This book examines Delius's individual approaches to genre, form, harmony, orchestration and literary texts which gave the composer's musical style such a unique voice.
Frederick Delius' (1862-1934) music has proved impervious to analytical definition. Delius's approaches to genre, form, harmony, orchestration and literary texts are all highly individual, not to say eccentric in their deliberate aim to avoid conformity. Rarely does Delius follow a conventional line, and though one can readily point to important influences, the larger Gestalt of each work has a syntax and coherence for which conventional analytical methods are mostly inadequate. Delius's musical style has also defied one of the most essential critical tools of his musical epoque - that of national identity. His style bears no relation either to the Victorian or Edwardian aesthetic of British music spearheaded by Parry, Stanford and Elgar before the First World War, nor to the more overtly nationalist, folk-song-orientated pastoralism of post-war Britain in such composers as Vaughan Williams and Holst. In contrast, Delius acknowledged himself a 'stateless' individual and considered that his music refused to belong to any national school or movement.Les informations fournies dans la section « Synopsis » peuvent faire référence à une autre édition de ce titre.
JEREMY DIBBLE is an Emeritus Professor of Music at Durham University where he taught for 30 years. He is the author of C. Hubert H. Parry: His Life and Music (1998), Charles Villers Stanford: Man and Musician (original edition, 2002), Michele Esposito (2010). With the Boydell Press, Dibble has published John Stainer: A Life in Music (2007), Hamilton Harty: Musical Polymath (2013), British Musical Criticism and Intellectual Thought, 1850-1950 (2018) (with Julian Horton) and The Music of Frederick Delius (2021).
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
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