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https://hdl.handle.net/2142/20455
Description
Title
The orchestral anthem in England, 1700-1775
Author(s)
Atkinson, Monte Edgel
Issue Date
1991
Doctoral Committee Chair(s)
Temperley, Nicholas
Department of Study
Music
Discipline
Music
Degree Granting Institution
University of Illinois at Urbana-Champaign
Degree Name
D.M.A.
Degree Level
Dissertation
Keyword(s)
Music
Language
eng
Abstract
The development of the verse anthem with strings in Restoration England has been thoroughly researched by many people, and such compositions by Henry Purcell, John Blow, Pelham Humphrey and others are well known. However, large-scale anthems with orchestral accompaniment continued to be written and performed throughout the following century. This study traces the history of orchestral anthems from Purcell's time through the remainder of the Baroque and up to the beginnings of the Classical era.
Research was focused upon two primary objectives; first, the identification and cataloguing of all ascertainable anthems which include orchestra composed between 1700 and 1775, and second, placing them in historical and musical perspective. Nearly one hundred and twenty such anthems by twenty-seven different composers are listed and discussed.
The most important composers of orchestral anthems were George Frideric Handel and Maurice Greene, who produced nearly fifty such works between them, followed by William Boyce, Johann Pepusch, and Benjamin Cooke who each composed around a dozen orchestral anthems. William Croft, John Alccok, Nicola Haym and Hester Needler each wrote four or five of these large sacred works, and many composers tried their hand at least once or twice in this genre.
The various functions of orchestral anthems--for royal occasions, installations, state thanksgiving services, the annual Sons of the Clergy Festival and Three Choirs Meetings, degree presentations, programs of various music societies and so on--are discussed and documented. Musical descriptions of the formal structure, instrumental and vocal requirements, as well as key stylistic features are given for many of the listed works, along with over forty musical examples.
The appendices include titles and publication information of eighteenth-century orchestral anthems which are available in modern edition, and a complete listing, with primary sources, of all anthems with orchestral accompaniment composed between 1700 and 1775.
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