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"Up to the time of the Norman Conquest--in spite of the roaming of Danish armies over the English land--English art showed the characteristics we might expect of a proud Nordic people: in its heathen and half-heathen poems the glorification of race-redeeming, mankind-rescuing, blind-to-gain saviour-heroes such as Beowulf; in its Christian literature the veneration of true Christian meekness, studiousness, culture.
It was only after the Norman Conquest that these high ideals gave place to a weak-kneed tolerance of (indeed, sly admiration for) such vices as adventurousness, opportunism and luck-chasing, and that the 'inferiority complex' of a defeated people revealed itself in the mock-heroics, flighty pessimism, self-belittlement, South-worship and Continent-apery so distressing (from an Australian standpoint) in Spencer, Chaucer, Shakespeare, Milton, Byron, Keats, Tennyson, Swinburne and much other English art.
(Above each movement is stated the nature and date of the sketch or sketches from which it is sprung).
Broadwood; the other five noted by me, mainly in the years 1905-1906, and with the help of the phonograph), and the work is dedicated to the old folksingers who sang so sweetly to me.
Indeed, each number is intended to be a kind of musical portrait of the singer who sang its underlying melody--a musical portrait of the singer's personali ty no less than of his habits of song--his regular or irregular wonts of rhythm, his preference for gaunt or ornately arabesqued delivery, his contrasts of legato and staccato, his tendency towards breadth or delicacy of tone.
Broadwood and Percy Aldridge Grainger and set for Wind Band (Military Band).
Dedicated to the folksingers who sang so sweetly to me.