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British Musical Modernism. The Manchester Group and their Contemporaries

јвтор:   Rupprecht P.
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508 страниц
2017 год
»здательство:   Cambridge University Press
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ќписание:Setting music-analytic insights against a broader social-historical backdrop, Rupprecht traces a British musical modernism that was at once a collective artistic endeavor, and a sounding myth of national identity. British Musical Modernism explores the works of eleven key composers to reveal the rapid shifts of expression and technique that transformed British art music in the post-war period. In close readings of some thirty-five scores, Philip Rupprecht traces a modernism suffused with the formal elegance of the 1950s, the exuberant theatricality of the 1960s, and - in the works of David Bedford and Tim Souster - the pop, minimalist, and live-electronic directions of the early 1970s. Responding to radical avant-garde developments in post-war Europe, the Manchester Group composers - Alexander Goehr, Peter Maxwell Davies, and Harrison Birtwistle - and their contemporaries assimilated the serial-structuralist preoccupations of mid-century internationalism to an art grounded in resurgent local traditions.

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Russia After Stalin

I am also greatly indebted to Miss Elizabeth Brommer for very many excellent stylistic suggestions. My thanks are due to the Editors of the Manchester Guardian, The Times, and The Reporter (New York) who have kindly permitted me to reproduce some passages from my articles published in their pages. Coulsdon, Surrey I.D. 20 April 1953 PART ONE THE BALANCE OF AN ERA CHAPTER ONE INTRODUCTION When Stalin died the whole world, wittingly or unwittingly, paid homage to the dead man and to the legend which hovered over his coffin. In the eyes of his followers he loomed even larger than Moses in the eyes of the Biblical Jews, for of Stalin his followers believed that he had actually led his people into the Promised Land. Most of his enemies, who saw in him Evil Incarnate, also in their way paid a tribute to Stalin by describing his departure as a momentous historical event, fraught with incalculable consequences. Of how many public figures could this be said with much conviction on the day of their death? Involuntarily one is reminded of Shelley's lines вАШOn Hearing the News of the Death of NapoleonвАЩ: How! is not his death-knell knolled? And livest thou still Mother Earth? Thou wert warming thy fingers old OвАЩer the embers covered and cold Of that most fiery spirit, when it fled вАФ What, Mother, do you laugh now he is dead? Indeed, very few historical characters have had a comparable hold on the life and the imagination of their contemporaries ...»

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