Table of Contents

Preface David Beard, Kenneth Gloag and Nicholas Jones; 1. 'Let it drift': Birtwistle's late-modernist music dramas Arnold Whittall; 2. Mechanical song: Birtwistle's rhythmic imagination Philip Rupprecht; 3. Before the mask: Birtwistle's electronic music collaborations with Peter Zinovieff Tom Hall; 4. Birtwistle's 'eloquently gestural music' Kenneth Gloag; 5. 'The life of my music': what the sketches tell us David Beard; 6. The sound of Raasay: Birtwistle's Hebridean experience Nicholas Jones; 7. Birtwistle and the labyrinthine processional Edward Venn; 8. On taking a walk Aleksandra Vojčić; 9. Gigue machine and other gigs: Birtwistle in Europe and beyond Mark Delaere; 10. Of shadows and mirrors: reflections on Birtwistle in the new millennium Jonathan Cross; Appendix: a selected inventory of Birtwistle manuscripts acquired by the British Library in 2013 David Beard.

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This collection represents current research on Birtwistle's music, reflecting the diversity of his work through a wide range of perspectives.

About the Author

David Beard is Senior Lecturer in Music at Cardiff University. He is the author of Harrison Birtwistle's Operas and Music Theatre (Cambridge, 2012) and he has published on Birtwistle in Music Analysis, Twentieth-Century Music and the Cambridge Opera Journal. He has contributed chapters on Birtwistle, Peter Maxwell Davies and Judith Weir in various books, including Ancient Drama in Music for the Modern Stage (2010), Peter Maxwell Davies Studies (Cambridge, 2009), and Dichotonies: Music and Gender (2009). Kenneth Gloag is Reader in Musicology at Cardiff University. His publications include books on Tippett's A Child of Our Time (Cambridge, 1999) and Nicholas Maw: Odyssey (2008). He is the author of Postmodernism in Music (Cambridge, 2012), and has co-edited and contributed chapters to Peter Maxwell Davies Studies (Cambridge, 2009) and The Cambridge Companion to Michael Tippett (Cambridge, 2013). Nicholas Jones is Senior Lecturer at the Centre for Lifelong Learning, Cardiff University. He has a specialist interest in twentieth-century and contemporary British music and is co-editor of and contributor to Peter Maxwell Davies Studies (Cambridge, 2009) and The Cambridge Companion to Michael Tippett (Cambridge, 2013). He has written a number of articles on Birtwistle's closest contemporary, Peter Maxwell Davies, for Music and Letters, Tempo and The Musical Times.