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Track(s) taken from CDA67020

Yes! the Redeemer rose

composer
The Beauties of Sacred Verse iii, London, c1803
author of text

Psalmody, The Parley of Instruments, Peter Holman (conductor)
Recording details: September 1997
St Mary the Virgin, Stoke-by-Nayland, Suffolk, United Kingdom
Produced by Martin Compton
Engineered by Antony Howell & Julian Millard
Release date: March 1998
Total duration: 4 minutes 13 seconds

Cover artwork: The Ancient of Days by William Blake (1757-1827)
The Whitworth Gallery, The University of Manchester
 
1
Yes! the Redeemer rose  [4'13]

Reviews

'Once again Peter Holman's scholarship offers a fascinating glimpse of a neglected repertoire' (BBC Music Magazine)

'An infectious CD bringing to life a neglected period and its forgotten music. What fun parish music must have been for the likes of Jane Austen, William Wordsworth, Blake or Thackeray' (Classic CD)
Alas! and did my Saviour bleed? (subtitled ‘Crucifixion’) and Yes! the Redeemer rose (subtitled ‘Resurrection’) by the Chester painter, music-seller and dissenter Richard Taylor are good examples of the genre of fuguing tunes — strophic metrical psalms or hymn tunes that include a series of fugal entries — though ‘Crucifixion’ has only a vestigial contrapuntal passage and is of more interest for its rich and dissonant harmony. As with much psalmody, the tune or ‘air’ is in the tenor (a survival of Renaissance practice), doubled at the octave by sopranos. Psalmody of this sort was originally performed unaccompanied. Organs were installed in many urban parish churches during the eighteenth century, though only about ten per cent of country churches had them by 1800. Instead, rural choirs began to be accompanied by small varied bands of instrumentalists who supported the vocal lines and played interludes or ‘symphonies’ at the beginning and between the verses.

from notes by Peter Holman 1998

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