Book contents
- Benjamin Britten in Context
- Composers in Context
- Benjamin Britten in Context
- Copyright page
- Dedication
- Contents
- Figures
- Tables
- Notes on Contributors
- Acknowledgements
- Bibliographic and In-Text Abbreviations
- Prologue
- Part I The Britten Circle(s)
- Part II British Musical Life
- Part III Britten and Other Composers
- Part IV Wordsmiths, Designers, and Performers
- Chapter 24 W. H. Auden
- Chapter 25 Eric Crozier
- Chapter 26 Two Librettists
- Chapter 27 The Wise, Queer Heart of Englishness
- Chapter 28 William Plomer’s Poetics of Exile at Home
- Chapter 29 ‘Don’t Colour Them, the Music Will Do That’
- Chapter 30 Designing and Dancing Britten
- Chapter 31 Pears as Illuminator, Interpreter, and Inspiration
- Chapter 32 Britten’s Singers
- Chapter 33 Britten’s Performers: Those Most ‘Instrumental’
- Part V British Sociocultural, Religious, and Political Life
- Further Reading
- Index
Chapter 33 - Britten’s Performers: Those Most ‘Instrumental’
from Part IV - Wordsmiths, Designers, and Performers
Published online by Cambridge University Press: 31 March 2022
- Benjamin Britten in Context
- Composers in Context
- Benjamin Britten in Context
- Copyright page
- Dedication
- Contents
- Figures
- Tables
- Notes on Contributors
- Acknowledgements
- Bibliographic and In-Text Abbreviations
- Prologue
- Part I The Britten Circle(s)
- Part II British Musical Life
- Part III Britten and Other Composers
- Part IV Wordsmiths, Designers, and Performers
- Chapter 24 W. H. Auden
- Chapter 25 Eric Crozier
- Chapter 26 Two Librettists
- Chapter 27 The Wise, Queer Heart of Englishness
- Chapter 28 William Plomer’s Poetics of Exile at Home
- Chapter 29 ‘Don’t Colour Them, the Music Will Do That’
- Chapter 30 Designing and Dancing Britten
- Chapter 31 Pears as Illuminator, Interpreter, and Inspiration
- Chapter 32 Britten’s Singers
- Chapter 33 Britten’s Performers: Those Most ‘Instrumental’
- Part V British Sociocultural, Religious, and Political Life
- Further Reading
- Index
Summary
Britten’s primary role was as a composer, but he possessed a unique ability to assemble musicians for performances which was second only to his skill at arranging notes for his compositions. His choices were impeccable in both activities. When he combined these — a specific piece composed for a specific performer — he produced music of startling originality. This chapter contextualises the instrumental music he wrote for each of the Aldeburgh Festivals that he personally directed. The focus is on select performers, many of whom function as subtexts in the music Britten created, and the premiere performances that helped to shape the festival season, including details of the original encounter that lead to the creation of the work and the collaborative process that produced such exceptional music.
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- Benjamin Britten in Context , pp. 292 - 300Publisher: Cambridge University PressPrint publication year: 2022