Britten, Verdi and the Requiem
Identifieur interne : 000006 ( Main/Corpus ); précédent : 000005; suivant : 000007Britten, Verdi and the Requiem
Auteurs : Malcolm BoydSource :
- Tempo [ 0040-2982 ] ; 1968.
Abstract
Verdi's influence on Britten's music is an important one, though recognizable in certain details of texture, accompanimental figures, and orchestration more than in any distinct similarities of melody and harmony. Not surprisingly it is especially prominent in Britten's full-scale operas, but it is in the likenesses between Verdi's Requiem and Britten's War Requiem that we find perhaps the most striking example of it. Both works were written for great public occasions, and in both a sense of public involvement is reflected in the sheer size of the works as well as in the large number of singers and players needed to perform them.
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DOI: 10.1017/S0040298200027091
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Not surprisingly it is especially prominent in Britten's full-scale operas, but it is in the likenesses between Verdi's Requiem and Britten's War Requiem that we find perhaps the most striking example of it. Both works were written for great public occasions, and in both a sense of public involvement is reflected in the sheer size of the works as well as in the large number of singers and players needed to perform them.</p></abstract></profileDesc><revisionDesc><change when="1968">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/S0040298200027091</article-id><article-id pub-id-type="pii">S0040298200027091</article-id><article-id pub-id-type="publisher-id">02709</article-id><title-group><article-title>Britten, Verdi and the Requiem</article-title><alt-title alt-title-type="left-running">TEMPO</alt-title><alt-title alt-title-type="right-running">BRITTEN, VERDI AND THE REQUIEM</alt-title></title-group><contrib-group><contrib><name name-style="western"><surname>Boyd</surname><given-names>Malcolm</given-names></name></contrib></contrib-group><pub-date pub-type="ppub"><season>Autumn</season><year>1968</year></pub-date><issue>86</issue><fpage seq="4">2</fpage><lpage>6</lpage><permissions><copyright-statement>Copyright © Cambridge University Press 1968</copyright-statement><copyright-year>1968</copyright-year><copyright-holder>Cambridge University Press</copyright-holder></permissions><abstract abstract-type="text-abstract"><p>Verdi's influence on Britten's music is an important one, though recognizable in certain details of texture, accompanimental figures, and orchestration more than in any distinct similarities of melody and harmony. Not surprisingly it is especially prominent in Britten's full-scale operas, but it is in the likenesses between Verdi's Requiem and Britten's War Requiem that we find perhaps the most striking example of it. Both works were written for great public occasions, and in both a sense of public involvement is reflected in the sheer size of the works as well as in the large number of singers and players needed to perform them.</p></abstract><counts><page-count count="5"></page-count></counts><custom-meta-wrap><custom-meta><meta-name>pdf</meta-name><meta-value>S0040298200027091a.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>Britten, Verdi and the Requiem</title></titleInfo><titleInfo type="alternative"><title>TEMPO</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Britten, Verdi and the Requiem</title></titleInfo><name type="personal"><namePart type="given">Malcolm</namePart><namePart type="family">Boyd</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">1968</dateIssued><copyrightDate encoding="w3cdtf">1968</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">Verdi's influence on Britten's music is an important one, though recognizable in certain details of texture, accompanimental figures, and orchestration more than in any distinct similarities of melody and harmony. 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