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In terms of scoring and treatment the six pieces fall into three groups. ‘My soul, there is a country’ and ‘I know my soul hath power’ are written for four voices in a predominantly chordal style. ‘Never weather-beaten sail’ and ‘There is an old belief’, for five and six voices respectively, introduce a certain amount of contrapuntal interest. Finally, in ‘At the round earth’s imagined corners’ for seven voices, and ‘Lord, let me know mine end’, for eight, Parry takes full advantage of the flexibility of treatment available with these scorings in his use of contrasting registers, a variety of contrapuntal techniques, and rich choral sonorities.
from notes by Jeremy Dibble © 2020
|Hyperion sampler - June 2020 Vol. 1|
|Parry: Songs of farewell & works by Stanford, Gray & Wood|
Performances of great sensitivity which perfectly convey the gently valedictory mood running through so much of this programme.» More
|From the vaults of Westminster Cathedral|
A century ago, Richard Runciman Terry re-introduced the wonders of the Renaissance into liturgical polyphony and placed Westminster Cathedral Choir at the pinnacle of the art. This disc is a homage to Terry’s work: a procession through a particula ...» More
|O sacrum convivium|
Choral music from the sixteenth-century, right up to the late-twentieth-century features on this beautiful eleven-track album, with stunning performances from The Choir of Royal Holloway.» More