An Imperishable Heritage: British Choral Music from Parry to by Stephen Town

By Stephen Town

The rehabilitation of British track begun with Hubert Parry and Charles Villiers Stanford. Ralph Vaughan Williams assisted in its emancipation from continental versions, whereas Gerald Finzi, Edmund Rubbra and George Dyson flourished in its independence. Stephen Town's survey of Choral tune of the English Musical Renaissance is rooted in shut exam of chosen works from those composers. city collates the titanic secondary literature on those composers, and brings to undergo his personal research of the autograph manuscripts. The latter shape an unprecedented list of compositional method and shed new mild at the compositions as they've got come right down to us of their released and recorded shape. This shut examine of the assets permits city to spot for the 1st time situations of similarity and imitation, continuities and connections among the works.

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His appealing social background and his education at a prestigious public school (Eton) and an ancient university (Oxford) were a significant reason for his appointment. While he was at prep school at Malvern (1856–58) and Twyford (1858–61), his musical training was entrusted to local organists, such as Edward Brind at Highnam Church, and Samuel Sebastian Wesley at Winchester and Gloucester Cathedrals. Thereafter, he chose to attend Eton (1861–66), where he received tuition (1863–66) from George Elvey at St.

The series occupied him from 1902 until 1908, the set of six being War and Peace (Symphonic Ode [3 April 1903, Royal Choral Society, Albert Hall]), Voces Clamantium (Motet [10 September 1903, Hereford Festival]), The Love That Casteth Out Fear (Sinfonia Sacra [7 September 1904, Gloucester Festival]), The Soul’s Ransom (Sinfonia Sacra [12 September 1906, Hereford Festival]), The Vision of Life (A Symphonic Poem [26 September 1907, Cardiff Festival]), and Beyond These Voices There Is Peace (Motet [9 September 1908, Worcester Festival]).

His music can be hearty and blustering, thick and heavy, failing to get off the ground; at other times it is intensely lyrical, almost too sensitive and, in proximity to his robust mood, producing an effect of weak sentimentality. ”38 This analysis was preceded by a somber portrait of Parry’s biography. “He was born at Bournemouth, but grew up … at Highnam, just outside Gloucester. Highnam is a bleak, forbidding estate, thickly surrounded with dark conifers, its stark, neoGothic parish church in the grounds isolated from any village and approached only by a dank, sunken path.

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