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 types, 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 giant secondary literature on those composers, and brings to undergo his personal learn of the autograph manuscripts. The latter shape an unheard of list of compositional procedure 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 research of the resources permits city to spot for the 1st time circumstances of similarity and imitation, continuities and connections among the works.
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Extra info for An Imperishable Heritage: British Choral Music from Parry to Dyson; a Study of Selected Works
70. , p. 121. As Graves wrote: “From the age of twenty-three to that of seventy his religious opinions underwent no substantial change, but he learned to curb his tongue, and this increased consideration for the feelings of others led to a certain misconception of his attitude. … There can be no doubt that some misconstrued his action, and inferred that he had changed his views. ” Charles L. Graves, Hubert Parry: His Life and Works, 2 vols (London, 1926), vol. 2, pp. 152–3. Benoliel, p. 116. 16 17 Boden.
It is a much tidier autograph, and easier to read, than the 1907 autograph score. The instrumentation is in the right order from top to bottom, though notated at the foot of the score on pages 228–38, 233–4, and 235–8 are additional parts for organ, drums, and harp, respectively. 1 15 The Vision of Life (1907), full score, GB-Lcm Add. 4213, p. 1 movement, section or solo, and thereafter pages of manuscript simply have no key signatures (clefs and time signatures are treated in the same fashion).
53 Parry himself wrote: I believe in religion, but one so pure and simple that its chiefest maxim is “strive after virtue for itself”. I believe that the theological part of Christianity and all dogmas connected with it are a mistake … I believe in God, and I believe that he is good, and I think that is the one form of “faith” that will always stick to me. ” 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]).