Elisabeth Lutyens's music of the 1940s and 1950s provides one important, but frequently overlooked, link between British music and modernism before the so-called Manchester School. I argue that the main reason that the composer and her music have not yet received much attention is that early twentieth-century modernism, as it is commonly understood, has been gendered masculine. This article engages with the composition, texts, and reception of Lutyens's 1946 cantata O saisons, ô châteaux! in the context of other Lutyens pieces in order to argue that the composer sought to transcend what she perceived as a complex of disadvantages in the reception of her music (both regarding her gender and composition technique): the Cantata is an essentially melodic piece of ‘magical serialism’. Rather than ‘taming’ or ‘feminizing’ her serial music, Lutyens thus carves out a place for herself as Arthur Rimbaud's magician, reflecting on the set text of O saisons, ô châteaux! and anticipating her later ‘credo’, in which she declares her music's allegiance with secret science rather than note counting or personal branding.

中文翻译：

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魔法系列主义：伊丽莎白·鲁琴斯 (Elisabeth Lutyens) 的《O Saisons, O Châteaux》中的现代主义魅力！

Elisabeth Lutyens 1940 年代和 1950 年代的音乐在所谓的曼彻斯特学派之前提供了英国音乐与现代主义之间的一个重要但经常被忽视的联系。我认为，作曲家和她的音乐尚未受到太多关注的主要原因是，正如人们普遍理解的那样，20 世纪早期的现代主义已经被性别化了。本文涉及鲁琴斯 1946 年康塔塔的作曲、文本和接收O saisons, ô châteaux！在其他 Lutyens 作品的背景下，为了证明作曲家试图超越她所认为的在接受她的音乐时的一系列不利因素（无论是关于她的性别和作曲技巧）：康塔塔本质上是一部旋律性的作品神奇的连续剧”。Lutyens 并没有“驯服”或“女性化”她的连载音乐，而是为自己开辟了一个位置，作为 Arthur Rimbaud 的魔术师，反映了O saisons, ô châteaux！并期待她后来的“信条”，其中她宣布她的音乐效忠于秘密科学，而不是记笔记或个人品牌。