Motives and Motivations: Linkage Technique in Britten’s Operas and Other Vocal Works

A broad survey of Britten’s compositional output reveals a predilection toward linkage technique––the carrying over of pitches from the end of one phrase or segment to form the beginning of the next. Whereas linkage can be found in many genres, Britten frequently employs this technique in his operas to depict certain aspects of a character’s thoughts and motivations, either spoken or unspoken, as the drama continues to unfold on stage. Consideration of musical texture reveals three typical uses: (1) accompaniment linkage between the vocal melody and the instrumental accompaniment, (2) interlude linkage between vocal phrases separated by an intervening instrumental interlude, and (3) character linkage between the music sung by different characters in an opera. Consideration of linkage has practical implications for performers, directors, and choreographers, who may use insights gained through score analysis to craft a staged, gestural interpretation at moments of linkage.