From Three Concert To Study Britten's Fusion And Innovation In Music Technique Of Tradition And Modern

Britten is the most distinguished century British composers in the 20th century. Based on the tradition, he made a combination of more modern methods. From which he explored both the appreciation of ordinary fans and the praise of peers. The dissertation from his three Concerto in different times to study the characteristics techniques in his compositions, and refining his artistic achievements as well as making reference for the current composers.The Creative characteristics of different era and different subjects were reflected in three of Britten's Concerto. They well dug the technical expertise of soloist and band instruments. "Piano Concerto "dug greatly the performance of the scope of the piano sound, which had prominent language of piano with complex technical and rich sound. "Violin Concerto" highlights the lyric characteristics of violin, and full of charming color in the development of traditional genre and forms. In his "Cello Concerto", it were dug not only the difficult skills of cello performance, but also the Profound philosophical of cello, and showed great sound tension of solo instruments.In structure, three works are excavated the structure of the traditional style of the modern sense in varying degrees. The "piano concerto" prominent displayed the performance point of view of classical Concerto genre in Modern Context, excavated the Concertantes of this genre, in which band and solo instrument reflected and interacted each other, and developed the prominent view of the concerto and the solo in Classical Concerto.On the using of the material of band, the "cello concerto" made a great developing on the tradition, not only played an important role in the development of sound reproducing apparatus, but also made prominent role in the sound figures on development of materials. Three works made varying developments on traditional Sonata structure. In the "piano concerto", the second theme of the sub-theme had been omission, but sub-theme material had been developed in the forth movement. In the "violin concerto", the sub-theme had been omission to make music image more focused, in order to form a varied sonata form. In the "cello concerto", the epilogue of the sonata form had been developed, which made the theme more symphonic. Three concertos also had a prominent that was the use of passacaglia—a dance style in the Baroque. The "piano concerto" highlights the variation of the rhythm of the progressive, developing solo piano texture language as well as more freedom to developing the decorative variation of Passacaglia. The "violin concerto" had more varying creations in the development of Passacaglia. Sometimes it became a character variation, thus changing the structure of the original theme music. The Passacaglia in "cello concerto" used the first theme of the third movement, decorating the theme of a fixed bass by the method of contraposition, thus forming the unique structure of the symphony. On the mode and tonality, that three works all had a clear tonality. However, in combination with traditional treatment it had special point. The main tonality of the sub-theme also had been revealed in the last of termination part, this technique fully developed the tonality principle of sonata. The structure of the tune also used the three times overlapping mode logic. This kind of development of mode was more prominent in passacaglia, it broken the limits to the tonality in traditional passacaglia, adopted a flexible manner of the converter transfer mode.In he manner of orchestration, the characteristics of sound had been exploit in all of the three works. In the "piano concerto", the different assemble of piano and other instruments had been excavation, in order to show the characteristics of the piano better. The sound figure had been excavated prominently in the "violin concerto". In the "cello concerto", the figure of main theme in the recapitulation of first movement had the great color contrast of the orchestration different with which in the exposition. And in the forth movement, unconventional use of the combination of the instrument promoted the flexible use of passacaglia practices, emerging symphonic and dramatic way of thinking.On the imaging and developing of music theme, in three works, the flexible and deformed skill to the shortness motive material had been used, developing the new thinking of the traditional melody music. Te image had been enriched through the fragmentation of the "cutting" to the great singing of melody.From the above, Britten made the great success in traditional succession. He had profound British music and reference of literature, which explored the attractive glamour of British eclogue and folklore. And this made a deep-rooted tradition of support to the success of the composer. Under the influence of new era, he digested and absorbed the modern music, which made his innovation has broad prospects. This exploration will gradually help others in the current thought of gradually return to the atonal music.