== Noye's Fludde music section == 

 First, I generally enjoyed your first draft - well done for stitching a narrative together from various commentaries. I've now fairly quickly but in some detail gone through the music section, and as well as adding the reference for Evans have made some changes, mostly to fix various slips which resulted in errors of fact (e.g. wrong key given for Mrs. Noye's first bit of music, or Carpenter's naive and essentially misleading/wrong observation about the Chinese temple blocks). 

 Just a a couple of observations on the text as it is now. 

 1) I cut the following sentence based on Whittall: "Musically the work has links with Britten's most recent opera, The Turn of the Screw, in particular the use of the twelve-note chromatic scale in both works, and the adaption of a theme from the earlier work in the latter." Whittall is not alone in suggesting there's use of a 12-note theme in Noye's Fludde: according to Evans, White made that observation about the passacaglia theme, though adding that since the theme has a total of 19 notes "this is perhaps not notably clinching". Evans goes on to suggest that "its moorings round C are made very secure initially by the anchoring Gs and the cadence which links its [the theme's] repetitions. the effect is of mildly chromaticized diatonic music"; Evans goes on to suggest that the theme, "not obviously congruous with the earlier melodic material, is, partly no doubt, to suggest the serpentine creeping onward of the waters but, more practically, to prepare an ambience in which Dykes's hymn, 'Eternal Father', will not appear ludicrously incongruous". Given that both White and Whittall mention the 12-note quality of the theme, perhaps we might mention it, but Evans's caveat makes a lot of sense and I think should be also included if their observation is. 

 It also wasn't at all clear what theme from Turn of the Screw has been adapted in Noye's Fludde. Unless this is of particular importance, I think it's safe to leave that out altogether.  

 2) Re. the organ music "that might indicate a flash of hostility towards the Church as an institution". This appears to be based entirely on Carpenter's surmise; against this, there's Graham Elliott, who suggests: "This artless passage is an example of Britten's gentle humour in recalling the rather heavy-handed modulatory excursions beloved of some organists in their attempts to urge a dilatory congregation into action." (We should also bear in mind that Britten did not turn his back on the church and its organ, but rather wrote yet another masterpiece, the Missa Brevis, which uses that instrument to effective and even amiable effect.) If you think we should nonetheless retain Carpenter's claim, then I think it should be as a footnote with Elliott's observation to balance it. 

 Otherwise, I think the section reads well on the whole. Let me know your thoughts.