Follow us on. In his published response to this award, Britten said he believed in "occasional music …Almost every piece I have ever written has been composed with a certain occasion in mind, and usually for definite performers. We should aim at pleasing people today as seriously as we can, and letting the future look after itself…I do not write for posterity - in any case, the outlook for that is somewhat uncertain. I write music, now, in Aldeburgh, for people living there, and further afield, indeed for anyone who cares to play it or listen to it.
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Metadata Show full item record. Publisher The University of Arizona. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation such as public display or performance of protected items is prohibited except with permission of the author. It intends to demonstrate that the architecture used by the composer in this work is determined as much by its underlying program as well as to the variation structure used to convey it.
This work is structured in eight sections: following an overview of the document in section one, section two consists of a brief biography of the composer as well as a general survey of his works, including those in which he makes use of the guitar.
Sections three and four examine the works by Britten composed in variation form, as well as those which are related to the themes of night, death, sleep, and dreams. Sections five and six include a brief biography of Renaissance composer John Dowland, as well as a brief discussion of other Britten works inspired by the music of this composer.
This song is examined and analyzed as part of section six. Section seven consists of a close examination of the Nocturnal, Op. This examination looks closely at the most important harmonic, rhythmic, and formal elements of each variation and how they relate to the theme of Dowland.
Finally, the conclusion sums up and reemphasizes the main thesis laid out in the introduction of this document. Type text Dissertation-Reproduction electronic. Degree Name D. Degree Level doctoral. Degree Grantor University of Arizona. Collections Dissertations. Export search results.
49. Nocturnal after John Dowland
The export option will allow you to export the current search results of the entered query to a file. Different formats are available for download. To export the items, click on the button corresponding with the preferred download format. By default, clicking on the export buttons will result in a download of the allowed maximum amount of items. To select a subset of the search results, click "Selective Export" button and make a selection of the items you want to export. The amount of items that can be exported at once is similarly restricted as the full export.
In , Britten met the guitarist and lutenist Julian Bream, who was then aged only 19 but already on a mission to expand the guitar repertoire as much as possible. He persuaded Britten to write some songs for voice and guitar, resulting a few years later in a book of folksongs and the Songs from the Chinese , composed in The modern guitar was an unfamiliar instrument to Britten, but as always he conscientiously researched its capabilities, individual sonorities, and particular limitations in order to write as authentically as possible. It is a haunting and elegiac work, and has been recorded by Sean Shibe — among works by Berkeley, Arnold, Walton as well as Dowland — for Delphian with thanks to Delphian for permission to use extracts of Nocturnal. Nocturnal after John Dowland.