Britten Les Illuminations / Variations on a Theme of Frank Bridge Mp3, Flac, Wma
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Benjamin Britten: a Catalogue of the Orchestral Music
BENJAMIN BRITTEN: A CATALOGUE OF THE ORCHESTRAL MUSIC 1928: “Quatre Chansons Francaises” for soprano and orchestra: 13 minutes 1930: Two Portraits for string orchestra: 15 minutes 1931: Two Psalms for chorus and orchestra Ballet “Plymouth Town” for small orchestra: 27 minutes 1932: Sinfonietta, op.1: 14 minutes Double Concerto in B minor for Violin, Viola and Orchestra: 21 minutes (unfinished) 1934: “Simple Symphony” for strings, op.4: 14 minutes 1936: “Our Hunting Fathers” for soprano or tenor and orchestra, op. 8: 29 minutes “Soirees musicales” for orchestra, op.9: 11 minutes 1937: Variations on a theme of Frank Bridge for string orchestra, op. 10: 27 minutes “Mont Juic” for orchestra, op.12: 11 minutes (with Sir Lennox Berkeley) “The Company of Heaven” for two speakers, soprano, tenor, chorus, timpani, organ and string orchestra: 49 minutes 1938/45: Piano Concerto in D major, op. 13: 34 minutes 1939: “Ballad of Heroes” for soprano or tenor, chorus and orchestra, op.14: 17 minutes 1939/58: Violin Concerto, op. 15: 34 minutes 1939: “Young Apollo” for Piano and strings, op. 16: 7 minutes (withdrawn) “Les Illuminations” for soprano or tenor and strings, op.18: 22 minutes 1939-40: Overture “Canadian Carnival”, op.19: 14 minutes 1940: “Sinfonia da Requiem”, op.20: 21 minutes 1940/54: Diversions for Piano(Left Hand) and orchestra, op.21: 23 minutes 1941: “Matinees musicales” for orchestra, op. 24: 13 minutes “Scottish Ballad” for Two Pianos and Orchestra, op. 26: 15 minutes “An American Overture”, op. 27: 10 minutes 1943: Prelude and Fugue for eighteen solo strings, op. 29: 8 minutes Serenade for tenor, horn and strings, op. -
Britten Connections a Guide for Performers and Programmers
Britten Connections A guide for performers and programmers by Paul Kildea Britten –Pears Foundation Telephone 01728 451 700 The Red House, Golf Lane, [email protected] Aldeburgh, Suffolk, IP15 5PZ www.brittenpears.org Britten Connections A guide for performers and programmers by Paul Kildea Contents The twentieth century’s Programming tips for 03 consummate musician 07 13 selected Britten works Britten connected 20 26 Timeline CD sampler tracks The Britten-Pears Foundation is grateful to Orchestra, Naxos, Nimbus Records, NMC the following for permission to use the Recordings, Onyx Classics. EMI recordings recordings featured on the CD sampler: BBC, are licensed courtesy of EMI Classics, Decca Classics, EMI Classics, Hyperion Records, www.emiclassics.com For full track details, 28 Lammas Records, London Philharmonic and all label websites, see pages 26-27. Index of featured works Front cover : Britten in 1938. Photo: Howard Coster © National Portrait Gallery, London. Above: Britten in his composition studio at The Red House, c1958. Photo: Kurt Hutton . 29 Further information Opposite left : Conducting a rehearsal, early 1950s. Opposite right : Demonstrating how to make 'slung mugs' sound like raindrops for Noye's Fludde , 1958. Photo: Kurt Hutton. Britten Connections A guide for performers and programmers 03 The twentieth century's consummate musician In his tweed jackets and woollen ties, and When asked as a boy what he planned to be He had, of course, a great guide and mentor. with his plummy accent, country houses and when he grew up, Britten confidently The English composer Frank Bridge began royal connections, Benjamin Britten looked replied: ‘A composer.’ ‘But what else ?’ was the teaching composition to the teenage Britten every inch the English gentleman. -
Benjamin Britten's Temporal Variations An
Benjamin Britten’s Temporal Variations An Enigma Explored: Part Two George Caird Oxford, England, UK In this second of two articles (first article see The Double Reed Vol. 42 No. 3, pp. 64-96) George Caird discusses Benjamin Britten’s interest in writing for the oboe and compares the Composition Sketch and Fair Copy of Temporal Variations with the published editions in probing many questions on the creation of this remarkable work. ARTICLES Britten and the Oboe Britten wrote four works for the oboe during his lifetime, a number only exceeded by works for piano, voice, violin and cello. No other wind instrument received such attention from the composer and it is therefore worthwhile to reflect on why this might be. Having included the oboe, oboe d’amore and cor anglais in some of his earliest works, Britten records his fas- cination with the instrument on hearing Léon Goossens perform at a Queen’s Hall Prom on 2 October 1930: ‘Goossen’s Oboe Concerto (‘beautiful, monotonous, impos- sibly gorgeously, immortally played by Léon’).1 There are subsequent diary entries which Léon Goossens, photo by Peggy Delius, c. 1934 confirm Britten’s admiration for Goossens’ playing such as on 27 November 1930: ‘Orchestra not too good, but L. Goossens adorable’ and on 25 February 1932: ‘ Léon plays Eugene Goosen’s attractive(ly) Oboe Conc. superbly as can only he’. There is no hard evidence that Goossens directly commissioned the Phantasy Quartet Op. 2 on which Britten began work on the 9 September 1932 but on 17 October, the composer records ‘Go to R.C.M. -
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Merging Perspectives: The Open-ended Nature of Britten’s Parable Art and the Cantata Misericordium Op. 69 Dean Jobin-Bevans Lakehead University, Ontario, Canada Abstract Benjamin Britten (1913-1976) was a pacifist who expressed his beliefs in many works throughout his career. His most important pacifist composition, the War Requiem (1961), inserted anti-war poetry by Wilfred Owen between the movements of the Latin Requiem Mass. The Cantata Misericordium, scored for mixed chorus, tenor, and baritone soloists, is a musical telling of the biblical story of the Parable of the Good Samaritan with its universal message of brotherly love and compassion. The Cantata, commissioned for the centenary of the Red Cross in 1963, is Britten’s first vocal work composed after the War Requiem. While much has been written about the War Requiem, no one has examined the open-ended nature of the message of the Cantata Misericordium Op. 69. I will support the position of an open-ended nature of the message of tolerance within the framework of the Cantata Misericordium in three stages of discussion: First, I propose to present a comparison of Patrick Wilkinson’s Latin libretto with the original biblical story, exploring reasons for the differences. The most significant departure from the simple biblical narrative is the expanded text assigned to the voice of the chorus, who pass judgment on the actions of the Priest and Levite, and at the close of the Cantata deliver the message of tolerance. Second, I propose to examine the manifestation of queer identity in the allegorical language and formal musical detail of the work. -
Britten Saint Nicolas Hymn to St Cecilia Rejoice in the Lamb
The Choir of King’s College, Cambridge Final Logo Brand Extension Logo 06.27.12 BRITTEN SAINT NICOLAS HYMN TO ST CECILIA REJOICE IN THE LAMB STEPHEN CLEOBURY CONDUCTOR ANDREW KENNEDY BRITTEN SINFONIA T BRITTEN rack SAINT NICOLAS Andrew Kennedy tenor * Sawston Village College Choir (Janet Macleod chorus director) Choir of King’s College, Cambridge ^ CUMS Chorus Britten Sinfonia (Jacqueline Shave leader) L Stephen Cleobury conductor & organ ist SAINT NICOLAS 1 i. Introduction 05:35 2 ii. The Birth of Nicolas (Tom Pickard treble) 02:43 3 iii. Nicolas devotes himself to God 04:34 4 iv. He journeys to Palestine * 08:19 5 v. Nicolas comes to Myra and is chosen Bishop *^ 07:02 6 vi. Nicolas from Prison 02:59 7 vii. Nicolas and the Pickled Boys (Adam Banwell, Rupert Peacock, James Wells trebles) * 06:42 8 viii. His piety and his marvellous works * 05:03 9 ix. The Death of Nicolas *^ 06:45 10 HYMN TO ST CECILIA 10:25 Alexander Banwell, William Hirtzel trebles, Andreas Eccles-Williams alto, Ruairi Bowen tenor, Daniel D’Souza bass 11 REJOICE IN THE LAMB 16:25 William Crane treble, Feargal Mostyn-Williams alto, Ruairi Bowen tenor, Simon Chambers baritone, Ben San Lau organ Total Time 76:32 Recorded at 96kHz 24-bit PCM in the Chapel of King’s College, Cambridge, by kind permission of the Provost and Fellows, 23-24 June 2012 (Hymn to St Cecilia & Rejoice in the Lamb) and 14-15 January & 20 May 2013 (Saint Nicolas). Producer & Editor Simon Kiln Recording Engineers Arne Akselberg, Jonathan Allen Mixing Engineer Arne Akselberg Technical Engineer Richard -
Reflections on and Around Britten's War Requiem at Yale Mervyn
Reflections on and around Britten’s War Requiem at Yale Mervyn Cooke Adapted from the Tangeman Lecture delivered April 28, 2007 On 28 April 2007 a magnificent performance of Benjamin Britten’s War Requiem was given in Woolsey Hall, New Haven, by the Philharmonia Orchestra of Yale under the conductor Shinik Hahm, with Sara Jakubiak, James Taylor, and Detlef Roth the soprano, tenor, and baritone soloists, the Yale Schola Cantorum, Yale Camerata, Yale Glee Club, Trinity Church Boys’ and Girls’ Choirs, and Elm City Girls’ Choir; the performance had been given by the same forces at Boston’s Symphony Hall on the previous day. Before the Yale concert it was my privilege to offer some thoughts on Britten’s work in the shape of the Yale Institute of Sacred Music’s annual Tangeman Lecture. Our discussion focused not only on Britten’s economical and highly communicative musical idiom, but also on the various levels of irony presented by this multi-layered and thought-provoking score, which brings together – often in direct and disquieting collisions – vernacular settings of anti-war texts by the First World War poet Wilfred Owen (1893-1918), delivered in English by solo tenor and baritone voices with chamber-orchestral accompaniment, and the Latin Missa pro defunctis, declaimed by an operatic soprano soloist, large choir, and full orchestra; these together provide a more conventional backdrop sometimes reminiscent of the operatic style of Giuseppe Verdi. Britten’s work had been commissioned in the late 1950s to mark the consecration of the modern cathedral built at Coventry (in the British county of Warwickshire), the city’s old cathedral having been destroyed by German bombing in November 1940; his score was first performed in the new building, designed by the architect Basil Spence and poignantly erected alongside the ruins of the medieval building it replaced, on 30 May 1962. -
Eternal Requiems Omegaensemble.Com.Au
Eternal Requiems omegaensemble.com.au Eternal Requiems Tuesday 5 November 2019 Samuel Barber 7:30pm | City Recital Hall Agnus Dei This concert is presented as part of Gabriel Fauré the 2019 Virtuoso Series Requiem (‘Un petit’ 1888 Version) Gordon Hamilton Pre-concert talk Dark Hour Presented by Harriet Cunningham Gabriel Fauré Cantique de Jean Racine Interval Gordon Hamilton Requiem-Recomposed Benjamin Britten Cantata Misericordium, Op. 69 Wolfgang Amadeus Mozart Ave Verum Corpus This performance will last approximately 120 minutes including a 20 min interval. Acknowledgment of Country Omega Ensemble acknowledges the Gadigal people of the Eora Nation, the traditional custodians of the land on which we perform. We pay respect to the Elders both past and present, and extend that respect to other Aboriginal and Torres Strait Islander Australians. Please ensure your mobile devices are turned to silent and switched off for the full duration of this performance. Please note that unauthorised recording or photography of this performance is not permitted. Details correct at time of printing. Omega Ensemble reserves the right to alter scheduled artists and programs as necessary. The Australian Voices Welcome Western classical music is full of origin stories. Music is a language we can all understand. It Glorious works performed in spectacular fashion brings us together. It unites us across barriers of in concert halls, but that are only shadows of language, geography and time. It’s able to help their original forms and circumstance. From us free our imaginations, elevate our moods Barber's Agnus Dei - itself an arrangement of an and evoke a world of memories like no other art arrangement - to the delicate chamber work that form can. -
Choral Music
WORCESTER MUSIC LIBRARY : CHORAL MUSIC NOTE The choral pieces are presented in Composer order. There are many collections, and these are presented under 'Various'. Collections of Carols and other seasonal items are presented under 'Xmas'. Composer Title Abba arr. Marsh Mamma Mia! And Other Abba Hits Arnold The John Clare Cantata Bach J.S. Cantata 142 Bach J.S. Christ lay in Death's Dark Prison Bach J.S. Christmas Oratorio HB Bach J.S. Christmas Oratorio SB Bach J.S. Christmas Oratorio SB Bach J.S. Coffee Cantata Bach J.S. Come, Jesus, Come (Komm, Jesu, Komm) Breitkopf Bach J.S. Come, Jesus, Come (Komm, Jesu, Komm) Novello Bach J.S. Hold in Affection Jesus Christ Bach J.S. Mass in B Minor Bach J.S. Motetten (Motets) Bach J.S. Praise the Lord all ye nations Bach J.S. Sleepers Wake Bach J.S. St John's Passion Bach J.S. St Matthew Passion Bart Oliver! Beach Boys ed Lojeski Best of thre Beach Boys Beatles With a Little Help From My Friends Beatles ed Lojeski The Beatles in Revue Beethoven Choral Sympathy Beethoven Mass in C Beethoven Mass in D Beethoven The Choral Fantasia Bennett All the King's men Bennett Woman of Samaria Berkeley All the King's men Berkeley Or Shall We Die? Berlioz Messe Solennelle Berlioz Requiem Berlioz The Childhood of Christ Berloiz Requiem ed Schirner Bernstein Chichester Psalms (in three movements) Bernstein Vocal selection from West Side Story Bernstein West Side Selection Bernstein West Side Story Bizet Te Deum Blake The Song of St. -
Benjamin Britten Friday Afternoons Op
Benjamin Britten Friday Afternoons op. 7 Benjamin Britten, arranged by Heuwell Tircuit & Hywel Davies 1935, arr. 1963/2012 20 min arranged for chorus (upper voices) and orchestra 3(III=picc).2.3(III-bcl).2-4.2.3.1-timp.perc(3):glsp/xyl/t.bells/tgl/tamb/ratchet/wooden washboard or gourd(lg)/2cowbells/SD/BD/cyms/susp.cym/tam-t-harp(optional)-strings Nos 1, 2, 3, 4, 5, 7, 10, 11 & 12 are adaptations of arrangements by Heuwell Tircuit Nos 6, 8, 9 & 13 are arrangements by Hywel Davies Availability: This work is available from Boosey & Hawkes for the world Benjamin Britten photo © Angus McBean The National Anthem 1961 2 min CHORUS AND ORCHESTRA for chorus and orchestra Ballad of Heroes op. 14 2.2.2.2-4.2.3.1-timp.perc(2):cyms/BD/SD-strings 9790060014727 SATB 1939 15 min Availability: This work is available from Boosey & Hawkes for the world for tenor (soprano) solo, chorus, and orchestra 3(2)(II=picc).3(2)(II=corA).2.Ebcl(ad lib).3(2)(III=dbn)-4.2.3.1- The National Anthem timp.perc(2):xyl/cyms/whip/BD/SD/TD-harp-strings (reduced orchestration) off-stage (ad lib) 3 trumpets-SD 1961, rev.1967 2 min 9790060013935 SATB (Vocal Score) for chorus and orchestra Availability: This work is available from Boosey & Hawkes for the world 2.2.2.2-2.2.0.1(0)-timp.perc(1):cyms/SD-strings 9790060090851 Study Score - Hawkes Pocket Score 1196 Availability: This work is available from Boosey & Hawkes for the world Cantata Academica, Carmen Basiliense op. -
Rhodes Mastersingers Chorale Timothy W
RHODES COLLEGE presents Rhodes MasterSingers Chorale Timothy W. Sharp, Conductor David Ramsey, Associate Conductor and Accompanist Cantata Misericordium, Op. 69 Benjamin Britten Requiem, Op. 48 Gabriel Faure February 24, 2002 3:00 p. m. St. Peter's Catholic Church Memphis, Tennessee March 3, 2002 3:00 p. m. Temple Adas Israel Brownsville, Tennessee 3Ek lb Cantata Misericordium, Op. 69 Benjamin Britten (1913-1976) Libretto by Patrick Wilkinson Randal Rushing, tenor Barry Fowler, baritone CHORUS CHORUS Beati misericordes. Blessed are the merciful. Beati qui dolore corporis Blessed are those who succour afflictis succurrunt. the afflicted in body. Audite vocem Romani: Hear the voice of a Roman: TENOR TENOR 'Deus est mortali iuvare mortalem.' 'For man to love man is God.' CHORUS CHORUS Audite vocem Iudaei: Hear the voice of a Jew: BARYTONUS BARITONE 'Proximum tuum, sicut to ipsum, ama.t 'Thou shalt love thy neighbor as thyself' TENOR ET BARYTONUS TENOR AND BARITONE At proximus meus quis est? But who is my neighbor? CHORUS CHORUS Iesu parabola iam nobis fiat fabula. Let us now enact the parable of Jesus. CHORUS CHORUS En viator qui descendit Behold a traveler going down ab Ierusalem in Jericho. from Jerusalem to Jericho. VIATOR (Barytonus) TRAVELER (Baritone) Ah quam longa est haec via, Ah how long this way is, how desolate quam per deserta loca. the country! I am afraid of the Terret me solitudo, terret omnis rupes, solitude, of every rock, on-me arbustum. Insidias timeo. of every shrub. I fear an ambush. Heus, asine, propera, propera. Hey, donkey, hurry, hurry. CHORUS CHORUS Cave, viator, cave! Latent istis Beware, traveler, beware! in umbris latrones. -
Christ's Nativity
557203bk Britten US 16/09/2003 12:12 pm Page 20 DDD English Choral Music 8.557203 Benjamin BRITTEN St Nicolas (A Cantata) Christ’s Nativity Philip Langridge, Tenor Tallis Chamber Choir English Chamber Orchestra 8.555794 Steuart Bedford 8.557203 20 557203bk Britten US 16/09/2003 12:12 pm Page 2 BENJAMIN BRITTEN (1913 – 1976) St Nicolas, Op. 42 A Cantata 1 Introduction 5:11 2 The Birth of Nicolas 2:21 3 Nicolas devotes himself to God 3:58 4 He journeys to Palestine 7:33 5 He comes to Myra and is chosen Bishop 6:25 6 Nicolas from Prison 2:36 7 Nicolas and the Pickled Boys 6:15 8 His Piety and Marvellous Works 5:05 9 The Death of Nicolas 5:55 Christ’s Nativity Christmas Suite for Chorus (1931) 0 Christ’s Nativity 2:41 ! Sweet was the Song 3:14 Judith Harris, mezzo-soprano @ Preparations 3:31 # New Prince, New Pomp 4:34 Margaret Feaviour, soprano $ Carol of King Cnut 2:19 % Psalm 150, Op. 67 4:21 8.554659 8.557203 2 19 8.557203 557203bk Britten US 16/09/2003 12:12 pm Page 18 St Nicolas, Op. 42 Other releases in this series include: Philip Langridge, Tenor Tallis Chamber Choir English Chamber Orchestra David Owen Norris, Piano Rolf Hind, Piano Joseph Cullen, Organ Nicholas Elstob, young Nicolas Tom Jackman, Sebastian Stent, Henry Manning, Pickled Boys Christ’s Nativity BBC Singers Psalm 150, Op. 67 New London Children’s Choir London Schools Symphony Orchestra Steuart Bedford, conductor BBC Singers Soprano: Jennifer Adams-Barbaro, Joanne Andrews, Margaret Feaviour, Carolyn Foulkes, Amanda Morrison, Pamela Priestley-Smith Alto: Lynette Alcantara, Jaqueline Connell, Jacqueline Fox, Judith Harris, Kim Porter, Kay Smith Tenor: Simon Biazeck, Eugene Ginty, Christopher Hobkirk, Ian Kennedy, Douglas Leigh, Andrew Murgatroyd Bass: Richard Bourne, Geoffrey Davidson, Stuart MacIntyre, Paul Parfitt, Brindley Sherratt, Graham Titus 8.554791 8.557203 18 3 8.557203 557203bk Britten US 16/09/2003 12:12 pm Page 4 Benjamin Britten (1913-1976) $ Carol of King Cnut % Psalm 150, Op. -
Britten Saint Nicolas Hymn to St Cecilia Rejoice in the Lamb
The Choir of King’s College, Cambridge Final Logo Brand Extension Logo 06.27.12 BRITTEN SAINT NICOLAS HYMN TO ST CECILIA REJOICE IN THE LAMB STEPHEN CLEOBURY CONDUCTOR ANDREW KENNEDY BRITTEN SINFONIA T BRITTEN rack SAINT NICOLAS Andrew Kennedy tenor * Sawston Village College Choir (Janet Macleod chorus director) Choir of King’s College, Cambridge ^ CUMS Chorus Britten Sinfonia (Jacqueline Shave leader) L Stephen Cleobury conductor & organ ist SAINT NICOLAS 1 i. Introduction 05:35 2 ii. The Birth of Nicolas (Tom Pickard treble) 02:43 3 iii. Nicolas devotes himself to God 04:34 4 iv. He journeys to Palestine * 08:19 5 v. Nicolas comes to Myra and is chosen Bishop *^ 07:02 6 vi. Nicolas from Prison 02:59 7 vii. Nicolas and the Pickled Boys (Adam Banwell, Rupert Peacock, James Wells trebles) * 06:42 8 viii. His piety and his marvellous works * 05:03 9 ix. The Death of Nicolas *^ 06:45 10 HYMN TO ST CECILIA 10:25 Alexander Banwell, William Hirtzel trebles, Andreas Eccles-Williams alto, Ruairi Bowen tenor, Daniel D’Souza bass 11 REJOICE IN THE LAMB 16:25 William Crane treble, Feargal Mostyn-Williams alto, Ruairi Bowen tenor, Simon Chambers baritone, Ben San Lau organ Total Time 76:32 Recorded at 96kHz 24-bit PCM in the Chapel of King’s College, Cambridge, by kind permission of the Provost and Fellows, 23-24 June 2012 (Hymn to St Cecilia & Rejoice in the Lamb) and 14-15 January & 20 May 2013 (Saint Nicolas). Producer & Editor Simon Kiln Recording Engineers Arne Akselberg, Jonathan Allen Mixing Engineer Arne Akselberg Technical Engineer Richard