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ucp-61-m-15-978-0-520-97070-0030115978-0-520-97070-00610.1525/luminos.5701internal-reference6100EBE10110Creative Commons Attribution (CC-BY)02http://creativecommons.org/licenses/by/4.0/0101Middlebrow ModernismBritten’s Operas and the Great Divide1A01Christopher ChowrimootooChristopherChowrimootooMusic University of Notre DameCHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.01eng002440323User DefinedMusic12Mass culture12Historiography12Aesthetics12middlebrow12modernism12Benjamin Britten12criticism12opera12ambivalence12duplicity01010300Situated at the intersections of twentieth-century music history, historiography, and aesthetics, Middlebrow Modernism uses Benjamin Britten’s operas to illustrate the ways in which composers, critics, and audiences mediated the “great divide” between modernism and mass culture. Reviving mid-century discussions of the middlebrow, Christopher Chowrimootoo demonstrates how Britten’s works allowed audiences to have their modernist cake and eat it: to revel in the pleasures of consonance, lyricism, and theatrical spectacle even while enjoying the prestige that came from rejecting them. By focusing on moments when reigning aesthetic oppositions and hierarchies threatened to collapse, this study offers a powerful model for recovering shades of grey in the traditionally black-and-white historiographies of twentieth-century music. “Christopher Chowrimootoo’s exhaustively researched and elegantly written study deftly charts a course to the ambivalent heart of postwar modernism. He invites us to listen anew, offering provocative reinterpretations not just of Britten’s operas, but of a range of figures from Sibelius to Boulez.” ARMAN SCHWARTZ, author of Puccini’s Soundscapes “Ranging widely across literary, theatrical, musical, and religious debates, Christopher Chowrimootoo traces how modernist values were negotiated in everyday critical practice. In the process, he offers sophisticated and compelling new readings of Britten’s operas, showing us how they register twentieth-century art’s paradoxical position in a market-driven society.” HEATHER WIEBE, author of Britten’s Unquiet Pasts “In a virtuoso deconstruction, Chowrimootoo shows that middlebrow modernism is anything but peripheral. At the same time, this middlebrow center gets teased apart, becoming anything but middle. All the while, the swift prose is a pleasure, the intelligence crackling, the capacious readings of Britten’s operas indispensable.” SETH BRODSKY, author of From 1989, or European Music and the Modernist Unconscious CHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.0200Situated at the intersections of twentieth-century music history, historiography, and aesthetics, Middlebrow Modernism uses Benjamin Britten’s operas to illustrate the ways in which composers, critics, and audiences mediated the “great divide” between modernism and mass culture. Reviving mid-century discussions of the middlebrow, Christopher Chowrimootoo demonstrates how Britten’s works allowed audiences to have their modernist cake and eat it: to revel in the pleasures of consonance, lyricism, and theatrical spectacle even while enjoying the prestige that came from rejecting them. By focusing on moments when reigning aesthetic oppositions and hierarchies threatened to collapse, this study offers a powerful model for recovering shades of grey in the traditionally black-and-white historiographies of twentieth-century music. “Christopher Chowrimootoo’s exhaustively researched and elegantly written study deftly charts a course to the ambivalent heart of postwar modernism. He invites us to listen anew, offering provocative reinterpretations not just of Britten’s operas, but of a range of figures from Sibelius to Boulez.” ARMAN SCHWARTZ, author of Puccini’s Soundscapes “Ranging widely across literary, theatrical, musical, and religious debates, Christopher Chowrimootoo traces how modernist values were negotiated in everyday critical practice. In the process, he offers sophisticated and compelling new readings of Britten’s operas, showing us how they register twentieth-century art’s paradoxical position in a market-driven society.” HEATHER WIEBE, author of Britten’s Unquiet Pasts “In a virtuoso deconstruction, Chowrimootoo shows that middlebrow modernism is anything but peripheral. At the same time, this middlebrow center gets teased apart, becoming anything but middle. All the while, the swift prose is a pleasure, the intelligence crackling, the capacious readings of Britten’s operas indispensable.” SETH BRODSKY, author of From 1989, or European Music and the Modernist Unconscious CHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.0400Middlebrow Modernism Sentimentality under Erasure in Peter Grimes The Timely Traditions of Albert Herring The Turn of the Screw, or The Gothic Melodrama of Modernism The Burning Fiery Furnace and the Redemption of Religious Kitsch Death in Venice and the Aesthetics of Sublimation3000Situated at the intersections of twentieth-century music history, historiography, and aesthetics, Middlebrow Modernism uses Benjamin Britten’s operas to illustrate the ways in which composers, critics, and audiences mediated the “great divide” between modernism and mass culture. Reviving mid-century discussions of the middlebrow, Christopher Chowrimootoo demonstrates how Britten’s works allowed audiences to have their modernist cake and eat it: to revel in the pleasures of consonance, lyricism, and theatrical spectacle even while enjoying the prestige that came from rejecting them. By focusing on moments when reigning aesthetic oppositions and hierarchies threatened to collapse, this study offers a powerful model for recovering shades of grey in the traditionally black-and-white historiographies of twentieth-century music. “Christopher Chowrimootoo’s exhaustively researched and elegantly written study deftly charts a course to the ambivalent heart of postwar modernism. He invites us to listen anew, offering provocative reinterpretations not just of Britten’s operas, but of a range of figures from Sibelius to Boulez.” ARMAN SCHWARTZ, author of Puccini’s Soundscapes “Ranging widely across literary, theatrical, musical, and religious debates, Christopher Chowrimootoo traces how modernist values were negotiated in everyday critical practice. In the process, he offers sophisticated and compelling new readings of Britten’s operas, showing us how they register twentieth-century art’s paradoxical position in a market-driven society.” HEATHER WIEBE, author of Britten’s Unquiet Pasts “In a virtuoso deconstruction, Chowrimootoo shows that middlebrow modernism is anything but peripheral. At the same time, this middlebrow center gets teased apart, becoming anything but middle. All the while, the swift prose is a pleasure, the intelligence crackling, the capacious readings of Britten’s operas indispensable.” SETH BRODSKY, author of From 1989, or European Music and the Modernist Unconscious CHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.2000Open Access01000302https://storage.googleapis.com/rua-ucp/files/media/cover_images/1d4f73b2-fe15-4623-96ca-37d6fb969e2c.jpg1030610.1525/luminos.57.aChapter0101Middlebrow Modernism1A01Christopher ChowrimootooChristopherChowrimootooMusic University of Notre DameCHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.01eng12Mass culture12Aesthetics12middlebrow12modernism12Benjamin Britten12criticism12opera12ambivalence12duplicity12great divide2000Open Access2030610.1525/luminos.57.bChapter0101Sentimentality under Erasure in Peter Grimes1A01Christopher ChowrimootooChristopherChowrimootooMusic University of Notre DameCHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.01eng12modernism12Peter Grimes12sentimentality12difficulty12realism12romantic12lyricism12melodrama12sympathy2000Open Access3030610.1525/luminos.57.cChapter0101The Timely Traditions of Albert Herring1A01Christopher ChowrimootooChristopherChowrimootooMusic University of Notre DameCHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.01eng12Comedy12modernism12Albert Herring12 tradition12tradition12innovation12timeliness12irony12dialectic12satire2000Open Access4030610.1525/luminos.57.dChapter0101The Turn of the Screw, or The Gothic Melodrama of Modernism1A01Christopher ChowrimootooChristopherChowrimootooMusic University of Notre DameCHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.01eng12horror12modernism12melodrama12The Turn of the Screw12gothic12ghosts12Henry James12psychodrama2000Open Access5030610.1525/luminos.57.eChapter0101The Burning Fiery Furnace and the Redemption of Religious Kitsch1A01Christopher ChowrimootooChristopherChowrimootooMusic University of Notre DameCHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.01eng12religion12asceticism12aestheticism12kitsch12spirituality12monumentality12authoritarian12hierarchy12pluralism12exoticism2000Open Access6030610.1525/luminos.57.fChapter0101Death in Venice and the Aesthetics of Sublimation1A01Christopher ChowrimootooChristopherChowrimootooMusic University of Notre DameCHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.01eng12Spectacle12Death in Venice12sublimation12bourgeois opera12immediacy12body12dance2000Open Access01URLhttps://www.luminosoa.orgUniversity of California Press01University of California Press01Publisher’s corporate websitehttps://www.luminosoa.org02Publisher’s website for a specified workhttps://www.luminosoa.org/books/m/10.1525/luminos.57California040120181008The Author(s)02WORLD0615978-0-520-29865-1WORLD11Unknown36Supplier’s website for a specified workhttps://www.luminosoa.org29Supplier’s website: download the titlehttps://www.luminosoa.org/books/61/files/01180986-9102-4352-b44c-1952996c2831.epub20082018100801ucp-61-m-15-978-0-520-97070-0030115978-0-520-97070-00610.1525/luminos.5701internal-reference6100EDE12110Creative Commons Attribution (CC-BY)02http://creativecommons.org/licenses/by/4.0/0101Middlebrow ModernismBritten’s Operas and the Great Divide1A01Christopher ChowrimootooChristopherChowrimootooMusic University of Notre DameCHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.01eng002440323User DefinedMusic12Mass culture12Historiography12Aesthetics12middlebrow12modernism12Benjamin Britten12criticism12opera12ambivalence12duplicity01010300Situated at the intersections of twentieth-century music history, historiography, and aesthetics, Middlebrow Modernism uses Benjamin Britten’s operas to illustrate the ways in which composers, critics, and audiences mediated the “great divide” between modernism and mass culture. Reviving mid-century discussions of the middlebrow, Christopher Chowrimootoo demonstrates how Britten’s works allowed audiences to have their modernist cake and eat it: to revel in the pleasures of consonance, lyricism, and theatrical spectacle even while enjoying the prestige that came from rejecting them. By focusing on moments when reigning aesthetic oppositions and hierarchies threatened to collapse, this study offers a powerful model for recovering shades of grey in the traditionally black-and-white historiographies of twentieth-century music. “Christopher Chowrimootoo’s exhaustively researched and elegantly written study deftly charts a course to the ambivalent heart of postwar modernism. He invites us to listen anew, offering provocative reinterpretations not just of Britten’s operas, but of a range of figures from Sibelius to Boulez.” ARMAN SCHWARTZ, author of Puccini’s Soundscapes “Ranging widely across literary, theatrical, musical, and religious debates, Christopher Chowrimootoo traces how modernist values were negotiated in everyday critical practice. In the process, he offers sophisticated and compelling new readings of Britten’s operas, showing us how they register twentieth-century art’s paradoxical position in a market-driven society.” HEATHER WIEBE, author of Britten’s Unquiet Pasts “In a virtuoso deconstruction, Chowrimootoo shows that middlebrow modernism is anything but peripheral. At the same time, this middlebrow center gets teased apart, becoming anything but middle. All the while, the swift prose is a pleasure, the intelligence crackling, the capacious readings of Britten’s operas indispensable.” SETH BRODSKY, author of From 1989, or European Music and the Modernist Unconscious CHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.0200Situated at the intersections of twentieth-century music history, historiography, and aesthetics, Middlebrow Modernism uses Benjamin Britten’s operas to illustrate the ways in which composers, critics, and audiences mediated the “great divide” between modernism and mass culture. Reviving mid-century discussions of the middlebrow, Christopher Chowrimootoo demonstrates how Britten’s works allowed audiences to have their modernist cake and eat it: to revel in the pleasures of consonance, lyricism, and theatrical spectacle even while enjoying the prestige that came from rejecting them. By focusing on moments when reigning aesthetic oppositions and hierarchies threatened to collapse, this study offers a powerful model for recovering shades of grey in the traditionally black-and-white historiographies of twentieth-century music. “Christopher Chowrimootoo’s exhaustively researched and elegantly written study deftly charts a course to the ambivalent heart of postwar modernism. He invites us to listen anew, offering provocative reinterpretations not just of Britten’s operas, but of a range of figures from Sibelius to Boulez.” ARMAN SCHWARTZ, author of Puccini’s Soundscapes “Ranging widely across literary, theatrical, musical, and religious debates, Christopher Chowrimootoo traces how modernist values were negotiated in everyday critical practice. In the process, he offers sophisticated and compelling new readings of Britten’s operas, showing us how they register twentieth-century art’s paradoxical position in a market-driven society.” HEATHER WIEBE, author of Britten’s Unquiet Pasts “In a virtuoso deconstruction, Chowrimootoo shows that middlebrow modernism is anything but peripheral. At the same time, this middlebrow center gets teased apart, becoming anything but middle. All the while, the swift prose is a pleasure, the intelligence crackling, the capacious readings of Britten’s operas indispensable.” SETH BRODSKY, author of From 1989, or European Music and the Modernist Unconscious CHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.0400Middlebrow Modernism Sentimentality under Erasure in Peter Grimes The Timely Traditions of Albert Herring The Turn of the Screw, or The Gothic Melodrama of Modernism The Burning Fiery Furnace and the Redemption of Religious Kitsch Death in Venice and the Aesthetics of Sublimation3000Situated at the intersections of twentieth-century music history, historiography, and aesthetics, Middlebrow Modernism uses Benjamin Britten’s operas to illustrate the ways in which composers, critics, and audiences mediated the “great divide” between modernism and mass culture. Reviving mid-century discussions of the middlebrow, Christopher Chowrimootoo demonstrates how Britten’s works allowed audiences to have their modernist cake and eat it: to revel in the pleasures of consonance, lyricism, and theatrical spectacle even while enjoying the prestige that came from rejecting them. By focusing on moments when reigning aesthetic oppositions and hierarchies threatened to collapse, this study offers a powerful model for recovering shades of grey in the traditionally black-and-white historiographies of twentieth-century music. “Christopher Chowrimootoo’s exhaustively researched and elegantly written study deftly charts a course to the ambivalent heart of postwar modernism. He invites us to listen anew, offering provocative reinterpretations not just of Britten’s operas, but of a range of figures from Sibelius to Boulez.” ARMAN SCHWARTZ, author of Puccini’s Soundscapes “Ranging widely across literary, theatrical, musical, and religious debates, Christopher Chowrimootoo traces how modernist values were negotiated in everyday critical practice. In the process, he offers sophisticated and compelling new readings of Britten’s operas, showing us how they register twentieth-century art’s paradoxical position in a market-driven society.” HEATHER WIEBE, author of Britten’s Unquiet Pasts “In a virtuoso deconstruction, Chowrimootoo shows that middlebrow modernism is anything but peripheral. At the same time, this middlebrow center gets teased apart, becoming anything but middle. All the while, the swift prose is a pleasure, the intelligence crackling, the capacious readings of Britten’s operas indispensable.” SETH BRODSKY, author of From 1989, or European Music and the Modernist Unconscious CHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.2000Open Access01000302https://storage.googleapis.com/rua-ucp/files/media/cover_images/1d4f73b2-fe15-4623-96ca-37d6fb969e2c.jpg1030610.1525/luminos.57.aChapter0101Middlebrow Modernism1A01Christopher ChowrimootooChristopherChowrimootooMusic University of Notre DameCHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.01eng12Mass culture12Aesthetics12middlebrow12modernism12Benjamin Britten12criticism12opera12ambivalence12duplicity12great divide2000Open Access2030610.1525/luminos.57.bChapter0101Sentimentality under Erasure in Peter Grimes1A01Christopher ChowrimootooChristopherChowrimootooMusic University of Notre DameCHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.01eng12modernism12Peter Grimes12sentimentality12difficulty12realism12romantic12lyricism12melodrama12sympathy2000Open Access3030610.1525/luminos.57.cChapter0101The Timely Traditions of Albert Herring1A01Christopher ChowrimootooChristopherChowrimootooMusic University of Notre DameCHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.01eng12Comedy12modernism12Albert Herring12 tradition12tradition12innovation12timeliness12irony12dialectic12satire2000Open Access4030610.1525/luminos.57.dChapter0101The Turn of the Screw, or The Gothic Melodrama of Modernism1A01Christopher ChowrimootooChristopherChowrimootooMusic University of Notre DameCHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.01eng12horror12modernism12melodrama12The Turn of the Screw12gothic12ghosts12Henry James12psychodrama2000Open Access5030610.1525/luminos.57.eChapter0101The Burning Fiery Furnace and the Redemption of Religious Kitsch1A01Christopher ChowrimootooChristopherChowrimootooMusic University of Notre DameCHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.01eng12religion12asceticism12aestheticism12kitsch12spirituality12monumentality12authoritarian12hierarchy12pluralism12exoticism2000Open Access6030610.1525/luminos.57.fChapter0101Death in Venice and the Aesthetics of Sublimation1A01Christopher ChowrimootooChristopherChowrimootooMusic University of Notre DameCHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.01eng12Spectacle12Death in Venice12sublimation12bourgeois opera12immediacy12body12dance2000Open Access01URLhttps://www.luminosoa.orgUniversity of California Press01University of California Press01Publisher’s corporate websitehttps://www.luminosoa.org02Publisher’s website for a specified workhttps://www.luminosoa.org/books/m/10.1525/luminos.57California040120181008The Author(s)02WORLD0615978-0-520-29865-1WORLD11Unknown36Supplier’s website for a specified workhttps://www.luminosoa.org29Supplier’s website: download the titlehttps://www.luminosoa.org/books/61/files/dffd15a6-8792-40f8-9800-97305a5cfb60.mobi20082018100801ucp-61-m-15-978-0-520-97070-0030115978-0-520-97070-00610.1525/luminos.5701internal-reference6100EBE10710Creative Commons Attribution (CC-BY)02http://creativecommons.org/licenses/by/4.0/0101Middlebrow ModernismBritten’s Operas and the Great Divide1A01Christopher ChowrimootooChristopherChowrimootooMusic University of Notre DameCHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.01eng002440323User DefinedMusic12Mass culture12Historiography12Aesthetics12middlebrow12modernism12Benjamin Britten12criticism12opera12ambivalence12duplicity01010300Situated at the intersections of twentieth-century music history, historiography, and aesthetics, Middlebrow Modernism uses Benjamin Britten’s operas to illustrate the ways in which composers, critics, and audiences mediated the “great divide” between modernism and mass culture. Reviving mid-century discussions of the middlebrow, Christopher Chowrimootoo demonstrates how Britten’s works allowed audiences to have their modernist cake and eat it: to revel in the pleasures of consonance, lyricism, and theatrical spectacle even while enjoying the prestige that came from rejecting them. By focusing on moments when reigning aesthetic oppositions and hierarchies threatened to collapse, this study offers a powerful model for recovering shades of grey in the traditionally black-and-white historiographies of twentieth-century music. “Christopher Chowrimootoo’s exhaustively researched and elegantly written study deftly charts a course to the ambivalent heart of postwar modernism. He invites us to listen anew, offering provocative reinterpretations not just of Britten’s operas, but of a range of figures from Sibelius to Boulez.” ARMAN SCHWARTZ, author of Puccini’s Soundscapes “Ranging widely across literary, theatrical, musical, and religious debates, Christopher Chowrimootoo traces how modernist values were negotiated in everyday critical practice. In the process, he offers sophisticated and compelling new readings of Britten’s operas, showing us how they register twentieth-century art’s paradoxical position in a market-driven society.” HEATHER WIEBE, author of Britten’s Unquiet Pasts “In a virtuoso deconstruction, Chowrimootoo shows that middlebrow modernism is anything but peripheral. At the same time, this middlebrow center gets teased apart, becoming anything but middle. All the while, the swift prose is a pleasure, the intelligence crackling, the capacious readings of Britten’s operas indispensable.” SETH BRODSKY, author of From 1989, or European Music and the Modernist Unconscious CHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.0200Situated at the intersections of twentieth-century music history, historiography, and aesthetics, Middlebrow Modernism uses Benjamin Britten’s operas to illustrate the ways in which composers, critics, and audiences mediated the “great divide” between modernism and mass culture. Reviving mid-century discussions of the middlebrow, Christopher Chowrimootoo demonstrates how Britten’s works allowed audiences to have their modernist cake and eat it: to revel in the pleasures of consonance, lyricism, and theatrical spectacle even while enjoying the prestige that came from rejecting them. By focusing on moments when reigning aesthetic oppositions and hierarchies threatened to collapse, this study offers a powerful model for recovering shades of grey in the traditionally black-and-white historiographies of twentieth-century music. “Christopher Chowrimootoo’s exhaustively researched and elegantly written study deftly charts a course to the ambivalent heart of postwar modernism. He invites us to listen anew, offering provocative reinterpretations not just of Britten’s operas, but of a range of figures from Sibelius to Boulez.” ARMAN SCHWARTZ, author of Puccini’s Soundscapes “Ranging widely across literary, theatrical, musical, and religious debates, Christopher Chowrimootoo traces how modernist values were negotiated in everyday critical practice. In the process, he offers sophisticated and compelling new readings of Britten’s operas, showing us how they register twentieth-century art’s paradoxical position in a market-driven society.” HEATHER WIEBE, author of Britten’s Unquiet Pasts “In a virtuoso deconstruction, Chowrimootoo shows that middlebrow modernism is anything but peripheral. At the same time, this middlebrow center gets teased apart, becoming anything but middle. All the while, the swift prose is a pleasure, the intelligence crackling, the capacious readings of Britten’s operas indispensable.” SETH BRODSKY, author of From 1989, or European Music and the Modernist Unconscious CHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.0400Middlebrow Modernism Sentimentality under Erasure in Peter Grimes The Timely Traditions of Albert Herring The Turn of the Screw, or The Gothic Melodrama of Modernism The Burning Fiery Furnace and the Redemption of Religious Kitsch Death in Venice and the Aesthetics of Sublimation3000Situated at the intersections of twentieth-century music history, historiography, and aesthetics, Middlebrow Modernism uses Benjamin Britten’s operas to illustrate the ways in which composers, critics, and audiences mediated the “great divide” between modernism and mass culture. Reviving mid-century discussions of the middlebrow, Christopher Chowrimootoo demonstrates how Britten’s works allowed audiences to have their modernist cake and eat it: to revel in the pleasures of consonance, lyricism, and theatrical spectacle even while enjoying the prestige that came from rejecting them. By focusing on moments when reigning aesthetic oppositions and hierarchies threatened to collapse, this study offers a powerful model for recovering shades of grey in the traditionally black-and-white historiographies of twentieth-century music. “Christopher Chowrimootoo’s exhaustively researched and elegantly written study deftly charts a course to the ambivalent heart of postwar modernism. He invites us to listen anew, offering provocative reinterpretations not just of Britten’s operas, but of a range of figures from Sibelius to Boulez.” ARMAN SCHWARTZ, author of Puccini’s Soundscapes “Ranging widely across literary, theatrical, musical, and religious debates, Christopher Chowrimootoo traces how modernist values were negotiated in everyday critical practice. In the process, he offers sophisticated and compelling new readings of Britten’s operas, showing us how they register twentieth-century art’s paradoxical position in a market-driven society.” HEATHER WIEBE, author of Britten’s Unquiet Pasts “In a virtuoso deconstruction, Chowrimootoo shows that middlebrow modernism is anything but peripheral. At the same time, this middlebrow center gets teased apart, becoming anything but middle. All the while, the swift prose is a pleasure, the intelligence crackling, the capacious readings of Britten’s operas indispensable.” SETH BRODSKY, author of From 1989, or European Music and the Modernist Unconscious CHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.2000Open Access01000302https://storage.googleapis.com/rua-ucp/files/media/cover_images/1d4f73b2-fe15-4623-96ca-37d6fb969e2c.jpg1030610.1525/luminos.57.aChapter0101Middlebrow Modernism1A01Christopher ChowrimootooChristopherChowrimootooMusic University of Notre DameCHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.01eng12Mass culture12Aesthetics12middlebrow12modernism12Benjamin Britten12criticism12opera12ambivalence12duplicity12great divide2000Open Access2030610.1525/luminos.57.bChapter0101Sentimentality under Erasure in Peter Grimes1A01Christopher ChowrimootooChristopherChowrimootooMusic University of Notre DameCHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.01eng12modernism12Peter Grimes12sentimentality12difficulty12realism12romantic12lyricism12melodrama12sympathy2000Open Access3030610.1525/luminos.57.cChapter0101The Timely Traditions of Albert Herring1A01Christopher ChowrimootooChristopherChowrimootooMusic University of Notre DameCHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.01eng12Comedy12modernism12Albert Herring12 tradition12tradition12innovation12timeliness12irony12dialectic12satire2000Open Access4030610.1525/luminos.57.dChapter0101The Turn of the Screw, or The Gothic Melodrama of Modernism1A01Christopher ChowrimootooChristopherChowrimootooMusic University of Notre DameCHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.01eng12horror12modernism12melodrama12The Turn of the Screw12gothic12ghosts12Henry James12psychodrama2000Open Access5030610.1525/luminos.57.eChapter0101The Burning Fiery Furnace and the Redemption of Religious Kitsch1A01Christopher ChowrimootooChristopherChowrimootooMusic University of Notre DameCHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.01eng12religion12asceticism12aestheticism12kitsch12spirituality12monumentality12authoritarian12hierarchy12pluralism12exoticism2000Open Access6030610.1525/luminos.57.fChapter0101Death in Venice and the Aesthetics of Sublimation1A01Christopher ChowrimootooChristopherChowrimootooMusic University of Notre DameCHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.01eng12Spectacle12Death in Venice12sublimation12bourgeois opera12immediacy12body12dance2000Open Access01URLhttps://www.luminosoa.orgUniversity of California Press01University of California Press01Publisher’s corporate websitehttps://www.luminosoa.org02Publisher’s website for a specified workhttps://www.luminosoa.org/books/m/10.1525/luminos.57California040120181008The Author(s)02WORLD0615978-0-520-29865-1WORLD11Unknown36Supplier’s website for a specified workhttps://www.luminosoa.org29Supplier’s website: download the titlehttps://www.luminosoa.org/books/61/files/71558dc6-3efc-4c8b-b8d9-b404c1205f4b.pdf20082018100801ucp-61-m-15-978-0-520-29865-1030115978-0-520-29865-10610.1525/luminos.5701internal-reference6100BCB20210026in030.6in080.80027801106lb019inCreative Commons Attribution (CC-BY)02http://creativecommons.org/licenses/by/4.0/0101Middlebrow ModernismBritten’s Operas and the Great Divide1A01Christopher ChowrimootooChristopherChowrimootooMusic University of Notre DameCHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.01eng002440323User DefinedMusic12Mass culture12Historiography12Aesthetics12middlebrow12modernism12Benjamin Britten12criticism12opera12ambivalence12duplicity01010300Situated at the intersections of twentieth-century music history, historiography, and aesthetics, Middlebrow Modernism uses Benjamin Britten’s operas to illustrate the ways in which composers, critics, and audiences mediated the “great divide” between modernism and mass culture. Reviving mid-century discussions of the middlebrow, Christopher Chowrimootoo demonstrates how Britten’s works allowed audiences to have their modernist cake and eat it: to revel in the pleasures of consonance, lyricism, and theatrical spectacle even while enjoying the prestige that came from rejecting them. By focusing on moments when reigning aesthetic oppositions and hierarchies threatened to collapse, this study offers a powerful model for recovering shades of grey in the traditionally black-and-white historiographies of twentieth-century music. “Christopher Chowrimootoo’s exhaustively researched and elegantly written study deftly charts a course to the ambivalent heart of postwar modernism. He invites us to listen anew, offering provocative reinterpretations not just of Britten’s operas, but of a range of figures from Sibelius to Boulez.” ARMAN SCHWARTZ, author of Puccini’s Soundscapes “Ranging widely across literary, theatrical, musical, and religious debates, Christopher Chowrimootoo traces how modernist values were negotiated in everyday critical practice. In the process, he offers sophisticated and compelling new readings of Britten’s operas, showing us how they register twentieth-century art’s paradoxical position in a market-driven society.” HEATHER WIEBE, author of Britten’s Unquiet Pasts “In a virtuoso deconstruction, Chowrimootoo shows that middlebrow modernism is anything but peripheral. At the same time, this middlebrow center gets teased apart, becoming anything but middle. All the while, the swift prose is a pleasure, the intelligence crackling, the capacious readings of Britten’s operas indispensable.” SETH BRODSKY, author of From 1989, or European Music and the Modernist Unconscious CHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.0200Situated at the intersections of twentieth-century music history, historiography, and aesthetics, Middlebrow Modernism uses Benjamin Britten’s operas to illustrate the ways in which composers, critics, and audiences mediated the “great divide” between modernism and mass culture. Reviving mid-century discussions of the middlebrow, Christopher Chowrimootoo demonstrates how Britten’s works allowed audiences to have their modernist cake and eat it: to revel in the pleasures of consonance, lyricism, and theatrical spectacle even while enjoying the prestige that came from rejecting them. By focusing on moments when reigning aesthetic oppositions and hierarchies threatened to collapse, this study offers a powerful model for recovering shades of grey in the traditionally black-and-white historiographies of twentieth-century music. “Christopher Chowrimootoo’s exhaustively researched and elegantly written study deftly charts a course to the ambivalent heart of postwar modernism. He invites us to listen anew, offering provocative reinterpretations not just of Britten’s operas, but of a range of figures from Sibelius to Boulez.” ARMAN SCHWARTZ, author of Puccini’s Soundscapes “Ranging widely across literary, theatrical, musical, and religious debates, Christopher Chowrimootoo traces how modernist values were negotiated in everyday critical practice. In the process, he offers sophisticated and compelling new readings of Britten’s operas, showing us how they register twentieth-century art’s paradoxical position in a market-driven society.” HEATHER WIEBE, author of Britten’s Unquiet Pasts “In a virtuoso deconstruction, Chowrimootoo shows that middlebrow modernism is anything but peripheral. At the same time, this middlebrow center gets teased apart, becoming anything but middle. All the while, the swift prose is a pleasure, the intelligence crackling, the capacious readings of Britten’s operas indispensable.” SETH BRODSKY, author of From 1989, or European Music and the Modernist Unconscious CHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.0400Middlebrow Modernism Sentimentality under Erasure in Peter Grimes The Timely Traditions of Albert Herring The Turn of the Screw, or The Gothic Melodrama of Modernism The Burning Fiery Furnace and the Redemption of Religious Kitsch Death in Venice and the Aesthetics of Sublimation3000Situated at the intersections of twentieth-century music history, historiography, and aesthetics, Middlebrow Modernism uses Benjamin Britten’s operas to illustrate the ways in which composers, critics, and audiences mediated the “great divide” between modernism and mass culture. Reviving mid-century discussions of the middlebrow, Christopher Chowrimootoo demonstrates how Britten’s works allowed audiences to have their modernist cake and eat it: to revel in the pleasures of consonance, lyricism, and theatrical spectacle even while enjoying the prestige that came from rejecting them. By focusing on moments when reigning aesthetic oppositions and hierarchies threatened to collapse, this study offers a powerful model for recovering shades of grey in the traditionally black-and-white historiographies of twentieth-century music. “Christopher Chowrimootoo’s exhaustively researched and elegantly written study deftly charts a course to the ambivalent heart of postwar modernism. He invites us to listen anew, offering provocative reinterpretations not just of Britten’s operas, but of a range of figures from Sibelius to Boulez.” ARMAN SCHWARTZ, author of Puccini’s Soundscapes “Ranging widely across literary, theatrical, musical, and religious debates, Christopher Chowrimootoo traces how modernist values were negotiated in everyday critical practice. In the process, he offers sophisticated and compelling new readings of Britten’s operas, showing us how they register twentieth-century art’s paradoxical position in a market-driven society.” HEATHER WIEBE, author of Britten’s Unquiet Pasts “In a virtuoso deconstruction, Chowrimootoo shows that middlebrow modernism is anything but peripheral. At the same time, this middlebrow center gets teased apart, becoming anything but middle. All the while, the swift prose is a pleasure, the intelligence crackling, the capacious readings of Britten’s operas indispensable.” SETH BRODSKY, author of From 1989, or European Music and the Modernist Unconscious CHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.2000Open Access01000302https://storage.googleapis.com/rua-ucp/files/media/cover_images/1d4f73b2-fe15-4623-96ca-37d6fb969e2c.jpg1030610.1525/luminos.57.aChapter0101Middlebrow Modernism1A01Christopher ChowrimootooChristopherChowrimootooMusic University of Notre DameCHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.01eng12Mass culture12Aesthetics12middlebrow12modernism12Benjamin Britten12criticism12opera12ambivalence12duplicity12great divide2000Open Access2030610.1525/luminos.57.bChapter0101Sentimentality under Erasure in Peter Grimes1A01Christopher ChowrimootooChristopherChowrimootooMusic University of Notre DameCHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.01eng12modernism12Peter Grimes12sentimentality12difficulty12realism12romantic12lyricism12melodrama12sympathy2000Open Access3030610.1525/luminos.57.cChapter0101The Timely Traditions of Albert Herring1A01Christopher ChowrimootooChristopherChowrimootooMusic University of Notre DameCHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.01eng12Comedy12modernism12Albert Herring12 tradition12tradition12innovation12timeliness12irony12dialectic12satire2000Open Access4030610.1525/luminos.57.dChapter0101The Turn of the Screw, or The Gothic Melodrama of Modernism1A01Christopher ChowrimootooChristopherChowrimootooMusic University of Notre DameCHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.01eng12horror12modernism12melodrama12The Turn of the Screw12gothic12ghosts12Henry James12psychodrama2000Open Access5030610.1525/luminos.57.eChapter0101The Burning Fiery Furnace and the Redemption of Religious Kitsch1A01Christopher ChowrimootooChristopherChowrimootooMusic University of Notre DameCHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.01eng12religion12asceticism12aestheticism12kitsch12spirituality12monumentality12authoritarian12hierarchy12pluralism12exoticism2000Open Access6030610.1525/luminos.57.fChapter0101Death in Venice and the Aesthetics of Sublimation1A01Christopher ChowrimootooChristopherChowrimootooMusic University of Notre DameCHRISTOPHER CHOWRIMOOTOO is Assistant Professor in the Program of Liberal Studies and in the Department of Music at the University of Notre Dame.01eng12Spectacle12Death in Venice12sublimation12bourgeois opera12immediacy12body12dance2000Open Access01URLhttps://www.luminosoa.orgUniversity of California Press01University of California Press01Publisher’s corporate websitehttps://www.luminosoa.org02Publisher’s website for a specified workhttps://www.luminosoa.org/books/m/10.1525/luminos.57California040120181008The Author(s)02WORLD0615978-0-520-97070-00615978-0-520-97070-00615978-0-520-97070-0WORLD11Unknown20082018100808