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Benjamin Britten: Composer as Conductor and the Art of Self Interpretation


Abstract In the triumvirate of composer-performer-listener, while the listener always wins, the performer is the interpreter through which the listener experiences the writings of the composer. When the composer and performer are combined, however, a unique situation arises: the link from the composer to the listener becomes a direct line and the composer becomes his/her own interpreter. Such is the case with Benjamin Britten. Britten conducted almost his entire repertoire in recordings for Decca (the exceptions being Paul Bunyan, Owen Wingrave, and Death in Venice). A comparative analysis of the recordings of four of Britten's works, the Serenade for Tenor, Horn, and Strings, Op. 31; Albert Herring, Op. 39; Spring Symphony, Op. 44; and the Noct... (more)
Created Date 2014
Contributor Sterneman, Walter (Author) / Reber, William (Advisor) / Russell, Timothy (Committee member) / Dreyfoos, Dale (Committee member) / Oldani, Robert (Committee member) / Arizona State University (Publisher)
Subject Music / Britten / Conductor / Interpretation
Type Doctoral Dissertation
Extent 69 pages
Language English
Copyright
Reuse Permissions All Rights Reserved
Note D.M.A. Music 2014
Collaborating Institutions Graduate College / ASU Library
Additional Formats MODS / OAI Dublin Core / RIS


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Description Dissertation/Thesis