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Past Tense
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This essay examines a number of key works by British composer Margaret Lucy Wilkins, whose music regularly engaged with medievalism its inspiration, choice of texts, musical borrowing, and in the composer’s broader evocation of historical practices and architecture. Through analysis of pieces composed across two decades, the discussion confronts several tensions between Wilkins’ reception of the medieval past and her emphatically modern aesthetic. Focusing on four pieces—Witch Music (1971), Ave Maria (1974), Revelations of the Seven Angels (1988), and Musica Angelorum (1991)—this essay shows how Wilkins’s medievalism manifests an ambivalent relationship with central compositional aesthetics of the twentieth century such as serialism and modernism.
Title: Past Tense
Description:
This essay examines a number of key works by British composer Margaret Lucy Wilkins, whose music regularly engaged with medievalism its inspiration, choice of texts, musical borrowing, and in the composer’s broader evocation of historical practices and architecture.
Through analysis of pieces composed across two decades, the discussion confronts several tensions between Wilkins’ reception of the medieval past and her emphatically modern aesthetic.
Focusing on four pieces—Witch Music (1971), Ave Maria (1974), Revelations of the Seven Angels (1988), and Musica Angelorum (1991)—this essay shows how Wilkins’s medievalism manifests an ambivalent relationship with central compositional aesthetics of the twentieth century such as serialism and modernism.
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