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The Music of Frederick Delius - Style, Form and Ethos (Hardcover)
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The Music of Frederick Delius - Style, Form and Ethos (Hardcover)
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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. To test these claims, the book explores a number of
important factors. Delius's musical education at the Leipzig
Conservatorium and the works he produced there. Delius's musical
voice, notably his harmonic and melodic style and the close
structural relationship between these two factors. The book also
explores the question of Delius and 'genre' in which the
investigation of form is central, especially in opera, the
symphonic poem, the choral work (where words are seminal to the
creation of structural design) and the sonata and concerto (to
which Delius brought his own individual solution). Other
significant factors are Delius's cosmopolitan use of texts,
operatic plots and picturesque impressions, his relationship to
Nietzsche's writings and the genre of dance, and the role of his
'earlier' works (1888-1896) in which it is possible to plot a
course of stylistic change with reference to the influences of
Grieg, Sinding, Florent Schmitt, Wagner, Strauss and Debussy.
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