By T.E. Muir
Roman Catholic church track in England served the desires of a energetic, vivid and multi-faceted neighborhood that grew from approximately 70,000 to 1.7 million humans throughout the lengthy 19th century. modern literature of all types abounds, besides various collections of sheet track, a few operating to 1000s, sometimes even hundreds of thousands, of separate items, a lot of that have due to the fact that been forgotten. except compositions within the newest Classical Viennese kinds and their successors, a lot of the tune played constituted a revival or imitation of older musical genres, specifically plainchant and Renaissance Polyphony. moreover, many items that had initially been meant to be played by way of expert musicians for the good thing about privileged royal, aristocratic or excessive ecclesiastical elites have been repackaged for rendition via amateurs sooner than principally operating or decrease heart type congregations, a lot of them Irish.However, outdoor Catholic circles, little consciousness has been paid to this topic. as a result, the achievements and common acclaim for many composers (such as Joseph Egbert Turner, Henry George Nixon or John Richardson) in the English Catholic neighborhood have handed principally ignored. Worse, a lot of the proof is quickly disappearing, partially since it not turns out proper to the wishes of the trendy Catholic Church in England.This booklet offers a framework of the most features of Catholic church track during this interval, exhibiting how and why it built within the manner it did. Dr Muir units the song in its historic, liturgical and criminal context, pointing to the ways that the tune itself can be utilized as facts to throw gentle at the altering personality of English Catholicism. therefore the e-book will attraction not just to students and scholars operating within the box, but in addition church musicians, liturgists, historians, ecclesiastics and different Catholic and non-Catholic events.
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Extra info for Roman Catholic Church Music in England, 1791-1914: A Handmaid of the Liturgy?
For a discussion of the inﬂuence of the gentry see Bossy, pp. 149–81. 8 When James II was driven into exile by the Revolution of 1688 his court and that of his son, James III (the ‘Old Pretender’) at Saint-Germain-en-Laye and Urbino remained an important centre of Catholic activity. Once again the latest Italian music – and, for that matter, French styles, which had gained a foothold at the court of Charles II – was an important aspect of this. François Couperin (1668–1733) was regularly employed there between 1692 and 1712.
The Notre Dame Hymn Book is symptomatic. 3 * The balance between ‘active’ and ‘contemplative’ women’s orders, 1857–1917* Date ‘Active’ houses ‘Mixed’ houses ‘Contemplative’ houses No data Total no. of houses 1857 1917 65 605 18 149 14 45 3 1 100 800 Walsh, p. 177. The behaviour of ‘Contemplatives’ is in complete contrast. For example, in Recusant times the EBC had been organised on centralised Jesuit lines to serve the practical needs of missions. However, after Emancipation pressure grew for the adoption of a more communal life.
The presence of works by Luigi Cherubini and Carl Maria von Weber shows how extensions from this Classical style were being picked up here too. In a different fashion, the fortunes of Vincent Novello’s own editions conﬁrm the changing picture. 26 This, then, was the market aimed at in these and subsequent publications. However, under the management of his son, Joseph Alfred Novello, many of these publications appeared as new editions, notably in the Cheap Musical Classics series inaugurated in 1849.