By Stephen Town
The rehabilitation of British song 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 tune of the English Musical Renaissance is rooted in shut exam of chosen works from those composers. city collates the significant secondary literature on those composers, and brings to endure his personal learn of the autograph manuscripts. The latter shape an unprecedented checklist of compositional approach 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 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
These additional parts—for example, here, Piccolo, Corno Inglese, Bass Clarinet, Contra Fagotto; there, Harp, Cymbals, Drums—and other instructions on almost every page—for example, “add Trumpet,” “add 3rd Horn”—cause the score to be exceedingly untidy and tedious to read. 1). However, after pages 1–2—one page (a recto and an overleaf)—Parry inserted re-drafted pages 1–2 with the following instructions in the top, left-hand margin: Sample page for order of instruments: Piccolo / Flute 1 & 2 / Oboe 1 & 2 / Corno Inglesi / Clarinets in B@ / Bass Clarinets in B@ / Fagotti / Contra Fagotti / Horns in F / Trumpets in F 1 & 2 / Trombones / Bass Trombone / Tuba / Harp / Organ / Timpani / Big drum / Cymbals / Violin 1 / Violin 2 / Viola / Soprano Solo / Bass Solo / Chorus / Cellos / Double Bass.
21 With the exception of some elements of Parry’s reception history, Allis’s book did not consider the fascinating biography of Parry—that was not the author’s intent. More to the point, Allis described precisely the composer’s manuscript material and compositional stages in an admirable and authoritative fashion. 23 How this occurred, when the critics themselves disagreed about the future course of national music, and when Parry himself never curried their favor or solicited their support, makes absorbing reading.
The Dream Voices We wandered aimless in a world of dread; Wherever life was, death lurked; We knew not hope, for us knowledge was not, By the law of our being strife was begotten. The weak grew strong in wariness; Cunning and craft were his weapons; He shunned the light in secret places, And slew for safety, and found none! The Lords of the tempest thundered; The flame from the cloud consumed us, The wielder of winds o’erwhelmed us, The frosts of the night numbed us. Homeless and houseless, In caves and in clefts, We hid from the terror Of tempest and torrent, Cowering, thirsting, shivering, starving, dying, While the host wandered on.
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