By Erik Routley, Eric Routley, Lionel Dakers

ISBN-10: 0264674405

ISBN-13: 9780264674407

Starting from the medieval interval to the current day, this can be a short heritage of church track because it has built during the English culture. defined as "a speedy journey", it offers a huge ancient survey instead of an in-depth examine of the topic, and in addition predicts most likely destiny developments.

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Dated 1706, and 'Flintoft in G minor', dated 1727. The second of these is an arrangement of a psalm tune (metrical) in Allison's 1599 Psalter. A few single chants may be earlier than 1700, but some that purport to be are later arrangements from phrases in works by composers who would be surprised at what has been done with them. Anglican chant, it is usually now agreed, is choral rather than congregational music in essence, although it established itself in parishes very firmly during the nineteenth century.

Successive editions, often contributed to by the ablest musicians of the day, continued to appear throughout the puritan period, the most celebrated being Daman's Psalter, 1591, Este's, 1592, Ravenscroft's, 1621 and Playford's, 1671 and 1677: in Scotland Miller's of 1635 was the most able of the harmonized versions. Este in 1592 used ten of the best-known madrigalists of his day for his harmonizations, including John Farmer, Thomas Morley, George Kirbye and John Dowland. Ravenscroft drew on these and by using composers of the later generation brought his total of contributors, excluding himself, to 22.

Perhaps, by a short head, Exultate, with its absolutely continuous energy and sure-footed stride, is the greater piece, but there is not much between them. But this is not strictly English church music: it is music written under the influence of that very interesting pocket of Roman Catholic culture, the Chapel of the Portuguese Embassy in London. Samuel in his early years frequented the place for the sufficient reason that you were likely to get a better musical diet there than anywhere else in London.

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