Modern British Symphonies

Einleitung

Teil I: BEING A MODERN BRITISH SYMPHONIC COMPOSER
1. Being Modern
1.1. British Musical MODERNITY
1.2. British MUSICAL modernity
1.3. BRITISH musical modernity
2. Being British
2.1. British, English, Irish, Scottish & Welsh - Identitätsfragen
2.2. 'Modern British Composers' - Die English Musical Renaissance als historiographisches Phänomen
3. Being a Composer
3.1. Made in England: The Royal Schools of Music
3.2. Professoren als Wissensvermittler
4. Being a Symphonic Composer
4.1. Symphonien im Konzertleben der Jahrhundertwende
4.2. What a Symphony should be like

Teil II: MODERN BRITISH SYMPHONIES
1. National Modernism
1.1. Transnationalism Frederic Cowen: Scandinavian Symphony (1880)
1.2. Folk Songs Charles Villiers Stanford: Symphony in F Minor The Irish (1887)
2. Environmental Modernism
2.1. Landscape Gustav Holst: "The Cotswolds" Symphony in F major (1900)
2.2. The Sea Ralph Vaughan Williams: A Sea Symphony (1909/10) - John Blackwood McEwen: Solway. A Symphony (1911/12) - Arthur Somervell: Symphony in D. Thalassa (1912/13) - Granville Bantock: Hebridean Symphony (1915)
2.3. The Metropolis Ralph Vaughan Williams: A London Symphony (1913)
3. Musical Modernism
3.1. Reflective Conservatism and Diatonicism Charles Villiers Stanford: Symphony No 7 in D minor op. 124 (1912)
3.2. Time, Emotions and Form Hubert Parry: Symphonic Fantasia in B minor. 1912. A Symphony in four linked movements (1912)
3.3. Nobilmente and Modernity Edward Elgar: Symphony No 1 in A flat Major op. 55 (1908)

Fazit: COMPOSING MODERNITY

Literaturverzeichnis
Quellen
Literatur
Musikalien
Abkürzungen
Sigel