ABSTRACT
John Caldwell says that John Stainer's anthems and services 'are often weakened by an enervating chromaticism and a static movement of the vocal parts'. Before attempting to reassess Stainer's church music, the chapter discusses the perception that he was primarily an important musicologist. In the Musical Association paper Stainer reacted to the music as a musician, and a modern musician at that. He was obviously fascinated by the notation and musical style of G. Dufay and the ways in which they differed from his own time. Interestingly enough, Stainer's theory that a sharp might in some circumstances mean 'don't sharpen' has been revived, backed up by substantial evidence. The development of the fugue is vigorous, if somewhat routine, and leads to an exciting climax. Stainer, having conceded on the one side to the 'contrapuntal' school, makes a move towards theatricality. Then the main theme returns in the organ over a dominant pedal, during the final repetition of 'Amen'.
