All the Gods: Benjamin Britten's Night-piece in Context

Overview

Peter Pears once described Benjamin Britten as 'a Greek who worships all the gods'; and in order to come to terms with Britten's music it is necessary to recognize a language deeply embedded in this Western tradition. This book is devoted to Night-piece (Notturno), written for the first Leeds International Pianoforte Competition of 1963. It addresses the work from many points of view: historical, documentary, analytical, formal, kinetic, hermeneutical, and affective. It also includes a wide range of illustrated ...
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Overview

Peter Pears once described Benjamin Britten as 'a Greek who worships all the gods'; and in order to come to terms with Britten's music it is necessary to recognize a language deeply embedded in this Western tradition. This book is devoted to Night-piece (Notturno), written for the first Leeds International Pianoforte Competition of 1963. It addresses the work from many points of view: historical, documentary, analytical, formal, kinetic, hermeneutical, and affective. It also includes a wide range of illustrated allusions to other music, a full set of sketches, the printed score, arrays of modes and voice-leading graphs, and two appendices that take the issues of intensification and neapolitan relations further. In so doing, it provides a new model for the study of Britten's work in general. Winner of the Sue Thomson Foundation Publishing Award for 2006.
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Product Details

  • ISBN-13: 9780955608797
  • Publisher: Boydell & Brewer, Limited
  • Publication date: 10/18/2012
  • Series: Poetics of Music
  • Pages: 125
  • Product dimensions: 11.40 (w) x 8.20 (h) x 0.40 (d)

Table of Contents


Introduction     ix
Documents
The First Leeds International Pianoforte Competition     3
The Three Versions of the Musical Text     6
Scores
'Notturno', Original Version (Manuscript) and Transcription     26
'Night-piece', Second Manuscript Version (left)     36
'Night-piece', Printed Version (right)     37
Theory and Analysis
Theory: The Modes     57
Analysis     64
Ideas
Tradition, Devotion, Creativity and Idea     79
Idea as Form     82
Idea as Steigerung (Intensification)     89
Idea as Neapolitan Complex     94
Appendices
On Intensification: ('Was ist Steigerung')     101
On the Neapolitan Complex: ('The Sceptred Pall: Brahms's Progressive Harmony')     111
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