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 track of the English Musical Renaissance is rooted in shut exam of chosen works from those composers. city collates the mammoth secondary literature on those composers, and brings to undergo his personal research of the autograph manuscripts. The latter shape an unheard of checklist of compositional strategy and shed new mild at the compositions as they've got come right down to us of their released and recorded shape. This shut examine 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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Extra info for An Imperishable Heritage: British Choral Music from Parry to Dyson; a Study of Selected Works
While he was at prep school at Malvern (1856–58) and Twyford (1858–61), his musical training was entrusted to local organists, such as Edward Brind at Highnam Church, and Samuel Sebastian Wesley at Winchester and Gloucester Cathedrals. Thereafter, he chose to attend Eton (1861–66), where he received tuition (1863–66) from George Elvey at St. George’s Chapel, Windsor, and Exeter College, Oxford University (1867– 70), where he read law and modern history but received no formal instruction in 15 Hubert Parry and The Vision of Life Reconsidered 35 music.
25 But it was Parry’s colleague, Stanford, who elevated Parry to the status of national composer. 27 Thereafter, Parry was forever labeled the “English master,” even after the turn of the century when his music seemed passé to a younger generation of critics and listeners. ”29 Hughes went on to close his chapter, part of an entertaining, humorous, and delightfully irreverent book, in the following manner: Appropriately for a national captain, [Parry] was buried in St. Paul’s Cathedral, that garrison church of England and of the British Empire.
14 An Imperishable Heritage: British Choral Music from Parry to Dyson The music does not appear on consecutive pages, recto/verso, rather the pages are in broken succession. The complete full score, measuring c. 10 inches by 14 inches, is written on 26-stave (Bellamy) paper (that is, stamped “H. Lard-Esnault, Ed. , Paris”), (mostly) recto/verso, in black ink with annotations, additions, and emendations in red ink, pencil and blue pencil. The calligraphy is neater, though unlovely. On the bottom of page 1, one finds the pencil annotation—“The additional parts at [present] / under the rest of the score / are to be inserted in the new score in their proper places / CHHP”—which references Parry’s 1914 revision.
An Imperishable Heritage: British Choral Music from Parry to Dyson; a Study of Selected Works by Stephen Town