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The Pocket Diaries Kept by Britten on a Daily Basis Between January 1928

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The Pocket Diaries Kept by Britten on a Daily Basis Between January 1928 Benjamin BrittȂȱȱȱ ȱa PhD thesis by Cameron Pyke ȂǰȱUniversity of London 1 Abstract This ȱ ȱ Ȃȱ ȱ ȱ ȱ ǰȱ ȱ ȱ sense of aspects of Russian culture and politics, across his creative life. It ȱȱȱȱȱȂȱȱȱǰȱȱȱ¡ȱȱ his diaries from 1928 to 1938 and his correspondence in the Britten-Pears Library, Aldeburgh. The author has also conducted over twenty interv ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Ȃȱ creative sensibility, some of which are included as appendices, and carried out two research visits to Russia and Armenia. Particular ȱȱȱȱȂȱȱȱȱaikovsky and to his creative relationship with Shostakovich. The latter is considered both ȱ ȱ ŗşřŖȱ ȱ ȱ ŗşŜŖȱ ¢ȱ ȱ ȱ Ȃȱ ǰȱ ȱ ȱ ȱȱ ȱǰȱȂȱȱȱ Britten scores, and a series of articles about Britten published in the Soviet Union in the 1960s. An attempt is made to consider the relationship ȱ Ȃȱ ȱ Ȃȱ vocal and instrumental works during this latter period, with particular reference firstly, to the influence of Mstislav Rostropovich and Galina Vishnevskaya and secondly, to the topic ȱǯȱ¢ǰȱȱȱȱȂȱative relationship with Russia as an integrated phenomenon and explores some of the 2 ambiguities ȱ ȱ Ȃȱ nse and the wider Question of Russian influence on his music. Note on transliteration and appendices I have largely adopted the Library of Congress System, but have broken away from this (a) when a name or work in Russian has a commonly accepted English spelling or translation (such as Eugene Onegin, Melodiya, Pique Dame, Tchaikovsky, Vishnevskaya, War and Peace, and Yerevan) (b) in citing the titles (and individual settings) of Shostakovich vocal works, with the exception of op. 140, I have generally followed Hulme (1991/2002), although in several cases (Tsvetaeva, Lebiadkin) I have chosen instead to adhere to the Library of Congress system. Appendices I to XIII consist of interviews carried out and letters received in response to inQuiries relating to the research. The author has based inclusion on a judgement as to which translate most effectively into written form and thereby illuminate the text as a whole. Repetitions in answers have been cut and the occasional factual error corrected; and, on occasion, the Questions have been condensed to make a readable narrative. Where an appendix illuminates a specific point made in the text, this is referenced in a footnote. 3 Acknowledgements I was born on the day Benjamin Britten and Peter Pears arrived in Moscow from St. Petersburg, then Leningrad, during their final visit to the Soviet Union; ȱȂȱȱȱȱȱ ȱȱt piece I sang as a treble nine years later. It is a pleasure to thank those who have supported and encouraged my work on Britten and Russia. Professor Alexander Ivashkin has supervised my research and I am profoundly grateful to him for his wisdom, inspiration and encouragement. I thank the Master and Governors of Dulwich College for their support and for granting me a sabbatical in Lent term 2011 to enable me to ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ Ȃǰȱ University of London, for funding research visits to the Archive of D.D. Shostakovich in Moscow and to the Paul Sacher Stiftung in Basel. The staff of the Britten-Pears Library have been unfailingly helpful and supportive of my work. It has been a consistent inspiration for me to work under their guidance and to spend time in the Red House. I am particularly grateful to Dr. Nicholas Clark and Dr. Lucy Walker for 4 answering so many Questions with such patience and good humour. I ȱ ȱ Ȃȱ ȱ ȱ Ȃȱ ȱ ȱ the D.D. Shostakovich Archive in Moscow, Larissa Chirkova at the Mstislav Rostropovich Archive in St. Petersburg, and Mrs. Anne Drewery, Archivist of Lancing College, Sussex. I am grateful for the generous assistance and encouragement of Lidia Ader, Professor David Fanning, Dr. Levon Hakobian, Professor Liudmila Kovnatskaia, Dr. Eric Roseberry, Professor Arnold Whittall, and Elizabeth Wilson. Needless to say, I am entirely responsible for the interpretations I have advanced and for any errors that remain. It has been a privilege to gain an understanding of Britten through conversations with those who knew him and performed with him, and I thank those whom I have interviewed during the course of my research. My particular gratitude goes to Edward Mirzoian and Alexander Arutiunian who welcomed me to Armenia in 2010, together with Professor Ashot Zohrabyan and Tatev Amiryan. I also thank Irina Antonovna Shostakovich, Galina Pavlovna Vishnevskaya, and Rita Thomson, who have answered my Questions with great patience and 5 insight; and Sioned Williams, for demonstrating to me the remarkable inventiveness ȱȂȱ ȱȱǯ Professor Derek Beales and Dr. Joseph Spence offered me encouragement at crucial points in my work, as did Colin Coleman, Margot Riordan-Eva and Roger Wickson. My sixth-form pupils at Dulwich College have responded to my enthusiasm for Britten with characteristic generosity of spirit and insight and I am sincerely grateful to them. I dedicate this thesis to my wife Tamsin and daughter Cecilia with affection, admiration and gratitude, and to the memory of my grandparents. Easter Sunday 2011 6 Contents Page Abstract 2 Note on transliteration and appendices 3 Acknowledgements 4 Contents 7 Introduction 11 Chapter 1: Britten, Tchaikovsky and the Russian cultural tradition 1.1 Introduction 16 ŗǯŘȱȂȱȱȱȱ 19 Table 1: NuȱȱȂȱminiature scores in the Britten 25 Pears Library by composer and year of acquisition, 1925-32 1.3 Extra-musical considerations 25 1.4 The influence of Frank Bridge 33 1.5 ȱȱȱ¢Ȃȱȱ 40 1.6 Britten and musical influence 49 Table 2: Numbers of references to Russian composers in 50 ȂȱǰȱŗşŘŞ-38 1.7 Rossini Suite (1935), Soirées musicales (1936) and Matinées 62 musicales (1941) 1.8 String Quartet No. 2 in C (1945) 65 1.9 The Prince of the Pagodas (1956) 67 1.10 Ȃȱ 90 1.11 Musical structure and treatment of ballet forms 95 ŗǯŗŘȱȱȱȱȱȱȂȱ 103 1.13 Third Suite for Cello (1971) 112 1.14 Conclusion 117 7 Chapter 2: Britten and Shostakovich, 1934 to 1976 2.1 Introduction 119 2.2 Ȃȱȱȱ ȱȱ 122 2.3 Ȃȱȱ ȱȱ 136 2.4 The social duty of the national composer 143 2.5 The murderous protagonist as victim 158 2.6 Ȃȱ ȱȱȂȱȱȱȱ1960 160 2.7 ȁȱȱȱȂǵ 166 2.8 Parody and satire 177 2.9 Use of percussion and celesta 189 2.10 The challenge of modernism 205 2.11 Conclusion 215 Chapter 3: Britten, Rostropovich and Shostakovich, 1960 to 1976: cello and chamber music 3.1 Introduction 217 3.2 Britten, Rostropovich and Tchaikovsky 219 3.3 Britten, Rostropovich and Shostakovich: Sonata in C (1961) 222 3.4 Symphony for Cello and Orchestra (1963): the influence of 235 Rostropovich? 3.5 The influence of Shostakovich and Prokofiev? 241 3.6 Non-Russian eclecticism and programmatic basis 249 3.7 The Three Suites for Cello (1964-71) 256 Table 3DZȱȱȱȂ string Quartets acquired by 260 Britten after 1960 (Britten-Pears Library) Table 4: Chron¢ȱȱȂȱȱȱȱȱ 261 ȱȱȱȂȱ-1960 chamber music and its performance at the Aldeburgh Festival 8 3.8 Ȃȱ ȱȱȂȱȱȱȱŗşŜř 265 3.9 ShostakȂȱ ȱ ȱ ǰȱ ŗşŜř-66, with 273 particular reference to the Second Cello Concerto (1966) 3.10 Conclusion 282 Chapter 4: Britten and Shostakovich: vocal composition, 1960 to 1969 4.1 Introduction 285 4.2 ȱȂȱ (1965): context 286 4.3 Selection of poetry 298 4.4 Musical reference 307 4.5 Seven Romances on Poems of Aleksandr Blok (1967) Ȯ a 325 ȱȱȂȱȱǵ 4.6 Conclusion 341 Chapter 5: Britten and Shostakovich: creative convergence and dialogues on death, 1969 to 1976 5.1 Introduction 343 5.2 The Fourteenth Symphony (1969) 344 5.3 The Thirteenth String Quartet (1970) and Third Suite for Cello 353 (1971) Reproduction of Christmas znammeny chant sent to Britten by 357 Bishop Pimen of Saratov and Volgograd in December 1968 5.4 The Fifteenth Symphony (1971) and Death in Venice (1972) 365 5.5 Creative divergence, 1973-76 375 5.6 Conclusion 385 Conclusion 388 9 Appendices I: Letter from Lord Armstrong of Ilminster, 16 May 2010 394 II: Interview with Alan Brooke Turner CMG, 24 September 2009 396 III: Letter from Osian Ellis CBE, 5 February 2010 405 IV: Interview with Keith Grant, 25 September 2009 408 V: Interview with George, Earl of Harewood, 13 March 2009 421 VI: Interview with Lilian Hochhauser, 24 November 2011 427 VII: Interview with Victor Hochhauser CBE, 4 November 2009 432 VIII: Letter from Sir Charles Mackerras CH, 26 January 2010 436 IX: Interviews with Donald Mitchell CBE, 11 August 2008 and 8 437 July 2009 X: Interview with Irina Shostakovich, 31 March 2009 445 XI: Letter from Boris Tishchenko, 21 May 2008 449 XII: Interview with Oleg Vinogradov, 8 September 2010 452 XIII: Interview with Galina Vishnevskaya, 11 June 2010 456 DZȱȂȱȱof Tchaikovsky: Polnoe Sobranie Sochinenii 469 (Moscow/Leningrad: Musgiz/Muzyka, 1940-71) in the Britten-Pears Library XV: ǻǼȱȱȱȱȱȁȱȱȱȱ 476 Ȃȱ ȱ ȱ Ȃȱ in the possession of Alexander Arutiunian (ii) the eQuivalent passage in the autograph score, in the possession of Edward Mirzoian Bibliography 481 10 Introduction This thesis ȱȱȱȱ ȱȱȂȱ ȱȱ Russia, particularly in Russian music, over the course of his creative life. In the first instance, it makes use of two sources: the full text of the Ȃȱ diaries written between 1928 and 1938 and his collection of miniature and full scores of Russian music in the Britten-Pears Library, Aldeburgh. In the latter respect, particular care has been taken to ȱ Ȃȱ ȱ ȱ ȱ ȱ Peter Pears and from ȱ ȱ ȱ Ȃȱ ǯȱ This evidence highlights the ȱ ȱ Ȃȱ ȱ ȱ ¢ (as opposed, for example, to Musorgsky), which has hitherto received limited scholarly attention, and this phenomenon is evaluated in the first chapter and placed in the wider context of the Question of musical influence on Britten.
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