Bøker i Aldeburgh Studies in Music-serien

This paperback edition is updated to include new insights into Holst's life and work resulting from the discovery of important unseen archival materials.

'It's a life of the two of us.' The complete surviving correspondence between Benjamin Britten and Peter Pears.

Bringing together established authorities and new voices, this book takes off the 'protective arm' around Britten.

Critical essays and studies reflecting the latest thinking on two major figures in 20c music.

Investigation into the influence of Eastern music on Britten's composition.

A crucial year in the Britten/Auden relationship, which reshaped and redefined artistic direction in the immediate pre-war period.

An essay collection which examines Britten's juvenilia, influences such as Shostakovich and Verdi, his opera Owen Wingrave and a libretto written by Australian novelist Patrick White with the hope of a future collaboration.

Historic accounts and new material illuminate the creation, early history and artistic intentions of Britten's first opera.

PETER PEARS's reputation as an outstanding and distinctive tenor is grounded in his interpretations of Benjamin Britten's works; their partnership of thirty years significantly shaped and defined musical developments not only in England but on a broader plane. Throughout their busy professional lives they travelled extensively, on concert tours and on holiday, finding fresh stimulus in change. Pear's twelve travel diaries, brought together in this volume, record much of that travel and provide valuable contextual material on the musical development of both Pears and Britten.The first diary dates from 1936, the year before his friendship with Britten began, when he went on tour to North America with the New English Singers. Other diaries record the five-month tour to the Far East and the important encounters (especially for Britten) with the gamelan music of Bali and the Japanese Noh theatre; visits to Russia as guests of Mstislav Rostropovich and his wife Galina Vishnevskaya, where they met significant figures from Russian musical life; and attendance at the Ansbach Bach Festival when Pears was at the height of his career. Also recorded are holidays in the Caribbean and Italy, a concert tour through the north of England, and accounts of the rehearsals and performances of the New York premieres of Billy Budd and Death in Venice.

Presents a first analytical study that looks at the overarching designs of Benjamin Britten's John Donne, Thomas Hardy and William Blake solo song cycles.

Leading composers, producers and writers consider the role of the composer in the community in Britain today and over the last fifty years.With his Aspen award lecture (1964), Benjamin Britten expressed a unique commitment to community and place. This book revisits this seminal lecture, but then uses it as a starting point of reflection, inviting leading composers, producers and writers to consider the role of the composer in the community in Britain in the last fifty years. Colin Matthews, Jonathan Reekie and John Barber reflect on Britten's aspirations as a composer and the impact of his legacy, and Gillian Moore surveys the ideals of composers since the 1960s. Eugene Skeef and Tommy Pearson discuss the influence of the London Sinfonietta, while Katie Tearle reviews the tradition of community opera at Glyndebourne. Nigel Osborne and Judith Webster explore the role of music as therapy, and James Redwood, Amoret Abis, Sean Gregory and Douglas Mitchell look at music in the classroom and creative workshops. John Sloboda, Detta Danford and Natasha Zielazinski discuss collaboration in music-making and ways of facilitating exchanges between the composer and the audience, while Christopher Fox and Howard Skempton examine the role of modernism and the use of 'other', radical techniques to stimulate new dialogues between composer and community. Peter Wiegold and Amoret Abis interview Sir Harrison Birtwistle, John Woolrich and Phillip Cashian, and Wiegold discusses his formative experiences in encountering music-making in other cultures. All of these approaches to the role and identity of the composer throw a different light on how we address 'the composer and the community': the varied, sometimes contradictory, motivations of composers; the role of music in 'enhancing lives'; the concept of 'outreach' and the different ways this is pursued; and, finally, the meaning of 'community'. Underpinning each are genuine questions about the relationship of arts to society. This book will appeal not only to composers, performers and practitioners of contemporary music but to anyone interested in the changes in twentieth-century music practice, music in education, and the role ofmusic and the arts in the wider community and society. PETER WIEGOLD is a composer, conductor and the director of Club Inegales and the Institute of Composing. He is a Research Professor of Music at Brunel University, and also director of the 'Brunel Institute for Contemporary Middle-Eastern Music' (BICMEM). GHISLAINE KENYON is an author, freelance arts education consultant and curator.

By common consent the leading British composer of the twentieth-century's middle decades, Britten continues to create significant contexts for the work of those who survived and succeeded him.This collection of revised reprints of essays, reviews and analyses first published between 1995 and 2018 surveys a cross-section of contemporary classical composition in the UK. The governing perspective is the impact of the lifeand work of Benjamin Britten (1913-1976) on British composers who, with the exception of Michael Tippett and Robert Simpson, were born between the 1930s and the 1980s. Despite obvious and considerable differences in character andstyle, British composers like Harrison Birtwistle and Thomas Ades, Robin Holloway and James Dillon, have continued, like Britten himself, to seek personal perspectives on the still prominent procedures and personalities of more distant baroque, classical and romantic eras. Most if not all of these composers would deny being influenced by Britten, and many have reservations about his music. Yet, in light of the fact that British musical life and the institutions that support it have not changed radically since Britten's own time - the pace of technological change notwithstanding - to speak of 'British music after Britten' inevitably involves something more than mere chronology. Asby common consent the leading British composer of the twentieth-century's middle decades, Britten continues to create significant contexts for the work of those who survived and succeeded him. ARNOLD WHITTALL is Professor Emeritus of Music Theory & Analysis, King's College London and one of the leading authorities on twentieth-century music and analysis.