The Cambridge Companion to Benjamin Britten (Cambridge Companions to Music)

Free download. Book file PDF easily for everyone and every device. You can download and read online The Cambridge Companion to Benjamin Britten (Cambridge Companions to Music) file PDF Book only if you are registered here. And also you can download or read online all Book PDF file that related with The Cambridge Companion to Benjamin Britten (Cambridge Companions to Music) book. Happy reading The Cambridge Companion to Benjamin Britten (Cambridge Companions to Music) Bookeveryone. Download file Free Book PDF The Cambridge Companion to Benjamin Britten (Cambridge Companions to Music) at Complete PDF Library. This Book have some digital formats such us :paperbook, ebook, kindle, epub, fb2 and another formats. Here is The CompletePDF Book Library. It's free to register here to get Book file PDF The Cambridge Companion to Benjamin Britten (Cambridge Companions to Music) Pocket Guide.

Sound History and Technology.

Books | The Opera Quarterly | Oxford Academic

Korngold and Warner Bros. Cant Buy Me Love?

  1. MEDIATOR to NOT LISTENING - Book 15 - Key Themes By Subjects (Key Themes And Bible Teachings);
  2. The Cambridge Companion to Benjamin Britten by Mervyn Cooke!
  3. The Cambridge Companion to Stravinsky.
  4. A Good Man.
  5. List of Cambridge Companions to Music - Wikiwand.
  6. Vengeance Born (A Novel of the Light Blade)?
  7. Connectedness: Tapping into the Divine Source that Links Everything to Find Meaning, Purpose and Happiness. (Life Lessons 101 Book 3).

Economic Imperatives and Artistic. The Composers Role in Film.

FilmMusic Theory. Working in Archives and with Living. Returning to Casablanca. The Good the Bad and the Ugly.

Account Options

After the briefest of editorial prefaces and a useful chronology, the volume is arranged in two large sections: the first with essays on "contexts and concepts" twentieth-century aesthetics, English "traditions," early music, politics, sexuality, the creative process , and the second with essays focused on particular "works and genres" King Priam and related works, symphony, concerto, piano sonatas, string quartets, opera, nonoperatic vocal music. If the overall organization of the volume seems more inherited than inventive, it is salutary to encounter in multiple chapters extensive consideration of Tippett's own ideas about genre, particularly his idea of individual genres conveying "historical" and "notional" archetypes.

Giovanna Elias

In other words, the partial organization along generic lines, however frequently encountered in other similar collections of essays, is justified here to a certain extent by the importance those genres and the concept of genre held for the composer. One of the surprises of the volume, given the variety of writers and approaches they employ, is the extent of consensus about various issues in Tippett studies and the apparent absence of significant disagreement.

Cambridge Companions to Music: Home

A possible explanation for this is that Tippett studies at present rely heavily on the accomplishments of musicologist Ian Kemp , who also published widely on Kurt Weill and Paul Hindemith. It is to him that the volume is dedicated, and references to his Tippett: The Composer and his Music Oxford: Oxford University Press, appear in every chapter. An unknown error has occurred. Please click the button below to reload the page.

Antonia Malloy-Chirgwin's article on Gloriana will also seem familiar to Britten scholars, since it draws heavily on her chapter in Britten's Gloriana: Essays and Sources ed. But his contribution to this volume goes beyond what his earlier articles offer. His interpretation of Billy Budd relies heavily on the optimistic views of Britten's librettist, E. Forster, often at the expense of perceiving the conflicts between Forster's ideas and Britten's. But in discussing Death in Venice, Hindley expands his earlier interpretation of same-sex love to [End Page ] encompass the dark, pessimistic aspects of the opera.

Featured categories

His reading of Aschenbach's passionate but passive love for the boy Tadzio conveys clearly the ambiguities of Britten's portrayal of homosexual love. Such an interpretation is more poised and convincing than wholly grim or one-sidedly gay-affirming readings of the opera.

One of the most interesting essays is Donald Mitchell's, on Britten's preoccupation with violence. The late Hans Keller wrote intelligently and matter-of-factly about the prevalence of violence in Britten's works, at a time when few were willing to confront their disturbing aspects.

Benjamin Britten - A Ceremony of Carols (Op. 28) - Texas (USA) Boys' Choir

But most writers have been disinclined to adopt Keller's psychological theories about the connections between Britten's pacifism and his portrayals of violence. Mitchell goes beyond Keller's interpretation, resisting the idea that Britten's depictions of violence can all be linked to his pacifism: "one ideological description simply will not suffice" p. It is good to see such a bold response to this issue.

  • The Dukes Moor.
  • Search Tips!
  • Learning Ext JS 3.2.
  • Lijst van Cambridge Companions to Music - List of Cambridge Companions to Music -!