According to Dutton Digital's annotators, one of the most acclaimed British works of the first decade of the twentieth century was Walford Davies' oratorio Everyman. Premiered in 1904, in an age notable for such works as Elgar's The Dream of Gerontius, Everyman has had exactly two performances in a hundred years' time and has never been recorded, even in part. Dutton Digital has decided Everyman's time has come, and has gone to great expense and effort to locate Davies' virtually lost orchestral score and record this work ...
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According to Dutton Digital's annotators, one of the most acclaimed British works of the first decade of the twentieth century was Walford Davies' oratorio Everyman. Premiered in 1904, in an age notable for such works as Elgar's The Dream of Gerontius, Everyman has had exactly two performances in a hundred years' time and has never been recorded, even in part. Dutton Digital has decided Everyman's time has come, and has gone to great expense and effort to locate Davies' virtually lost orchestral score and record this work in its original form with soloists, chorus, and orchestra. Davies' text is the famous anonymous fifteenth century morality play Everyman, which is set in musical language most prevalent among English-speaking classical composers in 1904 -- heavily Germanic in almost every aspect. Conductor and note writer David Drummond acknowledges similarities in Davies' orchestration to Brahms and Richard Strauss, but neglects, or avoids, the single most obvious comparison in the whole work, that...
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