Work of the Week 27: The Ascent of F6 BrittenOfficial 2018-07-04 | Presented by Dr Lucy Walker, Director of Public Programming and Learning at the Britten-Pears Foundation.This is one of Britten’s many pieces of ‘incidental music’: compositions written specifically for film, radio or theatre. This score accompanies the WH Auden/Christopher Isherwood collaborative theatre piece 'The Ascent of F6', a play that manages to be both a psychological study of mountaineering and a satire on British imperialism.Among the ‘transition’ music between scenes, often just creating atmosphere and allowing scenery to be moved, there are some beautiful and quirkily individual passages of music. One of the most noteworthy, perhaps, is the original appearance of ‘Funeral Blues’: it is better known as a ‘Cabaret song’ (bit.ly/2MNlfSu) for voice and piano, but was originally written for choir, piano duet and percussion as part of the score to Ascent. Explore more 'Work of the Week' episodes here: http://bit.ly/2DcJVP6
Mini Music Makers Sing along song: The Red House BrittenOfficial 2020-04-30 | To celebrate #MuseumsFromHome day on Thursday 30 April 2020, our resident troubadour Joe Carr adapts Madness' 'Our House' song to celebrate The Red House, Aldeburgh.Mini Music Makers is a Friday morning session of fun music and play activities for 0-5 year olds that takes place at The Red House, Aldeburgh. These sessions, which include singing and creative play, are great for the little ones to learn social skills, turn taking, sharing and following instructions.Join session leader Joe Carr and sing along to the many popular songs from the sessions.
Mini Music Makers sing along song: Old Lady BrittenOfficial 2020-04-20 | The Old Lady..Mini Music Makers is a Friday morning session of fun music and play activities for 0-5 year olds that takes place at The Red House, Aldeburgh. These sessions, which include singing and creative play, are great for the little ones to learn social skills, turn taking, sharing and following instructions.Join session leader Joe Carr and sing along to the many popular songs from the sessions.
Mini Music Makers sing along song: The Red House Hop BrittenOfficial 2020-04-16 | The Red House Hop.Mini Music Makers is a Friday morning session of fun music and play activities for 0-5 year olds that takes place at The Red House, Aldeburgh. These sessions, which include singing and creative play, are great for the little ones to learn social skills, turn taking, sharing and following instructions.Join session leader Joe Carr and sing along to the many popular songs from the sessions.
Mini Music Makers sing along song: Riding on a train BrittenOfficial 2020-04-14 | Riding on a Train.Mini Music Makers is a Friday morning session of fun music and play activities for 0-5 year olds that takes place at The Red House, Aldeburgh. These sessions, which include singing and creative play, are great for the little ones to learn social skills, turn taking, sharing and following instructions.Join session leader Joe Carr and sing along to the many popular songs from the sessions.
Mini Music Makers sing along song: Wheels on the Bus BrittenOfficial 2020-04-08 | This song is for Alfie!Mini Music Makers is a Friday morning session of fun music and play activities for 0-5 year olds that takes place at The Red House, Aldeburgh. These sessions, which include singing and creative play, are great for the little ones to learn social skills, turn taking, sharing and following instructions.Join session leader Joe Carr and sing along to the many popular songs from the sessions.
Mini Music Makers sing along song: Steppin Out BrittenOfficial 2020-04-07 | This song is called 'Steppin Out'.Mini Music Makers is a Friday morning session of fun music and play activities for 0-5 year olds that takes place at The Red House, Aldeburgh. These sessions, which include singing and creative play, are great for the little ones to learn social skills, turn taking, sharing and following instructions.Join session leader Joe Carr and sing along to the many popular songs from the sessions.
Mini Music Makers sing along song: Animals 2 by 2 BrittenOfficial 2020-04-07 | This song is calle 'Animals 2 by 2'.Mini Music Makers is a Friday morning session of fun music and play activities for 0-5 year olds that takes place at The Red House, Aldeburgh. These sessions, which include singing and creative play, are great for the little ones to learn social skills, turn taking, sharing and following instructions.Join session leader Joe Carr and sing along to the many popular songs from the sessions.
Mini Music Makers sing along song: Play until you Stop BrittenOfficial 2020-04-03 | Play until you Stop!Mini Music Makers is a Friday morning session of fun music and play activities for 0-5 year olds that takes place at The Red House, Aldeburgh. These sessions, which include singing and creative play, are great for the little ones to learn social skills, turn taking, sharing and following instructions.Join session leader Joe Carr and sing along to the many popular songs from the sessions.
Mini Music Makers sing along song: Baby Shark BrittenOfficial 2020-04-02 | This song was requested by Lorna!Mini Music Makers is a Friday morning session of fun music and play activities for 0-5 year olds that takes place at The Red House, Aldeburgh. These sessions, which include singing and creative play, are great for the little ones to learn social skills, turn taking, sharing and following instructions.Join session leader Joe Carr and sing along to the many popular songs from the sessions.
Mini Music Makers sing along song: Bingo BrittenOfficial 2020-04-01 | This is for Hattie and Alex.Mini Music Makers is a Friday morning session of fun music and play activities for 0-5 year olds that takes place at The Red House, Aldeburgh. These sessions, which include singing and creative play, are great for the little ones to learn social skills, turn taking, sharing and following instructions.Join session leader Joe Carr and sing along to the many popular songs from the sessions.
Mini Music Makers sing along song: Far Ill Go BrittenOfficial 2020-03-31 | This song is for Florence and Rossie.Mini Music Makers is a Friday morning session of fun music and play activities for 0-5 year olds that takes place at The Red House, Aldeburgh. These sessions, which include singing and creative play, are great for the little ones to learn social skills, turn taking, sharing and following instructions.Join session leader Joe Carr and sing along to the many popular songs from the sessions.
Mini Music Makers sing along song: Clap, Stamp, Spin BrittenOfficial 2020-03-30 | This song is for Sophia. Can you guess the song?Mini Music Makers is a Friday morning session of fun music and play activities for 0-5 year olds that takes place at The Red House, Aldeburgh. These sessions, which include singing and creative play, are great for the little ones to learn social skills, turn taking, sharing and following instructions.Join session leader Joe Carr and sing along to the many popular songs from the sessions.
Mini Music Makers sing along song: Shotgun BrittenOfficial 2020-03-27 | This song is for Reuben.Mini Music Makers is a Friday morning session of fun music and play activities for 0-5 year olds that takes place at The Red House, Aldeburgh. These sessions, which include singing and creative play, are great for the little ones to learn social skills, turn taking, sharing and following instructions.Join session leader Joe Carr and sing along to the many popular songs from the sessions.
Mini Music Makers sing along song: Let it Go BrittenOfficial 2020-03-26 | This song is for Lilly, Erin, Daisy and Dotty.Mini Music Makers is a Friday morning session of fun music and play activities for 0-5 year olds that takes place at The Red House, Aldeburgh. These sessions, which include singing and creative play, are great for the little ones to learn social skills, turn taking, sharing and following instructions.Join session leader Joe Carr and sing along to the many popular songs from the sessions.
Mini Music Makers sing along song: Colours BrittenOfficial 2020-03-24 | This song is for Laurie.Mini Music Makers is a Friday morning session of fun music and play activities for 0-5 year olds that takes place at The Red House, Aldeburgh. These sessions, which include singing and creative play, are great for the little ones to learn social skills, turn taking, sharing and following instructions.Join session leader Joe Carr and sing along to the many popular songs from the sessions.
Mini Music Makers sing along song: Jump Babies... BrittenOfficial 2020-03-24 | This song is for Finley and Ruby.Mini Music Makers is a Friday morning session of fun music and play activities for 0-5 year olds that takes place at The Red House, Aldeburgh. These sessions, which include singing and creative play, are great for the little ones to learn social skills, turn taking, sharing and following instructions.Join session leader Joe Carr and sing along to the many popular songs from the sessions.
Mini Music Makers sing along song: Sleeping Bunnies BrittenOfficial 2020-03-24 | This was requested from Jessica and Jonathan. It is also Lyra's favourite.Mini Music Makers is a Friday morning session of fun music and play activities for 0-5 year olds that takes place at The Red House, Aldeburgh. These sessions, which include singing and creative play, are great for the little ones to learn social skills, turn taking, sharing and following instructions.Join session leader Joe Carr and sing along to the many popular songs from the sessions.
Mini Music Makers sing along song: Hokey Cokey BrittenOfficial 2020-03-24 | This song is for Tove.Mini Music Makers is a Friday morning session of fun music and play activities for 0-5 year olds that takes place at The Red House, Aldeburgh. These sessions, which include singing and creative play, are great for the little ones to learn social skills, turn taking, sharing and following instructions.Join session leader Joe Carr and sing along to the many popular songs from the sessions.
Mini Music Makers sing along song: Friend Like Me BrittenOfficial 2020-03-24 | This song was requested by Jess.Mini Music Makers is a Friday morning session of fun music and play activities for 0-5 year olds that takes place at The Red House, Aldeburgh. These sessions, which include singing and creative play, are great for the little ones to learn social skills, turn taking, sharing and following instructions.Join session leader Joe Carr and sing along to the many popular songs from the sessions.
Mini Music Makers sing along song: Car Car BrittenOfficial 2020-03-24 | This song is for Lyra.Mini Music Makers is a Friday morning session of fun music and play activities for 0-5 year olds that takes place at The Red House, Aldeburgh. These sessions, which include singing and creative play, are great for the little ones to learn social skills, turn taking, sharing and following instructions.Join session leader Joe Carr and sing along to the many popular songs from the sessions.
Mini Music Makers sing along song: Driving My Tractor BrittenOfficial 2020-03-24 | This song is for Jessica.Mini Music Makers is a Friday morning session of fun music and play activities for 0-5 year olds that takes place at The Red House, Aldeburgh. These sessions, which include singing and creative play, are great for the little ones to learn social skills, turn taking, sharing and following instructions.Join session leader Joe Carr and sing along to the many popular songs from the sessions.
From The Red House Podcast: Episode 2 BrittenOfficial 2020-03-12 | For episode two, Lucy Walker (Director of Public Programming and Learning) is joined by Steve Boyce, Chair of LGBT+ History Month.
From The Red House Podcast: Episode 1 BrittenOfficial 2020-01-29 | For the first podcast, Lucy Walker (Director of Public Programming and Learning) and Sarah Bardwell Chief Executive) introduce Benjamin Britten, Peter Pears, and what goes on at The Red House.
Creative Retreats: Tenor Madness BrittenOfficial 2019-12-18 | Music for A Bit; Purcell themes are reimagined by jazz group Tenor Madness with special guest Naomi Burrell.This was created during their stay at the Britten-Pears Foundation Creative Retreats. More information can be found here: bit.ly/2rNHa7n
Britten and Film BrittenOfficial 2019-10-24 | Britten had a lifelong interest in film – as a consumer, a composer, and a supporter of his local cinema. This short film explores the importance of film to Britten throughout his life, and includes extracts of his own music written to accompany documentaries at the General Post Office Film Unit. We also mark the 100th birthday of Aldeburgh Cinema, which Britten keenly supported in the 1960s onwards.With grateful thanks to NMC for the extracts of The King’s Stamp and Coal Face from Britten on Film (NMC112, 2007): nmcrec.co.uk/recording/britten-filmOther extracts are performed by students at the Birmingham Conservatoire, conducted by Lionel Friend (recorded in 2012).Further resources:Watch one of the GPO’s most famous films Night Mail, with music by Britten and poetry by WH Auden:player.bfi.org.uk/free/film/watch-night-mail-1936-online
Whats on at The Red House, Aldeburgh: October-December 2019 BrittenOfficial 2019-10-01 | Lucy Walker gives us a preview to the October to December 2019 event season at The Red House, Aldeburgh.To find out more and to book visit: brittenpears.org/visit/whats-on
Creative Retreats: Sophie Langdon BrittenOfficial 2019-07-25 | Musician and teacher Sophie Langdon talks about her time at Cosy Nook in July 2019.Find out more about Creative Retreats: brittenpears.org/visit/creative-retreats
The Red House Aldeburgh Festival Preview 2019 BrittenOfficial 2019-06-06 | Lucy Walker from the Britten-Pears Foundation talks about the special events planned at The Red House, Aldeburgh in June 2019.They are: Archive exhibition: Tippett & Britten (7-14 June, 11am-4pm)The Archive at The Red House holds the working materials of Britten’s composition process – the draft scores and libretti, costume and set designs – as well as thousands of letters, valuable books and artworks, posters, programmes and ephemera. During the Aldeburgh Festival the Archive will house an exhibition drawing from this rich collection. Its focus in the first week will complement and expand on this year’s main exhibition on Tippett and Britten, and the two composers’ long relationship.bit.ly/2KzhbY7Festival Talks: Tippett’s World (7-14 June, 1pm)Further insights into the life and works of Michael Tippett, including extracts of music from his long and varied career and footage from television interviews over the decades.bit.ly/2MzVfi8Song Moments (7-23 June daily, time variable)Every day of this year’s Festival we will be scheduling a ‘moment of song’. Each day there will be a different Britten song, a different singer, performing somewhere on The Red House site! The singer will be announced each day on social media and via a noticeboard on site.bit.ly/2vzysYFTalk: Oliver Soden and Michael Tippett (13 June, 5-6pm)We are joined by Oliver Soden, Tippett’s biographer and curator of our exhibition this year, for a talk about the remarkable life of this fascinating twentieth century composer.bit.ly/2KwVEiXScratch Choir on the Bandstand (14 June, 1pm)Come and hear our Scratch Choir for a sing through of Tippett’s beautiful Spirituals on the beach. For exact times see our website.bit.ly/2K0ZrpeArchive exhibition: Britten & Song (15-23 June, 11am-4pm)Complementing the Festival talks in the second week and the programme at Snape Maltings, a rich and varied display of items from the Britten-Pears Foundation collection, including original music manuscripts and the poetry books used by Britten to create his song cycles and other vocal works. bit.ly/31noRTsFestival Talks: Britten & Song (15-23 June, 1pm)To coincide with the Singing Britten masterclasses at Snape Maltings, and the Poetry and Music season, our talks in the second week focus on Britten’s extraordinary output of vocal music.bit.ly/2wF45QVBarlines: Conversations with Tippett in Prison (15 June, 4-5pm at The Pumphouse)An evocation of Michael Tippett’s life-changing stint in Wormwood Scrubs in 1943 as a conscientious objector. Set in the confines of Tippett’s prison cell, an hour of music, letters to the outside world, and conversations with Benjamin Britten. Written and directed by Sarah Gabriel (A House on Middagh Street, The Red House’s 2018 show) in collaboration with Tippett's biographer, Oliver Soden.bit.ly/2Xt9FlaTalk: Facing the Music (19 June, 3-4pm)A few days before Peter Pears’ 109th birthday (on 22 June) art historian Dr Mandy Bentley discusses Britten and Pears’ collection of portraits, some of which are currently on display. These portraits give a fascinating insight into creative identity and the public and private presentation of the self.bit.ly/2Wj85B3 Visit & BookAddress: The Red House, Golf Lane, Aldeburgh, Suffolk IP15 5PZBook online: brittenpears.orgBooking line: 01728 451700
Whats on at The Red House, Aldeburgh: June September 2019 BrittenOfficial 2019-05-10 | Lucy Walker guides us a preview of the June-September event season.To find out more and to book visit: brittenpears.org/visit/whats-on
Brittens Record Collection BrittenOfficial 2019-04-01 | In this film we discover Britten's musical tastes from his record collection.Featuring Britten-Pears Foundation Head of Archive, Dr Christopher Hilton and Director of Public Programming and Learning Dr Lucy Walker.
Whats on at The Red House, Aldeburgh: March-May 2019 BrittenOfficial 2019-03-15 | Here we give a preview for our March-May event season.To find out more visit: brittenpears.org/visit/whats-on
A Child of Our Time BrittenOfficial 2019-02-14 | In this short film, Oliver Soden (author of the forthcoming 'Michael Tippett: The Biography') discusses the first performance of Tippett’s magnificent oratorio 'A Child of Our Time'.To find out more about this remarkable work and its fascinating history, come to our Study Day on Saturday 16 March 2019: bit.ly/2Ib9isw
2019 Exhibition Preview BrittenOfficial 2019-02-07 | Curator Oliver Soden discusses the background to the 2019 exhibition 'Tippett & Britten: Portrait of a wartime friendship'.Find out more here: bit.ly/2S2uGQ1
Creative Retreats: Martin Ward BrittenOfficial 2019-02-04 | Composer Martin Ward talks about his time at Church Walk earlier this year.Find out more about Creative Retreats: brittenpears.org/visit/creative-retreats
Britten and Pears: ‘A Life of the Two of Us’ BrittenOfficial 2019-02-04 | Benjamin Britten and Peter Pears were together from 1939 until Britten’s death in 1976. Yet during Britten’s lifetime, neither spoke publicly about their relationship or sexuality. In some ways, this is hardly surprising given that homosexuality was illegal until it was partially decriminalised in 1967. Yet even after that date, they remained silent on the matter, although not long before he died Britten had urged Donald Mitchell – who had been planning a biography of the composer – to ‘tell the truth about Peter and me’. After Britten’s death, Pears became more open about the true nature of their relationship, giving interviews for documentaries and to the gay men’s magazine 'The Advocate'. Mitchell co-edited a pictorial biography of Britten in 1980 ('Pictures from a Life'), and Pears remarked that it was not ‘the story of one man. It’s a life of the two of us’.Their shared life is thoroughly documented in touching and vivid detail by the wealth of material the two men left behind. This short film tells the story of their relationship through archival material (such as receipts and hotel bills), home movie footage, correspondence, and some surprisingly bold statements in Britten’s own music. Music credits:‘Being Beauteous’ from Les IlluminationsPeter Pears (tenor), Benjamin Britten (piano)(P) NMC 2012Website: bit.ly/2BkbCHP‘Sonetto XXIV’ from Seven Sonnets of MichelangeloPeter Pears (tenor), Benjamin Britten (piano)(P) NMC 2012Website: bit.ly/2BkbCHP‘Sonetto LV’ from Seven Sonnets of MichelangeloPeter Pears (tenor), Benjamin Britten (piano)(P) NMC 2012Website: bit.ly/2BkbCHPCanticle I: My beloved is mineAndrew Tortise (tenor), Malcolm Martineau (piano)(P) Onyx 2011Website: bit.ly/2HPy9Sr
Work of the Week 52: A Ceremony of Carols BrittenOfficial 2019-01-02 | Presented by Ben Vonberg-Clark.For our final Work of the Week film, we are looking at one of Britten’s most popular works: 'A Ceremony of Carols' for high voices and harp. It was originally intended for women’s voices, but is very often performed by choirs of young singers who, as Ben Vonberg-Clark remarks in the film, relish the energy and tongue-twisters written into the text setting of the faster movements. The choice of harp as an accompaniment was fairly unusual at the time Britten composed it, but it has become part of the harpists’ staple repertoire now, and includes the evocative solo ‘Interlude’, which is based on the opening plainchant.It is particularly apt that this work rounds off 2018, and not only because of its festive nature. During 2018 the focus at the Britten-Pears Foundation has been on ‘Britten in America’ – the theme of our annual exhibition and many events – and Britten composed this piece during the crossing back to the UK in April 1942. It seems almost bizarre that this spirited and Christmassy work was written on a rickety merchant ship (the MS Axel Johnson), as part of a naval convoy across the Atlantic, and vulnerable to torpedo attack at any time. In letters to friends, he revealed he was ‘bored’ (rather than terrified) and to pass the time he re-composed 'A Hymn to St Cecilia' – the first draft of which had been confiscated at New York customs – and several songs from 'A Ceremony of Carols'. He was certainly well-equipped for the latter: while waiting for the crossing at Halifax, Nova Scotia he had picked up a copy of the 'The English Galaxy of Shorter Poems' and took the texts from there; and he had with him a harp manual, giving instructions on how to compose for the instrument. The reason for this somewhat esoteric publication was that he had not long before been considering a harp concerto for the principal harpist of the Philadelphia Symphony Orchestra.'A Ceremony of Carols' marked his re-entry into British life after three years in the USA. He completed the piece over the next few months, and it was premiered in Norwich Castle on 5 December 1942, performed by the women’s voices of the Fleet Street Choir. Explore more 'Work of the Week' episodes here: http://bit.ly/2DcJVP6
Work of the Week: Thank You! BrittenOfficial 2019-01-02 | And that’s a wrap! 52 Work of the Week films (plus two specials). It has been a wonderful project to have been part of and we couldn’t have done it without our amazing contributors who were: Lucy WalkerChristopher HiltonZiazan Horrocks-Hopayian Nicholas ClarkMatthew SandyVicki P StroeherRumon Gamba Marta Fontanals-Simmons Lana Bode Sarah Connolly Joshua HaywardClare Hammond Colin Matthews Roger Wright Matthew Rose Ian Bostridge Tom Appleton Fiona ShawSimon Callaghan Valeria Kurbatova Will Kerley Sarah Bardwell Stuart Skelton Justin Vickers Ben ParryNazan Fikret Diana Moore Steven Osborne Errollyn Wallen Guy Johnston Sean Shibe Olivia Bloore Ben Vonberg-ClarkExplore our 'Work of the Week' films here: http://bit.ly/2DcJVP6
Work of the week 51: Winter Words BrittenOfficial 2018-12-19 | Featuring Marta Fontanals-Simmons (mezzo-soprano) and Lana Bode (piano).Britten had received a copy of Hardy’s 'Collected Poems' from Christopher Isherwood when visiting the USA in 1949, and eight of the poems from this book found their way into his 1953 song cycle 'Winter Words' (plus two more that were later discarded). Some of the choices Britten made reflect his attraction to wintery bleakness, rather than to the more bucolic charms of other Hardy verses, particularly ‘At day-close in November’ and ‘The Choirmaster’s Burial’. Others, such as ‘Wagtail and Baby’ and ‘The little old table’ are more cheerful, and all of the songs share vivid depictions of imagery – almost like little dramatic scenes. This is hardly surprising perhaps, given Britten had just put down composition of his Coronation opera 'Gloriana'.It was the first cycle in a number of years he had composed for Pears – the first since 'Holy Sonnets of John Donne' back in 1945. 'Winter Words' was, then, originally composed for the tenor voice. But in recent years, the publishers Boosey & Hawkes have issued a number of Britten’s works for high voice in a lower key, opening up the repertoire to other voice types. As Marta Fontanals-Simmons explains in this week’s film, the transposing of the piece down a third makes it comfortable for her mezzo-soprano voice, as well as offering expressive possibilities of the different vocal range. Lana Bode explores Britten’s beautiful, nuanced piano writing in the cycle and particularly how he imitates the violin playing of a young boy in ‘At the railway station, Uppway’. Winter Words is one of Britten’s most moving cycles which, while not unified by a musical theme exactly, has a cumulative power – culminating in the poignant final song, ‘A Time There Was’. Explore more 'Work of the Week' episodes here: http://bit.ly/2DcJVP6
Work of the Week 50: The Prince of the Pagodas BrittenOfficial 2018-12-12 | Britten’s music has often been attractive to choreographers - Britten arranged Rossini’s and Chopin’s music for the American Ballet Company in 'Matinées Musicales' and 'Les Sylphides' (both in 1941); and more recently Richard Alston’s ballet company have choreographed a number of Britten works, including 'Rejoice in the Lamb' and 'Phaedra'. However, Britten wrote only one full-length ballet score, and as student Olivia Bloore relates in this week’s film the process was not an entirely happy one and took him longer than any other work to complete. By the time he finally finished the work, he was heartily sick of the whole thing, writing to Prince Ludwig of Hess: ‘That b. Ballet is FINISHED, & I feel as if I’ve been just let out of prison after 18 months hard labour’.Yet the problems in its genesis are barely discernible on listening to it, either in a concert performance or accompanying dancers. What enabled him to finish it was a hugely significant trip to the Far East, including Bali, in 1955-6, which exposed him to a vast array of non-western sounds and compositional structures. The music of the gamelan, in particular, finds its way into passages of 'The Prince of the Pagodas' – most notably in an extended passage in Act II that must have startled audiences at the 1957 premiere.'Pagodas' is also a rare, purely orchestral work and Britten’s seemingly boundless orchestral imagination is showcased across its considerable length. Heard in this film is how Britten imitates the gamelan, very effectively, through western percussion instruments and piano; a poignant dance for the Emperor in Act III with the alto saxophone evoking an almost Kurt Weill-like melancholia; and the triumphant, cacophonous ending. Explore more 'Work of the Week' episodes here: http://bit.ly/2DcJVP6
Work of the Week 49: Nocturnal after John Dowland BrittenOfficial 2018-12-05 | Presented by Scottish guitarist Sean Shibe.In 1952, Britten met the guitarist and lutenist Julian Bream, who was then aged only 19 but already on a mission to expand the guitar repertoire as much as possible. He persuaded Britten to write some songs for voice and guitar, resulting a few years later in a book of folksongs and the 'Songs from the Chinese', composed in 1957. The modern guitar was an unfamiliar instrument to Britten, but as always he conscientiously researched its capabilities, individual sonorities, and particular limitations in order to write as authentically as possible. Years later Bream commented the songs were ‘beautifully written for the instrument, so Britten had already done his homework.’ (interview with Julian Bream for Gramophone, January 2007 bit.ly/2DZ8Rhb). Bream added: ‘It was only a question of time before a guitar solo came along. The Nocturnal [or 'NOCTURNAL, after John Dowland' as the published score has it] is based on a Dowland song so that again represents the two elements in my life: the lute and guitar.’ John Dowland (1563-1626) was an English composer from several centuries before, who is most well-known for his ‘lute songs’. As Sean Shibe explains in this week’s film, the Dowland theme on which the work is based is heard only at the end of the work: the full theme is explored from multiple perspectives and in many different idioms before being played ‘straight’ (Britten uses the same technique in his earlier Lachrymae for solo viola bit.ly/2I2c0Qj). It is a haunting and elegiac work, and has been recorded by Sean Shibe – among works by Berkeley, Arnold, Walton as well as Dowland – for Delphian bit.ly/2Ry8XjC (with thanks to Delphian for permission to use extracts of Nocturnal). Explore more 'Work of the Week' episodes here: http://bit.ly/2DcJVP6
Work of the Week 48: Sonata in C BrittenOfficial 2018-11-28 | This week's episode is presented by cellist Guy Johnston.Britten had more or less abandoned solo instrumental music since around the 1930s, with only the occasional piece appearing in the subsequent decades. After he met the cellist Mstislav (‘Slava’) Rostropovich in 1960, however, his interest was thoroughly reignited – Rostropovich became the person Britten composed for most after Pears. As a muse, ‘Slava’ was thoroughly individual: his vibrant, emotional style of playing (as well as his vibrant, emotional personality) utterly captivated Britten and as can be seen in photographs of the two men, they were delighted by each other’s company and musicianship. Rostropovich commented to Britten during a rehearsal of Schubert’s Arpeggione Sonata, ‘If you play the opening theme as beautifully as that, how on earth am I supposed to enter?!’ While Britten said Slava had ‘freed one of [his] inhibitions (writing instrumental music). He’s a gloriously uninhibited musician himself, with this enormous feeling of generosity you get from the Best Russian players, coming to meet you all the way...’.The Sonata in C was the first piece Britten composed for him and they rehearsed together in Britten’s studio in 1961, the same location of today’s film which is introduced by cellist Guy Johnston. It was performed for the first time in the Jubilee Hall during that year’s Aldeburgh Festival, and was so well-received by the audience, they demanded the final two movements as an encore. The presence of Rostropovich is palpable throughout the piece – from the ‘Dialogo’ first movement, literally a conversation between the two instruments, to the finale, described by Britten as ‘frequently changing its character, now high and expressive, now low and grumbling, now gay and carefree’. Rostropovich’s wife Galina Vishnevskaya felt that this movement in particular represented Rostropovich’s own mercurial nature very well. In this week’s film, we are delighted to include excerpts from Guy Johnston’s recording of the work with Kathryn Stott (with thanks to Orchard Classics), as well as some other extracts played live in the Studio.‘Explore more 'Work of the Week' episodes here: http://bit.ly/2DcJVP6Recording by Guy Johnston and Kathryn Stott can be found here: bit.ly/1nfHOwb
Work of the Week 47: Friday Afternoons BrittenOfficial 2018-11-21 | Presented by composer Errollyn Wallen.This set of songs is one of Britten’s earliest examples of music that would be ‘useful’ to a particular community. It was composed for the children at his brother’s prep school in Prestatyn, who always had a singing lesson on a Friday afternoon. They were not conceived as a cycle of any kind, and in fact were compiled over a couple of years, an unusually long gestation for a Britten work. The vocal parts are typical of the kind of music Britten would continue to write for children: memorable and relatively easy to learn, yet satisfyingly challenging. As well as being performed regularly since their composition and publication in the mid 1930s, the group of songs has had an extraordinarily productive afterlife. In 2012, the film director Wes Anderson used ‘Cuckoo’ and ‘Old Abram Brown’ (as well as other music by Britten) in Moonrise Kingdom, causing the songs to rocket up the Classical charts that year. And the very successful Friday Afternoons project run by Snape Maltings has been expanding ever since its inception in 2012: each year a different composer is invited to compose a new set of songs, thus adding significantly to the repertoire of singable songs for children. Errollyn Wallen, who introduces this week’s film, is the composer of the 2018 set and discusses how his songs and his approach to making ‘useful’ music influenced her own group, and how humbling it was to follow in his example. Explore more 'Work of the Week' episodes here: http://bit.ly/2DcJVP6Click here for more information on Friday Afternoons: bit.ly/1fFutyM
Work of the Week 46: Piano Concerto BrittenOfficial 2018-11-14 | Presented by Steven Osborne.Britten’s Piano Concerto, composed in 1938 when he was only 24 years old, was his first major work for the piano. Yet, as Steven Osborne describes in this week’s film, not many more came forth afterwards – 'Young Apollo', op. 16 in 1939 and 'Diversions', op. 21 the following year. Britten was a marvellous pianist himself, and premiered his very energetic and technically demanding concerto at the Proms in 1938. He also gave the American Premiere in January 1940 – an occasion not only memorable for his performance but for the fact that the piano gave way under him during the first movement.It was a great success with the Prom audience at its first performance, but critically (and among some of his friends) it took something of a beating. Many of the critics found it shamelessly crowd-pleasing at best, brash at worst, and lacking much in the way of substance. William McNaught’s review in the Musical Times was fairly typical: ‘This is not a stylish work. Mr Britten’s cleverness, of which he has frequently been told, has got the better of him and led him into all sorts of errors, the worst of which are errors of taste.’ Since then, however, the piece has gained in popularity and critical estimation. Steven Osborne’s recording, made for Hyperion in 2008 (at hyperion-records.co.uk/dc.asp?dc=D_CDA67625) is a remarkable account of this most effervescent and virtuosic of concertos.Explore more 'Work of the Week' episodes here: bit.ly/2E3yvz2
Work of the Week Special: War Requiem BrittenOfficial 2018-11-09 | A special 'Work of the Week' for the anniversary of the Armistice, Lucy Walker, Director of Public Programming and Learning, talks about Britten's War Requiem in the Studio where he composed the work.Explore more 'Work of the Week' episodes here: http://bit.ly/2DcJVP6
Work of the Week 45: Canticle II BrittenOfficial 2018-11-07 | Presented by mezzo-soprano Diana Moore.For Britten’s second Canticle, he adapted the Chester Miracle Play retelling of the Old Testament story of Abraham and Isaac. Abraham, the father, heard a ‘voice of God’ telling him to sacrifice his beloved son Isaac; having agreed to do this as proof of his faith, an ‘angel’ then tells him he may sacrifice a ram instead, and spare his son. The character of Abraham is given to the tenor voice in Britten’s setting, and Isaac was – as Diana Moore explains in this week’s film – originally written for a mezzo-soprano. The first performers of the work were Peter Pears and Kathleen Ferrier, with Britten on the piano. The tenor and mezzo-soprano voices combine, to magical effect, to represent the voice of God.It is number two in a series of five substantial vocal works composed over a period of nearly 30 years, and like several of the others it was composed shortly after a major opera. Canticle II appeared in January 1952, not long after the premiere of 'Billy Budd' – another tale of a young innocent, who is effectively ‘sacrificed’ at the end of the opera. The Canticle doesn’t share any musical material with 'Billy Budd'; but some of it does fine its way 10 years later into Britten’s 'War Requiem'. In the ‘Offertorium’ movement the choir sings of that which was promised to the descendants of Abraham – to music bearing a strong resemblance to a passage in Canticle II, sung by Isaac. In the Canticle, the son is spared, and Abraham’s descendants continue. However, in the War Requiem it is juxtaposed with Wilfred Owen’s poem ‘The Parable of the Old Man and the Young’ which re-tells the story with savage irony, concluding:When lo! An angel called him out of heaven,Saying, Lay not thy hand upon the lad,Neither do anything to him. Behold,A ram, caught in a thicket by its horns;Offer the Ram of Pride instead of him.But the old man would not so, but slew his son,And half the seed of Europe, one by one.Britten re-uses his ‘voice of God’ music describing the angel, but this time with a horrific conclusion. Canticle II is a work that allows a glimpse of the horrific lengths Abraham is prepared to go to in its turbulent middle section; yet its conclusion allows a grateful resolution. The 'War Requiem', a decade later, does not allow such consolation. Explore more 'Work of the Week' episodes here: http://bit.ly/2DcJVP6
Work of the Week 44: The Turn of the Screw BrittenOfficial 2018-10-31 | Featuring the soprano Nazan Fikret.Henry James’ novella 'The Turn of the Screw', published in 1898, has been adapted numerous times – for theatrical stage and cinema screen as well as Britten’s 1954 operatic version. Its story of a grand house, the mysterious deaths of two servants, and the question of whether they are haunting the current inhabitants, is perennially satisfying, and satisfyingly scary. In the original story, and in most subsequent adaptations, the question of whether the ghosts are ‘real’ or whether they are a figment of the main character’s imagination is usually left unresolved. As Nazan Fikret explains in this week’s film the unnamed Governess, who is charged with looking after two children, either sees the ghosts haunting the children and fears for their moral and physical safety; or she is imagining it, perhaps because of unrequited and repressed feelings of love for her employer, the children’s absent uncle. In Britten’s opera, the ghosts are physical present – and they sing – and for some, this lessens the dramatic tension of the opera by apparently dispelling any debate about their ‘reality’. Yet Britten himself said that ‘Myfanwy Piper [the librettist] and I have left the same ambiguities as Henry James did’, and the many productions of the opera since 1954 have used this aspect for great dramatic effect. Nazan, who played the character of ‘Flora’ numerous times from an early age up until her 20s, describes the rich potential for character exploration in the opera, as well as Britten’s remarkable skill at writing for the voice. It is a fascinating, and genuinely unsettling work.Explore more 'Work of the Week' episodes here: http://bit.ly/2DcJVP6
Work of the Week 43: Voices for Today BrittenOfficial 2018-10-24 | Presented by conductor Ben Parry.By the 1960s Britten was well-known for his vocal works – his skill at writing for the human voice, and for setting the most unusual and eclectic words. 'Voices for Today', as Ben Parry describes in this week’s film, was commissioned by U Thant, the Secretary-General of the United Nations at the time - and his taste for surprising verse seems to run entirely amok. While the bulk of the words are a setting of Virgil’s Eclogue IV (set in Latin), there are sentences from 14 other authors (including Sophocles, Herman Melville, Tennyson, Yevgeny Yevtushenko and Jesus Christ), chosen for being the ‘great peace-lovers of history’. It had three simultaneous premieres in London, New York and Paris, but even without that logistical complication the structure is somewhat complex. Along with the SATB choir, there is an off-stage children’s choir whose music for the most part is wordless, and has no regular tempo or barlines, only indications of where the two choirs are to coincide. This ethereal ‘out-of-time’ quality recollects a similar device used in the 'War Requiem', and the effect is powerful and strange. Perhaps because of this logistic complication 'Voices for Today' is seldom-heard but, as Ben suggests, it is well-worth getting to know. Britten’s heartfelt responses to the texts – all yearning in one way or another for a better world – is moving as it is surprising.Explore more 'Work of the Week' episodes here: http://bit.ly/2DcJVP6
