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Buy it now. Add to basket. Be the first to write a review About this product. About this product Product Information The first in-depth historical analysis of British art music post, providing a group-portrait of eleven composers ranging from avant-garde to pop. Additional Product Features Author s. He has published widely on twentieth-century British music and his books include Britten's Musical Language Cambridge, and two edited volumes, Rethinking Britten and Tonality Concept and Practice Show more Show less.

Quite splendid.


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Winning performances. Mahler Symphony 8 a magnificent disc. A wonderful disc.

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Mahler 9 Blomstedt Distinguished performance. Any inclusive study of post-Second World War music in Great Britain must take into account a number of trajectories. The present book is mainly concerned with the last of these styles, nevertheless, the boundaries are fluid.


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David Bedford, for example, can sit in more than one camp. Any debate has to recognise artistic development over time.

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The language of modern music was reinvented on an almost yearly basis. In reality, he is being modest. Into this progression of music, the author introduces detailed studies of eleven composers and several of their compositions. Some of these have become well-known to enthusiasts of this era: others have fallen by the wayside. None has become popular in the wider classical music world: they are rarely heard in the concert hall or on radio.

The discussions of individual works in this book are thorough and represent a major scholarly analysis that has not been attempted before. There are other journeys that can — and ought to — be developed through these two vibrant decades. Rupprecht argues that many British composers lagged Continental developments in applying progressive procedures. Listeners and concert-goers were given less opportunities to get to grips with modernism than their European counterparts. Musically, the period considered by British Musical Modernism has suffered relative neglect in academic and popular deliberation.

One important textbook, British Music Now, edited by Lewis Foreman covered this era, but clearly was written close to the events. It still forms a good introduction to the subject. The major historical volumes issued by Blackwell and Oxford University Press outline the important players and artistic mores in more or less detail.

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Grove provides further information on the composers and their musical styles. Other information can be gleaned from the academic press, theses and dissertations. Much has been written about the Manchester Group. Maxwell Davies has had the greatest attention: there are bibliographies, a source book, surveys of music and biographies. Relatively little has been written about Alexander Goehr. Many of the other contemporaries discussed by Philip Rupprecht have no formal studies in print.

British Musical Modernism is a densely written book, with each chapter being largely descriptive of a particular set of composers or specific style. There is deliberately no attempt at following their careers beyond the mid-seventies. Chapters include introductory material defining British modernism, which is a decidedly tricky business.

The Manchester Group or School is featured in Chapter 3. After presenting concerts of music in Manchester and London in the mids, Maxwell Davies, Birtwistle and Goehr went on to become leading avant-garde composers in the United Kingdom.


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  8. Their attempts to synthesise the serial-structuralist music emerging from the Continent, especially from Darmstadt, with more traditional British elements were largely successful, if not immediately popular. Their further development in the nineteen-sixties is observed in Chapter 5. Opinion has often focused on the break from tradition that they created. He is an important composer who has been largely ignored by musical historians. The web-address of an extensive discography. It is a valuable document for both the listener and historian of this period.