoggiatura with octave transfer.
50
Figure 32. “This sovereign subject” organ echo (measures 125-126).
Figure 33. Reduction of theme j, “Lo the Bread of Life” (measures 116-126).
51
Table 4
Section D – Thematic Structure
Theme
Function
Measures
Text
h
i
j
Introductory (Petition)
Thematic (March)
Continuation/Return
90-100
100-115
116-126
(PAUSE)
Help Lord, my Faith
Rise, Royal Sion
Lo the Bread of Life
Having examined the anthem to the current point of arch-recapitulation, it is helpful to
now present a wide-view reduction of the background line commencing from measure 1 (see
Figure 34). What is striking about this particular analysis is that, regardless of how much (or
little) structural pre-planning he undertook in the composition of Lo, the Full Final Sacrifice,
Finzi certainly had a sense of structural breathing from at least a mid-range point of view. After
the extended opening focusing on E, the background line makes a long descent from A, and
arriving at its lowest point on F, rises a semitone in harmonic and melodic release. The same
motion is observed at the resetting of the background to B at measure 87, and after a shorter
descent, also provides a release in ascending by semitone at measure 119. While these ‘note’
movements represent large-scale gestures spanning multiple measures, the underlying aesthetic
is that of providing a final dissipation or release of musical energy at the close of a section
through some unique harmonic shift. And it is this exact technique that we have repeatedly
Figure 34. Reduction of Section A through D (measures 1-126).
52
observed as used by Finzi on the small scale in his cadential formulas, shifting by common tone,
mediant, and/or mode on the conclusive chord of thematic statements! What is consciously
recognized or simply subconsciously sensed by a composer in regards to creating wide-view
structural gestures certainly varies by individual. While this subject as specifically relating to
Finzi has not been explored anywhere in detail, Walker provides the following in regards to his
“constructions”:
Nowadays it is fashionable to separate composers into those who compose from
the head and those who compose from the heart. The truth is that all music must
be organised if it is to be coherent. Whether such organisation involves
'intellectual' labour or whether it occurs quite spontaneously, i.e., comes from 'the
heart', is a purely secondary consideration. The thematic relationships set up
within a work are neither good nor bad simply because they occurred consciously
or unconsciously. Finzi is not the sort of composer whom friends and critics
generally regard as having 'constructed' his music. In my submission both parties
have a totally wrong evaluation of the word 'construction' which they incorrectly
equate with 'consciousness'. Finzi had the sort of mind that could achieve
remarkable results in musical craftsmanship when prompted by words that
captured his imagination.”60
It remains therefore, an interesting speculation only, as to the underlying relationships of similar
macro- and micro-gestural elements in this work.
Section C’
Section C’ is marked by the return of theme f in its original key of B♭ minor
(transitioning by common organ tone in measure 126), as well as the return of the Adoro Te text,
the last stanza of which is used for all remaining anthem sections. The extended tenor and bass
solos comprising the entirety of C’ (measures 127-141) paint a lyrical and poignant image of the
“soft self-wounding Pelican” which, according to mythology, would strike its breast in times of
60
Walker, 9-10.
53
famine, feeding its young with its own blood.61 Like the image of the Paschal lamb, the
connection to the self-sacrificing Christ is well known in Christian symbolic tradition. The use of
a common theme for the “Pelican” and “O Dear Memorial” texts is highly fitting, as both
elements of the Eucharist, bread and wine, have now been musically and symbolically bridged. It
should also be observed that as Finzi, through stanza selection, set the order for the initial
introductions of the wine (measure 51) and bread (measure 77), so also he reverses their
reappearance in the descent of the palindrome-arch, with the bread (measure 116) followed by an
allusion to the wine (measure 161).
The distinct surprise at hearing the word “Pelican” sung in any work (regardless of its
symbolic connection) is made even more articulate by the straight-forward sixteenth note rhythm
to which Finzi sets it. Clearly in his mind, this is an image that needs not to be missed or
obscured by an unaccented placement or overly-speedy text delivery. While this rhythmic motive
is as distinct as its text (strong-weak-weak in quick succession), it is however not new to the
anthem, its most recent presentation occurring just three measures previous on the word
“Legacy.” Related rhythmic motives, sometimes prolonged with a dotted rhythm or shortened by
the dropping of an unaccented beat, appear on the words “distributed” (measure 122), “living”
(measure 121), “Mortality” (measures 45-49), “Manna” (measure 25), and “Sacrifice” (measure
21). Similar figures in sections yet to follow include: “come away” (measures 146-151), and
“eyes shall see” (measure 160) (see Figure 35).
Finzi’s portrayal of “weeping” (see Figure 21), “bleeding,” and “gasp[ing],” in this
section are well painted by appoggiaturas or appoggiatura-like figures, a leap or skip (typically
61
Saunders, “The Symbolism of the Pelican.”
54
Figure 35. Rhythmic relations to the “Pelican” motive.
ascending), followed by a step (typically descending) in the opposite direction. As the
interwoven solo parts continue to unfold and develop in overlapping entrances and responses, the
soprano and alto sections vary the register and texture with subdued background leaps on “That
blood.” These entrances not only prompt the tenor to respond in kind with his own octave leap
(measure 136), but prepare the ear for similar leaps to come on “Come love! Come Lord!” in
Section B’.
The closing Crashaw lines of this duet describe the power of the blood of the PelicanChrist to cleanse from sin. In the original Aquinas text from which Crashaw created his poetic
paraphrase, it is the combined sin of the entire world that a drop of blood cleanses. Crashaw, by
turning the phrase, makes a powerful personalization as the penitent seeks not reconciliation for
55
global humanity en masse, but more honestly and with much more intensity, “to wash my worlds
of sins from me” (italics added). Finzi’s indications for two soloists (“or a few voices”) to
present this moving petition is therefore highly appropriate.
The harmonic movement of Section C’ is quite transitory, progressing from B♭ minor
through the key areas of A♭, D♭, and C♯ major, F♯ minor, and D major in the span of thirteen
measures. As the section draws to a close at measure 140, Finzi prepares what is anticipated to
be the familiar minor plagal gesture confirming D major, but instead, by one subtle shift of the
organ B♭ to B♮ creates a minor plagal cadence into B major, eliding with Section B’(see Figure
36). Thematically, Section C’ is an abbreviated return of Section C, presenting only one if its
themes. Interestingly however, theme f itself is not abbreviated, but a more developed and
lyrically intricate version of itself, and is therefore identified here as f ’ (see Table 5).
Figure 36. Reduction of Section C’ (measures 127-141).
Table 5
Section C’ – Thematic Structure
Theme
Function
Measures
Text
f’
Thematic
126-141
O Soft self-wounding Pelican
56
Section B’
The Crashaw text of Section B’ presents a loving appeal to the Lord for his awaited “long
day” to come, while Finzi’s musical setting incorporates reaching gestures, an undulating
accompaniment reminiscent of lapping ocean waves, subdued dynamics and extended
diminuendos which together effectively portray, not an arrival, but rather a long fading away
until that which is most longed for is yet out of reach.
Structurally, as Section C’ did not include full returns of all previously associated themes,
so also Section B’ contains segments and inferences of Section B elements. The paralleling of B’
and B however remains structurally and referentially intact.
While at first glance the thematic materials comprising the majority of B’ appear
unrelated to any previous sections of the anthem, a closer examination reveals not only motivic
similarities, but direct restatements of Section B materials. The primary connecting element
between B’ and B is the scalar movement of the organ pedal, a direct reference to the original
march comprising theme d, and most particularly theme c in its quarter-note motion and limited
rise and fall (see Figure 6). Following the “Come love! Come Lord!” invitation from the soprano
and alto voices Finzi presents us with the rising soprano figure “and that long day” at measure
144, and again at measure 148 by the tenors and basses. This ascending melodic third followed
by the upward leap of a sixth, is also a thematic return, being first introduced with the text “O let
that love” in the original B march, and in the identical key at measure 43 (see Figure 37).
The distantly beckoning rising third on “come away” has been previously examined in its
rhythmic relation to the “Pelican” motive.
However this exact figure also maintains an
interesting independent identity outside of Lo, the Full Final Sacrifice, having previously
57
Figure 37. “And that long day” motivic construction (measures 43 and 144).
appeared in Finzi’s, Come Away Death, written in 1938, then later in his Welcome Sweet and
Sacred Feast, written in 1953. Undoubtedly his general readiness with this motive helped move
along the writing process of this section of the rushed commission (see Figure 38).
As the final tenor and bass strains of “come away” fade to imperceptibility, the gentle
organ rippling makes its own final descent. Slowing in tempo and rhythm, the melody of the
“Wine” theme briefly but clearly emerges from the interlude, marking the completion of Section
B’, and with a preparatory pause on its final chord, invites the listener as at first, to behold the
final Sacrifice (see Table 6).
The underlying background structure of B’ consists of a rising line from F♯ to A. This
line is preparatory to the return of the fundamental underlying pitch B, which will follow in
Section A’, and serve as the anacrusis for the conclusion of the anthem (see Figure 39).
Section A’
The conclusion of the anthem’s formal palindrome is a vision of paradise, the hope for a
personal audience with the Lord. Finzi’s a cappella and homophonic setting provides the musical
parallel to the scene, all other earthly things being stripped away. The a’ version of the
58
Figure 38. “Come away” motive in Come Away Death; Lo, the Full Final Sacrifice;
Welcome Sweet and Sacred Feast.
Table 6
Section B’ – Thematic Structure
Theme
Function
Measures
Text
d’ / c’
d
Thematic (Slow March)
Slowing/Conclusion
141-155
156-158
(PAUSE)
Come love
Interlude (That So All May Drink)
59
Figure 39. Reduction of Section B’ (measures 141-158).
“Sacrifice” theme is used for the first time since its introduction in the organ prelude (measures
9-10). Finzi begins the heavenly communion softly, carefully, and with agogic stresses and
Neapolitan discords. A bit of emphasis is given to the words “dry soul,” and “eyes,” then, as if
the believer is still hesitant to approach, the music takes a step back to A major on the word
“see.” 62 The next step forward is then taken, again softly at first, but with more confidence as the
music begins its crescendo upon the text “And drink the unsealed source of thee.” Finally, the
full step into a heavenly embrace arrives as the closing climax is reached on the high and clear D
major triad, “When Glory’s sun,” followed by an immediate diminuendo, portraying the chasing
away of “faith” which is no longer necessary in the light of revelatory noonday. The hopeful
prayer-vision continues with a request to exchange the Lord’s “veil” for his “Face.”63 Fittingly, a
harmonic obscuring occurs on the word “veil”—a compound harmony similar to those
previously noted on the words “name” (measure 99), and “cup” (measure 51)—the musical
response of which is a pure and clear open fifth on the word “Face.” The vision then begins to
fade, the organ providing its interlude of the Cross figure one final time before the tenors and
basses, in their lowest registers, offer up as their final solemn observation with the framing
anthem text “Lo, the full, final Sacrifice On which all figures fix’t their eyes.”
62
“Lord, I believe; help thou mine unbelief.” Mark 9:24.
“For now we see through a glass darkly; but then face to face: now I know in part; but then shall I know even as
also I am known.” 1 Cor. 13:12.
63
60
The reduction of Section A’ shows the return of the expected chant-like pivot gesture
underlying the “Sacrifice” theme, first at the pitch level of A, and then at B in anticipation of the
final structural resolution at the Coda (see Figure 40). The thematic structure of Section A’, as
anticipated, corresponds with Section A in all details save order of theme appearance. Closing
with theme a, which initially opened the work, the thematic framing device is made effective and
the palindrome completed (see Table 7).
Figure 40. Reduction of Section A’ (measures 158-174).
Table 7
Section A’ – Thematic Structure
Theme
Function
Measures
Text
a’
a(x)
a
Thematic
Extension
Conclusion
158-166
166-167
168-173
When this dry soul
Interlude
Lo, the full, final, Sacrifice
Coda
Nothing short of a beautiful, eight-part benedictory melisma on “Amen” completes the
anthem and finalizes E major as the conclusive tonic of the large harmonic arch. Opening with
the soprano rising third reminiscent of the “Wine” theme, freely flowing melodic material is
spun out, as if the materials and motives of the earthly experience have been set aside for a
61
sublime heavenly and musical ascension. Yet in the final two measures of the work, Finzi
reminds of the Sacrifice which proffers this moment to us, the organ and three voices outlining
the semitone rise and fall of the initial thematic motive. Of this poignant conclusion, John Scott
offered the following:
I well remember how I was haunted by this particular passage for days after I first
came across the piece, when accompanying the BBC Singers for a broadcast some
years ago. If Finzi had composed nothing else, his reputation could surely rest on
these two pages alone.64
While not a structural element of the palindrome, the Coda represents the closing of the
arch, finalizing the Sacrifice upon which all figures, including those musical, have “fix’t their
eyes.” It also confirms, structurally, the prominence of E as a fundamental pitch as introduced at
the commencement of the work (See Figure 41).
A representation of the entire thematic
structure of the anthem, clarifying both palindrome and arch may be viewed in Table 8.
Like acting, delivering a speech, or reading aloud, understanding phrase structure,
subordination, parenthetical statements and the like, greatly aid in communicating clearly, and to
the best effect of the drama. Successful delivery then, as in staging Shakespeare, enables an
audience to possess a greater understanding of (and hence appreciation for) the message, even if
many of the smaller grammatical elements are new to their individual vocabularies. So also is the
delivery of the musical art. An able interpreter (conductor, artistic director) will, through his
understanding of the small elements in context of the underlying structural foundation of a work,
be vastly more capable of bringing his audience to a place of common artistic communication,
illuminating for them both the small and the large in their proper balance. In short, that is the
conductor’s purpose in the analytical study of any composition.
64
Dressler, 26.
62
Figure 41. Reduction of Lo, the Full Final Sacrifice.
63
PERFORMANCE CONSIDERATIONS
Principles
In preparing a performance of Lo, the Full Final Sacrifice, two underlying principles
should be considered. First, Finzi’s gift was in song, and his love was for words. As already
explored here, he took great strains to be true to the meaning, spirit and dramatic rhythm of a
text. Hold observed:
The genius lies in his subtle handling of rhythm: the imaginative way in which he
translates verbal rhythm into musical rhythm . . . . This rhythmic flexibility—
some might say finickiness—enables him to set words with great delicacy,
lending his songs the quality of intimate conversation. One has only to follow the
poet’s original text when listening to a Finzi setting to appreciate this. Such
rightness and beauty of scansion is a joy in itself and, in one respect, achieves the
melo-poetic ideal. No wonder he has been called the ‘poet’s composer.’ ”65
The result of Finzi’s “finickiness” is a great naturalness in his line, the ebb and flow of vocal
rhythms strengthening the poetic meaning (no less the intelligibility) of the verse. Words then,
the successful delivery of both their diction and drama are of utmost importance.
The second principle is trust. Finzi was not a composer who demanded that his music
should be performed in exactly this way or that. In his early years (pre-World War II), he
despised notating dynamics and phrasing, stating “any musical person should know how it
should go.”
65
66
According to both his son Christopher and Howard Ferguson, he also allowed
Hold, 398.
However as he began his first conducting activities (the Newbury String Players), he learned that such indications
saved a great deal of time for the performers. See McVeagh, 175.
66
65
musicians who performed his works to take many liberties with them.67 He was always open to
musical suggestion. Ferguson, with whom he met regularly, described this characteristic of Finzi
as being more a result of his self-doubt, than open-mindedness:
He asked me my opinion an enormous amount. And in the early days when I told
you he was incapable of putting dynamics in, I would put them in for him . . . . He
invariably agreed with what one said. And right though his life, even when he got
better in that respect, he always asked someone’s opinion. I’d sit beside him and
ask him “is this a B-flat or an A,” and he’d ask what I thought. If I answered one
or the other, he’d say “all right.” He was extremely uncertain about practical
things.68
David Willcocks provided this insight into a conductor’s relationship with Finzi:
He was very trusting of other’s thoughts. He liked to have other people conduct
his work. I found that he never interfered. His compositions were always set at
just the right speed, kind of like Vaughan Williams. Of course, Britten was much
more dictatorial. It had to be exactly this way or exactly that way, whereras
Vaughan Williams and Finzi said that [tempo] depends on the building you are
performing in, how many people are taking part, etc.69
The source of his uncertainty set aside for the moment, it is nevertheless clear that the composer
valued the recommendations and performance practices of his colleagues.
Given these
statements and sentiments, he has clearly entrusted us to approach this anthem with extra-score
considerations that will lend themselves to a successful performance.
Practices
Section A
As the organ prelude is comprised of three short statements of the “Sacrifice” theme and
one reference to the “Wine” theme, tempo and breath should be used in such a way as to
delineate these phrases. Finzi in fact, specifically included rests at the ends of measures 8, 11,
67
Crutchfield, 107.
Ibid., 167.
69
Ibid., 160.
68
66
and 16 to clarify structural punctuation. It is natural then to take a slight ritardando just prior to
these lifts or pauses. While there is also an eighth rest indicated at the end of measure 4, no such
tempo fluctuation should take place at this point as the resolution to E in measure 5, and elided
statement which follows in measures 6-8, is an extension of this primary a material for which a
sense of continuation is necessary. In contrast, a slight lengthening of the final eighth rest in
measure 11 will more clearly articulate the register shift and entrance of the new “Wine” theme
in measure 12.
The subject of the choir entrance is dark, subdued, and brooding, and as such, the vocal
timbre should match. Vibrato would be out of place in this context. A lift (eighth rest) may be
given after the word “Lo,” drawing upon Crashaw’s comma and (like the word “look!”) pointing
our minds more distinctly in the direction of the text to come. Another lift should also be placed
after the word “Sacrifice” in measure 21, as holding the dotted quarter rhythm its full value (a
noticeable length of time at Adagio solenne) would likely give cause to crescendo when it is a
diminuendo that is called for. The five alliterative [f]s should not be taken for granted in
measures 20-25, with clear diction necessary to bring each one to poetic attention. A slight
slowing and tenuto on each of the words “fix’t their eyes” properly closes this opening statement.
Pushing the tempo slightly for “The ransomed Isaac . . .” makes the Finzi’s mixed metrical text
quickening additionally effective. Another lift after the word “ram” in measure 25 follows
Crashaw’s punctuation, and combines that subject with “Isaac” separately from “Manna” and
“Lamb.” Word stresses on “ran-somed,” “I-saac,” “ram,” “Man-na,” “Pas-chal,” and “Lamb”
should support the metrical stress placements discussed previously. As the initial text returns,
elided in the alto and bass voices at measure 26, all performance considerations of the initial
67
entrance remain applicable. A diminuendo on the word “eyes” draws the opening choral section
to a close, and brings the organ interlude into focus.
The use of rubato within all the anthem’s organ solos supports the improvisatory nature
of Finzi’s writing. The written poco ritardando at measure 38 should be observed, perhaps even
a full ritardando (but not molto) particularly on the final three eighth notes of the organ pedal,
providing the listener with the sense that the first large structural division of the anthem has
arrived.
Section B
The pastoral nature of theme b calls for a pure, floating (non-heroic), tone from sopranos
(an ideal boy-soprano timbre) and tenors. A short breath should be placed at the end of each
appeal, “Jesu Master,” prior to the bar line. These lifts—preceding the soprano rest in measure
40 and the tenor continuation at measure 41—create a more distinct musical comma to
correspond with the text, and emphasize the imploring nature of these opening reaching-gestures.
An eighth rest should be substituted for the first note of measure 42, providing a small separation
between the two lines of the couplet, and more effectively highlighting the description of the
Master, “Our Food, and faithful Shepherd too!” All of Crashaw’s “f”s should be clear and
distinct, and those words stressed as set by Finzi on the metrically strong portions of the
measure. The indicated slowing of tempo (in this instance, a true poco ritardano) should be
observed, delineating the key transition and entrance of the second thematic statement of Section
B.
The underlying march characteristic of theme c suggests a slightly stronger dynamic from
the tenor and bass voices in their ‘men’s chorus’ entrance at measure 44. Mezzo piano or mezzo
forte would be more in order, relative to the acoustic of the room and balance of the ensemble.
68
To add further contrast with the subdued and sostenuto style of previous sections, a slight
marcato may be employed on the words “let that,” further corresponding with the declamatory
rhythms of “Mix with our,” and “(Mor)-tality,” while the phrases “which thus makes thee,” and
“Lift our lean souls,” should remain legato, providing a more pleasing connection for their
associated wider skips. An eighth rest should take the place of the rhythmic dot on the word
“Souls” (measures 47 and 49), thus setting up a more effective “and set us up,” both from a
textual aspect, as well as for the purely practical vocal need to breathe in preparation for a strong
crescendo in the following measures. The word “up” in particular calls for distinct dynamic
growth, for which Finzi lengthens the value of the note relative to the eighth and quarter note
emphasis of the march, thus creating a strong anacrusis on the word “Convictor.” The hard “c”
[k], [v], and [t] consonants of this word should accentuate the anguish of the subject, as well as a
tenuto stress on each the words “own full cup,” strengthening the peak of the crescendo. While
the word “cup” should be held for its full value, its length should be shortened by half, with an
eighth rest inserted between it and the beginning of the concluding phrase “Coheirs of Saints.”
Such separation provides for more accurate (and dramatic) placement of the [p] of “cup,” as well
as clearly divides the rise of this small dynamic arch into its ascent and descent. The two
syllables of “Coheirs” should be separated by a small glottal stop, as should also be used
between its [s] and the “of” which follows it, preventing what might otherwise result in the
poorly delivered and nonsensical conglomeration, “Coweirzof.” In the tenor voice, an eighth rest
should take the place of the dot on “Saints” in measure 52, creating the same separation between
textual repetitions of this phrase as is indicated in the remaining voice parts.
Returning to a more subdued and slower idiom, the “Wine” theme should be performed
in a legato style, and following the subtle swelling of dynamic as indicated with the rise and fall
69
of the vocal arpeggio. Higher bass voices may be necessary to provide support on the low D and
C♯ of the second tenor at the words “and the same Way.” A slight ritardando may also be used
on this short consequent phrase prior to the bass response in measure 58. Likewise, a slight
slowing of tempo at measure 60, and tenuto on the final word “same” provides a strong sense of
harmonic and thematic relief upon arrival of the D♭ “Pasture” theme.
Finzi’s slower tempo and più sostenuto indications at measure 61 support the function of
theme e as being the final dissipation of energy of the Section B march. The octave alto leap and
rising organ line in measure 62 provides a moment for a small crescendo prior to the dynamic
resolution which follows on “To feed of Thee.” A very subtle lift following the first eighth note
in measure 64 will better articulate Crashaw’s stanza-ending text, “in thine own Face” without
distracting from the lyrical connectivity of this section’s theme. Each of these final three words
should be treated with a tenuto stress, strengthening the slowing of motion and sense of
conclusion. The low register voicing of this final chord may require some higher bass voices to
add an E♭ one octave higher than that indicated, while others may be needed to support the tenor
low C♭.
Section C
Finzi’s love for words is most strongly felt in his slow, lyrical writing. Ferguson in fact,
indicates that many of his works began with slow movements, and that his initial ideas were
themselves typically slow and lyrical.70 In “O dear Memorial,” Finzi calls for a tender delivery
(con tenerezza), and by metrical placement or rise in line provides for stresses on each of these
opening three words. An eighth rest should be inserted after the word “death,” providing greater
musical and dramatic weight to the words “lives still,” and to insure (fittingly) that there is ample
70
Crutchfield, 169, and Dressler, 4.
70
breath in the vocal part to complete the phrase, “and allows us breath.” Glottal stops should be
placed between the words “and allows us” for clarity of initial vowels. Each successive vocal
entrance within this section should employ the same phrase articulation, although no breath
should occur after the bass “breath” in measure 75, as such would interrupt the propelling
crescendo into “Rich, Royal Food!” Tenuto and a slight broadening of tempo will enhance the
continued swell in measure 76 into the sectional climax “Bountiful Bread!” As the dynamic and
melodic arch then quickly descends from the first beat of measure 77 through measure 79, care
should be taken that each voice part is sensitive to the stretch of diminuendo and poco ritardando
that must take place within that span.
Another return to pastoral images, the shift to the intimate first person singular, and the
folk-like ‘la-do’ motion used for “Bread of loves,” invites a pure, unaffected tone and delivery in
the soprano solo of theme g (measure 80). Lifts after the words, “life,” and “soul” in measure 82
annunciate the prayerful list of the petitioner, as well as maintain a sense of honest simplicity. A
slight ritardando should be placed upon the penultimate word of the solo “to,” prior to its keyshifting resolution on “me” in the following measure. A molto ritardando should take place in
the final notes of the organ interlude, with an effectual fermata on the B octave in measure 89,
this bringing Section C to a discernable close and preparing the listener for the pivot sections of
the anthem arch.
Section D
A soft, senza vibrato tone should be used for the chant style of measures 89-94. In this
tradition, the tempo should ebb and flow freely, more sustained for the longer rhythmic values
“Help, Lord, my Faith,” pressing forward for the eighth note rise of “my hope increase” and
descent of “And fill my portion,” with a final relaxing on the cadence “in thy peace.” Lifts may
71
be placed after the words “faith,” and “increase,” to help in the delineation of the prayerful
requests. The word “peace” may be held as a fermata, as would the end of a chant phrase. A
slightly warmer tone will support the harmonic and textual blossoming on the word painting
“Give love for life.” Replacing the rhythmic dot with an eighth rest after the word “life” in
measure 96 provides better ensemble placement of the [f]. as well as clearer delineation of the
ensuing musical phrase. “Nor let my days grow. . .” is marked by an increase in both tempo and
dynamic. As previously observed on the word “up” in measures 47 and 49, the dotted quarter
note length of the word “powers” in measure 98 gives particular cause to crescendo, moving
energy into “thy name.” Here the tempo should be quickly restrained ritenuto and a strong tenuto
given to “name,” with its [m] being placed distinctly on the breath comma notated by Finzi. As
the word “and” is the anacrusis into the climax of the phrase, it should be stressed, held longer
than its full value, and upon it a crescendo given.
The rising motion of “Rise, Royal Sion!” is expressed through the gesture of the organ
accompaniment as well as the extended vocal crescendo on the word “Rise.” The tempo of this
second march should not be so fast as to be unplayable or unclear on the manuals, or that the
crescendo too quickly sung through and rendered ineffective. On the other hand, it should not be
so slow as to undermine the forward motion of this theme. Finzi’s marking of M.M. 63 may be
adequate for large cathedral-like spaces, but it may be too leaden for smaller or less acoustically
lively venues. As in the first march, a slight separation of syllables, particularly successive eighth
notes, is effective in maintaining a sense of buoyancy at such moments as in the alto voice “rise
and sing Thy soul’s kind shepherd” (measures 104-105). “Stretch all thy powers” requires by
both its text and gesture a legato treatment in all voices. The [k] of “call” should be accented in
measure 108, drawing attention to the antiphonal entrances of alto/tenor and soprano/bass
72
pairings. A lift at the end of that same measure should be given to the alto voice, re-accentuating
the repetition of the text in the following measure. An eighth rest should also be given to all
voice parts at the end of measure 109, just prior to the soprano/tenor “Harps,” also supporting the
separation of musical phrases. The antiphonal nature of the “Harps” entrances should be
emphasized, as both are set by Finzi squarely and decisively one full beat apart. A molto
crescendo should take place on the half note “man” in measure 111, bringing us to the climax of
the anthem in the ensuing phrase, “This sovereign subject.” Each note of this dramatic line
should be fully accentuated as indicated by Finzi. The placement of [v] in “above” should be
distinct and voiced clearly on the second beat (tied sixteenth note) of measure 113. The words
“The best am-” should function as unstressed upbeats into the syllable “bi-” which should be
weighted heavily, with the final syllable, “-tion,” an unstressed schwa [ə]. A slight ritardando
may again be employed at the phrase ending “of thy,” before returning to original march tempo
on the word “love” in measure 114.
Theme j, “Lo, the Bread of Life,” is a triumphant fanfare, and as such, articulation should
be largely detached. Rhythms should be marked and declamatory, perhaps even to the point of
over-dotting. Lifts to articulate the text and word-ending consonants should be placed after
“Life” in measure 116, and “Text” in measure 118. The short but dramatic crescendo indicated
on “provokes thy” should be heightened, as the note value of “-vokes” is specifically extended
by Finzi to enable this treatment, literally invoking the fortissimo on “praise” in measures 119120. The “r” of this word should be flipped or tapped [ɾ], avoiding at all costs the unsuitable
American hard or swallowed [r]. In measure 121-122, word stresses on “liv-ing,” “life,” and
“bread” should be particularly asserted, as also “great,” “twelve” and “dis-tri-buted.” A quick lift
between “bread” and “To the” provides more accurate placement of the [d], and a distinct point
73
of arrival for the subito piano crescendo. Another rest should be placed after “distributed,” for
both improved placement of the consonant, as well as a cleaner phrase distinction before the next
small dramatic arch. A significant change of dynamic and articulation takes place on the last
beat of measure 122, with piano and sostenuto as indicated by Finzi. In the role of a storyteller, a
feeling of hushed energy should prevail. The low register of the alto, tenor, and bass on the word
“When” may call for some tenor and bass voices, respectively, to assist to those voice parts. As
this final quick rise to “die of love” unfolds, each voice must swell though not to the extent of
any previous climatic crescendo, this line being the last fading moment of dramatic energy of
Section D. Finzi has indicated that the dynamic high point of this phrase specifically not take
place on the melodic high point, but rather on the word “die.” Attention should therefore be
brought to the soprano and tenor voices to relax their dynamic on the word “love.” In addition,
the soprano leaps on “die of love” can be problematic as gesture falls to an F♯, dipping below the
alto G♯, before rising again a minor seventh to E. Some soprano voices will naturally be inclined
to match the alto pitch. Careful rehearsal of this specific figure will remedy the potential for
difficulty. More than the poco ritardando indicated by Finzi, a molto ritardando should conclude
the final measures of Section D, clarifying the end of this literally pivotal stretch of the anthem.
Section C’
A return to the “Memorial” theme in the image of the deeply poignant “Pelican,”
embraces the full statement of Section C’. Ideally solo voices should fill the roles of the
personally imploring penitent, and in the tender unadorned style previously employed. The
points of breath are of importance here not only for textual and musical delineation, but simply
for the physical demands upon the individual singers, without the assistance of additional voice
parts to help stagger the line. It is therefore suggested that, in addition to notated rests, breaths
74
for 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 may
be taken after the words “Pelican” (measure 131 with the tenor) and “flood” (measure 135). The
dynamic of this beautiful duet may follow the rise and fall of the interwoven vocal lines, with
emphasis given to emotive upward leaps. The choral leaps of “That blood” in the soprano and
alto voices are purely background, and must be dynamically subdued, the swells notated by Finzi
ever so subtle. Relative to the size the ensemble, it may be necessary for only a portion of the
high voices to participate in those two rises. The slowing of tempo at measure 140 should be
lengthened more so than Finzi’s poco ritard, giving a due moment to the soloists to complete
their moving contribution to the liturgical drama. The cadential bass E on “from,” together with
the 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 of
winding-down in the overall structure of the anthem. The beckoning of “Come love! Come
Lord!” in measures 141-143 and 146-147, should be distant. The rising gesture on “And that
long day” in all its vocal entrances should be legato and convey a spirit of longing. Observation
of 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 emotional
response from performer and audience alike. “Come away,” a figure shown to have been enjoyed
by 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 diminuendo
for the remainder of the word “away.” Each voice part, as independently staggered, should fade a
niente on this text, not unlike birds embarking over the distant horizon, or the fading of a
75
pleasant dream upon being awakened from a deep sleep. As the organ interlude draws this
section to a close, it would not be out of character to begin a slight ritardando in measure 157,
prior to Finzi’s indicated tenuto at measure 158. While the final choral recapitulation in this
measure is highly significant, the slowness of the final resulting tempo (starting from the
suggested M.M. 52 at measure 156), and prolongation of final organ notes may or may not
necessitate any additional significant pause prior to the choral entrance at the end of measure
158. A sensitive conductor will ascertain the most effective dramatic timing of this moment.
Section A’
As the spirit of the a theme returns, so also should the dark and senza vibrato vocal
timbre employed in its original presentation, always however, with an underlying sense of
fervent energy regardless of tempo. Finzi has placed Crashaw’s text with great sensitivity to the
stresses of “dry,” “soul,” and “eyes” in the opening choral phrase (measures 158-160). As Finzi
indicates a small crescendo to the word “eyes,” a small diminuendo should complete the swell,
following the fall of the small arch, and preparing for the next phrase at the dynamic of piano. A
breath should also be placed after the word “see,” to delineate the organization of the Crashaw
lines and separate the gesture Finzi uses for each. The second phrase, “And drink. . .” should be
slightly stronger in overall dynamic, with emphasis given to “drink,” “un-sealed,” “source,” and
“thee,” with a tenuto on this final word, followed again by a breath to prepare for the final
dramatic phrase of the work. “When” should be treated as the most significant anacrusis of the
piece, freely holding for perhaps twice its value, in order to give a full measure of crescendo into
“Glory’s sun” whereupon time is also stretched to enjoy the unfolding of the glorious heavenly
vision in measures 162-164. As fading has been shown to be a recurring element of this work,
each word of “faith’s shades shall chase” should decrease in dynamic level. A fermata placed on
76
the word “chase” followed by a breath, more properly prepares the moving conclusion to this
stanza, “And for their veil give me thy Face.” This final text, returning to the initial subdued
dynamic and timbre of the section, may be given freely, and conclusively, with a significant
slowing on its last three words. The final open fifth on “Face” must be without vibrato, and with
perfect, 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 a
dynamic of pianississimo, such may not be sustainable in the low registers of the second tenors
and second basses. The spirit of such a dynamic must then be enjoyed. Finzi has indicated a
tempo of M.M. 46 commencing in measure 166 through the end of this final statement. An even
slower tempo or gradual slowing of tempo in the span of this thematic-poetic conclusion may
bring 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 color
sought for. There is little in the way of notation that is necessary to append, only a clarification
of 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 has
carefully notated. The ritardando al fine should be significant, with the three tenuto eighth notes
of the penultimate measure each increasingly lengthened so that the final, nonharmonic F against
E is an effective fermata itself leading to the final resolution. The transcendent E major which
follows should fade for as long as staggered breath will sustain, voices closing at will to [n] in
this benediction upon Crashaw’s devotional subject and Finzi’s musical offering.
EPILOGUE
Finzi died at the age of fifty-five. Diagnosed with Hodgkin’s Disease in 1951, he battled
privately until, in a countryside excursion with Vaughan Williams following the Three Choirs
Festival of 1956, he contracted chicken pox. In his already weakened state, Finzi passed within
three weeks.
While still a very young man he had tasted much of death. His father battled a
debilitating cancer of the mouth which slowly took his jaw and eye, dying just prior to Gerald’s
eighth birthday. Of his three older brothers, one died of illness while away at boarding school,
another by suicide, and another was killed during the final weeks of the first World War. His first
composition teacher, Ernest Farrar, a man described by McVeagh as “young enough to be his
first real friend, a man whose ideals became his own,” also was killed at the close of the war, this
having a great impact upon Finzi.71 Understandably then, he was acutely aware of the transience
and uncertainty of life. While he could be pleasant, warm, and enthusiastic with visitors,
discoursing on “food, apple trees, cats, literature, people, everything except his own music,”72 he
was also very introspective, private, deeply thoughtful, and often tense, Joy Finzi describing:
He experienced the isolation of the artist—the eternal onlooker. His lonely, hurt,
incompatible early surroundings made his books his companions and his few
deeply chosen friends. Aristocratic, acutely sensitive, he built round himself an
emphatic positive reaction to life and work . . . .73
71
McVeagh, 15, and Crutchfield, 166.
Russell, 630.
73
McVeagh, 289.
72
78
Finzi always had a sense that he would not live long enough to complete his work.74 In
discussing Farrar, he also self-prophesied to the unknowing Crees audience of 1955, “Sometimes
death may come instead, before enough has been written to show a composer’s self worth.”75
Whether or not Finzi felt he had accomplished that showing musically, he did feel satisfaction in
the completeness of his life. While loss haunted his childhood and influenced his adulthood, he
found happiness not only in his compositional voice, but in his family, close friends, and serene
surroundings. Ursula Vaughan Williams reported surprise when, following a festival, the couples
went to have coffee and in the middle of chit chat he said, ‘I think I have done
everything in my life that I have wanted to [do].’76
Finzi did not set out to break new artistic ground, nor did he. His harmonies, while rich
and interesting, are not aurally demanding. His melodic gestures, while refreshing and
sometimes surprising, are romantically lyrical at most every turn. “That’s not to say,” as
Willcocks pointed out, that “his music wasn’t original,” only that he wasn’t intent on “opening
new things” as other composers might set out to do.77 Finzi knew however,
just where he stood in this scheme of things. He never expected to be a big name,
a popular or ‘great’ composer. But, to him, the thought of shaking hands with a
good friend over the years, just as if he were sitting in his kitchen at
Ashmansworth in the fading light chatting to Uncle Ralph or Joy, would have
meant more to him than any number of comparisons with this composer or that.78
That his music should speak to people and be enjoyed was his simple desire. A growing
interest in his work today invokes the image of his returning to numerous pleasant twilight chats,
not at his country farm, but now in the kitchens of his many new friends made through the music
which spoke so well for him.
74
Dressler, 8.
Finzi, II.
76
Crutchfield, 174.
77
Ibid., 162.
78
Paul Spicer in Dressler, 25.
75
APPENDIX
Selection and Arrangement of Crashaw Texts for Lo, the Full Final Sacrifice
Finzi Setting
Lauda Sion (L), Adoro Te (A)
Stanza
Text
Text
Stanza
1
Lo, the full, final Sacrifice
On which all figures fix’t their eyes.
The ransomed Isaac, and his ram;
The Manna, and the Paschal Lamb.
Lo, the full, finall, SACRIFICE
On which all figures fix't their eyes.
The ransom'd ISACK, & his ramme;
The MANNA, & the PASCHAL Lamb.
L 12
2
Jesu Master, just and true!
Our Food, and faithful Shepherd too!
Jesu Master, Just & true!
Our Food, & faithfull SHEPHARD too!
O by thy self vouchsafe to keep,
As with thy selfe thou feed'st thy SHEEP.
L 13
3
O let that love which thus makes thee
Mix with our low Mortality,
Lift our lean Souls, and set us up
Convictors of thine own full cup,
Coheirs of Saints. That so all may
Drink the same wine; and the same Way.
Nor change the Pasture, but the Place
To feed of Thee in thine own Face.
O let that love which thus makes thee
Mix with our low Mortality,
Lift our lean Soules, & sett us up
Convictors of thine own full cup,
Coheirs of SAINTS. That so all may
Drink the same wine; and the same WAY.
Nor chang the PASTURE, but the PLACE;
To feed of THEE in thine own FACE.
Amen.
L 14
4
O dear Memorial of that Death
Which lives still, and allows us breath!
Rich, Royal food! Bountiful Bread!
Whose use denies us to the dead!
A6
5
Live ever Bread of loves, and be
My life, my soul, my surer self to me.
O dear memoriall of that Death
Which lives still, & allowes us breath!
Rich, Royall food! Bountyfull BREAD!
Whose use denyes us to the dead;
Whose vitall gust alone can give
The same leave both to eat & live;
Live ever Bread of loves, & be
My life, my soul, my surer selfe to mee.
6
Help Lord, my Faith, my Hope increase;
And fill my portion in thy peace.
Give love for life; nor let my days
Grow, but in new powers to thy name
and praise.
Help, lord, my Faith, my Hope increase;
And fill my portion in thy peace.
Give love for life; nor let my dayes
Grow, but in new powres to thy name
& praise.
A5
7
Rise, Royal Sion! rise and sing
Thy soul’s kind shepherd, thy heart’s King.
Stretch all thy powers; call if you can
Harps of heaven to hands of man.
This sovereign subject sits above
The best ambition of thy love.
RISE, Royall SION! rise & sing
Thy soul's kind shepheard, thy hart's KING.
Stretch all thy powres; call if thou can
Harpes of heavn to hands of man.
This soveraign subject sitts above
The best ambition of thy love.
L1
80
8
Lo the Bread of Life, this day’s
Triumphant Text provokes thy praise.
The living and life-giving bread,
To the great twelve distributed
When Life, himself, at point to die
Of love, was his own Legacy.
Lo the BREAD of LIFE, this day's
Triumphant Text, provokes thy prayse.
The living & life-giving bread,
To the great twelve distributed
When LIFE, himself, at point to dy
Of love, was his own LEGACY.
L2
9
O soft self-wounding Pelican!
Whose breast weeps Balm for
wounded man
All this way bend thy benign flood
To’a bleeding Heart that gasps for blood.
That blood, whose least drops sovereign be
To wash my worlds of sins from me.
Come love! Come Lord! And that long day
For which I languish come away.
When this dry soul those eyes shall see,
And drink the unseal’d source of thee.
When Glory’s sun faith’s shades shall chase,
And for thy veil give me thy Face.
O soft self-wounding Pelican!
Whose brest weepes Balm for
wounded man.
Ah this way bend thy benign floud
To'a bleeding Heart that gaspes for blood:
That blood, whose least drops soveraign be
To wash my worlds of sins from me.
Come love! Come LORD! & that long day
For which I languish, come away;
When this dry soul those eyes shall see,
And drink the unseal'd sourse of thee,
When Glory's sun faith's shades shall chase,
And for thy veil give me thy FACE.
A7
[Lo, the full, final Sacrifice
On which all figures fix’t their eyes.]
AMEN.
Amen.
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