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Aschenbach's Wilderness
Published online by Cambridge University Press: 04 February 2010
Extract
Our hunting fathers and Death in Venice stand respectively at the beginning and end of Benjamin Britten's voice-and-orchestra output. Important works (Sinfonietta, A Boy was Born) preceded op. 8, and (Phaedra, String Quartet No. 3) following op. 88, but Our Hunting Fathers (1936) and Death in Venice (1973) are a signpost and a summation. The (presumably fortuitous) symmetry of the opus numbering almost suggests that what was considered in Our Hunting Fathers was to be considered again in Death in Venice, with doubled intensity, and analysis of their respective texts reveals this to be so.
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References
1 Mitchell, D., Britten & Auden in the Thirties (1981)Google Scholar.
2 Ibid., p.20 (Mitchell's emphasis).
3 Ibid., p.24ff.
4 Britten, Benjamin, Our Hunting Fathers, Pocket Score (1936), pp. 1–2 Google Scholar.
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page 9 note 8 Ibid., p.4
page 10 note 1 Ibid., p.75
page 10 note 2 Ibid., p.77
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page 10 note 17 Sleevenote to the BBC recording of Our Hunting Fathers, REGL 417 (1981)Google Scholar.
page 10 note 18 Introduction to the libretto accompanying the recording of Death in Venice, SET 581–3 (1974)Google Scholar.