Selling Britten

Music and the Market Place
Erscheinungsjahr 2002
ISBN: 978-0-19-816715-0
Verlag: Oxford University Press

Buch, Englisch, Format (B × H): 162 mm x 242 mm, Gewicht: 623 g

At the end of the nineteenth century Britain was a country without an opera culture, and in the concert halls the Austro-Germanic symphonic repertory reigned supreme. In the following fifty years the art-music culture changed dramatically. Radio, the gramophone and the recording industry, government arts subsidies, Covent Garden, and a post-war resurgence in national and civic pride which contributed to the spread of music festivals, were the agents of change.

Born in 1913, Benjamin Britten was well placed to take advantage of these market forces, which he did consistently and skilfully from the 1930s onwards. His relationships with Boosey & Hawkes, Decca, Covent Garden, the Aldeburgh Festival, the English Opera Group, and the Arts Council, had a huge influence on the music he wrote. This book explores the effect of these commercial and national institutions on the music of one of the foremost British composers of the twentieth century.

Autoren/Hrsg.

Kildea, Paul

Fachgebiete

• Geisteswissenschaften Musikwissenschaft Musikwissenschaft Allgemein Musikindustrie
• Geisteswissenschaften Musikwissenschaft Musikwissenschaft Allgemein Einzelne Komponisten und Musiker
• Wirtschaftswissenschaften Wirtschaftssektoren & Branchen Medien-, Informations und Kommunikationswirtschaft Musikindustrie
• Interdisziplinäres Wissenschaften Wissenschaft und Gesellschaft | Kulturwissenschaften Kulturwissenschaften
• Geisteswissenschaften Geschichtswissenschaft Weltgeschichte & Geschichte einzelner Länder und Gebietsräume Geschichte einzelner Länder Europäische Länder England, UK, Irland: Regional & Stadtgeschichte
• Geisteswissenschaften Musikwissenschaft Geschichte der Musik Geschichte der Musik: Klassische Musik des 20./21. Jahrhunderts

Über Autor(innen)

Dr Kildea was and Undergraduate and Post-graduate student at the University of Melbourne, studying with Max Cooke (piano) and Malcolm Gillies (musicology). He was a recipient of a number of University prizes. Scholarships enabled him to study at Oxford with Cyril Ehrlich. He accepted positions with Opera Australia as its Young Artist Programme as conductor. Made his début with Janaçek's The Cunning Little Vixen. He combines his work for the Britten Estate and Aldeburgh Productions with a conducting career. He will conduct La Bohème in Melbourne this year.