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Friday, 30 September 2011
Britten - Beethoven - Stravinsky - Shostakovich Bookmark and Share

by David Wemyss (October 2011)


At a dinner party recently, it was suggested to me that classical music was supposedly elitist but largely populated by composers on the left. The consequent conversation was edifying, and I thought I would share its main themes with readers of the New English Review. For stylistic reasons, I have resisted the temptation to present this article as a semi-fictionalised dialogue and have opted instead for a fairly conventional essay form, concentrating on the four composers named above. They were the ones we kept coming back to as the evening progressed. In vino veritas!  more>>>

Posted on 09/30/2011 2:47 PM by NER
Comments
30 Sep 2011
Send an emailJohn M. J.

Yet one will always wonder, as Harvey Sachs did in his book 'Music in Fascist Italy', just how much the acquiescence of such composers as Respighi and Casella (he of the beautiful Harp Sonata, Opus 68) affected the music they wrote. In the same way Sachs also asked how much the music of the completely apolitical, like the conductor and composer Victor de Sabata, was affected by the very presence of Fascism in their lives.

That music reflects the internal and external worlds of the composer is highly probable. The question is: by how much and in what ways?






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