It's about time he had his own thread, apart from the one devoted to his operas. I grew up with Britten's music, and have an enduring love for a lot of it. One work I'm very fond of is his ballet Prince of the Pagodas - several miracles of orchestration, and one movement in particular has been haunting me: Belle Rose's Variation in the Pas de deux of the final Act. Though Oliver Knussen did a complete recording, Britten's own recording of the slightly abridged work still hits the spot more effectively for me: I wish Decca would re-release it since I foolishly never bought it on CD.
Quote from: Boris_G on July 12, 2007, 10:14:21 PM
It's about time he had his own thread, apart from the one devoted to his operas. I grew up with Britten's music, and have an enduring love for a lot of it. One work I'm very fond of is his ballet Prince of the Pagodas - several miracles of orchestration, and one movement in particular has been haunting me: Belle Rose's Variation in the Pas de deux of the final Act. Though Oliver Knussen did a complete recording, Britten's own recording of the slightly abridged work still hits the spot more effectively for me: I wish Decca would re-release it since I foolishly never bought it on CD.
I had the good fortune to perform "Rejoice in the Lamb" as part of the choir in my university (College) days. Loved the work!
The Sinfonia da requiem is a terrific concert-piece! Who knows? -- Greta may find she likes it nearly as well as The Planets? 8)
Quote from: karlhenning on July 13, 2007, 09:16:58 AM
The Sinfonia da requiem is a terrific concert-piece! Who knows? -- Greta may find she likes it nearly as well as The Planets? 8)
The Four Sea Interludes are very good as well!
Quote from: karlhenning on July 13, 2007, 09:16:58 AM
The Sinfonia da requiem is a terrific concert-piece! Who knows? -- Greta may find she likes it nearly as well as The Planets? 8)
Very different from The Planets (even 'Mars', which comes closest to Sinfonia da requiem, is 'propelled' by different means), though both works in their different ways show a total mastery of orchestration. I particularly like the strange, silvery-lead colours Britten creates with the combination of strings, woodwind and piano in the first section.
Britten's my favourite composer, but I don't think he would be if all I'd heard was the Sinfonia da Requiem or the Piano Concerto. I think he was primarily a vocal composer, and just about all his vocal music, for soloists or choirs or whole operas, is very exciting to explore. The more you listen, the more you hear.
(Just for entertainment, I put this through the Spell Checker. It suggested I should change Sinfonia to Sniffing.)
One of my favorite Britten discs is the Erato disc with Nagano Bashmet and Kremmer.
DOUBLE CONCERTO
TWO PORTRAITS
YOUNG APOLLO
SINFONIETTA
The French folksongs are fun and elegant at the same time.
This CD (http://www.arkivmusic.com/graphics/covers/non-muze/full/EMI49259.jpg)
has three favorite works : Phaedra, Les illuminations and the French folksongs.
Jill Gomez and Felicity Palmer are the ( very good) soloists - even if the competition ( Baker, Heather Harper etc) is stiff.
Cantata academica and Cantata misericordium are not well known ( and hardly recorded - Cantata Academica has been recorded by Decca and by Supraphon -only LP - possibly there's also a version with Paul Sacher conducting - the work was written for Basle university. Cantata misericordium can only be found on the Decca/Britten series)
Academica is festive & extrovert, Misericordium (for smaller forces/ written for the Red Cross ) is almost a scene from a dramatic work ( it does depict the story of the good Samaritan . Peter Pears and Fischer Dieskau are really moving.
Quote from: karlhenning on July 13, 2007, 09:16:58 AM
The Sinfonia da requiem is a terrific concert-piece! Who knows? -- Greta may find she likes it nearly as well as The Planets? 8)
Have to agree, amazing.
The violin concerto op.15 is pretty damn nice too.
Also try Friday Afternoons, a collection of a dozen or so delightful songs.
As I've britten a lot of times in the past, the Serenade for Tenor, Horn and Strings is one of my all time favorites.
Quote from: pjme on August 11, 2007, 11:05:24 AM
... Les illuminations ...
Had my first exposure to this wonderful work thanks to a recent Proms concert. What I love about Britten is that he writes as sensitively and as imaginatively for instrumentalists as he does for voice. There's always a little something unexpected, never just run-of-the-mill accompaniment. He's fast becoming my favourite British composer.
Absolutely, Mark.
We might almost say that Elgar was an important English composer, partly because he paved the way for Vaughan Williams, Britten and Tippett after 8)
Quote from: karlhenning on August 11, 2007, 04:21:35 PM
Absolutely, Mark.
We might almost say that Elgar was an important English composer, partly because he paved the way for Vaughan Williams, Britten and Tippett after 8)
Very well. I shall graciously concede such. :)
Talking about Britten made go through my collection . I picked "Diversions" for piano left hand & orch. What a scintillating score! Leon Fleisher & Boston SO / Ozawa. -great combination with Ravel's concerto in D and Prokofiev's 4th.
Thanks for the alert, Peter! There's a Britten piece which was entirely off my radar . . . .
I took out the Cantata academica (op.62 -1959) aswell.
Soprano Jennifer Vyvyan, alto Helen Watts, Peter Pears tenor and Owen Brannigan, bass/baritone
The London Symphony Orchesra and Chorus - George Malcolm ( 1961 recording)
"Feel good" music in every sense. Festive trumpet fanfares, exuberant choruses, a wonderful soft arioso (con canto popolare) for soprano (over a hummed choral accompaniment), recitatives for tenor and piano solo...Britten packs a lot of light hearted( yet clever) invention in this cantata in 12 short movements.
The Latin text is a paean to Basle as "The city on the Rhine that is welcoming to all who want to study and teach at its academy"....It ends with a loud "Corale con canto" - tubular bells & piano ring out!!
Britten > Elgar
Quote from: D Minor on August 12, 2007, 06:38:45 PM
Britten > Elgar
Tell us something we don't already know. Please.
For instance:
Elgar wears multidimensional underwears
One work I used to like a lot, but haven't heard since I packed up my LP player some years ago, and is hardly ever mentioned: The Spring Symphony! Love the Boy chorus with whistling (the Driving Boy I seem to remember it was called), startlingly original.
Need a CD recording, think my LP is on EMI with Previn. Recommendations anyone?
I agree the Spring Symphony is a lovely piece. I always like to have the composer's own recordings, but if you care a lot about modern sound then perhaps others are better. Britten's own recording is re-issued from time to time and you can get good used ones, from Amazon uk certainly. There's also an amazing one in Russian, but I don't think I'd recommend that!
Listening this morning to the Simple Symphony played by the English String Orchestra. Charming piece!
Quote from: Boris_G on July 12, 2007, 10:14:21 PM
It's about time he had his own thread, apart from the one devoted to his operas. I grew up with Britten's music, and have an enduring love for a lot of it. One work I'm very fond of is his ballet Prince of the Pagodas - several miracles of orchestration, and one movement in particular has been haunting me: Belle Rose's Variation in the Pas de deux of the final Act. Though Oliver Knussen did a complete recording, Britten's own recording of the slightly abridged work still hits the spot more effectively for me: I wish Decca would re-release it since I foolishly never bought it on CD.
That recording is actually included in a rather good value 7-CD box set 'Britten conducts Britten' (Decca 475 6051): they even include the texts for the songs (it includes Serenade; Les Illuminations; Nocturne; Michelangelo Sonnets; and Winter Words - all sung by Peter Pears); plus there's the concertos (including the lovely Piano Concerto played by Richter, and the Diversions pjme posted about earlier). Definitely worth getting if you've missed previous issues of these recordings.
Quote from: karlhenning on July 13, 2007, 09:16:58 AM
The Sinfonia da requiem is a terrific concert-piece!
This is my favourite Britten piece and its gripping from start to finish (Hickox' recording on Chandos is the best recording IMO).
What I love about this piece is that tortured, angular melody of the dirge-like 1st movement is transformed into such a gorgeous sweeping melody in the 3rd movement-- at which point I often find myself in tears (the climax of the first movement does the same, but for different reasons). Its as if you can really HEAR swords being re-shaped into plowshares! There's such a compassion in this piece that really gets to me...
Anyone familiar with his recording of the War Requiem on Decca? Britten himself conducted, and rehearsed, the orchestra, 2 choirs, a chorus, an organist and three soloists (Galina Vishnevskaya, Pears, Fischer-Dieskau). Unbeknownst to all involved during the rehearsals, the producer John Culshaw kept recording their work thus taping Britten as he provides countless directives and correctives! Britten was "appalled" by this intrusion but these January 1963 recordings are nonetheless included in these Decca's "legendary recordings." An excellent lesson in the important role of the conductor, particularly the conductor/composer.
Some examples:
To the boys' choir: "Don't make it sound nice. It's horrid, it's modern music." (his emphasis)
"But above all, even if you get your Latin wrong, keep it going, keep it sounding busy."
"Now chorus... you sound much too healthy, much too healthy, there's no feeling of terror around ... make it sound creepy, make it alarmed."
Quote from: Benny on April 06, 2008, 10:14:31 AM
Some examples:
To the boys' choir: "Don't make it sound nice. It's horrid, it's modern music." (his emphasis)
"But above all, even if you get your Latin wrong, keep it going, keep it sounding busy."
"Now chorus... you sound much too healthy, much too healthy, there's no feeling of terror around ... make it sound creepy, make it alarmed."
And my favorite:
"Once again, the composer is always right..."
Just saw a performance of the first cello suite this past Sunday. What incredible music. Seems like an opera or big choral work condensed for one instrument. Makes me want to get to know more of Britten's smaller instrumental works.
Allan
Quote from: toledobass on April 08, 2008, 08:19:38 AM
Just saw a performance of the first cello suite this past Sunday. What incredible music. Seems like an opera or big choral work condensed for one instrument. Makes me want to get to know more of Britten's smaller instrumental works.
Allan
Great music, eh! (They were written for Rostropovich.) The only recording I have--it's fine but I suspect others might equal it--is with Rohan de Saram (former cellist with the Arditti Quartet) on Naive. I've also heard good things about Truls Mørk's recording.
--Bruce
I have a bit of a blind spot (deaf spot?) with opera but, I greatly admire the following works:
Sinfonia da Requiem
Cantata Misericordium
War Requiem
Passacaglia and Interludes from Peter Grimes
Young Person's Guide to the Orchestra (Purcell Variations)
Quote from: toledobass on April 08, 2008, 08:19:38 AM
Just saw a performance of the first cello suite this past Sunday. What incredible music. Seems like an opera or big choral work condensed for one instrument. Makes me want to get to know more of Britten's smaller instrumental works.
Allan
One advice: The Belceas midprice double of the string quartets. Wonderful music, from the strangeness of nr 1 to the sadness of nr 3 in wonderful performances and stunning sound. A must.
The Missa Brevis is a gem .
(http://www.arkivmusic.com/graphics/covers/full/51/514687.JPG)
Sir David Willcockx.
Quote from: erato on April 09, 2008, 12:59:52 AM
One advice: The Belceas midprice double of the string quartets. Wonderful music, from the strangeness of nr 1 to the sadness of nr 3 in wonderful performances and stunning sound. A must.
Crazy, I ordered this set yesterday before I even saw this post. I knew nothing about it and just wanted to hear the music. I'm glad it's coming to my doorstep with high regards.
Allan
Quote from: vandermolen on April 09, 2008, 12:23:40 AM
I have a bit of a blind spot (deaf spot?) with opera but, I greatly admire the following works:
Sinfonia da Requiem
Cantata Misericordium
War Requiem
Passacaglia and Interludes from Peter Grimes
Young Person's Guide to the Orchestra (Purcell Variations)
(http://ecx.images-amazon.com/images/I/51budIDRvRL._SL500_AA280_.jpg)
I have the
Cantata misericordium on this outstanding collection, and there's a beautiful short piece
Chorale on an old French carol.
Quote from: drogulus on April 15, 2008, 01:56:54 PM
(http://ecx.images-amazon.com/images/I/51budIDRvRL._SL500_AA280_.jpg)
I have the Cantata misericordium on this outstanding collection, and there's a beautiful short piece Chorale on an old French carol.
I really like ths CD. Also includes a wonderful piece of early Finzi that I find irresistable despite its numerous flaws and chequered inception.
The three Suites by Britten I think are some of the finest music written for the cello - for me the finest pieces of solo cello writing of the 20th century along with Dutilleux' Trois Strophes and Kodaly's Solo Sonata. Rostropovich unfortunately never recorded the third suite, which is perhaps the finest of the three, and never played it after Britten's death, purporting that it was too painful for him to do so. In an interview a year before his death he expressed regret that he never recorded it.
I think Truls Mork has the measure of these works:
QuoteIn the First Suite, he plays with many of the known virtuosic techniques, like double stops, pizzicato, and col legno. This suite is the most inviting to the listener. The Second Suite explores the various colors available on the instrument, like the colors of the different strings. He has you play melodies very high up on the G or D string, which makes the whole suite feel more personal. The melodic elements are larger and faster in this suite as well. The Third Suite is full of abrupt, fragmentary elements that make it very difficult to maintain a sense of drama. You must strive to maintain the intensity despite the jagged nature of the music. We are very lucky to have these suites.
The last movements of the third Suite, in which the Russian folk songs that have been the basis of the work are revealed (in some ways the suite is a reverse set of a theme and variations), are almost unbearably poignant in their simplicity and nostalgia. The piece has to be heard to be believed.
The cello Sonata has never done as much for me, it being the first fruits of the friendship between Rostropovich and Britten. Its well written and contains lots of nice original and uirky ideas, but it doesn't have quite the same level of inspiration as the other cello pieces.
The Cello Symphony of 1963 is another absolutely astonishing piece, and is his finest purely orchestral work. Though only around a half hour long it is a truly collossal work, brilliantly constructed from the most simple of materials and contains a lot of symphonic working out of ideas rather than more traditional overtly virtuosic concerto music. It is brilliantly written for the cello though and hardly easy but quite unlike anything else in the repertoire - very much more subdued than Prokofiev's similarly titled Symphony Concerto. It's in four movements like a traditional Symphony with the Adagio third, leading via an incredible Cadenza into a classic Britten Passacaglia Finale. The opening movement contains some absolutely beautiful moments, a passage where the cello sighs repeatedly with spare yet highly atmospheric accompaniment is particularly special. The whole thing has a very Mahlerian air to it (at least to my ears), though Britten is far more concise and mercurial. It is one of the finest pieces that I know of for cello and orchestra, but has remained, like so many works, only on the periphery of the cello concerto repertoire (along with the Walton, Barber, Shostakovich 2nd, etc.), much to the loss of listeners and musicians.
Quote from: karlhenning on August 13, 2007, 06:14:52 AM
Listening this morning to the Simple Symphony played by the English String Orchestra. Charming piece!
I remember being quite obsessed with this piece. Haven't heard it for a long time, thanks for the reminder!
Howard
This week I've been listening to the Simple Symphony on this CD, by Steuart Bedford and the Northern Sinfonia. (I have its original incarnation on Collins...but it's been rereleased on Naxos.)
Great little piece, very infectious, and Bedford's version is excellent.
--Bruce
Quote from: not mePhaedra
Dramatic Cantata for Mezzo-Soprano and Small Orchestra
Benjamin Britten (1913-1976)
Phaedra is scored for strings, harpsichord and percussion. Performance time is fifteen minutes. This is the work's first performance by the Grant Park Orchestra.
In 1972, Benjamin Britten, not yet sixty, learned that he had a faulty heart valve, and could not expect to live long, or well, without surgery. He was then composing Death in Venice, based onThomas Mann's novella, for his life companion and greatest interpreter, the tenor Peter Pears, and he told his doctors that he would not submit to surgery until the score was finished. The opera was sketched by the end of the year, and orchestrated and completed by March 1973. In May, Britten entered a London hospital for his surgery, but he suffered a slight stroke during the procedure and he was generally weakened and without full use of his right arm thereafter. He convalesced during the summer by reading Haydn and Eliot, and strengthened his right hand by writing letters to friends. He had to miss the premiere of Death in Venice at the Aldeburgh Festival in June, but he was cheered by good reviews for the opera and excellent ones for Pears in the role of Aschenbach. Britten was able to attend a private performance of Death in Venice in September at Aldeburgh, and he traveled to London when the opera was given at Covent Garden the following month.
By spring 1974, Britten was again up to doing some creative work, first revising his early String Quartet in D and the 1941 opera Paul Bunyan, and then composing a setting of Eliot's "The Death of Saint Narcissus" for Pears and harpist Osian Ellis. The Suite on English Folk Tunes ("A time there was...") followed later that year, and the cantata Phaedra, for Janet Baker, and some small vocal works in 1975. Britten was well enough by November to travel to Venice, where he was able to visit many of his favorite palaces, gardens and galleries with the help of a nurse and some devoted friends. He had begun composing his Third String Quartet, his first work in that form in thirty years, before he left England, and completed the score in Venice on November 16th. Though greatly worn down by the heat wave and drought of the summer of 1976, that year he managed to make eight new settings of folk songs for Pears and Ellis, arrange his 1950 Lachrymae (originally for viola and piano) for string orchestra, and compose a Welcome Ode for school musicians for Queen Elizabeth's Jubilee visit to Suffolk. In June, it was announced that he had been made a life peer, with the title Baron Britten of Aldeburgh. When the renowned Russian cellist and conductor Mstislav Rostropovich visited Britten in late November, he reported that his friend was "very sick, his hands trembling." Britten died on December 4, 1976 at Aldeburgh.
Britten's last work for solo voice, composed during the summer of 1975 for the celebrated English mezzo-soprano Janet Baker, took as its subject the tragic character of Phaedra, who was first threaded into the web of ancient mythology when she married the aging King Theseus. In the old tale, Hippolytus, Theseus' son by his liaison with the Amazon woman Antiope, comes to visit his father, and Phaedra is overwhelmed to the point of madness with love for her stepson. Hippolytus, however, has foresworn absolutely the love of women, and he pays Phaedra not the slightest notice. The plight of Phaedra, ravaged by guilt but unable to conquer her lust, becomes known to her faithful old nurse, Oenone, who pleads with Hippolytus to requite her mistress' passion. Hippolytus recoils from Oenone in horror, insisting that he would never betray either his father or his vow to shun romantic love. Phaedra, having witnessed this scene, swallows poisons and then confesses both her lust and Hippolytus' innocence to Theseus before falling dead at her outraged husband's feet.
The tragedy of Phaedra was the last subject that the celebrated French dramatist Jean Racine (1639-1699) took up before attacks by his rivals forced his retirement from the theater in 1677; Phèdre is generally regarded as his masterpiece. Britten drew the text for his "dramatic cantata"from the 1961 English translation of Racine's play by the Pulitzer Prize-winning American poet Robert Lowell (1917-1977). Phaedra takes its form — a prologue followed by two paired recitatives and arias — from the Italian Baroque cantata for solo voice and accompaniment, though its style, sensitivity to text and drama, and expressive immediacy are distinctly the work of Britten. Phaedra was acclaimed at its premiere at the Aldeburgh Festival on June 16, 1976. Edward Greenfield, music critic of The Guardian, called it "an opera in microcosm," and Peter Stadlen of The Daily Telegraph wrote that it "demonstrates to what extent a sacrifice in sheer length and explicitness is possible in the arts without loss of depth."
Very interesting...did you write that, er, extemporaneously?
Quote from: zamyrabyrd on July 15, 2008, 08:05:18 AM
Very interesting...did you write that, er, extemporaneously?
Oh, it's not mine,
ZB! The title at the start of the post has a link to the source.
Phaedra
Dramatic Cantata for Mezzo-Soprano and Small Orchestra
Benjamin Britten (1913-1976)
One of my best, and slightly sad memories, is hearing this piece with Lorraine Hunt Lieberson a few years ago with Sir Colin Davis and the New York Philharmonic--on my birthday. :'( It was the first time I'd ever heard it. Needless to say, she was marvelous. From Alex Ross's tribute to her in The New Yorker:
When she sang Britten's cantata "Phaedra" at the New York Philharmonic, she froze listeners in their seats with her high monotone chant of the words "I stand alone."
--Bruce
That comment about horrid modern music isn't just a joke. It says something about his music, which explores extremes of beauty and ugliness. I find Britten to be a very uncompromising composer, and such single-minded devotion is usually found among avant-gardists. Britten seems to have come upon the idea that there are more expressive opportunities in shattering tonal expectations without leaving tonality behind than there would be by adopting an alternative.
After my recent immersion in the Cello Symphony and the War Requiem I listened to Walton's Belshazzar's Feast. By comparison it sounds like Elgar with a Broadway sensibility superimposed (it might have been called Belshazzar!). This isn't really a knock on Walton, a composer I admire, but it shows the astonishing way Britten freed himself from tradition without disowning it, as well as the extent that other composers were either unable or unwilling to do so.
I've never been able to take Belshazzar's Feast quite seriously anyway (I love Walton's 1st symphony and enjoy a few other pieces). The War Requiem, agreed, is on another plane. Various Britten works already mentioned continue to impress me too (as in "make a deep impression on"), one of my favourites not mentioned so far, I believe, is the Nocturne for tenor and ensemble. My first recording was Robert Tear's, on Argo LP, which I still like, then the studio version by Peter & Ben, then their live version on BBC Legends, which I slightly prefer despite the cloudier sound, then the Collins version now on Naxos with Philip Langridge. I had to listen to the latter a few times before I could enjoy it, so different is it from that Pears sound that Tear copied (? - my assumption). He rather shockingly shouts "no more!" in the Wordsworth poem, but it is effective. The climax of the Shakespeare sonnet is rather underplayed, I find; there I must prefer Pears' or Tear's more piercing emotionalism. This last setting of the cycle is the most moving Britten ever did, in my view, only rivalled by the "Elegy" in the Serenade and "Before Life and After" in Winter Words - not to forget the War Requiem's "Strange Meeting". There's a sad but defiant yearning in these settings that puts them with Wolf's Michelangelo settings in my personal pantheon.
Here are two of my favourite recordings:
How 'bout that War Requiem, eh?
Spiffy page here (http://www.brittenpears.org/?page=britten/works/requiem.html).
The War Requiem is one of my favorite works, although one I don't listen to that often (too intense).
I'm seeing it in a few weeks with Lorin Maazel and the New York Philharmonic--part of his big final month as conductor. Very much looking forward to it, since the last time I heard it (some 4-5 years ago) was unsatisfying: a dedicated, well-meaning chorus and orchestra, but they really weren't able to handle the music. But I have a hunch Maazel may really respond to this piece.
--Bruce
Quote from: bhodges on May 29, 2009, 09:11:48 AM
The War Requiem is one of my favorite works, although one I don't listen to that often (too intense).
Yes, it isn't the sort of thing to just toss into the changer on a whim.
Speaking of which . . . this weekend, I am taking the vocal score home and am listening to
The Turn of the Screw, twice.
I hear the Lloyd-Webber/Marriner Cello Sym. (w/Walton) on Philips is an unbelieveably great and unique sounding recording?
The Cello Symphony is yet another Britten work I've yet to listen to. Ran into many of those, reading the brief Phaidon bio.
The cello symphony is top-drawer, somewhere between the sinfonia da requiem and violin concerto in mood, if I recall correctly.
Quote from: k a rl h e nn i ng on May 29, 2009, 09:14:43 AM
Speaking of which . . . this weekend, I am taking the vocal score home and am listening to The Turn of the Screw, twice.
What's the occasion, Karl? I have still not heard this piece, and have Daniel Harding's recording of it in the big "to listen to" pile.
--Bruce
Quote from: k a rl h e nn i ng on May 30, 2009, 04:22:08 AM
The Cello Symphony is yet another Britten work I've yet to listen to. Ran into many of those, reading the brief Phaidon bio.
You should definately get to this work ASAP, right after your finish turning that screw!
The Cello Symphony is first rank Britten, and therefore a 20th century masterpiece IMNSHO.:D
What about that Piano Concerto, Op.13? I happen to really like this piece. The one I've got is with Richter on the piano and Britten conducting.
Another work I think that's overlooked is the Prelude and Fugue, Op.29 for orchestra. Great piece of music that!
Quote from: bhodges on May 30, 2009, 10:15:42 AM
What's the occasion, Karl? I have still not heard this piece, and have Daniel Harding's recording of it in the big "to listen to" pile.
The occasion,
Bruce, is simply that I've checked out a vocal score from the library 8)
Quote from: springrite on May 30, 2009, 10:20:43 AM
You should definately get to this work ASAP, right after your finish turning that screw!
There's got to be a box of some sort in my future,
Paul . . . .
Quote from: k a rl h e nn i ng on May 30, 2009, 01:40:09 PM
The occasion, Bruce, is simply that I've checked out a vocal score from the library 8)
Oh...I thought you were perhaps...conducting it! :D
--Bruce
Quote from: bhodges on May 30, 2009, 01:43:32 PM
Oh...I thought you were perhaps...conducting it! :D
:D
Not at this time . . . .
I divided the two acts of The Turn of the Screw between two evenings; a little too intense to immerse myself in all at once.
I'd say I enjoyed the opera, only "enjoy" isn't quite the word. Then, I almost called the piece brilliant, but that's not quite the word, either. It is a powerful, impressive work; its powers focused yet more intensely, I think, both by the chamber scoring, and the frequent simplicity of Britten's musical language.
It's a long time since I read James's story; back when I had read it more recently, I should have thought it impossible for opera. At that time, I should have been predisposed not to be happy with any stage liberties a librettist might take with the text. But in the event, I think the libretto and Britten's illumination of it, miraculously faithful to James's intent. "The worst possible construction," and all that. It's really a frightful story, and the miasmic understatement is part of the fright . . . and the opera overall I find a tour de force.
TotS is rather difficult, indeedie. At least the bleakness of Grimes was accompanied by some wonderful rich Romanticism - TotS is more razor-sharp in its focus and this can be uncomfortable. Not a single impish melody to relieve the pressure.
Quote from: Lethe on June 01, 2009, 05:47:59 AM
TotS is rather difficult, indeedie. At least the bleakness of Grimes was accompanied by some wonderful rich Romanticism - TotS is more razor-sharp in its focus and this can be uncomfortable. Not a single impish melody to relieve the pressure.
Well, there's the nursery rhyme that Flora and Miles sing in unison, but that's just part of the eeriness.
Quote from: Lethe on June 01, 2009, 05:47:59 AM
TotS is rather difficult, indeedie. At least the bleakness of Grimes was accompanied by some wonderful rich Romanticism - TotS is more razor-sharp in its focus and this can be uncomfortable. Not a single impish melody to relieve the pressure.
I have had the Turn of the Screw on DVD for three year but have not watched it yet. I knew all about it and I just have to be in the right state of mind and be really ready before I will watch it.
Maybe some time this year...
Quote from: springrite on June 01, 2009, 05:56:15 AM
I have had the Turn of the Screw on DVD for three year but have not watched it yet. I knew all about it and I just have to be in the right state of mind and be really ready before I will watch it.
It is certainly the sort of thing one needs to be in the right frame of mind for. That is one reason why I made a point of grabbing a vocal score, and following along.
Much as
Dyagilev said of
Stravinsky's Oedipus Rex . . .
un cadeau très macabre.
Quote from: k a rl h e nn i ng on June 01, 2009, 05:53:24 AM
Well, there's the nursery rhyme that Flora and Miles sing in unison, but that's just part of the eeriness.
Yip, just more ghost music...
Quote from: springrite on June 01, 2009, 05:56:15 AM
I have had the Turn of the Screw on DVD for three year but have not watched it yet. I knew all about it and I just have to be in the right state of mind and be really ready before I will watch it.
Maybe some time this year...
My first few tries on DVD (I have the attractive movie version on Opus Arte) ended in abortive listens. Mood is certainly important with this work - I have to be in a neutral and relaxed state and at the same time be able to maintain this through something taxing. I can't pull it off very often but when I do it becomes almost trance-like - quite interesting to experience outside of minimalism...
I almost with Britten explored this style further, but that would reduce the impact and originality of TotS, so I suppose the that could be a blessing.
Quote from: Lethe on June 01, 2009, 06:12:25 AM
I almost [wish] Britten explored this style further, but that would reduce the impact and originality of TotS, so I suppose the that could be a blessing.
Britten's was a formidable talent, as this opera illustrates. And now, I've got to check out vocal scores for
Death in Venice,
The Rape of Lucretia,
A Midsummer Night's Dream &
Gloriana . . . .
Have to hear more Britten . . . .
Just checked out vocal scores for Death in Venice and The Rape of Lucretia.
I really enjoy the Sinfonia da requiem (http://kennedycenter.com/calendar/index.cfm?fuseaction=composition&composition_id=2769); and I probably forgot that it was actually premiered in New York.
Quote from: k a rl h e nn i ng on June 05, 2009, 05:33:35 AM
I really enjoy the Sinfonia da requiem (http://kennedycenter.com/calendar/index.cfm?fuseaction=composition&composition_id=2769); and I probably forgot that it was actually premiered in New York.
The Sinfonia da Requiem is an incredibly powerful and moving work-just about my favourite Britten composition in fact. The fantastic opening with those ferocious pounding timpani strokes followed by the slow, sad , tentative upward moving strings is one of the most arresting openings of any work I know.
Although I have Rattle's performance too, it is hard to beat Britten's own rendering of a work which meant so much to him.
It is astonishing that from 1940-when the piece was composed-until 1974-two years before his death-when the Suite on English Folk Tunes was composed Britten wrote nothing or virtually nothing for full orchestra unaccompanied or outside of an operatic or ballet context.
Sadly, I can make nothing and never have been able to of the Cello symphony :(
On for this weekend:
The Rape of Lucretia
Death in Venice
with vocal scores in hand.
QuoteOn for this weekend:
The Rape of Lucretia
Death in Venice
with vocal scores in hand.
I've got the scores, but that hasn't happened yet.
Should. Soon.
Quote from: bhodges on July 16, 2008, 09:01:49 AM
Phaedra
Dramatic Cantata for Mezzo-Soprano and Small Orchestra
Benjamin Britten (1913-1976)
One of my best, and slightly sad memories, is hearing this piece with Lorraine Hunt Lieberson a few years ago with Sir Colin Davis and the New York Philharmonic--on my birthday. :'( It was the first time I'd ever heard it. Needless to say, she was marvelous. From Alex Ross's tribute to her in The New Yorker:
When she sang Britten's cantata "Phaedra" at the New York Philharmonic, she froze listeners in their seats with her high monotone chant of the words "I stand alone."
A poignant memory to treasure,
Bruce.
Quote from: sarabande on January 31, 2008, 08:15:32 AM
This is my favourite Britten piece and its gripping from start to finish (Hickox' recording on Chandos is the best recording IMO).
What I love about this piece is that tortured, angular melody of the dirge-like 1st movement is transformed into such a gorgeous sweeping melody in the 3rd movement-- at which point I often find myself in tears (the climax of the first movement does the same, but for different reasons). Its as if you can really HEAR swords being re-shaped into plowshares! There's such a compassion in this piece that really gets to me...
A post worth returning to.
Quote from: Dundonnell on June 05, 2009, 05:54:38 AM
Sadly, I can make nothing and never have been able to of the Cello symphony :(
How long have you been a-trying,
Colin?
Phaedra
Dramatic Cantata for Mezzo-Soprano and Small Orchestra
Benjamin Britten (1913-1976)
I recall watching Janet Baker sing it just after Britten had died, tears rolling down her face. That was not something this true professional permitted herself on even an irregular basis.
Karl, How are rapine and death going?
Mike
Quote from: knight on July 09, 2009, 11:12:48 AM
Karl, How are rapine and death going?
Taxiing on the runway,
Mike. I was almost poised to set the time for these . . . and last night I was invited to play at an event on Sunday the 19
th. So it's back into practice-as-much-as-the clock-allows mode.
Each is a three course meal, so perhaps allow space for digestion in between. Lucretia is positively bizarre in its structure. I like the music for the male and female chorus; but why a pre-Christian story is given a Christian framework of comment is beyond me.
My recording has Baker at her best and Luxon at his brief best.
Mike
Quote from: knight on July 09, 2009, 11:18:37 AM
Each is a three course meal, so perhaps allow space for digestion in between. Lucretia is positively bizarre in its structure. I like the music for the male and female chorus; but why a pre-Christian story is given a Christian framework of comment is beyond me.
My recording has Baker at her best and Luxon at his brief best.
Mike
Thanks for mentioning Luxon, whom I haven't thought about in awhile. At his best, he was really marvelous.
--Bruce
The poor guy got tinnitus very badly and had to give up singing.
Mike
Oh how awful...I never knew that. Just assumed his voice "went" somehow, since there are no guarantees with singers. Is it known what caused it? (Suddenly I'm thinking of orchestral musicians who have complained recently about the volume levels onstage...)
--Bruce
I don't know Bruce. We used to see him a lot, in the opera house and when I was in choir. Then suddenly, he disappeared.
Here is an extract from Wikipedia.
In 1990, Luxon's career was jeopardized by sudden hearing loss. He resumed international engagements in 1992, but continued fluctuation and deterioration in his hearing forced him to end his singing career a few years later. Since then, however, he has developed a career as a narrator and poetry reader whilst continuing to give master classes and direct opera.
Luxon was appointed a Commander of the Order of the British Empire (CBE) in the 1986 Queen's Birthday Honours.[1]
Mike
http://www.wrightmusic.org.uk/britten.html
Astonishing piece of writing. The guy is clearly absolutely mental - has anyone heard of him/met him?
There's stuff on Elgar too, which I'll post on the Elgar thread.
Wow! That made the Elgar one seem tame. You couldn't even possibly call that a bio, or an article, or even criticism, it's simply libel. :o
Quote from: Guido on September 15, 2009, 02:11:05 AM
http://www.wrightmusic.org.uk/britten.html
Astonishing piece of writing. The guy is clearly absolutely mental - has anyone heard of him/met him?
There's stuff on Elgar too, which I'll post on the Elgar thread.
Couldn't the author just say, "I can't stand Britten" and leave it at that? The whole tone of the piece is a bit over-the-top, too much so for my taste. (Of course, I never met Britten so I would have to take "loathsome" on faith.)
--Bruce
About a year or so ago, a book was published that explored in detail the issue of Britten's relations with adolescent boys. It certainly seemed that he had odd relationships, but although many of his favourites were interviewed, most in middle age or late middle age now, none agreed that there had been overt sexual behaviour.
The most bleak that came to light involved the actor David Hemmings. Britten had certainly fawned over him for an extended period; but from the day Hemming's voice broke, Britten completely ignored him. He went from court favourite to an unperson in one day.
So, although Britten's behaviour was reprehensible, I don't see that there is any evidence in the public domain that supports the extraordinary criminal activity claimed by the writer we were linked to.
Mike
The writer of that article seems curiously interested in genitalia. In general, I find that what one person finds reprehensible in another person, curiously often tells a lot about the first person's obsessions. No doubt that Britten was an odd fellow in some ways, but that seems to be representative for a lot of artists.
Quote from: knight on September 18, 2009, 07:46:01 AM
So, although Britten's behaviour was reprehensible, I don't see that there is any evidence in the public domain that supports the extraordinary criminal activity claimed by the writer we were linked to.
Mike
This is my feeling, too.
Quote from: erato on September 18, 2009, 09:18:36 AM
In general, I find that what one person finds reprehensible in another person, curiously often tells a lot about the first person's obsessions.
And this is *quite* true.
--Bruce
Quote from: erato on September 18, 2009, 09:18:36 AM
The writer of that article seems curiously interested in genitalia. In general, I find that what one person finds reprehensible in another person, curiously often tells a lot about the first person's obsessions. No doubt that Britten was an odd fellow in some ways, but that seems to be representative for a lot of artists.
Absolutely.
Well, I don't in the least approve of Hitler's way with the Jews, but I have never had any secret desire to gas anyone....though, now I think if it, at work..............
Mike
A son of a Christian friend of ours after an audition for the local opera company actually got the part of the boy in the Turn of the Screw but pulled him out after getting familiar with the score, rightly so I may add. I took one of my children to Maurice Bejart's "ballet" evening and walked out in the middle of the Miraculous Mandarin -- too disgusting.
In short, I would prefer NOT to have constant in-your-face sexuality done by ANY orientation either on TV, cinema, opera house, on the streets, etc. The obsessional quality of saturating practically everything with one's sexual proclivities (can be said of popular culture in general but also in particular, those like Bejart, etc.), just about everywhere you turn, is perverse.
ZB
Quote from: zamyrabyrd on September 19, 2009, 12:39:45 AM
A son of a Christian friend of ours after an audition for the local opera company actually got the part of the boy in the Turn of the Screw but pulled him out after getting familiar with the score, rightly so I may add. I took one of my children to Maurice Bejart's "ballet" evening and walked out in the middle of the Miraculous Mandarin -- too disgusting.
In short, I would prefer NOT to have constant in-your-face sexuality done by ANY orientation either on TV, cinema, opera house, on the streets, etc. The obsessional quality of saturating practically everything with one's sexual proclivities (can be said of popular culture in general but also in particular, those like Bejart, etc.), just about everywhere you turn, is perverse.
I'm alive to your concern,
zb. In many cases (IMO) the fault resides with the stage director rather than with
the work itself. The nature of
Mandarin does put at at risk to be
Bazzed-up (and worse).
Quote from: ' on September 19, 2009, 05:36:37 AM
Indeed. You don't have to look hard for examples: Swaggart, Haggard, Billy James Hargis. Happens so often that, when people rail fervently (obsessively) against what they've decided are the obsessions of others (a'la Queen Gertrude's line in Hamlet), you have to consider whether it's just them externalizing their own battle.
You can also add Richard Wagner to the list, but who really cares when listening to the music?
This Wright character proved himself to be over the top with his allegations about Schubert being a plagiarist. There are some themes in his 6th Symphony that he traced back to Rossini. However, like Shakespeare, it's not the story but what he DID with the material. And back then, people were not as possessive about "original" ideas.
Also, he tries to make a negative case about Elgar's Cello Concerto. Without prejudice about the composer, it's a pretty good piece.
ZB
Quote from: zamyrabyrd on September 19, 2009, 12:39:45 AM
A son of a Christian friend of ours after an audition for the local opera company actually got the part of the boy in the Turn of the Screw but pulled him out after getting familiar with the score, rightly so I may add.
What aspects are so controversial?
Quote from: Guido on September 20, 2009, 09:07:52 AM
What aspects are so controversial?
It seems that the opera
Turn of the Screw generally follows the original story by Henry James. Essentially it is about two adult ghosts, one of whom is rumored to be a pederast, stalking two children. Leaving this in print form as a kind of curiosity of human nature, like
Jekyll and Hyde, permits some distance and objectification.
To have two kids on stage who don't necessarily tell the difference between fact and fiction, interact with such creepy personages is wrong. This is already a built-in difficulty of the opera.
The boy seems to have wanted out but upon revealing the name of the ghost, he fell dead.
A disclaimer should be for those who actually DO believe in evil spirits, that there is the remedy of exorcism. The catch here for those who don't believe in ghosts, that such a scenario would not be possible.
My policy is NOT to play around with such things AT ALL, just in case they turn out to be true.
ZB
I don't really understand any of your criticisms...
QuoteTo have two kids on stage who don't necessarily tell the difference between fact and fiction, interact with such creepy personages is wrong.
Wrong in what sense?
QuoteMy policy is NOT to play around with such things AT ALL, just in case they turn out to be true.
This amazes me. Do you similarly not mess around with the myths of every other culture on earth in case they are all true as well?
Quote from: Guido on September 21, 2009, 01:15:22 AM
I don't really understand any of your criticisms...
This amazes me. Do you similarly not mess around with the myths of every other culture on earth in case they are all true as well?
You don't have to understand my criticisms, although I was only reporting that a friend of mine didn't allow his son to be in the
Turn of the Screw. As for what I believe in, you don't have to be amazed either since it is my business and I can be as stupid or naive as I want. But if you would really like to know, good and evil spirits are not myths in the culture that I was brought up in, but a reality.
The difference between
TofS and
Hansel and Gretel is in the latter, evil does not win out in the end. And the kids are not possessed by spirits.
TofS as an opera is definitely a step up (or down) in perversion.
The ambiguity in
Peter Grimes is getting the audience to feel pity for a child abuser.
ZB
Quote from: zamyrabyrd on September 21, 2009, 01:49:08 AM
The ambiguity in Peter Grimes is getting the audience to feel pity for a child abuser.
ZB
The ambiguity in
Peter Grimes is that we
don't really know that.
Quote from: erato on September 21, 2009, 02:13:59 AM
The ambiguity in Peter Grimes is that we don't really know that.
Circumstantial evidence, the last boy had a bruise on his shoulder. The first one died of thirst?
The librarian thought he was guilty but Ellen stood up for him.
Wonder how all this would stand up in a real court and not a slap together jury.
Quote from: zamyrabyrd on September 21, 2009, 02:33:57 AM
Circumstantial evidence, the last boy had a bruise on his shoulder. The first one died of thirst?
The librarian thought he was guilty but Ellen stood up for him.
Wonder how all this would stand up in a real court and not a slap together jury.
A real trial wouldn't be held for Peter Grimes.
'
Quote from: ' on September 21, 2009, 02:37:13 AM
A real trial wouldn't be held for Peter Grimes.
'
We can have one here.
Quote from: zamyrabyrd on September 21, 2009, 02:41:45 AM
We can have one here.
I feel as if I have just fallen down the rabbit hole.'
Quote from: zamyrabyrd on September 21, 2009, 01:49:08 AM
The difference between TofS and Hansel and Gretel is in the latter, evil does not win out in the end.
I don't see evil winning in
The Turn of the Screw, either. Good "wins", but at a great price.
Quote from: ' on September 21, 2009, 02:43:09 AM
I feel as if I have just fallen down the rabbit hole.'
"Barney Rubble can never look into the face of God."
Quote from: zamyrabyrd on September 21, 2009, 02:41:45 AM
We can have one here.
This becomes more and more tantalizing -- the notion that we at GMG could hold a
real trial for Peter Grimes. Who will be the judge? Who will be the lawyers? Who gets to be the
real Peter Grimes? I am most interested in seeing what questions will be asked for the
voir dire.
'
Quote from: Wendell_E on September 21, 2009, 02:43:38 AM
I don't see evil winning in The Turn of the Screw, either. Good "wins", but at a great price.
Unless I got it wrong, Miles calls out the name of 'Peter Quint' and dies. I can't think of any worse psychological horror for a kid than to believe one is possessed by an evil spirit and not to have any escape.
As I said in the previous post, either you don't believe in spirits, so all this is a myth, or playacting, not worthy of any serious consideration.
Or you do, in which case this is not a subject to be treated lightly, even in playacting.
The film "Chucky" or something like that in which a doll was possessed became a pretext for murder.
ZB
Quote from: zamyrabyrd on September 21, 2009, 02:46:21 AM
"Barney Rubble can never look into the face of God."
I take your point [?]
Well, maybe the
real Barney Rubble can. '
Quote from: ' on September 21, 2009, 02:56:47 AM
This becomes more and more tantalizing -- the notion that we at GMG could hold a real trial for Peter Grimes. Who will be the judge? Who will be the lawyers? Who gets to be the real Peter Grimes? I am most interested in seeing what questions will be asked for the voir dire.
'
Well, it would be interesting to find out who actually thinks that he was a child abuser, capable of murder or that he was a more a victim of bias and prejudice, driven to rage and ultimately madness.
ZB
Quote from: zamyrabyrd on September 21, 2009, 03:06:30 AM
Well, it would be interesting to find out who actually thinks that he was a child abuser, capable of murder or that he was a more a victim of bias and prejudice, driven to rage and ultimately madness.
ZB
Put that way, there is a tinge of
real realness to knowing who thinks what about a work of fiction. But, as in real life, such a vote won't eliminate that pesky ambiguity (I'm speaking as someone who lives in Texas, where similar votes have led to too many really and literally real bury-that-rag-deep-in-your-face tragedies).
'
Quote from: ' on September 21, 2009, 03:17:05 AM
Put that way, there is a tinge of real realness to knowing who thinks what about a work of fiction. But, as in real life, such a vote won't eliminate that pesky ambiguity (I'm speaking as someone who lives in Texas, where similar votes have led to too many really and literally real bury-that-rag-deep-in-your-face tragedies).
'
The ambiguity of an apostrophe, does it mean possession or quote or something else?
A writer of fiction has the option to withhold vital information until the end like Conan Doyle.
Or not give it out at all, keeping everyone in perpetual suspense.
(It's not real anyway, so why get all upset?)
But in real life, a person commits or doesn't commit a crime.
ZB
I think Paul Bunyan is great fun. Sure, Auden's libretto can get a little ripe at times, but for the most part, it's all right, and at 'worst', it's saved by the music.
Beans for Beauty
The "Blues" of № 9 is very stylishly done.
One work of Britten's, which is my personal favourite, is the Variations on a theme of Frank Bridge for string orchestra.
I find it absolutely miraculous, both technically and emotionally.
A long time ago I heard it used as the soundtrack for a BBC film. It was the sole music used, and was able to convey a vast diversity of sentiments. The film was based on the short story "Mathilda's England" by William Trevor ..... a haunting story that the music captured perfectly. I wonder if I am the only one who saw this in TV (around 25 years ago)?
The War Requiem, and the Sinfonia da Requiem are greater music, but as another person pointed out, they require a lot of effort. I play the Bridge Variations much more often. Also the Young Person's Guide to the orchestra is a lot of fun and very uplifting. Always in a good mood after hearing it .....
Alkan - I agree, the Bridge Variations are some of the most sheerly enjoyable music since the Classicists and the Romantics. Whenever I hear them I marvel over how Britten absolutely nailed the style - as if the works were screaming out to be composed and finally somebody wrote them. Along with the Simple Symphony - which is excellent and in a similar style, but not quite such an accomplished work - there is a wonderful wide-eyed quality in these compositions, which simultaneously appeal to adults and children, to a desire for excellent surface melodies and intriguing development.
Lethe - there are two things that always amaze me with the Bridge Variations.
First, the fact that they were written very quickly (4 or 5 weeks I think, in response to an emergency call from the Boyd Neel orchestra). It's incredible how any human being was able to create such a series of original and perfect mini-masterpieces from a fairly non-descript theme in such a short time. Pure, inspired genius ...
Second, the orchestral effects which are deployed. In the Funeral March it's difficult to believe there is no timpani. In the Chant, the spread of tones, from the very highest to the very lowest, creates an unearthly atmosphere. The unexpected, yet very clever and satisfying accents and syncopations in the Bourree. I could go on and on ....
Quote from: k a rl h e nn i ng on February 01, 2010, 07:09:26 AM
I think Paul Bunyan is great fun. Sure, Auden's libretto can get a little ripe at times, but for the most part, it's all right, and at 'worst', it's saved by the music.
I am thankful that this recording includes the five-minute Overture (which, I suppose, was scrapped for an orchestral Introduction which runs a bit more than one minute). The Overture is fine: peppy and doesn't run too long . . . I don't think that the "time-save" was the issue (what is it to 'trim' a bit less than four minutes, from a two-hour operetta?), they must have decided that they wanted to plunge right in with a dewy Prologue.
Quote from: zamyrabyrd on September 21, 2009, 02:58:32 AM
Unless I got it wrong, Miles calls out the name of 'Peter Quint' and dies. I can't think of any worse psychological horror for a kid than to believe one is possessed by an evil spirit and not to have any escape.
As I said in the previous post, either you don't believe in spirits, so all this is a myth, or playacting, not worthy of any serious consideration.
Or you do, in which case this is not a subject to be treated lightly, even in playacting.
The film "Chucky" or something like that in which a doll was possessed became a pretext for murder.
ZB
An option you (and it seems others) have not considered is that nearly all the opera is seen from the perspective of the governess (as is made utterly clear in Britten's opera by it being introduced as 'a curious story' written by her): and therefore, arguably, a portrait of her losing her sanity. The final cry of 'Peter Quint, you devil!' is ambiguous - who is the devil? Is it Peter Quint, as you assume; or is 'you devil!' aimed at the Governess who has goaded the boy into this 'confession'? Bear in mind that in order to sing this role, the boy needs quite a strong voice and so would certainly be anywhere in the range of 11-13 years old - quite old enough, IMHO, to handle the opera as Britten (at least) conceived it; indeed, as brilliantly demonstrated by the young David Hemmings in the premiere recording.
It's certainly a curiously intense operatic adaptation of a curiously intense short story.
Quote from: Pierre on February 11, 2010, 11:13:22 AM
An option you (and it seems others) have not considered is that nearly all the opera is seen from the perspective of the governess (as is made utterly clear in Britten's opera by it being introduced as 'a curious story' written by her): and therefore, arguably, a portrait of her losing her sanity. The final cry of 'Peter Quint, you devil!' is ambiguous - who is the devil? Is it Peter Quint, as you assume; or is 'you devil!' aimed at the Governess who has goaded the boy into this 'confession'? Bear in mind that in order to sing this role, the boy needs quite a strong voice and so would certainly be anywhere in the range of 11-13 years old - quite old enough, IMHO, to handle the opera as Britten (at least) conceived it; indeed, as brilliantly demonstrated by the young David Hemmings in the premiere recording.
Bearing in mind that I've only heard this once and without libretto, I thought that the ambiguity in James's novella was lost in the transition to opera. So much of the cleverness is in textual nuance; the story on hearing seemed more straightforward.
I'll have to listen to this again though. Does anyone know if there is a libretto easily available? I've got the EMI box which has a lot of music but is rather skimpy otherwise...
Listened to a piece by Britten that I have not heard before, the Violin Concerto. The recording I have is Vengrov/Rostropovich with the London Symphony.
It is a piece that has a lot of interesting music, but which I don't find quite holds together. The first movement is the part that works best for me, not a typical Concerto opening movement, but a sort of rhapsody in medium temp. The middle movement is a scherzo and the finale a grand passacaglia. My problem is that I don't find the passacaglia works as a concerto movement. There are parts where the orchestra builds up to imposing creschendos, then it falls away to reveal the solo violin, which is unable to sustain the drama or momentum (at least in my impression of this performance). The very end is very beautiful, a haunting, quiet passage.
In any case, I'm not sure Vengerov/Rostropovic/EMI Abbey Road is the idea for this, so I have Britten's own recording on order.
Quote from: Scarpia on May 23, 2010, 02:28:29 PM
Listened to a piece by Britten that I have not heard before, the Violin Concerto. The recording I have is Vengrov/Rostropovich with the London Symphony.
It is a piece that has a lot of interesting music, but which I don't find quite holds together. The first movement is the part that works best for me, not a typical Concerto opening movement, but a sort of rhapsody in medium temp. The middle movement is a scherzo and the finale a grand passacaglia. My problem is that I don't find the passacaglia works as a concerto movement. There are parts where the orchestra builds up to imposing creschendos, then it falls away to reveal the solo violin, which is unable to sustain the drama or momentum (at least in my impression of this performance). The very end is very beautiful, a haunting, quiet passage.
In any case, I'm not sure Vengerov/Rostropovic/EMI Abbey Road is the idea for this, so I have Britten's own recording on order.
It's also been recorded by Jansen with Jarvi . I had a good impression of it, but it didn't seem as good as the piano concerto. The bad part of the CD is the coupling: you'll be stuck with a distinctly second tier Beethoven VC.
I have the Britten/Lubotsky VC recording.
I must admit that the Violin Concerto is not my favourite Britten work, EXCEPT for the ending !! I often play just the last 5 minutes of this work. The ending is absolutely mesmerising, with the orchestra swaying backwards and forwards between major and minor, the hushed cymbal clashes and the violin's almost drunken glissandos superimposed above. What originality, and what fabulous orchestration. It's magical, and I find that Lubotsky plays it to perfection (well he would HAVE to, with BB standing next to him!).
The only violin concerto with a better ending is Prokofiev's First ..... and that is in a class of it's own !!!
I heard a Britten rarity in a live concert yesterday - his short cantata for boy's chorus & soloists, "The Golden Vanity". A nice little piece too :)
Quote from: alkan on May 27, 2010, 03:22:43 AM
I have the Britten/Lubotsky VC recording.
I must admit that the Violin Concerto is not my favourite Britten work, EXCEPT for the ending !! I often play just the last 5 minutes of this work. The ending is absolutely mesmerising, with the orchestra swaying backwards and forwards between major and minor, the hushed cymbal clashes and the violin's almost drunken glissandos superimposed above. What originality, and what fabulous orchestration. It's magical, and I find that Lubotsky plays it to perfection (well he would HAVE to, with BB standing next to him!).
The only violin concerto with a better ending is Prokofiev's First ..... and that is in a class of it's own !!!
Just listened to the Britten/Lubotsky recording, which is a big improvement over the Vengerov/Rostropovich. I still have the same basic issue, that the passacaglia doesn't convince, but the first two movements sparkle with wit and inventive orchestration. I think the new rule for me is that when there is a Britten recording of a Britten composition, that is the recording to have. He understands his own music and knows how to bring it off better than the "superstar" conductors.
Quote from: Scarpia on May 29, 2010, 10:17:20 AM
I think the new rule for me is that when there is a Britten recording of a Britten composition, that is the recording to have. He understands his own music and knows how to bring it off better than the "superstar" conductors.
Yes, fully agree. I've never found anyone who has given a better performance than Britten of his own work (IMHO), but sometimes other performers get close (eg Hickox War Requiem, Previn Sea Interludes, ...). In various documentaries and recordings of Britten directing, it is clear that he knew very precisely what effects he wanted and he could communicate this to the performers. Also, Decca usually gave him a first class sound quality.
From my point of view, it is a great pity that so many of Britten's otherwise indispensable recordings are blighted by Peter Pears. I don't care that he was supposed to be a superb musician and it is all very well that he inspired many of Britten's best vocal works, but Pears's voice is like dragging nails down a blackboard.
If you can name me a supposedly great singer with an odder voice production or who gives off uglier sounds, give me the name....and do leave off Maria Callas!
Mike
Quote from: knight on May 31, 2010, 03:55:39 AM
From my point of view, it is a great pity that so many of Britten's otherwise indispensable recordings are blighted by Peter Pears.
Mike
Yeah, I have the same problem. Because of Pears I prefer the Davis/Vickers
Grimes, the Hickox
War Requiem, Nagano's Billy Budd, and just about anyone elses
Serenade for Tenor.
Sarge
Yes, same here with the same 'alternative' versions. I have a couple of discs with him warbling away and return to them every so often, but my ears remain just as allergic.
Mike
Quote from: knight on May 31, 2010, 07:13:55 AM
Yes, same here with the same 'alternative' versions. I have a couple of discs with him warbling away and return to them every so often, but my ears remain just as allergic.
I actually have quite a few of his recordings on LP. In the late 60s, 70s there wasn't much choice; for the operas almost no choice but Britten/Pears. But I wanted the music. In my CD collection, though, there is only one Pears recording:
Gerontius. But I don't listen to it much now that I have Boult, Barbirolli and Elder.
Sarge
Gerontius is interesting for Britten's spring clean. But Pears sounds near death even when released from it and the strain is his and the listeners. What a shame Britten could not have had a singer who would not have compromised an otherwise excellent version.
Mike
Quote from: knight on May 31, 2010, 08:23:10 AM
Gerontius is interesting for Britten's spring clean....
And for Minton's contribution. I think we've discussed my Minton obsession before. But yeah, I love what Britten does with music...in fact, that goes for just about everything he conducted.
Sarge
Another listen to the Richter/Britten recording of the Britten Piano Concerto confirms my initial impression. The work is structured in a manner similar to a Baroque "Suite" and conveys a similar impression. It is rich in interesting snippets of melody, brilliant orchestral effects and witty repartee between the soloist and orchestra, but not so high on thematic development or emotional intensity. A pleasant piece, but not destined to become a true favorite of mine, probably. Again, the performance is just right. I have one other recording of the piece, the premier recording made by EMI in the fifties (forgot the performers) but it seems superfluous after hearing this recording.
Quote from: Scarpia on June 03, 2010, 05:09:08 PM
Another listen to the Richter/Britten recording of the Britten Piano Concerto confirms my initial impression. The work is structured in a manner similar to a Baroque "Suite" and conveys a similar impression. It is rich in interesting snippets of melody, brilliant orchestral effects and witty repartee between the soloist and orchestra, but not so high on thematic development or emotional intensity. A pleasant piece, but not destined to become a true favorite of mine, probably. Again, the performance is just right. I have one other recording of the piece, the premier recording made by EMI in the fifties (forgot the performers) but it seems superfluous after hearing this recording.
Don't have that one; do have this one:
(http://ecx.images-amazon.com/images/I/41E7-%2BHjXsL._SL500_AA300_.jpg)
And like it.
Besides the "official" version of the recording, it also has as a supplement the original third movement which Britten later scrapped, so you can hear the concerto both ways.
Coupled with Young Apollo and Diversions, which is really a concerto for the left hand, written for the same pianist for whom Prokofiev and Ravel had earlier written their left hand concertos.
I think I've found an exception to my rule, that Britten is the best conductor of his own works. The Young Person's Guide to the Orchestra. Britten's recording strikes me as a mess, with balances very badly handled and the orchestra sounding very awkward. Hickox's recording struck me as infinitely better. However, the same disc with Brittens YPGtO had his recording of the simple symphony, which was superb.
I think Britten may be better suited to the more intimate scores, and works best with the English Chamber Orchestra, rather than the London Symphony (the forces in the YPGtO recording).
The Double Concerto . . . have I listened to it from the Big Box yet? If I have . . . why am I uncertain of it . . . ?
Just listened to that last night on the Nagano/Hallé CD, and liked it pretty well. But I don't find it quite as catchy as some other Britten, at least at the moment.
--Bruce
Quote from: bhodges on July 28, 2010, 11:43:15 AM
Just listened to that last night on the Nagano/Hallé CD, and liked it pretty well. But I don't find it quite as catchy as some other Britten, at least at the moment.
Yes, I saw your post, Bruce, and that is what got me thinking . . . because it is a piece in which, from time to time for half a decade, my interest has been occasionally piqued. I think it is absent from the box! Young Apollo is good stuff.
I really love Britten a lot. When I first heard him a few years ago, I was quite turned off to his idiom. Something about it just rubbed me the wrong way. Now, I'm in awe of his mastery of almost every aspect of classical music. I'm a big fan of his orchestral works (obviously). I do also love some of his vocal works too like Ballad of Heroes, Cantata misericordium, Serenade for Tenor, Horn, and Strings, and, of course, the War Requiem. He wrote such creative music. I really enjoy the rhythmic aspect of his music, which seems to be as important as melody, harmony, and structure.
Found that the Double Concerto is on an Arte Nova disc, which is a low risk. Just waiting for it, now . . . .
Quote from: k a rl h e nn i ng on July 30, 2010, 04:36:30 AM
Found that the Double Concerto is on an Arte Nova disc, which is a low risk. Just waiting for it, now . . . .
Have that recording. IMO, it is the least interesting of the three works on that CD, although it does sound unmistakeably Britten. But it is actually just a working-up by Colin Mathews of the short score Britten composed while still a student (aetat 19), and then essentially left sitting in a drawer for the rest of his life. Apparently he thought well enough of it not to throw it out, but not well enough of it to rework it in any way.
Quote from: BrittenBach wrote his St Matthew Passion for performance on one day of the year only — the day which in the Christian church was the culmination of the year, to which the year's worship was leading. It is one of the unhappiest results of the march of science and commerce that this unique work, at the turn of a switch, is at the mercy of any loud roomful of cocktail drinkers — to be listened to or switched off at will, without ceremony or occasion.
One of a number of bits I strung together here.
I often think you are just trying to be provocative: I rather hope so. No idea why the artist should be given a get out of gaol pass for reprehensible behaviour.
Mike
Just enjoyed revisiting the Violin Concerto. It's an early work (Opus 15), and bits of it are a bit startlingly close to textures of the Prokofiev First Vn Cto. Nonetheless, an excellent piece.
Quote from: k a rl h e nn i ng on October 14, 2010, 02:00:02 PM
Bach wrote his St Matthew Passion for performance on one day of the year only — the day which in the Christian church was the culmination of the year, to which the year's worship was leading. It is one of the unhappiest results of the march of science and commerce that this unique work, at the turn of a switch, is at the mercy of any loud roomful of cocktail drinkers — to be listened to or switched off at will, without ceremony or occasion.
One of a number of bits I strung together here (http://henningmusick.blogspot.com/2010/10/quotable-composers.html).
Cocktail drinkers, indeed, a vanished species. Nowadays we can listen to anything in the privacy of our cars (or bathtubs, or whatever).
I just wonder, even then, WHO would put a Passion by Bach on the turntable in the midst of tinkling glasses and witty conversation.
ZB
Quote from: zamyrabyrd on October 15, 2010, 11:41:22 AM
Cocktail drinkers, indeed, a vanished species. Nowadays we can listen to anything in the privacy of our cars (or bathtubs, or whatever).
I just wonder, even then, WHO would put a Passion by Bach on the turntable in the midst of tinkling glasses and witty conversation.
ZB
As Vulcan says to Polly in The Adventures of Baron Munchausen: We cater to all kinds.
All that I find on this (http://www.good-music-guide.com/community/index.php/topic,9.msg456859.html#msg456859), is here (http://www.answers.com/topic/russian-funeral-for-brass-percussion):Quote from: Joseph Stevenson, Rovi This seven-minute piece is Britten's only known composition for brass band (barring any future release of another such piece by the Britten Estate form the treasures found in the composer's unpublished archives). It is a product of his interest in left-wing politics in the 1930s; like many another young intellectuals of the time, living through economic depression and noting the rise of Fascism in Western Europe, he was attracted to an idealized vision of the Soviet Union. The work derives from incidental music to a play called The Eagle has Two Heads and was put into its present form for a concert of the London Labour Choral Union on March 8, 1936. It was written in fewer than ten days.
Its intellectual sources are Hemingway's A Farewell to Arms, and also a reaction to the Italian invasion of Ethiopia, which ended the promise of a peace to be guaranteed by the League of Nations. It is in a broad ABA form. The opening and closing funeral march is based on a Russian song used at the funeral of the victims of the attack on petitioners at the Tsar's Winter Palace in January, 1905, the first of the revolutionary actions leading to the 1917 overthrow of the Tsar and subesquent Bolshevik coup. The same funeral song was quoted in Shostakovich's Eleventh Symphony twenty years later. The central section is a brutal "dance of death."
Mercy, but I had clean forgot what a window-rattler the Libera me from the War Requiem is!
An excellent live perf of the Britten Violin Concerto, by Daniel Hope in Paris can be heard here:
http://sites.radiofrance.fr/francemusique/em/concert-soir/emission.php?e_id=80000056&d_id=425001671 (http://sites.radiofrance.fr/francemusique/em/concert-soir/emission.php?e_id=80000056&d_id=425001671)
Just listened to Britten's suite for harp op.83. Can't believe I've never heard it before - I've always been dimly aware of its existence - and I'm not sure what to make of it. I mean it's gorgeous, but is it merely meretriciousm, or does it run deeper? Britten is of course one of the great harp composers - so many of his larger works show this (for me the most extraordinary of all is Curlew River). Will have to listen a few more times...
I like what Robin Hlloway says about Britten re the harp - that Britten composes as if the harp is always in his mind. He means that he tends to work with limited pitch sets which alter through the course of a work just as they would when a harpist changes pedal settings. I suppose that's a fairly common way to compose, but I know what RH means - Britten often follows this course quite rigorously, and his music gains much of its power from it, e.g. the withholding of pitches and then their appearance; the incremental build-up of areas of pitches , gradually changing from within...
I know that suite, I have a CD with it on somewhere. But it's never struck me strongly. To me, the harp interlude from A Ceremony of Carols is where BB's harp writing finds its still, perfect centre.
Yes it's a very good essay that. And the way you describe it doesn't at all sound a million miles from your own mode techniques... ;)
Quote from: Luke on July 15, 2011, 01:16:15 PM
To me, the harp interlude from A Ceremony of Carols is where BB's harp writing finds its still, perfect centre.
Ahh, was just listening to
A Ceremony of Carols on the way home this evening.
VI. This Little Babe is astonishing, I always end up repeating it several times, only to get upset at myself for forgetting the beautiful
VII. Interlude follows it. ;D
For those (including me) who missed the original live video broadcast last weekend, the Glyndebourne production of The Turn of the Screw is available through September 12 here (http://glyndebourne.com/).
--Bruce
I am providing a link here to a remarkable performance from last Wednesday of 'The War Requiem'. It will only operate for those in the UK and possibly Europe. The performance will be put out as a DVD.
http://thespace.org/items/e000083s (http://thespace.org/items/e000083s)
Andris Nelsons and the Ciry of Birmingham Sym Orch, British tenor Mark Padmore, was joined by German baritone Hanno Müller-Brachmann and Canadian soprano Erin Wall. The performance took place in Coventry Cathedral 50 years to the day of its premier there. I was not at the concert, only watched the relay. It comes across exceptionally well, Mark Padmore is masterly in taking you with him on the journeys through the poems. The soprano has a wonderful strong pure voice, no wobbles. The baritone is good, but looks curious with his tight raised cheek muscles and tightened top lip, he looks like The Joker without the makeup, he is never less than satisfactory and seems to become more involved as he goes along.
The orchestra and adult choir are marvelous, the girls choir bright and too closely miked at first, then half way through they are given the distant balance they need to produce the magical effects Britten intended.
Nelsons works right across the spectrum of the piece and highlights the woodwind as clearly as he allows the trumpets to blaze. The Libera Me starts extremely slowly, but he builds and builds the tension across a vast span, it is an exceptional performance and very moving. At the end there is silence for well over a minute.
For those who can access the BBCiPlayer it is available in sound only for six days. For anyone who can access the video, it should be available for a few months.
Mike
Cool, Mike!
Quote from: 71 dB on January 05, 2013, 04:42:18 AMWho knows, perhaps I even start to like Britten's music? I have been very ignorant with him. I only own one Naxos of his String Quartets. Frankly, I don't have a clue where to start with his music. Everytime I hear his orchestral music somewhere it sounds "disturbing" to my ears.
Quote from: Brian on January 05, 2013, 06:41:09 AM
Maybe we should go kick-start the Britten thread. I've been thinking the same thing. After hating Britten's Midsummer Night's Dream three years ago at the Houston Grand Opera, I've stuck with his smaller-scale works - A Simple Symphony, Ceremony of Carols, solo cello suites - and have always found them more appealing than the bigger stuff.
Lets do it, Brian. Britten is a favorite of mine.
If you enjoyed the Cello suites (which I find masterful), than give the SQs a shot, 1 is passable, but 2 and 3 are wonderful both musically and structurally.
Death in Venice is only surpassed by only a few when it comes to 20th Century Operas.
Follow Ceremony of Carols with Rejoice in the Lamb, or get a little riskier and check out his one-act (one character) mini opera, Phaedra. Britten wrote most of his best works using voices (see Nocturne for Tenor, Horn and Strings)
I could go on and on about Britten, hopefully this thread will pick up.
Phaedra is marvelous.
Thanks for this, lads; I shall take the occasion to get to know the string quartets, at last....
I'm really in awe of what could be considered Britten's 'war trilogy': War Requiem, Sinfonia da Requiem, and Ballad of Heroes. I also love the concerti (including Diversions), Simple Symphony, Variations On A Theme Of Frank Bridge, Serenade for tenor, horn, and strings, and The Prince of Pagodas, although I like to approach this ballet one act at a time since it's quite large. I couldn't listen to the whole work in one sitting. The same could be said with War Requiem, although I have done it before. I find that I absorb the music better with breaks.
Quote from: karlhenning on January 05, 2013, 08:31:49 AM
Phaedra is marvelous.
Thanks for this, lads; I shall take the occasion to get to know the string quartets, at last....
Britten's quartets are great, and the 3rd is plain
awesome. I recommend the Belcea, the Endellion is also great (in the complete set IIRC).
Quote from: The new erato on January 05, 2013, 09:09:52 AM
Britten's quartets are great, and the 3rd is plain awesome. I recommend the Belcea, the Endellion is also great (in the complete set IIRC).
I don't any of Britten's SQs, so I took your recommendation and bought:
(http://muziekvanspronk.nl/media/catalog/product/cache/2/image/5e06319eda06f020e43594a9c230972d/0/7/07243_5579682_0.jpg)
Quote from: Mirror Image on January 05, 2013, 09:17:43 AM
I don't any of Britten's SQs, so I took your recommendation and bought:
(http://muziekvanspronk.nl/media/catalog/product/cache/2/image/5e06319eda06f020e43594a9c230972d/0/7/07243_5579682_0.jpg)
I've always thought you a wise man ;D. Better buy too much than too little. Cheap set too, will love your impressions.
Quote from: The new erato on January 05, 2013, 09:23:29 AM
I've always thought you a wise man ;D. Better buy too much than too little. Cheap set too, will love your impressions.
:D
Well, I always like to have at least one recording of my favorite composers SQs in my collection.
Quote from: The new erato on January 05, 2013, 09:09:52 AM
Britten's quartets are great, and the 3rd is plain awesome. I recommend the Belcea, the Endellion is also great (in the complete set IIRC).
I also enjoy the Britten Quartet's recordings (they ought to be able to play them well), the tempi is more relaxed overall than Belcea, but both are wonderful.
Available in this 2fer from Brilliant...
(http://ecx.images-amazon.com/images/I/51irPMQnilL._SL400_AA250_.jpg)
Jupiter SQ also have a great disc out featuring Britten's 2nd along with DSCH's 3rd.
Quote from: karlhenning on January 05, 2013, 08:31:49 AM
Phaedra is marvelous.
Agreed, as is so much of Britten's vocal music--his vocal writing always sounds very natural, yet expressively complex.
I've often wondered how much of Shostakovich's turn towards vocal music in later life was partially inspired by his close friendship with Britten; it seems hard to believe that the two didn't share thoughts on composition given their often-related musical interests (not to mention the dedication of the 14th symphony to Britten).
Quote from: edward on January 06, 2013, 12:48:25 PM
Agreed, as is so much of Britten's vocal music--his vocal writing always sounds very natural, yet expressively complex.
I've often wondered how much of Shostakovich's turn towards vocal music in later life was partially inspired by his close friendship with Britten; it seems hard to believe that the two didn't share thoughts on composition given their often-related musical interests (not to mention the dedication of the 14th symphony to Britten).
I suspect that you are right about Symphony 14. I listened to the great War Requiem today (Naxos) and noted the similarity between the opening and that of Shostakovich's 5th Symphony - so I guess that the influence worked both ways - they were friends after all.
In today's Guardian - Ian Bostridge's top ten Britten works
http://gu.com/p/3dx82 (http://gu.com/p/3dx82)
Quote from: KeithW on January 09, 2013, 06:10:39 PM
In today's Guardian - Ian Bostridge's top ten Britten works
http://gu.com/p/3dx82 (http://gu.com/p/3dx82)
Thanks for sharing. Good list, Bostridge offers some nice descriptions also.
A friend just emailed me this tidbit:
QuoteBBC MUSIC magazine, January 2013, p. 14:
<<<Decca is releasing a complete, 62-CD, four DVD edition of Britten's works, bringing together both the major recordings Britten made for the label, and key performances made for other labels as well.
That is pretty impressive, and an enormous expansion on the collected contents of the BRITTEN CONDUCTS BRITTEN series. I cannot wait for this.
I wonder what percentage of the contents is music other than Britten's being conducted or played by him?
And likewise, thanks Keith for that Bostridge link.
Feel a Britten phase coming on!
Quote from: Leo K. on January 30, 2013, 01:05:20 PM
Feel a Britten phase coming on!
I'm in a constant Britten phase, it's a great place to be. What are some of you favorite Britten pieces, Leo?
Quote from: Leo K. on January 30, 2013, 01:05:20 PM
Feel a Britten phase coming on!
Nothing wrong with that, Leo! I like many of Britten's works, but I can't get into his vocal works (except the
Serenade and
Nocturne) which take up a good chunk of his oeuvre. I've got many recordings of his orchestral works on disc. I'm thinking about revisiting the Naxos series.
Thanks gentleman! Britten is still new to my ears, have began listening to his instrumental works; cello symphony, Variations of Frank Bridge, Violin Concertos, Young Person's Guide to name a few. The music, especially the incredible Frank Bridge Variations is gradually getting on my daily playlist. I'm noticing a theme in my current listening, which seems to be a desire to hear more British composers, of which I feel is a huge blind spot in my collection.
Quote from: Leo K. on January 30, 2013, 04:31:46 PM
Thanks gentleman! Britten is still new to my ears, have began listening to his instrumental works; cello symphony, Variations of Frank Bridge, Violin Concertos, Young Person's Guide to name a few. The music, especially the incredible Frank Bridge Variations is gradually getting on my daily playlist. I'm noticing a theme in my current listening, which seems to be a desire to hear more British composers, of which I feel is a huge blind spot in my collection.
Good list there, Leo. Not sure what genre interests you more, but for chamber you must get his
SQ no.2 and 3 or
Lachrymae (the version for viola and strings), for opera I would suggest
Death in Venice and
Phaedra (ok, it's a 15-minute one act opera), vocal works like
Serenade for Tenor, French Horn and Strings and
Canticle: II Abraham and Isaac, for symphonic pieces
Sinfonia da Requiem or the
Symphonic Suite from Gloriana.
And for pure awesomeness,
War Requiem.
Quote from: Leo K. on January 30, 2013, 04:31:46 PM
Thanks gentleman! Britten is still new to my ears, have began listening to his instrumental works; cello symphony, Variations of Frank Bridge, Violin Concerto, Young Person's Guide to name a few. The music, especially the incredible Frank Bridge Variations is gradually getting on my daily playlist. I'm noticing a theme in my current listening, which seems to be a desire to hear more British composers, of which I feel is a huge blind spot in my collection.
Have you heard the 'war trilogy' (
War Requiem,
Ballad of Heroes,
Sinfonia da Requiem)? For me, these are some of Britten's most thrilling works and I just like the
idea of composer's responding to war (Britten was a pacifist himself). It makes for good listening. :) No wonder Shostakovich is my favorite composer. ;) :D Anyway, some other works to check out are
Double Concerto (an early work that is impressive),
Diversions,
Simple Symphony,
Piano Concerto,
Scottish Ballad, and
The Building of the House Overture. What I find so fascinating about Britten's music is that he's quite capable, for example, of throwing the listener a bone with an English folk quotation, but underneath this innocent melody lies a troubled undercurrent. It's almost like biting into something that's sweet but getting a harsh aftertaste. He was ingenious in the way he could orchestrate, build harmonies/melodies, etc. and cast them all in a super-tight structure.
That's it....it's time to change my avatar to Britten!
Quote from: TheGSMoeller on January 30, 2013, 05:02:21 PM
Good list there, Leo. Not sure what genre interests you more, but for chamber you must get his SQ no.2 and 3 or Lachrymae (the version for viola and strings), for opera I would suggest Death in Venice and Phaedra (ok, it's a 15-minute one act opera), vocal works like Serenade for Tenor, French Horn and Strings and Canticle: II Abraham and Isaac, for symphonic pieces Sinfonia da Requiem or the Symphonic Suite from Gloriana.
And for pure awesomeness, War Requiem.
Thanks GS and John, I haven't grabbed his chamber music yet, but I just got his complete operas (Britten Conducts series)! Looks like his War Trilogy is a must! By the way, the Cello Concerto knocked me out of my socks today, wow!
Also have (only vol.4):
(http://o.scdn.co/300/539be1f1688a39fdf807016be11841edd6b4cb7d)
So much great music! Life is good!
Quote from: Leo K. on January 30, 2013, 05:27:19 PM
Thanks GS and John, I haven't grabbed his chamber music yet, but I just got his complete operas (Britten Conducts series)! Looks like his War Trilogy is a must! By the way, the Cello Concerto knocked me out of my socks today, wow!
Also have (only vol.4):
(http://o.scdn.co/300/539be1f1688a39fdf807016be11841edd6b4cb7d)
So much great music! Life is good!
The
Britten Conducts Britten sets are absolutely essential, Leo. No doubt about it. The only one I'm missing is the one with the song cycles and vocals works. This one:
[asin]B000AC5AY4[/asin]
I'm still getting into his vocal music, but I do like
Nocturne and
Serenade for Tenor, Horn, and Strings a lot. I need to spend some time to get to know his operas too since this is such an important part of his oeuvre.
By the way, I'm listening to the
Cello Symphony right now with Rostropovich and Britten conducting. A haunting work.
Quote from: Mirror Image on January 05, 2013, 09:17:43 AM
I don't any of Britten's SQs, so I took your recommendation and bought:
(http://muziekvanspronk.nl/media/catalog/product/cache/2/image/5e06319eda06f020e43594a9c230972d/0/7/07243_5579682_0.jpg)
I
still need to listen to these SQs! Looking at my current listening pile and this set is staring right at me! This is getting kind of creepy...
Quote from: Mirror Image on January 30, 2013, 06:25:19 PM
MovieMars (Amazon MP seller) cancelled a bunch of orders I placed. Remember those Karel Ancerl recordings I bought? About four or five of them plus two other recordings I bought from them have been cancelled....ughh....so frustrating, but, nevertheless, this means I can supplement those orders with this set that I bought for $56 from Presto:
(http://www.jpc.de/image/w600/front/0/5099921752629.jpg)
Anyway, now I'm a happy camper. :)
Just thought I would post this message here since it concerns a very large box of Britten. 8)
It doesn't take long to get into a Britten phase for me, especially considering I've admired his music for many years.
Quote from: Mirror Image on January 30, 2013, 06:31:26 PM
It doesn't take long to get into a Britten phase for me, especially considering I've admired his music for many years.
I can hear why that would be! This music is incredible!
Look at that box! I want that NOW. 8)
Quote from: Leo K. on January 30, 2013, 07:43:12 PM
I can hear why that would be! This music is incredible!
Look at that box! I want that NOW. 8)
It really is. You can get for $56 from Presto Classical which is an excellent deal.
It really surprises me that the Britten thread has only 10 pages. ???
Anyway, to all the Britten fans, what is one work by Britten that you couldn't live without?
If pressed: The Serenade + the 3rd string quartet.
Here's one of the stupidest reviews I've ever read on Amazon...
This is a review of the EMI Collector's Edition of Britten:
-----------------------------------------------------------------------------------------------
Title: Seems a bit over the top
I suppose you'd have to be a tremendous BB fan to buy this set. Personally I would stick to individual pieces. The "War Requiem" is a tremendous masterpiece and deserves to be bought in the original recording with Britten recording ( as do most performances). "The Young Person's Guide to the Orchestra" ( "Variations on a theme of Purcell") is also tremendously enjoyable, likewise the "Simple Symphony", a compilation of his childhood compositions. If you are into opera "Peter Grimes" is easily the best and, if not, the "Sea Interludes" are fine post-Debussy pieces. I'm sorry to say I find a lot of the rest of Britten's music rather minor, but you are welcome to disagree.
------------------------------------------------------------------------------------------------
The title of the 'review' says it all. The whole idea is for it to be 'over the top.' It's a freakin' collector's edition!!! What did you want EMI to do put 2 CDs in the set and call it the collector's edition? As for his own personal comments, he's certainly entitled to those opinions, but I certainly don't share them! Britten wrote a lot of fine music and I disagree that a lot of this music is 'minor.' He was one of the greatest 20th Century composers after all. He was a master composer and I really don't think this reviewer has the whole scope of Britten's compositional range in his grasp.
Who's here is an admirer of Britten's Violin Concerto? Any favorite performances? I've recently become enamored with the Anthony Marwood performance with Ilan Volkov conducting on Hyperion.
I LOVE this work. That Passacaglia movement is so hauntingly beautiful and that middle movement sounds incredibly brutal. Here's a write-up about from All Music Guide:
Composed in 1939, this violin concerto was written at the close of a magical decade for violinists in which more great concertos for their instrument appeared than any other time (Stravinsky, Bartók, Bloch, Hindemith, Berg, Prokofiev, Khachaturian, Sessions, Walton). It has never really been absent from the repertoire, but violinists who are seeking to add a concerto of this era to their repertoires generally choose the Stravinsky, Berg, or Prokofiev in preference to it. It is one of the first works Britten wrote after resettling in the United States. Britten uses a novel procedure in his sonata allegro (here, actually marked "moderato con moto") first movement: the gentle and tender opening theme (which is initially announced over a soft timpani figure) vies in the development with the aggressive second subject and wins by absorbing all the elements of the second theme into itself; when the recapitulation comes, the second subject is entirely absent. The middle movement is a scherzo which has aspects of the first, including the opening drum pattern. For the finale, the largest movement of the score, Britten provided the first of his notable line of magnificent passacaglias. Britten devised a theme of a sort that would return in important works: a patterned set of notes that moves itself around the circle of 12 available tones. He uses it to reach a conclusion that, rarely for violin concertos (a genre that usually ends with a flourish), concludes in territory unsettled as to whether it is major or minor.
Okay, tomorrow I'm about to embark on my first Britten opera listen, I own the Britten Conducts Britten sets, I have my mind set on three operas for now, which one should I listen to first?
- Peter Grimes
- Death in Venice
- The Turn of the Screw
Quote from: Mirror Image on January 31, 2013, 06:21:27 PM
Okay, tomorrow I'm about to embark on my first Britten opera listen, I own the Britten Conducts Britten sets, I have my mind set on three operas for now, which one should I listen to first?
Death in Venice
Why should I listen to that one first, Greg? Any particular reason why you single that one out?
Quote from: Mirror Image on January 31, 2013, 06:25:52 PM
Why should I listen to that one first, Greg? Any particular reason why you single that one out?
Venice benefits from being composed very late in Britten's life, it contains all that made him such a versatile, multifaceted composer. The broad textures in his orchestrations (heavy use of percussion and piano) and brilliant use of the human voice. But more than anything, is how Britten musically conveys the agony, beauty and ultimately the heartbreak of Thomas Mann's story.
You really can't wrong with any of those operas, as long as you continue to explore them all. I think about how different
Gloriana,
A Midsummer Night's Dream and
Peter Grimes are from each other, but also how well they compliment the career of Britten.
Quote from: TheGSMoeller on January 31, 2013, 06:43:20 PM
Venice benefits from being composed very late in Britten's life, it contains all that made him such a versatile, multifaceted composer. The broad textures in his orchestrations (heavy use of percussion and piano) and brilliant use of the human voice. But more than anything, is how Britten musically conveys the agony, beauty and ultimately the heartbreak of Thomas Mann's story.
You really can't wrong with any of those operas, as long as you continue to explore them all. I think about how different Gloriana, A Midsummer Night's Dream and Peter Grimes are from each other, but also how well they compliment the career of Britten.
Thanks for the feedback, Greg. I notice you have the Hickox recording of
Death in Venice, do you prefer it over Britten's own version? By the way, I really loved
Phaedra, which I believe is Britten's last work (?).
Quote from: Mirror Image on January 31, 2013, 06:51:00 PM
Thanks for the feedback, Greg. I notice you have the Hickox recording of Death in Venice, do you prefer it over Britten's own version? By the way, I really loved Phaedra, which I believe is Britten's last work (?).
I do have both, and prefer Hickox, although not because of any fault from Britten's account. Chandos shines in its presentation, as I noted before
Venice is very percussion heavy, and it's channeled perfectly.
And
Phaedra could be his last work, it was written same year he died I believe.
Quote from: TheGSMoeller on January 31, 2013, 06:57:26 PM
I do have both, and prefer Hickox, although not because of any fault from Britten's account. Chandos shines in its presentation, as I noted before Venice is very percussion heavy, and it's channeled perfectly.
And Phaedra could be his last work, it was written same year he died I believe.
I'll definitely checkout Hickox's
Death in Venice at some point. This may be one of my birthday purchases. :)
Quote from: Mirror Image on January 31, 2013, 03:41:19 PM
Who's here is an admirer of Britten's Violin Concerto? Any favorite performances?
Great piece, for sure. It first popped up on my radar one night many years ago in my car - my local classical station must've gotten a wild hair to actually program it, conservative as it is.
But the recording was the Haendel/Berglund/Bournemouth below which turned me on to the goodness of Britten. Been a fan ever since.
[asin]B00000DOAJ[/asin]
Quote from: Dancing Divertimentian on January 31, 2013, 08:16:08 PM
Great piece, for sure. It first popped up on my radar one night many years ago in my car - my local classical station must've gotten a wild hair to actually program it, conservative as it is.
But the recording was the Haendel/Berglund/Bournemouth below which turned me on to the goodness of Britten. Been a fan ever since.
[asin]B00000DOAJ[/asin]
Yeah, somebody must have fallen asleep at the wheel to play Britten's VC. :) Anyway, that performance Haendel/Berglund is in the Britten
Collector's Edition I bought last night. Excited to hear that performance!
Quote from: Mirror Image on January 31, 2013, 08:59:50 PM
Yeah, somebody must have fallen asleep at the wheel to play Britten's VC. :) Anyway, that performance Haendel/Berglund is in the Britten Collector's Edition I bought last night. Excited to hear that performance!
I haven't heard any other recording of the VC but Haendel is a very fine violinist. She's also recorded my favorite Sibelius VC.
Quote from: Dancing Divertimentian on January 31, 2013, 09:10:50 PM
I haven't heard any other recording of the VC but Haendel is a very fine violinist. She's also recorded my favorite Sibelius VC.
This is great to hear, DD. I'm not very familiar with Haendel's playing. One of the more recent Britten VC performances that has really impressed me was with Anthony Marwood and Ilan Volkov conducting the BBC Scottish Symphony on Hyperion. You should definitely checkout this performance. It also contains the early, but still masterful,
Double Concerto and
Lachryae.
I used to have an old Supraphon LP of the Violin Concerto, but I was converted (and how!) to the work by the superb Haendel performance. Since then I have acquired three new recordings: Zimmermann (with the Szymanowskis on Sony), Jansen (Decca) and Wilkomirska (Virtual Concert Hall). The latter, recorded live and very well in '67 with the Warsaw Phil under Rowicki, is a revelation, and has a stunning Tchaikovsky #4 as disc companion. I found Zimmermann a tad emotionally reserved, but Jansen is the contemporary touchstone for me in this work. Unfortunately the Beethoven Concerto it is coupled with is nothing really special compared with the fire and attack Jansen displays in Britten. So I couldn't do without Haendel, Wilkomirska and Jansen - how interesting that they are all women players. It is fascinating to hear the premiere performance by Antonio Brosa w/Barbirolli, a rough live recording from the 40s but pretty powerful too (I found that online somewhere).
Quote from: mjwal on February 01, 2013, 03:15:09 AM
I used to have an old Supraphon LP of the Violin Concerto, but I was converted (and how!) to the work by the superb Haendel performance. Since then I have acquired three new recordings: Zimmermann (with the Szymanowskis on Sony), Jansen (Decca) and Wilkomirska (Virtual Concert Hall). The latter, recorded live and very well in '67 with the Warsaw Phil under Rowicki, is a revelation, and has a stunning Tchaikovsky #4 as disc companion. I found Zimmermann a tad emotionally reserved, but Jansen is the contemporary touchstone for me in this work. Unfortunately the Beethoven Concerto it is coupled with is nothing really special compared with the fire and attack Jansen displays in Britten. So I couldn't do without Haendel, Wilkomirska and Jansen - how interesting that they are all women players. It is fascinating to hear the premiere performance by Antonio Brosa w/Barbirolli, a rough live recording from the 40s but pretty powerful too (I found that online somewhere).
Thanks for the feedback. Yes, I, too, have that Zimmermann recording and it did nothing for me. In fact, I didn't even like his Szymanowski. :-\ Anyway, I need to go back and listen to the Jansen/Jarvi again. I expressed dissatisfaction with it, but I'll go back, at some point, and give it a fresh listen. Have you heard the Marwood/Volkov? This has proven to be a fantastic performance for me and I even prefer it over Lubotsky/Britten. I'd like to hear the Vengerov/Rostropovich performance at some point. Have you heard this one?
(http://ecx.images-amazon.com/images/I/51bM9nW8OQL._SL500_AA300_.jpg)
This is the one I have and it's great (haven't heard the Veale concerto but that may be good too). Elegy strikes the dominant note, all the more surprising in a work which has no formally-designated slow movement, further evidence of Britten's mastery of symphonic rhetoric. since the variations tend to extreme brevity. You would think that would limit the soloist's elbow-room. This is merely one surprise the composer pulls off. Yet, while I can acknowledge the concerto's ingenuity, I'm struck far more by its intensity. Despite the concerto's unique, somewhat odd shape—the violin writing strikes with an even greater force, since Mordkovitch joins it with great feeling. The finale, for example, here every ounce of technique and musicality is demanded. I admit she sometimes comes across as too reserved—though not here in the finale, she's willing to let 'er rip, and it may become a matter of matching her to those concerti suited to her artistic personality. Mordkovitch has been tainted with the label "house violinist" for Chandos, but to me she just gets better and better. Certainly, she displays here a high order of musicianship indeed.
Wonderful read, Leo! Britten's VC is certainly a powerful, emotional work. I've got that Mordkovitch/Hickox recording but it's been quite some time since I heard it. I don't remember the Veale VC.
Quote from: Mirror Image on February 02, 2013, 06:30:32 AM
Wonderful read, Leo! Britten's VC is certainly a powerful, emotional work. I've got that Mordkovitch/Hickox recording but it's been quite some time since I heard it. I don't remember the Veale VC.
Thanks John! Let me know what you think when you hear Mordkovitch again 8)
Listening to Nocturne, Op. 60. For tenor, seven obbligato instruments, and string orchestra (1958). I read that Britten dedicated the work to Alma Mahler in acknowledgement of his indebtedness to Gustav Mahler. The Nocturne Op. 60 was premiered at the Leeds Centenary Festival in 1958, the year of its composition. Its subject matter is night-time, sleep and dreams. Britten uses seven different soloists, each of whom lends their characteristic colour to a song.
Very moving.
Quote from: Leo K. on February 03, 2013, 05:40:32 AM
Listening to Nocturne, Op. 60. For tenor, seven obbligato instruments, and string orchestra (1958). I read that Britten dedicated the work to Alma Mahler in acknowledgement of his indebtedness to Gustav Mahler. The Nocturne Op. 60 was premiered at the Leeds Centenary Festival in 1958, the year of its composition. Its subject matter is night-time, sleep and dreams. Britten uses seven different soloists, each of whom lends their characteristic colour to a song.
Very moving.
I've always liked this Britten work. Very beautiful.
QuoteOn Saturday, June 15, Sir Simon Rattle commemmorates Benjamin Britten’s 100th anniversary with a performance of the War Requiem. His orchestra is the great Berlin Philharmonic, and they’re joined by the Rundfunkchor Berlin and soloists Emily Magee, John Mark Ainsley and Matthias Goerne.
Gramophone’s readers and visitors to our website can watch the performance for free, courtesy of the Berlin Philharmonic, both live and then when it is available in the Digital Concert Hall’s archive.
http://www.gramophone.co.uk/classical-music-news/watch-britten%27s-war-requiem-live-from-berlin-for-free
Quote from: Opus106 on June 10, 2013, 07:42:53 AM
http://www.gramophone.co.uk/classical-music-news/watch-britten%27s-war-requiem-live-from-berlin-for-free
Very cool! Thanks for the heads up. ;D
Now this has most definitely piqued my interest:
http://www.mdt.co.uk/britten-war-requiem-czech-philharmonic-orchestra-karel-ancerl-supraphon-2cds.html
Previously unreleased radio archive recordings of Ancerl conducting the War Requiem and Spring Symphony.
Pretty decent lineup of soloists, too:
Naděžda Kniplová – soprano
Gerald English – tenor
John Cameron – baritone (War Requiem)
Milada Šubrtová – soprano
Věra Soukupová – alto
Beno Blachut – tenor (Spring Symphony
Funny how these things work. For no good reason, I've not had any particular interest in Noye's Fludde . . . but as a result of viewing Moonrise Kingdom, my appetite is whetted.
Quote from: karlhenning on July 23, 2013, 07:45:13 AM
Funny how these things work. For no good reason, I've not had any particular interest in Noye's Fludde . . . but as a result of viewing Moonrise Kingdom, my appetite is whetted.
Great film.
Fludde is good, and in the context of Moorise it's even better, but I still reach for Curlew River or Phadrea for
'smaller-scale' operas of Britten.
Quote from: TheGSMoeller on July 23, 2013, 08:59:13 AM
Great film.
Fludde is good, and in the context of Moorise it's even better, but I still reach for Curlew River or Phaedra for
'smaller-scale' operas of Britten.
I would essay that it's better in the context because of the communal atmosphere Wes Anderson magics up (my favourite of Anderson's films so far); I do love that old Del Mar recording, though, where the congregation is actually singing in a church. - Obviously,
Curlew River is one of the very greatest of Britten's works, on record or in a smallish theatre. - I don't myself think of
Phaedra as an opera, more as a dramatic scena like Haydn's
Arianna a Naxos (categorised as a cantata). It would have been an opera if Britten had composed the whole of Lowell's "imitation" of the Racine.
At long last, I'm going to plunge into the string quartets.
Quote from: karlhenning on July 24, 2013, 05:52:36 AM
At long last, I'm going to plunge into the string quartets.
Do it, Karl. Dare I say no. 2 and 3 top my list of favorite SQs from the 20th Century, especially no. 3, such a creative structure. Belcea is commonly mentioned as the go-to recording, and rightfully so, but I'm spinning the Britten Quartet's discs more often,
What is the best record of the op 60 nocturne?
Quote from: Mandryka on August 24, 2013, 11:14:55 PM
What is the best record of the op 60 nocturne?
My vote goes to Ian Bostridge w/ Simon Rattle/Berliners on EMI.
Quote from: Mirror Image on August 25, 2013, 05:44:07 AM
My vote goes to Ian Bostridge w/ Simon Rattle/Berliners on EMI.
Good disc for all three works featured, so yeah I agree.
Philip Landridge is also very good with Britten (on Naxos)
Thank you for the suggestions. I just listened to both Bostridge and Langridge on spotify. Both very good, Langridge especially, which I thought was a really interesting contrast with Pears.
By the way, I just wrote an e mail to the Britten Pears foundation asking if they know of a Britten discography, though I don't hold out much hope of a helpful response (I suspect there isn't one. )
Keep up the suggestions. I'm getting into op60.
I see that there are three different editions of Colin Davis' 1978 recording of Britten's PETER GRIMES. Since I don't need a libretto, I cannot imagine it would make any difference which one I get. If someone knows of some advantage or disadvantage to any of these, please say so!
1999:
[asin]B00000J9GQ[/asin]
2011:
[asin]B0048IDRNC[/asin]
2013:
[asin]B00ANDVO2C[/asin]
and for good measure the original (?) CD release, ~1991:
[asin]B00000E4UM[/asin]
I really don't think there will be a difference other than a libretto which ought to be in the final one you picture, so if that is not an issue.....go for the best price.
Mike
Cheers, Sir Mike. You have graciously tried to lure me from my Pears errancy by enticement rather than ridicule. You're a gent!
Loads of people love Pears, and I hope you continue to. But I like what other tenors have done with his music and I hope you do to.
Cheers,
Mike
Quote from: Octave on September 26, 2013, 01:36:21 AM
I see that there are three different editions of Colin Davis' 1978 recording of Britten's PETER GRIMES. Since I don't need a libretto, I cannot imagine it would make any difference which one I get. If someone knows of some advantage or disadvantage to any of these, please say so!
1999:
[asin]B00000J9GQ[/asin]
2011:
[asin]B0048IDRNC[/asin]
2013:
[asin]B00ANDVO2C[/asin]
and for good measure the original (?) CD release, ~1991:
[asin]B00000E4UM[/asin]
You know that Colin Davis or Jon Vickers made some changes to the libretto of Grimes, something which I believe pissed off Britten and was one reason for the bad feeling he held towards him? (Another reason was probably Vickers's politically incorrect attitude to gay men.) The changes seem very minor to me, I've never understood what all the fuss was about.
Re Pears in Grimes, I'm not convinced that it's best to play the role like an alienated university professor. See what you think when you hear Vickers, the Hut Scene is unforgettable. I have my doubts about Vickers in the final scene, for that Langridge on DVD with ENO is very convincingly off his rocker. Ans maybe he croons a bit too much in "Now the great bear".
When Britten first wrote it, he had a more violent hut scene, I believe the censors made him tone it down. I'm sure I once heard Pears in the original version recorded at the old Sadler's Wells, in some BBC documentary.
The changes Vickers made are very, very minor and I have no idea why he made them, but like you, it does not make me feel he betrayed the composer or the part. I do think that Pears is flat out prissy and I cannot accept him in this role. Grimes is on the edge, suppressed with violence that flashes out and Britten leaves it opaque as to whether the apprentice was deliberately abused, or in the control of a man detached from the norms of human interaction and emotionally clumsy on an epic scale.
I have written before that it is an opera for grown-ups and as so often with Britten, he brings an outsider to life and in this case casts a very analytical look at the society that casts Grimes out.
It is a pity he turned his back on what is grand opera. He breathed life into a format that has struggled since the death of Puccini.
Mike
Quote from: knight66 on September 28, 2013, 08:13:15 AM
The changes Vickers made are very, very minor and I have no idea why he made them, but like you, it does not make me feel he betrayed the composer or the part. I do think that Pears is flat out prissy and I cannot accept him in this role. Grimes is on the edge, suppressed with violence that flashes out and Britten leaves it opaque as to whether the apprentice was deliberately abused, or in the control of a man detached from the norms of human interaction and emotionally clumsy on an epic scale.
I have written before that it is an opera for grown-ups and as so often with Britten, he brings an outsider to life and in this case casts a very analytical look at the society that casts Grimes out.
It is a pity he turned his back on what is grand opera. He breathed life into a format that has struggled since the death of Puccini.
Mike
Did you ever see Vickers sing it? I wonder if that Moshinsky production is still in service, it's about five years since I last went to Covent Garden. Maybe longer.
I had tickets to see him....and he cancelled and I saw someone's name I don't remember. I do have that production on DVD, somehow diminished.
Mike
Quote from: knight66 on September 28, 2013, 12:38:39 PM
I had tickets to see him....and he cancelled and I saw someone's name I don't remember. I do have that production on DVD, somehow diminished.
Mike
Oh yes he was always doing that. I remember that he was indisposed for his final scheduled Grimes at Covent Garden.
I did catch Vickers in Otello and that was remarkable. I am waiting for the Grimes to be issued on DVD from the beach at Aldeburgh this year, that looked like it would be worth catching.
Mike
As good an excuse as any to raise the centenarian's topic:
Quote from: Cato on October 10, 2013, 04:02:00 AM
Here is a quote from James Conlon, which I read today, in an article about the operas of Benjamin Britten:
(My emphasis above)
See:
http://online.wsj.com/article/SB10001424052702304520704579125240632913728.html?mod=WSJ_LifeStyle_Lifestyle_6 (http://online.wsj.com/article/SB10001424052702304520704579125240632913728.html?mod=WSJ_LifeStyle_Lifestyle_6)
QuoteMr. Conlon would rather not articulate what makes Britten's music special—he prefers to let the scores speak for themselves—but when pressed, he said: "Britten writes music that is illustrative; it inspires images. His music is expressive and lyrical and dramatic. It is hypnotic. This is not music that screams at you, but rather music that draws you in. And that's the reason his music's popularity has sometimes lagged behind its great qualities."
Quote from: Jas ConlonThis is not music that screams at you, but rather music that draws you in.
It's the screamers who do grab the attention, though, ain't it?
Quote from: karlhenning on October 10, 2013, 04:21:56 AM
It's the screamers who do grab the attention, though, ain't it?
You mean
Lulu, don't you?
Late thanks to Mandryka and Mike for discussion of the Vickers/GRIMES cuts.
Here's a link to a recent article on Britten's work in relation to cinema:
Storming the stage: Benjamin Britten's cinematic mind by Paul Kildea, published 16 Oct 2013
http://www.bfi.org.uk/news-opinion/sight-sound-magazine/features/storming-stage-benjamin-britten-s-cinematic-mind (http://www.bfi.org.uk/news-opinion/sight-sound-magazine/features/storming-stage-benjamin-britten-s-cinematic-mind)
"How Britain's greatest modern composer revitalised his country's opera under the sign of the movies."
So there are two new String Quartet recordings from Endellion and Takacs....
(http://ecx.images-amazon.com/images/I/61IZcDEGQUL._SS350_.jpg) (http://ecx.images-amazon.com/images/I/51WIyqrI-7L._SS350_.jpg)
I haven't purchased either one, yet. I was about to jump to the Takacs immediately, but have slowed down purchasing until holiday season is close to over. Truthfully I feel in no hurry because I'm completely satisfied with my trio of Belcea, Maggini and Britten Quartet performances, which between the three offer an entire range of contrast. But I'd like to hear these two, been sampling the Takacs which sounds wonderfully balanced.
Surely the Endellion is just a reissue. I have their recordings of all those works in the EMI Britten Collector's Edition.
Quote from: North Star on November 21, 2013, 08:44:06 PM
Surely the Endellion is just a reissue. I have their recordings of all those works in the EMI Britten Collector's Edition.
I originally thought so too, but Warner classics site is labeling this as a new recording
Thought I would cross-post this from the 'Purchases' thread:
Quote from: Mirror Image on November 22, 2013, 07:40:36 PM
Just bought:
(http://www.nikonland.it/portale/uploads/c40602780514666961f73560d169b47c.jpg)
Contents of the box:
(http://www.mdt.co.uk/blog/wp-content/uploads/2013/05/Britten-The-Complete-Works-4.jpg)
I bought this for actually a good price ($212) from Amazon.de. I've seen it for $265 and much higher on other sites. There's so much of this music that I didn't own. I'll part with my older Britten Conducts Britten sets as a result of this purchase.
If this wasn't enough, I also bought this:
(http://images.amazon.com/images/P/0714847712.01.L.jpg)
Needless to say, this is my Christmas present to myself. 8)
I'm a very happy camper. :) Anyone interested in my
Britten Conducts Britten sets, please message me here. I'll be glad to send them your way, but with two caveats: you must pay for shipping and must live in the US or Canada.
The sets that own are the orchestral set (7-CDs), the opera sets (Vol. 1 - 8-CDs, Vol. 2 - 10-CDs), and the
War Requiem (2006 remastered edition).
A fascinating read for those interested:
http://www.theguardian.com/music/2013/nov/15/when-oliver-knussen-benjamin-britten
That last movement of Suite on English Folk Tunes 'A Time There Was...' is so haunting. Anyone familiar with this work?
It really surprises me that one of the major composers of the 20th Century only has 12 pages. Well it's time to change that!
A Britten classic: Serenade for Tenor, Horn, and Strings -
On his way back from America in 1942, Britten began two choral works, Hymn to Saint Cecilia and A Ceremony of Carols, that were premiered the same year. But morale-boosting concerts with tenor Peter Pears (both were conscientious objectors and already lifelong partners) preoccupied them for the next 11 months. Not until he was hospitalized with measles early in 1943 did Britten began to compose again, working on what he described as "6 Nocturnes for Peter and a lovely young horn player, Dennis Brain, & Strings." He dedicated the finished Serenade to Edward Sackville-West, who later wrote: "The subject is Night...the lengthening shadow, the distant bugle at sunset, the Baroque panoply of the starry sky, the heavy angels of sleep; but also the cloak of evil -- the worm in the heart of [William Blake's] rose, the secret sense of sin in the heart of man. The whole sequence forms an Elegy or Nocturnal, as Donne would have called it." It was premiered with Walter Goehr and his orchestra in London's Wigmore Hall on October 15, 1943.
The horn plays unaccompanied on natural (rather than tempered) harmonics at the beginning and the end, onstage in the Prologue. In the Pastoral, the first song, in D flat, Charles Cotton's seventeenth century words "could be a description of a Constable landscape...[while] the horn continues to play in imitative diatonic phrases." So wrote Humphrey Carpenter in his 1992 biography of Britten. In the succeeding Nocturne (words by Alfred Lord Tennyson, ABA form, E flat and C major), the horn echoes and later embellishes its partner's jaunty, triplet-filled melody. Next, in the Blake Elegy, subject matter darkens the music landscape. Its extended horn preface and postlude are dominated by descending half-step intervals, eerily so at the end -- symbolizing "the sense of sin" that had its origin, for Britten, in boarding and public schools that he both dreaded and despised. The anonymous, fifteenth century Lyke Wake Dirge follows in grim G minor, and is keened by the tenor at the upper extreme of his voice, keeping the half-step intervals from the Elegy. Here, however, they ascend. Carpenter calls this "a relentless funeral march in the strings...the tenor's swoops up the octave suggest mortal terror of judgment." Its canonic character turns ghoulish at the horn's brash intrusion more than halfway through. The B flat setting of Ben Jonson's Hymn to Diana, goddess of the moon as well as the chase, is marked "presto e leggiero." Triplet-filled hunting calls and scales passages on the horn are imitated by the tenor in a cadenza near the end. The sixth and final song lets the horn rest while the tenor sings Keats' sonnet about the healing power of sleep, albeit uneasily, almost pleading on repeated high D's at the end ("seal the hushèd casket of my soul") over a sustained D by two solo violins and viola. From offstage, the horn repeats the Prologue note for note in an Epilogue.
[Article taken from All Music Guide]
Does anyone have any favorite performances of this works. I'm a big fan of both of Bostridge's performances and, of course, Pears.
Quote from: Mirror Image on November 24, 2013, 04:46:31 AM
Does anyone have any favorite performances of this works. I'm a big fan of both of Bostridge's performances and, of course, Pears.
Both Bostridge recordings are good. I've always enjoyed Anthony Rolfe Johnson (Chandos) and Phillip Langridge (Naxos) in
Serenade.
(http://ecx.images-amazon.com/images/I/51M6Lh9gHbL._SX250_.jpg) (http://ecx.images-amazon.com/images/I/51HXqMlStFL._SX250_.jpg)
Fortunately there are many good recordings of the wonderful Serenade. Of recent issues I like this:
[asin]B006H99HIE[/asin]
coupled with the wonderful Finzi.
I find it interesting to compare Brittens setting of the Dirge to Stravinsky's.
Quote from: TheGSMoeller on November 24, 2013, 05:01:11 AM
Both Bostridge recordings are good. I've always enjoyed Anthony Rolfe Johnson (Chandos) and Phillip Langridge (Naxos) in Serenade.
(http://ecx.images-amazon.com/images/I/51M6Lh9gHbL._SX250_.jpg) (http://ecx.images-amazon.com/images/I/51HXqMlStFL._SX250_.jpg)
I'll have to check out both of these, Greg. I
might have that Naxos recording. Will have to double check. That Chandos one looks very tempting.
Quote from: The new erato on November 24, 2013, 06:21:28 AM
Fortunately there are many good recordings of the wonderful Serenade. Of recent issues I like this:
[asin]B006H99HIE[/asin]
coupled with the wonderful Finzi.
I find it interesting to compare Brittens setting of the Dirge to Stravinsky's.
Nice, Erato. This one looks good, too. :)
This one:
[asin]B000069DPK[/asin]
- as much for David Pyatt's playing as Ainsley's singing. Great disc throughout - and the subject of a curious one-star review on Amazon.co.uk - I'm guessing the customer thought "One" meant "Best".
DF
http://musicologynow.ams-net.org/2013/11/for-benjamin-britten-upon-centenary-of.html
For those interested:
http://www.youtube.com/v/HHxMzDMSLwg
Needless to say, after watching this documentary, I want to hear Death In Venice as soon as I can and re-listen to Phaedra for that matter. 8)
Quote from: Mirror Image on November 24, 2013, 08:54:54 PM
For those interested:
http://www.youtube.com/v/HHxMzDMSLwg
Needless to say, after watching this documentary, I want to hear Death In Venice as soon as I can and re-listen to Phaedra for that matter. 8)
Death in Venice is Britten's best opera (IMO). Followed by Midsummer Night's Dream (also IMO). ;D
Quote from: TheGSMoeller on November 25, 2013, 01:22:10 AM
Death in Venice is Britten's best opera (IMO). Followed by Midsummer Night's Dream (also IMO). ;D
What little I've heard from
Death in Venice sounded absolutely stunning. Will have to listen to
Midsummer Night's Dream as well. Where does
Peter Grimes,
The Turn of the Screw, and
The Rape of Lucretia figure in on your list of favorites, Greg?
Quote from: Mirror Image on November 25, 2013, 05:33:04 AM
What little I've heard from Death in Venice sounded absolutely stunning. Will have to listen to Midsummer Night's Dream as well. Where does Peter Grimes, The Turn of the Screw, and The Rape of Lucretia figure in on your list of favorites, Greg?
Just recently been getting into Lucretia, which is amazing. The new recording with Knussen conducting is a must have for Britten fans...
[asin]B00A3NVB4S[/asin]
...sorry at work, will write more later.
Quote from: TheGSMoeller on November 25, 2013, 06:39:16 AM
Just recently been getting into Lucretia, which is amazing. The new recording with Knussen conducting is a must have for Britten fans...
[asin]B00A3NVB4S[/asin]
...sorry at work, will write more later.
That recording received some good press and Knussen would be just the man to conduct Britten.
Some Britten recordings I'm considering for next year:
(http://images.amazon.com/images/P/B00D4AZX50.01.L.jpg) (http://images.amazon.com/images/P/B000000AYW.01.L.jpg)
(http://images.amazon.com/images/P/B0007KIFUU.01.L.jpg) (http://images.amazon.com/images/P/B00EPTEN4Q.01.L.jpg)
(http://images.amazon.com/images/P/B00FAY7GAI.01.L.jpg)
And I need recordings of the operas missing from the EMI 37 CD box - Death in Venice, Rape of Lucretia and Billy Budd.
So I'll either get this Decca complete operas box or individual recordings - any opinions?
[asin]B00FE1UMY4[/asin]
Quote from: Mirror Image on November 24, 2013, 08:54:54 PM
For those interested:
http://www.youtube.com/v/HHxMzDMSLwg
Needless to say, after watching this documentary, I want to hear Death In Venice as soon as I can and re-listen to Phaedra for that matter. 8)
Great John. That saved me looking for it! I think I'll watch it again. Thanks for the post.
Quote from: Scots John on November 25, 2013, 08:47:09 AM
Great John. That saved me looking for it! I think I'll watch it again. Thanks for the post.
You're welcome, John. :)
Quote from: Scots John on November 25, 2013, 08:47:09 AM
Great John. That saved me looking for it! I think I'll watch it again. Thanks for the post.
Yes, this is definitely worth watching, some good excerpts from
Death in Venice, a work I've yet to hear.
Quote from: North Star on November 25, 2013, 09:19:55 AM
Yes, this is definitely worth watching, some good excerpts from Death in Venice, a work I've yet to hear.
+1
The 1966 television recording of Billy Budd
Peter Pears
Peter Glossop
Michael Langdon
John Shirley-Quirk
Bryan Drake
David Kelly
Kenneth MacDonald et al.
Ambrosian Opera Chorus
Charles Mackerras & LSO
http://www.youtube.com/v/A1lVBfqQyjs
As pointed out by a commentator on this Britten documentary, the last movement of Death in Venice is absolutely divine. I was going to listen to Peter Grimes first, but have decided that Death in Venice cannot wait, I will be listening to it tonight.
Here's a question for all of you Brittenites, what would you say are the main characteristics of Britten's sound-world? I know he was quite a chameleon stylistically, but what were the dominant kinds of techniques he used in his music?
Britten is a strange situation for me. I consider his VC, Sinfonia da requiem and Four Sea Interludes from Peter Grimes to be among the greatest works of the 20th century and find them very moving and compelling. But, aside from the Frank Bridge Variations, Young Person's Guide, Simple Symphony, and Young Apollo little else by Britten moves me. I find much of his music, especially the later works, to be rather "cold". I can't get into his operas at all. I've read opinions from various sources that "Britten was the greatest English composer since Purcell", with which I strongly disagree. I hold the music of Vaughan Williams, Elgar, Walton, Rubbra, Arnold, Bantock, Bate, Arnell, Parry, and Alwyn all in higher regard than the majority of Britten.
BTW, I agree with the opinion that Britten was the greatest British composer since Purcell. I love RVW and Elgar, but Britten is just in a different class all by himself.
Quote from: Mirror Image on November 25, 2013, 11:33:15 AM
BTW, I agree with the opinion that Britten was the greatest British composer since Purcell. I love RVW and Elgar, but Britten is just in a different class all by himself.
You love Britten more than RVW?! ??? I'm cryin', John. :'( ;)
Quote from: kyjo on November 25, 2013, 11:42:08 AM
You love Britten more than RVW?! ??? I'm cryin', John. :'( ;)
BTW, this is the
Britten thread.
In case that had excaped you 8)
Quote from: kyjo on November 25, 2013, 11:42:08 AM
You love Britten more than RVW?! ??? I'm cryin', John. :'( ;)
I thought I already answered this question? :)
Quote from: Mirror Image on November 25, 2013, 11:54:18 AM
I thought I already answered this question? :)
I saw your post before your PM!
Anyway, Britten's music haunts me to no end. That last movement of War Requiem is truly something else. After so much destruction, comes this reverie of serenity.
Quote from: kyjo on November 25, 2013, 12:12:46 PM
I saw your post before your PM!
I answered the question before the PM. I said that I agreed with whoever said that Britten was 'the greatest English composer since Purcell.' What does this tell you?
Quote from: Mirror Image on November 25, 2013, 12:37:50 PM
I answered the question before the PM. I said that I agreed with whoever said that Britten was 'the greatest English composer since Purcell.'
I think that may be so. But though I love quite a few Britten works, I find I connect more easily with RWV as well as admiring the man deeply. That is quite another matter though.
Quote from: The new erato on November 25, 2013, 12:57:25 PM
I think that may be so. But though I love quite a few Britten works, I find I connect more easily with RWV as well as admiring the man deeply. That is quite another matter though.
Sure, I think RVW would have been someone you could talk to about anything. But, with Britten, as Janet Baker stated in that documentary "I was always very careful not to get too close to the flame." :)
Quote from: drogulus on July 16, 2008, 01:50:08 PM
That comment about horrid modern music isn't just a joke. It says something about his music, which explores extremes of beauty and ugliness. I find Britten to be a very uncompromising composer, and such single-minded devotion is usually found among avant-gardists. Britten seems to have come upon the idea that there are more expressive opportunities in shattering tonal expectations without leaving tonality behind than there would be by adopting an alternative.
After my recent immersion in the Cello Symphony and the War Requiem I listened to Walton's Belshazzar's Feast. By comparison it sounds like Elgar with a Broadway sensibility superimposed (it might have been called Belshazzar!). This isn't really a knock on Walton, a composer I admire, but it shows the astonishing way Britten freed himself from tradition without disowning it, as well as the extent that other composers were either unable or unwilling to do so.
A wonderful post that I completely agree with.
Seems to me that some of the same could be said of Bartok.
Quote from: The new erato on November 25, 2013, 02:00:49 PM
Seems to me that some of the same could be said of Bartok.
Absolutely and another one of my favorite composers.
Quote from: kyjo on November 25, 2013, 11:27:39 AMI find much of his music, especially the later works, to be rather "cold".
You may want to go get your ears cleaned out, Kyle, because you're completely off the mark here. To feel absolutely nothing from the last movement of
Death in Venice or the
War Requiem leaves me to question who actually is 'cold.'
Found this on YT, this is the Connolly/Gardner performance of Phaedra I've been raving about on the 'Listening' thread:
http://www.youtube.com/v/rWkU_C5QO4U
Of course, to have it on CD blasting through your stereo system is a thing of beauty. :)
Quote from: Mirror Image on November 25, 2013, 09:50:21 AM
Here's a question for all of you Brittenites, what would you say are the main characteristics of Britten's sound-world? I know he was quite a chameleon stylistically, but what were the dominant kinds of techniques he used in his music?
I can't think of anything scholarly that might answer your question MI but for me I admire Britten's single-mindedness in avoiding the dreaded "flavor-of-the-day" syndrome and remain so individual as to be practically an island unto himself. There's a confidence to his style that says simply "take it or leave it only
don't be indifferent about it". At least that's how I hear it.
Not that other composers haven't had the same thing in mind when composing but if the process works well enough to generate interest then the fan base is established. Anyway, like I said, nothing profound. :-\ :laugh:
Some stuff from a Britten celebration concert in Helsinki:
http://areena.yle.fi/tv/2093751
http://areena.yle.fi/tv/2093752
Quote from: lescamil on November 25, 2013, 11:12:43 PM
Some stuff from a Britten celebration concert in Helsinki:
http://areena.yle.fi/tv/2093751
http://areena.yle.fi/tv/2093752
Thanks, I don't know how I managed to miss these before.
(first link is the Passacaglia from
Grimes, and the second the VC with Simone Lamsma, both with Denève and Finnish RSO)
Quote from: Dancing Divertimentian on November 25, 2013, 10:16:35 PM
I can't think of anything scholarly that might answer your question MI but for me I admire Britten's single-mindedness in avoiding the dreaded "flavor-of-the-day" syndrome and remain so individual as to be practically an island unto himself. There's a confidence to his style that says simply "take it or leave it only don't be indifferent about it". At least that's how I hear it.
Not that other composers haven't had the same thing in mind when composing but if the process works well enough to generate interest then the fan base is established. Anyway, like I said, nothing profound. :-\ :laugh:
I'm glad he didn't go that 'avant garde' route and stuck to what
he felt he should be composing. He stayed true to himself and that's certainly an admirable quality.
I am continuously thinking about the War Requiem performance I attended a few weeks ago in Chicago. The brilliant use and staging of the three groups (orchestra, chamber group, children's choir) is not fully realized in a recording, although not unsuccessful, but you get much closer to Britten's idea. The CSO was setup normally with the exception of the violas which were pushed back next to wood winds and brass (poor violas) and the first row of strings back one row. This made room for the chamber group to be placed directly behind the soloists. The biggest issue with this was the five string players were positioned more behind the soprano who does not sing with the chamber group. But in most recordings the chamber group seems to come from within the orchestra, which doesn't hinder the recordings, but you understand the true relationship between the chamber group and tenor and baritone once you see them working together.
The best part was the children's choir which was separated into two groups placed on opposite sides of the first balcony. Where I was seated I could see the children's group on the right side, but the other group was below out of sight, so when they sing it had an eerie, echoey quality.
I read some mixed reviews about the performance and Dutoit's interpretation, although one CSO musician did speak positively of Dutoit to me, and the audience's rapturous applause seemed to never end (isn't that what it's all about anyway?). I personally found it miraculous, Dutoit used patience throughout, it never once felt rushed, especially the final baritone solo, "I am the enemy you killed, my friend." Matthias Goerne sang this as if he was feeling the pain, soft and full of sadness, I don't think I had ever heard an audience so still and quiet.
Wonderful, Greg. I witnessed a performance in the Grand Hall of the Philharmonic in St Petersburg . . . I remember it being magnificent, though I blush to find I do not recall the specific performers . . . .
Quote from: TheGSMoeller on November 26, 2013, 07:01:48 AM
I am continuously thinking about the War Requiem performance I attended a few weeks ago in Chicago. The brilliant use and staging of the three groups (orchestra, chamber group, children's choir) is not fully realized in a recording, although not unsuccessful, but you get much closer to Britten's idea. The CSO was setup normally with the exception of the violas which were pushed back next to wood winds and brass (poor violas) and the first row of strings back one row. This made room for the chamber group to be placed directly behind the soloists. The biggest issue with this was the five string players were positioned more behind the soprano who does not sing with the chamber group. But in most recordings the chamber group seems to come from within the orchestra, which doesn't hinder the recordings, but you understand the true relationship between the chamber group and tenor and baritone once you see them working together.
The best part was the children's choir which was separated into two groups placed on opposite sides of the first balcony. Where I was seated I could see the children's group on the right side, but the other group was below out of sight, so when they sing it had an eerie, echoey quality.
I read some mixed reviews about the performance and Dutoit's interpretation, although one CSO musician did speak positively of Dutoit to me, and the audience's rapturous applause seemed to never end (isn't that what it's all about anyway?). I personally found it miraculous, Dutoit used patience throughout, it never once felt rushed, especially the final baritone solo, "I am the enemy you killed, my friend." Matthias Goerne sang this as if he was feeling the pain, soft and full of sadness, I don't think I had ever heard an audience so still and quiet.
I imagine the
War Requiem being a spectacle to behold. You're very fortunate to have heard the CSO in this masterpiece. Thanks for sharing this memory with us.
Quote from: Mirror Image on November 26, 2013, 07:37:58 AM
I imagine the War Requiem being a spectacle to behold. You're very fortunate to have heard the CSO in this masterpiece. Thanks for sharing this memory with us.
You know that Atlanta SO is performing this in April, four months too late of course. ;D
Quote from: TheGSMoeller on November 26, 2013, 07:41:48 AM
You know that Atlanta SO is performing this in April, four months too late of course. ;D
I don't like Spano, so I'll pass. :)
I've listened to this recording four times over the past two days:
(http://ecx.images-amazon.com/images/I/817BGzxwRIL._SL1300_.jpg)
Words can't even begin to describe how incredible this recording actually is. The last movement (Depart) of Les Illuminations sent chills down my spine. Does anyone else love this recording as much as I do?
Quote from: Mirror Image on November 25, 2013, 05:58:33 PM
You may want to go get your ears cleaned out, Kyle, because you're completely off the mark here. To feel absolutely nothing from the last movement of Death in Venice or the War Requiem leaves me to question who actually is 'cold.'
I'm getting really tired of your constant hard-hitting attitude with me, John. Honestly, you're getting on my nerves. You're fun to be around for a while, but you make our disagreements unnecessarily tiresome, so I'm afraid to say anything around you anymore.
Quote from: kyjo on November 26, 2013, 08:30:35 PM
I'm getting really tired of your constant hard-hitting attitude with me, John. Honestly, you're getting on my nerves. You're fun to be around for a while, but you make our disagreements unnecessarily tiresome, so I'm afraid to say anything around you anymore.
Clearly you could have sent this post to me in the form of a PM. You're just being way too sensitive. BTW, while we're both here, did you get my last PM?
Britten is featured on the cover of Gramophone this month. Several articles on the composer, including a focus on his operas.
(http://img.tapatalk.com/d/13/11/27/rehu6u7u.jpg)
Quote from: TheGSMoeller on November 26, 2013, 08:48:34 PM
Britten is featured on the cover of Gramophone this month. Several articles on the composer, including a focus on his operas.
(http://img.tapatalk.com/d/13/11/27/rehu6u7u.jpg)
Nice, Greg! I bought the BBC Music Magazine January 2013 issue and it has Britten on the front cover as well. 8)
Quote from: Mirror Image on November 26, 2013, 07:58:34 PM
Words can't even begin to describe how incredible this recording actually is. The last movement (Depart) of Les Illuminations sent chills down my spine. Does anyone else love this recording as much as I do?
I don't have this particular recording (I have Britten's own w/Pears) but agree the work is something special.
Quote from: TheGSMoeller on November 26, 2013, 08:48:34 PM
Britten is featured on the cover of Gramophone this month. Several articles on the composer, including a focus on his operas.
(http://img.tapatalk.com/d/13/11/27/rehu6u7u.jpg)
Wow, very cool. Thanks for the head's up.
Quote from: Dancing Divertimentian on November 26, 2013, 09:02:55 PM
I don't have this particular recording (I have Britten's own w/Pears) but agree the work is something special.
DD, you'll love this recording. Even if you have many recordings of
Serenade or
Les Illuminations already. This Bostridge/Rattle recording is a gem.
Quote from: Mirror Image on November 26, 2013, 09:30:06 PM
DD, you'll love this recording. Even if you have many recordings of Serenade or Les Illuminations already. This Bostridge/Rattle recording is a crown jewel.
FTFY
There seems to be a flood of newer and still rather new War Requiem recordings that have hit the market, does anyone know these?
(http://images.amazon.com/images/P/B00EAH3EAC.01.L.jpg) (http://images.amazon.com/images/P/B00E9HG3WY.01.L.jpg)
(http://images.amazon.com/images/P/B00ECAAIX8.01.L.jpg) (http://images.amazon.com/images/P/B00713Y2R6.01.L.jpg)
(http://images.amazon.com/images/P/B007JPE1FE.01.L.jpg)
Quote from: Mirror Image on November 29, 2013, 06:32:57 PM
There seems to be a flood of newer and still rather new War Requiem recordings that have hit the market, does anyone know these?
(http://images.amazon.com/images/P/B00EAH3EAC.01.L.jpg) (http://images.amazon.com/images/P/B00E9HG3WY.01.L.jpg)
(http://images.amazon.com/images/P/B00ECAAIX8.01.L.jpg) (http://images.amazon.com/images/P/B00713Y2R6.01.L.jpg)
(http://images.amazon.com/images/P/B007JPE1FE.01.L.jpg)
Out of those (excluding the Jansons) I would say I enjoyed the Pappano the most. The sound quality is very good (great dynamic contrast in the dies irae) and Bostridge and Hampson make a great duo.
That being said, I'm not sure about buying any of them at the moment because the five I already own are sufficient.
I'll probably get a War Requiem recording to go with the Rattle, so many options, including those 5, Britten's own, and Hickox..
Quote from: North Star on November 30, 2013, 02:44:42 AM
I'll probably get a War Requiem recording to go with the Rattle, so many options, including those 5, Britten's own, and Hickox..
There are many choices, which seems to have doubled in the past few years. But you named two good ones, Britten's and Hickox. Doesn't seem to get a lot of mention, but I also really like the Gardiner on DG, and Rilling's on superb Hanssler SACD sound. But like I said, many choices. A great way to sample is through Spotify. I think all the ones mentioned in the past few posts are available there.
Quote from: TheGSMoeller on November 30, 2013, 02:51:31 AM
There are many choices, which seems to have doubled in the past few years. But you named two good ones, Britten's and Hickox. Doesn't seem to get a lot of mention, but I also really like the Gardiner on DG, and Rilling's on superb Hanssler SACD sound. But like I said, many choices. A great way to sample is through Spotify. I think all the ones mentioned in the past few posts are available there.
Thanks, yes, most are on Spotify - I didn't see McCreesh there, though.
I guess I'll listen to the Rattle recording at some point and then pick some bits for comparison.
Quote from: TheGSMoeller on November 30, 2013, 02:26:44 AM
Out of those (excluding the Jansons) I would say I enjoyed the Pappano the most. The sound quality is very good (great dynamic contrast in the dies irae) and Bostridge and Hampson make a great duo.
That being said, I'm not sure about buying any of them at the moment because the five I already own are sufficient.
Yeah, the Pappano does look quite enticing, Greg. Unfortunately, I'm in a similar boat as you are as I have three really excellent recordings already: Britten, Hickox, and Masur (Teldec).
Quote from: North Star on November 30, 2013, 02:44:42 AM
I'll probably get a War Requiem recording to go with the Rattle, so many options, including those 5, Britten's own, and Hickox..
With the Britten, you get no couplings except some rehearsal tracks. With Hickox, you get
Ballad of Hereos and
Sinfonia da Requiem. Two works which you own already, but it doesn't hurt having two more, especially when their as good as these performances.
Cross-posted from the 'Purchases' thread:
Quote from: Mirror Image on November 30, 2013, 06:50:49 AM
I told myself no more music purchases until the New Year, but I couldn't help myself as this was 1. so cheap ($10) and 2. it was indeed on my wish list:
(http://cps-static.rovicorp.com/3/JPG_400/MI0000/964/MI0000964952.jpg?partner=allrovi.com)
The only other Britten opera recording I'm interested in at the moment is Hickox's Death in Venice (also on Chandos), which comes very highly recommended by Monkey Greg.
Quote from: Mirror Image on November 30, 2013, 05:59:07 PM
Just bought for $23:
(http://www.michaelchancecountertenor.co.uk/repository/discs/large/1267047285209.jpg)
I just couldn't resist. This recording came highly recommended to me by Monkey Greg and the few excerpts I heard of this performance via Spotify really impressed me.
Needless to say, I'm quite looking forward to receiving these two sets plus that huge 66 CD set on Decca.
Received my issue of BBC Music Magazine January 2013 (with Britten on the cover) and I love that most of everything in this magazine is Britten, Britten, Britten. 8) Some interesting articles, too.
Cross-posted from the 'Purchases' thread -
Quote from: Mirror Image on December 01, 2013, 10:24:30 AM
Another cheapy bought from wish list:
(http://images.amazon.com/images/P/B00D4AZX50.01.L.jpg)
And a few more...
(http://www.chandos.net/hiresart/CHAN%209487.jpg) (http://www.scenariomag.it/wp-content/uploads/2013/10/war-requiem-di-britten.jpg)
(http://images.amazon.com/images/P/B00FAY7GAI.01.L.jpg)
I'll definitely let you know how the Pappano War Requiem is, Greg. I listened to a few excerpts via Spotify and it sounded quite good.
First listen to these works, and am enjoying them! :) Courtesy of my downtown library.
Britten
Suite No. 1 for Solo Cello, Op. 72
Suite No. 2 for Solo Cello, Op. 80
Suite No. 3 for Solo Cello, Op. 87
Jean-Guihen Queyras, cello
Harmonia Mundi
[asin]B00A2CL4J2[/asin]
Quote from: ChamberNut on January 03, 2014, 08:29:59 AM
First listen to these works, and am enjoying them! :) Courtesy of my downtown library.
Britten
Suite No. 1 for Solo Cello, Op. 72
Suite No. 2 for Solo Cello, Op. 80
Suite No. 3 for Solo Cello, Op. 87
Jean-Guihen Queyras, cello
Harmonia Mundi
[asin]B00A2CL4J2[/asin]
Nicely done,
Ray!
First listens to these, and quite enjoyable! :)
Britten
*Symphonic Suite from 'Gloriana', Op. 53a
**Symphony for Cello and Orchestra, Op. 68
Four Sea Interludes from 'Peter Grimes', Op. 33a
*Robert Murray, tenor
**Paul Watkins, cello
Edward Gardner
BBC Philharmonic
Chandos
[asin]B004LHOZYA[/asin]
Quote from: ChamberNut on January 05, 2014, 08:20:46 AM
First listens to these, and quite enjoyable! :)
Britten
*Symphonic Suite from 'Gloriana', Op. 53a
**Symphony for Cello and Orchestra, Op. 68
Four Sea Interludes from 'Peter Grimes', Op. 33a
*Robert Murray, tenor
**Paul Watkins, cello
Edward Gardner
BBC Philharmonic
Chandos
[asin]B004LHOZYA[/asin]
That's an outstanding disc, Ray. Fantastic performances all around. I never really
listened that good to the
Gloriana Suite, but after several careful listens to this Gardner performance, I've become quite enamored with it. The
Cello Symphony is a bit of a tougher nut to crack, but I think Watkins gives his everything here. Of course, the
Four Sea Interludes from 'Peter Grimes' is always enjoyable.
I am not a particular Britten fan but this recording of the Czech premiere (Dvorak Hall, Prague 1966) is one of the most moving and gripping CDs I have come across in recent times. I think that it is worthy to stand alongside Gunter Wand's recording of Bruckner's 9th Symphony (RCA):
[asin]B00CO2S4XC[/asin]
Quote from: vandermolen on January 23, 2014, 11:18:50 AM
I am not a particular Britten fan but this recording of the Czech premiere (Dvorak Hall, Prague 1966) is one of the most moving and gripping CDs I have come across in recent times. I think that it is worthy to stand alongside Gunter Wand's recording of Bruckner's 9th Symphony (RCA):
[asin]B00CO2S4XC[/asin]
Oh does that look GREAT. Thanks for posting - and for your comments.
--Bruce
Quote from: Brewski on January 23, 2014, 11:26:44 AM
Oh does that look GREAT. Thanks for posting - and for your comments.
--Bruce
My pleasure Bruce. :)
I think that Ancerl lost all his family in World War Two, which might explains the overwhelmingly moving nature of this performance, which gripped me from beginning to end.
Quote from: vandermolen on January 23, 2014, 11:35:35 AMI think that Ancerl lost all his family in World War Two, which might explains the overwhelmingly moving nature of this performance, which gripped me from beginning to end.
Yes, in Auschwitz. The whole family (Ančerl included - he even did some conducting during his imprisonment) ended there after a transfer from the Terezín concentration camp.
Quote from: ChamberNut on January 05, 2014, 08:20:46 AM
First listens to these, and quite enjoyable! :)
[asin]B004LHOZYA[/asin]
The suite from
Gloriana is fabulous, as is the opera itself. Looking forward to another performance here in Prague in February. The Lute Song is one of my favourite arias of all time:
http://www.youtube.com/v/uLPMeCt_JKw
Quote from: Rinaldo on January 23, 2014, 12:16:36 PM
Yes, in Auschwitz. The whole family (Ančerl included - he even did some conducting during his imprisonment) ended there after a transfer from the Terezín concentration camp.
The suite from Gloriana is fabulous, as is the opera itself. Looking forward to another performance here in Prague in February. The Lute Song is one of my favourite arias of all time:
http://www.youtube.com/v/uLPMeCt_JKw
I discovered the Suite from Gloriana recently - a very enjoyable work.
Time to revive this thread. Did any of my fellow Brittenites buy the Decca Complete Works set? If not, then I highly recommend it. The box itself is a piece of art. One of the most extravagant box sets I own. It's also quite large, so be sure to make some shelf space for it. I haven't even begun to discover the riches of this treasure trove.
(http://ecx.images-amazon.com/images/I/81hbVe6usEL._SL1500_.jpg)
Quote from: Mirror Image on November 03, 2014, 08:27:03 AM
Time to revive this thread. Did any of my fellow Brittenites buy the Decca Complete Works set? If not, then I highly recommend it. The box itself is a piece of art. One of the most extravagant box sets I own. It's also quite large, so be sure to make some shelf space for it. I haven't even begun to discover the riches of this treasure trove.
(http://ecx.images-amazon.com/images/I/81hbVe6usEL._SL1500_.jpg)
I noticed that the Decca Britten box is available for about $162 (shipped to the US) from Amazon Japan in case anybody wants to get a huge dose of Britten.....
http://www.amazon.co.jp/Complete-Works-B-Britten/dp/B00CJCHJ1U
Quote from: Moonfish on November 03, 2014, 05:51:36 PM
I noticed that the Decca Britten box is available for about $162 (shipped to the US) from Amazon Japan in case anybody wants to get a huge dose of Britten.....
http://www.amazon.co.jp/Complete-Works-B-Britten/dp/B00CJCHJ1U
That's still more than I paid. :) I believe I paid around $140 (incl. shipping) for mine. 8)
Quote from: Mirror Image on November 03, 2014, 06:01:54 PM
That's still more than I paid. :) I believe I paid around $140 (incl. shipping) for mine. 8)
Nice! Where did you get such a great deal? It seems like the going rate is $250 or more....
Quote from: Moonfish on November 03, 2014, 07:10:44 PM
Nice! Where did you get such a great deal? It seems like the going rate is $250 or more....
Indeed. I believe I bought it from Amazon UK when they had a special sale a little bit after it had been released.
Quote from: Mirror Image on November 03, 2014, 08:47:02 PM
Indeed. I believe I bought it from Amazon UK when they had a special sale a little bit after it had been released.
Hmm, I cannot see such a low price in the Amazon.UK's price history - their lowest is GBP 138. Regardless, do you happen to know how the Decca set compares with the older EMI compilation in terms of recordings/quality? :)
Quote from: Moonfish on November 03, 2014, 09:05:32 PM
Hmm, I cannot see such a low price in the Amazon.UK's price history - their lowest is GBP 138. Regardless, do you happen to know how the Decca set compares with the older EMI compilation in terms of recordings/quality? :)
Remember that I said I believe I bought it from Amazon UK, I could have very well bought it from Arkivmusic, Presto Classical, any of the incarnations of Amazon, jpc, etc. Who knows? I don't exactly remember. All I remember was getting a great deal on it not too long after it had been released. In terms of performances, you can't beat Britten in his own music IMHO. Most of these performances are with the composer himself on the podium (or on the piano) and he was no slouch when it came to conducting. Really remarkable performances throughout the box. There's also a lot of Peter Pears (Britten's main tenor of choice and his partner) in this set, so if you're not keen to his vocals, you may want to reconsider other sets or even single issues. Personally, I have no problems with his voice and the exemplary performances more than make up for any kind of deficiencies or qualms a person may have with his vocals. This box set is a must for all admirers of Britten's masterful music.
Quote from: vandermolen on January 23, 2014, 11:18:50 AM
I am not a particular Britten fan but this recording of the Czech premiere (Dvorak Hall, Prague 1966) is one of the most moving and gripping CDs I have come across in recent times. I think that it is worthy to stand alongside Gunter Wand's recording of Bruckner's 9th Symphony (RCA):
[asin]B00CO2S4XC[/asin]
I certainly don't need another War Requiem on disc
(and would never object if the recording is special), but your description has me very interested. And it is available on Spotify so I will give it a spin. Thanks,
vander!
Quote from: Rinaldo on January 23, 2014, 12:16:36 PM
The suite from Gloriana is fabulous, as is the opera itself. Looking forward to another performance here in Prague in February. The Lute Song is one of my favourite arias of all time:
http://www.youtube.com/v/uLPMeCt_JKw
Gloriana and its suite are fantastic. And such an emotional ending, as with many of Britten's operas. I prefer listening to the suite with the voice rather than the oboe during the Lute Song. Thanks for the post,
Rinaldo!
Quote from: Mirror Image on November 03, 2014, 08:27:03 AM
Time to revive this thread. Did any of my fellow Brittenites buy the Decca Complete Works set? If not, then I highly recommend it. The box itself is a piece of art. One of the most extravagant box sets I own. It's also quite large, so be sure to make some shelf space for it. I haven't even begun to discover the riches of this treasure trove.
(http://ecx.images-amazon.com/images/I/81hbVe6usEL._SL1500_.jpg)
A little too much opera for me, but I have a number of these recordings, which are superb. Unlike many composers Britten was a superb conductor, and a many of the recordings have the Culshaw sound miracle.
I recommend the 6 cd ERato EMI chamber music box.
Quote from: Mirror Image on November 03, 2014, 08:27:03 AM
Time to revive this thread. Did any of my fellow Brittenites buy the Decca Complete Works set? If not, then I highly recommend it. The box itself is a piece of art. One of the most extravagant box sets I own. It's also quite large, so be sure to make some shelf space for it. I haven't even begun to discover the riches of this treasure trove.
(http://ecx.images-amazon.com/images/I/81hbVe6usEL._SL1500_.jpg)
If I didn't already have about a third of this box I'd have jumped on it.
Advantageously, this jumbo box has been broken up into subsets, one of which wouldn't be a problem for me duplication-wise:
[asin]B00FE1UM62[/asin]
Quote from: TheGSMoeller on November 04, 2014, 07:12:31 AMGloriana and its suite are fantastic. And such an emotional ending, as with many of Britten's operas. I prefer listening to the suite with the voice rather than the oboe during the Lute Song.
+1 Edward Gardner's performance of the suite from
Gloriana (on Chandos) contains the vocal in the
Lute Song and it's all the more magical for it.
Quote from: Ken B on November 04, 2014, 11:01:42 AM
.....many of the recordings have the Culshaw sound miracle.
Yes, that might not be something many folks think about, but when it comes to Decca and Britten you can bet on some of the...how to put it...most
likable sound out there. The TLC is everywhere. It's like Decca had a personal stake in the sonic outcome above the usual commercial considerations (they liked the guy? Nationals banding together?).
Even the mono-era recordings sound totally above-and-beyond...
Quote from: Ken B on November 04, 2014, 11:01:42 AM
A little too much opera for me, but I have a number of these recordings, which are superb. Unlike many composers Britten was a superb conductor, and a many of the recordings have the Culshaw sound miracle.
I recommend the 6 cd ERato EMI chamber music box.
I've still yet to fully appreciate operatic Britten, but I admit to having a soft spot for
Death in Venice, which, for me, is one of the most incredible operas I've ever heard. In the Bridcut documentary,
Britten's Endgame, it has extensive clips of this opera scattered throughout and I was completely captivated by the music. This could very well be his crowning achievement in a long history of such accolades.
Quote from: Mirror Image on November 04, 2014, 08:23:57 PM
I've still yet to fully appreciate operatic Britten, but I admit to having a soft spot for Death in Venice, which, for me, is one of the most incredible operas I've ever heard. In the Bridcut documentary, Britten's Endgame, it has extensive clips of this opera scattered throughout and I was completely captivated by the music. This could very well be his crowning achievement in a long history of such accolades.
It only gets better with Britten's opera. :)
I thought I would take a minute to bring this thread back into the fore with a comment on his Sinfonietta, Op. 1. Britten composed this in 1932 when he was all of 19 years old and it sounds like the work of a mature composer. The middle movement Variation: Andante Lento is mesmerizing as these lyrical themes seem to open up some kind of suppressed emotion that must have came ahead as he was composing this movement. Really enchanting music for such a young composer.
How is Humphrey Carpenter's biography of Britten? Recommended? Which ones of the published biographies are worthwhile?
[asin] 0571143253[/asin]
Quote from: karlhenning on April 01, 2015, 05:36:45 AM
Rejoice in the clam, Boston!
http://www.youtube.com/v/FHge7vHuzcM
Afraid I still think that writing the
Alleluias as a quintuplet rhythm is quite nearly pointlessly fussy.
I'm not an especial admirer of Britten's music but I received this through the post today and found the performances to be sensational, especially the Passacgaglia from Peter Grimes conducted by Eduard van Beinum which had never been on CD before and much can be said of his interpretation of the 'Young Person's Guide to the Orchestra'. I am very curious to hear Britten's performance of Sinfonia da Requiem with the Danish RSO. This CD contains more or less all my favourite Britten work as I am not a great opera fan:
[asin]B0031Y4A9E[/asin]
Arrived today! I like 'Our Hunting Fathers';and this performance. I heard it broadcast on R3 years ago. I bought a s/h cassette,it was faulty,so I bought this from an extremely well know UK purveyor of secondhand cds. (Just under three quid,post free!)
I also like Söderström's performances of the folksongs. Lovely! :) Unlike vandermolen I do like quite allot of Britten's music;particularly in those old Decca recordings.
(http://i1362.photobucket.com/albums/r688/dinasman/51cxXJ8cCrL_zpsxvkllhdn.jpg)
Yes,I think Our Hunting Fathers is a very entertaining piece of music. The Britten thread isn't very long,which speaks for itself;but this is one of his most approachable works;all those rolled 'rr's' and whoops,great fun! Although,hearing Pears yelling 'rrr-ats',in his posh voice,possibly even more so. Hard not to recall Dudley Moore,here! Not so keen on the Serenade. Not because I don't like it;but because it's Robert Tear. Alright sometimes,but not one of my favourite singers. Okay for a bonus,though! I like Britten's arrangements of Folksongs. Sophie Wyss is lovely on those old 1940's recordings of French Folksongs. Having said that I don't mind a bit of Steeleye Span with Maddy Prior or Planxty,now and again.!! ;D
I'm listening to the new Lyrita Bernard van Dieren cd,now!!
Quote from: cilgwyn on December 15, 2016, 02:21:50 AM
Yes,I think Our Hunting Fathers is a very entertaining piece of music. The Britten thread isn't very long,which speaks for itself [....]
No thread could be as long as the
Havergal Brian thread, of course 8)
If I knew that there is a saxophone in the scoring for the Op.8, I had completely forgotten.
The mordant xylophone at the end reminds me curiously of On Watch in the Shostakovich Fourteenth.
Quote from: k a rl h e nn i ng on December 15, 2016, 04:07:43 AM
The mordant xylophone at the end reminds me curiously of On Watch in the Shostakovich Fourteenth.
Birds of a feather flock together.... ;)
Quote from: ritter on December 15, 2016, 04:16:31 AM
Birds of a feather flock together.... ;)
Aye, they were kindred spirits in a way. The curiosity is, though, that the symphony is such late
Shostakovich, and the
Op.8 is such early
Britten 8)
I enjoyed some of Stephen Hough's Virgin disc of Britten Piano Music, though, none of it seems essential to me. The 'Night Piece' (?) seemed the nicest. Mmmm... really nothing to see here, though. Mostly I enjoyed Hough's playing and the recorded piano sound.
A potential Britten-A-Thon was averted. :(
C'mon, listen to Paul Bunyan: you know you want to.
Quote from: k a rl h e nn i ng on December 18, 2016, 08:11:15 AM
C'mon, listen to Paul Bunyan: you know you want to.
"We're lumberjacks, lumberjacks..."facepalm
NO!! Thank you, sir,... please!! 0:)
Do you never check your bags? It's not as if you generally travel light.
Sent from my SM-G930V using Tapatalk
Quote from: k a rl h e nn i ng on December 18, 2016, 08:11:15 AM
C'mon, listen to Paul Bunyan: you know you want to.
"We dress up in womens clothing
And have buttered scones for tea!
I'm a lumberjack and I'm okay......(altogether now!) One of Britten's best! His Spam song is great,too!!
Bunyan's can be very painful,though!!
Michael Palin should be ina production of Paul Bunyan
Quote from: k a rl h e nn i ng on December 15, 2016, 03:29:15 AM
No thread could be as long as the Havergal Brian thread, of course 8)
I dunno... perhaps all 27 of Sorabji's fans could match it, with a thread stuffed with effusive and enthusiastic commentary running to a length that would come near to matching the duration of some of his works. (If those contributors are really good, despite the length of their entries, reading them will seem like it takes just forever ;-)
Quote from: Monsieur Croche on December 19, 2016, 03:12:13 AM
I dunno... perhaps all 27 of Sorabji's fans could match it, with a thread stuffed with effusive and enthusiastic commentary running to a length that would come near to matching the duration of some of his works. (If those contributors are really good, despite the length of their entries, reading them will seem like it takes just forever ;-)
:laugh::laugh::laugh:
In other words.....Opus typushellofullaloticum! ???!
Okay, it's a while since I have listened to it myself . . . but am I the only one who actually likes Paul Bunyan? (I mean, I'm all right with being the only one to like a work . . . even a work by Britten . . . .)
I like Paul Bunyan. At least I'd like to like it,if I still had it. I sold mine some years ago. I needed the money!! ::) ;D Now,after enjoying that cd of Britten's Our Hunting Fathers,which I wasn't going to buy;but the s'h cassette was faulty,so I bought it from a certain ubiquitous seller (in this country).........now,to cut a long,needless story short,I'm starting to think.......what about Paul Bunyan?!! And coincidentally,you bring it up in this thread! Now,I actually think Our Hunting Fathers is great. I also like most of his operas. I have all Britten's Decca recordings,except Billy Budd;which is a bit pricey! Although,I know it from library Lps,I listened to years ago. I also have the old Decca recording of Death in Venice. I liked that,too! Really speaking the thread for a composer of Britten's stature should be at least twice as long as Havergal Brian's.........but I'm not going to lose sleep over the fact that it's so short! I've got more important things to think about like for instance,"Why did I have to sell my copy of Paul Bunyan?!!" :( :( I think I am going to have to put it on my list. I seem to recall that there was a song which included the refrain "Svedish borrn and Svedish brred!" If memory serves me correctly,it was fun..............and again,I wish I hadn't b***** sold it!! :( :( :(
Quote from: cilgwyn on December 22, 2016, 08:10:25 AM
Now, I actually think Our Hunting Fathers is great.
Arguably a minor work, but superb, absolutely superb.
::) ::) ::)
::) ::) ::)
::) ::) ::)
Our Hunting Fathers: I would like to suggest this version to you with Heather Harper.
https://www.amazon.co.uk/Britten-Illuminations-Chansons-Francaises-Berceuse/dp/B01MQ61J6C/ref=sr_1_3?ie=UTF8&qid=1482482977&sr=8-3&keywords=Our+hunting+fathers+harper
It is not easily available, only 2nd hand discs now come up; but it is a good idea to keep an eye out for it at a reasonable price.
I can't generally deal with Pears's voice or mannerisms. Gomez was very good, but this live version has the edge. Harper has a silvery soprano voice and worked a lot with Britten. She is superb in all of the vocal pieces on the disc. All are amongst my favourite Britten. The Four French Songs were only published about 30 years ago despite them being written when Britten was about 14. They are heavily influenced by Debussy and are nothing to be ashamed of, seductive beauty and fundamental themes of childhood and loss are already present. From memory Gomez produced the premier recording of them.
Mike
Thanks for the recommendation. You've got to keep looking,haven't you? C'mon Music Magpie!! ::) ;D I'm not usually very keen on live recordings,but there is obviously a justification for acquiring that one. A pity about that short lived cd label,too! I quite like Peter Pears funnily enough. Only in Britten's music;including his arrangements of folksongs. (I even like Schwarzkopf's singing.I think my shelves are groaning with her cds). Perhaps,literaly?!! ;D I think the Söderström is superb,though. I do wish emi had left out the Serenade with Rober Tear. Not one of my favourite singers. I think there are better recordings. Well,I know there are!! Our Hunting Fathers would have been quite enough for me. I remember buying the earlier cd releases of Handley conducting Elgar Symphonies and VW's Job,because they didn't have any fill-ups. I think Our Hunting Fathers is wonderful,actually......and very entertaining to and fun to listen to. What not to enjoy? All those whoops & rolled rr's! One for unbelievers,who think that Britten is all posh people warbling tunelessly,and think decent opera ended with Verdi and Puccini.......and that Rossini aria in the Fiat ad (Hand built by robots!!).
I get the feeling snyprrr is uncovinced!! ;D
Rrrrr-ats....rrr-ats....and double rrrr-ats (to paraphrase Dick Dastardly) !!
There is quite a lot of sly humour in Britten. As to Pears, I can't take him as Grimes, prissy delivery. However, elsewhere I did write about accidentally encountering him and Britten in the final song from Schubert's Mullerin, mesmerising by them both and I then ran through about a dozen or more performances and none came close.
Mention of Schwarzkopf: another outright fan here, recently I got her 78s collection. I have never understood quite what causes the polarisation amongst listeners. Anyway....
Mike
Quote from: knight66 on December 23, 2016, 03:16:43 AM
Mention of Schwarzkopf: another outright fan here, recently I got her 78s collection. I have never understood quite what causes the polarisation amongst listeners. Anyway....
I'm a fan too, mostly. Some superb Wolf lieder for instance. But once in a while, in later recordings I have sometimes found her tone harsh. That might explain part of it. But mostly I think it's because she joined the Nazi party in 1940 to get a job.
That may well be true, though Hotter was more the Nazi collaborator and he never came in for the personal criticism she got. Some people say they find her mannered or arch. I think that may spring from Legg's perfectionism where there would be a dozen takes and therefore people feel they detect a lack of spontaneity in her. I disagree. I have a live recital, it is very fine indeed, but I see no freshness that is superior to her studio output.
Apologies to diverge from Britten.
Mike
Do you have an opinion on Paul Bunyan, Mike?
Quote from: knight66 on December 23, 2016, 12:05:42 AM
Our Hunting Fathers: I would like to suggest this version to you with Heather Harper.
https://www.amazon.co.uk/Britten-Illuminations-Chansons-Francaises-Berceuse/dp/B01MQ61J6C/ref=sr_1_3?ie=UTF8&qid=1482482977&sr=8-3&keywords=Our+hunting+fathers+harper
It is not easily available, only 2nd hand discs now come up; but it is a good idea to keep an eye out for it at a reasonable price.
I can't generally deal with Pears's voice or mannerisms. Gomez was very good, but this live version has the edge. Harper has a silvery soprano voice and worked a lot with Britten. She is superb in all of the vocal pieces on the disc. All are amongst my favourite Britten. The Four French Songs were only published about 30 years ago despite them being written when Britten was about 14. They are heavily influenced by Debussy and are nothing to be ashamed of, seductive beauty and fundamental themes of childhood and loss are already present. From memory Gomez produced the premier recording of them.
Mike
Bostridge's take on
Our Hunting Fathers is my favorite. I, too, am not a fan of Peter Pears' voice. Bostridge is possibly my favorite tenor to sing Britten's music.
Quote from: k a rl h e nn i ng on December 23, 2016, 05:59:37 AM
Do you have an opinion on Paul Bunyan, Mike?
I don't have a copy of it. But I heard it when the first discs were issued. I quite enjoyed it, tuneful, light in tone. So not much of an opinion from me really. For some reason I have not been prompted to go back to it, should I Karl?
Mike
In fairness, I should go back to it first, before enjoining you to, Mike. But I fully intend to 8)
Quote from: Mirror Image on December 23, 2016, 06:04:37 AM
Bostridge's take on Our Hunting Fathers is my favorite. I, too, am not a fan of Peter Pears' voice. Bostridge is possibly my favorite tenor to sing Britten's music.
We all have a deaf ear for certain singers and Bostridge is one of mine. It could be that he is indeed excellent in that Britten and I do have him in several recordings. But I find, especially in German lieder that he prioritises the words over the line within the music and that breaking up of line does my head in. I have him in some HAndel and some Mozart and both are fine, but he was incidental. I have the Britten Canticles with Maltman and Daniels on the disc and he is good on that. It is my preferred version. But for Britten Tenor work, I look to see if there is an Anthony Rolfe Johnson version. His was a truly beautiful voice, with muscle and verbal acuity always within the musical line.
Mike
By the by, I have a question about Britten someone here might be able to answer. I get the impression he lived rather openly with Pears as a couple. And was part of the Auden/Isherwood set, many rather openly, if discretely, gay. Hysteria about gays comes and goes but from what happened to Turing I wonder how they survived the immediate post war era when it was high. Was there a double standard for "artists", or was Britten rich enough and in the right set?
It is kind of odd. Guilguid was arrested for oppotuning in a toilet and that was well publicised. Embarrassing for him, but ultimately it did not damage his career. Dirk Bogarde lived abroad, as he did not feel his relationship was sustainable in the UK and he was certain his career would end. However, he had been sold as a heartthrob for women fans and I should think clarity over his relationship would indeed have damaged him in a way it did not damage Guilguid.
Britten and Pears had fled to America when war broke out, (Paul Bunyan), that alone should surely have trashed their reputations. But in fact they came back and were welcomed. They lived openly, but quietly, together. And we also know that Britten had his strange relationships with boys and Pears was fairly promiscuous. Both were somewhat dangerous activities. So, it is odd that they were allowed to function quietly and not be prosecuted or persecuted.
Britten was chosen to write an opera, Gloriana, for the coronation year, he was known to be homosexual, but the work was put his way. In any case, certain members of the royal family were relaxed about the issue. The piece was frowned on and Britten was less welcome in influential circles for some time. One factor may have been the very high level connections he had with great musicians abroad. To have him publically disgraced would have put the UK in a bad light when he had advocates such as Shostakovich, Rostropovich, etc, etc. In contrast Turing worked in the shadows and there would be security implications should he have been subject to blackmail. Perhaps that is why he was victimised.
As far as I know Britten and Pears were never part of 'the scene', or move in Showbiz circles, so being so discrete I guess society could live with them and the press would get relatively little juice from outing them.
Mike
Quote from: knight66 on December 23, 2016, 07:52:45 AM
It is kind of odd. Guilguid was arrested for oppotuning in a toilet and that was well publicised. Embarrassing for him, but ultimately it did not damage his career. Dirk Bogarde lived abroad, as he did not feel his relationship was sustainable in the UK and he was certain his career would end. However, he had been sold as a heartthrob for women fans and I should think clarity over his relationship would indeed have damaged him in a way it did not damage Guilguid.
Britten and Pears had fled to America when war broke out, (Paul Bunyan), that alone should surely have trashed their reputations. But in fact they came back and were welcomed. They lived openly, but quietly, together. And we also know that Britten had his strange relationships with boys and Pears was fairly promiscuous. Both were somewhat dangerous activities. So, it is odd that they were allowed to function quietly and not be prosecuted or persecuted.
Britten was chosen to write an opera, Gloriana, for the coronation year, he was known to be homosexual, but the work was put his way. In any case, certain members of the royal family were relaxed about the issue. The piece was frowned on and Britten was less welcome in influential circles for some time. One factor may have been the very high level connections he had with great musicians abroad. To have him publically disgraced would have put the UK in a bad light when he had advocates such as Shostakovich, Rostropovich, etc, etc. In contrast Turing worked in the shadows and there would be security implications should he have been subject to blackmail. Perhaps that is why he was victimised.
As far as I know Britten and Pears were never part of 'the scene', or move in Showbiz circles, so being so discrete I guess society could live with them and the press would get relatively little juice from outing them.
Mike
Thanks. I guess not being part of the era it's a bit hard to parse the finer points of its double standards.
Yes and British society was and is good on double standards.
Mike
Quote from: knight66 on December 23, 2016, 07:52:45 AM
Britten had his strange relationships with boys...So, it is odd that they were allowed to function quietly and not be prosecuted or persecuted.
I think we can see now after all the revelations of paedophiliae emanating the highest echelons of the British Ruling Class and religious leaders... and soccer coaches... and TV personalities... and famous singers... and MPs... and... and...and...
and when you say "strange relationships with boys", you mean, like, raping them, right? oy vey
Ain't Shittin', It's Britten
Quote from: snyprrr on December 24, 2016, 05:31:54 PM
I think we can see now after all the revelations of paedophiliae emanating the highest echelons of the British Ruling Class and religious leaders... and soccer coaches... and TV personalities... and famous singers... and MPs... and... and...and...
and when you say "strange relationships with boys", you mean, like, raping them, right? oy vey
Actually no, I don't mean that. He seems to have had very unhealthy relationships with a string of boys, but the trauma they were left with, and it was damaging, is when he dumped them the instant their voices broke. The best friend suddenly cast them out of paradise and never communicated with them again. Up until the brutal severance he seems to have acted as their favourite uncle and close friend showering them with gifts and attention. I made the same assumptions that you did, but the biographers dug into this area extensively and got the same story over and over again. The actor David Hemings was one of the favourites and his story is in line with all the others.
I have seen a letter he sent to one boy, icky and had I been the lad's parent and seen it, that would have been the end of it. But it is dripping in romantic language and idealises the boy, it is not suggestive.
Mike
Quote from: knight66 on December 24, 2016, 11:05:03 PM
Actually no, I don't mean that. He seems to have had very unhealthy relationships with a string of boys, but the trauma they were left with, and it was damaging, is when he dumped them the instant their voices broke. The best friend suddenly cast them out of paradise and never communicated with them again. Up until the brutal severance he seems to have acted as their favourite uncle and close friend showering them with gifts and attention. I made the same assumptions that you did, but the biographers dug into this area extensively and got the same story over and over again. The actor David Hemings was one of the favourites and his story is in line with all the others.
I have seen a letter he sent to one boy, icky and had I been the lad's parent and seen it, that would have been the end of it. But it is dripping in romantic language and idealises the boy, it is not suggestive.
Mike
That is what I read too. Wasn't the tenor Robert Tear another? Anyway, no sex, just an odd but somehow impersonal obsession.
Let's get back to the music shall we? ;) What does everyone think of Death in Venice? For me, it's the ultimate Britten experience. There's so much that's ambiguous about it but there's also this underlying troubled, and haunted, aspect within the music that I find utterly mesmerizing. There aren't a lot of recordings of the work, but which one would you guys recommend? Personally, I find no fault with any of the versions I've heard, but I love Hickox's on Chandos.
MI, This is not a criticism at all, but it is a real irony that you start with, well back to the music, then raise Death in Venice as the discussion point. There is no piece that explores the composer's obsession with young boys more than that opera. And it is part and parcel of what was discussed above. In all likelihood it would not have been composed without it.
I am not interested in extending endlessly what obsessed Britten. But as you in part say, the ambiguity, the shimmering mirage like quality and the love without consumption are all about him and his passions. The book has a theme of exploring how someone who seemed impervious to love and had no real access to his emotions is devastated by the senses, the sense of beauty sweeps through him and it enebles him to asses his repressed self through the senses, not through intellect. Britten is fairly unflinching in the way he brings this all onto the stage as a personal testimony.
As with Turn of the Screw, I admire it, but am made uncomfortable watching it unfold.
Have you seen the piece, even on DVD?
Ken, I did not know that about Tear, but he certainly was happy to work with Britten as a mature artist. That feeds into our take on how Britten behaved.
Mike
To follow up on Mike's last. D in V is a favourite book of mine. The connections to Britten's personal life are obviously strong. I doubt you will ever see a discussion of his setting of DiV that doesn't mention it.
I have not heard the whole thing. I disliked what I heard, just as music, and stopped.
PS my memory erred, it wasn't Tear, it was Michael Crawford I was thinking of.
Quote from: knight66 on December 25, 2016, 06:00:43 AM
MI, This is not a criticism at all, but it is a real irony that you start with, well back to the music, then raise Death in Venice as the discussion point. There is no piece that explores the composer's obsession with young boys more than that opera. And it is part and parcel of what was discussed above. In all likelihood it would not have been composed without it.
I am not interested in extending endlessly what obsessed Britten. But as you in part say, the ambiguity, the shimmering mirage like quality and the love without consumption are all about him and his passions. The book has a theme of exploring how someone who seemed impervious to love and had no real access to his emotions is devastated by the senses, the sense of beauty sweeps through him and it enebles him to asses his repressed self through the senses, not through intellect. Britten is fairly unflinching in the way he brings this all onto the stage as a personal testimony.
As with Turn of the Screw, I admire it, but am made uncomfortable watching it unfold.
Have you seen the piece, even on DVD?
Ken, I did not know that about Tear, but he certainly was happy to work with Britten as a mature artist. That feeds into our take on how Britten behaved.
Mike
I suppose it was rather ironic that I chose this work to discuss given it's allusive subject matter. One thing that really attracted me to this particular opera was the gamelan influence in the music. Absolutely enchanting. Have you seen the Bridcut documentary
Britten's Endgame? It helps shed some light on Britten's last years and discusses
Death in Venice (among other late masterpieces).
This is an interesting interview:
https://www.youtube.com/v/41uBCBzsz2U
Quote from: Mirror Image on December 25, 2016, 06:30:31 AM
I suppose it was rather ironic that I chose this work to discuss given it's allusive subject matter. One thing that really attracted me to this particular opera was the gamelan influence in the music. Absolutely enchanting. Have you seen the Bridcut documentary Britten's Endgame? It helps shed some light on Britten's last years and discusses Death in Venice (among other late masterpieces).
Thanks, I have not seen it, I will watch the link. Britten often went to a percussionist and instrument maker called, I think, James Blades. Together they developed a number of instruments that woud produce sounds that Britten wanted. These ranged from blocks of wood struck by different implements to gongs and metal bars. Britten became very interested in far eastern musical instruments, but instead of automatically writing them all into scores, he sometimes used the authentic sounds as a springboard for something new, enter Mr Blades.
Mike
Quote from: Mirror Image on December 25, 2016, 06:35:36 AM
This is an interesting interview:
https://www.youtube.com/v/41uBCBzsz2U
Ah yes, this is a good interview! I feel I really understand when he talks about writing FOR musicians (or for events and things) because it certainly does help inspire a new composition.
Quote from: Mirror Image on December 25, 2016, 05:13:33 AM
Let's get back to the music shall we? ;) What does everyone think of Death in Venice? For me, it's the ultimate Britten experience. There's so much that's ambiguous about it but there's also this underlying troubled, and haunted, aspect within the music that I find utterly mesmerizing. There aren't a lot of recordings of the work, but which one would you guys recommend? Personally, I find no fault with any of the versions I've heard, but I love Hickox's on Chandos.
I bought that after reading some of your enthusiastic posts. I got the old Decca set as I have all the other recordings,except Billy Budd,which is a bit more pricey;and I find the subject matter less appealing (although I remember enjoying it on some old library Lp's). Yes,I think this is one of his most compelling operas. I'll have to listen to it again though before I can really post comments here. I would certainly place it with The Rape of Lucretia and The Turn of the Screw and probably even higher,because of the fascinating effects Britten creates and his use of the orchestra...........and the setting. What could be better?!!
People make claims for the operas of Vaughan Williams and Delius,with respect to an operatic tradition before Britten,but as full of lovely music as they are,there is no dramatic instinct. I think the best way to listen to a VW or Delius opera is to just let the music wash over you and forget about the libretto. Britten is the first British opera composer who holds my attention and doesn't leave my eyes wandering periodically towards the cd track timing,Purcell's only true opera aside,and Havergal Brian's The Tigers,for some wierd reason!! Holst's Savitri is nice and short. The subject matter is not exactly fun,though!! Another opera I find strangely fascinating to listen to is Tippet's Midsummer Marriage. Not sure about the libretto,though?!! ::)
Quote from: cilgwyn on December 26, 2016, 02:13:11 AM
I bought that after reading some of your enthusiastic posts. I got the old Decca set as I have all the other recordings,except Billy Budd,which is a bit more pricey;and I find the subject matter less appealing (although I remember enjoying it on some old library Lp's). Yes,I think this is one of his most compelling operas. I'll have to listen to it again though before I can really post comments here. I would certainly place it with The Rape of Lucretia and The Turn of the Screw and probably even higher,because of the fascinating effects Britten creates and his use of the orchestra...........and the setting. What could be better?!!
People make claims for the operas of Vaughan Williams and Delius,with respect to an operatic tradition before Britten,but as full of lovely music as they are,there is no dramatic instinct. I think the best way to listen to a VW or Delius opera is to just let the music wash over you and forget about the libretto. Britten is the first British opera composer who holds my attention and doesn't leave my eyes wandering periodically towards the cd track timing,Purcell's only true opera aside,and Havergal Brian's The Tigers,for some wierd reason!! Holst's Savitri is nice and short. The subject matter is not exactly fun,though!! Another opera I find strangely fascinating to listen to is Tippet's Midsummer Marriage. Not sure about the libretto,though?!! ::)
I certainly agree with you about Britten being a much more dramatic composer than Delius, but, of course, RVW excelled in orchestral music and he included plenty of drama there for sure. But when talking just about opera, there's no question that Britten is the best Brit to ever tackle the medium. One thorough listen to
Death in Venice can affirm this rather quickly. :)
Agreed! The operas of VW and Delius have their merits and I certainly don't wish to be disparaging about them as some people obviously get allot of pleasure from them. I rather like A Village Romeo and Juliet. It has an odd atmosphere of it's own. which I find appealing when I'm in the right mood. Vaughan Williams operas have some lovely music but they do go on a bit. Curiously,my favourite VW is possibly The Poisoned Kiss,where he seems to have been inspired by Sullivan. Throwing away operatic pretensions may have helped. A pity about the libretto! ::) After all this Britten's operas feel so tightly constructed. He knows exactly what he wants. There's no note spinning. His dramatic instinct just draws you into the drama and keeps your attention right through to the end. He also chooses interesting subject matter,exploring interesting themes and ideas that have a universal appeal. His orchestration is always compelling. Yes,just listening to Death in Venice. There is no comparison. I must listen to it again asap;but I'm going to have someone in here painting the house,soon! :(
Quote from: cilgwyn on December 26, 2016, 07:35:43 AM
Agreed! The operas of VW and Delius have their merits and I certainly don't wish to be disparaging about them as some people obviously get allot of pleasure from them. I rather like A Village Romeo and Juliet. It has an odd atmosphere of it's own. which I find appealing when I'm in the right mood. Vaughan Williams operas have some lovely music but they do go on a bit. Curiously,my favourite VW is possibly The Poisoned Kiss,where he seems to have been inspired by Sullivan. Throwing away operatic pretensions may have helped. A pity about the libretto! ::) After all this Britten's operas feel so tightly constructed. He knows exactly what he wants. There's no note spinning. His dramatic instinct just draws you into the drama and keeps your attention right through to the end. He also chooses interesting subject matter,exploring interesting themes and ideas that have a universal appeal. His orchestration is always compelling. Yes,just listening to Death in Venice. There is no comparison. I must listen to it again asap;but I'm going to have someone in here painting the house,soon! :(
Have you seen the John Bridcut documentary titled
Britten's Endgame? This will be right up your alley as
Death in Venice is discussed for some length and helped shed some light on this troubled work for me:
[asin]B00FRVEKHQ[/asin]
Quote from: cilgwyn on December 26, 2016, 02:13:11 AM
I got the old Decca set as I have all the other recordings,except Billy Budd,which is a bit more pricey...
People make claims for the operas of Vaughan Williams and Delius,with respect to an operatic tradition before Britten,but as full of lovely music as they are,there is no dramatic instinct.
You can have them all (although not including the Church Parables, sadly) from am.uk for less than £25:
[asin]B00FE1UMY4[/asin]
without libretti, of course, but I find Britten's word-setting so clear that this isn't really a problem. Doubt you'd get much for selling your old sets these days, though.
Agreed about VW & Delius, with the honourable exception (for me) of
Hugh the Drover - a fight over a woman, a planned elopement, a will-he-won't-he hang - great drama.
Quote from: Mirror Image on December 26, 2016, 07:39:42 AM
Have you seen the John Bridcut documentary titled Britten's Endgame? This will be right up your alley as Death in Venice is discussed for some length and helped shed some light on this troubled work for me:
[asin]B00FRVEKHQ[/asin]
Thanks for the recommendation. I'm going to have to cut down on my collecting for a bit,though,after recent splurges!! I'll keep this in mind,though! It certainly is a fascinating opera. More so than some of those numerous ones featuring heroes and heroines stabbing each other and all the usual operatic waffle. I think I'll hang onto my fat box Decca opera sets though,DaveF. Although,I'd probably save some room here!! :o As to Hugh the Drover? Yes,that plotline has a certain appeal. There is some really lovely music in that opera,somewhere! I find it mildly interesting that The Bartered Bride,which VW wished to emulate,has largely disappeared from the repertoire here. It used to pretty ubiquitous with small opera companies,particularly amateur ones and schools. I can't even remember the last time I saw a mention of it! And,come to think of it,whatever it's flaws,I think VW's plot is more fun?!!
Benjamin Britten is a composer that I have skirted around for a number of years. I have just checked and I have listened to 28 of his works [all of which are in my collection]. I have liked all of them with the exception of Billy Budd [you can't win 'em all!]. Britten will be one composer that I plan to investigate more in 2017. I will commence by reading this thread and hopefully get some pointers here.
Same here! I find the subject matter unappealing. I think I'll stick to Pinafore......although,funnily enough,that's my least favourite G & S!! I'm not sure about Gloriana,either;although I quite like the Choral dances (not that they made a particularly huge impression on me) and it should be more interesting than an opera on board a ship? I wonder if anyone has any thoughts on this opera here? Again,I have to admit that the subject matter doesn't really appeal to me. I notice a certain ubiquitous UK purveyor offering the Argos set at a ridiculously low price,on Amazon! (Groan! ::))
I wish they'd stop doing that!! ;D
Yes,while I don't want to get into politics;I must admit I do find courtly goings on,past or current,extremely soporific!
Quote from: cilgwyn on December 27, 2016, 04:36:30 AM
Same here! I find the subject matter unappealing. I think I'll stick to Pinafore......although,funnily enough,that's my least favourite G & S!! I'm not sure about Gloriana,either;although I quite like the Choral dances (not that they made a particularly huge impression on me) and it should be more interesting than an opera on board a ship? I wonder if anyone has any thoughts on this opera here? Again,I have to admit that the subject matter doesn't really appeal to me. I notice a certain ubiquitous UK purveyor offering the Argos set at a ridiculously low price,on Amazon! (Groan! ::))
I wish they'd stop doing that!! ;D
Interesting comments; thank you. For me it was not the fact that it was an opera on board a ship that did not appeal to me but rather that I found the music very dull and uninspiring. I have not heard Gloriana yet so I cannot comment.
My favourite Britten operas in order of preference:
Death in Venice
The Rape of Lucretia
The Turn of the Screw
(Or The Turn of the Screw then Lucretia,depending on how I feel!
Peter Grimes
A Midsummer Nights Dream
I've got the Decca recording of Albert Herring,too. I quite like it now & again for the singers. The recording is atmospheric. But for comedy,I actually think Brian's The Tigers is much more fun!
Quote from: cilgwyn on December 28, 2016, 12:59:00 AM
My favourite Britten operas in order of preference:
Death in Venice
The Rape of Lucretia
The Turn of the Screw
(Or The Turn of the Screw then Lucretia,depending on how I feel!
Peter Grimes
A Midsummer Nights Dream
I've got the Decca recording of Albert Herring,too. I quite like it now & again for the singers. The recording is atmospheric. But for comedy,I actually think Brian's The Tigers is much more fun!
Thank you for that; I will come back to this post again. :)
Actually,I think the seafaring angle probably appealed to me as a teenager! (Treasure island,Moonfleet,John Masefield,etc) It's just so 'long ago'!! I'm like Captain Vere in the Prologue,now ;D ! Although,not quite that old.........yet!! I also remember that aria with Claggart warbling about how wicked he was,and my mother coming in just at that point and saying,"I don't think he'd say (sing) that (if he was wicked!). I felt she had a point. The problem with wicked characters is that,unlike allot of cartoon or movie villains, they don't realise that they are wicked! Needless,to say that comment did bother me! I also seem to recall I did enjoy the shanties and the appearance of a Welshman. Very stereotypical. We all talk like that. Duw! Duw! Look you,bach (putting aside my harp!). But it is an old recording!! I also seem to recall that some wags did make comparisons (at the time) between Britten's opera and HMS Pinafore! Thinking about it now,I think the Britten operas I listed above just have more interesting orchestration and ideas. I don't actually have a problem with the idea of an opera on board a ship,as such. Still not my favourite location,though! (Incidentally,has anyone ever set an opera on board a submarine?).
The self exposure of a wicked character is a normal mechanism used in drama, then opera. Essentially they are internal dialogues and provide insights into the stat of the character. And I think a number of wicked people know perfectly well that they are and have some regrets about it, others relish it. For Britten, it is rarely totally black and white. Vere is deeply repressed and takes his supressed desires out on Budd, punnishing himself for his desire by ensuring the object of that desire is removed.
So much of his work is filled with this kind of repression, Grimes, Budd, Turn of the Screw, Death in Venice. It is his equivelence to Wagner's obsession with redemption.
Mike
So I have Britten's Young Person's Guide to the Orchestra. I have the version with the New Philharmonia Orchestra under the direction of Raymond Leppard. The narrator is Richard Baker. This version is simply awesome with some outstanding brass playing and sounds. I find myself, on occasion, interested in a version without narration. Are there any versions like that? And are there any as good as this? The brass have to be really good and the tempo can't drag. I'd also like SOTA sound, but something modern in darned good sound will suffice. Thanks!
EDIT: And clarity has to be excellent too.
Britten's own is very fine.
[asin]B0000041S6[/asin]
For modern sound, there is a Hickox recording on Chandos, but it doesn't sound better than Britten's own.
I can only second Scarpia's recommendations. It's difficult to beat Britten conducting his own music since he was such an authority on the podium and knew what he wanted.
Quote from: Mirror Image on January 27, 2018, 08:02:51 PM
I can only second Scarpia's recommendations. It's difficult to beat Britten conducting his own music since he was such an authority on the podium and knew what he wanted.
I agree. His version of 'Sinfonia da Requiem' on Decca is by far my favourite version.
Quote from: vandermolen on January 28, 2018, 12:22:14 AM
I agree. His version of 'Sinfonia da Requiem' on Decca is by far my favourite version.
Third. He got top notch John Culshaw sound on Decca too. (Just listen to Curlew River!)
Quote from: vandermolen on January 28, 2018, 12:22:14 AM
I agree. His version of 'Sinfonia da Requiem' on Decca is by far my favourite version.
Oh yeah and his
War Requiem is still the performance to beat IMHO.
Quote from: Mirror Image on January 28, 2018, 06:08:40 AM
Oh yeah and his War Requiem is still the performance to beat IMHO.
Yes - a very special performance.
I wonder why Rostropovich never recorded the 3rd cello suite commercially - does anyone know? I could probably find the answer online but I'm being cheeky and using this opportunity to wake up this thread.
I just finished listening to the three suites, played by Truls Mørk. Amazing music! I love Britten's chamber music a lot. I still have a lot to explore: I basically don't know his operas at all.
Hearing the violin concerto live (already three times!) is a wonderful experience. It's a terrific piece, full of stark emotion.
Quote from: Ainsi la nuit on February 28, 2019, 02:53:46 AM
I just finished listening to the three suites, played by Truls Mørk. Amazing music! I love Britten's chamber music a lot. I still have a lot to explore: I basically don't know his operas at all.
Hearing the violin concerto live (already three times!) is a wonderful experience. It's a terrific piece, full of stark emotion.
I love Britten's violin concerto. My two favourite recordings are both by the fairer sex: Ida Haendel on EMI, but even better, on the Czech Supraphon label of all places, Nora Grumlikova with Peter Maag conducting the Prague SO, the coupling being RVW Concerto Accademico.
All three Britten quartets are special and the 1st is
extra-special.
Quote from: Ainsi la nuit on February 28, 2019, 02:53:46 AM
I just finished listening to the three suites, played by Truls Mørk. Amazing music!
That is a marvelous recording. (I haven't heard any other recordings of all three, so am unaware of how it compares.)
Want to give a shout-out to Noseda's
War Requiem, which is a spectacular modern version -- the best I have heard since Britten's original.
[asin]B00713Y2R6[/asin]
--Bruce
In Suffolk on holiday this week. Today we did a six mile walk from Aldeburgh. Saw the shell memorial to Britten on the beach and then visited the very impressive 'Maltings' at Snape.
Quote from: vandermolen on July 07, 2019, 10:56:55 AM
In Suffolk on holiday this week. Today we did a six mile walk from Aldeburgh. Saw the shell memorial to Britten on the beach and then visited the very impressive 'Maltings' at Snape.
My favourite place. We visit every year and stay at the Wentworth Hotel. Discovered Aldeburgh about twenty years ago and amazingly nothing has changed in that time. A walk along the beach to Thorpeness and back is a must.
Quote from: Irons on February 28, 2019, 06:44:51 AMAll three Britten quartets are special and the 1st is extra-special.
As correct a statement as has ever strolled this earth, I think.
Quote from: Irons on February 28, 2019, 06:44:51 AM
I love Britten's violin concerto [..] but even better, on the Czech Supraphon label of all places, Nora Grumlikova with Peter Maag conducting the Prague SO, the coupling being RVW Concerto Accademico.[/b]
Quote from: Brewski on February 28, 2019, 07:48:05 AM
Want to give a shout-out to Noseda's War Requiem, which is a spectacular modern version -- the best I have heard since Britten's original.
Interesting, will check those out.
Quote from: vandermolen on July 07, 2019, 10:56:55 AM
In Suffolk on holiday this week. Today we did a six mile walk from Aldeburgh. Saw the shell memorial to Britten on the beach and then visited the very impressive 'Maltings' at Snape.
Is there any more symbiotic an example of music and place, than Britten and Aldeburgh I wonder? External and inner landscape almost as one at times it feels. Personally I find the connection a magical thing. A lovely thing to be doing, vandermolen, happy wanderings!
Quote from: Iota on July 08, 2019, 01:25:03 AM
Is there any more symbiotic an example of music and place, than Britten and Aldeburgh I wonder?
I would suggest Elgar and the Malvern Hills is pretty close......
Quote from: Iota on July 08, 2019, 01:25:03 AM
As correct a statement as has ever strolled this earth, I think.
Interesting, will check those out.
Is there any more symbiotic an example of music and place, than Britten and Aldeburgh I wonder? External and inner landscape almost as one at times it feels. Personally I find the connection a magical thing. A lovely thing to be doing, vandermolen, happy wanderings!
Thank you! Sadly we didn't have time to visit the graves of Britten, Pears and Imogen Holst (didn't realise she was there too) in the churchyard. I did, a while back, visit Gustav's impressive grave in Chichester Cathedral.
Here they are from an online photo. Imogen is behind Britten's grave on the far left:
(//)
Quote from: Roasted Swan on July 08, 2019, 07:19:50 AM
I would suggest Elgar and the Malvern Hills is pretty close......
Ah yes I'm sure you're right. Although there are one or two Elgar pieces I like very much, I don't have the same general connection with his music that I do with Britten's. This and knowing the music less well, means that connection doesn't quite strike me with the same force, although I'm sure it's equally strong for those more familiar with Elgar.
Quote from: vandermolen on July 08, 2019, 11:13:58 AM
Thank you! Sadly we didn't have time to visit the graves of Britten, Pears and Imogen Holst (didn't realise she was there too) in the churchyard. I did, a while back, visit Gustav's impressive grave in Chichester Cathedral.
Here they are from an online photo. Imogen is behind Britten's grave on the far left:
(//)
I was very aware of Britten's death at the time because it was a major event in our school music teacher's life, which he shared with us. Later I remember playing for Pears, accompanying an opera singer auditioning for a part in about 1984/5, and thinking he looked very sad or cheesed off, it was hard to tell which, perhaps it was just our performance .. but seeing the date of his death on that gravestone makes me wonder if he was already ill in some way.
Anyway, whoever introduced those two did the music world a very great favour indeed.
Quote from: Iota on July 10, 2019, 01:56:28 AM
Ah yes I'm sure you're right. Although there are one or two Elgar pieces I like very much, I don't have the same general connection with his music that I do with Britten's. This and knowing the music less well, means that connection doesn't quite strike me with the same force, although I'm sure it's equally strong for those more familiar with Elgar.
I was very aware of Britten's death at the time because it was a major event in our school music teacher's life, which he shared with us. Later I remember playing for Pears, accompanying an opera singer auditioning for a part in about 1984/5, and thinking he looked very sad or cheesed off, it was hard to tell which, perhaps it was just our performance .. but seeing the date of his death on that gravestone makes me wonder if he was already ill in some way.
Anyway, whoever introduced those two did the music world a very great favour indeed.
Interesting. I remember Briiten's death very well as I was a student in Exeter doing my teacher training certificate.
I just happened to listen to a recital from the Decca Vocals box by Jennifer Vyvyan focusing mostly on Haydn and Mozart. However, as a bonus it also included scenes from Britten's "The Turn of the Screw" (scenes 7/8). Wow! Somehow my mind went directly to Richard Strauss - the darkness and the style of singing reminded me so much of RS apart from that there was an absence of the crystalline quality that I tend to hear in Strauss. Great singing!
Regardless, I'm a Britten neophyte so this was quite revelatory. Is this music typically associated with Britten or did I just happen to stumble across a gem? I presume what I heard were excerpts from the recording below. Is this the landmark recording for "The Turn of the Screw"?
[asin] B0000041WD[/asin]
Quote from: Moonfish on October 14, 2019, 02:06:42 PM
I just happened to listen to a recital from the Decca Vocals box by Jennifer Vyvyan focusing mostly on Haydn and Mozart. However, as a bonus it also included scenes from Britten's "The Turn of the Screw" (scenes 7/8). Wow! Somehow my mind went directly to Richard Strauss - the darkness and the style of singing reminded me so much of RS apart from that there was an absence of the crystalline quality that I tend to hear in Strauss. Great singing!
Regardless, I'm a Britten neophyte so this was quite revelatory. Is this music typically associated with Britten or did I just happen to stumble across a gem? I presume what I heard were excerpts from the recording below. Is this the landmark recording for "The Turn of the Screw"?
[asin] B0000041WD[/asin]
I'm not a fan of that opera, but, yes, I'd say it's a highly acclaimed opera from him. For me,
Death in Venice was the best opera he wrote and it's his last. It shows Britten in a quite different light, which can be said of a lot of his late works. If you haven't heard,
Phaedra, then please stop what you're doing and give that piece a listen. I imagine that you'll like it.
https://www.youtube.com/v/9cmRtYeh47A
Phaedra is a knockout!
Quote from: k a rl h e nn i ng on October 14, 2019, 07:38:53 PM
Phaedra is a knockout!
It sure is and is a part of those later works that I think so highly of.
Quote from: Moonfish on October 14, 2019, 02:06:42 PM
I just happened to listen to a recital from the Decca Vocals box by Jennifer Vyvyan focusing mostly on Haydn and Mozart. However, as a bonus it also included scenes from Britten's "The Turn of the Screw" (scenes 7/8). Wow! Somehow my mind went directly to Richard Strauss - the darkness and the style of singing reminded me so much of RS apart from that there was an absence of the crystalline quality that I tend to hear in Strauss. Great singing!
Regardless, I'm a Britten neophyte so this was quite revelatory. Is this music typically associated with Britten or did I just happen to stumble across a gem? I presume what I heard were excerpts from the recording below. Is this the landmark recording for "The Turn of the Screw"?
[asin] B0000041WD[/asin]
Moonfish - I meant to reply to your comment about Vyvyan on the other thread - but this will do! Worth checking out her other recordings - she was very active as a performer for the likes of Bliss as well as Britten. She's on the first performance of the former's "The Beatitudes" which was the forgotten(ish!) work given at the opening festival for Coventry Cathedral where the Britten Requiem made the big stir. She also appears on an early recording of the Britten Spring Symphony I seem to remember. A big powerful dramatic singer whose name is little known these days.
As a little aside - my violin teacher one of the players in the original performance of "Turn of the Screw" and always spoke highly of the work and indeed the whole experience.......
I heard the Hymn to St Cecilia live last night.
Quote from: Moonfish on October 14, 2019, 02:06:42 PM
I just happened to listen to a recital from the Decca Vocals box by Jennifer Vyvyan focusing mostly on Haydn and Mozart. However, as a bonus it also included scenes from Britten's "The Turn of the Screw" (scenes 7/8). Wow! Somehow my mind went directly to Richard Strauss - the darkness and the style of singing reminded me so much of RS apart from that there was an absence of the crystalline quality that I tend to hear in Strauss. Great singing!
Regardless, I'm a Britten neophyte so this was quite revelatory. Is this music typically associated with Britten or did I just happen to stumble across a gem? I presume what I heard were excerpts from the recording below. Is this the landmark recording for "The Turn of the Screw"?
[asin] B0000041WD[/asin]
Daniel Harding's recording was my introduction to the work, and I recall thinking very highly of it. I can't offer any comparison with the Britten recording, though, as I've not heard either in ages.
The Turn of the Screw is certainly in some ways a unique work for Britten regarding the structure and musical language too perhaps - and it is a gem for sure, but his other operas are also definitely worth hearing, from
Peter Grimes to
Death in Venice. And of course there are lots of other great works by him, such as
Phaedra mentioned by
John.
Quote from: Roasted Swan on October 15, 2019, 12:15:01 AM
Moonfish - I meant to reply to your comment about Vyvyan on the other thread - but this will do! Worth checking out her other recordings - she was very active as a performer for the likes of Bliss as well as Britten. She's on the first performance of the former's "The Beatitudes" which was the forgotten(ish!) work given at the opening festival for Coventry Cathedral where the Britten Requiem made the big stir. She also appears on an early recording of the Britten Spring Symphony I seem to remember. A big powerful dramatic singer whose name is little known these days.
Jennifer Vyvyan is indeed the soprano soloist in Britten's own recording of the Spring Symphony. She has a wonderful voice : clear and strong and capable of the most gorgeous pianissimi.
I cherish her performance in Gordon Crosse's Changes. Check out nrs. 13 & 14!!!!
https://www.youtube.com/v/9EFlhWuezHo
The recital disc is very good aswell.
(https://cdn11.bigcommerce.com/s-35bvwz4b63/images/stencil/1000x1000/products/9901/16633/4825049_MozartHaydn_Arias_Vyvyan_proxy_JPEG_Low_Res__25331.1504752758.jpg?c=2)
see also: http://jennifervyvyan.org/pages/view/id/17
(https://images-na.ssl-images-amazon.com/images/I/51SYXWAWJGL._SX355_.jpg)
Listening to The Prince of the Pagodas for the first time. Strikingly imaginative, colourful and exotic, not to say the accurate orchestration. Britten's imagination in full display. Some of the happiest and most vibrant pages of this composer too.
Quote from: Symphonic Addict on December 23, 2019, 12:20:16 PM
(https://images-na.ssl-images-amazon.com/images/I/51SYXWAWJGL._SX355_.jpg)
Listening to The Prince of the Pagodas for the first time. Strikingly imaginative, colourful and exotic, not to say the accurate orchestration. Britten's imagination in full display. Some of the happiest and most vibrant pages of this composer too.
I really, really enjoy this ballet, Cesar. It's been quite some time since I've heard it, though. I should revisit it. The Javanese influence is quite strong It does show Britten in a more opulent light, indeed. But, truth be told, I like all sides of Britten and there's no mistaking him for any other composer. Quite a distinctive compositional voice. Since you've been getting a bit into solo piano, have you checked out his music in this medium? It's very good and I always wished he had composed more.
Quote from: Symphonic Addict on December 23, 2019, 12:20:16 PM
(https://images-na.ssl-images-amazon.com/images/I/51SYXWAWJGL._SX355_.jpg)
Listening to The Prince of the Pagodas for the first time. Strikingly imaginative, colourful and exotic, not to say the accurate orchestration. Britten's imagination in full display. Some of the happiest and most vibrant pages of this composer too.
Indeed, it's one of my favorite Britten works. In its colorful, exotic nature it stands out from most of his other later works which tend to be rather unremittingly dark and bleak in mood. I especially love Act 2, Scene 1 with its vivid depictions of
Air, Water, and
Fire.
Quote from: Mirror Image on December 23, 2019, 06:48:43 PM
I really, really enjoy this ballet, Cesar. It's been quite some time since I've heard it, though. I should revisit it. The Javanese influence is quite strong It does show Britten in a more opulent light, indeed. But, truth be told, I like all sides of Britten and there's no mistaking him for any other composer. Quite a distinctive compositional voice. Since you've been getting a bit into solo piano, have you checked out his music in this medium? It's very good and I always wished he had composed more.
Good to know, John. Yeah, it's a fantastic work for sure. I've always been fan of exoticism in music, and here I find that in a way only Britten could do. Not to mention the creativity he displays on the score. I too like his other facets as a composer, maybe there are some works that are a bit astringent or serious for my taste, but overall he's one of the greatest.
No, I don't know his piano music at all. What works would you recommend me?
Quote from: kyjo on December 23, 2019, 07:53:08 PM
Indeed, it's one of my favorite Britten works. In its colorful, exotic nature it stands out from most of his other later works which tend to be rather unremittingly dark and bleak in mood. I especially love Act 2, Scene 1 with its vivid depictions of Air, Water, and Fire.
Excellent, Kyle. This work is imbued with such spark and liveliness that leaves me pleasantly impressed. In my case it was the act III the one I found more engaging.
Quote from: Symphonic Addict on December 24, 2019, 09:14:43 AM
Good to know, John. Yeah, it's a fantastic work for sure. I've always been fan of exoticism in music, and here I find that in a way only Britten could do. Not to mention the creativity he displays on the score. I too like his other facets as a composer, maybe there are some works that are a bit astringent or serious for my taste, but overall he's one of the greatest.
No, I don't know his piano music at all. What works would you recommend me?
Holday Diary is really one of the best works for solo piano that Britten wrote, but, to be honest, I like them all. If you can find this recording, it's really a great grab all of his piano music:
(https://images-na.ssl-images-amazon.com/images/I/61FsnRihWsL.jpg)
Thankfully, the performances are quite good. Stephen Hough is no slouch.
Quote from: Mirror Image on December 24, 2019, 09:24:54 AM
Holday Diary is really one of the best works for solo piano that Britten wrote, but, to be honest, I like them all. If you can find this recording, it's really a great grab all of his piano music:
(https://images-na.ssl-images-amazon.com/images/I/61FsnRihWsL.jpg)
Thankfully, the performances are quite good. Stephen Hough is no slouch.
Thank you, John!
I'm not sure if I've posted this interview here (or if it's been posted at all), but this was rather humbling for me:
https://www.youtube.com/v/41uBCBzsz2U&fbclid=IwAR3GqHwH8i4w0cDNAottk3p1M6BgWNbtfZKhDvwnPJjrpG-GrDIEuItQq0M
Speaking of Britten's piano music, this was my first encounter with the man's music:
[asin]B000002ZVO[/asin]
And I remember enjoying it quite a bit. Of course it has only a few works for solo piano on it (Holiday Diary, Five Waltzes, and Notturno), but the whole thing is worth checking out.
Quote from: Alek Hidell on December 24, 2019, 01:21:32 PM
Speaking of Britten's piano music, this was my first encounter with the man's music:
[asin]B000002ZVO[/asin]
And I remember enjoying it quite a bit. Of course it has only a few works for solo piano on it (Holiday Diary, Five Waltzes, and Notturno), but the whole thing is worth checking out.
Very nice. I've seen this recording before. Hyperion has recorded a good bit of Britten's music. I'm surprised they haven't gotten around to recording
War Requiem, which is right up this label's alley. Perhaps one day.
Cross-posted from the 'Listening' thread:
Quote from: Mirror Image on December 24, 2019, 05:09:34 PM
Britten
War Requiem, Op. 66
Gabrieli, Susan Gritton, Christopher Maltman, John Mark Ainsley
Wrocław Philharmonic Choir, Gabrieli Young Singers Scheme, Trebles of the Choir of New College Oxford
Paul McCreesh
(https://d1iiivw74516uk.cloudfront.net/eyJidWNrZXQiOiJwcmVzdG8tY292ZXItaW1hZ2VzIiwia2V5IjoiODAzMzMxOS4xLmpwZyIsImVkaXRzIjp7InJlc2l6ZSI6eyJ3aWR0aCI6OTAwfSwianBlZyI6eyJxdWFsaXR5Ijo2NX19LCJ0aW1lc3RhbXAiOjE0Nzk3Mzc1MjN9)
A new acquisition. While this doesn't displace Britten's own legendary recording on Decca, this McCreesh recording does offer a different view of the work, which, perhaps, is more reflective, but not without moments of intensity. The soloists are all fantastic, but Britten's own recording representing UK, Russia, and Germany gives the work another layer of depth rather than an all-British vocal cast. I do like this performance a lot and many details within the work have been brought to the fore. The packaging is marvelous.
Some interesting articles I've found on Britten (for those that may be interested in such things):
https://hudsonreview.com/2013/10/message-meaning-and-code-in-the-operas-of-benjamin-britten/#.Xgwrty2ZPMI (https://hudsonreview.com/2013/10/message-meaning-and-code-in-the-operas-of-benjamin-britten/#.Xgwrty2ZPMI)
https://www.theguardian.com/music/2013/jan/13/benjaimin-britten-100-new-appraisal (https://www.theguardian.com/music/2013/jan/13/benjaimin-britten-100-new-appraisal)
https://www.theguardian.com/culture/2009/nov/07/britten-auden-philip-hensher (https://www.theguardian.com/culture/2009/nov/07/britten-auden-philip-hensher)
https://www.bbc.com/news/entertainment-arts-25013521 (https://www.bbc.com/news/entertainment-arts-25013521)
A great interview with Oliver Knussen:
https://www.theguardian.com/music/2013/nov/15/when-oliver-knussen-benjamin-britten (https://www.theguardian.com/music/2013/nov/15/when-oliver-knussen-benjamin-britten)
Did anyone here happen to read Oliver Knussen's interview about Britten? It's quite illuminating and gives a special insight into Britten's character.
Many years ago I bougt the LP with this lovely work.
(https://img.discogs.com/0W5bMMsaMuLBLTrs1w7-rQ6Jhgc=/fit-in/600x618/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-4097580-1403146924-9615.jpeg.jpg)
To my surprise here is the world premiere performance from Basel! A bit slower than George Malcolm , but with a most interesting line up of soloists. This must have been quite unusual repertoire for Giebel and Cavelti.
https://www.youtube.com/v/f42F9aK0I0Q
Quote from: San Antone on January 08, 2020, 12:07:06 PM
Thanks for posting this interview; it is possibly the best thing I read about Britten.
8)
You're welcome. I guess I could be considered a part of the 'Britten cult' that Knussen speaks of, but I certainly do understand that this composer certainly isn't for everyone, especially the operas and vocal works. But once one acquires the taste, it's difficult not to shower the composer with superlatives.
Quote from: pjme on January 08, 2020, 11:56:52 AM
Many years ago I bougt the LP with this lovely work.
(https://img.discogs.com/0W5bMMsaMuLBLTrs1w7-rQ6Jhgc=/fit-in/600x618/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-4097580-1403146924-9615.jpeg.jpg)
To my surprise here is the world premiere performance from Basel! A bit slower than George Malcolm , but with a most interesting line up of soloists. This must have been quite unusual repertoire for Giebel and Cavelti.
https://www.youtube.com/v/f42F9aK0I0Q
A very fine work, indeed. I should revisit it at some juncture.
Thanks, indeed, for the Knussen interview.
"Sometimes I got fed up with the Britten "cult", but never the composer. He wasn't a successor to anyone. He invented his own slot. He was an absolute master of architecture, which is why those operas all work. He was a truly great composer. "
P.
Quote from: pjme on January 08, 2020, 12:49:22 PM
Thanks, indeed, for the Knussen interview.
"Sometimes I got fed up with the Britten "cult", but never the composer. He wasn't a successor to anyone. He invented his own slot. He was an absolute master of architecture, which is why those operas all work. He was a truly great composer. "
P.
No problem. A great quote from Knussen.
I won't be able to go through all of these 'Work of the Week' articles, but I read/watched a few of them and they're quite good. Check them out:
https://brittenpears.org/explore/benjamin-britten/music/work-of-the-week/?fbclid=IwAR0GueMPmje7sXQPNGPxqdmwzpcZaNgZ_Jb6cP_JXsyjjdrhMTm7Df13btg (https://brittenpears.org/explore/benjamin-britten/music/work-of-the-week/?fbclid=IwAR0GueMPmje7sXQPNGPxqdmwzpcZaNgZ_Jb6cP_JXsyjjdrhMTm7Df13btg)
Cross-posted from the 'Listening' thread -
Quote from: Mirror Image on January 14, 2020, 04:05:28 PM
Britten
Death in Venice, Op. 88
Michael Chance (counter-tenor), Philip Langridge (tenor), Alan Opie (baritone)
BBC Singers, City of London Sinfonia
Richard Hickox
(https://www.chandos.net/artwork/CH10280.jpg)
One of the greatest operas I've ever heard and one that I still rank highly. Apparently, Pears said that Death in Venice was an 'evil opera' and it was killing Britten. I think this is true to some extent. As told in the documentary by John Bridcut titled Britten's Endgame, that Britten was supposed to have heart surgery but ignored his doctor's wishes and continued to work on this opera. The subject matter is also risky as it is essentially about a man who falls for a young teenaged boy. Britten was certainly wrestling with some demons of his own. The music itself harkens back to some of that Gamelan-influence found in the ballet, The Prince of the Pagodas. For those that loved The Turn of the Screw, will most definitely find much to savor here. I doubt I'll finish this entire opera tonight as I've got some other works I need to get to, but for anyone who hasn't heard this Hickox performance and enjoy this opera, then please run out and buy it.
A great article found here with some video presented by Colin Matthews:
https://brittenpears.org/explore/benjamin-britten/music/work-of-the-week/40-death-in-venice/
Is there a best recording of the Four Sea Interludes? It's a beautiful piece that I think I should have in my library.
I'm looking at this set, which is going for quite cheap:
[asin]B00000JCAX[/asin]
Anyone heard any of it?
Quote from: vers la flamme on January 16, 2020, 02:58:12 AM
Is there a best recording of the Four Sea Interludes? It's a beautiful piece that I think I should have in my library.
I'm looking at this set, which is going for quite cheap:
[asin]B00000JCAX[/asin]
Anyone heard any of it?
As so often, Britten is his own best interpreter - his recording with the LSO of the Four Sea Interludes and the Passacaglia is available with various couplings. Vernon Handley with the Ulster Orchestra (Chandos) is a bit more modern (1986) and there it is coupled with works by Bax and Bridge.
I haven't heard any of the Boughton box but found some of his other recordings a bit routine.
A few recordings of the Four Sea Interludes do not include the Passacaglia. These should be avoided, as that is arguably the strongest movement of the five. (And it's not always obvious from the cover art, if it's included or not.) For example Previn would be recommendable but as far as I can tell he didn't record the Passacaglia.
I like Kalmar, on this mixed CD (also includes a very good VW Symphony 5 and Elgar's Cockaigne)
(https://images-na.ssl-images-amazon.com/images/I/81WannFuS-L._AC_SL1402_.jpg)
Pesek / Liverpool PO is good too, in an all-Britten collection.
(https://m.media-amazon.com/images/I/31dkO97AZSL._AC_UY218_ML3_.jpg)
Britten's own recording is indeed a great one.
I wonder if this Philadelphia version (ca. 1978) ever appeared on CD?
(https://res.cloudinary.com/reverb-lp/image/upload/c_fill,f_auto,g_center,h_450,w_450/v1/v2/images/0e533713-70ee-40b7-a89a-97543398cb2b)
(https://images-na.ssl-images-amazon.com/images/I/41PBM8GMHYL.jpg)
Yes - coupled with Chostakovich 14....
Quote from: vers la flamme on January 16, 2020, 02:58:12 AM
Is there a best recording of the Four Sea Interludes? It's a beautiful piece that I think I should have in my library.
I'm looking at this set, which is going for quite cheap:
[asin]B00000JCAX[/asin]
Anyone heard any of it?
Avoid Boughton at all costs! The cavernous audio quality from Nimbus does a grave injustice to Britten's music, which needs absolute clarity. Boughton also isn't too good of a conductor in spite of the audio quality. I never bought his Britten recordings but have sampled them and think you're best to put that box set out of your mind.
Forgotten I had the Previn but just listened to it - fine atmospheric performance though the composer has the edge in the Storm Interlude. Good sound, 1974 - remastered 1986. The version I have is coupled with the Spring Symphony.
Quote from: Biffo on January 16, 2020, 06:49:54 AM
Forgotten I had the Previn but just listened to it - fine atmospheric performance though the composer has the edge in the Storm Interlude. Good sound, 1974 - remastered 1986. The version I have is coupled with the Spring Symphony.
It's difficult to beat the composer in much of his music, but this doesn't mean that his versions are the 'definitive' performances. I always enjoy hearing a different interpretation of his music. Interesting that you mentioned
Spring Symphony as this is a work I've been meaning to get around to. I'm sure I've heard it before, but it's been years since I've heard it. I own Britten's own performance, Previn, and Hickox. I'll probably spring (no pun intended ;)) for the Britten-led performance.
Quote from: aukhawk on January 16, 2020, 04:00:56 AM
A few recordings of the Four Sea Interludes do not include the Passacaglia. These should be avoided, as that is arguably the strongest movement of the five. (And it's not always obvious from the cover art, if it's included or not.) For example Previn would be recommendable but as far as I can tell he didn't record the Passacaglia.
He did record the Passcaglia. It can be found on this twofer:
(https://photos.imageevent.com/sgtrock/june2017/BrittenShostakPrevin.jpg)
Sarge
It annoys me how the Sea Inteludes are filler on so many recordings! It reeks of cheap programming.
In my view, the Sea Interludes and the Passacaglia should be avoided. Get the whole opera. Hear the interludes in their proper context.
Quote from: Maestro267 on January 16, 2020, 11:21:42 AM
It annoys me how the Sea Inteludes are filler on so many recordings! It reeks of cheap programming.
In my view, the Sea Interludes and the Passacaglia should be avoided. Get the whole opera. Hear the interludes in their proper context.
You're probably right, of course, but this is beautiful music and I am not interested in opera at this time. Plus, weren't they arranged by the composer himself as an independent suite? If he condones it, then I think it's worth hearing as such.
Re: Boughton, thanks for the thoughts, I'll likely not be getting this. Personally I quite enjoy the cavernous Nimbus sound, but I can possibly see how that would be a drawback in some of Britten's music.
I'm having a bit of trouble finding a CD with Britten's own recording. Is there a relatively recent remastering?
Is this the one to get?
[asin]B0031Y4A9E[/asin]
Also, this looks great for the price:
[asin]B00000IM6O[/asin]
Anyone have it?
Edit: I see this:
https://www.prestomusic.com/classical/products/8152287--britten-four-sea-interludes-young-persons-guide-to-the-orchestra
Damn! I already have the CD with all three of the other works :laugh:
Quote from: Maestro267 on January 16, 2020, 11:21:42 AM
It annoys me how the Sea Inteludes are filler on so many recordings! It reeks of cheap programming.
In my view, the Sea Interludes and the Passacaglia should be avoided. Get the whole opera. Hear the interludes in their proper context.
I certainly agree.
Peter Grimes must be experienced, but for those that do like these extracts from the opera, I don't really see any problem with a conductor who just wants to record these works. Of course, as you mentioned, I do get rather tired of seeing them on recordings, especially when there are full-fledged works that were meant to be performed on their own without any kind of context like
Sinfonia da Requiem or the
Cello Symphony for example.
Quote from: Mirror Image on January 16, 2020, 06:25:51 PM
I certainly agree. Peter Grimes must be experienced, but for those that do like these extracts from the opera, I don't really see any problem with a conductor who just wants to record these works. Of course, as you mentioned, I do get rather tired of seeing them on recordings, especially when there are full-fledged works that were meant to be performed on their own without any kind of context like Sinfonia da Requiem or the Cello Symphony for example.
Of course Grimes is a nailed on masterpiece and a great theatrical work experienced live. But the interludes/passacaglia work really well as an independent suite and if they provide an "in" for people either to this specific work or composer or opera in general then all the better. By this measure no orchestral/operatic excerpt or overture should ever be performed away from the original work. There goes Wagner or Rossini for starters!
Quote from: Roasted Swan on January 17, 2020, 04:08:19 AM
Of course Grimes is a nailed on masterpiece and a great theatrical work experienced live. But the interludes/passacaglia work really well as an independent suite and if they provide an "in" for people either to this specific work or composer or opera in general then all the better. By this measure no orchestral/operatic excerpt or overture should ever be performed away from the original work. There goes Wagner or Rossini for starters!
Peter Grimes is a great work whether experienced in concert or in the comfort of your own home. In fact, I prefer listening at home. At least I don't have to go out and fight the traffic, crowds, and deal with people who have their cell phones out or who have infectious colds. Also, I never meant to imply that
Sea Interludes and
Passacaglia weren't fun to listen to, because they are, but it's always a good thing to have these works heard within
Grimes.
Quote from: Mirror Image on January 17, 2020, 06:05:36 AM
Peter Grimes is a great work whether experienced in concert or in the comfort of your own home. In fact, I prefer listening at home. At least I don't have to go out and fight the traffic, crowds, and deal with people who have their cell phones out or who have infectious colds. Also, I never meant to imply that Sea Interludes and Passacaglia weren't fun to listen to, because they are, but it's always a good thing to have these works heard within Grimes.
Aside from the musical merits of the work, Grimes is a masterly piece of theatre. The first time I saw it live was the famous Colin Davis/Jon Vickers/ROHCG production back in the 1980's. The way the music is tied to that stage action with a versimo-like detail absolutely knocked me out. Also those haunting cries of "Peter Grimes" from the townspeople/lynch mob during Grimes' mad scene was so compelling. And best of all, the moment when Balstrode speaks to Peter; "sail out until you loose sight...." in a theatre comes as a real shock. For me this is a work which is wonderful in any format but overwhelming on the stage.
Quote from: Roasted Swan on January 17, 2020, 07:08:04 AM
Aside from the musical merits of the work, Grimes is a masterly piece of theatre. The first time I saw it live was the famous Colin Davis/Jon Vickers/ROHCG production back in the 1980's. The way the music is tied to that stage action with a versimo-like detail absolutely knocked me out. Also those haunting cries of "Peter Grimes" from the townspeople/lynch mob during Grimes' mad scene was so compelling. And best of all, the moment when Balstrode speaks to Peter; "sail out until you loose sight...." in a theatre comes as a real shock. For me this is a work which is wonderful in any format but overwhelming on the stage.
I bet that was a fantastic experience. Unfortunately, where I live, such an experience is difficult to come by, so this is
why home listening is a must if you want to familiarize yourself with any of Britten's music. I can't even remember the last time I saw a Britten work on a concert program of any kind in Atlanta (opera, chamber, orchestral, song recitals, etc.).
Quote from: Mirror Image on January 17, 2020, 07:57:13 AM
I bet that was a fantastic experience. Unfortunately, where I live, such an experience is difficult to come by, so this is why home listening is a must if you want to familiarize yourself with any of Britten's music. I can't even remember the last time I saw a Britten work on a concert program of any kind in Atlanta (opera, chamber, orchestral, song recitals, etc.).
The ASO just performed Britten's War Requiem not too long ago. Unfortunately, I did not go.
Quote from: vers la flamme on January 17, 2020, 02:37:42 PM
The ASO just performed Britten's War Requiem not too long ago. Unfortunately, I did not go.
Well, I couldn't go and I wouldn't because I don't like Robert Spano's conducting.
Quote from: Mirror Image on January 17, 2020, 06:41:47 PM
Well, I couldn't go and I wouldn't because I don't like Robert Spano's conducting.
Any orchestra led by any conductor
live has more impact than the best recording that can be imagined. I heard Tchaikovsky Symphony No 6 performed by my local college student orchestra conducted by some professor and it was infinitely better than any recording I ever heard, Mravinski, Karajan, Markevitch, Bernstein, take your pick.
It took me one minute to discover that the Atlanta Symphony is performing Lutoslawski, Sibelius and Vaughan Williams this season. You want them to perform modern music? When the perform it,
go! :)
Quote from: Ratliff on January 17, 2020, 07:38:18 PM
Any orchestra led by any conductor live has more impact than the best recording that can be imagined. I heard Tchaikovsky Symphony No 6 performed by my local college student orchestra conducted by some professor and it was infinitely better than any recording I ever heard, Mravinski, Karajan, Markevitch, Bernstein, take your pick.
It took me one minute to discover that the Atlanta Symphony is performing Lutoslawski, Sibelius and Vaughan Williams this season. You want them to perform modern music? When the perform it, go! :)
While I won't dispute that it's best to hear music in concert, I find it irritating to go to Atlanta and I usually stay away as much as I can. If I lived in London or NYC, I'd be broke going to concerts. There's just more happening in these cities than where I live.
Quote from: Ratliff on January 17, 2020, 07:38:18 PM
Any orchestra led by any conductor live has more impact than the best recording that can be imagined. I heard Tchaikovsky Symphony No 6 performed by my local college student orchestra conducted by some professor and it was infinitely better than any recording I ever heard, Mravinski, Karajan, Markevitch, Bernstein, take your pick.
It took me one minute to discover that the Atlanta Symphony is performing Lutoslawski, Sibelius and Vaughan Williams this season. You want them to perform modern music? When the perform it, go! :)
I'm going to see them perform the Lutoslawski Concerto for Orchestra tomorrow. Excited!
As for Spano's conducting, he may not be the greatest interpreter in the world but he is quite the capable conductor, in my book. I've always really enjoyed him in live performance.
Quote from: vers la flamme on January 18, 2020, 06:18:16 AM
I'm going to see them perform the Lutoslawski Concerto for Orchestra tomorrow. Excited!
As for Spano's conducting, he may not be the greatest interpreter in the world but he is quite the capable conductor, in my book. I've always really enjoyed him in live performance.
Cool! 8) Well, at least
someone enjoys Spano's conducting. ;)
Quote from: Mirror Image on January 18, 2020, 06:20:21 AM
Cool! 8) Well, at least someone enjoys Spano's conducting. ;)
The ASO regularly sells out the hall. I don't think Spano is the draw as much as the music itself. The Atlanta Symphony is certainly a world class orchestra, and the only one for hundreds of miles in any direction. I for one am grateful for their presence here and their oftentimes adventurous programming, often incorporating works by contemporary composers onto the program. (There's a Knussen work also on the bill tomorrow). They're not the LA Philharmonic, sure, but if you look at their schedule you'll see that they are far from your typical boring orchestra playing nothing but Beethoven and Tchaikovsky.
Again, as for Spano, I won't call myself a huge fan by any means, but what I'm saying is that he's by no means bad enough to completely ruin a live performance. If the music is great, it is still gonna be great.
Quote from: vers la flamme on January 18, 2020, 06:25:07 AM
The ASO regularly sells out the hall. I don't think Spano is the draw as much as the music itself. The Atlanta Symphony is certainly a world class orchestra, and the only one for hundreds of miles in any direction. I for one am grateful for their presence here and their oftentimes adventurous programming, often incorporating works by contemporary composers onto the program. (There's a Knussen work also on the bill tomorrow). They're not the LA Philharmonic, sure, but if you look at their schedule you'll see that they are far from your typical boring orchestra playing nothing but Beethoven and Tchaikovsky.
Again, as for Spano, I won't call myself a huge fan by any means, but what I'm saying is that he's by no means bad enough to completely ruin a live performance. If the music is great, it is still gonna be great.
A program has to be really interesting for me to even consider going and the times that I have seen a program worth attending, life gets in the way and I simply can't go. Also, since I don't live in Atlanta, I always hate making that trip to the city. My dad, who has an inside source working for the orchestra, tells me they're in financial trouble (the orchestra members went on strike a few years ago as well), but hopefully they can pull through this difficult period. The orchestra is also working at half its capacity since it lost many members during the afore mentioned strike. The ASO certainly isn't what it used to be, especially when they were under the direction of Robert Shaw or Yoel Levi.
Quote from: Mirror Image on January 18, 2020, 06:34:09 AM
A program has to be really interesting for me to even consider going and the times that I have seen a program worth attending, life gets in the way and I simply can't go. Also, since I don't live in Atlanta, I always hate making that trip to the city. My dad, who has an inside source working for the orchestra, tells me they're in financial trouble (the orchestra members went on strike a few years ago as well), but hopefully they can pull through this difficult period. The orchestra is also working at half its capacity since it lost many members during the afore mentioned strike. The ASO certainly isn't what it used to be, especially when they were under the direction of Robert Shaw or Yoel Levi.
There are at least a few this season that I know you will find very interesting. I know there's a Sibelius 6, 7, and the Violin Concerto next month. I would try and plan ahead for it or another one if I were you. I think the trip to the city is not as bad as you are building it up to be in your head. It's gotta be, what, an hour, maybe 90 minutes tops with the worst traffic imaginable? Anyway, if you ask me, a little traffic is well worth a memorable night of excellent live music. Of course, this is one man's perspective. If you are content to stay in and listen to records to avoid the inconvenience of going to the city, it's your life, after all. But you said it yourself: it's best to hear music in concert. Well worth the inconvenience, even if it's once in a blue moon.
As far as the orchestra being in trouble, this is of course due in part to people not going, and it's a problem that orchestras across the country are facing. But I think that the ASO has a solid enough foundation to pull through. I would agree with Ratliff that it's not a good look to lament that you never see Britten programmed in Atlanta, yet even when his music is programmed, you wouldn't go anyway. Come on, you might be one of the biggest Britten fans in Georgia. You have to come out! :D
Quote from: vers la flamme on January 18, 2020, 06:58:40 AM
There are at least a few this season that I know you will find very interesting. I know there's a Sibelius 6, 7, and the Violin Concerto next month. I would try and plan ahead for it or another one if I were you. I think the trip to the city is not as bad as you are building it up to be in your head. It's gotta be, what, an hour, maybe 90 minutes tops with the worst traffic imaginable? Anyway, if you ask me, a little traffic is well worth a memorable night of excellent live music. Of course, this is one man's perspective. If you are content to stay in and listen to records to avoid the inconvenience of going to the city, it's your life, after all. But you said it yourself: it's best to hear music in concert. Well worth the inconvenience, even if it's once in a blue moon.
As far as the orchestra being in trouble, this is of course due in part to people not going, and it's a problem that orchestras across the country are facing. But I think that the ASO has a solid enough foundation to pull through. I would agree with Ratliff that it's not a good look to lament that you never see Britten programmed in Atlanta, yet even when his music is programmed, you wouldn't go anyway. Come on, you might be one of the biggest Britten fans in Georgia. You have to come out! :D
I would never make the claim that I'm 'one of the biggest Britten fans in Georgia'. ;) That would be a ridiculous assertion on my part even, as I know, you were just joking around. One of my main problems is I don't like driving and more than driving, I hate traffic, so this makes going to Atlanta unbearable for me. It's my own problem and I realize this, but this isn't up for debate. As you said, it's my life, not your own.
Quote from: Mirror Image on January 18, 2020, 07:09:01 AM
I would never make the claim that I'm 'one of the biggest Britten fans in Georgia'. ;) That would be a ridiculous assertion on my part even, as I know, you were just joking around. One of my main problems is I don't like driving and more than driving, I hate traffic, so this makes going to Atlanta unbearable for me. It's my own problem and I realize this, but this isn't up for debate. As you said, it's my life, not your own.
We'll leave it at that, then. Living right in the city, I guess I am probably more blasé about the insanity of the highways here than I should be, anyway. More than just tedious, it can be really dangerous driving here, so I guess avoiding it at all costs is valid.
Quote from: Maestro267 on January 16, 2020, 11:21:42 AM
It annoys me how the Sea Inteludes are filler on so many recordings! It reeks of cheap programming.
OTOH, the
Shostakovich/
Britten two-fer that
Sarge mentions is top-shelf.
Quote from: Roasted Swan on January 17, 2020, 07:08:04 AM
Aside from the musical merits of the work, Grimes is a masterly piece of theatre. The first time I saw it live was the famous Colin Davis/Jon Vickers/ROHCG production back in the 1980's. The way the music is tied to that stage action with a versimo-like detail absolutely knocked me out. Also those haunting cries of "Peter Grimes" from the townspeople/lynch mob during Grimes' mad scene was so compelling. And best of all, the moment when Balstrode speaks to Peter; "sail out until you loose sight...." in a theatre comes as a real shock. For me this is a work which is wonderful in any format but overwhelming on the stage.
Fabulous!
Quote from: vers la flamme on January 17, 2020, 02:37:42 PM
The ASO just performed Britten's War Requiem not too long ago. Unfortunately, I did not go.
That was a piece I heard live in Petersburg. Wonderful experience.
Quote from: vers la flamme on January 18, 2020, 06:18:16 AM
I'm going to see them perform the Lutoslawski Concerto for Orchestra tomorrow. Excited!
As for Spano's conducting, he may not be the greatest interpreter in the world but he is quite the capable conductor, in my book. I've always really enjoyed him in live performance.
Cool! Last I heard the Lutoslawski live was in Buffalo.
But, back to Britten: my late operas box has resurfaced, so I'll be joining the party soon.
I've always thought the Britten Conducts Opera boxes to be the definitive recordings.
(https://images-na.ssl-images-amazon.com/images/I/71CBXnPjm6L._SX522_.jpg) (https://images-na.ssl-images-amazon.com/images/I/719iucvak7L._SX522_.jpg)
But never thought considered this other box:
(https://images-na.ssl-images-amazon.com/images/I/518fOxc9ikL.jpg)
Thoughts?
Quote from: San Antone on January 18, 2020, 12:56:23 PM
I've always thought the Britten Conducts Opera boxes to be the definitive recordings.
(https://images-na.ssl-images-amazon.com/images/I/71CBXnPjm6L._SX522_.jpg) (https://images-na.ssl-images-amazon.com/images/I/719iucvak7L._SX522_.jpg)
But never thought considered this other box:
(https://images-na.ssl-images-amazon.com/images/I/518fOxc9ikL.jpg)
Thoughts?
Isn't the large set essentially those two other sets combined?
You are probably right. :-X I couldn't find a description of it and didn't think that they were both on Decca.
:o
Hi SA,
here are the contents of the Decca big Opera box :
https://www.deccaclassics.com/gb/cat/4785448 (https://www.deccaclassics.com/gb/cat/4785448)
Quote from: Papy Oli on January 19, 2020, 02:50:16 AM
Hi SA,
here are the contents of the Decca big Opera box :
https://www.deccaclassics.com/gb/cat/4785448 (https://www.deccaclassics.com/gb/cat/4785448)
Thanks. I didn't go over all of the operas for cast, but
Paul Bunyan is a different production - so there are some differences after all.
Quote from: San Antone on January 19, 2020, 12:19:18 AM
You are probably right. :-X I couldn't find a description of it and didn't think that they were both on Decca.
:o
Do you own most of the works found in this box set?
(https://d27t0qkxhe4r68.cloudfront.net/images/records/decca4785450.jpg?1382522523)
https://www.prestomusic.com/classical/products/8035596--britten-the-complete-works-for-voice (https://www.prestomusic.com/classical/products/8035596--britten-the-complete-works-for-voice)
This is another extremely worthwhile set, IMHO.
Quote from: Mirror Image on January 19, 2020, 06:17:29 AM
Do you own most of the works found in this box set?
(https://d27t0qkxhe4r68.cloudfront.net/images/records/decca4785450.jpg?1382522523)
https://www.prestomusic.com/classical/products/8035596--britten-the-complete-works-for-voice (https://www.prestomusic.com/classical/products/8035596--britten-the-complete-works-for-voice)
This is another extremely worthwhile set, IMHO.
I don't really own any of them, i.e. I have some old LP box sets, somewhere, and have no plans to purchase any of these recordings. I listen to them on Spotify where the two volume Britten Conducts Opera 1 & 2 are found. I prefer the Britten led performances, so those two boxes are enough for me.
Quote from: San Antone on January 19, 2020, 06:27:22 AM
I don't really own any of them, i.e. I have some old LP box sets, somewhere, and have no plans to purchase any of these recordings. I listen to them on Spotify where the two volume Britten Conducts Opera 1 & 2 are found. I prefer the Britten led performances, so those two boxes are enough for me.
Well, I wasn't suggesting you buy the afore linked box set as I know you stream music nowadays and rarely buy anything. Do you only have an interest in Britten's operatic music?
Quote from: k a rl h e nn i ng on January 18, 2020, 12:38:19 PM
But, back to Britten: my late operas box has resurfaced, so I'll be joining the party soon.
Very nice, Karl. Do you have any favorite Britten works or works that have meant a lot to you?
Quote from: Mirror Image on January 19, 2020, 06:37:44 AM
Do you only have an interest in Britten's operatic music?
Of course:
string quartets,
solo cello suites,
chamber music in general,
songs,
Frank Bridge Variations,
Serenade for tenor, horn & strings,
Nocturnal for guitar after John Dowland. But he is not among my top 25 composers, not even top 50. A while back I began a list of the 100 composers I listen to and enjoy the most, and have been refining it over time. I have Britten in the 75-100 group, #77 actually. ;)
I think I am partial to the operas, though and I may think that they are his greatest achievement.
8)
Quote from: San Antone on January 19, 2020, 07:35:45 AM
Of course: string quartets, solo cello suites, chamber music in general, songs, Frank Bridge Variations, Serenade for tenor, horn & strings, Nocturnal for guitar after John Dowland. But he is not among my top 25 composers, not even top 50. A while back I began a list of the 100 composers I listen to and enjoy the most, and have been refining it over time. I have Britten in the 75-100 group, #77 actually. ;)
I think I am partial to the operas, though and I may think that they are his greatest achievement.
8)
Very good to hear except for Britten being so low on the totem pole for you. :-\ Oh well, to each their own. Hopefully, you'll continue to enjoy his music. Personally, I would never put Britten in the same stratosphere as Debussy, Ravel, and Bartók (my 'Top 3'), but he certainly has made it into my 'Top 10' but I'm not sure for how long.
Are there any clear preferences for any particular recording over another of
1) Midsummer Nights Dream
2) Turn of the Screw
3) Owen Wingrave
4) Death in Venice
Those are the four Britten operas I don't have a recording of.
Quote from: JBS on January 19, 2020, 07:33:11 PM
Are there any clear preferences for any particular recording over another of
1) Midsummer Nights Dream
2) Turn of the Screw
3) Owen Wingrave
4) Death in Venice
Those are the four Britten operas I don't have a recording of.
I prefer the Steuart Bedford recording of
Death in Venice and
The Turn of the Screw to the others I've heard. The Britten-led
A Midsummer Night's Dream is great, but I haven't heard any other performance of this opera. I haven't heard
Owen Wingrave yet.
Cross-posted from the 'Listening' thread -
Quote from: Mirror Image on January 21, 2020, 03:05:39 PM
Britten
Violin Concerto, Op. 15 (revised version)
Little
Gardner
BBC Philharmonic
(https://d1iiivw74516uk.cloudfront.net/eyJidWNrZXQiOiJwcmVzdG8tY292ZXItaW1hZ2VzIiwia2V5IjoiODAyOTY3OC4xLmpwZyIsImVkaXRzIjp7InJlc2l6ZSI6eyJ3aWR0aCI6OTAwfSwianBlZyI6eyJxdWFsaXR5Ijo2NX19LCJ0aW1lc3RhbXAiOjE0NzExMjc5OTR9)
Tasmin Little is outstanding in the Britten VC! I've never felt a strong connection to this work until I really started listening to other performances besides Britten's own recording of the concerto (with violinist Mark Lubotsky on Decca). I always found the Lubotsky/Britten performance to be overrated (I feel the same way about the Richter/Britten recording of the PC). Britten was always a strong advocate of his own music, but not in these two concerti, IMHO.
I've begun reading Neil Powell's Benjamin Britten: A Life for Music.
Quote from: k a rl h e nn i ng on January 21, 2020, 05:02:21 PM
I've begun reading Neil Powell's Benjamin Britten: A Life for Music.
Excellent, Karl. The only biography I've read (and own) on Britten has been this one, which is quite good:
(https://images-na.ssl-images-amazon.com/images/I/61iRIA%2BgdDL.jpg)
Partly prompted by the activity on this thread I listened to this set yesterday;
(http://www.deutschegrammophon.com/imgs/s300x300/4595092.jpg)
As I recall neither performance of the 2 main works was that well received. I must admit - and I'm not much of a Gardiner fan - that I thought the Spring Symphony excellent. Particularly the solo/choral work. Ainsley and Hagley especially fine. Ainsley having the suppleness and connection with the text of Pears but with a much more beautiful voice. Also, the accuracy and attack of the professional Monteverdi Choir a major bonus. Gardiner's performance might not "smile" as much as some but it has a joyful energy and excitement. Philharmonia on good form too. The Monteverdi's doing Hymn to St. Cecilia is a big bonus - great to hear this tricky work sung with such good ensemble and accuracy.
To fit onto 2 generously filled discs the downside is a break in the War Requiem barely 10 minutes in. Again I like Rolfe-Johnson a lot - indeed Skovhus and Organosova very good too. Here the recording distances the orchestra so the Dies Irae lacks the overwhelming power and horror of some versions. But still good. This 2 disc set can be found on UK Amazon for only £1.47 + p&p - which is why I bought it and I'm glad I did
Quote from: Roasted Swan on January 22, 2020, 03:08:51 AM
Partly prompted by the activity on this thread I listened to this set yesterday;
(http://www.deutschegrammophon.com/imgs/s300x300/4595092.jpg)
As I recall neither performance of the 2 main works was that well received. I must admit - and I'm not much of a Gardiner fan - that I thought the Spring Symphony excellent. Particularly the solo/choral work. Ainsley and Hagley especially fine. Ainsley having the suppleness and connection with the text of Pears but with a much more beautiful voice. Also, the accuracy and attack of the professional Monteverdi Choir a major bonus. Gardiner's performance might not "smile" as much as some but it has a joyful energy and excitement. Philharmonia on good form too. The Monteverdi's doing Hymn to St. Cecilia is a big bonus - great to hear this tricky work sung with such good ensemble and accuracy.
To fit onto 2 generously filled discs the downside is a break in the War Requiem barely 10 minutes in. Again I like Rolfe-Johnson a lot - indeed Skovhus and Organosova very good too. Here the recording distances the orchestra so the Dies Irae lacks the overwhelming power and horror of some versions. But still good. This 2 disc set can be found on UK Amazon for only £1.47 + p&p - which is why I bought it and I'm glad I did
Alison Hagley is a great soprano. I was first exposed to her through her performance of the orchestrated version of Debussy's song cycle,
Ballades de François Villon with Boulez and the Clevelanders on DG. John Mark Ainsley is a fantastic Britten tenor --- one of my favorites. His performance on the McCreesh recording of
War Requiem was quite special. It's too bad he hasn't done more of Britten aside from a few recordings here and there (mostly in supporting roles). I don't think much of Gardiner's conducting unfortunately and the thought of him conducting a composer whose musical language is beyond him doesn't exactly have me jumping for joy. It seems Gardiner has made several recordings where he's tried to assume some kind of authority in 20th Century music (Stravinsky, Boulanger, Mahler, Elgar) and of these recordings I've heard like his Stravinsky, for example, just have sounded half-hearted and like he doesn't really know
how to conduct this music.
Hugely enjoying Gloriana at the moment. If there was another recording, I don't really see how Mackerras' outstanding conducting plus his stellar cast of vocalists could be improved upon. Too bad Britten himself never recorded this opera.
I find this particular movement especially haunting:
https://www.youtube.com/v/88lOk463oVo
Quote from: Mirror Image on January 22, 2020, 05:44:04 AM
Alison Hagley is a great soprano. I was first exposed to her through her performance of the orchestrated version of Debussy's song cycle, Ballades de François Villon with Boulez and the Clevelanders on DG. John Mark Ainsley is a fantastic Britten tenor --- one of my favorites. His performance on the McCreesh recording of War Requiem was quite special. It's too bad he hasn't done more of Britten aside from a few recordings here and there (mostly in supporting roles). I don't think much of Gardiner's conducting unfortunately and the thought of him conducting a composer whose musical language is beyond him doesn't exactly have me jumping for joy. It seems Gardiner has made several recordings where he's tried to assume some kind of authority in 20th Century music (Stravinsky, Boulanger, Mahler, Elgar) and of these recordings I've heard like his Stravinsky, for example, just have sounded half-hearted and like he doesn't really know how to conduct this music.
I'm no Gardiner-acolyte but I don't think he is as bad as you suggest. I know from colleagues that have worked often for him that he is not the most "giving" or emotionally generous of conductors. His Holst Planets is decent and his disc dedicated to Percy Grainger surprisingly good given his rather straight faced approach elsewhere. As I say, I think the Spring Symphony here is very good. Go on, listen to it if only for Ainsley and Hagley and the Monteverdi choir! I don't think Gardiner himself has tried to assume any kind of authority - I find Manze's transformation from baroque violinist/specialist to "best living interpreter of RVW" [a quote from a UK Sunday paper recently] much more galling. If a major record label comes to you and asks you to record some big repertoire how many people would really say no if they thought they had anything musically to say? For £1.47 I'm glad I took the punt!
PS; for all that - I didn't like his Symphonies of Psalms or Boulanger.......
Quote from: Roasted Swan on January 22, 2020, 09:36:02 AM
I'm no Gardiner-acolyte but I don't think he is as bad as you suggest. I know from colleagues that have worked often for him that he is not the most "giving" or emotionally generous of conductors. His Holst Planets is decent and his disc dedicated to Percy Grainger surprisingly good given his rather straight faced approach elsewhere. As I say, I think the Spring Symphony here is very good. Go on, listen to it if only for Ainsley and Hagley and the Monteverdi choir! I don't think Gardiner himself has tried to assume any kind of authority - I find Manze's transformation from baroque violinist/specialist to "best living interpreter of RVW" [a quote from a UK Sunday paper recently] much more galling. If a major record label comes to you and asks you to record some big repertoire how many people would really say no if they thought they had anything musically to say? For £1.47 I'm glad I took the punt!
PS; for all that - I didn't like his Symphonies of Psalms or Boulanger.......
Honestly, I can't really listen to the
War Requiem unless I'm onboard with all of the soloists, the conductor, orchestra, and the choir that is used. This is a work that requires total commitment from all involved. Being one of the critics of Gardiner, I don't really see myself drawn to any of his recordings. Manze is a peculiar case, indeed, but I think he brings a bit of a different perspective to the music he conducts whether successfully or unsuccessfully. He was a violinist first and foremost, so it is interesting to get more of a that kind of point-of-view in the music than someone who hasn't really had success as an instrumentalist. I will say that Manze surprised me with his recording of Britten's
Cello Symphony on Hyperion.
Cross-posted from the 'Listening' thread -
Quote from: Mirror Image on January 23, 2020, 06:55:01 AM
Britten
String Quartet No. 3, Op. 94
The Britten Quartet
(https://img.discogs.com/lYVpKKK10Zy5Y5zr00RyRdwJ3GM=/fit-in/500x494/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-13382426-1553164434-1430.jpeg.jpg)
I continue to come back to The Britten Quartet's performances of these incredible works because they exhibit an understanding of the music beyond the notes and, while they do have all the technique one could imagine at their disposal, they choose to interpret the music and they do so with enthusiasm and passion. I feel they really get inside this music more than any other quartet I've heard (although The Emperor Quartet's survey of this music is amazing as well but in a different way). The only two recorded cycles of Britten's SQs that I don't know too well that I own are the Belcea Quartet on EMI and the Brodsky Quartet on Challenge Classics. I've heard the Belcea years ago, but I don't really remember their performances and I don't think I've even heard a note from the Brodsky set. Does anyone here have any thoughts on these two cycles?
I listened to Britten's second SQ this morning. Amazing!! He was extremely skilled in the genre. I suspect he was up there with the Bartók, Shostakovich, Schoenberg and Bacewicz as one of the great quartet composers of the 20th C. I have the Maggini Quartet on Naxos, only volume 1 but I ordered the second volume. Excited to hear it!
As for the Britten Quartet on Brilliant that you share, @Mirror Image, I've not heard it, but I'm sure it's good too. I'm totally happy with the Maggini Quartet but if I ever decide to branch out to another set, that will likely be the one.
The Amadeus SQ should not be forgotten.
(https://img.cdandlp.com/2018/05/imgL/119161927.jpg)
They had a strong relationship with Britten and performed at Snape Maltings many times.
Quote from: vers la flamme on January 24, 2020, 04:37:28 AM
I listened to Britten's second SQ this morning. Amazing!! He was extremely skilled in the genre. I suspect he was up there with the Bartók, Shostakovich, Schoenberg and Bacewicz as one of the great quartet composers of the 20th C. I have the Maggini Quartet on Naxos, only volume 1 but I ordered the second volume. Excited to hear it!
As for the Britten Quartet on Brilliant that you share, @Mirror Image, I've not heard it, but I'm sure it's good too. I'm totally happy with the Maggini Quartet but if I ever decide to branch out to another set, that will likely be the one.
Interesting you mentioned Bacewicz as I don't find her SQs to be too good or gripping in any way, but, yes, Britten is up there with Bartók, Shostakovich, Janáček, etc. One of the problems with collecting SQ cycles from any of these great composers is there's really no cycle that can do the music complete justice as there are so many different ways they can be performed. I can't say I have a lot of familiarity with the Maggini Quartet, but I have almost an allergic reaction to a lot of Naxos recordings and more often than not, I have found that their recordings of major repertoire (and make no mistake Britten's SQs are major chamber repertoire, IMHO), they seem to be no better than other labels, but I have only heard the Maggini in the 3rd SQ and I thought the performances were pretty good, but not good enough to buy the recording.
Quote from: Irons on January 24, 2020, 06:54:14 AM
The Amadeus SQ should not be forgotten.
(https://img.cdandlp.com/2018/05/imgL/119161927.jpg)
They had a strong relationship with Britten and performed at Snape Maltings many times.
Oh, I certainly haven't forgotten them, but the performance standards have improved greatly since this recording they made for Decca. I don't rank them as highly as The Britten Quartet or the Emperor Quartet.
Quote from: Mirror Image on January 24, 2020, 07:00:13 AM
Interesting you mentioned Bacewicz as I don't find her SQs to be too good or gripping in any way, but, yes, Britten is up there with Bartók, Shostakovich, Janáček, etc. One of the problems with collecting SQ cycles from any of these great composers is there's really no cycle that can do the music complete justice as there are so many different ways they can be performed. I can't say I have a lot of familiarity with the Maggini Quartet, but I have almost an allergic reaction to a lot of Naxos recordings and more often than not, I have found that their recordings of major repertoire (and make no mistake Britten's SQs are major chamber repertoire, IMHO), they seem to be no better than other labels, but I have only heard the Maggini in the 3rd SQ and I thought the performances were pretty good, but not good enough to buy the recording.
Really?! You are missing out big time on the Bacewicz quartets. Give them another shot sometime. As for Naxos, they are no better or worse than any other label. Some hits, some misses. I don't think they lag behind any other label, major repertoire or otherwise. Opinions may vary of course, but there are tons of fantastic recordings on Naxos in my book.
Quote from: vers la flamme on January 24, 2020, 04:37:28 AM
I listened to Britten's second SQ this morning. Amazing!! He was extremely skilled in the genre. I suspect he was up there with the Bartók, Shostakovich, Schoenberg and Bacewicz as one of the great quartet composers of the 20th C.
Agreed. I would put those by Hindemith too.
Quote from: Symphonic Addict on January 24, 2020, 09:29:00 AM
Agreed. I would put those by Hindemith too.
I need to spend more time with those. Thinking of getting the Amar Quartet set.
Quote from: vers la flamme on January 24, 2020, 04:37:28 AM
I listened to Britten's second SQ this morning. Amazing!! He was extremely skilled in the genre. I suspect he was up there with the Bartók, Shostakovich, Schoenberg and Bacewicz as one of the great quartet composers of the 20th C. I have the Maggini Quartet on Naxos, only volume 1 but I ordered the second volume. Excited to hear it!
As for the Britten Quartet on Brilliant that you share, @Mirror Image, I've not heard it, but I'm sure it's good too. I'm totally happy with the Maggini Quartet but if I ever decide to branch out to another set, that will likely be the one.
I have a high opinion of the
Maggini Quartet, and the Naxos label in general. One good thing about the Maggini is that they have recorded a lot of repertory, much of it by British composers, and their performances are very good, IMO. Naxos has supplied a large number of excellent recordings at budget prices, and much like CPO or BIS, a lot of music which has been otherwise gone unrecorded.
Britten only wrote 3 quartets, so I have trouble ranking him with Shostakovich, Hindemith, Bacewicz or Bartok, (or
Weinberg whom you did not mention) since they all wrote a significant number of string quartets and made a huge contribution in the 20th century - which I think of as the string quartet century. Britten's quartets are very good, but I wish he would have written more.
Quote from: San Antone on January 24, 2020, 11:24:38 AM
I have a high opinion of the Maggini Quartet, and the Naxos label in general. One good thing about the Maggini is that they have recorded a lot of repertory, much of it by British composers, and their performances are very good, IMO. Naxos has supplied a large number of excellent recordings at budget prices, and much like CPO or BIS, a lot of music which has been otherwise gone unrecorded.
Britten only wrote 3 quartets, so I have trouble ranking him with Shostakovich, Hindemith, Bacewicz or Bartok, (or Weinberg whom you did not mention) since they all wrote a significant number of string quartets and made a huge contribution in the 20th century - which I think of as the string quartet century. Britten's quartets are very good, but I wish he would have written more.
I would object to anyone denying Arnold Schoenberg a ranking among that class despite that he only wrote 4 quartets. But I do see what you mean, Britten may not have written enough of them to have truly made an impact in the genre. Still, the level of quality and consistency is amazing. I am seriously impressed.
The Maggini Quartet has that huge box of English quartets out on Naxos, which I am not interested in at this time (that's just too much, I'm sorry—my appreciation of 20C English music is something new, still). But I'll check for additional single discs here and there. I hear that Alwyn wrote some pretty good quartets—did the Magginis record them and do them justice? I've never heard any of his music but I've heard his quartets are a good place to start.
Quote from: vers la flamme on January 24, 2020, 01:41:35 PM
I would object to anyone denying Arnold Schoenberg a ranking among that class despite that he only wrote 4 quartets. But I do see what you mean, Britten may not have written enough of them to have truly made an impact in the genre. Still, the level of quality and consistency is amazing. I am seriously impressed.
The Maggini Quartet has that huge box of English quartets out on Naxos, which I am not interested in at this time (that's just too much, I'm sorry—my appreciation of 20C English music is something new, still). But I'll check for additional single discs here and there. I hear that Alwyn wrote some pretty good quartets—did the Magginis record them and do them justice? I've never heard any of his music but I've heard his quartets are a good place to start.
Did you not notice that I left Schoenberg off my list. ;) But you can buy all of the Maggini Quartet recordings as single CDs, and yes they've recorded Alwyn's 1-3. His are very good, you should check them out.
Quote from: vers la flamme on January 24, 2020, 08:55:43 AM
Really?! You are missing out big time on the Bacewicz quartets. Give them another shot sometime. As for Naxos, they are no better or worse than any other label. Some hits, some misses. I don't think they lag behind any other label, major repertoire or otherwise. Opinions may vary of course, but there are tons of fantastic recordings on Naxos in my book.
I usually turn to Naxos for repertoire that you just can't find on any other label. In this respect, I find them useful and sometimes even 'ahead of the curve' so to speak, but when it comes to major repertoire, I'm afraid they simply don't measure up. But this is my opinion and understand that not everyone shares these views.
Quote from: San Antone on January 24, 2020, 03:20:38 PM
Did you not notice that I left Schoenberg off my list. ;) But you can buy all of the Maggini Quartet recordings as single CDs, and yes they've recorded Alwyn's 1-3. His are very good, you should check them out.
I did notice, and I objected to it! ;D
Quote from: Mirror Image on January 24, 2020, 07:07:37 PM
I usually turn to Naxos for repertoire that you just can't find on any other label. In this respect, I find them useful and sometimes even 'ahead of the curve' so to speak, but when it comes to major repertoire, I'm afraid they simply don't measure up. But this is my opinion and understand that not everyone shares these views.
My only point was that the musicians are far more important than the label. There are great recordings on Naxos and there are awful recordings on BIS, Decca, or DG. The inverse of course is also true. I agree that they are generally ahead of the curve on recording certain repertoire that other labels would not risk their budget on recording.
Quote from: Mirror Image on January 24, 2020, 07:07:37 PM
I usually turn to Naxos for repertoire that you just can't find on any other label. In this respect, I find them useful and sometimes even 'ahead of the curve' so to speak, but when it comes to major repertoire, I'm afraid they simply don't measure up. But this is my opinion and understand that not everyone shares these views.
(I had mistakenly posted this somewhere else, where it made no sense. ;D )
I could happily live on a desert island with nothing but Naxos recordings. But I might be unique among classical music listeners, my favorite recording of a work is almost always the one I am listening to at the time.
8)
Quote from: vers la flamme on January 25, 2020, 06:43:55 AM
My only point was that the musicians are far more important than the label. There are great recordings on Naxos and there are awful recordings on BIS, Decca, or DG. The inverse of course is also true. I agree that they are generally ahead of the curve on recording certain repertoire that other labels would not risk their budget on recording.
But my point is the musicians on the Naxos label don't always interest me and many times aren't in the same league as what the major labels have produced. This is why Naxos isn't too important of a label to me when it comes to the major repertoire.
Quote from: San Antone on January 25, 2020, 06:46:04 AM
(I had mistakenly posted this somewhere else, where it made no sense. ;D )
I could happily live on a desert island with nothing but Naxos recordings. But I might be unique among classical music listeners, my favorite recording of a work is almost always the one I am listening to at the time.
8)
I hope I can choose what recordings I can take to that desert island and not be stuck with Naxos recordings. :) Naxos isn't a terrible label by any means and I don't want it to sound like I'm bashing the label, but they're not always a first choice in repertoire that's important to me.
Quote from: Mirror Image on January 25, 2020, 06:59:05 AM
I hope I can choose what recordings I can take to that desert island and not be stuck with Naxos recordings. :) Naxos isn't a terrible label by any means and I don't want it to sound like I'm bashing the label, but they're not always a first choice in repertoire that's important to me.
I have always been more interested in the work, the music, instead of any specific performer. Yeah, I know it takes a performer to realize the music and some do a better job then others. But it is also the case where the differences are very small or a preferred recording is the result of personal/subjective taste. So, I am generally very forgiving of the performance since I am mainly listening to the music/work and don't much care for the minutia of performance aspects.
But, if it is a work I know well or a composer whose music I know well, then I will be more choosy - but this is mainly for big things, like I prefer the organ version of the Durufle
Requiem. That said, I have never been disappointed by a Naxos recording. Alsop's Bernstein recordings are a case in point.
Back to Britten - after spending some time recently with his operas, I really think he was one of the most important operatic composers of the 20th century - maybe of all centuries.
Quote from: San Antone on January 25, 2020, 07:21:19 AMBack to Britten - after spending some time recently with his operas, I really think he was one of the most important operatic composers of the 20th century - maybe of all centuries.
So do I, but my opinion may, of course, be just a tad bit biased. :) But, to be even more honest, I like all of facets of his oeuvre and I consider him one of the greats. Incredibly consistent composer and no one really sounds remotely like him.
I just got this CD in the mail:
(https://images-na.ssl-images-amazon.com/images/I/51Gh3X-Tv%2BL.jpg)
First listen to the famous Serenade. So far, so good, I am enjoying it. Pears' voice is a little less grating than usual today. The interplay between tenor and horn is very interesting. I am very much enjoying slowly exploring Britten's works. All of the Decca recordings thus far under the composer's baton have been very good.
Quote from: San Antone on January 25, 2020, 07:21:19 AM
Back to Britten - after spending some time recently with his operas, I really think he was one of the most important operatic composers of the 20th century - maybe of all centuries.
It's interesting to hear an American saying that. I think many people who went to the opera in London in the second half of the last century would agree, but we were never sure about his reception elsewhere. What I can see is that Grimes gets more and more positive attention from opera people in Europe, and Billy Budd has developped a sort of gay cachet after the film
Beau Travail, but maybe the other operas are still not very well known. That seems a shame to me, I like Grimes very much, I have mixed views about Billy Budd, but the real summit IMO is Turn of the Screw.
Quote from: vers la flamme on January 25, 2020, 07:55:53 AM
First listen to the famous Serenade.
Invisible worm.
WTF is that about?!!!!
Quote from: Mandryka on January 25, 2020, 10:23:24 AM
Invisible worm.
WTF is that about?!!!!
:laugh: I'm not much of a poetry buff myself, but I do like some Blake. I didn't have the words in front of me the whole time, I'm going to do it right next time, see if I can make some sense out of the words. I was more so immersed in the beautiful orchestration.
Quote from: vers la flamme on January 25, 2020, 07:55:53 AM
I just got this CD in the mail:
(https://images-na.ssl-images-amazon.com/images/I/51Gh3X-Tv%2BL.jpg)
First listen to the famous Serenade. So far, so good, I am enjoying it. Pears' voice is a little less grating than usual today. The interplay between tenor and horn is very interesting. I am very much enjoying slowly exploring Britten's works. All of the Decca recordings thus far under the composer's baton have been very good.
A fantastic recording, but I'm of the mind that there are many great performances of these works. Philip Langridge, for example, does a fantastic
Serenade as does newcomer Allan Clayton (on Linn). Do check both of these out (when you get the time). They were hugely impressive.
Quote from: Mandryka on January 25, 2020, 10:07:14 AM
It's interesting to hear an American saying that. I think many people who went to the opera in London in the second half of the last century would agree, but we were never sure about his reception elsewhere. What I can see is that Grimes gets more and more positive attention from opera people in Europe, and Billy Budd has developped a sort of gay cachet after the film Beau Travail, but maybe the other operas are still not very well known. That seems a shame to me, I like Grimes very much, I have mixed views about Billy Budd, but the real summit IMO is Turn of the Screw.
I certainly agree that
The Turn of the Screw is phenomenal, but I wouldn't call it 'the real summit' of his operatic output. I think this opera,
Death in Venice,
Peter Grimes, and, believe it or not,
Gloriana are what I consider to be Britten at his operatic best.
Death in Venice is still rather unappreciated I think, although I'm not sure how often it gets performed. Even when I wasn't completely taken by Britten's music years ago, I thought highly of this opera and, in this sense, it was my gateway into his operas.
Just finished Britten's Violin Concerto, and I'm curious about a passage in the second movement. Somewhere in the middle, the solo violin plays very high, and is joined by the piccolo. Then at the other end of the scale, a tuba comes in and plays an ascending pattern which sounds pretty similar to the first half of the subsequent Passacaglia's ground-bass theme. Can the tuba part in II be considered a "preview" of the upcoming Passacaglia to which the entire concerto is building?
Here is the Doric Quartet, this week, performing Mozart 575 and Britten's 3d Quartet, one of the great pieces of 20th C chamber music.
https://www.youtube.com/watch?v=VXfJMUahi4A
The next day I put a recording of the Britten Qt in the cd-player, by the Belcea. Somehow I felt that recording sounds too "warm". I think I have the Amadeus Qt recording, too, somewhere. Any other recommends?
Turns out I have the ASV recording by the Lindsay Quartet: Tippett SQ nr 4 and Britten's nr 3.
Quote from: Herman on December 09, 2020, 09:51:40 AM
Here is the Doric Quartet, this week, performing Mozart 575 and Britten's 3d Quartet, one of the great pieces of 20th C chamber music.
https://www.youtube.com/watch?v=VXfJMUahi4A
The next day I put a recording of the Britten Qt in the cd-player, by the Belcea. Somehow I felt that recording sounds too "warm". I think I have the Amadeus Qt recording, too, somewhere. Any other recommends?
I'll check that YouTube later. The last time I listened to this quartet was quite recently, in May, The Fine Arts Quartet. I enjoyed it I remember.
unfortunately the Lindsay Qt is just not up to it. Each successive movement the playing is worse.
it doesn't make me happy at all to say this; I mean, how is it possible? But it is.
I don't think this happens with today's string quartets. The technical finesse is so much better.
to be fair, most of the other famous quartets of the 70s-90s like Alban-Berg Quartett were technically far more secure than the Lindsays. The latter basically made a career of being the only/major British quartet for a while and the considerable weight of British record labels and critical publications (like Gramophone and the Penguin etc.) in the 1980s who loved them.
Quote from: Jo498 on December 11, 2020, 01:39:18 AM
to be fair, most of the other famous quartets of the 70s-90s like Alban-Berg Quartett were technically far more secure than the Lindsays. The latter basically made a career of being the only/major British quartet for a while and the considerable weight of British record labels and critical publications (like Gramophone and the Penguin etc.) in the 1980s who loved them.
The ABQ was technically top of the heap. These guys were able to do anything flawlessly (no doubt after studying and rehearsing a lot). Their technical finesse was so high that (for some people) it sucked the life out of their studio recordings.
What I don't understand about this Britten recording is that there wasn't a producer who said, we need to do this again. This is the premier British quartet and they are recording the premier British composer of the previous era.
Quote from: Herman on December 11, 2020, 01:24:12 AM
unfortunately the Lindsay Qt is just not up to it. Each successive movement the playing is worse.
it doesn't make me happy at all to say this; I mean, how is it possible? But it is.
I don't think this happens with today's string quartets. The technical finesse is so much better.
The Britten Quartet and Emperor String Quartet are my go-to recordings for Britten's SQs. Check these out if you haven't already.
I first heard Britten 3 in a concert with the Takacs quartet, it was the highlight of the evening, I remember discussing it after with my friend and we agreed, we said that their approach was serious, and that was just fabulous in this music.
I never thought about it much until today and this afternoon to my surprise I found that Takacs have recorded it, so of course, I decided to download it. It's every bit as good as the memory of the concert - helped by wonderful sound.
Still haven't heard Doric
Quote from: Herman on December 10, 2020, 11:46:01 PM
Turns out I have the ASV recording by the Lindsay Quartet: Tippett SQ nr 4 and Britten's nr 3.
Oh gosh, don't remind me.
I bought that one years ago because it was the most convenient way to get Britten's #3 at the time. It's the only recording of theirs I still own (culled a couple of others). I think Britten's quartets are magnificent.
Not meaning to offend fans or UK critics, but I've always strongly disliked the playing of the Lindsays. Bought some recordings based on
Gramophone (maybe also
Penguin Guide, not sure) recommendations. No longer consult those sources.
Quote from: T. D. on December 11, 2020, 12:14:10 PM
Oh gosh, don't remind me.
I bought that one years ago because it was the most convenient way to get Britten's #3 at the time. It's the only recording of theirs I still own (culled a couple of others). I think Britten's quartets are magnificent.
Not meaning to offend fans or UK critics, but I've always strongly disliked the playing of the Lindsays. Bought some recordings based on Gramophone (maybe also Penguin Guide, not sure) recommendations. No longer consult those sources.
Yeah, I don't care for the Lindsay's either. You're definitely not alone, but you're also not alone in thinking the Britten SQs are magnificent. :)
How original is the serenade?
I mean we all know that Britten took some inspiration from Wozzek for Grimes. Is there music which he took inspiration from for the serenade?
And I have another question.
Ages ago I'm sure I read that the first version of Grimes had an extremely violent hut scene, which Britten toned down for the final version at the request of Sadler's Wells. Is that right? I even have a vague memory of seeing a video of the original - but all this could be a hallucination.
I have always assumed that Britten created the piece deliberately so that we don't know whether he systematically abused the boys or was clumsy and unlucky. It is a similar ambiguity to what is actual and what imagined in The Turn of the Screw. But of course, it might be that he had other things in mind. There is a quartet of women which starts 'From the gutter', I have always heard echos the Straussian vocal lines there as in Rosenkavalier.
I have no info on genesis of the Serenade.
Do you know his Four French Songs? He wrote them as a teenager, they could almost be Ravel. I remember visiting the Picasso Museum in Barcelona. There the young Picasso emulated about half a dozen styles of other artists while he worked towards his own voice. Fascinating to see or to hear.
Mike
Quote from: knight66 on January 17, 2021, 01:50:42 AM
I have no info on genesis of the Serenade.
From the Britten/Pears / Red House site:
"The work was originally called 'Nocturnes' – changed to Serenade before the first performance, and the nocturnal title saved for another fifteen years for another song cycle.
Britten composed it in a somewhat heightened state: many of his works were written at a feverish pace, but this time he literally had a fever from measles and was in an isolation ward in a London hospital while he began to work on it. It was one of the few major works he wrote in the year after returning from the USA in March 1942. To the forces employed in his earlier cycle Les Illuminations (voice and string orchestra) Britten adds the contrasting sonority of the French horn. He had met the horn player Dennis Brain while working for the BBC on his return to the UK and was energised and inspired by his outstanding musical talent. Britten had offered him a concerto, but ended up giving him the Serenade – one of the most enduring showcases for the French horn in the twentieth century repertoire."
https://brittenpears.org/explore/benjamin-britten/music/work-of-the-week/26-serenade/
As to "inspiration", I found this comment quite interesting:
In the Hymn, a movement based on text by Ben Jonson, Britten continues in the tradition of the Mozart and Strauss Horn Concertos by writing a rondo-like figure in 6/8 time.
....
Whilst the piece is by no means humorous, I can't help but find connotations with the humour written into the horn part of the Mozart Horn Concertos by the composer himself, often making fun of, and insulting, the horn player. It cannot be a coincidence, or at least Britten himself must have had it in his conscience, that following a 6/8 movement (all of Mozart's Horn Concertos finish with a lively 6/8 Rondo), Britten writes one of the lowest notes available on the horn (perhaps he liked the idea that one may miss this note and then have to walk off stage embarrassed) before the horn player has to leave in an almost comedic effect.
https://crosseyedpianist.com/2019/02/25/repertoire-in-focus-serenade-for-tenor-horn-and-strings-by-benjamin-britten/
Quote from: knight66 on January 17, 2021, 01:50:42 AM
I have always assumed that Britten created the piece deliberately so that we don't know whether he systematically abused the boys or was clumsy and unlucky. It is a similar ambiguity to what is actual and what imagined in The Turn of the Screw. But of course, it might be that he had other things in mind. There is a quartet of women which starts 'From the gutter', I have always heard echos the Straussian vocal lines there as in Rosenkavalier.
I have no info on genesis of the Serenade.
Do you know his Four French Songs? He wrote them as a teenager, they could almost be Ravel. I remember visiting the Picasso Museum in Barcelona. There the young Picasso emulated about half a dozen styles of other artists while he worked towards his own voice. Fascinating to see or to hear.
Mike
I don't know the French songs.
I've heard before that there's a link between Grimes and Rosenkavelier, a formal one. I have a vague memory that it's to do with the openings, the first interlude and the Rosenkav overture. If I remember I'll post. I must say I think it's hard to let Grimes off the hook even in the final hut scene, it's not good what he does.
"From the gutter" -- we used to call it The Feminist Music (I'm ashamed to say) -- is my least favourite part of the opera.
Quote from: pjme on January 17, 2021, 02:06:27 AM
From the Britten/Pears / Red House site:
"The work was originally called 'Nocturnes' – changed to Serenade before the first performance, and the nocturnal title saved for another fifteen years for another song cycle.
Britten composed it in a somewhat heightened state: many of his works were written at a feverish pace, but this time he literally had a fever from measles and was in an isolation ward in a London hospital while he began to work on it. It was one of the few major works he wrote in the year after returning from the USA in March 1942. To the forces employed in his earlier cycle Les Illuminations (voice and string orchestra) Britten adds the contrasting sonority of the French horn. He had met the horn player Dennis Brain while working for the BBC on his return to the UK and was energised and inspired by his outstanding musical talent. Britten had offered him a concerto, but ended up giving him the Serenade – one of the most enduring showcases for the French horn in the twentieth century repertoire."
https://brittenpears.org/explore/benjamin-britten/music/work-of-the-week/26-serenade/
As to "inspiration", I found this comment quite interesting:
In the Hymn, a movement based on text by Ben Jonson, Britten continues in the tradition of the Mozart and Strauss Horn Concertos by writing a rondo-like figure in 6/8 time.
....
Whilst the piece is by no means humorous, I can't help but find connotations with the humour written into the horn part of the Mozart Horn Concertos by the composer himself, often making fun of, and insulting, the horn player. It cannot be a coincidence, or at least Britten himself must have had it in his conscience, that following a 6/8 movement (all of Mozart's Horn Concertos finish with a lively 6/8 Rondo), Britten writes one of the lowest notes available on the horn (perhaps he liked the idea that one may miss this note and then have to walk off stage embarrassed) before the horn player has to leave in an almost comedic effect.
https://crosseyedpianist.com/2019/02/25/repertoire-in-focus-serenade-for-tenor-horn-and-strings-by-benjamin-britten/
Yes this morning I typed into spotify "horn strings" and of course it came up with the Mozart and Strauss! I was planning on listening later in the week.
Quote from: pjme on January 17, 2021, 02:06:27 AM
From the Britten/Pears / Red House site:
"The work was originally called 'Nocturnes' – changed to Serenade before the first performance, and the nocturnal title saved for another fifteen years for another song cycle.
Britten composed it in a somewhat heightened state: many of his works were written at a feverish pace, but this time he literally had a fever from measles and was in an isolation ward in a London hospital while he began to work on it. It was one of the few major works he wrote in the year after returning from the USA in March 1942. To the forces employed in his earlier cycle Les Illuminations (voice and string orchestra) Britten adds the contrasting sonority of the French horn. He had met the horn player Dennis Brain while working for the BBC on his return to the UK and was energised and inspired by his outstanding musical talent. Britten had offered him a concerto, but ended up giving him the Serenade – one of the most enduring showcases for the French horn in the twentieth century repertoire."
https://brittenpears.org/explore/benjamin-britten/music/work-of-the-week/26-serenade/
As to "inspiration", I found this comment quite interesting:
In the Hymn, a movement based on text by Ben Jonson, Britten continues in the tradition of the Mozart and Strauss Horn Concertos by writing a rondo-like figure in 6/8 time.
....
Whilst the piece is by no means humorous, I can't help but find connotations with the humour written into the horn part of the Mozart Horn Concertos by the composer himself, often making fun of, and insulting, the horn player. It cannot be a coincidence, or at least Britten himself must have had it in his conscience, that following a 6/8 movement (all of Mozart's Horn Concertos finish with a lively 6/8 Rondo), Britten writes one of the lowest notes available on the horn (perhaps he liked the idea that one may miss this note and then have to walk off stage embarrassed) before the horn player has to leave in an almost comedic effect.
https://crosseyedpianist.com/2019/02/25/repertoire-in-focus-serenade-for-tenor-horn-and-strings-by-benjamin-britten/
Thanks for digging that out, very interesting material. I have read about the piece, but more really on the very diverse texts. Very few composers chose their texts as carefully, it is a mosaic of great poetry. Britten and humour would be a whole topic to itself.
Britten was also inspired by the percussionist James Blades to write for exotic instruments, having conferred with him about various sounds he wanted to achieve. I think I remember correctly that as well as Blades sourcing far eastern instruments, he commissioned some makers to produce instruments to his design on behalf of Britten.
Mike
Quote from: Mandryka on January 17, 2021, 02:34:14 AM
I don't know the French songs.
I've heard before that there's a link between Grimes and Rosenkavelier, a formal one. I have a vague memory that it's to do with the openings, the first interlude and the Rosenkav overture. If I remember I'll post. I must say I think it's hard to let Grimes off the hook even in the final hut scene, it's not good what he does.
"From the gutter" -- we used to call it The Feminist Music (I'm ashamed to say) -- is my least favourite part of the opera.
Oddly, that quartet is about my favourite part of it. I waited for it in the new version by Edward Gardner on Chandos. I had attended one of the concert performances given with the same forces, about the best performance of anything I have seen. But it was not on the first disc, nor on the second. Eventually I realised it would not play because my old CD player could not cope with a disc of over 80 minutes. I have just bought a new player, so Grimes and the Currentzis Mahler 6th can now annoy the neighbours in their entirely
As for letting Grimes off, he was to blame for sure. But I think we are supposed to be in doubt as to whether it was stupidity of a rough adult or whether Grimes was brutal and got something out of dominating and being abusive.
Mike
To lose one boy apprentice may be regarded as a misfortune; to lose two looks like carelessness.
When I read your post all I could think was that the combination of Peter Pears and "rough adult" is verging on the oxymoron.
It's years since I heard Grimes. I used to love it so much, I could practically sing all of it (in fact I remember singing most of it one cold winter's day waiting for a delayed train in Rome somewhere, but that's another story.) I may check out this new performance.
I could never take Pears seriously in the part, either vocally or watching him. But Vickers really embodied the uncouth, socially dysfunctional poet. And Skelton is very fine. Britten never liked Vickers in the part.
Mike
Article by James Conlon ( the conductor, I suppose....?). Precise and illuminating, I thought.
https://hudsonreview.com/2013/10/message-meaning-and-code-in-the-operas-of-benjamin-britten/#.YAQ5e-hKiHZ
3 fragments:
"The abuse of innocence is another Britten theme. Grimes is not guiltless, but his victimization by the townspeople qualifies him in this category nonetheless. It cannot be established that he was responsible for the death of one boy, and we see the circumstances of a second's accidental death. It might be more just to place the blame for this second young death at the doorstep of the townspeople themselves. The "outraged" innocence of the two dead apprentices is beyond question.
Pears further remarked, "Grimes is not a hero nor is he an operatic villain. He is not a sadist, nor a demonic character, and the music quite clearly shows that. He is very much a weak person who, being at odds with the society in which he finds himself, tries to overcome it and, in doing so offends against the conventional code, is classed by society as a criminal, and destroyed as such. . . . There are plenty of Grimeses around still, I think."
All these statements taken together add up to an indictment of society. Peter Grimes is a powerful tale of the plight of the outsider. The status of any homosexual male in England at the time was to be a man who finds himself "at odds with the society in which he finds himself." Britten, like Grimes, "is an introspective, an artist." Britten and Pears together felt "the individual against the crowd with ironic overtones for our [Britten and Pears's] own situation."
For decades after its brilliant international success, there was no widespread consideration given to the notion that Peter Grimes is also the story of a homosexual outcast. That nearly universal silence helped to obscure a key element in this story. Now, in 2013, I find it impossible not to discuss it. In staging the work today, interpretive choices can and must be made, but the question cannot be ignored."
"I am skeptical of psychoanalyzing composers through their music. Biography, whether psycho- or not, is fascinating, interesting and informative. It is also very often irrelevant. In art, literature and music, it is not the sources, muses or background that matter but the final product. The work of art and the artist are distinct. None of this, code and all, would interest us if the works of Britten and Shostakovich were not first and foremost great music, which needn't be about anything. Ultimately, it is an extraordinary collection of notes, harmony, rhythms, chords, dissonances, noises and sounds which, obeying only its own laws of organization, results in a coherent and compelling whole."
"The meaning of his code, or even its existence, can be argued. Such codes are for the initiated, and it is nearly impossible to penetrate them. The power of the extraordinary combination of Britten's musical, dramatic and theatrical genius has bequeathed us a rich legacy of works, whose mysteries are deeply hidden. They cannot be, and perhaps should not be, completely unearthed. Fortunately, they are covered with music so powerful, so expertly realized, so gripping, that it will compel us to keep digging long into the future."
Quote from: pjme on January 17, 2021, 04:39:11 AM
Article by James Conlon ( the conductor, I suppose....?). Precise and illuminating, I thought.
https://hudsonreview.com/2013/10/message-meaning-and-code-in-the-operas-of-benjamin-britten/#.YAQ5e-hKiHZ
3 fragments:
"The abuse of innocence is another Britten theme. Grimes is not guiltless, but his victimization by the townspeople qualifies him in this category nonetheless. It cannot be established that he was responsible for the death of one boy, and we see the circumstances of a second's accidental death. It might be more just to place the blame for this second young death at the doorstep of the townspeople themselves. The "outraged" innocence of the two dead apprentices is beyond question.
Pears further remarked, "Grimes is not a hero nor is he an operatic villain. He is not a sadist, nor a demonic character, and the music quite clearly shows that. He is very much a weak person who, being at odds with the society in which he finds himself, tries to overcome it and, in doing so offends against the conventional code, is classed by society as a criminal, and destroyed as such. . . . There are plenty of Grimeses around still, I think."
All these statements taken together add up to an indictment of society. Peter Grimes is a powerful tale of the plight of the outsider. The status of any homosexual male in England at the time was to be a man who finds himself "at odds with the society in which he finds himself." Britten, like Grimes, "is an introspective, an artist." Britten and Pears together felt "the individual against the crowd with ironic overtones for our [Britten and Pears's] own situation."
For decades after its brilliant international success, there was no widespread consideration given to the notion that Peter Grimes is also the story of a homosexual outcast. That nearly universal silence helped to obscure a key element in this story. Now, in 2013, I find it impossible not to discuss it. In staging the work today, interpretive choices can and must be made, but the question cannot be ignored."
"I am skeptical of psychoanalyzing composers through their music. Biography, whether psycho- or not, is fascinating, interesting and informative. It is also very often irrelevant. In art, literature and music, it is not the sources, muses or background that matter but the final product. The work of art and the artist are distinct. None of this, code and all, would interest us if the works of Britten and Shostakovich were not first and foremost great music, which needn't be about anything. Ultimately, it is an extraordinary collection of notes, harmony, rhythms, chords, dissonances, noises and sounds which, obeying only its own laws of organization, results in a coherent and compelling whole."
"The meaning of his code, or even its existence, can be argued. Such codes are for the initiated, and it is nearly impossible to penetrate them. The power of the extraordinary combination of Britten's musical, dramatic and theatrical genius has bequeathed us a rich legacy of works, whose mysteries are deeply hidden. They cannot be, and perhaps should not be, completely unearthed. Fortunately, they are covered with music so powerful, so expertly realized, so gripping, that it will compel us to keep digging long into the future."
One horrible thing about Grimes is that everyone lets him down, even Balstrode. I just find Grimes a really unsympathetic character -- I mean all he wants to do is win the respect of the Borough gossips by setting up household and shop, making money. He's a lumpenproletarian, aspiring middle class, Thatcher voter. If he lived in 2020 he would be gammon -- now eating his words because of the new fishing regulations.
One thing I'm sure of, Grimes wasn't
Quote from: pjme on January 17, 2021, 04:39:11 AM
"an introspective, an artist."
When John Vickers played him!
Quote from: pjme on January 17, 2021, 04:39:11 AM
Article by James Conlon ( the conductor, I suppose....?). Precise and illuminating, I thought.
https://hudsonreview.com/2013/10/message-meaning-and-code-in-the-operas-of-benjamin-britten/#.YAQ5e-hKiHZ
3 fragments:
"The abuse of innocence is another Britten theme. Grimes is not guiltless, but his victimization by the townspeople qualifies him in this category nonetheless. It cannot be established that he was responsible for the death of one boy, and we see the circumstances of a second's accidental death. It might be more just to place the blame for this second young death at the doorstep of the townspeople themselves. The "outraged" innocence of the two dead apprentices is beyond question.
Pears further remarked, "Grimes is not a hero nor is he an operatic villain. He is not a sadist, nor a demonic character, and the music quite clearly shows that. He is very much a weak person who, being at odds with the society in which he finds himself, tries to overcome it and, in doing so offends against the conventional code, is classed by society as a criminal, and destroyed as such. . . . There are plenty of Grimeses around still, I think."
All these statements taken together add up to an indictment of society. Peter Grimes is a powerful tale of the plight of the outsider. The status of any homosexual male in England at the time was to be a man who finds himself "at odds with the society in which he finds himself." Britten, like Grimes, "is an introspective, an artist." Britten and Pears together felt "the individual against the crowd with ironic overtones for our [Britten and Pears's] own situation."
For decades after its brilliant international success, there was no widespread consideration given to the notion that Peter Grimes is also the story of a homosexual outcast. That nearly universal silence helped to obscure a key element in this story. Now, in 2013, I find it impossible not to discuss it. In staging the work today, interpretive choices can and must be made, but the question cannot be ignored."
"I am skeptical of psychoanalyzing composers through their music. Biography, whether psycho- or not, is fascinating, interesting and informative. It is also very often irrelevant. In art, literature and music, it is not the sources, muses or background that matter but the final product. The work of art and the artist are distinct. None of this, code and all, would interest us if the works of Britten and Shostakovich were not first and foremost great music, which needn't be about anything. Ultimately, it is an extraordinary collection of notes, harmony, rhythms, chords, dissonances, noises and sounds which, obeying only its own laws of organization, results in a coherent and compelling whole."
"The meaning of his code, or even its existence, can be argued. Such codes are for the initiated, and it is nearly impossible to penetrate them. The power of the extraordinary combination of Britten's musical, dramatic and theatrical genius has bequeathed us a rich legacy of works, whose mysteries are deeply hidden. They cannot be, and perhaps should not be, completely unearthed. Fortunately, they are covered with music so powerful, so expertly realized, so gripping, that it will compel us to keep digging long into the future."
The ambiguities that Britten inserts into this story are part of what makes it so three dimensional. I refer to it as an opera for grownups, as against the cardboard figures of some composers who mainly want to provide a display of the voice. Any production that highlights a gay interpretation is just mining what is there. The constant outsider element in Brittens operas is obviously connected to his own perceived status. Despite being left in peace and being at the centre of English cultural life during a time when many were prosecuted, there would have been plenty of prejudice encountered. Britten had lots of input into the adaptation of the character in the original poem and made him less clearcut, less of a villain.
Grimes hardly seems to be a member of the lumpenproletariat. The words he is given to sing indicate a man with a tortured inner life about which is is positively poetic. He wants a normal looking life, but that is not going to happen. He is frightened a lot. There are a number of valid ways to play the character.
It is a long time since I have seen Conlon's name. About 1978 I was in a gig of his at the Hollywood Bowl, Alexander Nevsky. We had prepared using the British daughter of a Russian to smarten up our pronunciation. Conlon very pleasantly deconstructed our Russian and put it back together in double quick time. There were some players in the LA Phil who had come over from Russia after the war. As we were walking through the grounds after the performance, two of the violinists, with what sounded like Russian accents, asked me who had trained us in Russian They were amused at the answer saying that, there was nothing 'Jimmy' did not know, he was a whiz kid. End of digression.
Mike
Quote from: knight66 on January 17, 2021, 06:56:47 AM
The ambiguities that Britten inserts into this story are part of what makes it so three dimensional. I refer to it as an opera for grownups, as against the cardboard figures of some composers who mainly want to provide a display of the voice. Any production that highlights a gay interpretation is just mining what is there. The constant outsider element in Brittens operas is obviously connected to his own perceived status. Despite being left in peace and being at the centre of English cultural life during a time when many were prosecuted, there would have been plenty of prejudice encountered. Britten had lots of input into the adaptation of the character in the original poem and made him less clearcut, less of a villain.
Grimes hardly seems to be a member of the lumpenproletariat. The words he is given to sing indicate a man with a tortured inner life about which is is positively poetic. He wants a normal looking life, but that is not going to happen. He is frightened a lot. There are a number of valid ways to play the character.
It is a long time since I have seen Conlon's name. About 1978 I was in a gig of his at the Hollywood Bowl, Alexander Nevsky. We had prepared using the British daughter of a Russian to smarten up our pronunciation. Conlon very pleasantly deconstructed our Russian and put it back together in double quick time. There were some players in the LA Phil who had come over from Russia after the war. As we were walking through the grounds after the performance, two of the violinists, with what sounded like Russian accents, asked me who had trained us in Russian They were amused at the answer saying that, there was nothing 'Jimmy' did not know, he was a whiz kid. End of digression.
Mike
Re lumpenproletariat, I don't want to do it now but it would be interesting to compare Grimes and Wozzeck in Marxist terms. I have a feeling that Berg will come off better (in Marxist terms!)
Wozzeck was also an outsider, he wanted to set up household with Marie, he was ultimately let down by everyone including his friend Andres and his wife and indeed the whole community, he had strange visions (Great bear type visions), both suicided in a watery way. The structure and the content are both very similar in many respects.
Anyone explored the cello suites? Favourite performances?
Quote from: Mandryka on January 18, 2021, 12:11:15 PM
Anyone explored the cello suites? Favourite performances?
Rostropovich and Gerhardt are the ones I continue to come back to, although I haven't listened to many other performances outside of these recordings.
Quote from: Mirror Image on January 18, 2021, 12:27:04 PM
Rostropovich and Gerhardt are the ones I continue to come back to, although I haven't listened to many other performances outside of these recordings.
Thanks, will listen tomorrow.
Quote from: Mandryka on January 18, 2021, 12:11:15 PM
Anyone explored the cello suites? Favourite performances?
I am fond of the set by
Truls Mørk, which I heard around the same time as the version by Rohan de Saram, former cellist with the Arditti Quartet. (They both appeared in 2001.) Saram's is fine, but the sound (Disques Montaigne) is a little on the dry side, compared to Mørk (on Virgin).
[asin]B00004Z34E[/asin]
--Bruce
I recall thinking well of Mørk as well, and Queyras.
I've never given any attention to these suites before so I thought it was about time! I was surprised to see how often they've been recorded in fact.
The other thing I heard today is Bream's performance of the op 70 nocturnal.
Quote from: Mandryka on January 18, 2021, 01:08:53 PM
Thanks, will listen tomorrow.
My pleasure. Many consider Rostropovich the reference recording and I can certainly hear
why as these works were written for him of course. The Gerhardt is quite good, though and offers more up-to-date sonics.
Quote from: Mandryka on January 18, 2021, 01:20:36 PM
I've never given any attention to these suites before so I thought it was about time! I was surprised to see how often they've been recorded in fact.
The other thing I heard today is Bream's performance of the op 70 nocturnal.
The suites are among Britten's best creations, which is saying something. Also, if you like
Nocturnal, you might like Sharon Isbin's version, which appears on her Nightshade Rounds recording. (Checking Amazon just now, I'm not sure if it's worth paying $136, but as they say, YMMV. ;D )
--Bruce
Sharon Isbin's Nocturnal is streaming on her recording called Great Masterworks of the Guitar. I'm enjoying it more today than I enjoyed Bream yesterday.
I am also enjoying the third cello suite, rather more than the other two in fact.
Quote from: knight66 on January 17, 2021, 03:33:52 AM
Oddly, that quartet is about my favourite part of it. I waited for it in the new version by Edward Gardner on Chandos. I had attended one of the concert performances given with the same forces, about the best performance of anything I have seen. But it was not on the first disc, nor on the second. Eventually I realised it would not play because my old CD player could not cope with a disc of over 80 minutes. I have just bought a new player, so Grimes and the Currentzis Mahler 6th can now annoy the neighbours in their entirely
Mike
My turn to upset the neighbours today with that Chandos recording. And you know, I can still sing along! I can't stop muttering to myself "he's mad, or drunk."
Quote from: Mirror Image on January 18, 2021, 12:27:04 PM
Rostropovich and Gerhardt are the ones I continue to come back to, although I haven't listened to many other performances outside of these recordings.
Did Rostropovich record the third?
Quote from: Mandryka on January 19, 2021, 07:47:17 AM
Did Rostropovich record the third?
Now that you mention it, I don't believe he did --- just the 1st and 2nd. I could've swore he did as I have this set:
(https://images.universal-music.de/img/assets/332/332681/4/720/benjamin-britten-the-complete-works.jpg)
It appears that Robert Cohen is the cellist in the 3rd in this set.
Rostropovich is a favorite of mine! First time that I ever heard them too.
I found a used copy of Truls Mork playing them; will have to give that a listen.
PD
Not being an opera fan I don't listen to much Britten, although I think very highly of the Sinfonia da Requiem (which I saw Walter Susskind conduct decades ago) and the War Requiem. I have, however, recently began to appreciate the Violin Concerto, which I have been enjoying on this excellent CD, which I bought for the poignant Milford work 'The Darkling Thrush':
(//)
Quote from: vandermolen on January 26, 2021, 02:54:13 AM
Not being an opera fan I don't listen to much Britten, although I think very highly of the Sinfonia da Requiem (which I saw Walter Susskind conduct decades ago) and the War Requiem. I have, however, recently began to appreciate the Violin Concerto, which I have been enjoying on this excellent CD, which I bought for the poignant Milford work 'The Darkling Thrush':
(//)
Well, he wrote a lot of music besides opera, Jeffrey. Have you heard the SQs,
Ballad of Heroes,
Phaedra,
Nocturne,
Serenade for Tenor, Horn & Strings,
Cantata academica,
Spring Symphony,
Phantasy Quartet, etc.?
Quote from: vandermolen on January 26, 2021, 02:54:13 AM
Not being an opera fan I don't listen to much Britten, although I think very highly of the Sinfonia da Requiem (which I saw Walter Susskind conduct decades ago) and the War Requiem. I have, however, recently began to appreciate the Violin Concerto, which I have been enjoying on this excellent CD, which I bought for the poignant Milford work 'The Darkling Thrush':
(//)
To have both the Britten and Delius VC in the same package is appealing, Jeffrey. Milford, I have not heard of but if that was the reason for your purchase then win win win. :)
Maybe his politics, I don't know, but Supraphon released a fair bit of Britten. Nora Grumlikova is outstanding and my introduction to the work.
I could never quite get into Britten's Violin Concerto. I mean it's certainly not a bad work or doesn't have its great moments, but I don't know, it just never held together very well for me. I much prefer his Piano Concerto and if we're talking about string concerti then the early Double Concerto is another favorite. I also like the Cello Symphony, Diversions and Lachrymae.
Quote from: Mirror Image on January 26, 2021, 07:03:07 AM
Well, he wrote a lot of music besides opera, Jeffrey. Have you heard the SQs, Ballad of Heroes, Phaedra, Nocturne, Serenade for Tenor, Horn & Strings, Cantata academica, Spring Symphony, Phantasy Quartet, etc.?
Phaedra, the Nocturne, the Spring symphony and the Cantata academica are indeed works in which Britten once more shows how well he wrote for voices. I have a soft spot for the (quite unpopular) Cantata academica. Its melodies invite to sing along!
The 1960 world premiere performance under Paul Sacher is on YT (with Agnes Giebel, soprano; Elsa Cavelti, contralto; Peter Pears, tenor and Heinz Rehfuss, bass), the EMI recording is conducted by George Malcolm and has soloists Jennifer Vyvyan, Helen Watts, Peter Pears, and Owen Brannigan and still sounds good.
As unpopular, I think, is the lovely Cantata misericordium - for tenor, baritone, chorus, string quartet, string orchestra, piano, harp, and timpani. It recounts the Biblical parable of the Good Samaritan and was written for the centenary of the Red cross.
Quote from: Mirror Image on January 26, 2021, 07:03:07 AM
Well, he wrote a lot of music besides opera, Jeffrey. Have you heard the SQs, Ballad of Heroes, Phaedra, Nocturne, Serenade for Tenor, Horn & Strings, Cantata academica, Spring Symphony, Phantasy Quartet, etc.?
I like the Serenade for Tenor, Horn and Strings and the Cantata Misericordium, which doesn't seem to get much attention. I just snapped this set up John:
(//)
I never liked the VC before but for some reason it appeals much more to me now. The ending reminded me of Shostakovich and I see that it has been coupled with DSCH's 1st VC on one record label. What got me into it was that I recognised the opening bars as a theme for a BBC Schools History TV series which I used to show my students.
I'm sure that I've head and enjoyed the Ballad of Heroes.
Quote from: Irons on January 26, 2021, 07:14:22 AM
To have both the Britten and Delius VC in the same package is appealing, Jeffrey. Milford, I have not heard of but if that was the reason for your purchase then win win win. :)
Maybe his politics, I don't know, but Supraphon released a fair bit of Britten. Nora Grumlikova is outstanding and my introduction to the work.
Yes, I remember that LP Lol, although I never owned it. I think that you'd like The Darkling Thrush - it's only 13 minutes but I find it very moving and poignant in view of Milford's sad life. That Dutton CD has given me much pleasure and is one of those discs that I can enjoy all the way through despite it featuring the work of three different composers. It's very much in the Finzi/VW mould. Milford's teachers were Holst and VW.
PS on second thoughts I do have that recording but on CD:
(//)
Quote from: pjme on January 26, 2021, 12:37:50 PM
Phaedra, the Nocturne, the Spring symphony and the Cantata academica are indeed works in which Britten once more shows how well he wrote for voices. I have a soft spot for the (quite unpopular) Cantata academica. Its melodies invite to sing along!
The 1960 world premiere performance under Paul Sacher is on YT (with Agnes Giebel, soprano; Elsa Cavelti, contralto; Peter Pears, tenor and Heinz Rehfuss, bass), the EMI recording is conducted by George Malcolm and has soloists Jennifer Vyvyan, Helen Watts, Peter Pears, and Owen Brannigan and still sounds good.
As unpopular, I think, is the lovely Cantata misericordium - for tenor, baritone, chorus, string quartet, string orchestra, piano, harp, and timpani. It recounts the Biblical parable of the Good Samaritan and was written for the centenary of the Red cross.
I remember taking this LP out of the Library in Exeter when I was doing my teacher training. I took it out for the Sinfonia Da Requiem but thoroughly enjoyed the Cantata Misericordium. The recording reappeared on CD with the Sinfonia Da Requiem and the Cello Symphony and was not even mentioned on the front of the disc!
(//)
Quote from: pjme on January 26, 2021, 12:37:50 PM
Phaedra, the Nocturne, the Spring symphony and the Cantata academica are indeed works in which Britten once more shows how well he wrote for voices. I have a soft spot for the (quite unpopular) Cantata academica. Its melodies invite to sing along!
The 1960 world premiere performance under Paul Sacher is on YT (with Agnes Giebel, soprano; Elsa Cavelti, contralto; Peter Pears, tenor and Heinz Rehfuss, bass), the EMI recording is conducted by George Malcolm and has soloists Jennifer Vyvyan, Helen Watts, Peter Pears, and Owen Brannigan and still sounds good.
As unpopular, I think, is the lovely Cantata misericordium - for tenor, baritone, chorus, string quartet, string orchestra, piano, harp, and timpani. It recounts the Biblical parable of the Good Samaritan and was written for the centenary of the Red cross.
All the works you mention are superb Britten all-around. I'm not sure
why the
Cantata academica is unpopular but that's of no matter to me --- I love it. Do you like any of the operas?
The Turn of the Screw and
Death in Venice are outstanding, but I also like
Peter Grimes and
Gloriana.
Quote from: vandermolen on January 26, 2021, 12:58:01 PM
I like the Serenade for Tenor, Horn and Strings and the Cantata Misericordium, which doesn't seem to get much attention. I just snapped this set up John:
I never liked the VC before but for some reason it appeals much more to me now. The ending reminded me of Shostakovich and I see that it has been coupled with DSCH's 1st VC on one record label. What got me into it was that I recognised the opening bars as a theme for a BBC Schools History TV series which I used to show my students.
I'm sure that I've head and enjoyed the Ballad of Heroes.
Very nice, Jeffrey. That should be a fine set. I believe I own most the Britten from that set in this one:
(https://img.discogs.com/ISI28R_5lKOMeehmcHGgr5es1-U=/fit-in/600x579/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-9063175-1474125061-3422.jpeg.jpg)
Quote from: Mirror Image on January 26, 2021, 01:43:27 PM
All the works you mention are superb Britten all-around. I'm not sure why the Cantata academica is unpopular but that's of no matter to me --- I love it. Do you like any of the operas? The Turn of the Screw and Death in Venice are outstanding, but I also like Peter Grimes and Gloriana.
Britten was one of the composers that I found easy to appreciate as a teenager. The War requiem was (and still is) regularly performed in Belgium (WWI - Ieper/Ypres...)and made a huge impression when I first saw & heard it. The operas came much later. I've seen and love Death in Venice, Peter Grimes and A midsummer night's dream
This superb production was premiered in Lyon or Aix en Provence:
https://youtu.be/rTUajpHeG-A
I've never heard Gloriana but do like the Suite from that opera.
And that late symphonic work "A time there was"!!
Quote from: pjme on January 26, 2021, 02:07:08 PM
Britten was one of the composers that I found easy to appreciate as a teenager. The War requiem was (and still is) regularly performed in Belgium (WWI - Ieper/Ypres...)and made a huge impression when I first saw & heard it. The operas came much later. I've seen and love Death in Venice, Peter Grimes and A midsummer night's dream
This superb production was premiered in Lyon or Aix en Provence:
https://youtu.be/rTUajpHeG-A
I've never heard Gloriana but do like the Suite from that opera.
And that late symphonic work "A time there was"!!
The
War Requiem is a favorite of mine as well. Such a massive work, but quite moving. I never could warm up to
A Midsummer's Night Dream. I don't know I guess I like the more brooding operas like
The Turn of the Screw and
Death in Venice. These operas are sinister and can have quite the hold over me when I'm listening to them. I think you'd appreciate
Gloriana. The recording of choice here in Mackerras on Decca. Wow. What a performance! I agree with you about
Suite on English Folk Tunes, "A time there was...". Wonderful work.
Quote from: Mirror Image on January 26, 2021, 01:45:12 PM
Very nice, Jeffrey. That should be a fine set. I believe I own most the Britten from that set in this one:
(https://img.discogs.com/ISI28R_5lKOMeehmcHGgr5es1-U=/fit-in/600x579/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-9063175-1474125061-3422.jpeg.jpg)
That looks like a great set too John! I've seen the War Requiem a couple of times live and I recall a very moving performance at the Albert Hall with the boy's choir in the roof. John Foulds's 'A World Requiem', also performed there, was v powerful but in a totally different way. For my last b'day I asked my daughter to get me the classic Decca recording of A War Requiem conducted by Britten which I've owned on LP for decades but never possessed on CD. I especially like Ancerl's recording:
(//)
Quote from: vandermolen on January 26, 2021, 01:02:59 PM
Yes, I remember that LP Lol, although I never owned it. I think that you'd like The Darkling Thrush - it's only 13 minutes but I find it very moving and poignant in view of Milford's sad life. That Dutton CD has given me much pleasure and is one of those discs that I can enjoy all the way through despite it featuring the work of three different composers. It's very much in the Finzi/VW mould. Milford's teachers were Holst and VW.
PS on second thoughts I do have that recording but on CD:
(//)
Even when you think you don't have a recording you do, Jeffrey. You must live in a mansion or have a man-cave.
That CD is enticing. With longer playing times I do not mind mix and match of composers on CD. A habit of playing whole of a LP is carried over to CD. The remote does not get much use.
Quote from: Irons on January 27, 2021, 01:17:07 AM
Even when you think you don't have a recording you do, Jeffrey. You must live in a mansion or have a man-cave.
That CD is enticing. With longer playing times I do not mind mix and match of composers on CD. A habit of playing whole of a LP is carried over to CD. The remote does not get much use.
Haha - well I do have a shed converted into a 'man-cave' and largely full of books and CDs.
Quote from: vandermolen on January 27, 2021, 03:27:22 AM
Haha - well I do have a shed converted into a 'man-cave' and largely full of books and CDs.
Ah, the truth finally comes out! :D ;)
My 'she-shed' is my house. ;D
And, yes, that Britten box set is nice (The Collector's Edition); I purchased it years ago. I also enjoy the Britten: The Performer CDs (I have Vols. 2, 4, 6, 7, 8, 11 and 12).
PD
Quote from: Pohjolas Daughter on January 27, 2021, 03:45:10 AM
Ah, the truth finally comes out! :D ;)
My 'she-shed' is my house. ;D
And, yes, that Britten box set is nice (The Collector's Edition); I purchased it years ago. I also enjoy the Britten: The Performer CDs (I have Vols. 2, 4, 6, 7, 8, 11 and 12).
PD
I'm thinking of moving into it permanently with the cat ;D
Quote from: vandermolen on January 27, 2021, 03:49:15 AM
I'm thinking of moving into it permanently with the cat ;D
;D
But, seriously, how do you deal with *moisture/humidity/mold in your shed?
*None of which are friends to books and CDs.
PD
Quote from: vandermolen on January 27, 2021, 03:27:22 AM
Haha - well I do have a shed converted into a 'man-cave' and largely full of books and CDs.
oooh one is slightly jealous... ;D
Quote from: vandermolen on January 26, 2021, 10:24:05 PM
That looks like a great set too John! I've seen the War Requiem a couple of times live and I recall a very moving performance at the Albert Hall with the boy's choir in the roof. John Foulds's 'A World Requiem', also performed there, was v powerful but in a totally different way. For my last b'day I asked my daughter to get me the classic Decca recording of A War Requiem conducted by Britten which I've owned on LP for decades but never possessed on CD. I especially like Ancerl's recording:
Very nice, Jeffrey. I bet seeing
War Requiem live was a fantastic experience. I'm a bit jealous, although I shouldn't be this way as I had the opportunity to see it performed in Atlanta (w/ Spano and the Atlanta SO) many years ago but I couldn't go as it was a work night. :-\ I wanted to point out that I also own this fabulous set, which is ridiculously expensive nowadays as it's OOP:
(https://images-na.ssl-images-amazon.com/images/I/81hbVe6usEL._SL1500_.jpg)
There's no telling how many single issued recordings I own. I'm not even going to bother counting or remembering for that matter. ;D
Quote from: Pohjolas Daughter on January 27, 2021, 05:16:39 AM
;D
But, seriously, how do you deal with *moisture/humidity/mold in your shed?
*None of which are friends to books and CDs.
PD
It's not the greatest environment but the shed (man-cave) is insulated and I have a heater in there which heats it up very quickly.
Quote from: Mirror Image on January 27, 2021, 06:45:10 AM
Very nice, Jeffrey. I bet seeing War Requiem live was a fantastic experience. I'm a bit jealous, although I shouldn't be this way as I had the opportunity to see it performed in Atlanta (w/ Spano and the Atlanta SO) many years ago but I couldn't go as it was a work night. :-\ I wanted to point out that I also own this fabulous set, which is ridiculously expensive nowadays as it's OOP:
(https://images-na.ssl-images-amazon.com/images/I/81hbVe6usEL._SL1500_.jpg)
There's no telling how many single issued recordings I own. I'm not even going to bother counting or remembering for that matter. ;D
Yes John, seeing the War Requiem live was very moving indeed. That set looks great but having just ordered the mini British Composers set I'll leave off for now.
Quote from: vandermolen on January 27, 2021, 06:56:16 AM
Yes John, seeing the War Requiem live was very moving indeed. That set looks great but having just ordered the mini British Composers set I'll leave off for now.
I seriously doubt you'll find this Decca set for a price that isn't astronomically absurd. :) I bought this set not too long after it was released and I'm glad I didn't wait around to buy it as my knuckle-dragging could've cost me in more ways than one in this case.
Quote from: vandermolen on January 27, 2021, 06:53:47 AM
It's not the greatest environment but the shed (man-cave) is insulated and I have a heater in there which heats it up very quickly.
That's good! Was the shed built to handle the overflow of both?
PD
Quote from: aukhawk on January 27, 2021, 08:31:26 AM
Such an irony when Peter Pears is pictured there on the cover yet does not feature (unless he was moonlighting as a percussionist ;D ) in either of the named works.
Pears giving his friends a fondle - I like to think that photo caught Rostropovich in the act of turning to smack Pears round the chops :laugh:
I too bought that 'double A-side' LP for the Sinfonia da Requiem (still a good choice in a now-crowded field) but immediately enjoyed the Cantata Misericordum too. And I don't much like vocal music and actively dislike fluting tenors.
Wow - that's a crude, infantile and inappropriate comment. I know who deserves a smack!
By the way, Pears is the tenor soloist in the Cantata misericordium. Which for incomprehensible reasons is not mentioned on the front (as Vandermolen pointed out).
I still do not know a better and more powerful performance of Sinfonia Da Requiem that the Decca one featured above, conducted by Britten. At least the CD booklet reproduces the LP cover of the Sinfonia da Requiem/Cantata Misericordium release but, yes, very bizarre that it's not mentioned on the front of the CD as it's such a fine work.
Quote from: Pohjolas Daughter on January 27, 2021, 07:43:07 AM
That's good! Was the shed built to handle the overflow of both?
PD
OT
PD,
The old shed was falling to bits. When I retired from full-time teaching the Teacher's Pension Scheme gave me a lump sum so that, for the first time ever, I had a bit of money in the bank. The 'Man-Cave' was really built as an alternative work room. When it's in a more presentable state I'll post a photo of it. :)
Quote from: vandermolen on January 27, 2021, 11:59:44 PM
OT
PD,
The old shed was falling to bits. When I retired from full-time teaching the Teacher's Pension Scheme gave me a lump sum so that, for the first time ever, I had a bit of money in the bank. The 'Man-Cave' was really built as an alternative work room. When it's in a more presentable state I'll post a photo of it. :)
Happy decorating!
Quote from: Pohjolas Daughter on January 28, 2021, 03:54:05 AM
Happy decorating!
OT
It's tidying up rather than decorating PD ;D
Quote from: aukhawk on January 27, 2021, 08:31:26 AM
Such an irony when Peter Pears is pictured there on the cover yet does not feature (unless he was moonlighting as a percussionist ;D ) in either of the named works.
Pears giving his friends a fondle - I like to think that photo caught Rostropovich in the act of turning to smack Pears round the chops :laugh:
I too bought that 'double A-side' LP for the Sinfonia da Requiem (still a good choice in a now-crowded field) but immediately enjoyed the Cantata Misericordum too. And I don't much like vocal music and actively dislike fluting tenors.
There is an earlier recording too, although mono I prefer the ACL. The Danish orchestra of the period were outstanding.
Quote from: vandermolen on January 28, 2021, 06:18:15 AM
OT
It's tidying up rather than decorating PD ;D
Well if it makes you feel better, I have a fair bit of 'decorating' to do around here too. :) ;)
Quote from: aukhawk on January 27, 2021, 08:31:26 AM
Pears giving his friends a fondle - I like to think that photo caught Rostropovich in the act of turning to smack Pears round the chops :laugh:
You mean for the offense of being touched by a gay homosexual?
This picture was taken in 1965 or something; those people were further in time than you are half a century later.
Quote from: Irons on January 28, 2021, 07:13:23 AM
There is an earlier recording too, although mono I prefer the ACL. The Danish orchestra of the period were outstanding.
I have that fine performance here Lol:
(//)
Quote from: vandermolen on January 30, 2021, 12:24:45 AM
I have that fine performance here Lol:
(//)
An excellent CD Jeffrey of classic performances. Unlike Diversions and Sinfonia which are Decca the piano concerto is an EMI recording. I have it on LP coupled coincidently with the Rubbra Concerto which you mention with a later recording on another thread today. I would add another recording from the same vintage, Goossens recording of the Serenade. Dennis Brain's playing literally makes the hair on the back of my neck stand up!
Quote from: Irons on February 01, 2021, 12:43:46 AM
An excellent CD Jeffrey of classic performances. Unlike Diversions and Sinfonia which are Decca the piano concerto is an EMI recording. I have it on LP coupled coincidently with the Rubbra Concerto which you mention with a later recording on another thread today. I would add another recording from the same vintage, Goossens recording of the Serenade. Dennis Brain's playing literally makes the hair on the back of my neck stand up!
Thanks Lol. I hadn't realised that the Sinfonia da Requiem was EMI. That old HMV 20 Series was invaluable and I made many excellent discoveries after taking some of the releases out of my local record library in London. These included Rubbra's 5th Symphony (Barbirolli) on the LP which also featured VW's 'Five Variants on Dives and Lazarus' (my first encounter with that moving work as well) and the Oboe Concerto and also Robert Simpson's 1st Symphony (Boult) with Fricker's 2nd Symphony. The Rubbra/VW disc, in particular, had a great influence on me and I remember playing that LP over and over again.
Quote from: vandermolen on February 01, 2021, 01:24:09 AM
Thanks Lol. I hadn't realised that the Sinfonia da Requiem was EMI. That old HMV 20 Series was invaluable and I made many excellent discoveries after taking some of the releases out of my local record library in London. These included Rubbra's 5th Symphony (Barbirolli) on the LP which also featured VW's 'Five Variants on Dives and Lazarus' (my first encounter with that moving work as well) and the Oboe Concerto and also Robert Simpson's 1st Symphony (Boult) with Fricker's 2nd Symphony. The Rubbra/VW disc, in particular, had a great influence on me and I remember playing that LP over and over again.
PC is EMI Jeffrey, the Sinfonia da Requiem is indeed Decca.
As you say the HMV 20 series is invaluable and I pick them up when available. I would like to collect the complete (20?) set but hit the buffers as they don't seem to turn up anymore. But like the rest of the world not getting out much.
I do have the following on my shelves -
4: Bliss, Music for Strings/Miracle of the Gorbals.
5: Fricker/Simpson, 2nd & 1st Symphonies.
6: Rubba/RVW, 5th Symphony/ Dives and Oboe Concerto.
7: Rawsthorne, 1&2 Piano Concertos.
11: Lambert/Bliss/Gordon, The Rio Grande Horoscope/Adam Zero Dance of Summer/ Rake's Progress Sarabande & Orgy.
12: Britten/Rubbra, Piano Concertos.
Without number: Walton Facade/ Johannesburg Festival/ Portsmouth Point/ Crown Imperial/ Orb and Sceptre.
ditto: Ireland/Berkeley, Piano Concerto/Trio for Violin, Horn and Piano.
Quote from: Irons on February 01, 2021, 07:45:42 AM
PC is EMI Jeffrey, the Sinfonia da Requiem is indeed Decca.
As you say the HMV 20 series is invaluable and I pick them up when available. I would like to collect the complete (20?) set but hit the buffers as they don't seem to turn up anymore. But like the rest of the world not getting out much.
I do have the following on my shelves -
4: Bliss, Music for Strings/Miracle of the Gorbals.
5: Fricker/Simpson, 2nd & 1st Symphonies.
6: Rubba/RVW, 5th Symphony/ Dives and Oboe Concerto.
7: Rawsthorne, 1&2 Piano Concertos.
11: Lambert/Bliss/Gordon, The Rio Grande Horoscope/Adam Zero Dance of Summer/ Rake's Progress Sarabande & Orgy.
12: Britten/Rubbra, Piano Concertos.
Without number: Walton Facade/ Johannesburg Festival/ Portsmouth Point/ Crown Imperial/ Orb and Sceptre.
ditto: Ireland/Berkeley, Piano Concerto/Trio for Violin, Horn and Piano.
Ah, right. Thanks Lol. The Rawsthorne disc and the Britten/Rubbra PCs were fine performances - I have then in their CD reappearances:
(//)
The "cat piano" - what a strange choice! :o
(http://www.squarepianotech.com/wp-content/uploads/2011/04/cat-piano.jpg)
Read more about it at :
http://imaginaryinstruments.org/the-cat-piano-katzenklavier-piano-de-chats/
"For I will consider my cat Jeoffry" - Benjamin Britten
https://poets.org/poem/jubilate-agno-fragment-b-i-will-consider-my-cat-jeoffry
https://youtu.be/JURSCBY5g3k
Quote from: pjme on February 01, 2021, 10:36:31 PM
The "cat piano" - what a strange choice! :o
(http://www.squarepianotech.com/wp-content/uploads/2011/04/cat-piano.jpg)
Read more about it at :
http://imaginaryinstruments.org/the-cat-piano-katzenklavier-piano-de-chats/
"For I will consider my cat Jeoffry" - Benjamin Britten
https://poets.org/poem/jubilate-agno-fragment-b-i-will-consider-my-cat-jeoffry
https://youtu.be/JURSCBY5g3k
Great name for a cat ;D
Jeffrey has mentioned elsewhere that he is currently enjoying the Violin Concerto and Piano Concerto too (I think). My sense has always been that I engage more with Britten's earlier works and certainly that includes those two concerti. In a neat bit of synchronicity, I've been revisiting the discography of Stanislaw Skrowaczewki recently. His 90th birthday box from Oehms is superb and includes cycles of Beethoven/Brahms/Schumann etc but very little of the 20th Century music he also performed. I had missed his Arte Nova disc of Elgar and Britten;
(https://cps-static.rovicorp.com/3/JPG_250/MI0001/013/MI0001013197.jpg?partner=allrovi.com)
As it was available cheaply in the online marketplace I rectified that omission. I've not listened to the disc in full yet - more of a dipping in and what I've heard so far I like. The Piano Concerto doesn't sound as dynamic as some other versions which might be a recording style but the Elgar sounds good. Always pleasing to hear the notion that "Elgar doesn't travel well" disproved!
Quote from: Roasted Swan on February 13, 2021, 10:57:00 PM
Jeffrey has mentioned elsewhere that he is currently enjoying the Violin Concerto and Piano Concerto too (I think). My sense has always been that I engage more with Britten's earlier works and certainly that includes those two concerti. In a neat bit of synchronicity, I've been revisiting the discography of Stanislaw Skrowaczewki recently. His 90th birthday box from Oehms is superb and includes cycles of Beethoven/Brahms/Schumann etc but very little of the 20th Century music he also performed. I had missed his Arte Nova disc of Elgar and Britten;
(https://cps-static.rovicorp.com/3/JPG_250/MI0001/013/MI0001013197.jpg?partner=allrovi.com)
As it was available cheaply in the online marketplace I rectified that omission. I've not listened to the disc in full yet - more of a dipping in and what I've heard so far I like. The Piano Concerto doesn't sound as dynamic as some other versions which might be a recording style but the Elgar sounds good. Always pleasing to hear the notion that "Elgar doesn't travel well" disproved!
That looks like a nice disc and yes, I do like the Piano Concerto as well (John/MI said that he preferred it to the VC which made me listen to it again). I prefer the VC but really like my, newly acquired, CD featuring both works conducted by the composer who was an excellent conductor of his own music. I also engage more with Britten's earlier works, composed before he was more associated with Opera. The War Requiem, however, remains a towering masterpiece:
(//)
Quote from: absolutelybaching on June 20, 2021, 12:55:46 AM
Late to the party, I realise. But no, he never did. Seldom played it, I think, too. It was obviously written for him, as it draws heavily on the Russian Kontakion for the Dead for its themes, and Rostropovich allegedly simply found it too distressing or moving to play. I think Britten's intervening own death didn't help matters in that regard.
I can't remember where I heard that, though, so I might have it all wrong. I did personally attend Rostropovich conducting the War Requiem in the Royal Festival Hall, though, and I recall that as he was cheered to the skies, he reached behind him for the full score from which he'd been conducting, kissed it as a holy icon and held it aloft for the audience to cheer to. The man was clearly in awe of Britten's music. It wouldn't surprise me in the least to learn he held that third suite in such high, almost holy, regard that he felt he wasn't the man to do it justice.
Anyway: the 'missing' Rostropovich third cello suite is right up there with the 'missing' Britten conducts Gloriana as the two recordings I most regret not having been made, I think.
I see (according to Wiki) that "Rostropovich first performed the suite at the Snape Maltings, 21 December 1974. In 1979 the Britten Estate authorised Julian Lloyd Webber to make the suite's first recording." Any rumors about it having been recorded there or elsewhere by anyone (even unofficially)? Any idea when and where else Rostropovich performed it?
That must have been quite a special experience for you to see him conduct Britten's War Requiem! :) When was this?
PD
Quote from: absolutelybaching on June 20, 2021, 12:55:46 AM
Late to the party, I realise. But no, he never did. Seldom played it, I think, too. It was obviously written for him, as it draws heavily on the Russian Kontakion for the Dead for its themes, and Rostropovich allegedly simply found it too distressing or moving to play. I think Britten's intervening own death didn't help matters in that regard.
I can't remember where I heard that, though, so I might have it all wrong. I did personally attend Rostropovich conducting the War Requiem in the Royal Festival Hall, though, and I recall that as he was cheered to the skies, he reached behind him for the full score from which he'd been conducting, kissed it as a holy icon and held it aloft for the audience to cheer to. The man was clearly in awe of Britten's music. It wouldn't surprise me in the least to learn he held that third suite in such high, almost holy, regard that he felt he wasn't the man to do it justice.
Anyway: the 'missing' Rostropovich third cello suite is right up there with the 'missing' Britten conducts Gloriana as the two recordings I most regret not having been made, I think.
Britten and Rostropovich had an incredible friendship. Too bad he never got around to recording the
Cello Suite No. 3. Oh and I bet that concert was something!
Quote from: absolutelybaching on June 20, 2021, 08:45:28 AM
Good catch on the live performance: the BBC was always recording things in Aldeburgh back then. Maybe they have a recording of that performance? Interesting possibiliy!!
As to the concert: Well, frankly I can't remember specifics, but I would have been working at the Festival Hall then, and that would mean it was somewhere between 1986 and 1987. It was pretty remarkable (my first-ever live War Requiem, I think). But maybe not quite as special as me cycling to Aldeburgh to have tea and a stale digestive biscuit with Peter Pears in 1984, though!
Now don't be so coy. ;) So, how did you end up having tea with P.P.? Something having to do with him meeting you being part of a group of volunteers, etc.? Just thinking here.... :) And how many of your group were having tea with him? Any chance to talk to him other than a quick hi? Or something via a friend and more intimate--as in a small group? Just curious. Or were you corresponding with him and he invited you to tea?! That would have been particularly cool 8)
Best wishes,
PD
Quote from: absolutelybaching on June 21, 2021, 01:09:50 AM
I was stuck up at Cambridge one summer, doing some research into the Levellers, and I suddenly got it into my head to write to him and say 'can I come and talk to you about Benjamin Britten'. For some reason that makes no sense to me now at all, I assumed that Cambridge and Aldeburgh were near-neighbours, given they're both (sort-of!) East Anglian. Yeah, I realise how dumb that is now!
Anyway, I figured that if he wrote back saying 'no', at least I'd have his autograph! But he actually wrote back saying he'd love to have a chat, and when would I like to come. So I wrote back to him proposing a date, he confirmed, and warned me about the dreadful state of the Golf Course road he lived on. And thus I ended up taking the train from Cambridge to London, another from London to Ipswich, another from Ipswich to Saxmundham.. and then I cycled the rest of the way. Big mistake! I had though Suffolk would be as flat as Cambridge, but it wasn't and I was hot, bothered and late! But he kindly overlooked all of that, and offered me tea to calm down! And we just chatted about music, Ben and related stuff, how you go about staging gondolas on wires and wheels and so on. He ended up asking someone off-left to arrange for some free tickets to a string quartet concert that was happening later that year as part of the Aldeburgh Festival and suggested I should consider volunteering as a Hesse student. I think I only had about an hour with him, but I was star-struck and wasn't keeping tabs. I recall having taken my vocal score of the War Requiem with me, hoping to ask him to sign it... but I chickened out. It just didn't feel right to ask him, and I already had two of his signatures on letters... so I cycled off without asking him and have naturally regretted it ever since!
It's my one big 'star-struck' story I have to share (apart from the one about me paying Olivier Messiaen his expenses at the Festival Hall, and me singing for Arvo Pärt -along with the rest of the choir, I have to admit- in a Sydney performance of Passio!). Right, that's all the name-dropping I can do right now. :)
Oh how neat! Great story! You must have been tired by the time that you arrived back at home too! Trust that you were able to make all of your return train connections?
PD
Quote from: absolutelybaching on June 21, 2021, 02:59:45 AM
It was nearly 40 years ago! (Lord, how time flies!), so my memory may not be quite all that it should be, but I think I stayed at a B&B in Saxmundham that night and made my way back to Cambridge the next day: gave me time to enjoy the delights of the Aldeburgh Fish and Chip shop, for one thing!
Great part of the world. Westleton, not far from Saxmundham, a lovely village has the added attraction of an old chapel that sells books and LPs piled to the rafters. The owner every so often strikes a battered tin can with a stick and shouts "cup of tea anybody"?
Our yearly treat is a few days stay at the Wentworth Hotel in Aldeburgh.
Quote from: Irons on June 22, 2021, 11:54:41 PM
Great part of the world. Westleton, not far from Saxmundham, a lovely village has the added attraction of an old chapel that sells books and LPs piled to the rafters. The owner every so often strikes a battered tin can with a stick and shouts "cup of tea anybody"?
Our yearly treat is a few days stay at the Wentworth Hotel in Aldeburgh.
Oh, nice! Do you normally catch a concert or two during your stay?
That book and record shop sounds like a real treat! ;D Do you normally find some goodies there Irons?
PD
Quote from: Pohjolas Daughter on June 23, 2021, 05:23:58 AM
Oh, nice! Do you normally catch a concert or two during your stay?
That book and record shop sounds like a real treat! ;D Do you normally find some goodies there Irons?
PD
Taken in a few concerts at Snape Maltings, PD. The most memorable being the Amadeus and Borodin String Quartets.
An annual music festival is held in Aldeburgh itself. I recall a few years ago I purchased tickets for a concert that particularly appealed featuring the Janacek quartets. The concerts usually take place in a hall but as this was up for refurbishment the concerts were held at Aldeburgh church instead. Thought nothing of it until I took my place at the pew directly behind a dirty great concrete pillar! Barely able to see the musicians. :(
I purchased a LP of Bach cello suites by André Navarra at the old chapel and sold it for a hefty profit on eBay. In the village there is also a duck pond and a memorial with a list of names of inhabitants who perished in WW1.
Quote from: Irons on June 23, 2021, 07:24:42 AM
Taken in a few concerts at Snape Maltings, PD. The most memorable being the Amadeus and Borodin String Quartets.
An annual music festival is held in Aldeburgh itself. I recall a few years ago I purchased tickets for a concert that particularly appealed featuring the Janacek quartets. The concerts usually take place in a hall but as this was up for refurbishment the concerts were held at Aldeburgh church instead. Thought nothing of it until I took my place at the pew directly behind a dirty great concrete pillar! Barely able to see the musicians. :(
I purchased a LP of Bach cello suites by André Navarra at the old chapel and sold it for a hefty profit on eBay. In the village there is also a duck pond and a memorial with a list of names of inhabitants who perished in WW1.
Great to hear that you've made it to some concerts at SM! And lousy luck re watching the musicians perform the Janacek quartets! That stinks! Sounds like it was assigned seating and you drew the short straw? Or others in the area knew not to purchase those seats?
Well done you on finding a gem at the record store! Not surprising though knowing you and your knowledge!
I took a little online look at that hotel and pictures of local areas...very pretty. Think that there is also a local wildlife area/refuge not too far away too?
Speaking of wildlife, I've been busy trying to keep up with what the red-tailed hawks have been up to at Cornell. Lots of excitement there yesterday: the oldest one fledged (and successfully came back around dinnertime); the middle one was plucked out of the nest (platform really) by a vet, a volunteer and a heavy machine operator there (they had to use a cherry picker and go up over 70 feet!)--he or she's health had gotten noticeably worse lately--and is now off at a wildlife rehab facility; the youngest, well he/she keeps on wandering out onto the fledge ledge but no go so far. I provided some links to the news/video on the bird thread if you're interested.
PD
Quote from: absolutelybaching on June 23, 2021, 08:29:50 AM
Don't forget the Moot Hall! A lovely Elizabethan building that's been the home of the town council for 400 years or so. Contains some lovely memorabilia from Britten as freeman of the town and so on. Also happens to be the location where the opening of Peter Grimes is meant to take place. And the graveyard behind the church you went to, of course, contains the graves of Britten, Pears, Imogen Holst and Joan Cross (the very first Ellen Orford ...and also the first Elizabeth I in Gloriana, the first Female Chorus in Rape of Lucretia, the first Lady Billows in Albert Herring and the first Mrs Grose in the Turn of the Screw. Phew!). The church itself contains a glorious triptych stained glass window by John Piper, depicting the three church parables, and a monument to George Crabbe -who was born in Aldeburgh and whose poem 'The Borough' was the inspiration behind Peter Grimes... it's quite a convoluted set of interconnectedness down there! I love the place. Shame it takes ages to get to it from pretty much anywhere (except maybe Saxmundham!)
Moot Hall has never been open to the public when I visit but it is the most important landmark of the town.
(https://i.imgur.com/g6F3f1B.jpg)
I have visited The Red House, home to Britten and Pears. Not mind blowing, but of interest of fans of the composer. I was struck how chintzy the decor.
I smiled at your last sentence and know full well your point. I'm the opposite, as when I turn off the A12 my destination can be only one place, Aldeburgh. I love the place.
Quote from: Pohjolas Daughter on June 23, 2021, 09:05:10 AM
Great to hear that you've made it to some concerts at SM! And lousy luck re watching the musicians perform the Janacek quartets! That stinks! Sounds like it was assigned seating and you drew the short straw? Or others in the area knew not to purchase those seats?
Well done you on finding a gem at the record store! Not surprising though knowing you and your knowledge!
I took a little online look at that hotel and pictures of local areas...very pretty. Think that there is also a local wildlife area/refuge not too far away too?
Speaking of wildlife, I've been busy trying to keep up with what the red-tailed hawks have been up to at Cornell. Lots of excitement there yesterday: the oldest one fledged (and successfully came back around dinnertime); the middle one was plucked out of the nest (platform really) by a vet, a volunteer and a heavy machine operator there (they had to use a cherry picker and go up over 70 feet!)--he or she's health had gotten noticeably worse lately--and is now off at a wildlife rehab facility; the youngest, well he/she keeps on wandering out onto the fledge ledge but no go so far. I provided some links to the news/video on the bird thread if you're interested.
PD
Not so much knowledge but more perseverance, PD. But thanks for saying.
A wild and wonderful walk along the beach from Aldeburgh to Thorpeness. We are booked up in August, I will take some pics and post on favourite walks thread.
I will check out the link on the bird thread you posted this afternoon.
Quote from: absolutelybaching on June 23, 2021, 08:29:50 AM
Don't forget the Moot Hall! A lovely Elizabethan building that's been the home of the town council for 400 years or so. Contains some lovely memorabilia from Britten as freeman of the town and so on. Also happens to be the location where the opening of Peter Grimes is meant to take place. And the graveyard behind the church you went to, of course, contains the graves of Britten, Pears, Imogen Holst and Joan Cross (the very first Ellen Orford ...and also the first Elizabeth I in Gloriana, the first Female Chorus in Rape of Lucretia, the first Lady Billows in Albert Herring and the first Mrs Grose in the Turn of the Screw. Phew!). The church itself contains a glorious triptych stained glass window by John Piper, depicting the three church parables, and a monument to George Crabbe -who was born in Aldeburgh and whose poem 'The Borough' was the inspiration behind Peter Grimes... it's quite a convoluted set of interconnectedness down there! I love the place. Shame it takes ages to get to it from pretty much anywhere (except maybe Saxmundham!)
Quote from: absolutelybaching on June 24, 2021, 12:48:44 AM
Yeah, it is incredibly chintzy now, but it's now how I recall it in the 1980s. When they were opening it to the public, they made a specific effort to put it back to be the way it was in the mid/late 1960s or so. I believe (but cannot speak from personal experience!) that chintz was "in" in those days. ;)
The thing that took my breath away for a second or two was that Britten's bed sheets all had name labels, like you had sewn into your school uniform at one time. I believe all his shirts hanging in the wardrobe were similarly labelled. I assume they didn't own a washing machine (and Mrs. Hudson refused to chip in!) and always sent things off to the laundry. I guess it makes sense, of a kind.
On my last visit, having noticed the newly constructed large library/research area, I asked the curator what they had done with all the dogs. She looked blankly at me, and I said, well: Britten and Pears had buried quite a few dachsunds in their time: where were the graves now (as I'd seen them on my 1980s visit). Visibly flustered, she waved hands and said, Oh, they wouldn't have existed by the time the construction started. Decomposition, etc. Yeah, right. They built over the dogs!!
Interesting facts about the town, singers, etc.!
Poor dogs! Well, hopefully now they are happily reunited with their former owners.
PD
Quote from: Irons on June 24, 2021, 12:03:41 AM
Not so much knowledge but more perseverance, PD. But thanks for saying.
A wild and wonderful walk along the beach from Aldeburgh to Thorpeness. We are booked up in August, I will take some pics and post on favourite walks thread.
I will check out the link on the bird thread you posted this afternoon.
Looking forward to seeing them. Hope that you have a wonderful visit...and a nice side trip to the record and book shop. ;)
PD
I recently spent a few weeks with Britten's non-orchestrated choral music.
I feel everyone should use Britten himself as a solid start to any of his music, as he was as fine a conductor as a composer. But the UK traditions of choral music have never been shared by my west-of-the-Atlantic sensibilities, even if that is how Britten heard his music. Much of his choral music was written with boy trebles in mind, but it is a style I have never warmed to, nor some of the older recording from Guest, Malcolm, and Halsey. So I recently sought out Spicer on Chandos, whose Finzi Singers uses mixed adult singers. Spicer blends his alto section with female and male altos together, another British tradition not seen in the US too often, especially in mixed choir settings, but I love that British chamber choirs are so characterful.
I like that The Finzi Singers are freer with their vibrato, although judiciously light most of the time, and again a contrast to cathedral choristers towards my personal preferences. Paul Spicer is strong in his scholarship of Britten and it is apparent throughout, although I would have liked to hear Britten's rarer part-songs. The oft-used soprano soloist Carys Lane was the highlight of all three volumes.
I found Volume 1 the strongest (his 4 hymns, Gloriana, A.M.D.G, and Rejoice in the Lamb), with Spicer's leading of Hymn to St. Cecilia perhaps rising towards the top for me. The liturgical music of Volume 2 was less enthralling for me, but I am also less familiar with that music. I did very much like the 'nordic' pronunciations used in A Ceremony of Carols, as it really set their performance apart from the scads of recordings available. The Finzi Singers heavier vibrato in Volume 3's secular music was apparent, and not always welcome, but Advance Democracy was a hoot, and A Boy Was Born was much more engaging to my ears than when I heard it last from Polyphony on Hyperion .
All in all, a strong set of Britten's choral music, although, any introduction should be Britten himself, as that was his intended sound world. This Chandos recording just pushed the button of my preferences in choral sounds. The programming is almost identical to The Sixteen with Harry Christophers.
(https://coverartarchive.org/release/865702b5-31af-46e2-8516-db7b6807e55b/30929068712.jpg) (https://angartwork.akamaized.net/?id=945562&size=640) (https://www.eloquenceclassics.com/files/2016/04/00028948023363-cover.jpg)
Recent listening: his "Suite for Cello No. 1" with Matt Haimovitz (see current listening thread). Enjoyed it. :) Been quite a while since I had visited it.
PD
Quote from: VonStupp on November 21, 2021, 07:24:16 AM
I recently spent a few weeks with Britten's non-orchestrated choral music.
I feel everyone should use Britten himself as a solid start to any of his music, as he was as fine a conductor as a composer. But the UK traditions of choral music have never been shared by my west-of-the-Atlantic sensibilities, even if that is how Britten heard his music. Much of his choral music was written with boy trebles in mind, but it is a style I have never warmed to, nor some of the older recording from Guest, Malcolm, and Halsey. So I recently sought out Spicer on Chandos, whose Finzi Singers uses mixed adult singers. Spicer blends his alto section with female and male altos together, another British tradition not seen in the US too often, especially in mixed choir settings, but I love that British chamber choirs are so characterful.
I like that The Finzi Singers are freer with their vibrato, although judiciously light most of the time, and again a contrast to cathedral choristers towards my personal preferences. Paul Spicer is strong in his scholarship of Britten and it is apparent throughout, although I would have liked to hear Britten's rarer part-songs. The oft-used soprano soloist Carys Lane was the highlight of all three volumes.
I found Volume 1 the strongest (his 4 hymns, Gloriana, A.M.D.G, and Rejoice in the Lamb), with Spicer's leading of Hymn to St. Cecilia perhaps rising towards the top for me. The liturgical music of Volume 2 was less enthralling for me, but I am also less familiar with that music. I did very much like the 'nordic' pronunciations used in A Ceremony of Carols, as it really set their performance apart from the scads of recordings available. The Finzi Singers heavier vibrato in Volume 3's secular music was apparent, and not always welcome, but Advance Democracy was a hoot, and A Boy Was Born was much more engaging to my ears than when I heard it last from Polyphony on Hyperion .
All in all, a strong set of Britten's choral music, although, any introduction should be Britten himself, as that was his intended sound world. This Chandos recording just pushed the button of my preferences in choral sounds. The programming is almost identical to The Sixteen with Harry Christophers.
(https://coverartarchive.org/release/865702b5-31af-46e2-8516-db7b6807e55b/30929068712.jpg) (https://angartwork.akamaized.net/?id=945562&size=640) (https://www.eloquenceclassics.com/files/2016/04/00028948023363-cover.jpg)
Most interesting.
Quote from: VonStupp on November 21, 2021, 07:24:16 AM
I recently spent a few weeks with Britten's non-orchestrated choral music.
I feel everyone should use Britten himself as a solid start to any of his music, as he was as fine a conductor as a composer. But the UK traditions of choral music have never been shared by my west-of-the-Atlantic sensibilities, even if that is how Britten heard his music. Much of his choral music was written with boy trebles in mind, but it is a style I have never warmed to, nor some of the older recording from Guest, Malcolm, and Halsey. So I recently sought out Spicer on Chandos, whose Finzi Singers uses mixed adult singers. Spicer blends his alto section with female and male altos together, another British tradition not seen in the US too often, especially in mixed choir settings, but I love that British chamber choirs are so characterful.
I like that The Finzi Singers are freer with their vibrato, although judiciously light most of the time, and again a contrast to cathedral choristers towards my personal preferences. Paul Spicer is strong in his scholarship of Britten and it is apparent throughout, although I would have liked to hear Britten's rarer part-songs. The oft-used soprano soloist Carys Lane was the highlight of all three volumes.
I found Volume 1 the strongest (his 4 hymns, Gloriana, A.M.D.G, and Rejoice in the Lamb), with Spicer's leading of Hymn to St. Cecilia perhaps rising towards the top for me. The liturgical music of Volume 2 was less enthralling for me, but I am also less familiar with that music. I did very much like the 'nordic' pronunciations used in A Ceremony of Carols, as it really set their performance apart from the scads of recordings available. The Finzi Singers heavier vibrato in Volume 3's secular music was apparent, and not always welcome, but Advance Democracy was a hoot, and A Boy Was Born was much more engaging to my ears than when I heard it last from Polyphony on Hyperion .
All in all, a strong set of Britten's choral music, although, any introduction should be Britten himself, as that was his intended sound world. This Chandos recording just pushed the button of my preferences in choral sounds. The programming is almost identical to The Sixteen with Harry Christophers.
(https://coverartarchive.org/release/865702b5-31af-46e2-8516-db7b6807e55b/30929068712.jpg) (https://angartwork.akamaized.net/?id=945562&size=640) (https://www.eloquenceclassics.com/files/2016/04/00028948023363-cover.jpg)
Excellent post - thankyou for sharing your thoughts. I must admit that there is that timbral "edge" to boy trebles' voices that is so unique that I am hard-wired to hearing it. That said, for all kinds of reasons - social as well as musical I think it right and proper that within church/cathedral settings girls/women should be given an equal opportunity. I do wonder looking into the future whether the "traditional" boys & men choir will become something of a historical quirk and that "performance practice" in the future will feature the recreation of such choirs. But of course, once they are lost they will never happen again because you cannot train young children over night - the tradition and continuity is the key. Possibly of all composers Britten is the one who most had that sound ingrained in his inner ear. I must admit I'm not that keen generally with Spicer's Finzi Singers recordings. I find them technically polished but just a tad emotionally detached - for a mixed voice alternative I personally prefer The Sixteen performances.
Quote from: Roasted Swan on November 22, 2021, 01:09:25 AM
Excellent post - thankyou for sharing your thoughts. I must admit that there is that timbral "edge" to boy trebles' voices that is so unique that I am hard-wired to hearing it. That said, for all kinds of reasons - social as well as musical I think it right and proper that within church/cathedral settings girls/women should be given an equal opportunity. I do wonder looking into the future whether the "traditional" boys & men choir will become something of a historical quirk and that "performance practice" in the future will feature the recreation of such choirs. But of course, once they are lost they will never happen again because you cannot train young children over night - the tradition and continuity is the key. Possibly of all composers Britten is the one who most had that sound ingrained in his inner ear. I must admit I'm not that keen generally with Spicer's Finzi Singers recordings. I find them technically polished but just a tad emotionally detached - for a mixed voice alternative I personally prefer The Sixteen performances.
And I found the 2nd volume of liturgical and sacred music wanting from them. I am wondering if I miss the cathedral-type sound for those specific works, since the Finzi Singers give 'secular'-sounding, concert hall presentations here. It is interesting the wide range of timbres a choir can give.
VS
Quote from: Roasted Swan on November 22, 2021, 01:09:25 AM
I must admit that there is that timbral "edge" to boy trebles' voices that is so unique that I am hard-wired to hearing it. That said, for all kinds of reasons - social as well as musical I think it right and proper that within church/cathedral settings girls/women should be given an equal opportunity. I do wonder looking into the future whether the "traditional" boys & men choir will become something of a historical quirk and that "performance practice" in the future will feature the recreation of such choirs. But of course, once they are lost they will never happen again because you cannot train young children over night - the tradition and continuity is the key.
It is an interesting postulation of performance practice I hadn't thought of. In the US, there is (or was) a tiny, secular tradition of boy's choirs, not associated with the church. Children's choirs seem to be more popular, with multi-tiered training schools in some cases, but rarely does that extend past male voice changes.
VS
Good to hear about the Red House museum & visit options, nice to know.
Regarding the Cello Suites, I had the possibility to get the early Wispelwey recording (1992) recently very cheaply, but I find it thoroughly bland, compared to for example Mørk on EMI, so won't be keeping it. Maybe others feel differently. Wispelwey recorded them later too, also in 2001. I also have some with Rostropovitch/Decca & Brilliant, Haimowitz/DG and Lloyd-Webber/ASV, and heard Tedeen/BIS, where the cello sound is very special - overall, that's enough for me.
https://www.discogs.com/release/6406945-Britten-Pieter-Wispelwey-The-Three-Suites-For-Cello-Solo
Quote from: MusicTurner on December 08, 2021, 05:51:40 AM
Good to hear about the Red House museum & visit options, nice to know.
Regarding the Cello Suites, I had the possibility to get the early Wispelwey recording (1992) recently very cheaply, but I find it thoroughly bland, compared to for example Mørk on EMI, so won't be keeping it. Maybe others feel differently. Wispelwey recorded them later too, also in 2001. I also have some with Rostropovitch/Decca & Brilliant, Haimowitz/DG and Lloyd-Webber/ASV, and heard Tedeen/BIS, where the cello sound is very special - overall, that's enough for me.
https://www.discogs.com/release/6406945-Britten-Pieter-Wispelwey-The-Three-Suites-For-Cello-Solo
I love this CD with Rostropovich. Have you heard these recordings MT?
(http://img.hmv.co.jp/image/jacket/400/18/8/7/877.jpg)
PD
Quote from: Pohjolas Daughter on December 08, 2021, 07:30:13 AM
I love this CD with Rostropovich. Have you heard these recordings MT?
(http://img.hmv.co.jp/image/jacket/400/18/8/7/877.jpg)
PD
I'm sure those are very, very fine ... Obviously, the two artists knew each other well. What I've got of Britten is just accumulations, and then keeping the best of that - not the result of a lot of comparisons. I do have the
Cello Sonata with Rostropovich & Britten, on Decca, and the
Cello Symphony, but only with other performers ... it's not a work I know that well, however - maybe I'll listen more to it in the coming days ...
I also have Rostropovitch/Rozhdestvensky in that superb 1st Cello Concerto by Shostakovitch, but on Brilliant Classics, and a Rostropovich/D.Oistrakh conducting (mono?, 1965), on an obscure CD label, Pipeline. One of the best concertos of the 20th century, IMO.
Quote from: MusicTurner on December 08, 2021, 08:00:49 AM
I'm sure those are very, very fine ... Obviously, the two artists knew each other well. What I've got of Britten is just accumulations, and then keeping the best of that - not the result of a lot of comparisons. I do have the Cello Sonata with Rostropovich & Britten, on Decca, and the Cello Symphony, but only with other performers ... it's not a work I know that well, however - maybe I'll listen more to it in the coming days ...
I also have Rostropovitch/Rozhdestvensky in that superb 1st Cello Concerto by Shostakovitch, but on Brilliant Classics, and a Rostropovich/D.Oistrakh conducting (mono?, 1965), on an obscure CD label, Pipeline. One of the best concertos of the 20th century, IMO.
I should revisit Britten's
Cello Symphony as it's been a while since I have heard it. And I agree with you, that Shostakovich cello concerto is one of my all-time favorites! :)
So, am I understanding you correctly MT? That D. Oistrakh conducted Rostropovich playing Shostakovich's first cello concerto?
PD
Quote from: Pohjolas Daughter on December 08, 2021, 08:36:50 AM
I should revisit Britten's Cello Symphony as it's been a while since I have heard it. And I agree with you, that Shostakovich cello concerto is one of my all-time favorites! :)
PD
The
Cello Symphony is a gnarly work, but it
is marvelous!
Quote from: Pohjolas Daughter on December 08, 2021, 08:36:50 AM
I should revisit Britten's Cello Symphony as it's been a while since I have heard it. And I agree with you, that Shostakovich cello concerto is one of my all-time favorites! :)
So, am I understanding you correctly MT? That D. Oistrakh conducted Rostropovich playing Shostakovich's first cello concerto?
PD
Yes, there aren't that many recordings with David Oistrakh as conductor, but this one of them
https://www.discogs.com/release/10673459-Shostakovich-Mstislav-Rostropovich-Cello-Concertos-Nos-1-2-Satires-Pictures-Of-The-Past-Op109
I'm listening to the Britten Cello Symphony now, with Isserlis, but need several listenings for it.
Quote from: MusicTurner on December 08, 2021, 09:29:21 AM
Yes, there aren't that many recordings with David Oistrakh as conductor, but this one of them
https://www.discogs.com/release/10673459-Shostakovich-Mstislav-Rostropovich-Cello-Concertos-Nos-1-2-Satires-Pictures-Of-The-Past-Op109
I'm listening to the Britten Cello Symphony now, with Isserlis, but need several listenings for it.
Oh, cool! How is the recording quality of the pieces?
Enjoy the Britten; I hope to put it on after a quick errand.
PD
Quote from: Pohjolas Daughter on December 08, 2021, 09:50:19 AM
Oh, cool! How is the recording quality of the pieces?
Enjoy the Britten; I hope to put it on after a quick errand.
PD
Thanks. The concertos are in mono, so not the best - but one can be more tolerant, when it's about Russian music :) I'd normally hate it with delicate ~impressionist music, for example - unless it's just a piano.
Getting back to Britten...
If you could only pick two song cycles from Britten to carry with you to the desert island, what would they be?
Quote from: absolutelybaching on December 12, 2021, 09:18:04 AM
I shall cheat!
If I'm allowed an orchestra, then it would have to be the Serenade for Tenor, Horn and Strings, followed by the Nocturne.
If we're talking song cycles with just voice and piano, I'd take the Winter Words and Who Are These Children -though that leaves me bereft of the Songs and Proverbs of William Blake, which would be a bit sad!
All fine choices, indeed. 8)
Winter Words I found especially good when I last listened to it. Of course,
Serenade for Tenor, Horn and Strings and
Nocturne are masterpieces.
Any specific recordings for those pieces?
I'm no Britten expert but for Winter Words this cycle with the very great Ian partridge is hard to beat (I much prefer him to PP)
(https://m.media-amazon.com/images/I/51nXOQQuZQL._AC_.jpg)
currently a copy is on Amazon UK for £1.76.... (plus p&p)
On the theme of Partridge ..... his Serenade is excellent too with Nicholas Busch the very fine horn soloist
(https://m.media-amazon.com/images/I/81CtKrdclCL._AC_SX679_.jpg)
also on Amazon for £1.84 for the 2 discs. This set includes a very good Handley/Tippett/Double Concerto, Handley/RVW/Prelude & Fugue and Tallis Fantasia and a not bad Britten Violin Concerto and a not great Belshazzar's Feast. The Tippett and the Serenade are the highlights.......
(https://d1iiivw74516uk.cloudfront.net/eyJidWNrZXQiOiJwcmVzdG8tY292ZXItaW1hZ2VzIiwia2V5IjoiODAyMTQwNy4xLmpwZyIsImVkaXRzIjp7InJlc2l6ZSI6eyJ3aWR0aCI6OTAwfSwianBlZyI6eyJxdWFsaXR5Ijo2NX0sInRvRm9ybWF0IjoianBlZyJ9LCJ0aW1lc3RhbXAiOjE0MDE5ODI1NDl9)
This is what I have been listening to lately. Excellent performances of the two pieces I consider Ben's masterpieces (granted that there's so much I haven't yet heard).
Quote(https://d1iiivw74516uk.cloudfront.net/eyJidWNrZXQiOiJwcmVzdG8tY292ZXItaW1hZ2VzIiwia2V5IjoiODAyMTQwNy4xLmpwZyIsImVkaXRzIjp7InJlc2l6ZSI6eyJ3aWR0aCI6OTAwfSwianBlZyI6eyJxdWFsaXR5Ijo2NX0sInRvRm9ybWF0IjoianBlZyJ9LCJ0aW1lc3RhbXAiOjE0MDE5ODI1NDl9)
This is what I have been listening to lately. Excellent performances of the two pieces I consider Ben's masterpieces (granted that there's so much I haven't yet heard).
The Britten Quartet didn't last that long as an ensemble but just about every disc they made was tremendous. I can't speak with any authority on these particular performances - I know them and do like them.
Looking for music whch kind of sounds a bit like it's by Britten but isn't? Look no further. David Froom's (first two) Amichai Songs
https://www.youtube.com/playlist?app=desktop&list=PL07W8yTJoV5oX28RglQpyg-9TUbhInLvV
https://www.prestomusic.com/classical/products/7962046--music-of-david-froom
Rather excited to pick up in a local Charity Shop yesterday a complete study score of "A Midsummer Night's Dream" All the more so since it is signed Toby Robertson on the inside front cover. As far as Google can tell me it looks like Toby Robertson was a theatre director who did a well-regarded staging of the work for Scottish Opera back in the early 70's. From various stage directions scribbled through this score I'm assuming it was his working copy of the score for that production. This is not one of the Britten operas I know at all well - even though I have a couple of recordings - so this is prompting me to listen/follow and hopefully enjoy.......
It is a magical score!
This
Festival d'Aix-en-Provence and Opéra national de Lyon production is a feast for the eyes (and the ears).
Quote from: Roasted Swan on February 20, 2024, 05:15:09 AMRather excited to pick up in a local Charity Shop yesterday a complete study score of "A Midsummer Night's Dream" All the more so since it is signed Toby Robertson on the inside front cover. As far as Google can tell me it looks like Toby Robertson was a theatre director who did a well-regarded staging of the work for Scottish Opera back in the early 70's. From various stage directions scribbled through this score I'm assuming it was his working copy of the score for that production. This is not one of the Britten operas I know at all well - even though I have a couple of recordings - so this is prompting me to listen/follow and hopefully enjoy.......
Oh, neat!
I found this obit in the Guardian which you (if you haven't already found it) and perhaps others might enjoy reading:
https://www.theguardian.com/stage/2012/jul/08/toby-robertson
PD
Quote from: Pohjolas Daughter on February 20, 2024, 07:03:59 AMOh, neat!
I found this obit in the Guardian which you (if you haven't already found it) and perhaps others might enjoy reading:
https://www.theguardian.com/stage/2012/jul/08/toby-robertson
PD
Thankyou - yes I read that one too (although it doesn't mention the Britten). But the Prospect Theatre Company was very famous in its day and - as the actor roster suggests - packed with talent. Not sure the British Arts Council of 2024 would deign to support such 'fringe' enterprises however........... :-\
https://www.edinburghmusicreview.com/blog/midsummer-nights-dream