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Majesty of thy Glory
Henry Purcell, Edward Elgar, Herbert Howells

Morris, Le Grice, Temple Church Cho

Majesty of thy Glory

Price: € 19.95
Format: CD
Label: Signum Classics
UPC: 0635212022528
Catnr: SIGCD 225
Release date: 01 January 2011
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Label
Signum Classics
UPC
0635212022528
Catalogue number
SIGCD 225
Release date
01 January 2011
Album
Artist(s)
Composer(s)
EN

About the album

The Temple Church is one of the most historic and beautiful churches in London. Situated between Fleet Street and the Thames Embankment, its recorded musical history extends back to its restoration in 1841, although a church has stood on the site for over 800 years.

The modern choir is comprised of 18 boy choristers and 12 professional choirmen – an excellent opportunity for the choristers who receive singing and theory tuition as well as generous scholarships towards their education. The programme explores three fascinating and contrasting settings of the Te Deum: A stalwart of the church liturgy (first conceived as far back as AD 387), these settings span over 300 years of English music history, composed respectively in 1694 (Purcell), 1897 (Elgar) and 1944 (Howells).

Composer(s)

Henry Purcell

Westminster Abbey is not just the place where British monarchs were crowned, it's also the place where many English great men were burried. Among those was also Henry Purcell. This final resting place had a double meaning for him: firstly, with his status as a composer he deserved a spot in the abbey, but secondly this was also the location where he worked during the reign of Charles II and William & Mary.  Most people will recognise the last aria of Purcell's beloved opera Dido and Aeneas: 'Remember me, but ah! forget my fate.' More abstract, but less trenchant are his brilliant Fantasias (for viola da gamba) which Purcell composed in the early 1680s. These are small, at times daringly expirimental works, which...
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Westminster Abbey is not just the place where British monarchs were crowned, it's also the place where many English great men were burried. Among those was also Henry Purcell. This final resting place had a double meaning for him: firstly, with his status as a composer he deserved a spot in the abbey, but secondly this was also the location where he worked during the reign of Charles II and William & Mary. Most people will recognise the last aria of Purcell's beloved opera Dido and Aeneas: "Remember me, but ah! forget my fate." More abstract, but less trenchant are his brilliant Fantasias (for viola da gamba) which Purcell composed in the early 1680s. These are small, at times daringly expirimental works, which he carefully dated. Yet, Purcell mostly developed himself as a composer of vocal music, with numerous odes, 'welcome songs', motets (anthems), songs for domestic use (both sacred and secular, both monophonic and polyphonic) and music for theatre.


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Edward Elgar

Eward Elgar was a British composer, who stood on the forefront of the revival of English music around 1900. Many of his works have entered the international concert repertoire, although there are performed more often in Britain than elsewhere. Although Elgar is often considered as a typically English composer, he has primarily been influenced by composers on the European continent. He was contemptuous of folk music and had little respect for English Renaissance and Baroque composers. Instead he was particularly inspired by Dvorák, Händel and Brahms, and the clarity of 19th-century French composers, which resonates through his orchestrations. Elgar was autodidact, and learned to play the organ, violin and viola at an early age within the musical family in which he was...
more
Eward Elgar was a British composer, who stood on the forefront of the revival of English music around 1900. Many of his works have entered the international concert repertoire, although there are performed more often in Britain than elsewhere.
Although Elgar is often considered as a typically English composer, he has primarily been influenced by composers on the European continent. He was contemptuous of folk music and had little respect for English Renaissance and Baroque composers. Instead he was particularly inspired by Dvorák, Händel and Brahms, and the clarity of 19th-century French composers, which resonates through his orchestrations.
Elgar was autodidact, and learned to play the organ, violin and viola at an early age within the musical family in which he was brought up. He also composed and arranged music for various ensembles. He became somewhat well-known with his overture Froissart, but only gained international recognition after composing his Enigma Variations in 1899. Currently researchers are still trying to find out which melody Elgar has hidden within the variations.
Other famous works by Elgar are the Pomp and Circumstance Marches, the oratorio The Dream of Gerontinus and the Cello Concerto.
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Herbert Howells

Herbert Howells studied at the Royal College of Music, London, with Stanford and Wood and taught there himself from 1920 until 1979. He succeeded Holst at the St. Paul’s Girls School and had a professorship at the London University. His music is clearly in the British diatonic tradition, with connections towards Elgar, Walton and Vaughan Williams. Amongst his early works are two piano concertos and chamber music, but his oeuvre mainly consists of choral works, including 15 anthems, a concert requiem (Hymnus paradisi from 1938, first performed in 1950), masses, motets, and several songs. Deeply rooted in the English choral tradition, Howells’ work demonstrates great, precious craftsmanship and a modest, very eloquent personality. (Source:Musicalifeiten.nl)
more
Herbert Howells studied at the Royal College of Music, London, with Stanford and Wood and taught there himself from 1920 until 1979. He succeeded Holst at the St. Paul’s Girls School and had a professorship at the London University. His music is clearly in the British diatonic tradition, with connections towards Elgar, Walton and Vaughan Williams.
Amongst his early works are two piano concertos and chamber music, but his oeuvre mainly consists of choral works, including 15 anthems, a concert requiem (Hymnus paradisi from 1938, first performed in 1950), masses, motets, and several songs. Deeply rooted in the English choral tradition, Howells’ work demonstrates great, precious craftsmanship and a modest, very eloquent personality.
(Source:Musicalifeiten.nl)
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