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 types, 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 immense secondary literature on those composers, and brings to undergo his personal learn of the autograph manuscripts. The latter shape an unprecedented checklist of compositional strategy and shed new gentle at the compositions as they've got come all the way 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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Extra resources for An Imperishable Heritage: British Choral Music from Parry to Dyson; a Study of Selected Works

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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.

A hearty side to his character developed, perhaps a defence necessary in a school at that time completely unmusical, but never to be shaken off. ” Furthermore, “at Exeter College, Oxford, he fooled around in innumerable immature undergraduate pranks, drank and danced a lot, studied little, and went to the theatre not at all. ” The author went on: “After his marriage (which, probably because of his solitary disposition, was not particularly happy) his sporting energy was channelled into sailing, which he undertook with his customary reckless vigour, and into the devastating but friendly slap on the back which the more delicate of his pupils came to dread in the corridors of the RCM.

149. , p. 148. , p. 138. , p. 160. , p. 159. 31 Graves, vol. 1, p. vi. 32 Dibble, Parry, pp. vii–viii. The following is a typical summary of Parry’s life. Parry (1848–1918) was one of 33 the architects of the English Musical Renaissance. He joined the faculty of the Royal College of Music (RCM) at its inception in 1883 as professor of music history and of composition. In the former role, already he had written essays of extraordinary insight for George Grove’s Dictionary of Music and Musicians, but he had only begun the composition of his enormous musical oeuvre.

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