Humphrey Burton: "did you have any images when you've composed this." Expected derisory no. ... Britten: "normally I don't, but on this occasion would suggest Grünewald triptych."
Bombing of Coventry Cathedral, and rebuilding.
Tom Service: Projecting onto public stage his private world. Not needing to compromise his pacifism. Dramatisation of relationship between private grief and public grief.
David Willcocks: on dedication to four fallen friends
Colin Matthews: on genius of choice of Owen texts.
Charles Hazlewood: never bombastic, although it involves so many people, one of the most personal works
Interviews with percussionist and choir member from first performance.
Peter Maxwell Davis: some people saw is as a glorification of the memory of war. It does make war into a very profoundly moving experience without the horrible physical violence.
Oliver Knussen: People today taking it for granted. Part of English cultural wallpaper. So full of tenderness. The Agnus Dei is a very simple music scheme and it comes out as something transcendent partly because of the way Pears sings it. Simple device of going down a scale from one note (F#) and then going up another scale from the bottom note (C). Reharmonises these throughtout and then ends up on F# major chord. Tiny of music and a perfect piece of clockwork. That's a technical explanation, sounding a little too neat. But the impact, including Pears at the end, is overwhelming.
Nicholas Kenyon: by time of second TVed Proms performance, for end of WWI anniversary, was iconic national figure, despite being an outsider in many ways.
Humphrey Burton: "did you have any images when you've composed this." Expected derisory no. ... Britten: "normally I don't, but on this occasion would suggest Grünewald triptych."
Bombing of Coventry Cathedral, and rebuilding.
Tom Service: Projecting onto public stage his private world. Not needing to compromise his pacifism. Dramatisation of relationship between private grief and public grief.
David Willcocks: on dedication to four fallen friends
Colin Matthews: on genius of choice of Owen texts.
Charles Hazlewood: never bombastic, although it involves so many people, one of the most personal works
Interviews with percussionist and choir member from first performance.
Peter Maxwell Davis: some people saw is as a glorification of the memory of war. It does make war into a very profoundly moving experience without the horrible physical violence.
Oliver Knussen: People today taking it for granted. Part of English cultural wallpaper. So full of tenderness. The Agnus Dei is a very simple music scheme and it comes out as something transcendent partly because of the way Pears sings it. Simple device of going down a scale from one note (F#) and then going up another scale from the bottom note (C). Reharmonises these throughtout and then ends up on F# major chord. Tiny of music and a perfect piece of clockwork. That's a technical explanation, sounding a little too neat. But the impact, including Pears at the end, is overwhelming.
Nicholas Kenyon: by time of second TVed Proms performance, for end of WWI anniversary, was iconic national figure, despite being an outsider in many ways.
[1] => "32739"*p70*Chapter 11
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[0] => "21303"|Isenheim Altarpiece, according to Humphrey Burton, was image in the mind of Benjamin Britten while this piece was being written.
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[0] => 1604840244
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