Britten: An American Overture

On the face of it one would have thought that there was little in common between Igor Stravinsky (1882-1971) and Benjamin Britten (1913-1976), two interesting facts prove otherwise.

Britten, born in Lowestoft in Suffolk on 22nd November (St. Cecilia’s Day), had already and studied with Frank Bridge by the time he went to Gresham’s School in Holt, Norfolk, in September 1928. The Master in charge of music on meeting him remarked “Oh, you’re the boy who likes Stravinsky!” Today that remark might be considered a compliment, at that time Stravinsky was reviled as THAT composer who had perpetrated the outrage called “The Rite of Spring” fifteen years earlier.

The funeral service for Stravinsky, who died on 6th April 1971 in New York, was held as he had requested in Venice nine days later and he was laid to rest near his friend and ballet impresario, Serge Diaghilev, on the Island of San Michele. Britten, too, had a great love for Venice as can be heard in his last opera based on Thomas Mann’s “Death in Venice”.

Both composers are also high on Sir Simon Rattle’s list of favourite composers. In 2003 he and his Berlin Philharmonic gave workshops and a performance of Stravinsky’s Rite of Spring to the city’s disadvantaged children and as a past Artistic Director of Britten’s beloved Aldeburgh Festival he has conducted many of his works including a number of those that had been found after the death of the composer.

The box of Stravinsky contains works from all parts of his musical life including six ballets; three major ones from his youth – The Firebird, showing the inspired palette for exotic colour learnt from his teacher, Rimsky-Korsakov, Petrushka (in its revised version of 1947) and The Rite of Spring; two in his Neo-Classical style – Apollo and Pulcinella and extracts from Agon which shows the influence of his studies of serial technique as expounded by Anton Webern. There are also a number of his works that were inspired by jazz.

The box of Britten contains besides the three great song cycles (Les Illuminations, Serenade for Tenor, Horn & Strings and Nocturne) the “War Requiem”, “Sinfonia da Requiem”, the ever popular “Young Person’s Guide to the Orchestra” and the most remarkable set of songs written in French when he was 15, “Quatre Chansons Françaises”.

One of the most innovative and imaginative composers of the 20th century, Benjamin Britten was a master of the orchestral genre. This extensive collection charts the development of Britten’s orchestral voice and features some of his greatest works, including the evocative Four Sea Interludes, the powerful and majestic Sinfonia da Requiem, the virtuosic Young Person’s Guide to the Orchestra and the brilliantly colourful ballet score The Prince of the Pagodas.

Benjamin Britten was born on the day of the Patron Saint of Music – St. Cecilia – 22nd November in 1913 in Lowestoft. He showed remarkable skill at composition from his earliest days. In 1924 he met Frank Bridge (1879-1941), a fine composer in his own right, and became his pupil; through him he developed an appreciation of contemporary music with scores by Bartók and the Schönberg school, particulary Berg.

In 1930 he entered the Royal College of Music and developed the pianistic skills which made him such a brilliant interpreter of both his own music and other greats particularly Mozart and Schubert. From these times date the beautiful A Hymn to the Virgin, Quatre Chansons Françaises and the Sinfonietta, his official Op. 1. He visited Vienna in 1934 and saw Wozzeck but family resistance prevented him studying with Berg (who, in any case, died from blood poisoning caused by an insect sting a year later).

He worked for some years in the film unit of the General Post Office where he met W.H. Auden whose poetry inspired the brilliant song cycle Our Hunting Fathers. The experience in the film unit enabled him to develop the expressive immediacy and technical abilities – often using small and unconventional resources – which would assist his composition of operas in the years to come.

In 1939 he decided to follow Auden to America, accompanying him was the tenor Peter Pears (1910-1986) who was to be the inspiration behind so many great operatic roles and song cycles. There he composed the Sinfonia da Requiem, the Michelangelo Sonnets and the First Quartet. His first opera, Paul Bunyan, to an Auden libretto, was also composed there but then withdrawn (it was revived for the Aldeburgh Festival in the year he died).

He started to get the pangs of homesickness especially when he read, by chance, an article by E.M. Forster on the Suffolk poet Crabbe (whose work was to lead to arguably his greatest success) and he returned to England in 1942. He wrote A Ceremony of Carols and Hymn to St. Cecilia (another Auden text) during this year.

For British Opera the date 7th June 1945 will always remain a red-letter day as it heralded the premiere of a masterpiece, Peter Grimes. The triumph not only established Britten as Purcell’s successor as Britain’s greatest music dramatist but its numerous performances abroad showed that Britain had an international composer celebrity.

The Rape of Lucretia was premiered the following year as was the work by which Britten is probably best remembered – certainly by thankful schoolchildren for their guide to the Orchestra. Here he subjects the theme by Purcell to a series of ingenious variations played by each member of the orchestra and then as groups and finally a fugue where everything comes together in a simply unforgettable coda.

Indeed when one examines Britten’s output it is hard not to credit him with at least one work of genius, if not a masterpiece, virtually every year for the rest of his composing life – whether it be an opera, for example The Turn of the Screw in 1954 or A Midsummer Night’s Dream in 1960; a choral work, for example Spring Symphony in 1949 or the War Requiem in 1961, a large vocal work, for example Serenade for tenor, horn and strings in 1943, Nocturne in 1958 and Phaedra in 1975; a smaller vocal work, for example the Canticles of 1947, 1952, 1954, 1971 & 1974; the works he wrote for Mstislav Rostropovich – the Cello Sonata in 1961, the Cello Symphony in 1963 and the three Solo Cello Suites in 1964, 1967 & 1971; the two remaining string quartets in 1945 & 1975 and a full length ballet The Prince of the Pagodas in 1956.

Besides setting many classic poets from Britain including Blake, Burns, Coleridge, Donne, Hardy, Keats, Jonson, Milton, Owen, Shakespeare, Shelley, Spenser, Tennyson and Wordsworth he also set texts in French (Hugo, Rimbaud and Verlaine), Italian (Michelangelo), German (Hölderlin) and Russian (Pushkin). He was also partly responsible for the reawakening of interest in the music of his great predecessor, Henry Purcell by making realizations of a large number of his works. He also launched the music festival in his adopted town of Aldeburgh.

To commemorate the 100th anniversary of the birth of England’s greatest composer since Henry Purcell, Decca Classics presents the ultimate Britten box

Britten and Decca enjoyed a unique relationship with the composer, recording most of his key works for the label. Decca’s 1963 set of the War Requiem remains one of the fastest-selling classical releases of all time. The recordings not in the Decca catalogue have been licensed from other companies including EMI, Virgin Classics, Naxos and Warner – a total of 18 rights holders have assisted to make this extraordinary achievement possible, plus the endorsement & support of the Britten-Pears Foundation.

Benjamin Britten was born 22nd November 1913, the feast day of St Cecilia, patron saint of music. Over four intensely creative decades he went on to publish over 100 works, of which the most important dominated and shaped their respective genres – opera with Peter Grimes, the choral oratorio with War Requiem, music to inspire newcomers (Young Person’s Guide to the Orchestra), the Song Cycle (Serenade for Tenor Horn and Strings). The sheer range is astonishing.

Britten is the subject of a colossal campaign, Britten100, under the auspices of the Britten-Pears Foundation who have invested £6.5 million in further driving international awareness of the composer.

This 65-CD edition is guaranteed to appeal to Britten enthusiasts worldwide.

· Individually numbered, limited edition (1 to 3,000)

· 208-page hardback book including:-

- A gallery of original LP sleeves, arranged chronologically from 1953 onwards

- Copious Recording session pictures and beautiful Aldeburgh landscapes newly photographed

- ‘Choosing a Record Company’ by discographer Philip Stuart

- ‘Ben – A Tribute to Benjamin Britten (1913-1976)’ by John Culshaw (originally published in Gramophone Magazine, February 1977)

- Peter Glossop’s Memoir on the role of Billy Budd and working with Britten

- Complete alphabetical index of works included in the edition.

· The set is organised into 4 main sections, each with its own individual book:

The Operas; Stage & Screen; Voices; Instruments

· Each book contains a detailed article by Andrew Huth, full track listings and recording information.

· 4 bonus CDs - including a series of interviews by Jon Tolansky, first recordings and rarities never before released on CD and the War Requiem rehearsal sequence

· New War Requiem hi-res transfer from original master tapes

· The set also features the Tony Palmer film on the making of the 1967 recording of The Burning Fiery Furnace, an unrivalled look at John Culshaw and the Decca team at work