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

By Stephen Town

The rehabilitation of British track 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 immense secondary literature on those composers, and brings to endure his personal research of the autograph manuscripts. The latter shape an extraordinary list of compositional technique 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 resources permits city to spot for the 1st time situations of similarity and imitation, continuities and connections among the works.

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Ix. , 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.

Many other titles may be listed, for example Graham Parlett, A Catalogue of the Works of Sir Arnold Bax (Oxford, 1999); Stewart R. Craggs, Arthur Bliss: A Source Book (Aldershot, 1996); Robert Anderson, Elgar (New York, 1993); Robert Anderson, Elgar in Manuscript (London, 1990); Percy M. Young, Elgar, Newman and The Dream of Gerontius in the Tradition of English Catholicism (Aldershot, 1995); John C. ), Nineteenth-Century British Music Studies, vol. 1 (Aldershot, 1999). These are but a few; the list is exceeding long and formidable.

64, the music is omitted (though the folios are not interrupted in their numbered sequence) from page 58, one measure after rehearsal number 32, to page 61, first system, third measure. Folios 66–67 are out of order in the binding. These two folios feature the music from page 59, first system, third measure to page 60, first system, fourth measure (f. 66), and from page 60, first system, fourth measure to page 61, first system, third measure (f. 67). The original ending (a) is 53 measures in length, whereas the revised ending (b) is considerably longer at 188 measures from the point of revision.

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