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Masques, Mayings and Music-Dramas - Vaughan Williams and the Early Twentieth-Century Stage (Hardcover)
Loot Price: R2,633
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Masques, Mayings and Music-Dramas - Vaughan Williams and the Early Twentieth-Century Stage (Hardcover)
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In-depth case-studies of significant aspects of early
twentieth-century English music-theatre, which engage with notions
of Englishness and the idea of a 'musical renaissance' Masques,
Mayings and Music-Dramas comprises a sequence of in-depth
case-studies of significant aspects of early twentieth-century
English music-theatre. Vaughan Williams forms a central thread in
this discussion, and Stratford-upon-Avon serves as a geographical
focus-point for mediating conflicting visions of an English musical
tradition. But the reach of the book is much wider, shedding new
light on English Wagnerism (at Glastonbury especially) andon the
reception of Wagner's ideas as a point of emulation and resistance.
No less significant is the discussion of Purcell and the
seventeenth-century masque - one of the primary sources for
re-imagining an English dramatic tradition - and the more familiar
images of the May festival, the Mummers' play and the pageant play,
which are tellingly re-contextualised. The book also looks at the
associations between Vaughan Williams, the theatre artist Edward
Gordon Craig and the impresario Serge Diaghilev. The sequence is
framed by the image of the pilgrim-vagabond Vaughan Williams's
setting of the poetry of Matthew Arnold and Robert Louis Stevenson
as a metaphor and paradigm for his creative career and personal
progress. The book not only sheds light on the activities and
ambitions of principal agents but also illuminates a particularly
dynamic moment in the re-emergence of a distinctively English
music-theatrical practice: one especially concerned with calling on
aspects of the past to help to secure a worthwhile future. Notions
of Englishness turn out to be less insular than sometimes thought
and the idea of a 'musical renaissance' more complex when the
case-studies are understood in their proper historical context.
Scholars and students of twentieth-century English music, theatre
and opera will find this volume indispensable. Roger Savage
isHonorary Fellow in English Literature at the University of
Edinburgh. He has published widely on theatre and its interface
with music from the baroque to the twentieth century in leading
journals and books.
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