By Ann Larkin Hansen

Those pastime Farms cattle care manuals might help either skilled and beginner farmers discover their very own goals of existence at the farm - for excitement and for revenue.

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Benjamin Britten: A Commentary on his Works from a Group of Specialists, 46–47 (London: Rockcliff, 1952). 20 Britten’s Unquiet Pasts closing with a Chacony); The Young Person’s Guide to the Orchestra (1945), on a theme by Purcell; Canticle I (1947) and its successors, which were modeled on Purcell’s sacred songs; as well as an arrangement of Dido and Aeneas in 1951. These were years, in other words, of intense contact with English literary, religious, and musical tradition, including both elements fairly new to the twentieth-century musical scene – especially Purcell – and the traditions of folksong and church music that had fed English music in the interwar years.

S. Eliot, see C. F. Pond, “Benjamin Britten and T. S. Eliot: Entre Deux Guerres and After,” in T. S. Eliot’s Orchestra: Critical Essays on Poetry and Music, ed. John Xiros Cooper (New York: Garland, 2000), 217–221. Britten, “England and the Folk-Art Problem,” 75. ”11 This “art of life” had been destroyed by “the machine,” which brought mass-production, standardization, and “levelling-down” (3). For Leavis and Thompson, the next best thing was a literary education, and more broadly an education in taste and in “critical awareness of the cultural environment,” a prominent part of which, the rest of their book suggests, was precisely an appreciation for what was lost.

The Covent Garden ballet company was simply moved from Sadler’s Wells, but the opera company was newly formed, after plans for the Sadler’s Wells opera company to temporarily move to Covent Garden fell through. See Susie Gilbert, Opera for Everybody: The Story of English National Opera (London: Faber & Faber, 2009), 88–95. While Covent Garden had long been used for opera, it had never had a permanent resident company before, and was simply rented out by visiting companies. Amalgamation of the two companies continued to be under serious consideration until the late 1950s (Gilbert, Opera for Everybody, 139–142).

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