WILLIAM ALWYN (1905–1985)Mirages (1970)

This chapter looks at William Alwyn’s cycle Mirages. It argues that Alwyn’s concert music should not be overlooked in light of his prolific career. After all, almost every one of the six settings of this cycle is a tour de force for both singer and pianist. Substantial opening and closing movements frame briefer, contrasting songs. The piece suits a dramatic voice capable of a wide range of timbres, and with fine control of vibrato and dynamics. A compelling stage presence will become vital in the performance of this piece. The chapter shows how this musical style is a modernist ‘take’ on romanticism, with standard notation employed. Furthermore, Alwyn used a personal compositional discipline as an alternative to twelve-tone serialism, and was not averse to dissonance.