A Short History of English Church Music by Erik Routley, Eric Routley, Lionel Dakers

By Erik Routley, Eric Routley, Lionel Dakers

Starting from the medieval interval to the current day, this can be a short heritage of church track because it has built throughout the English culture. defined as "a fast journey", it offers a large historic survey instead of an in-depth learn of the topic, and likewise predicts most likely destiny traits.

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By Erik Routley, Eric Routley, Lionel Dakers

Starting from the medieval interval to the current day, this can be a short heritage of church track because it has built throughout the English culture. defined as "a fast journey", it offers a large historic survey instead of an in-depth learn of the topic, and likewise predicts most likely destiny traits.

Show description

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Extra info for A Short History of English Church Music

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What had happened was the result of the fact that whereas Batten had spent all his working life in England, Porter had spent a good deal of it in Italy. 'Praise the Lord' is a verse anthem published in 1632. Verse anthems—anthems constructed in several episodes and using solo voices—were even by that date nothing new: there are plenty 30 A Short History of English Church Music of them in the Tudor period. But rhetorical melismatic solos certainly are new, and so is figured bass, which in Italy, where it seems to have been invented around 1600, was called basso continuo.

Kenneth Long, in his magnificent and ample account* devotes eight of 480 pages to the period and mentions four composers, Jonathan Battishill (1738-1801), Thomas Attwood (1765-1838), Samuel Wesley (1766-1837) and William Crotch (1775-1847). TECM Volume IV adds to these Benjamin Cooke (1734-93) and Samuel Arnold (1740-1802) as composers of music worth recording as examples. Of these six, a generous use of the word 'distinguished' would embrace Battishill, Wesley, and conceivably Attwood. It is worth glancing at the Cooke Magnificat (TECM IV p.

That cannot mean what is meant in the early twentieth century; it rather means to distinguish between those who were sure that the Church, in its public behaviour, should exhibit some sense of style and occasion, and those who were more concerned to suppress extravagance. One of music's chief benefactors in the early seventeenth century was the archetypal 'high churchman', Archbishop Laud, whose open quarrel with the puritans became A Crisis of Cultures 25 an historic landmark. Not but what the puritans themselves were becoming more articulate: and, what was more alarming for the higher reaches of church music-making, more powerful.

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