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The Words of Sir Hubert Parry Author(S): F The Words of Sir Hubert Parry Author(s): F. Gilbert Webb Source: The Musical Times, Vol. 59, No. 909 (Nov. 1, 1918), pp. 492-494 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/908705 . Accessed: 14/02/2015 05:39 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times. http://www.jstor.org This content downloaded from 128.235.251.160 on Sat, 14 Feb 2015 05:39:22 AM All use subject to JSTOR Terms and Conditions 492 THE MUSICAL TIMES.-NOVEMBER I, 1918. 'I heard a voice fromheaven.' The remaining choral resentmentat havingto waitso manycenturies for the item was the Passion Chorale, 'Commit thy ways to consummationof variousaims. Monteverde,Purcell, The choir was of the St. Paul's and Gluck are types of those eager spirits who are Jesus.' composed ofthe slow marchof and wantto find Cathedral and the Temple Church Choirs, con- impatient things, Walford the a short cut to their artisticideals-just as impatient ducted by Major Davies, in absence, enthusiasts to establisha millenniumbefore Dr. political long through illness, of Mr. Charles Macpherson. theyhave organizedtheir human beingsinto a fitstate H. P. Allen conducted the Bach Choir. An auxiliary to live in it. Such ardentand as class at the genuine composers body of singers, made up of the choral theywere saw rightlythat art is not an end but a means, Royal College of Music and the Royal Air Force Choir, and having much more natural feelingfor expression occupied seats under the dome, and gave fine impetus thanfor the purelyartistic side of things,they triedto to the congregational singing in the Gloria Patri of make sluggishtime move faster and to attaintheir ideal the Psalm, the hymn, and the Bach Choral. The artisticregion without the preliminaryof followingthe fine rendering of the service owed much to the able long road thatled there. accompaniment of Dr. W. G. Alcock. Anotherstriking example of Parry'spower to condense, ORGAN MUSIC. and present witha clearness that makes the knowledge of is found in a It was appropriate that organ music should play a conveyed easy assimilation, passage at the burial of one who was such an fromthe same book on the much discussed question of prominentpart in folk-tunes: ardent disciple of Bach, and who himself during the nationality last few of his life had enriched the repertoryof Folk-tunes are the firstessays made by man in years hisnotes so his in terms the instrument by fine works based on our native distributing as to express feelings ofdesign. Highly sensitiveraces express themselves hymn-tunes. with of emotionalforce and of form Before the service Sir Walter Parratt played Bach's highdegrees variety ; placid races show perfectcontent in simple design of Prelude on 'Jesu, my Trust,' and Parry's Prelude little racesof moderate who have the meaning; intelligence on 'Martyrdom' ('As pants hart '). Immediately considerableskill in manipulationand love of effect before the blessing, the congregation standing, Major introducemuch ornamentation ; serious and strongraces, Walford Davies played the composer's rugged Fantasia andthose with much reserve of disposition, produce very on Croft's' 136th' (' Ye boundless realms of joy '). simpleand dignifiedtunes ; and so on in varyingdegrees. The service was followed by three more of Parry's Modes of lifeand climaticconditions all'tell upon the organ works-the Elegy in A flat and Fantasia on product,and ultimatelycolour in no little degree the 'St. Anne,' played by Mr. H. G. Ley, and the later artisticdevelopments which are the counterparts an Prelude on Omnium,' played by of these slender beginnings. Folk-music supplies 'Jesu, Redemptor ofthe on whichmusical art is founded. Mr. Ivor Atkins. One more organ item claims epitome principles mention-an improvisationby Major Walford Davies, Again, a splendid birds-eye view of rationality in who linked together six little themes writtenfor the harmony is given in the passage : Dr. Alan and Dr. occasion by himself, Gray Alcock, The essenceof designin harmonicmusic of themodern and Messrs. Frank Bridge, Ivor Atkins,and H. G. Ley. kind is thatgroups of chordsand whole passages shall have a well definedand intelligibleconnection with THE WORDS OF SIR HUBERT PARRY. certaintonal centres, and thatthe centresround which the successive are shall have definite F. GILBERT WEBB. passages grouped BY and intelligiblerelation of contrastor affinitywith one One of the most distinctive features of the another. Renaissance of British music is the literary ability Perhaps Parry's power of condensation is most in of its founders and its leaders. Mackenzie, Elgar, evidence in his ' Summary of Musical History' which Cowen, Corder, Bantock, and others all possess the forms 'No. 42' of Messrs. Novello's Primers. This power to express themselves in words as convincingly work might be described as the superessence of as in music, and had the late Sir Hubert Parry deductions formental consumption. The opening of never composed a single work, his books on the preface is worthquoting, because so many students the 'Evolution of Musical Art,' 'Style in Musical and performersseem to think there is littleof practical Art,' 'Johann Sebastian Bach,' and the third volume value in historical knowledge: of the 'Oxford History of Music' would have A fairlycomprehensive and orderlyunderstanding of brought him far-reaching and enduring fame. No the historyof his art is ofgreat importance to a musician, previous composer has taken such a wide survey of bothfor the light it throwson every departmentof the historyof man and social conditions, and shown practical work, for the widening of his artistic their relation to, and influence on, musical art. His sympathies,and forthe servicethat a rationalstudy of of dominating facts, perception of causes, and historyof any kind is capable of renderingto a man's grasp mindand power of logical deduction were extraordinary. All judgment. musicians are conscious in more or less degree that Many people are inclined to regard Parry as theirart is an expression of the motives which influence belonging essentially to a page of musical history and dominate humanity,but it was left to Parry to be which has been turned over, that he was one who had the first to show the closeness of the connection little sympathy with or understanding of modern between the organization of life and the organization developments. This idea has been engendered by of music; the intimacy between temperament and his research into the beginnings of things, and the tone,habit and song, and to demonstrate that music is remarkable deductions he drew therefrom. As far the mirrorthat faithfullyreflects the animating spirit back as 1893 he gave at the Royal Institutiona course and the trend of thoughtof each passing age. of fourlectures on 'Expression and Design in Music' It is this recognition and clear setting forth of the which attracted a good deal of attentionin the musical twinshipof life and music that give such peculiar value world by reason of their masterly summary of the to the late composer's books. Passage afterpassage earliest stages of music. His discourses in the same in them affordsterse and convincing deductions that place on ' Idealism and Realism in Music' showed the clear away vagueness of knowledge and consolidate same singular power to reveal the origin of things. I thought. The work of the pioneer in art is well shown may mention that epitomes of these lectures will be by the followingquotation from'The Art of Music ' : found in the columns of the Musical Times, and that Human natureis liable to be impatientof the slow they are well worth re-reading. The not unnatural developmentof resources,and often breaks out in results of these discourses was to associate the author This content downloaded from 128.235.251.160 on Sat, 14 Feb 2015 05:39:22 AM All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-NOVEMBER I, 1918. 493 with greater comprehensionof the past than the receptive.. But appeals to sensibilitymust be con- present, but those who have had the privilege of stantlyenhanced, because the nervouscentres get jaded hearing him speak on the various papers read during whenthey are excitedtoo continuously. So thereis an accumulative The art of coloureffect his presidency. of the Musical Association know that process. constantly few men were more in touch with or had a becomes more elaborate,the human creaturebecomes deeper more and the intellectualelements understanding of the of his time than Hubert morbidlyreceptive, spirit of art are moreand moreedged out of sight. Parry. I have met him at the Alhambra as well as at To this cause attributed the Queen's Hall Symphony Concerts and a number of Parry constantly effortsof German recitals. 'The song from the music-hall may be increasing living composers to introduce new instruments excellent and characteristic, and often is ; the music and increase the size of orchestras. The result of course is an of people who
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