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Vaughan Williams on Music$
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David Manning

Print publication date: 2007

Print ISBN-13: 9780195182392

Published to Oxford Scholarship Online: October 2011

DOI: 10.1093/acprof:oso/9780195182392.001.0001

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The Teaching of Parry and Stanford

The Teaching of Parry and Stanford

(p.315) Chapter 72 The Teaching of Parry and Stanford
Vaughan Williams on Music

David Manning

Oxford University Press

This chapter examines the teachings of Hubert Parry, as well as those of Charles Villiers Stanford. Parry's life of Richard Wagner, published in the early eighties in his Studies of Great Composers, is masterly, putting him in his high place long before the time when Bernard Shaw and his satellites imagined that they had discovered him. His early radicalism subsided in later years to a broad-minded conservatism. Stanford in many ways was the opposite of Parry. Parry is sometimes musically inarticulate and clumsy. Stanford was occasionally too clever: his very facility sometimes betrayed him. He could, at will, adopt the technique of any composer he chose—as in The Middle Watch, where he beats Frederick Delius at his own game. However, in such works as the Stabat Mater the Requiem, and some of his songs, one finds Stanford thinking his own beautiful thoughts in his own beautiful way.

Keywords:   Hubert Parry, Charles Villiers Stanford, Richard Wagner, Great Composers, radicalism, conservatism, Middle Watch, Stabat Mater, Requiem

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