what sweeter music - University of Minnesota

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VOCAL SCORE

what sweeter musicPoem by Robert Herrick set to music for soprano solo, mixed chorus & orchestra

by

H. Walford Davies

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Cover Image: “Song of the Angels” by William-Adolphe-Bouguereau, 1881

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The “renaissance” in English music is generally agreed to have started in the late Victorian period, beginning roughly in 1880, and was most notable for compositions by C.V. Stanford, C. Hubert H. Parry, Edward Elgar, Henry Walford Davies, Harold Darke and others. Public demand for major works in support of the annual choral festivals held throughout England at that time was considerable which led to the creation of many large scale works for orchestra with soloists and chorus. Although a number of those works found their way into print and are regularly performed today, a considerable number of compositions, both large-scale and more intimate works, are not available. These works either were never published or were published but are no longer available in the publishers’ catalogues. While the existence of these works is documented in biographies of the composers, the ability to study and, most importantly, to perform these compositions is not possible.

Changes in the International copyright laws in the mid-1970’s played a pivotal role in creating this void, opening a significant number of musical compositions to public access. As a result, music publishers lost the ability to generate revenue from the sale/rental of such music. Performance score inventories of these works were eliminated. In addition, for many compositions, the only published material were vocal scores - full scores and orchestra parts were hand notated for the premiere of a work and then were ‘recycled’ for future performances. While full score autograph manuscripts are now accessible through the major music libraries in the UK, the hand-notated parts have long since been lost. These autograph full score manuscripts along with copies of the published vocal scores are now the only resources available for studying and performing these works.

The English Heritage Music Series has been created to ensure that these compositions are preserved, are accessible for scholarly research and, most importantly, are available for performance by future generations. Its mission is to:

• Source unpublished/out-of-print English composer compositions that are in the U.S. public domain• Preserve these compositions through the preparation of performance scores using notation software• Provide open Internet access to the scores to facilitate study, performance and sharing of

performance material (program notes, audio, reviews, etc.)

In preparing the English Heritage Music Series editions, every effort has been made to adhere strictly to the notation contained in the manuscripts. Because of the passage of time and its effect on the condition of the manuscript, the absence of clear information often times by the composer in notating divided instruments, and with emendations in the composer and other hands resulting from use of the manuscript in performance, there were numerous circumstances which required interpretation and decisions for notes, accidentals, dynamics, articulations and tempi. Should questions arise in the use of these editions, the composers’ autograph manuscripts and the Novello vocal scores should be consulted for clarification.

Matthew W. MehaffeyEditor

Professor of Music University of Minnesota - School of Music

Minneapolis, Minnesota USA

Autograph Manuscript: Royal College of Music, London MS 6329, no. 7Vocal Score: Novello Octavo Edition No. 13017 (1909)Royal College of Music Library Ass’t. Librarian - [email protected] Oxford University, Bodleian Music Section, Weston Library Martin Holmes, Curator of Music - [email protected] Academy of Music Library lib.ram.ac.ukManuscript Transcription & Score Preparation David Fielding - [email protected]

Source Information

Notation Software: Finale v. 26 Audio Software: Garritan Personal Orchestra 5 Graphic Software: Adobe Photoshop CS5 Document Software: Adobe In Design CS5 Music Notation Reference: Behind Bars by Elaine Gould, Faber Music © 2011

Reference Material and Software

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At various times in his 45-year career, Sir Henry Walford Davies enjoyed wide recognition as a composer, teacher, organist, and lecturer and in the latter capacity, he became England’s first popular radio personality on the subject of classical music. He was born 50 years before the advent of radio as a popular broadcast medium, in 1869, and began his formal musical education in his teens in the choir of St. George’s Chapel at Windsor. His natural aptitude for music manifested itself in this setting and Davies spent five years as a pupil/assistant to the cathedral organist Walter Parratt. In 1890, he earned a scholarship to the Royal College of Music that allowed him to study with Hubert Parry and Charles Villiers Stanford, and he joined the college’s faculty at age 26 as a teacher of counterpoint.

He composed during these years, but it was as an organist that Davies became well-known at a succession of churches in the London area, including seven years at Christ Church, Hampstead, before becoming the organist and choirmaster at Temple Church from 1898 until 1919. Davies later held the conductorship of the Bach Choir and in 1918, after being commissioned a major, he was appointed director of music for the Royal Air Force, the position where he wrote his best-known work, the RAF March Past. In 1919, Davies began a distinct new phase of his career when he was appointed professor of music at Aberystwyth, Wales. Over the next 20 years, Davies became one of the leading exponents of Welsh music and musicians, serving as the chairman of the Welsh National Council of Music and acquiring the eternal gratitude of all Welsh people of a musical bent (which by and large meant the entire Welsh population). It was three years later that he received a knighthood. From the end of the teens onward, Davies also found himself in demand as a lecturer on music, his clear diction and outgoing, genial personality making his talks accessible to a wide audience. In the early ‘20s, he made a series of spoken-word recordings on music for the HMV label. They were so successful that in 1926, the BBC engaged Davies as the speaker on a program called Music and the Ordinary Listener, which lasted until the outbreak of war in 1939. In the process, Davies became the most popular classical music personality in England, occupying a position in the culture of that time akin to that of Deems Taylor, Leonard Bernstein, and other speakers on music in the United States. In 1934, following the death of Elgar, Davies was appointed Master of the King’s Musick, the equivalent of Poet Laureate, and a position once held by his own teacher, Parratt.

Davies composed music throughout his career, though virtually nothing of his work from the nineteenth century is known. He began emerging in 1904 with the oratorio Everyman, which in the years following its premiere was the second-most popular large-scale choral work in England, after Elgar’s The Dream of Gerontius. Apart from his RAF March Past, which remains in the repertory of military and other institutional marching bands (especially in England), Davies’ best-remembered works include the Solemn Melody (1908), authored for the John Milton tercentenary; and Jesu, Dulcis Memoria (1918), his only published original piece for organ.

Biography by Bruce Eder at www.allmusic.com

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For as long as Christmas has been the object of habit, expectation, and cliché, poets have found creative, sometimes surprising, ways of revivifying the holiday. One such reimagining: a 17th-century carol by Robert Herrick that casts Christmas in terms not of winter but of spring:

In much traditional Christian imagery of the Northern Hemisphere, flowers and sunshine are associated with the time of Jesus’ death. His birth, in standard images, coincides with the long nights and snows, or cozy firesides, of December. Irving Berlin’s little-known verse for “White Christmas” refers to the palm trees of Los Angeles, setting up the better-known chorus’s evocation of glistening treetops and sleigh bells in the snow.

Sweet-minded, mirthful, and sensuous 17th-century poet Robert Herrick (1591-1674) composed a Christmas carol (originally for soloists and chorus) that invokes spring instead of winter. In Herrick’s charming reversal of seasonal imagery, his Jesus is a darling prince of flowers and natural warmth—a divine figure in keeping with Herrick’s merry disposition in his poems. Only in closing does this carol nod to the traditional Christmas evergreens.

http://www.slate.com/articles/arts/poem/2009/12/a_christmas_carol_sung_to_the_king_in_the_presence_at_whitehall.

WHAT sweeter music can we bring Than a carol for to sing The birth of this our Heavenly King? Awake the voice! awake the string! Heart, ear, and eye, and everything Awake! the while the active finger Runs division with the singer. from the Flourish they came to the Song

1. Dark and dull night fly hence away! And give the honour to this day That sees December turn’d to May. 2. If we may ask the reason, say The why and wherefore all things here Seem like the spring-time of the year. 3. Why does the chilling winter’s morn Smile like a field beset with corn? Or smell like to a mead new shorn, Thus on a sudden?

4. Come and see The cause why things thus fragrant be: ’Tis He is born, whose quickening birth Gives life and lustre, public mirth, To heaven and the under-earth. Chorus We see Him come, and know Him ours, Who with his sunshine and his showers Turns all the patient ground to flowers. 1. The darling of the world is come, And fit it is we find a room To welcome Him.

2. The nobler part Of all the house here is the heart, Chorus Which we will give Him; and bequeath This holly and this ivy wreath To do Him honour, who’s our King And Lord of all this revelling.

A CHRISTMAS CAROLSung to the King in the presence at Whitehall

byRobert Herrick (1591–1674)

Note: Italicized text not set by Walford Davies

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What Sweeter Musicfrom Noble Numbers, op. 28/7

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Catalog Number

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what sweeter music - University of Minnesota