Contesting Hymnody in the Victorian Church: Henry Pegram's Monument to John Stainer (1901-1903)
Contesting Hymnody in the Victorian Church: Henry Pegram's Monument to John Stainer (1901-1903)
复制标题
维多利亚教堂中的赞美诗比赛：亨利·佩格拉姆的约翰·斯坦纳纪念碑（1901-1903）
DOI：
10.1093/jvcult/vcac026
复制
发表时间：
2023
影响因子：
0.3
通讯作者：
Foot M
中科院分区：
文献类型：
--
作者：
Foot M
在他去世后不久，作曲家和管风琴家约翰·斯坦纳（1840-1901）被人们铭记，据说他用一种“神秘”的音乐充满了圣保罗大教堂，这种音乐像生物一样摇摆和脉动，漂浮和萦绕在建筑物中，并包围着基督教崇拜者。那些纪念斯坦纳的人认为他们有责任确保“他的这一传统永远不会失败”。[2]圣保罗大教堂的斯坦纳纪念碑（图1）暗示了这样一个传统，并代表了他在英国维多利亚教堂音乐中的声誉。本文认为纪念碑在其视觉外观，检查其象征性的共鸣，其细节和遗漏，以及其引用斯坦纳的职业生涯。我认为，纪念碑的上下文意义揭示了世纪末辩论仪式和图像和戏剧化的紧张局势，围绕维多利亚赞美诗在英国圣公会历史的一个重要阶段。这座纪念碑由亨利阿尔弗雷德·佩格拉姆（1862-1937）在1901年至1903年期间设计和雕刻，可以在大教堂的北耳堂找到。由白色西西里大理石制成，纪念碑的下部是一个月桂花环内的斯坦纳侧面肖像奖章。作品的上部以带有弓形拱门的寺庙建筑为主。外部柱子有两行凹槽，顶部有带翼的六翼天使，向外看。这座寺庙每边有三根后倾的壁柱。中间是一个祭坛，右边是一个跪着的人，举起手臂，张开手掌。祭坛上的火焰冒出的烟雾中有14个带翅膀的头像和一只光荣的鸽子。中间是一个坐着的基督，他穿着长袍，张开双臂。在这一部分的底部有一条大的折叠丝带，上面写着：“我看见了上帝”。斯坦纳是一位音乐家、作曲家、作家和学者。他是一位有影响力的人物，对英国维多利亚时期的教堂音乐产生了重大影响。他与圣保罗教堂的联系始于他还是一名年轻的唱诗班歌手时。当时，风琴手是约翰·戈斯，他的音乐标志着斯坦纳在大教堂接受音乐教育后早期作曲作品的风格发展。16岁时，在戈斯的推荐下，斯坦纳被弗雷德里克·乌斯利任命为新成立的圣迈克尔学院的风琴师，滕伯里威尔斯，这是一所合唱学校，旨在成为圣公会教堂音乐的典范，每天都有合唱服务。1860年，20岁的斯坦纳成为牛津大学Madgalen学院的风琴手，并继续完成他的音乐博士学位。他早期职业生涯的一个关键特征是一贯接触到Tractarian理想
Shortly after his death, composer and organist John Stainer (1840–1901) was remembered for reputedly filling St Paul’s Cathedral with a ‘mystical’music that swayed and pulsed like a living thing, floating and haunting the building, and enveloping Christian worshippers. 1 Those who commemorated Stainer felt it was their duty to ensure ‘that this tradition of his shall never fail’. 2 The Stainer monument (Figure 1) in St Paul’s Cathedral alludes to such a tradition and represents deliberate efforts to secure his reputation in the canon of Victorian church music in England. This paper considers the monument in terms of its visual appearance, examining its symbolic resonances, its details and omissions, and its references to Stainer’s career. I argue that the contextual significance of the monument reveals fin-de-siècle debates about ritual and iconography and dramatizes the tensions surrounding Victorian hymnody during an important phase of Anglican church history. Designed and sculpted by Henry Alfred Pegram (1862–1937) between 1901 and 1903, the monument can be found in the cathedral’s north transept. Made of white Sicilian marble, the lower section of the monument presents a portrait medallion of Stainer in profile within a laurel wreath. The upper section of the composition is dominated by an architectural temple structure with a segmental arch. The outer columns have two lines of fluting with winged seraphim at the top, looking outwards. The temple has three receding pilasters at each side. In the middle is an altar and to the right a kneeling figure with raised arms and open palms. Within the smoke emerging from the fire at the altar are 14 putto heads with wings and a dove in glory. In the middle is a seated Christ wearing a cloak over a robe, his arms open. A large, folded ribbon at the base of this section reads,‘I saw the Lord’. Stainer was a musician, composer, author, and academic. He was an influential figure who made a significant impact on Victorian church music in England. His connection to St Paul’s started when he was a young chorister. At the time, the organist was John Goss whose music marked the stylistic developments of Stainer’s early compositional works after a formative musical education at the cathedral. 3 At the age of 16, with a recommendation from Goss, Stainer was appointed by Frederick Ouseley as the organist to the newly founded St Michael’s College, Tenbury Wells, which was a choir school intended to serve as a model for Anglican church music, and where choral services were performed daily. In 1860, aged 20, Stainer became the organist at Madgalen College, Oxford, and he went on to complete his Doctor of Music degree. A key feature of his early career was consistent exposure to Tractarian ideals