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A unique double portrait of the two leading composers of their generation.
The spectacular revival of serious music in England is a chief feature of the history of British culture from the turn of the twentieth century and after. For some two centuries the art form had stagnated in England, which was referred to, notoriously, by a German commentator as 'the land without music'. But then came a great renaissance. In the three linked essays that make up this book, Keith Alldritt, the most recent biographer of Vaughan Williams, examines the several phases and genres of this revival. A number of composers including Gustav Holst, Arnold Bax and William Walton contributed to the renewal. But this book presents the renaissance as centrally a continuity of enterprise, sometimes of riposte, running from Elgar to Vaughan Williams and then to Benjamin Britten. Their concern was with music at its most serious, though not unceasingly humourless. All three explored music's frontier with philosophy. They also probed the psychological impact of the unprecedently violent and destructive century in which they practised their art. Going beyond musicological comment, England Resounding essays insights into the historical, geopolitical and personal events that elicited the major works of these three great composers.
The author explores the English musical renaissance and the composers who brought it about. He uncovers the lives and careers of the giants of English music; Elgar, Delius, Holst, Vaughan Williams, Bliss, Walton, Tippett and Britten. He also looks at their frequently eccentric contemporaries.
Sir Michael Tippett is widely considered to be one of the most individual composers of the twentieth century, whose music continues to be performed to critical acclaim throughout the world. Written by a team of international scholars, this Companion provides a wide ranging and accessible study of Tippett and his works. It discusses the contexts and concepts of modernism, tradition, politics, sexuality and creativity that shaped Tippett's music and ideas, engaging with archive materials, relevant literature and models of interpretation. Chapters explore the genres in which Tippett composed, including opera, symphony, string quartet, concerto and piano sonata, to shed new light on his major works and draw attention to those that have not yet received the attention they deserve. Directing knowledge and expertise towards a wide readership, this book will enrich the listening experience and broaden understanding of the music of this endlessly fascinating and challenging composer.
Britten in Context offers historical, social, cultural, queer, musical, and political context for one of the pivotal British composers of the twentieth century. Engaging essays from leading scholars in music, art, theory, performance, religion, and cultural and music history reward readers of all academic levels.
This work constitutes the largest and most comprehensive research guide ever published about Benjamin Britten. Entries survey the most significant published materials relating to the composer, including bibliographies, catalogs, letters and documents, conference reports, biographies, and studies of Britten's music.
This controversial study isolates and identifies the intellectual, social, and political assumptions which surrounded English music in the early-20th century. The authors deconstruct the established meanings of music in this period, arguing that music was not just for the elite, but it had come to represent a stronghold of national values, reflecting the reassuring "Englishness" of middle-class life as well.
This book is the first to examine in depth the contributions of major British authors such as W. H. Auden and E. M. Forster, as critics and librettists, to the rise of British opera in the twentieth century. The perceived literary values of British authors, as much as the musical innovations of British composers, informed the aesthetic development of British opera. Indeed, British opera emerged as a simultaneously literary and musical project. Too often, operatic adaptations are compared superficially to their original sources. This is a particular problem for British opera, which has become increasingly defined artistically by the literary sophistication of its narrative sources. The resulting collaborations between literary figures and composers have crucial implications for the development of both opera and literature. Twentieth-Century British Authors and the Rise of Opera in Britain reveals the importance of this literary involvement in operatic adaptation to literature and literary studies, to music and musicology, and to cultural and theoretical studies.