# Benjamin Britten



## KenazFilan

I'd just like to say thank you for all the wonderful music. I'm sorry that your personal life has been so widely analyzed since your passing: I'm sure you would have been mortified. (I'm still waiting for the book on "Benjamin Britten: middle-class Englishman" -- that was far more a part of your self-identity than "Benjamin Britten, homosexual" and, IMO, goes further toward explaining many of your greatest works. But of course that wouldn't be nearly so sensational.

Oh, and never mind what anyone else says -- Peter had a marvelous voice.


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## World Violist

I've not heard many of Britten's works, but what little I've heard is very good.


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## Mark Harwood

Britten's "Nocturnal" is a major work for guitar. I'm only beginning to probe its mysteries.


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## Drowning_by_numbers

War requiem, Ceremony of carols, Rejoice in the lamb, missa brevis in D, four sea interludes, the operas.. I could go on for hours. They are all wonderful.


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## BuddhaBandit

The War Requiem is one of my favorite vocal works and Peter Grimes is one of my favorite operas... so, you could say, I'm a pretty big fan of Britten's.


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## Lisztfreak

Nothing beats Les Illuminations, Serenade for tenor, horn and strings and Nocturne.
Well, perhaps the War Requiem... Bridge Variations also rock!
I'd love to hear Peter Grimes, too.


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## World Violist

Oh, I came SO CLOSE to seeing Peter Grimes on PBS!!! It started and... the sound started breaking up... I was so furious... oh well, I'll watch it eventually.


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## Bach

Britten pales next to Tippett.


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## altiste

*Lachrymae*

Lachrymae (Reflections on a Song by Dowland) is a great piece and an important work in the repertoire for viola.


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## Bach

Great opera composer though.


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## Drowning_by_numbers

His word setting is absolutely second to none. Even if you don't like his music his orchestration is unbelievable, absolutely astounding. 

Great everything composer really.


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## World Violist

I got to see his second quartet played live... it was amazing. Though the chaconne at the end sounded a little tedious and heavy to my ears.

Still, great, great music!


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## Guest

How about the Cello sonata, with Rostropovich?


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## Mayerl

The only composer I have come across who can knock Prokoviev into second place when it come to producing "spiky" music (?).
As for the War Requiem, from someone who couldn't get out of this country fast enough at the start of WW2, what hypocrisy.


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## Guest

Mayerl said:


> As for the War Requiem, from someone who couldn't get out of this country fast enough at the start of WW2, what hypocrisy.


You mean his USA OE??  To quote a well known joker, Let him who is without sin cast the first stone, or something like that, I may have it wrong?


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## KenazFilan

Mayerl said:


> As for the War Requiem, from someone who couldn't get out of this country fast enough at the start of WW2, what hypocrisy.


How so? His "War Requiem" is hardly a jingoistic celebration of victory from someone who let others do the fighting. Rather, it's a powerful anti-war statement which presents the conflict in all its gore and horror, written a lifelong pacifist and conscientious objector.


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## Habib

Definitely one of the greatest composers of the mid C20th. One of the greatest pieces written for string orchestra ever were the Variations on a Theme of Frank Bridge, composed when he was in his twenties. This piece, first performed at the Salzburg Festival, took Europe by storm and established him as one of the most popular contemporary composers.

A relatively little known work which he only wrote in his teens was the Simple Symphony. Another interesting and comparatively mature work for string orchestra from someone so young.

I have recently acquired the four sea interludes from Peter Grimes Op. 33A and upon listening to it, it is not hard to draw comparisons between it and Arvo Part's Cantus in Memoriam Benjamin Britten. Especially the way both employ bells. There's a really interesting synergy there, just thought I'd mention it. Has anyone else noticed this similarity?


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## World Violist

Egad, I just finished watching The Turn of the Screw over youtube... he really knew how to finish his operas, doesn't he? I'm still speechless from the sheer power of the ending!

Lesser known (though deserved to be heard far more often) is the first of his three church parables, Curlew River. It is mesmerizing and, in the end, very emotionally powerful as well!


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## Mirror Image

I'm just starting to appreciate Britten, but as always I come through the orchestral door first, then eventually listen to other works.

I have bought many different recordings, so I look forward to taking the plunge and discovering this composer's music.


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## Mr Dull

Brittens music snuck up on me. I liked his music but it wasn't until I was sorting my CD's I realized I have several CD's of his music. The sea interludes and the simple symphony are personal favorites. 
The serenade for Tenor horn and strings sounds amazing though I find it hard to take the songs he wrote for Peter Piers seriously after hearing a wickedly accurate parody by Dudley Moore.


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## Aramis

Anyone have idea how long can take performance of complete _The Young Person's Guide to the Orchestra_?


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## Mirror Image

Aramis said:


> Anyone have idea how long can take performance of complete _The Young Person's Guide to the Orchestra_?


It's about a 17 minute or so piece.


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## Aramis

Thanks. 

blablabla


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## Sid James

I suppose others have summed it up pretty well - Britten was a great all-rounder. He composed some of the best works of the last century in most genres.

& from what I've heard, a very influential conductor as well, bringing people's attention to many contemporary works with his Aldeburgh Festival. Indeed, he would conduct many of the first Western performances of Shostakovich's music...


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## Mirror Image

Andre said:


> I suppose others have summed it up pretty well - Britten was a great all-rounder. He composed some of the best works of the last century in most genres.
> 
> & from what I've heard, a very influential conductor as well, bringing people's attention to many contemporary works with his Aldeburgh Festival. Indeed, he would conduct many of the first Western performances of Shostakovich's music...


Ah, so the link to Shostakovich is not just musical, but personal as well? I think I saw a picture of Shostakovich with Britten somewhere on the internet. I'll have to see if I can find it and post it here.

Here it is:


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## Sid James

Mirror Image said:


> Ah, so the link to Shostakovich is not just musical, but personal as well?


Well, they must have developed a friendship, collaborating between eachother as composer & conductor. This is not surprising, as Shostakovich was treated a bit like a celebrity in Western classical circles. He was certainly the biggest name in Eastern European classical at the time, long before the emergence of composers like Part, Gulbaidulina, Lutoslawski, Penderecki, Schnittke, Kurtag, and others. Perhaps he still overshadows these composers somewhat...


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## Mirror Image

Andre said:


> Well, they must have developed a friendship, collaborating between eachother as composer & conductor. This is not surprising, as Shostakovich was treated a bit like a celebrity in Western classical circles. He was certainly the biggest name in Eastern European classical at the time, long before the emergence of composers like Part, Gulbaidulina, Lutoslawski, Penderecki, Schnittke, Kurtag, and others. Perhaps he still overshadows these composers somewhat...


Well I always considered Britten kind of like the "English Shostakovich" in a way and once you get more into Britten you'll hear some similarities between the composers, but they are two totally different composers. Britten though has written some very aggressive string parts that bring to mind Shostakovich in many ways.


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## Sieglinde

Where to begin? First of all, dear mastro, thank you for Billy Budd! It was the first modern (that is, "after-Turandot") opera I've heard, and instant love. It's my favourite now - even Don Giovanni and the Ring can't beat it. And thank you for making me like tenors. Your tenors, of course - I still prefer lower voices over every other tenor type.
And thank you for your beautiful song cycles. And how you painted nature, especially sea, with music. And your problematic, non-conventional themes. Anyone tired of the "tenor and baritone killing each other over the soprano" scheme would find them refreshing.

May God keep shouting Wagnerians far from Grimes. I love Wagnerians - in their own realm. 

And please, please, opera directors, let Russian or Italian basses try Claggart! I'd have some candidates - Petrenko and Silvestrelli to begin with. Melville said he had some sort of accent. So it's canon...

I'd be grateful for a good biography too. Which would handle your private life as natural thing, and not a scandal. (But neither lying about it.) And critics who don't like Pears' voice are simply prejudiced and snobs. It was beautiful.


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## StlukesguildOhio

I have a fair representation of Britten including the _War Requiem_, the _Cello Concerto_, several choral pieces and song cycles... but as much as I love opera, I'm somewhat mortified to admit that I have yet to pick up on an opera by Britten although several candidates are sitting on my wish list. And yes Peter Pears did have a marvelous voice; his recording of Schubert's _Winterreise_ is a necessity.


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## Sieglinde

Well, to like him, I think BB is the best. Grimes is a great opera, but it's hard to identify with a workaholic madman who treats his apprentices badly.

BB has more "traditional" characters - the Parsifal-type innocent blonde and the Hagen-type evil. And the music is maybe the most melodic. There are some tunes one can whistle after about 2-3 hearing. Big arias, big chorus scenes and a lot of drama and passion.


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## World Violist

Habib said:


> A relatively little known work which he only wrote in his teens was the Simple Symphony. Another interesting and comparatively mature work for string orchestra from someone so young.


Actually, I was under the impression that the Simple Symphony, along with the Young Person's Guide, is one of his more famous works, especially since a lot of high school orchestras try to play it... (I've sightread it once a few years ago, and by "sightread" I mean scrambling around for notes that aren't terribly simple)


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## AussieGuy

*Peter Grimes*

I recently had the great fortune of seeing Opera Australia's production of 'Peter Grimes" at the Sydney Opera House as part of our annual subsription series. Of all the operas I have seen live thus far, (Lucia, Flute, Aidia, Cav/Pag, Pearl Fishers, Capulets, Streetcar, Butterfly), Peter Grimes left the greatest impression. I was captivated from start to finish. A heart wrenching story and Britten's evocative score have left thier mark. Britten was clearly a genius and I look forward to discovering more of his music and opera.


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## xuantu

A fantastic (and meaningful) staging of Britten's _A Midsummer Night's Dream_ capturing the composer at his exotic best. Those who haven't heard a note of Britten's opera will immediately fall under his spell after seeing this.


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## kmisho

I have to chime in here. Did anyone mention Britten's Phaedra? It's an absolutely phenomenal micro-opera. 20 minutes long, if that, the motives he employs are astounding: the rocking drums with string harmonics representing Phaedra's madness, the low roiling strings representing Phaedra in the process of dying after she poisoned herself, and at the very end the string harmonics representing Phaedra's soul leaving her body just after death. An utterly captivating work from first note to last.

Beyond this, Peter Grimes is probably my favorite opera and his War Requiem is a towering work. I've listened to each beginning-to-end in single sittings more than once.


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## Sid James

I've recently bought the Naxos cd of Britten's _Violin Concerto_ & _Cello Symphony_. These are significant, but neglected, works of the C20th - so they are worth getting to know if you like music of the period.

The *Violin Concerto* seems to owe somewhat of a debt to Berg's concerto, though it is quite tonal. This will never be a very popular work, owing to the lack of showy pyrotechnics & the rather quiet finale. The whole work seems to reflect the repressive political atmosphere of Europe in the 1930's, especially how the percussion seems to dominate the first movement in a rather sinister way.

Like the above concerto, the _*Cello Symphony*_ also ends with a passacaglia. This work was written in the 1960's, and dedicated to Rostropovich. Even though it's called a symphony, it's more like a concerto, and very gratifying for the soloist (there's also a cadenza). It's a work that was partly inspired by Prokofiev's own Symphony-Concerto for cello, but there are some avant-garde influences present also, & in all, it's pure Britten.


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## emiellucifuge

I think his work for amateurs such as the opera ' Noye's Fludde' (which I am in the process of rehearsing as conductor) are his best. He shows such a talent for using all the resources available and the small degree of skill of a child performer. The score calls for mugs to be hung on a string creating a rough scale... and it work amazingly.


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## Il Seraglio

I feel like I must have a highly untrained ear when I try to listen to Britten's Cello Symphony. It's just so... heavy going. There are plenty of serialist and even avant-garde works from other composers that I have an easier time deriving pleasure from than the Cello Symphony.

On the other hand, I am very fond of the vocal music I've heard from him. That being Peter Grimes, bits and pieces of Billy Budd and the War Requiem.


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## norman bates

I've listened only to Peter Grimes and few other pieces, so i'd like to know what are his most important works. Thanks in advance.


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## World Violist

Peter Grimes is probably his most famous work apart from the War Requiem. The Cello Symphony is also pretty famous, and the Young Person's Guide to the Orchestra.

And of course I must put in a plug for the first of his Church Parables, Curlew River. It's one of his most fascinating works, even though nobody ever notices it.


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## Meaghan

His second most famous opera after _Peter Grimes_ is probably _Billy Budd_. If you're looking for opera, other Britten ones I enjoy are _Midsummer Night's Dream,_ _The Turn of the Screw,_ and _Death in Venice_ (in that order).

Besides pieces already mentioned, other famous Britten works include the _Serenade for Tenor, Horn, and Strings_ and the _Sinfonia da Requiem_. Frequently performed choral works include _Rejoice in the Lamb_ and _A Ceremony of Carols,_ which is a Christmas favorite. He also wrote a lot of songs for tenor and piano (mostly for Peter Pears; there are some great videos on youtube of the two of them performing together). His best-known song cycles are probably the _Seven Sonnets of Michelangelo_ and _Winter Words_.

And the violin concerto is seldom performed, but I think it's wonderful.


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## tdc

I quite like his Diversions for piano (left hand) and orchestra as well. The piece made it into the top 100 keyboard concerti thread recently as voted by (some of the) members of this forum.


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## norman bates

Thanks everybody. I notice that nobody has mentioned his Nocturnal for guitar, that is considered one of masterpieces for the instrument. A piece that frankly i don't like very much.


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## norman bates

Meaghan, is John Foulds in your avatar?


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## StlukesguildOhio

I believe that's Gustav Mahler.


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## norman bates

StlukesguildOhio said:


> I believe that's Gustav Mahler.


you're right


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## KJohnson

For some odd reason, I come to Britten's music only a five years go, having been a musician for a much longer time. His Violin Concerto was the first work I heard and I immediately thought of him as one of the greatest of the 20th century composers. His orchestration technique is original and smart. The development sections of his large-scale works are simply delightful.


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## Sieglinde

I met his music in early 2009. I knew he *existed* but never heard his works, then it hit me I want to hear Billy Budd. I actually read it first and then watched the '88 ENO version.

And so I discovered there *is* a tenor type I love! I was totally like "a man begins around baritone"... but Captain Vere was love at first hearing.

And I also discovered a lot of singers I didn't know before.

And what made me first want to hear his music? His world is a slash paradise. So much ANGST!


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## Vaneyes

KJohnson said:


> For some odd reason, I come to Britten's music only a five years go, having been a musician for a much longer time. His Violin Concerto was the first work I heard and I immediately thought of him as one of the greatest of the 20th century composers. His orchestration technique is original and smart. The development sections of his large-scale works are simply delightful.


I share your appreciation. Variations on a Theme of Frank Bridge isn't the first Britten work I heard, but it became my favorite. A recording that catches it so well...


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## Rangstrom

Concur with the Serenade for Tenor, Horn and Strings. A haunting work. I'm also fond of the Suites for solo cello. The comic opera Albert Herring shows a quite different side of the composer.


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## Il_Penseroso

His music is not my taste. Often informal and not so thematic ... But I remember when I was very young I listened to his *War Requiem* so much. I also enjoy one of his early works, *Simple Symphony* for String Orchestra, completed when he was only 20. It's really beautiful and an exception for me : I think such a work could be written only by a genius !


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## Delicious Manager

I would suggest that Britten's KEY works are as follows:

_Variations on a Theme of Frank Bridge_ Op 10
Violin Concerto Op 15
_Les illuminations_ Op 18 (soprano versions are better than tenor imho)
_Sinfonia da Requiem_ Op 20
_A Ceremony of Carols_ Op 28
Serenade for Tenor, Horn and Strings Op 31
_Peter Grimes_ Op 33 (and the _Three Sea Interludes_ and _Passacaglia_ extracted from it)
_The Young Person's Guide to the Orchestra_ Op 34
_Albert Herring _Op 39
_St Nicolas _Op 42
Spring Symphony Op 44
_Billy Budd_ Op 50
_The Turn of the Screw_ Op 54
_The Prince of the Pagodas_ Op 57
Nocturne Op 60
War Requiem Op 66
Cello Symphony Op 68
Cello Suite No 3 Op 87
_Death in Venice_ Op 88
_Phaedra_ Op 93
String Quartet No 3 Op 94


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## clavichorder

I heard his violin concerto live last year, and I was probably not in the right mood to appreciate it, now I have it on recording and am finding it satisfying to listen to. I'm just getting into this composer with Sinfonia Da Requiem, the Violin Concerto, and Symphony for Cell and Orchestra, as well as Four Sea Interludes, and Peter Grimes.


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## robert

I can VERY HIGHLY rec the cd

John Veale, Benjamin Britten Violin Concertos
Lydia Mordkovitch
BBC S.O.
Richard Hickox

The Britten is great but the Veale turned out to be quite a surprise......


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## starthrower

The only Britten I have is the London CD with Rostropovich featuring the Cello Symphony.

That's enough for me. I'm more interested in composers like Lutoslawski, and Ligeti.


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## violadude

World Violist said:


> Actually, I was under the impression that the Simple Symphony, along with the Young Person's Guide, is one of his more famous works, especially since a lot of high school orchestras try to play it... (I've sightread it once a few years ago, and by "sightread" I mean scrambling around for notes that aren't terribly simple)


I know this quote was from a couple years ago, but OMG YA! That fugue at the end is ungodly to play...


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## violadude

Mirror Image said:


> Ah, so the link to Shostakovich is not just musical, but personal as well? I think I saw a picture of Shostakovich with Britten somewhere on the internet. I'll have to see if I can find it and post it here.
> 
> Here it is:


Oh dear...no disrespect, but now I know why Shostakovich never smiled...

Anyway, I only scanned through the thread but I didn't see anyone mention the string quartets. Those are really great pieces. I especially like 1 and 3, I have yet to enjoy #2 quite as much.


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## Vaneyes

OC's 'Benjamming with Britten'.

http://operachic.typepad.com/opera_...g-with-britten-at-the-aldeburgh-festival.html

In his centenary year, an update on the health of Benjamin Britten.

http://www.guardian.co.uk/music/201...tten-syphilis-condition-unlikely-cardiologist


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## sharik

Bach said:


> Great opera composer though.


hmm, i for one wasn't much impressed by his Death in Venice and The Turn of The Srew and the way there vocal parts sound.


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## sharik

Sid James said:


> Shostakovich was treated a bit like a celebrity in Western classical circles. He was certainly the biggest name in Eastern European classical at the time, long before the emergence of composers like Part, Gulbaidulina, Lutoslawski, Penderecki, Schnittke, Kurtag, and others. Perhaps he still overshadows these composers somewhat


because he is better than them all. Shostakovitch - a genius of Wagner standard while the rest are merely talented composers, correct me if i'm wrong.


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## Delicious Manager

sharik said:


> because he is better than them all. Shostakovitch - a genius of Wagner standard while the rest are merely talented composers, correct me if i'm wrong.


Have you heard all of Shostakovich's music? He was one of the most uneven composers of the 20th century. While he DID write some marvellous works, he also wrote some real turkeys. Shostakovich didn't really carve out any new ground in the way that Wagner did - his feet were firmly rooted in the late-Romantic tradition. I think the comparison of Shostakovich and Wagner doesn't really stand up.


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## sharik

Delicious Manager said:


> He was one of the most uneven composers of the 20th century


given his brilliance that outshone the rest in the field, he could well afford writing 'uneven' stuff.



Delicious Manager said:


> I think the comparison of Shostakovich and Wagner doesn't really stand up.


yes it does, in terms of orchestration. Shostakovitch was one of the best orchestrators ever, his scores do sound as powerful as Wagner's.


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## Delicious Manager

sharik said:


> given his brilliance that outshone the rest in the field, he could well afford writing 'uneven' stuff.
> 
> yes it does, in terms of orchestration. Shostakovitch was one of the best orchestrators ever, his scores do sound as powerful as Wagner's.


OK, whatever you say


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## ClassicalDJ

I am unfamiliar with most of Britten's oeuvre. I seen his violin concerto and War Requiem performed live, and while both were riveting, I have come to love the violin concerto, while the War Requiem is not something I imagine myself listening to often. What more along the lines of the violin concerto should I explore?


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## starthrower

The Cello Symphony


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## Art Rock

ClassicalDJ said:


> I am unfamiliar with most of Britten's oeuvre. I seen his violin concerto and War Requiem performed live, and while both were riveting, I have come to love the violin concerto, while the War Requiem is not something I imagine myself listening to often. What more along the lines of the violin concerto should I explore?


Try the Sinfonia da requiem as well.


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## Orange Soda King

My choir is singing the War Requiem in April.


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## starthrower

Art Rock said:


> Try the Sinfonia da requiem as well.


Both available on a London CD.


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## elgar's ghost

Two other concertante works works investigating are the early Double Concerto for violin, viola and orchestra (Kremer, Bashmet and the Halle Orch. conducted by Kent Nagano) and the string orchestra arrangement of the Lachrymae (after a song by Dowland) for viola and piano (Tomter and the Norwegian Chamber Orch. conducted by Iona Brown).


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## KenOC

The War Requiem... Never a favorite, it seems, but a purposeful and powerful piece. There were opinions many years back that its appeal would fade if nuclear war were no longer an overriding concern, but I don't think this has happened. Does anybody here favor this music?


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## clavichorder

The Sinfonia Da Requiem, Violin Concerto, and Four Sea Interludes are my current three favorites. It is possible this would change with greater familiarity with his work.

I also recall greatly liking one of his String Quartets, possibly his 2nd.


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## Vaneyes

A review of a recently published Britten biography-- 'A Life in the 20th Century' by Paul Kildea.

http://www.newstatesman.com/culture...enjamin-britten-life-20th-century-paul-kildea


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## Vaneyes

Another article for Britten 100, this from the LA Times.

http://www.latimes.com/entertainmen...benjamin-britten-100-20130310,0,6326694.story


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## Cheyenne

Could somebody, on a slightly different note, recommend me some of Britten's conducting catologue? Intrigued as I was with his Brandenburg concertos, which is the first recording under his baton I heard, they now rest, together with Furtwängler's and Klemperer's Brandenburgs, on the pile of 'interesting but ultimately not very durable performances'. I have his own recording of his War Requiem, which was a significant upgrade from the others I heard, though admittedly only in fragments. Is the Decca 7-CD collection of him conducting his own works worthy of purchasing?


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## joen_cph

Cheyenne said:


> Could somebody, on a slightly different note, recommend me some of Britten's conducting catologue? Intrigued as I was with his Brandenburg concertos, which is the first recording under his baton I heard, they now rest, together with Furtwängler's and Klemperer's Brandenburgs, on the pile of 'interesting but ultimately not very durable performances'. I have his own recording of his War Requiem, which was a significant upgrade from the others I heard, though admittedly only in fragments. Is the Decca 7-CD collection of him conducting his own works worthy of purchasing?


His Mozart is superb & more interesting than his Bach IMO - the symphonies (especially no.40) and the piano concertos with Curzon, both on Decca, with great sound.

As for his own compositions, I don´t really have enough versions/listening experience to compare them. But overall they seem fine, with enough sentiment, well-integrated, and with good sound. Peter Pears is prominent in many of the vocal works and technically sings OK, but the character of his voice isn´t my cup of tea; most would disagree with my taste there, though. Hickox/ASV seems more dramatic in the Bridge Variations, but still Britten is OK (or more) there too.


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## Vaneyes

Cheyenne said:


> Could somebody, on a slightly different note, recommend me some of Britten's conducting catologue? Intrigued as I was with his Brandenburg concertos, which is the first recording under his baton I heard, they now rest, together with Furtwängler's and Klemperer's Brandenburgs, on the pile of 'interesting but ultimately not very durable performances'. I have his own recording of his War Requiem, which was a significant upgrade from the others I heard, though admittedly only in fragments. Is the Decca 7-CD collection of him conducting his own works worthy of purchasing?


FYI some of the most prominent recs. with Britten conducting. I'm not recommending...just listing.:tiphat:

Decca 10 CD box, *Britten conducts Britten (*includes 2 CDs for War Requiem).

http://www.allmusic.com/album/britten-conducts-britten-mw0001552600

Decca/London Britten PC, VC, with Richter, Lubotsky.

http://www.amazon.com/Britten-Piano...id=1363384621&sr=1-3&keywords=richter+britten

Decca/London Britten orchestral.

http://www.amazon.com/Britten-Perso...1363384759&sr=1-1&keywords=britten+conducting

Decca/London Mozart Symphonies.

http://www.amazon.com/Mozart-Sympho...qid=1363384906&sr=1-1&keywords=britten+mozart

Decca Mozart PCs 20 & 27 w. Curzon.

http://www.amazon.com/Mozart-Piano-...qid=1363384906&sr=1-3&keywords=britten+mozart

BBC Legends Mozart PC 27 w. Richter.

http://www.amazon.com/Britten-Perfo...qid=1363384906&sr=1-6&keywords=britten+mozart


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## SimonNZ

His Aldeburgh Festival recordings of Haydn's "Farewell" and "Schoolmaster" symphonies are remarkably well judged, even today, and well captured considering the date and location.















Of his recordings of his own music, I'm very fond of the Les Illuminations with Peter Pears


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## manueelster

Any recommendation of Benjamin Britten works?


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## Art Rock

The War Requiem, the opera's Peter Grimes and Death in Venice, the Sinfonia da Requiem, the Serenade for Tenor, Horn and Strings, and the song cycle Winterwords.


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## ahammel

The cello suites are wonderful.


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## Vaneyes

"Frank Bridge Variations", w. Csaba (BIS)
Sinfonia da Requiem, Sea Interludes, Passacaglia, w. Previn (EMI)
String Quartets 1 - 3, w. Maggini Qt. (Naxos)
Cello Suites, w. Wispelwey (Channel Cl.)


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## Neo Romanza

Recommendations for Britten? Let's see...

The 'war trilogy' is always a good place to start: _Sinfonia da Requiem_, _Ballad of Heroes_, and _War Requiem_. Also try the concerti for piano and violin, the early _Double Concerto_, _Diversions_, _Nocturne_, _Serenade for Tenor, Horn, and Strings_, _Variations on a Theme by Frank Bridge_, _'Interludes' From 'Peter Grimes'_, and _Nocturne_. All of these works should give you an idea of the compositional range that Britten had.

For recordings, do try to get Britten's own recordings of his music. He was a fine conductor and I have found that while conductors like Previn, Hickox, Volkov, Rattle, etc have a fine ear tuned to this music, it was Britten himself that knew how to get the maximum impact out of his music, but, as I read somewhere, in order for Britten's music to continue to live and remain viable, it must find new, refreshing avenues of expression.


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## Guest

ahammel said:


> The cello suites are wonderful.


They are, no doubt about it, and I suppose Rostropovitch is pretty much the 'one-to-go-to' for the most satisfying execution of them. That said, there are others ...
Another BB favourite of mine is his *A Ceremony of Carols* - there is something for me so painfully 'nostalgic' about this set (boys' voices + harp). Probably due to the fact that I was a boy choristor.


----------



## KenOC

All good recommendations. Or, you could listen to what's probably his most popular piece, "The Young Person's Guide to the Orchestra" aka "Variations and Fugue on a Theme of Purcell". Again, Britten's own version of this warhorse is wonderful.


----------



## elgar's ghost

One of BB's more moving works is the cantata Rejoice in the Lamb as it was set to texts by the 18th century poet Christopher Smart, whose religious unorthodoxy twinned with a fragile mental state led him to be incarcerated in an insane asylum due to the less empathetic standards of the time. His texts were written while he was locked up - it's not exactly Diary of a Madman stuff, more a gently idiosyncratic devotion to God where, according to Smart, flowers, cats and mice are on an equal footing with humans - in the case of the animals maybe higher due to their innocence - an unfashionable credo in a more brutal age where cruelty to animals wasn't much of an issue.

His early-ish concertos for piano and violin are worth checking out, too.

Otherwise, many worthwhile suggestions listed in previous posts.


----------



## joen_cph

Some of the early works too -

"Double Concerto" (1932), already mentioned; 
"Fantasia in f", for String Quintet (1932);
"Young Apollo" for piano & strings (1939). 

and the "Cello Sonata" (1960) (recorded by Britten and Rostropovich, among others), plus
"Diversions on a Theme" for Piano Left Hand & Orchestra (1940), though some recordings lack a bit of drive.


----------



## KenOC

If you're in a gnarly mood, the Cello Symphony is very odd and out-of-character but quite impressive.


----------



## PetrB

Adding to an already solid list of range:
_Les Illuminations_, for soprano (or tenor) and strings (texts; Arthur Rimbaud) -- my preference is for a Soprano on this one.


----------



## Neo Romanza

KenOC said:


> If you're in a gnarly mood, the Cello Symphony is very odd and out-of-character but quite impressive.


Yes, it has a similar atmosphere of some of the more dissonant passages in _Sinfonia da Requiem_. There are many good performances of this work available but Rostropovich definitely has the market cornered.


----------



## jurianbai

Britten... interesting composer. Works recommended










and the Violin concerto, the one that I listen


----------



## Neo Romanza

I can't believe Britten's composer thread only has one page?!?!? Wow....


----------



## ahammel

Neo Romanza said:


> I can't believe Britten's composer thread only has one page?!?!? Wow....


You don't have to.


----------



## MarieTregubovich

I am in a choir that recently sang Britten's 'Spring Symphony' - such an amazing piece, but so difficult. Not to mention our tenor soloist was sick as a dog, but he still managed to do pretty okay, surprisingly.


----------



## Guest

manueelster said:


> Any recommendation of Benjamin Britten works?


*Britten, B.: Piano Concerto Concerto* (Shelley, BBC Philharmonic, Gardner).
I actually have never heard this work and I was wondering what the TC opinion might be? Here's a bit of blurb from the Classics Online newsletter I received about it: 
_"In celebration of the 100th birthday of Benjamin Britten, Chandos releases two concertos with the BBC Orchestra under Edward Gardner with Chandos stars Howard Shelley and Tasmin Little. The piano concerto includes the rarely recorded original third movement 'Recitative and Aria.' [...]"_


----------



## Neo Romanza

TalkingHead said:


> *Britten, B.: Piano Concerto Concerto* (Shelley, BBC Philharmonic, Gardner).
> I actually have never heard this work and I was wondering what the TC opinion might be? Here's a bit of blurb from the Classics Online newsletter I received about it:
> _"In celebration of the 100th birthday of Benjamin Britten, Chandos releases two concertos with the BBC Orchestra under Edward Gardner with Chandos stars Howard Shelley and Tasmin Little. The piano concerto includes the rarely recorded original third movement 'Recitative and Aria.' [...]"_


My favorite performances of the _Piano Concerto_ are Richter/Britten and Osborne/Volkov. 'Nuff said.


----------



## Guest

Neo Romanza said:


> My favorite performances of the _Piano Concerto_ are Richter/Britten and Osborne/Volkov. 'Nuff said.


I don't know, Neo! Sell it to me !!!


----------



## Neo Romanza

TalkingHead said:


> I don't know, Neo! Sell it to me !!!


The Richter is a classic and the Osborne is the best I've heard since Richter. They are both for sell on Amazon. Now go! 

By the way, the Osborne recording contains the original version of the third movement of the _Piano Concerto_, Recitative and Aria, as well.

Another selling point of the Osborne/Volkov recording is it includes the awesome _Diversions_ and _Young Apollo_. Both works for piano and orchestra. Definitely check it out.


----------



## Vaneyes

A useful Britten page.

http://www.classical-composers.org/comp/britten


----------



## peeyaj

What Britten thought of other composers:

*Brahms:* In his younger days, Britten liked Brahms, but then reacted against his music.

*Beethoven:* Ambivalent, but respectful.

*Mozart, Schubert:* "loved without qualification."

*Bach, Dowland, Purcell:* Britten "liked" them.

*Mahler:* Britten learned to appreciate Mahler after hearing his Fifth Symphony. He went to a concert to hear a "fashionable" concerto, expecting to be bored by the preceding Mahler symphony, but it turned out to be the other way around.

*Tchaikovsky, Debussy, Ravel: *Britten liked them, especially for their skill in orchestration.

*Stravinsky: *Britten liked his early works, but didn't like the Paris "chic air" that was associated with his later works.

*Shostakovich:* Britten was friends with him, and loved his works.

Source: http://www.cco.caltech.edu/~tan/Britten/britpears.html

So, Mozart and Schubert were his favorite composers. I like Britten even more!!


----------



## Vaneyes

peeyaj said:


> ....Source: http://www.cco.caltech.edu/~tan/Britten/britpears.html
> 
> So, Mozart and Schubert were his favorite composers. I like Britten even more!!


But can we rely on Peter Pears' memory, when he also asserts, "He had a strong conscience, sense of honor, and standards. He did not easily forgive people who violated his moral standards." Or, "I think the key to his music lies in his moral point of view combined with his craving for lost innocence brought on by his increasing disillusionment with man" 

To the contrary...

Britten link (pdf) at...

http://www.wrightmusic.net/pages/composers.html

Britten: More Thoughts (pdf) at...

www.*wright*music.net/pdfs/*britten*-more-thoughts.pdf


----------



## peeyaj

David Wright is a well-known troll.  His articles on MusicWeb International was removed because of his inflammatory writings on composers he didn't like. He had a particular ax to grind to Schubert, Chopin, Britten and Elgar.

http://members2.boardhost.com/MusicWebUK/thread/1359947484.html

His article about Schubert is such a trite, bitter and ill-researched that I considered it a comedic masterpiece. 

Examples of his writing:



> I have always been puzzled as to why some refer to Franz Schubert as a great
> composer. He may be a popular composer in some quarters but greatness is certainly not an accurate way to
> describe him. As we shall see, he was very limited as a composer and much of his work is so naive that it is
> very poor.
> Very often, but not always, poor quality in music can be correlated with a poor quality of life style or
> health problems some of which may be self-induced. Schubert was a rake, a libertine, a regular customer at
> brothels and contracted syphilis that caused his death it clearly did. As one biographer put it Schubert's
> illness was the illness that could not be named even to his friends. He was grossly immoral and decadent and
> this is inherent in his music.





> Chopin is not a great composer because he is a very limited composer.. He has often been portrayed as the delightful, dashing, handsome young man of the keyboard and as a perfect gentleman. Nothing could be further from the truth. He was an extreme dandy, a narcissist, a man with an outrageous temper, psychological
> problems, personality disorders and an overwhelming hatred of Jews.
> 
> It is always said that Wagner was anti-semitic and hated the Jews. As I have indicated in my essay on
> Wagner, his real problem was with Meyerbeer who was a Jew. In time of serious financial and other troubles
> Meyerbeer was an indefatigable help to Wagner and, latterly, Wagner resented being beholden 'to this Jew'.
> Yes, Wagner was racist.
> But Chopin was far worse. Meyebeer heard Chopin play some of his own mazurkas but he was playing
> them in four time and not in three time. When Meyerbeer pointed this out, Chopin flew into a rage and
> stormed out like a spoilt schoolgirl. In fact, his obvious effeminism was another of Chopin's weaknesses.


----------



## Vaneyes

Maybe you could find the truth about Dr. Wright's and MusicWeb's separation. I suspect that Dr. Wright pulled the plug on all his writings at that site, when they wanted to remove only the "negative" ones. Shame, because those and the many "positive" writings were valuable for online learning. Particularly, the less-known composers.

I like many of the works of Chopin, Britten, Elgar, and Britten, the four composers you say Dr. Wright crosses the line with. But I do enjoy reading something that adds to commonly held dimensions or perceptions...even though it might stir the pot a little more than some would like.

Saying something to the contrary about a composer, that's largely supported by evidence? I've read far worse here at TC, supported by nothing. That, my friend peeyaj, is what's commonly defined as a troll. With your snippets of Dr. Wright's writings, you may be confusing his colorful embellishing with history. 

I think Dr. Wright may have it right, when he says, "Some people would rather believe a beautiful lie than an ugly truth."

:tiphat:


----------



## Mahlerian

peeyaj said:


> What Britten thought of other composers:


You forgot Alban Berg, whose opera Wozzeck Berg imitated in Peter Grimes (which also has a direct lift from Mahler's Fifth).


----------



## peeyaj

Vaneyes said:


> M
> Saying something to the contrary about a composer, that's largely supported by evidence? I've read far worse here at TC, supported by nothing. That, my friend peeyaj, is what's commonly defined as a troll. With your snippets of Dr. Wright's writings, you may be confusing his colorful embellishing with history.
> 
> I think Dr. Wright may have it right, when he says, "Some people would rather believe a beautiful lie than an ugly truth."
> 
> :tiphat:


I think Dr. Wright would be a good music writer if:

1. He won't resort to personal and inflammatory attacks. (saying Chopin and Schubert only used women as *sex* objects)

2. Do not criticize if that composer did not align with his personal and moral beliefs.

3. Don't preach if he is holy than holier than though, like he did not make any mistakes on his life.

4. Have a good understanding on the history of that particular composer..

etc..

Whatever beef that Dr. Wright might have on those composers, at least he might have some *objectivity* inserted on his brains. :tiphat:

For a very objective biography of Britten (probably the best current available), why don't you read this:

http://www.amazon.co.uk/Benjamin-Britten-Life-Twentieth-Century/dp/1846142326


----------



## Neo Romanza

A complete works box set from Decca is out in Europe and awaits a release in the US. If I didn't already own most of these recordings I would definitely buy it:



















There's 66 CDs and look at that booklet and there's no telling what else is in this set.

Edit: Okay, maybe I wouldn't buy it. The price tag is too rich for my blood. Yikes.


----------



## Taggart

Peter Grimes on Aldeburgh beach. Drat I can't put the video up directly.


----------



## DeepR

Vaneyes said:


> Maybe you could find the truth about Dr. Wright's and MusicWeb's separation. I suspect that Dr. Wright pulled the plug on all his writings at that site, when they wanted to remove only the "negative" ones. Shame, because those and the many "positive" writings were valuable for online learning. Particularly, the less-known composers.
> 
> I like many of the works of Chopin, Britten, Elgar, and Britten, the four composers you say Dr. Wright crosses the line with. But I do enjoy reading something that adds to commonly held dimensions or perceptions...even though it might stir the pot a little more than some would like.
> 
> Saying something to the contrary about a composer, that's largely supported by evidence? I've read far worse here at TC, supported by nothing. That, my friend peeyaj, is what's commonly defined as a troll. With your snippets of Dr. Wright's writings, you may be confusing his colorful embellishing with history.
> 
> I think Dr. Wright may have it right, when he says, "Some people would rather believe a beautiful lie than an ugly truth."
> 
> :tiphat:


I've read some of those essays and they are very questionable to say the least. They are certainly not of academic quality and I wouldn't take them very seriously. His essays, especially the negative ones, are intentionally constructed to support his ridiculous notion that the character of a composer and the way a composer lived, says a lot about the quality of his music.

Yes, the basic information is supported by facts and proper sources, but all too easily facts are distorted and opinion is presented as fact. Basicly, some facts are simply copied from these sources, while other facts are bended and twisted, even if just a little... an exaggeration here, an unsupported claim there... but all is presented as hard truth. In reality, the sum of what he writes is very chaotic and distorted.


----------



## Novelette

This I can say about Benjamin Britten...

I'm a believer now.


----------



## Neo Romanza

Novelette said:


> This I can say about Benjamin Britten...
> 
> I'm a believer now.


This is great to hear, Novelette.  He certainly is one of the greatest composers of the 20th Century and one of my personal favorites.


----------



## KenOC

Novelette said:


> This I can say about Benjamin Britten...
> 
> I'm a believer now.


You're a Britten Belieber?


----------



## Novelette

KenOC said:


> You're a Britten Belieber?


I cannot, for the life of me, come up with a snappy riposte to that. I feel like a witticism is called for, but I cannot think of it now.

Britten, yes. "Belieber"... ewwww.

:lol:


----------



## TrevBus

Another VERY strong vote for: SINFORNIA DA REQUIEM. Simply put, an awe-inspiring work. I will also mention; The Symphonic Suite; GLORIANA. Moving and breath-taking.


----------



## Vaneyes

DeepR said:


> I've read some of those essays and they are very questionable to say the least. They are certainly not of academic quality and I wouldn't take them very seriously. His essays, especially the negative ones, are intentionally constructed to support his ridiculous notion that the character of a composer and the way a composer lived, says a lot about the quality of his music.
> 
> Yes, the basic information is supported by facts and proper sources, but all too easily facts are distorted and opinion is presented as fact. Basicly, some facts are simply copied from these sources, while other facts are bended and twisted, even if just a little... an exaggeration here, an unsupported claim there... but all is presented as hard truth. In reality, the sum of what he writes is very chaotic and distorted.


Are you denying or ignoring that the "exceedingly controversial" portion of Britten's life existed, or are you just saying you don't like the way Dr. Wright intimated or described parts of it?

I'd think that with all that's been written in anticipation of and lately for this special Britten year, that you could atleast agree with the sentiment of Michael Kennedy -- "The more one learns of Britten the man, the less one warms to him. But his music - that is something else!"

IOW understand that there is darkness, but don't judge a man's music by his character or morals.

I'd like to think that most classical music lovers give that thinking some consideration, otherwise they'll have relatively few composers to listen to. That's not to say these same folk can't, when all's said and done to their satisfaction, choose to embrace or ignore.

Re Dr. Wright, he seems to be the whipping boy of note--bad writing style, inflammatory. The latter, ironically, not too unlike Britten himself. Bending, twisting facts just a little? Well, do read on....

Britten's Children -

http://www.albraithwaite.com/alexanderwaugh/PAGES/reviews/04.htm

http://en.wikipedia.org/wiki/Britten's_Children

Britten's Boys -

http://www.guardian.co.uk/commentisfree/2012/nov/21/britten-boys-obsession-cannot-ignore

Storm Clouds Gather Over Aldeburgh -

http://www.overgrownpath.com/2012/11/storm-clouds-gather-over-aldeburgh.html

Why Are These Artists defending Pedophilia?

http://www.huffingtonpost.com/johann-hari/why-are-these-artists-def_b_372306.html

The Dark Side of Benjamin Britten -

http://www.spectator.co.uk/arts/arts-feature/8847791/the-great-hater/


----------



## DeepR

To be clear, my response was about the general impression I got from reading some of mr. Wright's essays. I read those of Chopin, Schubert, Scriabin and some others. I didn't read the one about Britten, nor do I know anything of this composer, but with the help of this topic that can change.


----------



## KenOC

"Benjamin Britten: THE BITTER WITHY"

A long and interesting discussion of Britten's music and life (mostly the life). Not all was sweetness and light...

http://mrsjohnclaggartssadlife.blogspot.com/2013/09/benjamin-britten-bitter-withy.html


----------



## senza sordino

I bought Serenade for Tenor, Horn and Strings in the summer, I can't stop listening to it, it's marvelous. Love that horn calling out. I've just finished listening to the violin concerto three times in a row. And later this season, the Vancouver Opera will be performing Albert Herring, I'm looking forward to seeing this. 

I had the chance to play his early work Simple Symphony. It's for strings only, and great to play. 

Britten is one composer I want to get to know more. I need to listen to the War Requiem.


----------



## Celloman

senza sordino said:


> I need to listen to the War Requiem.


Yes you do. I would suggest Britten's own rendition with the London Symphony. Sit down and listen to that thing. And that's an order.


----------



## KenOC

Celloman said:


> Yes you do. I would suggest Britten's own rendition with the London Symphony. Sit down and listen to that thing. And that's an order.


And turn the volume up smartly!


----------



## DavidA

senza sordino said:


> I bought Serenade for Tenor, Horn and Strings in the summer, I can't stop listening to it, it's marvelous. Love that horn calling out. I've just finished listening to the violin concerto three times in a row. And later this season, the Vancouver Opera will be performing Albert Herring, I'm looking forward to seeing this.
> 
> I had the chance to play his early work Simple Symphony. It's for strings only, and great to play.
> 
> Britten is one composer I want to get to know more. I need to listen to the War Requiem.


Must confess I am selective in what I like in Britten's music. Serenade and War Requiem. Plus the Sea Interludes from Grimes and the Cello Symphony.

Britten's performance of the Requiem still sounds astonishing despite its age.


----------



## KenOC

DavidA said:


> Must confess I am selective in what I like in Britten's music...


Your taste coincides with mine. But I *do* listen to the Young Person's Guide when I don't think anybody's paying attention.


----------



## Couac Addict

KenOC said:


> Your taste coincides with mine. But I *do* listen to the Young Person's Guide when I don't think anybody's paying attention.


That's why I watch films like Moonrise Kingdom...nobody knows I'm just listening to the music.


----------



## Vaneyes

Knussen speaks on *Britten*.

http://www.theguardian.com/music/2013/nov/15/when-oliver-knussen-benjamin-britten


----------



## elgar's ghost

The 2010 Glyndebourne production of Billy Budd is on BBC4 right now. And with reasonably accurate period costume - hoorah!


----------



## Neo Romanza

A fascinating documentary about Britten's last years:


----------



## Reinhold

His _Serenade for Tenor, Horn, and Strings_ is a fantastic piece for an unusual combination of instruments.


----------



## KenOC

Reinhold said:


> His _Serenade for Tenor, Horn, and Strings_ is a fantastic piece for an unusual combination of instruments.


Possibly Britten's finest work. But there are plenty of others.


----------



## Lunasong

This past week I attended a college performance of _Rejoice in the Lamb_ Op. 30 which I enjoyed very much. Extensive program notes were provided (6 pages long included all the text [poet: Christopher Smart] and explanation with each movement). The program notes enhanced my appreciation of the piece.

The notes conclusion:

_Rejoice in the Lamb's_ carefully rationed verbal and musical resources result in great beauty. From lunatic verse it finds a way to teach its listeners to magnify the Lord, to dance even when you feel crippled, to treasure poetry above all other language, and to remember that all voices are enlisted in the blessed intelligence of heaven!


----------



## Neo Romanza

KenOC said:


> Possibly Britten's finest work. But there are plenty of others.


One of Britten's finest works. Yes, there are plenty of others. Truly a 20th Century giant.


----------



## elgar's ghost

I love the texts to this work. In an age when cruelty to animals was generally accepted and mental foibles receiving little sympathy or understanding I find Smart's gentle assertion that animals are no less worthy than humans quite moving and the man himself probably having a far more pleasing disposition than those of the people who approved and then supervised his incarceration.


----------



## Lunasong

^^ Yes anyone writing a verse in honor of his cat is worthy in my book.

_For I will consider my cat Jeoffry
For he is the servant of the living God,
duly and daily serving him.

For at the first glance
of the glory of God in the East
he worships in his way.
For this is done by wreathing his body
seven times round with elegant quickness.
For he knows that God is his saviour.
For God has bless'd him
in the variety of his movements.
For there is nothing sweeter
than his peace when at rest.

For I am possessed of a cat,
surpassing in beauty,
from whom I take occasion
to bless Almighty God._

The lines describing Smart's cat, Jeoffry, his only completely devoted companion, are a demonstration of how each closely observed feline act may be taken as part of the cat's "divine ritual of praise." The organ accompaniment of this section has a obbligato line that appears to mimic the play of a cat--languid, with dashes of brilliance and feisty zest.


----------



## Vaneyes

Russia and *Britten*.

http://www.theguardian.com/music/2013/dec/12/russia-benjamin-britten-centenary-death-in-venice


----------



## Lunasong

I was thrilled to find out today that our chorus and orchestra will be performing the _War Requiem_ in March 2015.


----------



## Averildavies

My father Ronald Finch worked closely with Britten and Tippet, and his draughtsmanship of the score of "Curlew River " was very highly praised.I recall meeting Benjamin Britten many times as a child,wonderful memories.


----------



## science

Britten's in the news again: http://www.newrepublic.com/article/116325/benjamin-britten-great-composer-small-ambitions


----------



## hpowders

Hey Benji. Regards from Slava! Anyhow, it's a shame more folks aren't yet familiar with your Peter Grimes and the devastating War Requiem.
They would elevate your status in a hurry!

Regards from the New World!
hpowders


----------



## KenOC

science said:


> Britten's in the news again: http://www.newrepublic.com/article/116325/benjamin-britten-great-composer-small-ambitions


Read the article. About half interesting, half BS. "Some of his thorniest music, such as the Cello Symphony, from 1963, only makes sense if you listen intently to the musician for whom it was composed, Rostropovich, playing it on a Decca recording from 1964. No other cellist can make any sense of it."

Oh yeah? :lol:


----------



## hpowders

The Young Person's Guide to the Orchestra. Remember that? I remember being fascinated by that Britten piece on a theme by Henry Purcell as a kid.


----------



## emiellucifuge

Lunasong said:


> I was thrilled to find out today that our chorus and orchestra will be performing the _War Requiem_ in March 2015.


We are performing the War Requiem next weekend in Winchester Cathedral! Ive been privileged enough to act as assistant conductor during the preparations.


----------



## Morimur

I've begun to familiarize myself with this great, great composer. I have quite a few of his works but had never given them due attention. As we speak, I am listening to _The Burning Fiery Furnace, Op.77_ and what a work it is! I must admit that I can be quite biased against tonal composers but Britten's music is simply too damn good to ignore; it is a force of nature that defies musical categorization.

_Please share your thoughts on Britten. All critiques are welcome, positive and negative alike._


----------



## hpowders

Peter Grimes and War Requiem conducted by the composer are mandatory as far as I'm concerned.


----------



## Morimur

hpowders said:


> Peter Grimes and War Requiem conducted by the composer are mandatory as far as I'm concerned.


Hear, hear! Hear, hear!

_I had to add that extra one because this damn thing deemed it too short._


----------



## science

This thread can go on with its own momentum, but eventually it will probably be merged with this one: http://www.talkclassical.com/2784-benjamin-britten.html


----------



## Morimur

science said:


> This thread can go on with its own momentum, but eventually it will probably be merged with this one: http://www.talkclassical.com/2784-benjamin-britten.html


Oh, fantastic. I did a search before posting and found nothing. Woe unto me.


----------



## science

Lope de Aguirre said:


> Oh, fantastic. I did a search before posting and found nothing. Woe unto me.


No problem! The search function doesn't work very well, and the index is evidently an eschatological concept. But here is a draft of it: http://www.talkclassical.com/2541-opened-also-important-update-3.html#post433752


----------



## Morimur

Bach said:


> Britten pales next to Tippett.


Britten's music was tightly disciplined, never a note out of place, its topics timeless yet always contemporary, its resonance global. Tippett's scores sprawled all over the page, his themes were vague and parochial, his style archaic or contrived. Highly trained German musicians, exiled in Britain, were aghast at the sloppiness of his structure, likening him to a poet who cannot make lines balance or scan. Even sworn admirers, like the composer Michael Berkeley who presents BBC4's tribute, admit that his music 'does not trip off the page'. On the contrary, it trips over itself. When Adrian Boult premiered Tippett's second symphony on live radio, the performance broke down in confusion after a couple of minutes.

_-Norman Lebrecht / December 22, 2004_

*I concur.*


----------



## Morimur

science said:


> No problem! The search function doesn't work very well, and the index is evidently an eschatological concept. But here is a draft of it: http://www.talkclassical.com/2541-opened-also-important-update-3.html#post433752


Well, merge away. Thanks for the heads-up.


----------



## science

Lope de Aguirre said:


> Well, merge away. Thanks for the heads-up.


Oh, they'll never let me be a moderator (the membership would decline rapidly) but the mods will do it for us! Anyway, we can share our thoughts here, like this:

For me _Peter Grimes_ is the one essential Britten work. Of course I'm not a huge fan of Britten, but _Peter Grimes_ and the _War Requiem_ are two of my favorite works of all time.


----------



## Morimur

Listening to _Curlew River_. What a beauty. I think I've fallen in love with Britten's work.


----------



## elgar's ghost

Lope, have you got The Burning Fiery Furnace separately or as part of a larger Britten box set (I don't know of any other recordings except for the one that Britten personally oversaw). I wish this and the Britten recording of The Prodigal Son would be reissued at mid-price.

You can't really go wrong with any of his vocal works - he was a fantastic writer for voice and choir.


----------



## Morimur

elgars ghost said:


> Lope, have you got The Burning Fiery Furnace separately or as part of a larger Britten box set (I don't know of any other recordings except for the one that Britten personally oversaw). I wish this and the Britten recording of The Prodigal Son would be reissued at mid-price.
> 
> You can't really go wrong with any of his vocal works - he was a fantastic writer for voice and choir.


As part of a larger box set. I'd like to simply purchase the complete Britten on Decca, but it has a hefty price tag. I'll relent at some point, I am sure.


----------



## hpowders

Lope de Aguirre said:


> Hear, hear! Hear, hear!
> 
> _I had to add that extra one because this damn thing deemed it too short._


Nah! You didn't have to. Simply space the last word 5-6 spaces to the right. It fools the gizmo into thinking you wrote enough.


----------



## MagneticGhost

Are you Sure



Yay it works


----------



## hpowders

Yes it does!

We have to stay one step ahead of the technology.

It's them or us!


----------



## Morimur

Listening to *'Noye's Fludde'*. Masterful.


----------



## Vaneyes

I was inspired by these latest posts to a "dedicated listening" of the Csaba BIS CD. Thank you, folks. "Frank Bridge Variations" is a favorite, and I really think Csaba found some special things in it. I'd never heard of Csaba before purchasing this CD, more than several years ago. So many unsung heroes in the world of CM. I've always said, if an individual can produce just one thing for my collection, he/she's my hero. That did it. I'm getting misty-eyed.


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## chalkpie

Don't really know Britten at all, but I'm always looking for another great unknown. Right now I'm riding a pretty huge Vaughan Williams wave, so go UK. Everton vs. Southampton too tomorrow. 

Give me three pieces that will blow my mind (I have Spotify to check these out). Thanks.


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## KenOC

chalkpie said:


> Give me three pieces that will blow my mind (I have Spotify to check these out). Thanks.


1. Serenade for Tenor, Horn and Strings
2. Young Person's Guide to the Orchestra (music only)
3. Cello Symphony (difficult for most, at first)

If you like choral music, War Requiem. Read up a bit on its form first.


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## musicrom

chalkpie said:


> Don't really know Britten at all, but I'm always looking for another great unknown. Right now I'm riding a pretty huge Vaughan Williams wave, so go UK. Everton vs. Southampton too tomorrow.
> 
> Give me three pieces that will blow my mind (I have Spotify to check these out). Thanks.


Don't know if it will blow your mind, but I like his Simple Symphony.


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## Blancrocher

chalkpie said:


> Give me three pieces that will blow my mind (I have Spotify to check these out). Thanks.


There are 3 very fine works on that album Vaneyes just mentioned, to which I am currently listening--at the moment, I'm enjoying Csaba's beautiful, soulful interpretation of the Bridge Variations. Many thanks for the mention of it!

I'll recommend Britten's "Nocturnal on a Theme by Dowland" for guitar, especially on this album by Julian Bream:









It's my favorite of Britten's solo instrumental works, though his cello suites are also amazing. Other interesting works on the album by Lutoslawski, Frank Martin, Leo Brouwer, and Takemitsu.

I enjoy the entirety of Britten's oeuvre--happy listening!


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## arpeggio

chalkpie said:


> Don't really know Britten at all, but I'm always looking for another great unknown. Right now I'm riding a pretty huge Vaughan Williams wave, so go UK. Everton vs. Southampton too tomorrow.
> 
> Give me three pieces that will blow my mind (I have Spotify to check these out). Thanks.


My recommendations would be:

1. _Sea Interludes and Passacaglia from Peter Grimes_
2. _Sinfonia da Requiem_
3. _Les Illuminations_ for soprano or tenor and strings


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## PetrB

Lope de Aguirre said:


> Listening to _Curlew River_. What a beauty. I think I've fallen in love with Britten's work.


Lovely score: magical theater piece.


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## hpowders

^^^^Wow!! A pithy post!! My protégé! :tiphat:


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## MagneticGhost

What most have already said
But to add

A Ceremony of Carols is bit gorgeous.

The Three suites for cello are exemplary.


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## hpowders

I saw Peter Grimes twice at the Met back when Jon Vickers sang the title role.
Also saw Billy Budd there too. Memorable.

The guy could write accessible colorful, moving music.


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## Vaneyes

*Pithy* certainly doesn't sound like its meaning.


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## science

How about Variations on a Theme of Frank Bridge? 

Not his most popular work but I like it.


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## Dirge

_Lachrymae_ "Reflections on a song of Dowland" Op. 48a (for viola and strings)
:: Power, Volkov/BBC Scottish SO [Hyperion]

This seamless, mostly hushed and eerie set of variations & theme lurks in the nether frequencies and dynamics, with the soloist (viola) deviously making his way through the hushed orchestral shadows like an escaped leper trying to avoid the sun while eluding the CDC. The atmosphere is one of strange harmonies in a ghostly orchestral cloak until the music intensifies and builds to a climax near work's end; as the climax fades out and the music dissolves, the harmonies insidiously organize and coalesce into a sort of harmonic normalcy and the beautiful Dowland theme ("If my complaints could passions move") magically emerges in its original form for the first time, the viola and strings sounding together rather like a large viol consort-one of the most goosebump-inducing, "Ahhh"-inspiring moments in all of Britten. Theme & variations in reverse, then.

_Lachrymae_ was originally written for viola & piano in 1950; the piano part was arranged for small string orchestra (with no first violins) in 1976. I've always much preferred this later arrangement to the original, good as it is in its way. I've heard several other recordings of this dark and elusive work over the years, but I don't recall liking the work nearly as much as I do via this performance, what with its beautifully sustained tension and atmosphere throughout and beautifully unaffected presentation of the Dowland theme at work's end-and the recorded sound is excellent to boot. Power plays with great style and authority throughout and builds the climax with unmatched dramatic sense, making the transformation to the peaceful Dowland theme all the more effective.


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## starthrower

chalkpie said:


> Don't really know Britten at all, but I'm always looking for another great unknown. Right now I'm riding a pretty huge Vaughan Williams wave, so go UK. Everton vs. Southampton too tomorrow.
> 
> Give me three pieces that will blow my mind (I have Spotify to check these out). Thanks.


I don't know a lot of Britten, either. But I like this CD.










Also like the violin concerto.


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## Blancrocher

Dirge said:


> and the beautiful Dowland theme ("If my complaints could passions move") magically emerges in its original form for the first time, the viola and strings sounding together rather like a large viol consort-one of the most goosebump-inducing, "Ahhh"-inspiring moments in all of Britten. Theme & variations in reverse, then.


Such an amazing moment. He does a similar trick in his Dowland Nocturnal for guitar, which is btw probably my personal favorite of his instrumental works.

Thanks for the write-up--wonderful!


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## Guest

For comparison with the original :
a) 



b) 



c) 



d)


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## starthrower

Neo Romanza said:


> A complete works box set from Decca is out in Europe and awaits a release in the US. If I didn't already own most of these recordings I would definitely buy it:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> There's 66 CDs and look at that booklet and there's no telling what else is in this set.
> 
> Edit: Okay, maybe I wouldn't buy it. The price tag is too rich for my blood. Yikes.


The contents are also available in several individual boxes. Operas, Vocal, Instrumental, Stage & Screen. And Presto Classical has very low prices on these through Jan 21st. For example: Complete Operas 20 CD set for 40 dollars.


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## Avey

starthrower said:


> Also like the violin concerto.


*Love *Jansen's rendition of his concerto. Simply, she gets it.


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## MoonlightSonata

The Ceremony of Carols is wonderful. _This Little Babe_ is particularly clever.


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## hpowders

You haven't heard Britten until you've heard Peter Grimes. The War Requiem wouldn't hurt either.:tiphat:


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## starthrower

hpowders said:


> You haven't heard Britten until you've heard Peter Grimes. The War Requiem wouldn't hurt either.:tiphat:


I recently listened to both. I wasn't knocked out by the requiem, but I really enjoyed Peter Grimes.


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## Guest

How do you lot like the three church parables? I find them more entertaining than some of his operas. Actually, I find most of his late works to be pretty "underrated". The librettos for the parables, being shorter, are a little more straight-forward than many of the opera librettos, and I enjoy the specific ensemble he chose for them... lots of juicy solo horn parts and a good bit of organ too!

I also listened to Death In Venice for the first time last week. I enjoyed it, but I found that the story didn't seem to pick up much until the second act. Thus far I definitely enjoy Turn Of The Screw more on many levels, but it's always good to have him back in a full orchestral setting.


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## elgar's ghost

nathanb said:


> How do you lot like the three church parables? I find them more entertaining than some of his operas. Actually, I find most of his late works to be pretty "underrated". The librettos for the parables, being shorter, are a little more straight-forward than many of the opera librettos, and I enjoy the specific ensemble he chose for them... lots of juicy solo horn parts and a good bit of organ too!
> 
> I also listened to Death In Venice for the first time last week. I enjoyed it, but I found that the story didn't seem to pick up much until the second act. Thus far I definitely enjoy Turn Of The Screw more on many levels, but it's always good to have him back in a full orchestral setting.


Big fan of Curlew River - a clever transposition from a Noh play to the bleak flatlands of East Anglia. The instrumentation is sparse but extremely effective - Britten was without doubt one of the most imaginative composers when writing for percussion (as was Orff). I haven't heard either The Burning Fiery Furnace or The Prodigal Son but they seem to be held in equally high regard.

As regards Death In Venice, I'd without hesitation put it among his top three operas along with Turn of the Screw and Peter Grimes.


----------



## Guest

elgars ghost said:


> Big fan of Curlew River - a clever transposition from a Noh play to the bleak flatlands of East Anglia. The instrumentation is sparse but extremely effective - Britten was without doubt one of the most imaginative composers when writing for percussion (as was Orff). I haven't heard either The Burning Fiery Furnace or The Prodigal Son but they seem to be held in equally high regard.
> 
> As regards Death In Venice, I'd without hesitation put it among his top three operas along with Turn of the Screw and Peter Grimes.


I did The Prodigal Son while doing some homework so it didn't make as big an impression for mostly that reason. But also, I think I've analyzed the parable from every which way in my past for personal, religious, and intellectual reasons, so it would be hard for any musical work to capture it's full meaning for me. The Burning Fiery Furnace was a more attentive listen and I loved it. All around though, they seemed to be consistent in quality.

I'm just wrapping up my first listen of The Prince Of The Pagodas. I'll go out on a limb here and say it's another underrated work. I was skeptical at first because, despite the strength of the music, I find longer ballets to be difficult and often bloated. However, once the second act rolled in with the gamelan influence in full force, I was immediately convinced.

Edit: Turn Of The Screw and Peter Grimes are the only two Britten operas I had before this Death In Venice listen. But I'd be curious to know where you rank A Midsummer Night's Dream. Given my current preference for later Britten, that's probably the next Britten opera I'd want to hear.


----------



## elgar's ghost

nathanb said:


> Edit: Turn Of The Screw and Peter Grimes are the only two Britten operas I had before this Death In Venice listen. But I'd be curious to know where you rank A Midsummer Night's Dream. Given my current preference for later Britten, that's probably the next Britten opera I'd want to hear.


AMN'sD is a fine work, but in my view it helps to know the basics of the story first in order to appreciate the fact there are three separate groups of characters at work (fairies, four lovers, players/rustics) who have their own musical identities, that the players/rustics operate on a parallel play-within-a-play basis, and also the farce/misunderstanding element of the story which is provided by the squeezing the magic juice (essentially a love philtre) onto the wrong eyes (Lysander's) or out of mischief (Tytania's). Britten manages to effortlessly evoke the enchanted/supernatural nature of the work by imaginative use of his forces and also makes the music operate on different emotional levels to enhance the unwitting nature of the interaction of the three particular groups.

Out of the strictly operatic works of Britten's that I have (exceptions being Paul Bunyan and Owen Wingrave) I would place it below Death in Venice, A Turn of the Screw, Peter Grimes and Billy Budd which gives it fifth place - obviously I prefer the grimmer stuff heh heh...


----------



## hpowders

I've enjoyed seeing Billy Budd live at the Met. I have the composer's recording and it is simply devastating.


----------



## elgar's ghost

hpowders said:


> I've enjoyed seeing Billy Budd live at the Met. I have the composer's recording and it is simply devastating.


I wanted that some time ago but it was too expensive so eventually I settled for the four-act version on Erato conducted by Nagano. I'm glad I managed to get some of the recordings of Britten's operas which were conducted by the man himself.


----------



## pierrot

With my thoroughly limited imagination for describing music (and not knowing if those albums have been mentioned before in this thread) I will only suggest these recordings here (emphasis on the Vol. 2).


----------



## elgar's ghost

pierrot said:


> With my thoroughly limited imagination for describing music (and not knowing if those albums have been mentioned before in this thread) I will only suggest these recordings here (emphasis on the Vol. 2).


They're the ones I have of the 'official' quartets, and yes, the 3rd especially is Britten at the top of his game. I love the quartet version of the Simple Symphony, too.


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## hpowders

elgars ghost said:


> I wanted that some time ago but it was too expensive so eventually I settled for the four-act version on Erato conducted by Nagano. I'm glad I managed to get some of the recordings of Britten's operas which were conducted by the man himself.


I have C. Davis and Britten in Peter Grimes. I prefer the Britten with Pears.


----------



## Lunasong

Here's a commentary I wrote for our upcoming performance of _War Requiem._ Keith Lockhart will be our guest conductor.

War Requiem - Benjamin Britten (1913 - 1976)

_My subject is War, and the pity of War. The poetry is in the pity. All a poet can do is warn._
Wilfred Owen

In 1958, Benjamin Britten, at the time arguably England's greatest living composer, was commissioned to write a work to celebrate the consecration of the rebuilt St. Michael's Cathedral in Coventry. The original building had been destroyed by the Luftwaffe in a World War II bombing raid. Britten, a life-long and noted pacifist, utilized nine poems written by Wilfred Owen, a World War I soldier killed in combat one week before the Armistice, combined with the traditional Latin text for the Mass for the Dead. The War Requiem is a decidedly anti-war piece that premiered in 1962: a bold statement in a time when the Cold War was heating up, tensions were escalating in Berlin, Cuba, and Vietnam, and people still trusted what their governments told them.

Britten scored his work for tenor, baritone, and soprano soloists, a chamber orchestra, full choir and main orchestra, and a boys' choir and organ. The performers are divided into three distinct planes. The most personal are the tenor and baritone soloists, singing the Owen texts, and the chamber orchestra, who portray the victims of war. One level removed is the orchestra and chorus, depicting the mass. The soprano soloist adds color to the voices of the chorus, but their Latin singing is less personal than that of the male soloists. Finally, the boys' choir and organ present a sound that is ethereal, but removed in both physical and emotional space.

Britten creates a disturbing mood throughout the piece with liberal use of tri-tones (the devil's interval), dissonance, and innovative use of traditional tonal structures. Movements of the work range from aleatory angel choruses to sarcastic rejoinders where the chorus has been instructed to hiss like devils. As I've been in rehearsal for this performance, I get the impression that Britten is not only portraying the horror of war for soldiers and civilians, but the battle of angels and demons for the very souls, both the living and the dead, of those who fought. However…

"The real grace and the real heart-stopping evil, was right inside the human mind." _Good Omens_, Gaiman and Pratchett, 1990

Britten, like other Europeans, was never far removed from the horror of war during his lifetime. The tensive composition of this piece highlights an imperative continuing need to effectively address human fears and misunderstandings that originally give rise to conflict. War Requiem is a protest and warning that, at the same time, becomes a fervent prayer for peace.

For an interesting musical analysis of the War Requiem:

https://www.its.caltech.edu/~tan/Britten/req1.html


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## hreichgott

^ Beautiful commentary lunasong!
The Requiem is very apt for today, as well as for its own time.
(One tiny thing, the poet is Owen not Owens isn't he?)
Have a wonderful performance.


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## MoonlightSonata

Wow! What a lovely commentary!
Enjoy the performance


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## Albert7

I really enjoy the War Requiem in the philosophical sense... it's rather depressing however to listen to.


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## Lord Lance

albertfallickwang said:


> I really enjoy the War Requiem in the philosophical sense... it's rather depressing however to listen to.


Oh my. The libretto to War Requiem was just sheer joy to read. We need more War Requiem and less religious works. More operas to be written like this and less happy endings. What's the fun in a happy-go-lucky vocal work anyway?

Winterreise has my approval.


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## hpowders

The pacifist poems be Wilfred Owen are devastating!


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## Lord Lance

hpowders said:


> The pacifist poems be Wilfred Owen are devastating!


I am assuming the suggestion was for me. Thank you very much, dear HPowders. These sort of poem hold your attention.

Rule of thumb - More death = more fun [No, not in the socio/psychopathic manner]


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## hpowders

Lord Lance said:


> I am assuming the suggestion was for me. Thank you very much, dear HPowders. These sort of poem hold your attention.
> 
> Rule of thumb - More death = more fun [No, not in the socio/psychopathic manner]


Yes. Too bad more folks aren't familiar with Britten's great War Requiem. Given the state of the world, this devastating plea will never go out of fashion.


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## Lord Lance

hpowders said:


> Yes. Too bad more folks aren't familiar with Britten's great War Requiem. Given the state of the world, this devastating plea will never go out of fashion.


Well, as long as y'all human's negative bias remains, War Requiem will remain a staple of orchestras all round the world. [British at least].


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## hpowders

Lord Lance said:


> Well, as long as y'all human's negative bias remains, War Requiem will remain a staple of orchestras all round the world. [British at least].


Don't look at me. I'm a pacifist!


----------



## Lunasong

hreichgott said:


> (One tiny thing, the poet is Owen not Owens isn't he?)


Thanks, this is why I need an editor. Taggart has fixed the post for me.


----------



## Albert7

We must not forget how great a conductor Britten was and that of his own works... instrumental and operas.

I have two box sets from Decca that are a testament to his great conducting abilities... to envision his own compositions here.


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## Lord Lance

Britten was a fantastic conductor. Immensely talented.


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## Albert7

Lord Lance said:


> Britten was a fantastic conductor. Immensely talented.


Yes and his work with Peter Pears is definitely an unparalleled legacy in the world of opera that's for sure... I am going to have to explore this much further that much indeed.


----------



## Dirge

_Lachrymae_, "Reflections on a song of Dowland" Op. 48 (1950) 
:: Esther Apituley, viola & Rië Tanaka, piano [Challenge '04]
https://play.spotify.com/album/2WxnRviPvMOIfDIUSDjT8j 
:: Krzysztof Chorzelski, viola & Katya Apekisheva, piano [Champs Hill, '10]
https://play.spotify.com/user/jr5280/playlist/5A9yG7NCIII4AFqZoDUVqg

_Nocturnal_ after John Dowland, Op. 70 (1963)
:: Julian Bream, guitar [RCA '66]
https://play.spotify.com/album/2Wlco48Cj58sbzcKauQ616 (CD12, track 5)

_Lachrymae_ and _Nocturnal_ are not far removed from each other in scheme or spirit: each work begins with a variation in search of a Dowland theme, each work makes its way through a variety of variations before eventually finding its theme at work's end-"If my complaints could passions move" in the case of _Lachrymae_, and "Come, heavy sleep" in the case of _Nocturnal_-and each work explores and plays up the most uneasy/troubling/disturbing aspects underlying its respective Dowland song. The melancholy _Lachrymae_ seamlessly skulks and morphs its way through Britten's shadowy and eerie variations, while the sleepily schizophrenic _Nocturnal_ treads the precipitous ridge between wake and sleep, between tonal and modal, like Scarbo on Quaaludes, mercurially slipping into and out of variations as it goes.

Anyhow, I visited my friendly neighborhood Spotify to catch up on recordings of these curious, if not dubious, works. None of the new-to-me _Nocturnal_ recordings I listened to bowled me over, and I retain my allegiance to the venerable old Julian Bream recording on RCA, but two of the _Lachrymae_ recordings caught and held my attention: Chorzelski & Apekishiva give as compelling a mainstream performance of the work as I've heard, taking a savvy, beautifully conceived interpretation and not so simply executing the hell out of it. Apituley & Tanaka, on the other hand, take the road less traveled, adopting a dangerously slow tread and holding everything together with fearsome focus and concentration throughout; if that suggests playing that's nervous and edgy, then prepare to be confounded by suavely sovereign, larger-than-life playing that's as effortlessly imposing as it is scary. I still tend to favor Britten's 1976 arrangement of _Lachrymae_ for viola & strings (Op. 48a), especially as heard in the superb Power/Volkov/BBC Scottish SO recording [Hyperion '11], but these two performances make an undeniably compelling case for the original.


----------



## Avey

I just purchased a DVD of Britten's three quartets, performed by the Belcea Quartet, recorded live June 2014 in Paris. I rarely write recording reviews, or DVDs for that matter, but I thought I should share with all the Britten fans here.

Without a doubt, these are the best performances of Britten's quartets I have heard. And I would even go further and say this is one of the best performances of _chamber music_ that I have _ever_ heard.

The sound is fantastic, foremost, so no issues there. The filming is ideal, as well. No lingering, no constant slow-zoom-in. Very much keeps the visual aspects at their most basic, to highlight the music.

And wow, the music. I have always been partial to the first quartet for its particular spirit -- the highs and the lows. There is something nascent, yet aged in the music. A great balance (and rotation) between total calm and quirky spontaneity. Belcea seizes upon this dichotomy. The group absolutely makes this piece come to life. The performance is incredibly intense, and I truly loved how they drew out the opening and andante, but naturally turn toward a fervent, almost savage finale. I found myself standing up by the end. And with only like 20 people in that crowd, they should have too!

Admittedly, I find the latter two quartets less precise than the first performance, but again, still one of the best I have heard overall. Corina Belcea, first violinist, is my new favorite.

Get get it!


----------



## Steatopygous

Lord Lance said:


> Britten was a fantastic conductor. Immensely talented.


Yes, and a damn-fine pianist too. Tremendous accompanist for Pears (Winterreise) and great 4-hands stuff with Sviatoslav Richter. I've come to this rather late, but I hope someone mentioned he wasn't a bad composer.
(Actually I read the first 6 pages, so I know they did.)


----------



## miroirs

I much prefer his later stuff as opposed to his earlier stuff. For example, I love his fresh sounding War Requiem and Billy Budd etc. but his earlier stuff sounds far too classical.


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## starthrower

Steatopygous said:


> Yes, and a damn-fine pianist too. Tremendous accompanist for Pears (Winterreise) and great 4-hands stuff with Sviatoslav Richter. I've come to this rather late, but I hope someone mentioned he wasn't a bad composer.
> (Actually I read the first 6 pages, so I know they did.)


I find his piano concerto to be light weight. As opposed to his violin concerto, which is a major work.


----------



## Avey

This may come off as naive and silly (which it is), but I just watched *Peter Grimes* for the first time through. Peter Pears, BBC production, 1969, Decca.

I have a lot of thoughts on it. Some of it personal and intimate. Nonetheless, if I may scrunch it all up into a few words, into a tight explosive thing ready to erupt: 
*GorgeousMORESEAandNIGHTMUSICplease!IsolationStruggleInvigoratingFUGUEPASSACAGLIAetcWHEREisMYHARBOUR?WHEREisTHEHARBOUR*


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## Avey

Doing nothing but listening to the cello suites for the past two months (not literally, but feels like it).


----------



## Pugg

Okay, enjoy them, up to the next try his requiem.


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## Blancrocher

Avey said:


> Doing nothing but listening to the cello suites for the past two months (not literally, but feels like it).


Are you also interested in the Nocturnal after John Dowland? It's my favorite of his solo instrumental works. Julian Bream's performance on his "Nocturnal" is the one to hear:


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## Nate Miller

yea, the Bream recording is pretty much the gold standard of the Nocturnal. The original vinyl came out in the early 70s. I've had it in my records forever.


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## starthrower

Nocturnal Bream? Nice play on words! Will have to pick up a copy.


----------



## Nate Miller

I saw Julian Bream play the Nocturnal back when I was in college, around 1985 I think. I picked up a copy of the score after hearing him perform that piece all those years ago in the hopes that I myself might perform it someday before I die.

I'm in my early 50s now, ....so I'm still in with a chance! :lol:


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## Barbebleu

Nate Miller said:


> yea, the Bream recording is pretty much the gold standard of the Nocturnal. The original vinyl came out in the early 70s. I've had it in my records forever.


They only recently re-released this on cd. My vinyl copy is just about worn through.


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## Nate Miller

yes, I saw a CD of it finally not too long ago. The EMI Classics record above does have the Nocturnal and the Martin Quatre Pieces Breves (which are also really interesting modern guitar music), but all the rest of the cuts are different.


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## Barbebleu

Nate Miller said:


> yes, I saw a CD of it finally not too long ago. The EMI Classics record above does have the Nocturnal and the Martin Quatre Pieces Breves (which are also really interesting modern guitar music), but all the rest of the cuts are different.


The Henze and Brindle pieces are excellent too. This album was my introduction to modern classical guitar compositions.


----------



## ronaldgeorge

hpowders said:


> I saw Peter Grimes twice at the Met back when Jon Vickers sang the title role.
> Also saw Billy Budd there too. Memorable.
> 
> The guy could write accessible colorful, moving music.


I grew up (musically) listening to the Vickers recording of Peter Grimes. I don't normally listen to complete recordings of opera, but this work is a great achievement IMO. Many are familiar with the interludes, but the brilliance of Britten shines throughout. It's my favourite work of his.


----------



## hpowders

ronaldgeorge said:


> I grew up (musically) listening to the Vickers recording of Peter Grimes. I don't normally listen to complete recordings of opera, but this work is a great achievement IMO. Many are familiar with the interludes, but the brilliance of Britten shines throughout. It's my favourite work of his.


I saw Vickers do Peter Grimes at the Met. I was so impressed, I saw it again, same season!


----------



## Avey

These two sets from Warner Classics are amazing; just lovely to put it in the CD player and let the catalogue roll along over so many nights.


----------



## PlaySalieri

OK - think I could be going places with Britten's works.
Listened to a phenomenal violin concerto on the radio 2 days ago - not knowing who the composer is - and feeling - this is a major work of the 20thC - at end revealed to be Britten's VC - Daniel Hope playing live.
Such an interesting work - any recommendations for a fine recording?


----------



## Avey

stomanek said:


> Such an interesting work - any recommendations for a fine recording?


I think Janine Jansen's performances/recordings of it are just fantastic.


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## Pugg

> Such an interesting work - any recommendations for a fine recording?


Frank Peter Zimmermann made also a stunning recording on Sony.


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## Barbebleu

I have the ones by Ida Haendel (1977) Lydia Mordkovich (2001) and Vilde Frang (2016). Love all three of them but if forced to pick one it would be Ida Haendel. The Frang is coupled with the Korngold, Mordkovich with Shostakovich and the Haendel with Walton. So the answer really is get all three for the excellent couplings.


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## starthrower

Pugg said:


> Frank Peter Zimmermann made also a stunning recording on Sony.


That's my pick! A stronger performance all around than the Ida Haendel. Plus you get the Szymanowski concertos as well. But the Haendel performance comes with that EMI (now Warner) box pictured above, which is a great set for very little money.


----------



## Janspe

stomanek said:


> Such an interesting work - any recommendations for a fine recording?


I'm happy to hear that you've discovered the piece - I think it's one of the best violin concertos in the repertoire, and it should be played more often. I managed to hear it live a few years ago, played by the violinist Simone Lamsma, but unfortunately I was sitting quite far away from the stage so the intensity of the solo writing (especially in the finale) didn't quite reach me. Anyway, Janine Jansen made a pretty good recording of the work, as Avey mentioned earlier on this thread.

PS. Can we all take a moment to appreciate the fantastic bit in the second movement where the tuba and flutes have a quick little dialogue? It's so weird...


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## Composer Kid

Britten is a very special composer to me. I remember hearing War Requiem for the first time and being absolutely drawn into its sparseness. It opened up a world of possibilities. I have draped over the score of Peter Grimes for hours, pinpointing the subtleties of his Harmony and orchestration. It's all so simple yet so unlike anyone else... a true gem.


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## Guest002

When I was a student at Cambridge, one summer holiday I got the notion that I could take a quick trip to Aldeburgh and pay Peter Pears a visit. So I wrote to him, asking if that would be acceptable. I hadn't reckoned with the Suffolk transport system: from memory, I had to bike to Cambridge railway station, travel to Liverpool Street in London, catch the Ipswich train from there, then a branch line service to Saxmundham and then bike from there to the Aldeburgh Golf Course (which I missed at first try) and finally up the lane to the Red House. I had packed my vocal score of the War Requiem with me, intending to ask for an autograph... but I lost my nerve and never did ask. Instead, I was just overwhelmed to meet an extremely courteous gentleman who offered me and a (stale) digestive biscuit as I proceeded to have an hour chat with him about Britten.

I am afraid I don't remember much about what I asked about, and it wouldn't have been terribly smart questioning anyway, as I was completely star-struck! I do vaguely recall asking him how they'd staged gondolas in the Death in Venice, and he patiently explained. I also remember asking him what Britten's favourite piece of his own was, and the answer: whatever the last one he'd written happened to be at the time. 

I remember his parting injunction to me, too: "If you love Britten and his music, tell people!". 

It had taken me a long time to love his music: we sang "Rejoice in the Lamb" in my secondary school choir and I thought it was, frankly, bloody awful! But we kept rehearsing and, over the weeks, it grew on me. Or in me. I now think it one of his finest compositions. I found that pattern repeated over and over: I'd listen to a piece of his for the first time and absolutely hate it, usually. But several hearings in, I would be hooked. He repays repeated listening, I think. I also thinks it helps to be a performer: you get to know the music from the inside out, and appreciate its technical achievement as well as its emotional heft that way a lot more quickly. Sadly, I play nothing more than vocal chords... though, with Britten having written practically everything he wrote for Peter Pears to sing, that's not such a drawback in this particular case!

I don't think Britten was the nicest *man* who wrote music in 20th century Britain. I think that honour's likely to go to Vaughan Williams by a country mile. But I think he wrote much of the best 20th century British music. His music and music-making was my entry into the world of 'classical' music, and I wouldn't be the person I am today without him. I thank $deity for him daily.


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## Enthusiast

^ Nice anecdote. Thanks. 

I thought Vaughan Williams kept a mistress - hardly nice of him (even if his wife did appear to accept it) - whereas Britten's lack of niceness came down to an unwillingness to forgive people who he felt had betrayed him in some small way (the flip side of which was loyalty) ... unless you want to add the inappropriate feelings he may have had, but almost certainly didn't act on, towards young boys.


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## Mandryka

I just note here, for the people who are interested in Britten, that this past week or so I've been listening to a piece by Michael Finnissy called Maldon, about the Anglo Saxon battle. Well, Finnissy has his own voice, but I think Britten's influence on him is palpable, and I urge anyone who likes the Britten style to try it.

Here it is, I just found it on YouTube


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## Guest002

I don't think you can say RVW "kept a mistress" in quite that way. He was married to Adeline for a very, very long time and she was ill throughout most of their 50+ years of marriage. Michael Kennedy says that RVW's 4th symphony (from the 1930s) was all about his feelings concerning Adeline, so there was evidently a lot of bottled up feeling to deal with! In that context, falling in love with Ursula in 1938 was not entirely unreasonable -and despite being passionately in love with her, he remained loyal (I don't say faithful!) to Adeline until her death. So much so that the two women remained on friendly terms -and it was Ursula who was jealous of Adeline!

The Britten/boys thing has never concerned me. The boys concerned were quite adamant that nothing ever happened, so that wasn't something I was referring to or thinking of.

No, the lack of 'niceness' is just something that beset Britten throughout his life, with his habit of acquiring 'corpses' once people stopped being useful to him. To some extent, that's entirely understandable: he was dedicated to creating music in a professional manner and didn't have the time, nor the inclination, to put up with those who took a less professional approach. But it went beyond mere professionalism. He could cut people because they divorced the wrong person (eg, Lord Harewood), or stop being involved with a boy for whom he had written great music because the lad involved had had the temerity to grow up (eg, John Hahessy/Elwes). It's a pattern that doesn't put me off the music in the least, but I find it does stand in stark contrast with the generous humanity that RVW exhibited throughout his life.


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## Reichstag aus LICHT

hpowders said:


> I saw Vickers do Peter Grimes at the Met. I was so impressed, I saw it again, same season!


I only ever saw Vickers once, at the end of his career, in a sadly strained performance of Das Lied von der Erde. I'd love to have seen him at his peak in Peter Grimes; as it is, I count myself lucky to have seen two other fine exponents of the role in Philip Langridge and Ben Heppner (with some newbie called Bryn Terfel as an unusually youthful Balstrode).


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## Guest002

Confession time: there are only two operas I've ever walked out on. One was a performance of something pretty dreadful by Richard Strauss. The other was a performance of Peter Grimes with Jon Vickers at the Royal Opera House in 1981. I was fairly new to Britten opera at the time, and my ear was tuned to, and expecting, a Peter Pears-like tenor. What I was expecting and what I got were so at odds with each other, I had to quit before the end of Act 1. 

I don't think I'd have done that, say, ten years later, I hasten to add!


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## Barbebleu

dizwell said:


> Confession time: there are only two operas I've ever walked out on. One was a performance of something pretty dreadful by Richard Strauss. The other was a performance of Peter Grimes with Jon Vickers at the Royal Opera House in 1981. I was fairly new to Britten opera at the time, and my ear was tuned to, and expecting, a Peter Pears-like tenor. What I was expecting and what I got were so at odds with each other, I had to quit before the end of Act 1.
> 
> I don't think I'd have done that, say, ten years later, I hasten to add!


What was the Strauss opera? I can't personally think of anything by Richard that could be construed as pretty dreadful, but, à chacun son goûte, as they say!:lol:


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## Guest002

Barbebleu said:


> What was the Strauss opera? I can't personally think of anything by Richard that could be construed as pretty dreadful, but, à chacun son goûte, as they say!:lol:


Good question. From memory, I think it was Ariadne auf Naxos, and I've since gone on to have two different recordings of it, along with pretty much everything else Strauss wrote... so, like you, I'm sort-of surprised at my reaction then. It wouldn't happen now, but I was a novice back then!


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## Mandryka

I once walked out of Die ägyptische Helena. The music’s just too vulgar. And I was very tempted to walk out of Intermezzo.


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## Mandryka

Barbebleu said:


> What was the Strauss opera? I can't personally think of anything by Richard that could be construed as pretty dreadful, but, à chacun son goûte, as they say!:lol:


C'est la dernière goutte qui fait déborder le vase


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## Pat Fairlea

Enthusiast said:


> ^ Nice anecdote. Thanks.
> 
> I thought Vaughan Williams kept a mistress - hardly nice of him (even if his wife did appear to accept it) - whereas Britten's lack of niceness came down to an unwillingness to forgive people who he felt had betrayed him in some small way (the flip side of which was loyalty) ... unless you want to add the inappropriate feelings he may have had, but almost certainly didn't act on, towards young boys.


Last year I had a nice chat with an elderly gent who had known Britten (and just about everyone else!). His comment on Britten's unwillingness to forgive was that it was on a hair-trigger. Britten would quite suddenly decide that so-and-so was 'out', possibly for reasons of which they were completely unaware, and once 'out' there was no way back.

Tangentially, and as Enthusiast raised the matter, yes Ursula became RVW's mistress but Adeleine was fully aware and even facilitated things. And in interviews, Ursula always stressed that it was she who had sought to seduce him in the first instance, not vice versa. RVW was a flirt, not a predatory skirt-chaser.


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## Guest002

Pat Fairlea said:


> Last year I had a nice chat with an elderly gent who had known Britten (and just about everyone else!). His comment on Britten's unwillingness to forgive was that it was on a hair-trigger. Britten would quite suddenly decide that so-and-so was 'out', possibly for reasons of which they were completely unaware, and once 'out' there was no way back.
> 
> Tangentially, and as Enthusiast raised the matter, yes Ursula became RVW's mistress but Adeleine was fully aware and even facilitated things. And in interviews, Ursula always stressed that it was she who had sought to seduce him in the first instance, not vice versa. RVW was a flirt, not a predatory skirt-chaser.


Nicely put, on both the Britten and RVW fronts!


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## Guest002

Pat Fairlea said:


> Last year I had a nice chat with an elderly gent who had known Britten (and just about everyone else!). His comment on Britten's unwillingness to forgive was that it was on a hair-trigger. Britten would quite suddenly decide that so-and-so was 'out', possibly for reasons of which they were completely unaware, and once 'out' there was no way back.
> 
> Tangentially, and as Enthusiast raised the matter, yes Ursula became RVW's mistress but Adeleine was fully aware and even facilitated things. And in interviews, Ursula always stressed that it was she who had sought to seduce him in the first instance, not vice versa. RVW was a flirt, not a predatory skirt-chaser.


Nicely put, on both the Britten and RVW fronts!


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## Sid James

*A Britten diary* - recent listening

*Violin Concerto*

"If wind and water could write music, it would sound like Ben's," said Yehudi Menuhin. This insight isn't limited to Britten's programmatic works (such as the _Four Sea Interludes_). The opening of his _Violin Concerto_, for example, always brings to my mind a boat bobbing up and down in the ocean.

The initial motif played on timpani goes through the entire work. The introduction has the violin in a duet with bassoon giving way to contrasting themes, one expressive and soaring, the other agitated and martial. The second movement brings to mind Prokofiev, whose slow-fast-slow format Britten's concerto follows. It sounds like an explosive release of pent up energy. The subsequent cadenza is the pivot of the work, and this sets the scene for the final movement. The finale is subdued, even melancholic. Snatches of earlier ideas and textures come and go before everything fades away.

Overall, I find the concerto to be absorbing but also enigmatic, especially the final movement.

*The Young Person's Guide to the Orchestra (Variations and Fugue on a Theme of Purcell)*

I first heard this at a family concert in my youth, and have enjoyed it ever since. The piece was composed for an educational film and originally included narration. The purely instrumental version became a popular orchestral showpiece, comparable to Hindemith's _Symphonic Metamorphosis_. I like both versions, but given my introduction to the piece I am particularly fond of the one with narration.

After the orchestra tunes up, the majestic opening theme by Purcell is played and the narrator introduces each section of the orchestra which play a variation. The variations for strings and percussion especially display some of the melancholy and spare textures which are Britten trademarks. When the narrator introduces the "exciting finale" he isn't kidding, for it combines the Purcell theme with another by Britten. I like the jazzy use of brass and percussion.

*Variations on a Theme of Frank Bridge*

This work premiered with great success at the Salzburg Festival in 1937 and established Britten's international reputation. Its still a cornerstone of the string orchestra repertoire. Britten's subtle treatment of a limited palette brings to mind the paintings of John Constable, who was also a native of Suffolk. Once you've heard it, its hard to forget the bleak opening. The spare textures only add to the highly charged atmosphere which it conveys.

Frank Bridge was Britten's teacher, and he introduced the young composer to modern music, including the Second Viennese School. The work is meant to portray different aspects of Bridge's character, but its short movements can also be seen as a traversal of the history of music.

The _Bourree Classique_ makes me think of Vivaldi's resurrected ghost playing a violin solo; the _Wiener Walzer_ is like a more civilised version of some psychopathic waltz out of _Wozzeck_; and the _Moto Perpetuo_ is like _Flight of the Bumblebee_ gone crazy. The _Funeral March_, an amazing piece in itself, is the emotional core of the whole work.

A brilliant fugue rounds off the work. The initial sense of desolation returns and the theme is played in unison at the end. In topping a fugue like this, Britten goes against convention, and it is a powerful resolution.

These are the recordings I listened to:

Concerto - Rebecca Hirsch, violin/Ulster Orch./Takuo Yuasa, Naxos 8.553882
https://www.youtube.com/playlist?list=OLAK5uy_kNeGdTEeyZGy8_GXyL-b1VYi0UhyUZ4FY

Young Person's Guide - Sean Connery, narrator/Royal PO/Antal Dorati, Belart 450024-2
https://www.youtube.com/playlist?list=PLVJ2vTa3CVnRfyNtgOFrN8e2exV8Om4uI

Bridge Variations - Bournemouth Sinfonietta/Richard Studt, Naxos 8.550823
https://www.youtube.com/playlist?list=OLAK5uy_mYw472OymBqqozAnVzf1ysmAvMmd2Po2g


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## mikeh375

^Nice Sid. I really enjoyed the Bridge Variations by the Bournemouth Sinfonietta, what a debut piece that was/is, dazzling in its compositional and virtuosic idiomatic writing and so emotionally powerful.
The violin concerto is a particular favourite of mine. There is another fantastic performance on YT by Janine Jansen that you may have come across, at London's village hall (The Albert Hall, totes obvs), that adds visual emotional heft to the enigmatic last mvt.

Do you know his 'Prince of the Pagodas'? I personally rate it as one of the finest of his oeuvre as it contains to my ears, some of the most appealing and vivid music he ever wrote. It's a ballet scored for large orchestra and is another masterclass in orchestration and musical invention.....sometimes, just sometimes, I really really hate him....


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## Sid James

The _Bridge Variations_ was, along with the _Simple Symphony_, the first work I heard by Britten. They where performed by the English String Orchestra and I have enjoyed the Bournemouth Sinfonietta's account just as much.

I have known the _Violin Concerto_ for about 15 years. Although I found its opening intriguing from the outset, coming to appreciate it overall hasn't been so straightforward. The structure is certainly different to other concertos, even when compared to those which are most similar, by Prokofiev and Walton. I see it as depicting nature, psychological states and something else (that third movement, which I find enigmatic). I've just tried to let it grow on me rather than thinking too much about its possible meaning.

Thank you for the link to the Janine Jansen performance. It does come across as an intense rendition.

I also listened to the _Prince of Pagodas_ suite as played by the BBC Symphony Orchestra under Leonard Slatkin. I have read that this is considered to be one of Britten's finest scores. I understand why you think it is appealing, vivid and inventive. I particularly enjoyed the longer tracks with gamelan ensemble. There is this hypnotic quality which remind me of Gareth Farr's music, particularly _Tabuh Pacific_ (or perhaps it should be the other way round, since that was composed in the 1990's).

Britten must have been informed of developments in Indonesia, since gamelan was just starting to be revived after independence from the Dutch. The government was funding study and preservation of gamelan music, they supported it as a way of nurturing national traditions which had been negatively impacted by colonialism.


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## jkl

My favorite work so far by Britten is his opera Peter Grimes.


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## Allegro Con Brio

There are a few pieces that are 100% guaranteed to draw tears from me every time, sometimes even when I’m just thinking about them. One of those is “Let us sleep now” from the War Requiem. Music of overwhelming poignancy. The entire work is one of the true masterpieces of all music IMO; how I would love to see a live performance of it. I like a lot of Britten’s other vocal music and a couple of his orchestral works, but the War Requiem towers head and shoulders above everything else in my estimation.


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## jkl

Remarkable,


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## mikeh375

Allegro Con Brio said:


> There are a few pieces that are 100% guaranteed to draw tears from me every time, sometimes even when I'm just thinking about them. One of those is "Let us sleep now" from the War Requiem. Music of overwhelming poignancy. The entire work is one of the true masterpieces of all music IMO; how I would love to see a live performance of it. I like a lot of Britten's other vocal music and a couple of his orchestral works, but the War Requiem towers head and shoulders above everything else in my estimation.


I've seen it twice, both in London. One of those performances was with Rostropovich conducting at the Albert Hall. It was utterly overwhelming. I can't actually pick a moment I prefer given the power that haunts almost every bar but as I write the emotional power and simplicity of the Agnus Dei comes to mind with it's clever use of the central interval of the work, the tritone.


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## Enthusiast

Are we being a little reluctant to recognise Britten's greatness, even as we praise some works? The War Requiem is indeed a very great work but Britten wrote a great many masterpieces - the Violin Concerto, Les Illuminations, the Bridge Variations, the Serenade for Tenor, Horn and Strings, the Nocturne, the Cello Symphony, the Quartets, the Spring Symphony, the Canticles, the Donne Sonnets, numerous great operas and lots more. He was (surely) the greatest composer Britain has ever produced and at all stages of his adult life he produced a good number of really great works.


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## Pat Fairlea

Enthusiast said:


> Are we being a little reluctant to recognise Britten's greatness, even as we praise some works? The War Requiem is indeed a very great work but Britten wrote a great many masterpieces - the Violin Concerto, Les Illuminations, the Bridge Variations, the Serenade for Tenor, Horn and Strings, the Nocturne, the Cello Symphony, the Quartets, the Spring Symphony, the Canticles, the Donne Sonnets, numerous great operas and lots more. He was (surely) the greatest composer Britain has ever produced and at all stages of his adult life he produced a good number of really great works.


Yes. I might not agree with 'greatest', but Britten was certainly a remarkable composer and too often neglected. He could be cantankerous and cliquey, but that's hardly unusual in CM! And he produced fascinating work right across the range, from opera to small piano works. 
If you can find a recording of the Spring Symphony premiere, the blending of Pears' and Ferrier's voices is simply beautiful.


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## Reichstag aus LICHT

mikeh375 said:


> I've seen [the War Requiem] twice, both in London.


I've only seen it once, in London's Festival Hall way back in 1986 - Júlia Várady, Robert Tear and DFD with the Philharmonia under Andrew Davis. It was a birthday treat, so I had a seat in the front row... which turned out to be right in front of Fischer-Dieskau himself. As a longtime DFD fan this made my day, and to see/hear him sing a part created for him at such close range was a real thrill. The mere memory of how he delivered "The pity of war, the pity war distilled" still gives me chills.


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## mikeh375

Reichstag aus LICHT said:


> I've only seen it once, in London's Festival Hall way back in 1986 - Júlia Várady, Robert Tear and DFD with the Philharmonia under Andrew Davis. It was a birthday treat, so I had a seat in the front row... which turned out to be right in front of Fischer-Dieskau himself. As a longtime DFD fanm this made my day, and to see/hear him sing a part created for him at such close range was a real thrill. The mere memory of how he delivered "The pity of war, the pity war distilled" still gives me chills.


...that was my other live performance attendance too. We were in the cheap seats at the back being the cheapskate students we were, besides we needed the money for the bar.....

On the Britten recording, I also love the way DFD delivers that line and especially " I knew you in this dark".


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## Reichstag aus LICHT

mikeh375 said:


> ...that was my other live performance attendance too.


I thought I knew you from somewhere


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## Sid James

While pottering about online, I found this interview with Britten from 1968. He shares his views on a number of things, including the musician's role in society, funding of the arts, the relevance of opera, and The Beatles.

A few quotes:

_I believe that the artist... is part of society and he should not lock himself up in an ivory tower. I think he has a duty to play towards his fellow creatures.

I want to have my music used. I would rather have my music used than write masterpieces which were not used.

The word masterpiece has a kind of ring about it which suggests a lot of dust on volumes in libraries.

I honestly think I can't write in a vacuum. I have to write for people or for occasions.

Too easy a life is not too good for an artist; of course you could go too far the other way and starve him and that is not also good for an artist.

I like the human being and his or her voice passionately so that I could never feel that I shall go into a studio and write or try to work out electronic music. That is never going to have, for me, any magic.

I don't sketch. I have a theory that if the idea is worth remembering then I shall remember it._


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## hammeredklavier

kute


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## SanAntone

> _I don't sketch. I have a theory that if the idea is worth remembering then I shall remember it._


Willie Nelson has the same theory.

Right now I'm listening to *Curlew River*:

"an English music drama, with music by Benjamin Britten to a libretto by William Plomer. The first of Britten's three 'Parables for Church Performance', the work is based on the Japanese noh play Sumidagawa (Sumida River) of Juro Motomasa] (1395–1431), which Britten saw during a visit to Japan and the Far East in early 1956. Beyond the noh source dramatic material, Britten incorporated elements of noh treatment of theatrical time into this composition.[2] Curlew River marked a departure in style for the remainder of the composer's creative life, paving the way for such works as Owen Wingrave, Death in Venice and the Third String Quartet." (Wikipedia)

Britten is a composer I generally enjoy and find interesting. Many of his vocal stage works are ones I listen to but also his chamber music: the three string quartets, _Nocturnal _(after John Dowland) and the solo cello suites are a few specific works (although there are many others) that I find very well done.


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## juliante

Enthusiast said:


> Are we being a little reluctant to recognise Britten's greatness, even as we praise some works? The War Requiem is indeed a very great work but Britten wrote a great many masterpieces - the Violin Concerto, Les Illuminations, the Bridge Variations, the Serenade for Tenor, Horn and Strings, the Nocturne, the Cello Symphony, the Quartets, the Spring Symphony, the Canticles, the Donne Sonnets, numerous great operas and lots more. He was (surely) the greatest composer Britain has ever produced and at all stages of his adult life he produced a good number of really great works.


He is the composer who i most want to like, but fail to engage with. There is something about a lack of warmth to his music that ...leaves me cold.


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## Enthusiast

juliante said:


> He is the composer who i most want to like, but fail to engage with. There is something about a lack of warmth to his music that ...leaves me cold.


Fair enough, I guess. But I wonder if you apply that criterion ("music must have warmth") to all you listen to? Which composers do you like? Which 20th century composers do you like? Do you like Baroque and Classical period music? Warmth is not the first quality I think of with Britten but neither is it with Haydn or Bach or Bartok and many other composers who give me immense pleasure.


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## juliante

Enthusiast said:


> Fair enough, I guess. But I wonder if you apply that criterion ("music must have warmth") to all you listen to? Which composers do you like? Which 20th century composers do you like? Do you like Baroque and Classical period music? Warmth is not the first quality I think of with Britten but neither is it with Haydn or Bach or Bartok and many other composers who give me immense pleasure.


I struggle with Bartok for the same reason. Haydn is so easy on the ear in all other aspects so i don't struggle with him. that is all i can say.


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## starthrower

I'm a fan. I have all of the operas, the violin concerto, cello symphony, string quartets, cello suites, and several more orchestral and vocal works.


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