Britten’s primary role was as a composer, but he possessed a unique ability to assemble musicians for performances which was second only to his skill at arranging notes for his compositions. His choices were impeccable in both activities. When he combined these — a specific piece composed for a specific performer — he produced music of startling originality. This chapter contextualises the instrumental music he wrote for each of the Aldeburgh Festivals that he personally directed. The focus is on select performers, many of whom function as subtexts in the music Britten created, and the premiere performances that helped to shape the festival season, including details of the original encounter that lead to the creation of the work and the collaborative process that produced such exceptional music.

The second chapter focuses specifically on A Passage to India, examining the ways in which Forster’s representations of Western musical instruments in the novel destabilize and subvert – that is, queer – colonial norms. It continues the previous chapter’s interrogation of the conventional dissociation of modernist aesthetics from politics by bypassing Forster’s preference for a formalist, ‘abstract’ reading of the novel and going against his consistent dilution of the novel’s political resonance with contemporary nationalist movements in India. Documenting Forster’s awareness of the dissemination of Western musical instruments as an embodiment of the empire’s material invasion of the colony, the chapter explores his rarely discussed attention to the material existence of music as part of his criticism of colonialism. Drawing upon postcolonial theories, material culture studies, and queer musicology, the chapter suggests that Forster’s descriptions of Ronny Heaslop’s viola, the Maharajah’s harmonium, and a piano in a European Guest House delineate the individual subjection to and negotiation of external forces in a colonial environment.