000			02002nam a22002897a 4500
001			sulb-eb0015542
003			BD-SySUS
005			20160405134437.0
008			110307s2013||||enk o ||1 0|eng|d
020			_a9781139051804 (ebook)
020			_z9781107008717 (hardback)
040			_aUkCbUP _beng _erda _cUkCbUP
050	0	0	_aML197 _b.D68 2013
082	0	0	_a780.9/04 _223
100	1		_aDownes, Stephen, _eauthor.
245	1	0	_aAfter Mahler : _bBritten, Weill, Henze and Romantic Redemption / _cStephen Downes.
264		1	_aCambridge : _bCambridge University Press, _c2013.
300			_a1 online resource (287 pages) : _bdigital, PDF file(s).
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
500			_aTitle from publisher's bibliographic system (viewed on 04 Apr 2016).
520			_aThe music of Gustav Mahler repeatedly engages with Romantic notions of redemption. This is expressed in a range of gestures and procedures, shifting between affirmative fulfilment and pessimistic negation. In this groundbreaking study, Stephen Downes explores the relationship of this aspect of Mahler's music to the output of Benjamin Britten, Kurt Weill and Hans Werner Henze. Their initial admiration was notably dissonant with the prevailing Zeitgeist – Britten in 1930s England, Weill in 1920s Germany and Henze in 1950s Germany and Italy. Downes argues that Mahler's music struck a profound chord with them because of the powerful manner in which it raises and intensifies dystopian and utopian complexes and probes the question of fulfilment or redemption, an ambition manifest in ambiguous tonal, temporal and formal processes. Comparisons of the ways in which this topic is evoked facilitate new interpretative insights into the music of these four major composers.
776	0	8	_iPrint version: _z9781107008717
856	4	0	_uhttp://dx.doi.org/10.1017/CBO9781139051804
942			_2Dewey Decimal Classification _ceBooks
999			_c37386 _d37386