Corrected and modernized (clefs, instruments) edition, very close to original and practical - but NOT SCIENTIFICALLY CRITICAL - this great version with full orchestra as in original dedicated to marriage of HRH Prince William of England and His Lady Catherine Middleton on 29th of April 2011. Derived from print, app. 1819, digital library, SLUB DRESDEN.

Corrected and modernized (clefs, instruments) edition, very close to original and practical - but NOT SCIENTIFICALLY CRITICAL - this great version with full orchestra as in original dedicated to marriage of HRH Prince William of England and His Lady Catherine Middleton on 29th of April 2011. Derived from print, app. 1819, digital library, SLUB DRESDEN.

Ralph Vaughan Williams and Benjamin Britten were two of the most prominent and popular composers in England in the first half of the twentieth century; however, their musical styles represent two different schools of thought, pastoralism and modernism. Despite their differences, they had much in common. They attended the same school; were heirs of a movement to promote English music, the English Musical Renaissance; and greatly admired their predecessor Henry Purcell. This document investigates how these two composers formulated diverse compositional styles even though they shared a common musical heritage.The investigation in this document is two-part. First, the investigation depicts the origin and formulation of both composers' styles through a discussion and comparison of their musical backgrounds, teachers, influences, and ideals. This discussion includes information on their personal training and ideas, as well as influential movements, composers, and teachers. The second portion includes analysis and comparison of Vaughan Williams' and Britten's Festival Te Deums. The document includes a discussion of the origin of the Te Deum text and history of musical settings. Specific elements of the Festival Te Deums are discussed, compared, and traced to possible origins of influence in each composer's heritage. This document includes an analysis of Purcell's Te Deum in comparison to the Vaughan Williams and Britten settings as a demonstration of the affects of a common influence on their music.The influences and ideals of each composer clearly manifest themselves in their respective Festival Te Deums. The analysis confirms there are obvious differences in their respective musical ideas; however, the effects of similar influences on their musical styles are not always similar. Although Vaughan Williams and Britten followed the principles of the English Musical Renaissance and emulated Purcell, each composer was so distinct in his musical interpretation that it is difficult to recognize the similar influences in the music itself. In this way, both remained committed to their heritage, but each developed a unique musical voice.

This work is a setting of the hymn of Thanksgiving written by St. Nicetius in the sixth century, the TE DEUM. In the Roman Catholic liturgy it replaces the last responsory of Matins on Feast Days and Sundays and in the Anglican liturgy it is one of the canticles of Morning Prayer. The text is one of the few surviving examples of Latin "Psalmus Idioticus" which were, along with the GLORIA of the Ordinary of the Mass and the EXULTET, early Latin texts written in imitation of the Psalms. This TE DEUM was written to continue a tradition of choral settings of this text, in Latin, English, and German, beginning with Palestrina and Handel, and continuing with Haydn, Mozart, Berlioz, Bruckner, Dvorak, Verdi, Britten, Walton, Kodaly, Persichetti, and Vaughan Williams to the present. The quotes from the Metamorphoses for 23 strings of Richard Strauss are used in honor of Strauss' quote of Beethoven's EROICA Funeral March at the end of the Metamorphoses. Strauss was acknowledging the "Master" and his compositional tradition and in the same way I humbly respect the artistic legacy I have inherited. The text and the music have symbiotically wended their way through the centuries out of the pens of the masters. The work is set using the English translation of the Anglican Church, is in one movement and is scored for the following forces: double woodwind with alto saxophone, four horns, 2 trumpets, 2 trombones, tuba, timpani, suspended cymbal, tam tam, tubular chimes, vibraphone, triangle, crash cymbals, SATB soli, SSAATTBB chorus, and strings.

Not available / text

Not available / text

Thesis (D.W.S.)--Institute for Worship Studies, 2003. / Abstract. Includes bibliographical references (leaves 130-137).

Treatise (D.M.A.)--University of Texas at Austin, 2003. / Supervisors: Marianne Wheeldon and Frank Speller. Vita. Includes bibliographical references. Available also from UMI Company.

Thesis (D.W.S.)--Institute for Worship Studies, 2003. / Abstract. Includes bibliographical references (leaves 130-137).

Thesis (D.W.S.)--Institute for Worship Studies, 2003. / Abstract. Includes bibliographical references (leaves 130-137).