Yet another great lecture; hugely insightful as ever. Just to note [42:12 onwards] that Britten attended - and disliked - Gresham's School in Holt (Norfolk), which isn't the same as Gresham College (Central London) where the public lectures are given. Both establishments were founded by members of the same family, however. Sir John Gresham founded Gresham's School in 1555, just over 40 years before Gresham College was established by his nephew, Sir Thomas Gresham.
+Kevin Moore The next Inside Chamber Music series will start up in February 2016! In the meantime, check out some of our past lectures here: www.chambermusicsociety.org/watchlisten/lecture_videos. Thanks for watching!
Love these videos! Here I like the discussion of bitonality with the example from "Peter Grimes." I also like very much the opening of "Billy Budd," in which one hears simultaneously Bb major and B minor, two key-mode combinations about as far distant from each other as possible, but sharing the note d as a pivot. Their overlap lends a great poignancy to this prologue, which becomes fully explicit only in the very similar epilogue.
Yet another great lecture; hugely insightful as ever. Just to note [42:12 onwards] that Britten attended - and disliked - Gresham's School in Holt (Norfolk), which isn't the same as Gresham College (Central London) where the public lectures are given. Both establishments were founded by members of the same family, however. Sir John Gresham founded Gresham's School in 1555, just over 40 years before Gresham College was established by his nephew, Sir Thomas Gresham.
The sequence of notes plucked by the 'cello at the start reappears in Britten's Canticle II, "Abraham and Isaac."
These are so great - please don't say we have to wait another year for the next batch!
+Kevin Moore The next Inside Chamber Music series will start up in February 2016! In the meantime, check out some of our past lectures here: www.chambermusicsociety.org/watchlisten/lecture_videos. Thanks for watching!
Love these videos! Here I like the discussion of bitonality with the example from "Peter Grimes." I also like very much the opening of "Billy Budd," in which one hears simultaneously Bb major and B minor, two key-mode combinations about as far distant from each other as possible, but sharing the note d as a pivot. Their overlap lends a great poignancy to this prologue, which becomes fully explicit only in the very similar epilogue.
How glib can you get? “Faure is promiscuous, ergo...”