Chapters in this book

1. Frontmatter i
2. Contents vii
3. Illustrations ix
4. Musical Examples xi
5. Tables xiv
6. Contributors xv
7. Acknowledgements xxi
8. Bibliographic and General Abbreviations xxiii
9. Editors’ Preface xxv
10. Introduction: Writing About Britten 1
11. Part I Identity: Exile and Return
12. 1 The Shock of Exile: Britten and the American Years 18
13. 2 Britten, Paul Bunyan, and “American-ness” 33
14. 3 Collaborating with Corwin, CBS, and the BBC: Britten’s Re-entry into British Radio in 1942 59
15. 4 An Empire Built on Shingle: Britten, the English Opera Group, and the Aldeburgh Festival 89
16. Part II Britten and Intimacy
17. 5 “Save Me From Those Suffering Boys”: Britten, John Ireland, and the Venerable Tradition of Uranian Boy-Worship in England 178
18. 6 Britten’s (and Pears’s) “Beloved”: Sacred Parlor Song, Passion, and Control in Canticle I 192
19. 7 Notes of Unbelonging 214
20. Part III Britten and His Craft
21. 8 “Take These Tokens That You May Feel Us Near”: Remembrance and Renewed Citizenship in Britten’s Gloriana 236
22. 9 Traces of Nō: Modularity and Saturation in The Burning Fiery Furnace and The Prodigal Son 259
23. 10 Britten and the Augmented Sixth 292
24. 11 Quickenings of the Heart: Notes on Rhythm and Tempo in Britten 319
25. Part IV Britten and Matters of Practicality
26. 12 Reviving Paul Bunyan 350
27. 13 Striking a Compromise: Britten, British Publishers, Soviet Theaters, and the Premieres of Peter Grimes and The Prince of the Pagodas 377
28. 14 From Boosey & Hawkes to Faber Music: Britten Seeks a “Composer’s Place” 405
29. Conclusion and Epilogue
30. 15 The Man Himself 430
31. Epilogue: Liminalities and Britten 459
32. Works Cited 465
33. Index 489