By Stephen Town
The rehabilitation of British tune 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 song of the English Musical Renaissance is rooted in shut exam of chosen works from those composers. city collates the huge secondary literature on those composers, and brings to undergo his personal research of the autograph manuscripts. The latter shape an exceptional checklist of compositional method and shed new mild at the compositions as they've got come all the way down to us of their released and recorded shape. This shut learn of the resources permits city to spot for the 1st time situations of similarity and imitation, continuities and connections among the works.
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Additional resources for An Imperishable Heritage: British Choral Music from Parry to Dyson; a Study of Selected Works
Piano-vocal score pp. 43–8; autograph pp. 76–86) and “Hearken O brothers / To the music of the song” (piano-vocal score p. 80; autograph pp. 170–83) exemplify this treatment, but it may be seen to a lesser extent in “To us only is the truth known” (for TB chorus), together with the episode that precedes and follows it (piano-vocal score p. 65; autograph pp. 122–39) and “This is mine! ”) (piano-vocal score p. 71; autograph pp. 148–51). The original ending may be found on pages 209–17, with each page being crossed out.
Paul’s Cathedral, that garrison church of England and of the British Empire. Sir Hubert’s final resting-place was not to be Westminster Abbey, the necropolis of artists and musicians. Not for him the company in death of Purcell and Handel and (in due course) Stanford and Vaughan Williams. In St. 30 The fascinating and varied images of Parry presented in the foregoing volumes were predicated upon those of Charles Graves, who authored the first biography of the composer in the 1920s, a two-volume investigation published by Macmillan in 1926.
93–5), “None will be dreaming alone,” are dispensed via tertian harmonic progressions (B, A@, C, and E), rushing triplets, and a melody that in its vast range reaches from c#1 to b2. The raison d’être of festival works was their choruses, several of which in The Vision of Life are very fine. In section 9 (the fourth of the eight choruses), “The Empire of the proud ones passeth,” the march-like, haughty music, with its dotted rhythms and melodic embellishments (lento maestoso, ¦¼ time), underscores the text executed by the chorus in unison, homophony, and imitative writing featuring affective suspensions (pp.
An Imperishable Heritage: British Choral Music from Parry to Dyson; a Study of Selected Works by Stephen Town