The Britten and Imogen Holst performing edition of Purcell's Dido and Aeneas, five songs from Orpheus Britannicus, and a realization of The Blessed Virgin's Expostulation show Britten's eclectic disposition as a composer. Britten's arrangements an improvement of those of Edward J. Dent (1925) and Cummings (1887), due to Britten's attention to more modern treatments of dissonance and less willingness to hold himself to "textbook" voice-leading principles. Britten felt that Purcell had given a framework that could incorporate almost any realization, but holds himself to "the rules of the game." Britten's ten Irish folksongs settings show the composer's similar pull to use more modern harmonic ideas in older music. The accompaniments often avoid cadences, and are "harmonically elusive."

Works: Britten/Purcell: Dido and Aeneas, (8, 13-24) Orpheus Britannicus, (8-10), The Blessed Virgin's Expostulation (10-13), Ten Irish Folksongs (24-28).

Sources: Purcell: Dido and Aeneas, (8, 13-24); Thomas Moore: Irish Melodies (24-28).

Index Classifications: 1900s

Contributed by: Marc Geelhoed