ABSTRACT
The concerns of this book have been primarily those of historical critique. How Parry, Stanford, Vaughan Williams, Finzi, Rubbra, and Dyson are linked by place, education, and idiom; why they wrote choral-orchestral music and, specifically, the examples chosen here for discussion; why these composers were attracted to their texts, how they understood the texts, and to what purpose they were quoting the texts by setting them to music; how well they succeeded in conveying their compositional designs; how these utterances contributed to their stylistic development and where they can be placed in the output of the composers—these are questions that are repeatedly considered throughout this study.
