The "Big Tune" that is strongly associated with late Romantic music in England may have found its greatest exponent in Edward Elgar, but it had its basis in the music of his predecessors, Charles Villiers Stanford and Charles Hubert Hastings Parry. Many of the large-scale works composed in the Victorian and Edwardian eras featured expansive melodies of dignified, uplifting character, and it was largely in the anthems and hymns of Stanford and Parry that the characteristic became notable. Indeed, so recognizable was this ...
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The "Big Tune" that is strongly associated with late Romantic music in England may have found its greatest exponent in Edward Elgar, but it had its basis in the music of his predecessors, Charles Villiers Stanford and Charles Hubert Hastings Parry. Many of the large-scale works composed in the Victorian and Edwardian eras featured expansive melodies of dignified, uplifting character, and it was largely in the anthems and hymns of Stanford and Parry that the characteristic became notable. Indeed, so recognizable was this common trait in their music that musicians sometimes jokingly referred to "Stanford (hyphen) Parry," as if speaking of one composer. But if there has been any confusion over who's who, Naxos has kindly distinguished them in several worthy recordings of their works, and this 2009 release of Parry's choral music reveals many pieces with sumptuous melodies and rich harmonies to rival anything by the composer with whom he is often linked. The Songs of Farewell is a cycle of six a cappella...
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