for SATB double choir and organ or orchestra or brass ensemble This renowned anthem was written for the coronation of Edward VII in 1902, and has been performed at all subsequent British coronations. This edition presents the 1911 version prepared by the composer for the coronation of George V, with the 'Vivats' as written for that occasion and an alternative editorial text by John Rutter that enables the anthem to be performed in its complete form on any suitable occasion. Rutter's fascinating editorial preface provides interesting contextual notes and informative performance considerations. Orchestral scores and instrumental parts for full and reduced orchestrations and for a version for brass, organ, and optional timpani are available on rental.

C. Hubert H. Parry (1848 1918), knighted in 1902 for his services to music, was a distinguished composer, conductor and musicologist. In the first of these roles he is best known for his settings of Blake's 'Jerusalem' and the coronation anthem 'I was glad'. He was an enthusiastic teacher and proselytiser of music, believing strongly in its ability to widen and deepen the experience of Man, and this book, published in 1896 as a revised version of his 1893 The Art of Music, appeared in a series called 'The International Scientific Series'. Parry's intention is to trace the origins of music in 'the music of savages, folk music, and medieval music' and to show 'the continuous process of the development of the Musical Art in actuality'.

C. Hubert H. Parry (1848 1918), knighted in 1902 for his services to music, was a distinguished composer, conductor and musicologist. In the first of these roles he is best known for his settings of Blake's 'Jerusalem' and the coronation anthem 'I was glad'. He was an enthusiastic teacher and proselytiser of music, believing strongly in its ability to widen and deepen the experience of Man. In this book published in 1893 (and later revised as The Evolution of the Art of Music, also reissued in this series), Parry examines the universal impulse to create musical sounds, traces the origins of music in 'primitive' societies using the research of contemporary anthropologists, and surveys the rise of western music from the ancient Greeks to the Victorian age.

This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

J O H AN ft -E B A SHAN THE STORY OF THE DEVELOPMENT OF A GREAT PERSONALITY BY C. HUBERT H. PARRY MUS. DOC., OXFORD, CAMBRIDGE, AND DUBLIN mRKCTOR OF THE HOYAL COLLEGE OK MUSIC, AND KORMRKLY PKOFEKSOK OK MUSIC OF TK UNIVaRSZTY OF OXKOKD ILLUSTRATED G. P. PUTNAMS SONS NEW YORK AND LONDON Gbe ItnfcltetbocFtet preea 1010 COPYRIGHT, 1909 BY G. P. PUTNAMS SONS Published, September, 1909 Reprinted, March, 1910 Vbe Hitfcfcerbocker Pre, few U IHfi, MEMORY OF E. W. H. PREFACE THE exhaustive researches of Philip Spitta in every quarter which could afford even remote illustrations of the life and work of John Sebastian Bach, and the voluminous and comprehensive work which embodied their results, might seem to render any further efforts in the same direction superfluous. His devotion and ingenuity in unearthing such facts as were attainable after more than a century of public . indifference, and his shrewdness in suggesting surmises when facts were not to be found, seem to leave little for those to do who come after, but to confess their obligations and to acquiesce in the arguments discussed and re-discussed without stint. But Spitlas position, as the first thoroughgoing explorer, was inevitably specialised, as he could not take anything for granted, and had to set down every insignificant detail of fact and inference which bore upon his argument. He felt himself bound to give in the utmost fulness the births, deaths, mar riages, and careers of remote relations, to discuss the interesting and valuable evidence of the water-marks in the paper used by Bach at different times in his career, and the technicalities of ecclesiastical usage which throw light on the schemes of his Church Can tatas, andmany other matters which are rather beyond the requirements of any but specialists. His work is VI Preface inevitably rather confused through the vast array of evidence which has to be marshalled, and it is difficult to derive from it, without great effort, any clear idea of the personality of the composer, as a composer, or any clear impression of his work as a whole. More over, as the writer endeavours to supply technical analyses of most of the works he refers to, especially of works which are hardly ever, if ever, performed, and as musical analysis is, as a rule, quite unprofitable without the actual Music analysed, it is necessary, in order to get even a limited understanding of the book, to have all Bachs works in the huge forty and odd volumes of the German Bach Society, and possibly a few other editions and it would also entail several years of ample leisure, and a devotion which is prac tically inexhaustible. Under these circumstances a more condensed survey of Bachs life-work and his unique artistic character may seem excusable. Too copious a presentation of details is apt to obstruct that understanding of the works of any great composer or artist, and the manner in which human qualities are manifested in them, which is the object of all scrutiny of their lives. In Bachs case the mere events and facts of the life apart from Art are insignificant, and in consequence of the lack of public interest which he inspired in his own time even myths and legends are but scanty, so there is but little temptation to dwell upon matters of secondary im portance. His life was unified by the persistence of strong and decisive qualities of character and tempera ment, which happened to be verycharacteristic of the race and period to which he belonged and the unity is emphasised by the fact that he had very little help Preface vii from outside in developing his powers, and that he went on educating himself and expanding his re sources from beginning to end...

J O H AN ft -E B A SHAN THE STORY OF THE DEVELOPMENT OF A GREAT PERSONALITY BY C. HUBERT H. PARRY MUS. DOC., OXFORD, CAMBRIDGE, AND DUBLIN mRKCTOR OF THE HOYAL COLLEGE OK MUSIC, AND KORMRKLY PKOFEKSOK OK MUSIC OF TK UNIVaRSZTY OF OXKOKD ILLUSTRATED G. P. PUTNAMS SONS NEW YORK AND LONDON Gbe ItnfcltetbocFtet preea 1010 COPYRIGHT, 1909 BY G. P. PUTNAMS SONS Published, September, 1909 Reprinted, March, 1910 Vbe Hitfcfcerbocker Pre, few U IHfi, MEMORY OF E. W. H. PREFACE THE exhaustive researches of Philip Spitta in every quarter which could afford even remote illustrations of the life and work of John Sebastian Bach, and the voluminous and comprehensive work which embodied their results, might seem to render any further efforts in the same direction superfluous. His devotion and ingenuity in unearthing such facts as were attainable after more than a century of public . indifference, and his shrewdness in suggesting surmises when facts were not to be found, seem to leave little for those to do who come after, but to confess their obligations and to acquiesce in the arguments discussed and re-discussed without stint. But Spitlas position, as the first thoroughgoing explorer, was inevitably specialised, as he could not take anything for granted, and had to set down every insignificant detail of fact and inference which bore upon his argument. He felt himself bound to give in the utmost fulness the births, deaths, mar riages, and careers of remote relations, to discuss the interesting and valuable evidence of the water-marks in the paper used by Bach at different times in his career, and the technicalities of ecclesiastical usage which throw light on the schemes of his Church Can tatas, andmany other matters which are rather beyond the requirements of any but specialists. His work is VI Preface inevitably rather confused through the vast array of evidence which has to be marshalled, and it is difficult to derive from it, without great effort, any clear idea of the personality of the composer, as a composer, or any clear impression of his work as a whole. More over, as the writer endeavours to supply technical analyses of most of the works he refers to, especially of works which are hardly ever, if ever, performed, and as musical analysis is, as a rule, quite unprofitable without the actual Music analysed, it is necessary, in order to get even a limited understanding of the book, to have all Bachs works in the huge forty and odd volumes of the German Bach Society, and possibly a few other editions and it would also entail several years of ample leisure, and a devotion which is prac tically inexhaustible. Under these circumstances a more condensed survey of Bachs life-work and his unique artistic character may seem excusable. Too copious a presentation of details is apt to obstruct that understanding of the works of any great composer or artist, and the manner in which human qualities are manifested in them, which is the object of all scrutiny of their lives. In Bachs case the mere events and facts of the life apart from Art are insignificant, and in consequence of the lack of public interest which he inspired in his own time even myths and legends are but scanty, so there is but little temptation to dwell upon matters of secondary im portance. His life was unified by the persistence of strong and decisive qualities of character and tempera ment, which happened to be verycharacteristic of the race and period to which he belonged and the unity is emphasised by the fact that he had very little help Preface vii from outside in developing his powers, and that he went on educating himself and expanding his re sources from beginning to end...

J O H AN ft -E B A SHAN THE STORY OF THE DEVELOPMENT OF A GREAT PERSONALITY BY C. HUBERT H. PARRY MUS. DOC., OXFORD, CAMBRIDGE, AND DUBLIN mRKCTOR OF THE HOYAL COLLEGE OK MUSIC, AND KORMRKLY PKOFEKSOK OK MUSIC OF TK UNIVaRSZTY OF OXKOKD ILLUSTRATED G. P. PUTNAMS SONS NEW YORK AND LONDON Gbe ItnfcltetbocFtet preea 1010 COPYRIGHT, 1909 BY G. P. PUTNAMS SONS Published, September, 1909 Reprinted, March, 1910 Vbe Hitfcfcerbocker Pre, few U IHfi, MEMORY OF E. W. H. PREFACE THE exhaustive researches of Philip Spitta in every quarter which could afford even remote illustrations of the life and work of John Sebastian Bach, and the voluminous and comprehensive work which embodied their results, might seem to render any further efforts in the same direction superfluous. His devotion and ingenuity in unearthing such facts as were attainable after more than a century of public . indifference, and his shrewdness in suggesting surmises when facts were not to be found, seem to leave little for those to do who come after, but to confess their obligations and to acquiesce in the arguments discussed and re-discussed without stint. But Spitlas position, as the first thoroughgoing explorer, was inevitably specialised, as he could not take anything for granted, and had to set down every insignificant detail of fact and inference which bore upon his argument. He felt himself bound to give in the utmost fulness the births, deaths, mar riages, and careers of remote relations, to discuss the interesting and valuable evidence of the water-marks in the paper used by Bach at different times in his career, and the technicalities of ecclesiastical usage which throw light on the schemes of his Church Can tatas, andmany other matters which are rather beyond the requirements of any but specialists. His work is VI Preface inevitably rather confused through the vast array of evidence which has to be marshalled, and it is difficult to derive from it, without great effort, any clear idea of the personality of the composer, as a composer, or any clear impression of his work as a whole. More over, as the writer endeavours to supply technical analyses of most of the works he refers to, especially of works which are hardly ever, if ever, performed, and as musical analysis is, as a rule, quite unprofitable without the actual Music analysed, it is necessary, in order to get even a limited understanding of the book, to have all Bachs works in the huge forty and odd volumes of the German Bach Society, and possibly a few other editions and it would also entail several years of ample leisure, and a devotion which is prac tically inexhaustible. Under these circumstances a more condensed survey of Bachs life-work and his unique artistic character may seem excusable. Too copious a presentation of details is apt to obstruct that understanding of the works of any great composer or artist, and the manner in which human qualities are manifested in them, which is the object of all scrutiny of their lives. In Bachs case the mere events and facts of the life apart from Art are insignificant, and in consequence of the lack of public interest which he inspired in his own time even myths and legends are but scanty, so there is but little temptation to dwell upon matters of secondary im portance. His life was unified by the persistence of strong and decisive qualities of character and tempera ment, which happened to be verycharacteristic of the race and period to which he belonged and the unity is emphasised by the fact that he had very little help Preface vii from outside in developing his powers, and that he went on educating himself and expanding his re sources from beginning to end...