
Contents
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Howells’s New Style Howells’s New Style
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Howells’s English Traditions: Medievalism, Vaughan Williams, and Parry Howells’s English Traditions: Medievalism, Vaughan Williams, and Parry
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Tippett’s Diatonicism Tippett’s Diatonicism
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Tippett and Vaughan Williams Tippett and Vaughan Williams
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Concerto for Double String Orchestra Concerto for Double String Orchestra
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The Midsummer Marriage The Midsummer Marriage
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Fantasia Concertante on a Theme of Corelli Fantasia Concertante on a Theme of Corelli
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Conclusion and Legacy Conclusion and Legacy
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6 The New Ecstasy: Howells and Tippett
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Published:January 2025
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Abstract
From the late 1930s to the mid-1950s, two major personal projects in diatonic composition emerged in the work of Herbert Howells and Michael Tippett. Their work was aesthetically and spiritually conceived, intensifying the ecstatic tendencies of English diatonic music. Howells turned to the Anglican liturgical tradition, giving the evening canticles in particular an intimate, personal touch, whereas Tippett’s imagery was pagan. Nevertheless, in both cases their music was informed by the psychology of religious experience, in Tippett’s case guided by his readings in Jungian theory, and in both cases it is lushly sensual at times, with strong feelings of eroticism at moments of glorious relaxation, abundance and unashamed repetition. Both composers remained deeply concerned with ‘song’ in an ideal as well as a literal sense, just as Parry had been in setting the words of Milton’s ‘At a Solemn Musick’.
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