He That Dwelleth in the Secret Place of the Most High

He That Dwelleth in the Secret Place of the Most High : Vocal Score

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for SSAATTBB choir unaccompanied with SAATB soloists He that dwelleth evokes Holst and Vaughan Williams in their more visionary modes. This is especially true of the opening and closing passages with their gently bitonal effect that surrounds the highly varied and often quite passionate inner verses. The harmonies are bracing and the work is technically demanding.show more

Product details

  • Sheet music | 18 pages
  • 224 x 305 x 3mm | 61g
  • Oxford University Press
  • Oxford, United Kingdom
  • 0193866617
  • 9780193866614

About Rebecca Clarke

Rebecca Clarke was born in Harrow in 1886 and died in New York City in 1979. She was one of the finest viola players of her day and a skilful composer who studied with Stanford at the Royal College of Music in London. Her output as a composer was small, comprising about 90 works, but all these pieces are brilliant and powerful. Her Piano Trio and Viola Sonata are often played and recorded, and are now widely regarded as masterpieces. However her songs are perhaps her finest body of works, and embrace a variety of styles from Blakean simplicity to brutal tragedy and outright farce. Rebecca Clarke's choral music was virtually unknown until Oxford University Press began to publish these works for the first time. She wrote for chorus and other vocal ensembles throughout virtually her whole career, from her earliest attempts at composition around 1906 to her final flowering in the 1940s, revising and recomposing until as late as 1976.show more

Review quote

So far I have only had time to look at one piece - but what a piece! The 1921 psalm motet He that dwelleth is majestic, full of thrilling big textures and elusive harmonies that suggest Bloch, Holst and the later Bridge ... Its sweep and ambition make it compelling. Matthew Greenall, The Singer Dec 2003 This music should enjoy a deserved circulation that it never received in the composer's lifetime. Some of the pieces are slight, but at their best they show Clarke engaged with an impressive range of historical models, from romantic part-song and madrigal through to glee, lute song and medieval carol, accomplished with a technical proficiency which shows her as a true pupil of Stanford. Matthew Greenall, The Singer March 2004show more

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