None of this means that Peter Grimes was actually envisioned or presented by Britten and Pears as homosexual, or that he should be played that way. The plight depicted is not that of sexual “inversion” as such but rather its social consequences, which do not differ in the case of homosexuals from those affecting other persecuted minorities. And yet there are other aspects of the opera that indirectly broach matters associated with, or tangential to, the theme of homosexuality, matters that recur in later works of Britten as well. Unlike Chaikovsky or Copland, or any other previous composer known or thought to be homosexual, Britten did consciously (and perhaps also unconsciously) “thematize” the topic repeatedly. That, too, is an aspect of modernity, and a particularly compelling one that transcends the narrowly stylistic issues to which discussions of musical modernity are often confined.
- Citation (MLA):
- Richard Taruskin. "Chapter 5 Standoff (I)." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 20 Feb. 2017. <http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-005007.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 5 Standoff (I). In Oxford University Press, Music in the Late Twentieth Century. New York, USA. Retrieved 20 Feb. 2017, from http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-005007.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 5 Standoff (I)." In Music in the Late Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 20 Feb. 2017, from http://www.oxfordwesternmusic.com/view/Volume5/actrade-9780195384857-div1-005007.xml