What was really bad about the "old" school music (and that this was so is evident from the lack of interest in it among the children, especially compared to how vividly they responded to other, more popular forms of musical compositions), was that it made allowances not only for the children's purely technical abilities. in terms of (there is clearly nothing unreasonable about this), but also in terms of emotion. On the one hand, they were offered emotionally complex classical pieces, such as Mozart, Haydn, Beethoven, Schubert, and so on, in arrangements that could technically be mastered by children, on the other, plays written specifically for children, technically uncomplicated but emotionally poor. As for folk songs, through the efforts of an arranger and an accompanying pianist, it was easy to etch out their rough, uncouth beauty.


One of the composers who share this point of view is 34—year-old Harrison Birtwistle, a native of Lancashire. Like many other young English composers, he turned an economic necessity into an advantage, gaining a lot creatively by teaching music in the most ordinary schools, where musical studies are not given much importance. Of his works intended for school, he considers at least two of them to be in line with his main work.


His allegorical cantata "Visions of Francesco Petrarch" (1966) was written for a professional singer (bass), a mimic group, a professional chamber ensemble and a school orchestra. Petrarch sees something beautiful, but struck down by fate: a laurel tree that, along with singing birds, perishes scorched by lightning, a pastoral scene in which the participants are swallowed up by the earth that opens during an earthquake, a phoenix who, seeing death and destruction, commits suicide, a "beautiful lady" who, shrouded in a dark cloud, dies from a bite snakes.


Mimes illustrate and comment on poems at the same time. There is a kind of roll call between two instrumental ensembles on the one hand and ensembles in general and dancers on the other.


In his new opera Punch and Judy, which premiered at the Aldeburgh Festival organized by Britten (where Rostropovich performed more than once), Bertwistle boldly turns to a method that is the opposite of the method of "Visions" and, using the world of children's images, speaks to adults.


It would be an oversimplification to call Bertwistle a "primitivist" composer. But in what he once told me, one can also catch the originality of his character and the acute critical orientation of his music against the academically rigorous approach to music at school: "At the age of eight or nine, I was able to compose music perfectly. Then the education system took over (he graduated from the Royal Manchester College of Music, which is considered one of the best in the country), and only after graduating from college did I regain the ability to compose music." MILFS, Matures, Teens. Best Porn Online https://mat6tube.com/ watch right now! USA, UK, Australia, South Korea, France, Germany, etc.