{"title":"再评本杰明·布里顿与沃尔特·格雷塔雷克斯的关系","authors":"J. Coyle","doi":"10.7916/CM.V0I105.5402","DOIUrl":null,"url":null,"abstract":"Walter Greatorex was Music Master at Gresham’s School from 1911 to 1936. Benjamin Britten was his pupil from 1928-1930 (aged 14-16). The received view is that Britten despised him as incompetent, unimaginative and reactionary. This view is based on Britten’s letters home from Gresham’s and an often repeated passage from Imogen Holst’s 1966 biography of Britten. This paper views these pieces of evidence in their wider context, and draws on new primary sources from Gresham’s School archives to question this opinion. It seeks to demonstrate that Greatorex was a musician and teacher of considerable gifts. Further, his commitment to including all members of the school community in music making might be seen as subliminally influential on Britten’s view of his own place in society and on his poly-technical works such as St Nicolas (1948), The Little Sweep (1949) and Noye’s Fludde (1958).","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"105 1","pages":"42-55"},"PeriodicalIF":0.0000,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"A Reappraisal of the Relationship Between Benjamin Britten and Walter Greatorex\",\"authors\":\"J. Coyle\",\"doi\":\"10.7916/CM.V0I105.5402\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Walter Greatorex was Music Master at Gresham’s School from 1911 to 1936. Benjamin Britten was his pupil from 1928-1930 (aged 14-16). The received view is that Britten despised him as incompetent, unimaginative and reactionary. This view is based on Britten’s letters home from Gresham’s and an often repeated passage from Imogen Holst’s 1966 biography of Britten. This paper views these pieces of evidence in their wider context, and draws on new primary sources from Gresham’s School archives to question this opinion. It seeks to demonstrate that Greatorex was a musician and teacher of considerable gifts. Further, his commitment to including all members of the school community in music making might be seen as subliminally influential on Britten’s view of his own place in society and on his poly-technical works such as St Nicolas (1948), The Little Sweep (1949) and Noye’s Fludde (1958).\",\"PeriodicalId\":34202,\"journal\":{\"name\":\"Current Musicology\",\"volume\":\"105 1\",\"pages\":\"42-55\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2019-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Current Musicology\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.7916/CM.V0I105.5402\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Current Musicology","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.7916/CM.V0I105.5402","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
Walter Greatorex在1911年到1936年间是格雷欣学校的音乐大师。本杰明·布里顿是他1928-1930年的学生(14-16岁)。人们普遍认为布里顿瞧不起他,认为他无能、缺乏想象力、反动。这种观点是基于布里顿从格雷沙姆寄来的家信,以及伊莫金·霍尔斯特1966年为布里顿写的传记中经常重复的一段话。本文在更广泛的背景下看待这些证据,并从格雷沙姆学校档案中提取新的主要来源来质疑这一观点。它试图证明,Greatorex是一个音乐家和教师相当大的天赋。此外,布里顿致力于让学校社区的所有成员都参与音乐创作,这可能被视为对布里顿对自己在社会中的地位的看法以及他的多技术作品(如《圣尼古拉斯》(1948)、《小扫把》(1949)和诺伊的《弗洛德》(1958))的潜意识影响。
A Reappraisal of the Relationship Between Benjamin Britten and Walter Greatorex
Walter Greatorex was Music Master at Gresham’s School from 1911 to 1936. Benjamin Britten was his pupil from 1928-1930 (aged 14-16). The received view is that Britten despised him as incompetent, unimaginative and reactionary. This view is based on Britten’s letters home from Gresham’s and an often repeated passage from Imogen Holst’s 1966 biography of Britten. This paper views these pieces of evidence in their wider context, and draws on new primary sources from Gresham’s School archives to question this opinion. It seeks to demonstrate that Greatorex was a musician and teacher of considerable gifts. Further, his commitment to including all members of the school community in music making might be seen as subliminally influential on Britten’s view of his own place in society and on his poly-technical works such as St Nicolas (1948), The Little Sweep (1949) and Noye’s Fludde (1958).