By Stephen Town
The rehabilitation of British song all started 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 track of the English Musical Renaissance is rooted in shut exam of chosen works from those composers. city collates the great secondary literature on those composers, and brings to endure his personal learn of the autograph manuscripts. The latter shape an remarkable list of compositional approach and shed new gentle at the compositions as they've got come right down to us of their released and recorded shape. This shut research of the assets 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
P. x. , p. 23. , p. 13. , p. 65. , p. 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.
Folly is no making for the life of man. Awake, ye that heed not man’s worth, And laugh to see him faint and fall! Awake ye that mock at the right, Ye counsellors of corruption! 2 The Vision of Life by Hubert Parry, “We sing the quest of the soul of man” (vocal score; Novello, 1907), p. 102 Hubert Parry and The Vision of Life Reconsidered 19 Ye cannot stay the Sun. Where faith is there is strength! Where truth is there is joy! Where trust is there is love, Where love is there is heaven! Onwards!
18 19 Allis, p. 3. , pp. 4–5. , p. 5. 22 Hughes’s book investigated the critics and composers (Sullivan, Parry, Elgar) of the English Musical Renaissance, which was a construct invented by nineteenthcentury music journalists. As a metaphorical label, it identified the project to provide England with a national music equal to, or surpassing that, of other countries, Austro-Germany being the model; it signified by its connotations of rebirth and resurrection a revival of music composition that had been moribund for decades; it posited an English rather than a British locus, the former adjective being reserved by Victorians and Edwardians for cultural matters, the latter for political ones; and it entered into the musicological discourse, because of its power and resonance, where it remains today as a viable topic of academic research.