By Philip Rupprecht
British Musical Modernism explores the works of 11 key composers to bare the speedy shifts of expression and strategy that remodeled British artwork tune within the post-war interval. Responding to radical avant-garde advancements in post-war Europe, the Manchester staff composers - Alexander Goehr, Peter Maxwell Davies, and Harrison Birtwistle - and their contemporaries assimilated the serial-structuralist preoccupations of mid-century internationalism to an artwork grounded in resurgent neighborhood traditions. In shut readings of a few thirty-five rankings, Philip Rupprecht lines a modernism suffused with the formal beauty of the Fifties, the exuberant theatricality of the Sixties, and - within the works of David Bedford and Tim Souster - the pop, minimalist, and live-electronic instructions of the early Seventies. surroundings music-analytic insights opposed to a broader social-historical backdrop, Rupprecht lines a British musical modernism that used to be instantly a collective creative exercise, and a sounding delusion of nationwide identification.
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Additional info for British Musical Modernism: The Manchester Group and their Contemporaries
23 24 British Musical Modernism something alien to a presumably more authentic British whimsy. The stereotype says as much about the situation of the speaker as it does about the object he or she contemplates. ”62 As I hope to show, a discourse of verbal stereotyping – the same routines governing British views of “Europe,” or British estimations of the national character – are at work in the public depiction of new art. Images of modernism in British music, equally, are inextricably linked to the most widely repeated forms of a national self-image.
33 34 British Musical Modernism post-World War II. But the idea of a time lag was recognized not only by younger ﬁgures like Dean; for more conservative voices, British resistance to the new was a steady truth, and not necessarily one to be lamented. ” To most of this music, and the new values implied in it, the public has long put up, and still puts up, a stubborn resistance. 4 Newman, for all his show of objectivity in the last sentence, gives a fair view of the Establishment dismissal of musical modernism in Britain.
29 30 British Musical Modernism On closer inspection, though, each response is tempered by more eclectic personal discoveries. For Musgrave, the interest in twelve-tone pitch maneuvers – the audible mirroring of Prime and Inversion, say – served as an expressive resource (in her Chaucer setting, Triptych, of 1959). For Maw, an attraction to Straussian lyricism opened the way to the sumptuous vocal-orchestral world of Scenes and Arias (1962). Crosse’s close familiarity with medieval music governs the structural detail of his Elegy, but it is a ﬂair for sharply characterized dramatic gestures that impresses in the Concerto da Camera (1962).