Songs of Farewell: There is an old belief
Sir Charles Hubert Hastings Parry (February 27, 1848 – October 7, 1918) was… Read Full Bio ↴Sir Charles Hubert Hastings Parry (February 27, 1848 – October 7, 1918) was an English composer, probably best known for his setting of William Blake's poem, Jerusalem, the coronation anthem I was glad and the hymn tune Repton set to Dear Lord and Father of Mankind.
Born in Bournemouth, Hampshire, and brought up at Highnam Court, Gloucestershire, he was the son of an amateur artist, and was educated at Eton and Exeter College, Oxford. He studied with the English-born composer Henry Hugo Pierson in Stuttgart, and with William Sterndale Bennett and the pianist Edward Dannreuther in London. His first major works appeared in 1880: a piano concerto and a choral setting of scenes from Shelley's Prometheus Unbound. The first performance of the latter has often been held to mark the start of a "renaissance" in English classical music. Parry scored a greater contemporary success, however, with the ode Blest Pair of Sirens (1887) which established him as the leading English choral composer of his day. Among the most successful of a long series of similar works were the Ode on Saint Cecilia's Day (1889), the oratorios Judith (1888) and Job (1892), the psalm-setting De Profundis (1891) and The Pied Piper of Hamelin (1905). His orchestral works from this period include four symphonies, a set of Symphonic Variations in E minor, the Overture to an Unwritten Tragedy (1893) and the Elegy for Brahms (1897).
Parry joined the staff of the Royal College of Music in 1884 and was appointed its director in 1894, a post he held until his death. In 1900 he succeeded John Stainer as professor of music at Oxford University. His later music includes a series of six "ethical cantatas", experimental works in which he hoped to supersede the traditional oratorio and cantata forms. They were generally unsuccessful with the public, though Elgar admired The Vision of Life (1907) and The Soul's Ransom (1906) has had several modern performances. He resigned his Oxford appointment on doctor's advice in 1908 and in the last decade of his life produced some of his finest works, including the Symphonic Fantasia '1912' (also called Symphony No. 5), the Ode on the Nativity (1912), Jerusalem (1916) and the Songs of Farewell (1916–1918).
Influenced as a composer principally by Bach and Brahms, Parry evolved a powerful diatonic style which itself greatly influenced future English composers such as Elgar and Vaughan Williams. His own full development as a composer was almost certainly hampered by the immense amount of work he took on, but his energy and charisma, not to mention his abilities as a teacher and administrator, helped establish art music at the centre of English cultural life. He collaborated with the poet Robert Bridges, and was responsible for many books on music, including The Evolution of the Art of Music (1896), the third volume of the Oxford History of Music (1907) and a study of Bach (1909).
The site of his house in Richmond Hill, Bournemouth, next door to The Square is marked with a blue plaque.
Born in Bournemouth, Hampshire, and brought up at Highnam Court, Gloucestershire, he was the son of an amateur artist, and was educated at Eton and Exeter College, Oxford. He studied with the English-born composer Henry Hugo Pierson in Stuttgart, and with William Sterndale Bennett and the pianist Edward Dannreuther in London. His first major works appeared in 1880: a piano concerto and a choral setting of scenes from Shelley's Prometheus Unbound. The first performance of the latter has often been held to mark the start of a "renaissance" in English classical music. Parry scored a greater contemporary success, however, with the ode Blest Pair of Sirens (1887) which established him as the leading English choral composer of his day. Among the most successful of a long series of similar works were the Ode on Saint Cecilia's Day (1889), the oratorios Judith (1888) and Job (1892), the psalm-setting De Profundis (1891) and The Pied Piper of Hamelin (1905). His orchestral works from this period include four symphonies, a set of Symphonic Variations in E minor, the Overture to an Unwritten Tragedy (1893) and the Elegy for Brahms (1897).
Parry joined the staff of the Royal College of Music in 1884 and was appointed its director in 1894, a post he held until his death. In 1900 he succeeded John Stainer as professor of music at Oxford University. His later music includes a series of six "ethical cantatas", experimental works in which he hoped to supersede the traditional oratorio and cantata forms. They were generally unsuccessful with the public, though Elgar admired The Vision of Life (1907) and The Soul's Ransom (1906) has had several modern performances. He resigned his Oxford appointment on doctor's advice in 1908 and in the last decade of his life produced some of his finest works, including the Symphonic Fantasia '1912' (also called Symphony No. 5), the Ode on the Nativity (1912), Jerusalem (1916) and the Songs of Farewell (1916–1918).
Influenced as a composer principally by Bach and Brahms, Parry evolved a powerful diatonic style which itself greatly influenced future English composers such as Elgar and Vaughan Williams. His own full development as a composer was almost certainly hampered by the immense amount of work he took on, but his energy and charisma, not to mention his abilities as a teacher and administrator, helped establish art music at the centre of English cultural life. He collaborated with the poet Robert Bridges, and was responsible for many books on music, including The Evolution of the Art of Music (1896), the third volume of the Oxford History of Music (1907) and a study of Bach (1909).
The site of his house in Richmond Hill, Bournemouth, next door to The Square is marked with a blue plaque.
Songs of Farewell: There is an old belief
Hubert Parry Lyrics
We have lyrics for these tracks by Hubert Parry:
Jerusalem And did those feet in ancient time Walk upon England's mount…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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@moses.martin
There is an old belief
John Gibson Lockhart
There is an old belief,
That on some solemn shore,
Beyond the sphere of grief
Dear friends shall meet once more.
Beyond the sphere of Time
And Sin and Fate's control,
Serene in changeless prime
Of body and of soul.
That creed I fain would keep
That hope I'll ne'er forgo,
Eternal be the sleep,
If not to waken so.
@ulrichdannenbaum1552
Es gibt einen alten Glauben
Dass an irgendeinem feierlichen Ufer
Jenseits der Sphäre der Trauer sollen sich liebe Freunde treffen
noch einmal,
Jenseits der Sphäre der Zeit
Und die Sünde, und die Kontrolle des Schicksals,
Gelassen in unveränderlicher Blütezeit des Körpers und
der Seele.
Dieses Glaubensbekenntnis würde ich gern bewahren,
Auf diese Hoffnung verzichte ich niemals.
Ewig sei der Schlaf, wenn nicht so zu erwachen.
@paulhbrown
There is an old belief,
That on some solemn shore,
Beyond the sphere of grief
Dear friends shall meet once more.
Beyond the sphere of Time and Sin
And Fate's control,
Serene in changeless prime
Of body and of soul.
That creed I fain would keep
That hope I'll ne'er forgo,
Eternal be the sleep,
If not to waken so
@user-wv2si1co4h
Such an amazing perfomance
@loriputnam9054
I cannot believe that ever, in my life, will I hear more musical perfection than what this group routinely offers. I feel blessed to hear them every time.
@grahamsenior9338
we are blessed indeed to share lifes musical journey with such beauty
@gorvos
So true and well put!
@jackjohnhameld6401
So glad the Lord granted me my 70th year, just to be able to see Voces8 on YouTube. So many songs, so many stars !
@WigbertTraxler
Britain has had some very fine composers, hasn't it?
Always when I listen to Parry, Elgar and the other great romantics, I'm deeply touched.
And if it's performed by the best vocal group on this planet, I'm in heaven.
Can't live without my daily dose of Voces8.
@MrR777
Quite extraordinary..this is singing at its highest possible level. It's not very often you come across something literally without fault but ALSO interpreted to perfection. The finest choir in the world. Period.
@alisonalcock5218
That high soaring note from Andrea near the end with all the beautiful harmonies underneath transports me to heaven
@blainechilds9174
THE most exquisite vocal group for my listening pleasure.
THANK YOU ALL!!
May God bless you and all your endeavors.
Invigorating, peaceful,
and utterly magnificent.
@iidak
Voces8 is really one of the best choirs/accapella ensembles in the world. They have harmony and soul in their singing