This is a comprehensive guide to Britten's work, aimed both at the nonspecialist and the music student. It sheds light on both the composer's stylistic and personal development, offering new interpretations of his operatic works and discussing his characteristic working methods. A distinguished team of contributors include some who worked with the composer during his lifetime, as well as leading representatives of the younger generation of Britten scholars on both sides of the Atlantic.
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Editorial Reviews
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"...all the contributors share a keen awareness of how the composer's music speaks forcibly to a wide audience, even to those listeners whose lack of confidence in musical technicalities might influence them to shy away from a contemporary idiom." Reference and Research Book News
"The most comprehensive collection of essays on Britten and his music to date, this volume goes beyond the usual subjects that one can fine [sic] in a dozen other Britten volumes...and explores a host of other areas." Choice
"For those attracted to Britten's operas, other vocal works, chamber music, and symphonic compositions, this book is highly recommended. The authors' insights about his output and artistic point of view are likely to be what most readers expect to gain from their reading." The Opera Journal
""Listeners new to Britten's music will find it highly useful, as will those who are more familiar with his music and the literature that has grown up around it." Opera Quarterly
"Any serious student of Britten will want to own this book..." Notes
"The most comprehensive collection of essays on Britten and his music to date, this volume goes beyond the usual subjects that one can fine [sic] in a dozen other Britten volumes...and explores a host of other areas." Choice
"For those attracted to Britten's operas, other vocal works, chamber music, and symphonic compositions, this book is highly recommended. The authors' insights about his output and artistic point of view are likely to be what most readers expect to gain from their reading." The Opera Journal
""Listeners new to Britten's music will find it highly useful, as will those who are more familiar with his music and the literature that has grown up around it." Opera Quarterly
"Any serious student of Britten will want to own this book..." Notes
Book Description
A comprehensive guide to the composer's work, aimed both at the non-specialist and music student. It sheds light on both the composer's stylistic and personal development, offering new interpretations of his operatic works and discussing his characteristic working methods. A distinguished team of contributors include some who worked with the composer during his lifetime, as well as leading representatives of the younger generation of Britten scholars on both sides of the Atlantic.
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Inside This Book
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First Sentence:
It is clear from the assuredness of his Op. 1, the Sinfonietta, that Britten was already a composer of some experience when he started work on the piece in June 1932 at the age of eighteen. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
heterophonic techniques, interview chords, libretto drafts, folksong arrangements, tonal symbolism, violent climates, passacaglia theme, composition sketch, chamber opera, storm music, harp accompaniment, gamelan music, programme book, incidental music, twelve pitches, falling thirds, chamber symphony, false relations, title music Key Phrases - Capitalized Phrases (CAPs): (learn more)
Coal Face, Peter Grimes, War Requiem, Billy Budd, Aldeburgh Festival, Spring Symphony, Sinfonia da Requiem, Violin Concerto, Albert Herring, Curlew River, Midsummer Night's Dream, The Rape of Lucretia, Our Hunting Fathers, Vaughan Williams, Cello Symphony, Saint Nicolas, Church Parables, Film Unit, Noye's Fludde, Ellen Orford, English Opera Group, The Little Sweep, Benjamin Britten, Imogen Holst, Peter Evans New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
It is clear from the assuredness of his Op. 1, the Sinfonietta, that Britten was already a composer of some experience when he started work on the piece in June 1932 at the age of eighteen. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
heterophonic techniques, interview chords, libretto drafts, folksong arrangements, tonal symbolism, violent climates, passacaglia theme, composition sketch, chamber opera, storm music, harp accompaniment, gamelan music, programme book, incidental music, twelve pitches, falling thirds, chamber symphony, false relations, title music Key Phrases - Capitalized Phrases (CAPs): (learn more)
Coal Face, Peter Grimes, War Requiem, Billy Budd, Aldeburgh Festival, Spring Symphony, Sinfonia da Requiem, Violin Concerto, Albert Herring, Curlew River, Midsummer Night's Dream, The Rape of Lucretia, Our Hunting Fathers, Vaughan Williams, Cello Symphony, Saint Nicolas, Church Parables, Film Unit, Noye's Fludde, Ellen Orford, English Opera Group, The Little Sweep, Benjamin Britten, Imogen Holst, Peter Evans New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 100
books:
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33
books
cite this book:
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- Peter Grimes (Project Drama) by Michael Marland on 46 pages
- Paul Bunyan: Libretto by W. H. Auden on 8 pages
- Billy Budd and Other Stories (Penguin Classics) by Herman Melville on 4 pages
- The Turn of the Screw (Dover Thrift Editions) by Henry James on 4 pages
- Aspects of the Novel by E.M. Forster on 4 pages
See all 100 books this book cites
- The Cambridge Companion to Twentieth-Century Opera (Cambridge Companions to Music) by Mervyn Cooke in Front Matter, Back Matter (1), and Back Matter (2)
- The Culture of History: English Uses of the Past 1800-1953 by Billie Melman on page 293, Back Matter (1), and Back Matter (2)
- The Cambridge Companion to Pop and Rock (Cambridge Companions to Music) by Simon Frith in Front Matter
- The Cambridge Companion to the Lied (Cambridge Companions to Music) by James Parsons in Front Matter
- The Cambridge Companion to Singing (Cambridge Companions to Music) by John Potter in Front Matter
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