Delius's Stylistic Development
Identifieur interne : 000552 ( Istex/Corpus ); précédent : 000551; suivant : 000553Delius's Stylistic Development
Auteurs : Anthony PayneSource :
- Tempo [ 0040-2982 ] ; 1962.
Abstract
Looking at Delius's music in chronological order, we discover a pattern of development more continuous than an almost life-long reliance on the same technique might suggest. An increasing richness of chord structure, bearing with it its own subtle means of contrast and development, slowly but surely ousted more conventional methods; slowly, that is, apart from the startling jump with which his music suddenly acquired full stature, only to resume its steady progress. As a young man he was far from being the dreamer we might think; in fact, he was very much an adventurer, always on the move, and thoroughly cosmopolitan. We can well imagine that he had little time for contemplation, so that his attitude to beauty would be, at first, conventionally picturesque, and devoid of personal involvement. Bearing in mind that his avowed intention as a composer was to express his emotions, we need not be surprised that with as yet little opportunity for the tranquil recollection needed to crystallize personal emotion, his early music is content to lean on Grieg and early Wagner. As time passed, and his poetic vision deepened, his models served him less satisfactorily until he finally dropped them. This process, probably unconscious, might well have been speeded up if he had been less absorbed in self-expression, and more interested in abstract formal problems. It could possibly be argued, in comparing the early Florida Suite (1888–1890) with Appalachia (1902)—both seemingly inspired by the same events—that the later work is superior because Delius had found the right means of expression; I think not. The emphasis lies the other way in that he had at last realized to the full the awful transience of love and nature, and there are few composers in whom we feel less inclined to divorce matter from style.
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DOI: 10.1017/S0040298200055662
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An increasing richness of chord structure, bearing with it its own subtle means of contrast and development, slowly but surely ousted more conventional methods; slowly, that is, apart from the startling jump with which his music suddenly acquired full stature, only to resume its steady progress. As a young man he was far from being the dreamer we might think; in fact, he was very much an adventurer, always on the move, and thoroughly cosmopolitan. We can well imagine that he had little time for contemplation, so that his attitude to beauty would be, at first, conventionally picturesque, and devoid of personal involvement. Bearing in mind that his avowed intention as a composer was to express his emotions, we need not be surprised that with as yet little opportunity for the tranquil recollection needed to crystallize personal emotion, his early music is content to lean on Grieg and early Wagner. As time passed, and his poetic vision deepened, his models served him less satisfactorily until he finally dropped them. This process, probably unconscious, might well have been speeded up if he had been less absorbed in self-expression, and more interested in abstract formal problems. It could possibly be argued, in comparing the early Florida Suite (1888–1890) with Appalachia (1902)—both seemingly inspired by the same events—that the later work is superior because Delius had found the right means of expression; I think not. The emphasis lies the other way in that he had at last realized to the full the awful transience of love and nature, and there are few composers in whom we feel less inclined to divorce matter from style.</div></front></TEI><istex><corpusName>cambridge</corpusName><author><json:item><name>Anthony Payne</name></json:item></author><articleId><json:string>05566</json:string></articleId><arkIstex>ark:/67375/6GQ-NTPMT6WC-P</arkIstex><language><json:string>eng</json:string></language><originalGenre><json:string>research-article</json:string></originalGenre><abstract>Looking at Delius's music in chronological order, we discover a pattern of development more continuous than an almost life-long reliance on the same technique might suggest. An increasing richness of chord structure, bearing with it its own subtle means of contrast and development, slowly but surely ousted more conventional methods; slowly, that is, apart from the startling jump with which his music suddenly acquired full stature, only to resume its steady progress. As a young man he was far from being the dreamer we might think; in fact, he was very much an adventurer, always on the move, and thoroughly cosmopolitan. We can well imagine that he had little time for contemplation, so that his attitude to beauty would be, at first, conventionally picturesque, and devoid of personal involvement. Bearing in mind that his avowed intention as a composer was to express his emotions, we need not be surprised that with as yet little opportunity for the tranquil recollection needed to crystallize personal emotion, his early music is content to lean on Grieg and early Wagner. As time passed, and his poetic vision deepened, his models served him less satisfactorily until he finally dropped them. This process, probably unconscious, might well have been speeded up if he had been less absorbed in self-expression, and more interested in abstract formal problems. It could possibly be argued, in comparing the early Florida Suite (1888–1890) with Appalachia (1902)—both seemingly inspired by the same events—that the later work is superior because Delius had found the right means of expression; I think not. The emphasis lies the other way in that he had at last realized to the full the awful transience of love and nature, and there are few composers in whom we feel less inclined to divorce matter from style.</abstract><qualityIndicators><score>9.289</score><pdfWordCount>4289</pdfWordCount><pdfCharCount>23465</pdfCharCount><pdfVersion>1.4</pdfVersion><pdfPageCount>11</pdfPageCount><pdfPageSize>488.88 x 722.88 pts</pdfPageSize><refBibsNative>false</refBibsNative><abstractWordCount>297</abstractWordCount><abstractCharCount>1818</abstractCharCount><keywordCount>0</keywordCount></qualityIndicators><title>Delius's Stylistic Development</title><pii><json:string>S0040298200055662</json:string></pii><genre><json:string>research-article</json:string></genre><host><title>Tempo</title><language><json:string>unknown</json:string></language><issn><json:string>0040-2982</json:string></issn><eissn><json:string>1478-2286</json:string></eissn><publisherId><json:string>TEM</json:string></publisherId><issue>60</issue><pages><first>6</first><last>16</last><total>11</total></pages><genre><json:string>journal</json:string></genre></host><ark><json:string>ark:/67375/6GQ-NTPMT6WC-P</json:string></ark><categories><inist><json:string>1 - sciences humaines et sociales</json:string></inist></categories><publicationDate>1962</publicationDate><copyrightDate>1962</copyrightDate><doi><json:string>10.1017/S0040298200055662</json:string></doi><id>661F4CAAE883516A4DE12C818750E48BB710E5BF</id><score>1</score><fulltext><json:item><extension>pdf</extension><original>true</original><mimetype>application/pdf</mimetype><uri>https://api.istex.fr/document/661F4CAAE883516A4DE12C818750E48BB710E5BF/fulltext/pdf</uri></json:item><json:item><extension>zip</extension><original>false</original><mimetype>application/zip</mimetype><uri>https://api.istex.fr/document/661F4CAAE883516A4DE12C818750E48BB710E5BF/fulltext/zip</uri></json:item><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/document/661F4CAAE883516A4DE12C818750E48BB710E5BF/fulltext/txt</uri></json:item><istex:fulltextTEI uri="https://api.istex.fr/document/661F4CAAE883516A4DE12C818750E48BB710E5BF/fulltext/tei"><teiHeader><fileDesc><titleStmt><title level="a" type="main" xml:lang="en">Delius's Stylistic Development</title><respStmt><resp>Références bibliographiques récupérées via GROBID</resp><name resp="ISTEX-API">ISTEX-API (INIST-CNRS)</name></respStmt></titleStmt><publicationStmt><authority>ISTEX</authority><publisher scheme="https://publisher-list.data.istex.fr">Cambridge University Press</publisher><pubPlace>Cambridge, UK</pubPlace><availability><licence><p>Copyright © Cambridge University Press 1962</p></licence><p scheme="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-G3RCRD03-V">cambridge</p></availability><date>1962</date></publicationStmt><notesStmt><note type="research-article" scheme="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</note><note type="journal" scheme="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</note></notesStmt><sourceDesc><biblStruct type="inbook"><analytic><title level="a" type="main" xml:lang="en">Delius's Stylistic Development</title><author xml:id="author-0000"><persName><forename type="first">Anthony</forename><surname>Payne</surname></persName></author><idno type="istex">661F4CAAE883516A4DE12C818750E48BB710E5BF</idno><idno type="ark">ark:/67375/6GQ-NTPMT6WC-P</idno><idno type="DOI">10.1017/S0040298200055662</idno><idno type="PII">S0040298200055662</idno><idno type="article-id">05566</idno></analytic><monogr><title level="j">Tempo</title><title level="j" type="abbrev">Tempo</title><idno type="pISSN">0040-2982</idno><idno type="eISSN">1478-2286</idno><idno type="publisher-id">TEM</idno><imprint><publisher>Cambridge University Press</publisher><pubPlace>Cambridge, UK</pubPlace><date type="published" when="1962"></date><biblScope unit="issue">60</biblScope><biblScope unit="page" from="6">6</biblScope><biblScope unit="page" to="16">16</biblScope></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>1962</date></creation><langUsage><language ident="en">en</language></langUsage><abstract xml:lang="en" style="text-abstract"><p>Looking at Delius's music in chronological order, we discover a pattern of development more continuous than an almost life-long reliance on the same technique might suggest. An increasing richness of chord structure, bearing with it its own subtle means of contrast and development, slowly but surely ousted more conventional methods; slowly, that is, apart from the startling jump with which his music suddenly acquired full stature, only to resume its steady progress. As a young man he was far from being the dreamer we might think; in fact, he was very much an adventurer, always on the move, and thoroughly cosmopolitan. We can well imagine that he had little time for contemplation, so that his attitude to beauty would be, at first, conventionally picturesque, and devoid of personal involvement. Bearing in mind that his avowed intention as a composer was to express his emotions, we need not be surprised that with as yet little opportunity for the tranquil recollection needed to crystallize personal emotion, his early music is content to lean on Grieg and early Wagner. As time passed, and his poetic vision deepened, his models served him less satisfactorily until he finally dropped them. This process, probably unconscious, might well have been speeded up if he had been less absorbed in self-expression, and more interested in abstract formal problems. It could possibly be argued, in comparing the early Florida Suite (1888–1890) with Appalachia (1902)—both seemingly inspired by the same events—that the later work is superior because Delius had found the right means of expression; I think not. The emphasis lies the other way in that he had at last realized to the full the awful transience of love and nature, and there are few composers in whom we feel less inclined to divorce matter from style.</p></abstract></profileDesc><revisionDesc><change when="1962">Published</change><change xml:id="refBibs-istex" who="#ISTEX-API" when="2017-09-5">References added</change></revisionDesc></teiHeader></istex:fulltextTEI></fulltext><metadata><istex:metadataXml wicri:clean="corpus cambridge not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="US-ASCII"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.2 20060430//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article article-type="research-article" dtd-version="2.2" xml:lang="en"><front><journal-meta><journal-id journal-id-type="publisher-id">TEM</journal-id><journal-title>Tempo</journal-title><abbrev-journal-title>Tempo</abbrev-journal-title><issn pub-type="ppub">0040-2982</issn><issn pub-type="epub">1478-2286</issn><publisher><publisher-name>Cambridge University Press</publisher-name><publisher-loc>Cambridge, UK</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.1017/S0040298200055662</article-id><article-id pub-id-type="pii">S0040298200055662</article-id><article-id pub-id-type="publisher-id">05566</article-id><title-group><article-title>Delius's Stylistic Development</article-title><alt-title alt-title-type="left-running">TEMPO</alt-title><alt-title alt-title-type="right-running">DELIUS'S STYLISTIC DEVELOPMENT</alt-title></title-group><contrib-group><contrib><name name-style="western"><surname>Payne</surname><given-names>Anthony</given-names></name></contrib></contrib-group><pub-date pub-type="ppub"><season>Winter</season><year>1962</year></pub-date><issue>60</issue><fpage seq="5">6</fpage><lpage>16</lpage><permissions><copyright-statement>Copyright © Cambridge University Press 1962</copyright-statement><copyright-year>1962</copyright-year><copyright-holder>Cambridge University Press</copyright-holder></permissions><abstract abstract-type="text-abstract"><p>Looking at Delius's music in chronological order, we discover a pattern of development more continuous than an almost life-long reliance on the same technique might suggest. An increasing richness of chord structure, bearing with it its own subtle means of contrast and development, slowly but surely ousted more conventional methods; slowly, that is, apart from the startling jump with which his music suddenly acquired full stature, only to resume its steady progress. As a young man he was far from being the dreamer we might think; in fact, he was very much an adventurer, always on the move, and thoroughly cosmopolitan. We can well imagine that he had little time for contemplation, so that his attitude to beauty would be, at first, conventionally picturesque, and devoid of personal involvement. Bearing in mind that his avowed intention as a composer was to express his emotions, we need not be surprised that with as yet little opportunity for the tranquil recollection needed to crystallize personal emotion, his early music is content to lean on Grieg and early Wagner. As time passed, and his poetic vision deepened, his models served him less satisfactorily until he finally dropped them. This process, probably unconscious, might well have been speeded up if he had been less absorbed in self-expression, and more interested in abstract formal problems. It could possibly be argued, in comparing the early <italic>Florida Suite</italic> (1888–1890) with <italic>Appalachia</italic> (1902)—both seemingly inspired by the same events—that the later work is superior because Delius had found the right means of expression; I think not. The emphasis lies the other way in that he had at last realized to the full the awful transience of love and nature, and there are few composers in whom we feel less inclined to divorce matter from style.</p></abstract><counts><page-count count="11"></page-count></counts><custom-meta-wrap><custom-meta><meta-name>pdf</meta-name><meta-value>S0040298200055662a.pdf</meta-value></custom-meta><custom-meta><meta-name>series</meta-name><meta-value>1</meta-value></custom-meta><custom-meta><meta-name>seriesText</meta-name><meta-value>New Series</meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Delius's Stylistic Development</title></titleInfo><titleInfo type="alternative"><title>TEMPO</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Delius's Stylistic Development</title></titleInfo><name type="personal"><namePart type="given">Anthony</namePart><namePart type="family">Payne</namePart><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>Cambridge University Press</publisher><place><placeTerm type="text">Cambridge, UK</placeTerm></place><dateIssued encoding="w3cdtf">1962</dateIssued><copyrightDate encoding="w3cdtf">1962</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract type="text-abstract" lang="en">Looking at Delius's music in chronological order, we discover a pattern of development more continuous than an almost life-long reliance on the same technique might suggest. An increasing richness of chord structure, bearing with it its own subtle means of contrast and development, slowly but surely ousted more conventional methods; slowly, that is, apart from the startling jump with which his music suddenly acquired full stature, only to resume its steady progress. As a young man he was far from being the dreamer we might think; in fact, he was very much an adventurer, always on the move, and thoroughly cosmopolitan. We can well imagine that he had little time for contemplation, so that his attitude to beauty would be, at first, conventionally picturesque, and devoid of personal involvement. Bearing in mind that his avowed intention as a composer was to express his emotions, we need not be surprised that with as yet little opportunity for the tranquil recollection needed to crystallize personal emotion, his early music is content to lean on Grieg and early Wagner. As time passed, and his poetic vision deepened, his models served him less satisfactorily until he finally dropped them. This process, probably unconscious, might well have been speeded up if he had been less absorbed in self-expression, and more interested in abstract formal problems. It could possibly be argued, in comparing the early Florida Suite (1888–1890) with Appalachia (1902)—both seemingly inspired by the same events—that the later work is superior because Delius had found the right means of expression; I think not. The emphasis lies the other way in that he had at last realized to the full the awful transience of love and nature, and there are few composers in whom we feel less inclined to divorce matter from style.</abstract><relatedItem type="host"><titleInfo><title>Tempo</title></titleInfo><titleInfo type="abbreviated"><title>Tempo</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0040-2982</identifier><identifier type="eISSN">1478-2286</identifier><identifier type="PublisherID">TEM</identifier><part><date>1962</date><detail type="issue"><caption>no.</caption><number>60</number></detail><extent unit="pages"><start>6</start><end>16</end><total>11</total></extent></part></relatedItem><identifier type="istex">661F4CAAE883516A4DE12C818750E48BB710E5BF</identifier><identifier type="ark">ark:/67375/6GQ-NTPMT6WC-P</identifier><identifier type="DOI">10.1017/S0040298200055662</identifier><identifier type="PII">S0040298200055662</identifier><identifier type="ArticleID">05566</identifier><accessCondition type="use and reproduction" contentType="copyright">Copyright © Cambridge University Press 1962</accessCondition><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-G3RCRD03-V">cambridge</recordContentSource><recordOrigin>Copyright © Cambridge University Press 1962</recordOrigin></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/661F4CAAE883516A4DE12C818750E48BB710E5BF/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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