John Stainer: A Life in Music (Music in Britain, 1600-1900) by Jeremy Dibble

John Stainer: A Life in Music (Music in Britain, 1600-1900) by Jeremy Dibble

By Jeremy Dibble

`The thoroughness of the examine is extraordinary, in accordance with great quantity of assets, a lot of them little used till now.... A textual content that incorporates nice authority, plus (almost both very important) a brand new and generously annotated checklist of Stainer's works either musical and literary. eventually, Stainer has acquired his due, as soon as and for all.' NICHOLAS TEMPERLEY, Professor of tune Emeritus, college of Illinois. BR> essentially the most very important musicians of the Victorian period, Stainer is understood for his significant impact as a composer of Anglican liturgical tune, and his corpus of secular works - madrigals and songs - offers many surprises. He was once a super organist, an outstanding student, theorist, pedagogue and instructor - multifarious attributes which this research elucidates and is aware as a part of his wider musical character. Stainer's existence is a narrative of amazing social mobility. From lowly origins he rose to develop into organist of St Paul's Cathedral and Professor of track at Oxford. but after his untimely demise in 1901 he suffered nearly quick forget with the exception of the recognition of a handful of works, between them I observed the Lord and The Crucifixion. In rehabilitating Stainer and the an important contribution he made to musical existence, this ebook examines the breadth of his paintings as a composer, and the $64000 function he performed within the regeneration of sacred and secular musical associations in Victorian Britain. JEREMY DIBBLE is Professor of song at Durham collage. His earlier books comprise stories of Parry and Stanford and he's the writer of diverse articles on British tune. he's presently engaged on a dictionary of hymnology.

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24 john stainer: a life in music wrote and begged that the embargo might be withdrawn, and it was, but not in a pleasant way. This was the letter withdrawing the embargo: “Since you make it a point of conscience to have music in a minor key, I give way. ”78 Stainer was keen to exonerate Goss from negative accusations that were prevalent in the press and explained that support from Dean and Chapter had not been forthcoming when he had hoped to augment the choir: I should be very sorry if it were supposed that in saying the music of St.

A. Macfarren, ‘Cipriani Potter: His Life and Work’ [7 January 1884], Proceedings of the Musical Association 10 (1883–4), 54–5. 100 Stainer maintained in a postcard to Edwards of 7 October 1896 (GB-Lbl Egerton 3092) that he had first met Steggall ‘at one of those early rehearsals’ of the Bach Society. This may have been before Steggall’s doctoral exercise of 1851, in which case Stainer may have begun to attend rehearsals of the Bach Society from its inception in 1849. 34 john stainer: a life in music choirs, so Stainer was asked to go to Cambridge in 1851.

Stainer vividly remembered the first time ‘If we believe’ was rehearsed by the substantially augmented choir in the music room at Store Street: ‘When the last few bars pianissimo had died away, there was a profound silence for some time, so deeply had the hearts of all been touched by its truly devotional spirit. ’87 Thus, it seems, began Goss’s rehabilitation as a composer of anthems, and his ‘Praise the Lord, O my soul’, written for the 1854 Bicentenary Festival of the Sons of the Clergy (which was probably Stainer’s last occasion of this kind as a treble), was greatly admired.

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