Enhanced descriptions from Syndetics:

Sir Hubert Parry was one of Britain's most creative and influential musicians, and a key architect of the English Musical Renaissance. This is a major reappraisal of Parry, both of his life and his vast legacy of compositions. Well known for three enduringly popular works--Blest Pair of Sirens, I was Glad, and Jerusalem, almost an unofficial national anthem--Parry has long been presented as a paternal, establishment figure. Yet Parry's personality was infinitely more complex, as Jeremy Dibble makes clear. Drawing on a wealth of documentary evidence made available for the first time, he is able to draw a detailed portrait of a radical, energetic, yet hypersensitive and lonely man. Dibble also charts Parry's development as a composer, and presents a detailed examination of his works illustrated with a number of musical examples.

Table of contents provided by Syndetics

• List of Plates
• Abbreviations
• Note
• I 1848-1872: The Early Years
• 1 Antecedents and Childhood
• 2 Eton
• 3 Oxford
• 4 London and Marriage
• II 1872-1886: Years of Struggle
• 5 Dannreuther: Emancipation
• 6 Stylistic Experimentation
• 7 Prometheus Unbound: Depression and Resolve
• 8 Grove and the Royal College of Music
• 9 Guenever: Despair and Bitterness
• III 1887-1897: Years of Renown
• 10 Blest Pair of Sirens: National Prominence
• 11 Dilemma: The Response to Public Demand
• 12 Climax: Directorship of the Royal College of Music
• IV 1898-1918: Decline
• 13 Knighthood: Philosophical Introspection--The 'Ethical' Oratorio
• 14 Breakdown in Health: Resignation
• 15 Indian Summer: Symphonic Renewal
• 16 War, Sadness, and Death
• Appendix 1 Genealogical Table
• Appendix 2 List of Works
• Bibliography
• Index of Works
• Index

Reviews provided by Syndetics

CHOICE Review

An editor should have rid this useful and myth-shattering book of tiresome verbosity; changed arcane, pretentious adjectives; trimmed sterile harmonic and stylistic analyses; and cut long quotes from adolescent love-letters. For Dibble (University College, Cork, Ireland) has done splendid, exhaustive research, using materials not hitherto properly utilized. He shows clearly that Parry's character and beliefs have been distorted by the received "Authorized Version." Parry is revealed as a radical democrat who hated "aristocratic rubbish," a courageous man who overcame great personal difficulties and was enormously productive. A fine teacher, generous and supportive, he inspired students to do their very best. Clear as to the need for moral uprightness, he was equally clear in rejecting the dogmatic irrationality of organized religions. He set high standards for himself and others, was kind in his response to the music of English rivals, admired both Brahms and Wagner, and loved Petroushka (but not Mahler, Salome, or the "new" Schoenberg). A charter professor and second director of the Royal College of Music, he also held an Oxford chair, was subeditor of the first Grove's Dictionary, and wrote four books of music history. He taught or influenced Elgar, Vaughan Williams, Howells, Bliss, and Finzi. Many of Parry's works are on CDs, so students need not take all of Dibble's descriptions on faith; they should, however, read this book for its wealth of vivid detail concerning music-making and composing in late Victorian and Edwardian England. Dibble's debut is impressive. Undergraduate; graduate; faculty; pre-professional and professional musicians. W. Metcalfe; University of Vermont