By Mervyn Cooke
Benjamin Britten's robust curiosity within the musical traditions of the a long way East had a far-reaching impression on his compositional kind; this e-book explores the hugely unique cross-cultural synthesis he used to be in a position to in achieving by utilizing fabric borrowed from Balinese, jap and Indian resources. Britten's stopover at to Indonesia and Japan in 1955-6 is reconstructed from archival resources, and proven to have had a profound influence on his next paintings: the concepts of Balinese gamelin song have been utilized in the ballet "The Prince of the Pagodas" (1957), after which grew to become a vital function of Britten's compositional sort, at their so much effective in "Death in Venice" (1973); and the No rama and Gagaku court docket song of Japan have been the foundation for the trilogy of church parables Britten composed within the Sixties. the suitable nature of those affects is mentioned: Britten's sporadic borrowings fromIndian track also are absolutely analyzed. there's a survey of severe reaction to Britten's cross-cultural experiments.
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Additional info for Britten and the Far East: Asian influences in the music of Benjamin Britten, Volume 1
Page 12 cultures. Set in contemporaneous Nagasaki, the opera was imbued with a degree of topicality: the relaxation of the formerly strict Japanese attitudes to the West had begun to take place under the Meiji Restoration (1866-8),25 and temporary marriages of convenience between Japanese women and visiting American servicemen such as that uniting Butterfly and Pinkerton were relatively common. The basis for Puccini's libretto was Pierre Loti's novel Madame Chrysanthème (1887), which had already spawned an opera by Saint-Saëns's pupil André Messager in 1893.
11 Elsewhere in the essay, Debussy alludes to Chinese theatrical performances he saw during the 1889 festival; the same Exposition led the composer to a greater awareness of the Japanese art that he later came to favour. 13 The most important observation to be made about the impact of the gamelan on Debussy's style is that the experience intensified techniques already latent in his music which stood well apart from the conventional and soon to be outmoded procedures that had dominated central European tonal music for the previous 200 years.
27 Busoni's incidental score not 25 The new policy welcoming Western ideas has, of course, achieved spectacular results in both industrial and artistic spheres. The Meiji Restoration promoted, amongst other things, an increased awareness of Western music, and a fascinating study could be written of the changing style of indigenous Japanese composers in the wake of this broadening of artistic horizons. Interestingly, the Japanese have come to develop a notable affection for Western works based on Japanese material.