Benjamin Britten Supplement to His Work with Bridge He Was Frustrated by a Perceived Lack of Interest in the Kind of Music That He Wished to Write
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“Music-Making in a Joyous Sense”: Democratization, Modernity, and Community at Benjamin Britten's Aldeburgh Festival of Music and the Arts
“Music-making in a Joyous Sense”: Democratization, Modernity, and Community at Benjamin Britten's Aldeburgh Festival of Music and the Arts Daniel Hautzinger Candidate for Senior Honors in History Oberlin College Thesis Advisor: Annemarie Sammartino Spring 2016 Hautzinger ii Table of Contents 1. Introduction 1 2. Historiography and the Origin of the Festival 9 a. Historiography 9 b. The Origin of the Festival 14 3. The Democratization of Music 19 4. Technology, Modernity, and Their Dangers 31 5. The Festival as Community 39 6. Conclusion 53 7. Bibliography 57 a. Primary Sources 57 b. Secondary Sources 58 Hautzinger iii Acknowledgements This thesis would never have come together without the help and support of several people. First, endless gratitude to Annemarie Sammartino. Her incredible intellect, voracious curiosity, outstanding ability for drawing together disparate strands, and unceasing drive to learn more and know more have been an inspiring example over the past four years. This thesis owes much of its existence to her and her comments, recommendations, edits, and support. Thank you also to Ellen Wurtzel for guiding me through my first large-scale research paper in my third year at Oberlin, and for encouraging me to pursue honors. Shelley Lee has been an invaluable resource and advisor in the daunting process of putting together a fifty-some page research paper, while my fellow History honors candidates have been supportive, helpful in their advice, and great to commiserate with. Thank you to Steven Plank and everyone else who has listened to me discuss Britten and the Aldeburgh Festival and kindly offered suggestions. -
ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
Benjamin Britten and Luchino Visconti: Iterations of Thomas Mann's Death in Venice James M
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 Benjamin Britten and Luchino Visconti: Iterations of Thomas Mann's Death in Venice James M. Larner Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES BENJAMIN BRITTEN AND LUCHINO VISCONTI: ITERATIONS OF THOMAS MANN’S DEATH IN VENICE By JAMES M. LARNER A Dissertation submitted to the Interdisciplinary Program in the Humanities in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2006 The members of the Committee approve the Dissertation of James M. Larner defended on 17 April 2006. Caroline Picart Professor Directing Dissertation Jane Piper Clendinning Outside Committee Member William Cloonan Committee Member Raymond Fleming Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii This dissertation is lovingly dedicated to my wife Janet and my daughter Katie. Their patience, support, and love have been the one constant throughout the years of this project. Both of them have made many sacrifices in order for me to continue my education and this dedication does not begin to acknowledge or repay the debt I owe them. I only hope they know how much I appreciate all they have done and how much I love them. iii ACKNOWLEDGEMENTS I wish to thank the four members of my dissertation committee for their role in the completion of this document. The guidance of Kay Picart as director of the committee was crucial to the success of this project. -
Britten Spring Symphony Welcome Ode • Psalm 150
BRITTEN SPRING SYMPHONY WELCOME ODE • PSALM 150 Elizabeth Gale soprano London Symphony Chorus Alfreda Hodgson contralto Martyn Hill tenor London Symphony Orchestra Southend Boys’ Choir Richard Hickox Greg Barrett Richard Hickox (1948 – 2008) Benjamin Britten (1913 – 1976) Spring Symphony, Op. 44* 44:44 For Soprano, Alto and Tenor solos, Mixed Chorus, Boys’ Choir and Orchestra Part I 1 Introduction. Lento, senza rigore 10:03 2 The Merry Cuckoo. Vivace 1:57 3 Spring, the Sweet Spring. Allegro con slancio 1:47 4 The Driving Boy. Allegro molto 1:58 5 The Morning Star. Molto moderato ma giocoso 3:07 Part II 6 Welcome Maids of Honour. Allegretto rubato 2:38 7 Waters Above. Molto moderato e tranquillo 2:23 8 Out on the Lawn I lie in Bed. Adagio molto tranquillo 6:37 Part III 9 When will my May come. Allegro impetuoso 2:25 10 Fair and Fair. Allegretto grazioso 2:13 11 Sound the Flute. Allegretto molto mosso 1:24 Part IV 12 Finale. Moderato alla valse – Allegro pesante 7:56 3 Welcome Ode, Op. 95† 8:16 13 1 March. Broad and rhythmic (Maestoso) 1:52 14 2 Jig. Quick 1:20 15 3 Roundel. Slower 2:38 16 4 Modulation 0:39 17 5 Canon. Moving on 1:46 18 Psalm 150, Op. 67‡ 5:31 Kurt-Hans Goedicke, LSO timpani Lively March – Lightly – Very lively TT 58:48 4 Elizabeth Gale soprano* Alfreda Hodgson contralto* Martyn Hill tenor* The Southend Boys’ Choir* Michael Crabb director Senior Choirs of the City of London School for Girls† Maggie Donnelly director Senior Choirs of the City of London School† Anthony Gould director Junior Choirs of the City of London School -
Pierre-Laurent Aimard, Piano Tamara Stefanovich, Piano
Thursday, March 12, 2015, 8pm Zellerbach Hall Pierre-Laurent Aimard, piano Tamara Stefanovich, piano The Piano Music of Pierre Boulez PROGRAM Pierre Boulez (b. 1925) Notations (1945) I. Fantastique — Modéré II. Très vif III. Assez lent IV. Rythmique V. Doux et improvisé VI. Rapide VII. Hiératique VIII. Modéré jusqu'à très vif IX. Lointain — Calme X. Mécanique et très sec XI. Scintillant XII. Lent — Puissant et âpre Boulez Sonata No. 1 (1946) I. Lent — Beaucoup plus allant II. Assez large — Rapide Boulez Sonata No. 2 (1947–1948) I. Extrêmement rapide II. Lent III. Modéré, presque vif IV. Vif INTERMISSION PLAYBILL PROGRAM Boulez Sonata No. 3 (1955–1957; 1963) Formant 3 Constellation-Miroir Formant 2 Trope Boulez Incises (1994; 2001) Boulez Une page d’éphéméride (2005) Boulez Structures, Deuxième livre (1961) for two pianos, four hands Chapitre I Chapitre II (Pièces 1–2, Encarts 1–4, Textes 1–6) Funded, in part, by the Koret Foundation, this performance is part of Cal Performances’ – Koret Recital Series, which brings world-class artists to our community. This performance is made possible, in part, by Patron Sponsor Françoise Stone. Hamburg Steinway piano provided by Steinway & Sons, San Francisco. Cal Performances’ – season is sponsored by Wells Fargo. CAL PERFORMANCES PROGRAM NOTES THE PROGRAM AT A GLANCE the radical break with tradition that his music supposedly embodies. If Boulez belongs to an Tonight’s program includes the complete avant-garde, it is to a French avant-garde tra - piano music of Pierre Boulez, as well as a per - dition dating back two centuries to Berlioz formance of the second book of Structures for and Delacroix, and his attitudes are deeply two pianos. -
Guildhall School Gold Medal 2020 Programme
Saturday 26 September 7pm Gold Medal 2020 Finalists Soohong Park Ben Tarlton Ke Ma Guildhall Symphony Orchestra Richard Farnes conductor Guildhall School of Music & Drama Founded in 1880 by the City of London Corporation Chairman of the Board of Governors Vivienne Littlechild Principal Lynne Williams am Vice Principal & Director of Music Jonathan Vaughan Please visit our website at gsmd.ac.uk Guildhall School is part of Culture Mile: culturemile.london Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation Gold Medal 2020 Saturday 26 September, 7pm The Gold Medal, Guildhall School’s most prestigious award for musicians, was founded and endowed in 1915 by Sir H. Dixon Kimber Bt MA Guildhall Symphony Orchestra Finalists Richard Farnes conductor Soohong Park piano During adjudication, Junior Guildhall Rachmaninov Piano Concerto No 2 in violinist Leia Zhu performs Ravel’s C minor Op 18 Tzigane with pianist Kaoru Wada. Leia’s Ben Tarlton cello performance was recorded in January 2020. Elgar Cello Concerto in E minor Op 85 The presentation of the Gold Medal will Ke Ma piano take place after Leia’s performance. Tchaikovsky Piano Concerto No 1 in B-flat minor Op 23 The Jury Jonathan Vaughan Vice-Principal & Director of Music Richard Farnes Conductor Emma Bloxham Editor, BBC Radio 3 Nicholas Mathias Director, IMG Artists Performed live on Friday 25 September and recorded and produced live by Guildhall School’s Recording and Audio Visual department. Gold Medal winners -
BENJAMIN BRITTEN's USE of the Passacagt.IA Bernadette De Vilxiers a Thesis Submitted to the Faculty of Arts University of the Wi
BENJAMIN BRITTEN'S USE OF THE PASSACAGt.IA Bernadette de VilXiers A Thesis Submitted to the Faculty of Arts University of the Witwatersrand, Johannesburg for the Degree of Doctor of Philosophy Johannesburg 1985 ABSTRACT Benjamin Britten (1913-1976) was perhaps the most prolific cooposer of passaca'?' las in the twentieth century. Die present study of his use of tli? passac^.gl ta font is based on thirteen selected -assacaalias which span hin ire rryi:ivc career and include all genre* of his music. The passacaglia? *r- occur i*' the follovxnc works: - Piano Concerto, Op. 13, III - Violin Concerto, Op. 15, III - "Dirge" from Serenade, op. 31 - Peter Grimes, Op. 33, Interlude IV - "Death, be not proud!1' from The Holy Sonnets o f John Donne, Op. 35 - The Rape o f Lucretia, op. 37, n , ii - Albert Herring, Op. 39, III, Threnody - Billy Budd, op. 50, I, iii - The Turn o f the Screw, op . 54, II, viii - Noye '8 Fludde, O p . 59, Storm - "Agnu Dei" from War Requiem, Op. 66 - Syrrvhony forCello and Orchestra, Op. 68, IV - String Quartet no. 3, Op. 94, V The analysis includes a detailed investigation into the type of ostinato themes used, namely their structure (lengUi, contour, characteristic intervals, tonal centre, metre, rhythm, use of sequence, derivation hod of handling the ostinato (variations in length, tone colouJ -< <>e register, ten$>o, degree of audibility) as well as the influence of the ostinato theme on the conqposition as a whole (effect on length, sectionalization). The accompaniment material is then brought under scrutiny b^th from the point of view of its type (thematic, motivic, unrelated counterpoints) and its importance within the overall frarework of the passacaglia. -
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. -
Curlew River a PARABLE for CHURCH PERFORMANCE Op
The Yale School of Music, Robert Blocker, Dean and The Institute of Sacred Music, Margot Fassler, Dean present in partial fulfillment of the requirements for the Master of Music degree: The Yale Recital Chorus BENJAMIN BRITTEN Curlew River A PARABLE FOR CHURCH PERFORMANCE Op. 71 Libretto based on the medieval Japanese No-play Sumidagawa of Juro Motomasa (1395-1431) by WILLIAM PLOMER Christopher Hossfeld, conductor 5:00 pm 25 January 2004 Christ Church, New Haven 2 No production can go on without the help of many others and this one is no exception. I owe countless thanks and immeasurable gratitude to those who have made today’s recital possible: To my teachers, Maggi Brooks and Simon Carrington, for the guidance in exploring Curlew River and the tools to bring it to the ears of others. To my manager, Evan, for the legwork that brought everything together. To Robert Lehman and Christ Church, for allowing us to use this wonderful space. To my colleagues, Chuck, Holland, Rick, Kim, Joe, David, Michael, Evan, and Richard, for their time, musicality, advice, and expertise to learn this difficult music and make it happen. To my parents, Linda and Rod, my sister, Emily, my fiancé, Jimmy, and all the family and friends who made the journey to New Haven today, for their constant and enduring love and support. 3 PERFORMERS who make up the cast of the Parable: The Madwoman Charles Kamm, Tenor The Ferryman Holland Jancaitis, Baritone The Traveller Rick Hoffenberg, Baritone The Spirit of the Boy Kimberly Dunn, Soprano The Abbot Joseph Gregorio, Bass -
That to See How Britten Handles the Dramatic and Musical Materials In
BOOKS 131 that to see how Britten handles the dramatic and musical materials in the op- era is "to discover anew how from private pain the great artist can fashion some- thing that transcends his own individual experience and touches all humanity." Given the audience to which it is directed, the book succeeds superbly. Much of it is challenging and stimulating intellectually, while avoiding exces- sive weightiness, and at the same time, it is entertaining in the very best sense of the word. Its format being what it is, there are inevitable duplications of information, and I personally found the Garbutt and Garvie articles less com- pelling than the remainder of the book. The last two articles of Brett's, excel- lent as they are, also tend to be a little discursive, but these are minor reserva- tions. For anyone who cares for this masterwork of twentieth-century opera, Downloaded from https://academic.oup.com/oq/article/4/3/131/1587210 by guest on 01 October 2021 or for Britten and his music, this book is obligatory reading. Carlisle Floyd Peter Grimes/Gloriana Benjamin Britten English National Opera/Royal Opera Guide 24 Nicholas John, series editor London: John Calder; New York: Riverrun Press, 1983 128 pages, $5.95 (paper) The English National Opera/Royal Opera Guides, small paperbacks with siz- able contents, are among the best introductions available to the thirty-plus operas published in the series so far. Each guide includes some essays by ac- knowledged authorities on various aspects of its subject, followed by a table of major musical themes, a complete libretto (original language plus transla- tion), a brief bibliography, and a discography. -
Benjamin Britten in the Music Culture of the Soviet Union in the 1960S (To the 100Th Anniversary of the Composer's Birth)
International Journal of Humanities and Social Science Vol. 3 No. 14 [Special Issue - July 2013] Benjamin Britten in the Music Culture of the Soviet Union in the 1960s (to the 100th Anniversary of the Composer's Birth) Alexander Rossinsky Department of Art Altai State University Russia Ekaterina Vorontsova Department of History Altai State University Russia Abstract The period of the 1960-s was difficult and controversial. Former allies of the anti-Hitler coalition turned to be on different sides of the acute ideological struggle which nearly led to the world war. Tremendous work was carried by artists, musicians who united disparate peoples into the community calling for the universal values. The central place in such the sphere of music belongs to one of the greatest composers of the 20th century, Benjamin Britten. Together with the Soviet musicians he pushed the world back from the sharp ideological confrontation. Keywords: B.Brittten, P.Pears, USSR, M.Rostropovich, G.Vishnevskaya, D.Shostakovich, symphonic and chamber music. The events unfolding in the world, which had survived the most destructive war in the history of human civilization, were dramatic and characterised by multi-vector directions of their development. The countries that joined the anti-Hitler coalition in the 40s, in the 60s were experiencing the peak of their ideological hostility, teetering on the verge of unleashing the third world war. At the same time, the Soviet Union, headed the unpredictable and highly controversial leader Nikita Khrushchev, pursued a policy of flirtations with liberalism in an attempt to overcome the cult of personality of Joseph Stalin and remove the notorious “Iron Curtain”, which for decades had protected the USSR from Western influence. -
BENJAMIN BRITTEN a Ceremony of Carols IRELAND | BRIDGE | HOLST
BENJAMIN BRITTEN A Ceremony of Carols IRELAND | BRIDGE | HOLST Choir of Clare College, Cambridge Graham Ross FRANZ LISZT A Ceremony of Carols BENJAMIN BRITTEN (1913-1976) ANONYMOUS, arr. BENJAMIN BRITTEN 1 | Venite exultemus Domino 4’11 12 | The Holly and the Ivy 3’36 for mixed choir and organ (1961) traditional folksong, arranged for mixed choir a cappella (1957) 2 | Te Deum in C 7’40 for mixed choir and organ (1934) BENJAMIN BRITTEN 3 | Jubilate Deo in C 2’30 13 | Sweet was the song the Virgin sung 2’45 for mixed choir and organ (1961) from Christ’s Nativity for soprano and mixed choir a cappella (1931) 4 | Deus in adjutorium meum intende 4’37 from This Way to the Tomb for mixed choir a cappella (1944-45) A Ceremony of Carols op. 28 (1942, rev. 1943) version for mixed choir and harp arranged by JULIUS HARRISON (1885-1963) 5 | A Hymn to the Virgin 3’23 for solo SATB and mixed choir a cappella (1930, rev. 1934) 14 | 1. Procession 1’18 6 | A Hymn of St Columba 2’01 15 | 2. Wolcum Yole! 1’21 for mixed choir and organ (1962) 16 | 3. There is no rose 2’27 7 | Hymn to St Peter op. 56a 5’57 17 | 4a. That yongë child 1’50 for mixed choir and organ (1955) 18 | 4b. Balulalow 1’18 19 | 5. As dew in Aprille 0’56 JOHN IRELAND (1879-1962) 20 | 6. This little babe 1’24 8 | The Holy Boy 2’50 version for mixed choir a cappella (1941) 21 | 7.