Expanded Perceptions of Identity in Benjamin Britten's Nocturne, Op. 60
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Benjamin Britten: a Catalogue of the Orchestral Music
BENJAMIN BRITTEN: A CATALOGUE OF THE ORCHESTRAL MUSIC 1928: “Quatre Chansons Francaises” for soprano and orchestra: 13 minutes 1930: Two Portraits for string orchestra: 15 minutes 1931: Two Psalms for chorus and orchestra Ballet “Plymouth Town” for small orchestra: 27 minutes 1932: Sinfonietta, op.1: 14 minutes Double Concerto in B minor for Violin, Viola and Orchestra: 21 minutes (unfinished) 1934: “Simple Symphony” for strings, op.4: 14 minutes 1936: “Our Hunting Fathers” for soprano or tenor and orchestra, op. 8: 29 minutes “Soirees musicales” for orchestra, op.9: 11 minutes 1937: Variations on a theme of Frank Bridge for string orchestra, op. 10: 27 minutes “Mont Juic” for orchestra, op.12: 11 minutes (with Sir Lennox Berkeley) “The Company of Heaven” for two speakers, soprano, tenor, chorus, timpani, organ and string orchestra: 49 minutes 1938/45: Piano Concerto in D major, op. 13: 34 minutes 1939: “Ballad of Heroes” for soprano or tenor, chorus and orchestra, op.14: 17 minutes 1939/58: Violin Concerto, op. 15: 34 minutes 1939: “Young Apollo” for Piano and strings, op. 16: 7 minutes (withdrawn) “Les Illuminations” for soprano or tenor and strings, op.18: 22 minutes 1939-40: Overture “Canadian Carnival”, op.19: 14 minutes 1940: “Sinfonia da Requiem”, op.20: 21 minutes 1940/54: Diversions for Piano(Left Hand) and orchestra, op.21: 23 minutes 1941: “Matinees musicales” for orchestra, op. 24: 13 minutes “Scottish Ballad” for Two Pianos and Orchestra, op. 26: 15 minutes “An American Overture”, op. 27: 10 minutes 1943: Prelude and Fugue for eighteen solo strings, op. 29: 8 minutes Serenade for tenor, horn and strings, op. -
Britten Connections a Guide for Performers and Programmers
Britten Connections A guide for performers and programmers by Paul Kildea Britten –Pears Foundation Telephone 01728 451 700 The Red House, Golf Lane, [email protected] Aldeburgh, Suffolk, IP15 5PZ www.brittenpears.org Britten Connections A guide for performers and programmers by Paul Kildea Contents The twentieth century’s Programming tips for 03 consummate musician 07 13 selected Britten works Britten connected 20 26 Timeline CD sampler tracks The Britten-Pears Foundation is grateful to Orchestra, Naxos, Nimbus Records, NMC the following for permission to use the Recordings, Onyx Classics. EMI recordings recordings featured on the CD sampler: BBC, are licensed courtesy of EMI Classics, Decca Classics, EMI Classics, Hyperion Records, www.emiclassics.com For full track details, 28 Lammas Records, London Philharmonic and all label websites, see pages 26-27. Index of featured works Front cover : Britten in 1938. Photo: Howard Coster © National Portrait Gallery, London. Above: Britten in his composition studio at The Red House, c1958. Photo: Kurt Hutton . 29 Further information Opposite left : Conducting a rehearsal, early 1950s. Opposite right : Demonstrating how to make 'slung mugs' sound like raindrops for Noye's Fludde , 1958. Photo: Kurt Hutton. Britten Connections A guide for performers and programmers 03 The twentieth century's consummate musician In his tweed jackets and woollen ties, and When asked as a boy what he planned to be He had, of course, a great guide and mentor. with his plummy accent, country houses and when he grew up, Britten confidently The English composer Frank Bridge began royal connections, Benjamin Britten looked replied: ‘A composer.’ ‘But what else ?’ was the teaching composition to the teenage Britten every inch the English gentleman. -
Proquest Dissertations
Benjamin Britten's Nocturnal, Op. 70 for guitar: A novel approach to program music and variation structure Item Type text; Dissertation-Reproduction (electronic) Authors Alcaraz, Roberto Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 02/10/2021 13:06:08 Link to Item http://hdl.handle.net/10150/279989 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be f^ any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitlsd. Brolcen or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author dkl not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectk)ning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6' x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additkxial charge. -
Intertextuality, Intermediality and Mediality in Benjamin Britten's
Intertextuality, Intermediality and Mediality in Benjamin Britten’s Nocturne, Op. 60 Von der Falkutät für Geistes- und Erziehungswissenschaften der Technischen Universität Carolo-Wilhelmina zu Braunschweig zur Erlangung des Grades Doktor der Philosophie (Dr. phil.) genehmigte Dissertation von Kenton Emery Barnes aus Toledo, Ohio, USA Eingereicht am 11.06.2012 Mündliche Prüfung am 28.08.2012 Referent: Prof. Dr. Rüdiger Heinze Korreferent: Prof. Dr. Hero Janßen Druckjahr 2017 Intertextualität, Intermedialität und Medialität in Benjamin Brittens Nocturne, Op. 60 Benjamin Britten ist nicht nur einer der am meisten verehrten Komponisten Großbritanniens, sondern zugleich auch einer der Komponisten, über die äußerst kontrovers diskutiert wird. Kritiker bewerten seine Musik auf sehr unterschiedliche Art und Weise. Einige halten seine Musik für zu altmodisch und zu sehr den Traditionen der Tonalität verbunden, andere bewerten sie als zu modern und schwer zugänglich, an Atonalität grenzend. Aber wie soll man Brittens Musik betrachten? Setzt sie die Traditionen der romantischen Komponisten des 19. Jahrhunderts fort? Ja, dies ist der Fall, jedoch bringt Britten diese Konventionen an ihre Grenzen. Ist Brittens Musik atonal? Obwohl manche Kritiker der Ansicht sind, dass seine Kompositionen abstrakt sind, bleibt er den etablierten Konventionen der Musik doch treu. Nicht zu bestreiten ist, dass Brittens gesangliche Kompositionen in ihrer Poesie nur schwer zu übertreffen sind. Er vertonte Gedichte von bedeutenden Dichtern wie Arthur Rimbaud, Victor Hugo, Paul Verlaine, Henry Longfellow, William Shakespare, Edith Sitwell, Emily Brontë und William Blake. Alles in allem vertonte Britten mehr als 300 Gedichte von nicht weniger als neunzig Dichtern. Die vorliegende Arbeit Intertextualität, Intermedialität und Medialität in Benjamin Brittens Nocturne, Op. -
ANALYSIS of NOCTURNAL OP. 70 by BENJAMIN BRITTEN Presented
3*7 ANALYSIS OF NOCTURNAL OP. 70 BY BENJAMIN BRITTEN THESIS Presented to the Graduate Council of the North Texas State University in Partial Fullfillment of the Requirements For the Degree of MASTER OF MUSIC By David J. Frackenpohl, B.M. Denton, Texas December, 1986 rn-- Frackenpohl, David J. , Analysis of Nocturnal p. 70 b Benjamin Britten. Master of Music (Theory), December, 1986, 149 pp., 1 table, 74 illustrations, bibliography, 21 titles. Nocturnal o. 70 is one of the most important large- scale works written for guitar in the twentieth century. Brief biographical data and some background information on Nocturnal show how it exemplifies Britten's compositional approach. The focus of the analysis is on three structural aspects: the rhythmic, the intervallic, and the aspect of underlying pitch patterns. The rhythmic analysis discusses the distortion of rhythmic patterns by the use of com- pression, expansion, elisions, syncopation, and rhythmic dissonance. The pitch set analysis discusses the inter- vallic character of the work, identifying and correlating set types as they form networks of relationship. The reductive analysis discusses the underlying connections of focal pitches in the linear material of Nocturnal. The conclusion then correlates the results of the pre- ceding analyses, discussing the large-scale unfolding of the form in Nocturnal. @1987 DAVID JOHN FRACKENPOHL All Rights Reserved TABLE OF CONTENTS Page LIST OF TABLES . ... v LIST OF ILLUSTRATIONS . vi Chapter I. BENJAMIN BRITTEN ....... Short Biography of Britten Background on Nocturnal .70 II. RHYTHMIC ANALYSIS . 12 Variation I "Musingly" Variation II "Very agitated" Variation III "Restless" Variation IV "Uneasy" Variation V "March-like" Variation VI "Uneasy" Variation VII "Gently rocking" Variation VIII "Passacaglia" III. -
Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue. -
Translated Identities in Britten's Nocturne
Translated Identities in Britten's Nocturne Lloyd Whitesell "It won't be madly popular because it is the strangest and re motest thing-but then dreams are strange and remote."! Benjamin Britten is speaking here of his Nocturne, a song cycle from 1958 for tenor, seven obligato instruments, and string or chestra, written for Peter Pears and dedicated to Alma Mahler. In this piece, Britten gathers poems and poetic fragments on the themes of night, sleep, and dreams. It is the idea of "re moteness," however, that intrigues me and offers a point of en try into my speculations. First, in an expressive dimension, it suggests a spatial expanse, or a distance to be traversed, both of which elements are important to the experience of the piece. In certain crucial ways, as we shall see, the Nocturne exploits and extends the romantic trope of wie aus der Ferne-distant voices overheard. Second, in a rhetorical dimension, "remoteness" suggests a complication in the relation of composer to audi ence. In contrast to a "popular," broadly accessible mode of ex pression, Britten aims for subtler effects, conveyed only in undertones. This implies a corresponding shift in position of the musical persona from a foreground expressive figure to a presence at some greater remove. One is led to expect some kind of filtering or abstraction of the composing voice, an ele ment of reticence or inaccessibility to which listeners must adapt in their own ways. My discussion of this piece will ex plore such rhetorical issues: matters of self-presentation, per spective, and musical address, specifically a form of multivalent 1. -
Open Research Online Oro.Open.Ac.Uk
Open Research Online The Open University’s repository of research publications and other research outputs Peter Maxwell Davies’s ’Revelation and Fall’: Influence study and analysis Thesis How to cite: Rees, Jonathan (2011). Peter Maxwell Davies’s ’Revelation and Fall’: Influence study and analysis. PhD thesis The Open University. For guidance on citations see FAQs. c 2011 The Author https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0000ed80 Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk 0 º. ar2 ý ýrwz. t cl-c- Z1 JonathanRees PhD 1131 PETER MAXWELL DAVIES'S REVELATIONAND FALL: INFLUENCE STUDY AND ANALYSIS VOLUME ONE - TEXT A thesis submitted for the degreeof PhD in Music. Submitted: 17thSeptember 2010 ß'C' oc Awr% a: 20 _$ t 1Zc -t i ABSTRACT This thesis is an analysis of Peter Maxwell Davies's Revelation and Fall, through the influences that affect the development of its musical language and adoption of the expressionist aesthetic. Each chapter concentrates upon one aspect of the work: (1) its deployment of precompositional processes of thematic transformation; (2) the superimposition of different levels of structural organization; (3) motivic working within thematic transformation and contrapuntal devices; (4) experiments with timbre and the manipulation of temporal flow; and (5) the dramatic and aesthetic influences that shapethe presentationof the work. -
Journal of the American Viola Society Volume 33 Online, Summer 2017
Features: Understanding Britten’s Lachrymae through Billy Budd Volume 33 Summer 2017 Online Issue 2017 Online Summer 33 Volume Exploring the Transcription of the First Movement of Journal of the American ViolaSociety American the of Journal Brahms’s Sonata op. 120, no. 1 Journal of the American Viola Society A publication of the American Viola Society Summer 2017: Volume 33, Online Issue p. 3 From the Editor p. 4 From the President News & Notes p. 5 In Review: 43rd International Viola Congress: Daphne Capparelli Gerling shares her impressions of the viola congress held in Cremona, Italy. Feature Articles p. 10 From Clarinet to Viola: “Awkward and Unappealing”: Exploring the Transcription of the First Movement of Brahms’s Sonata op. 120, no. 1: Mandy Isaacson provides a detailed look at Brahms’s transcription methods by investigating the differences between the clarinet and viola versions of the first movement of the F minor sonata. p. 29 Understanding Benjamin Britten’s Lachrymae through Billy Budd: Josquin Larsen uses Britten’s opera Billy Budd to add multiple layers of context—both historical and compositional—to Britten’s viola masterwork, Lachrymae. Departments p. 43 With Viola in Hand: The Pièces de Concours: Melissa Claisse interviews Jutta Puchhammer-Sédillot about her recent recording and edition of these “rediscovered treasures from turn-of-the-century France.” p. 48 Outreach: Les Jacobson details the extensive and career-long outreach efforts of violist Richard Young. p. 56 Orchestral Matters: Julie Edwards introduces us to the viola section of the Fort Worth Symphony Orchestra. p. 63 Book Review: David Rose reviews The Accompaniment in “Unaccompanied” Bach: Interpreting the Sonatas and Partitas for Violin, by Stanley Ritchie. -
Information to Users
Benjamin Britten's "The Company of Heaven". Item Type text; Dissertation-Reproduction (electronic) Authors Weber, Michael James. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 29/09/2021 04:21:02 Link to Item http://hdl.handle.net/10150/185097 INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thy-,;" tIme thesis and dissertation .copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
October 17, 2004 2505Th Concert
The Sixty-third Season of The William Nelson Cromwell and F. Lammot Belin Concerts National Gallery of Art 2,505th Concert National Gallery Vocal Arts Ensemble and National Gallery Orchestra Samuel Gordon, guest conductor Music Department Robert Petillo, tenor soloist National Gallery of Art Luther Stovall, reader Sixth Street and Constitution Avenue nw Washington, dc October 17, 2004 Mailing address Sunday Evening, 6:30 pm 200ob South Club Drive West Building, West Garden Court Landover, md 20785 www.nga.gov Admission free 2,505th Concert October 17, 2004, 6:30 pm Presented in honor of the exhibition All the Mighty World: The Photographs of Roger Fenton, 1852-1860 Benjamin Britten (1913-1976) For the convenience of concertgoers Simple Symphony, Op. 4 (1933-1934) the Garden Cafe remains open until 6:oo pm. Boistrous Bourree Playful Pizzicato The use of cameras or recording equipment during the Sentimental Saraband performance is not allowed. Please be sure that cell phones, Frolicsome Finale pagers, and other electronic devices are turned off. National Gallery Orchestra Please note that concerts now begin at 6:30 pm. Charles Ives (1874-1954) Late entry or reentry after 6:30 pm is not permitted. I Travelled among Unknown Men (William Wordsworth) The Rainbow: So May It Be! (Wordsworth) Steven Combs, bass-baritone Francis Conlon, pianist Nick Peros (b. 1963) Fall, Leaves, Fall (Emily Bronte) She Dwelt among the Untrodden Ways (Wordsworth) Arranged for voice and instrumental ensemble by Samuel Gordon Rosa Lamoreaux, soprano cover: Roger Fenton, The Cloisters, Tintem Abbey, 1854, salt print, National Gallery of Art, Anonymous Gift Thomas F. -
Profesionalizacija in Specializacija Glasbenega Dela ▪︎ The
doi: https://doi.org/10.26493/978-961-7055-86-3.87-104 In the Shadow of Parry, Stanford and Mackenzie: Musical Composition studies in the principal London Conservatories from 1918 to 1945 Niall O’Loughlin Univerza v Loughboroughu Loughborough University In the early 20th century, the main British music institutions, which at- tracted the attention of prospective composers, were the Royal Academy of Music and the Royal College of Music, both located in London. What is particularly notable is that the early principals of the Royal Academy were almost always prominent composers and the directors of the Royal College were very often composers, too. The history of the founding and the back- ground of these two conservatories gives some understanding of their po- sition and standing by the end of World War I. In the early 1820s patriotic amateurs promoted ideas for the founda- tion of a Royal Academy of Music, but this was initially opposed by the mu- sic profession, which felt that there were too many musicians anyway. The professionals then tried unsuccessfully to associate the proposed academy with the long-standing Philharmonic Society, which later commissioned Beethoven’s Ninth Symphony during the same period. In the end the am- ateurs, principally John Fane, eleventh Earl of Westmorland (also known as Lord Berghersh) with assistance of royalty, notably King George IV, suc- ceeded in establishing the Academy of Music in 1822 in London, the first of the British conservatories, receiving its royal charter in 1830 to become the Royal Academy of Music. To create a strong credibility for the institution the founders needed to appoint a distinguished principal, although the choice was perhaps not that difficult.