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The Music of Peggy Glanville-Hicks (Paperback)
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The Music of Peggy Glanville-Hicks (Paperback)
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Peggy Glanville-Hicks (1912-1990) is an Australian composer whose
full significance has only recently been appreciated. Born in
Melbourne, Australia, she transcended the gendered expectations of
her upbringing and went on to become a fine composer and a highly
influential figure in the vibrant musical life of New York after
the Second World War. Following early composition studies with
Fritz Hart in Melbourne, Glanville-Hicks moved to London where she
studied with Ralph Vaughan Williams, then to Paris where she was
taught by the great pedagogue, Nadia Boulanger. Her migration to
the USA in 1941 shaped the musical direction of her late works.
After a brief neoclassical phase, she joined the small group of
American composers who were using non-Western musics as their
inspirational well-spring, including Colin McPhee, Alan Hovhaness,
Lou Harrison and Paul Bowles. During this period she also forged an
illustrious career as a music journalist and arts administrator,
working tirelessly to promote new music and the careers of young
composers. In the late 1950s she retreated to Greece to write 'the
big works', most notably the operas which lie at the heart of her
creative output. Her compositional career ended prematurely, and
tragically, in 1967 following surgery the previous year for a
life-threatening brain tumour. Against all medical expectations she
went on to live for a further 24 years, returning to Australia in
1975 amidst a dawning recognition that one of the country's most
significant composers had returned. Glanville-Hicks's career as a
composer is impressive by any measure. She produced over 70
finely-crafted works, including operas, ballets, concertos,
instrumental chamber pieces, songs and choral works. The story of
her life has been told in the biographies. This book traces the
development of her musical language from the English pastoral style
of the early works, through the neoclassicism of the middle period,
to the melody-rhythm concept of the late works, at the same time
locating her music within the broader context of twentieth-century
art music and the problems of form, structure, content and
direction that followed the breakdown of tonality at the beginning
of the twentieth century.
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