Who writes the books we read about music that excites us, and why? Is ‘classical music’ all about class? Related questions underpin this partly polemical study, written by an academic who believes that the Humanities, to be really humane, must confront their methods and aims. Two recent studies of Benjamin Britten have specifically interested the author, who was educated in a world where the composer was a living subject of criticism and praise, his works reflecting values, worries and dramas that were not just about ‘music’. Franklin’s response is to question the recent writers, proposing that, like theirs, his own story conditioned when and how he experienced Britten. This he unfolds autobiographically in and around the discussion of specific works. Recalling his encounters with the composer as a schoolboy, as a student and opera-goer, and then as a teacher, he challenges recent assertions about Britten and modernism in the period.

The Cambridge Companion to Benjamin Britten is a comprehensive guide to the composer's work, aimed both at the non-specialist and music student. It sheds light on both the composer's stylistic and personal development, offering new interpretations of his operatic works and discussing his characteristic working methods. Topics treated here in detail for the first time include Britten's work in the cinema in the 1930s, his lifelong pacifism and his strong interest in the music of the Far East; other chapters include reassessments of his relationship with W. H. Auden and his attitude towards childhood, comprehensive analyses of major works and a concise history of the Aldeburgh Festival. A distinguished team of contributors include some who worked with the composer during his lifetime, as well as leading representatives of the younger generation of Britten scholars on both sides of the Atlantic.

A thematically organised overview of the musical, social and cultural contexts for the multi-faceted career of this pivotal British composer.

Never say die! Can the living communicate with the dead? Many believe that spirits are constantly about us and that it is possible, through a variety of means, to speak to them and to have them speak to us. The Spirit Book: The Encyclopedia of Clairvoyance, Channeling, and Spirit Communication looks at these methods of communication, their history, and the personalities involved throughout the past three hundred years of this eternal quest. The fascinating history of Spiritualism is coaxed into the material realm as the object of this perceptive and sweeping overview by that legendary author of the occult and supernatural, Raymond Buckland. Drawing on decades of research, writing, and transcendence, he describes sundry methods of channeling, events associated with Spiritualism, including séances and exorcism, organizations focused on clairvoyance, and a colorful host of mortals—famous and infamous—who delved into Spiritualism. Nostradamus, Helena Blavatsky, and Edgar Cayce receive their due, as well as Joan of Arc, William Blake, Susan B. Anthony, Winston Churchill, Arthur Conan Doyle, Mahatma Gandhi, Harry Houdini, and Mae West (look up and see her sometime). The Spirit Book explores Qabbalah, Sibyls, Fairies, Poltergeists; phenomena such as intuition and karma; objects useful in the attempt to cross the divide, including tarot cards, flower reading, and runes; and related practices such as Shamanism, transfiguration, meditation, and mesmerism. This comprehensive reference also reports on investigations of contemporary manifestations, including electronic voice phenomena and spirit appearances on TV screens, plus channeling, fraud, psychic research, and possession. Containing more than 500 entries and 100 illustrations, this fun, fact-filled tome is richly illustrated. Its helpful bibliography and extensive index add to its usefulness.

Published to mark the beginning of the Britten centenary year in 2013, Paul Kildea's Benjamin Britten: A Life in the Twentieth Century is the definitive biography of Britain's greatest modern composer. In the eyes of many, Benjamin Britten was our finest composer since Purcell (a figure who often inspired him) three hundred years earlier. He broke decisively with the romantic, nationalist school of figures such as Parry, Elgar and Vaughan Williams and recreated English music in a fresh, modern, European form. With Peter Grimes (1945), Billy Budd (1951) and The Turn of the Screw (1954), he arguably composed the last operas - from any composer in any country - which have entered both the popular consciousness and the musical canon. He did all this while carrying two disadvantages to worldly success - his passionately held pacifism, which made him suspect to the authorities during and immediately after the Second World War - and his homosexuality, specifically his forty-year relationship with Peter Pears, for whom many of his greatest operatic roles and vocal works were created. The atmosphere and personalities of Aldeburgh in his native Suffolk also form another wonderful dimension to the book. Kildea shows clearly how Britten made this creative community, notably with the foundation of the Aldeburgh Festival and the building of Snape Maltings, but also how costly the determination that this required was. Above all, this book helps us understand the relationship of Britten's music to his life, and takes us as far into his creative process as we are ever likely to go. Kildea reads dozens of Britten's works with enormous intelligence and sensitivity, in a way which those without formal musical training can understand. It is one of the most moving and enjoyable biographies of a creative artist of any kind to have appeared for years. Paul Kildea is a writer and conductor who has performed many of the Britten works he writes about, in opera houses and concert halls from Sydney to Hamburg. His previous books include Selling Britten (2002) and (as editor) Britten on Music (2003). He was Head of Music at the Aldeburgh Festival between 1999 and 2002 and subsequently Artistic Director of the Wigmore Hall in London.

Letters by the British composer to his friends, family, and colleagues document his life from school days to the end of World War II.

These lectures were notable for their first-ever access to Britten's private diaries, which he kept on a daily basis in the thirties, and a revealing portrait emerges of the two men's relationship, of their work together in many different fields, and the politics of the day and their appalled response to the rise of Fascism in Europe."--BOOK JACKET.