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Reeds That Don’t Leak

Julian Roberts reveals his personal tips for some critical stages of the reed-making process.

As far as I’m concerned making reeds The next critical moment is when you is a total waste of time. I aim to make as form the end of the reed. The aim here few as possible and find that they last is to form as round a tube as possible. several months if alternated with others. The cane must be in a very pliable and There are plenty of guides on how to malleable state. It should have been make reeds and probably lots of better soaked several hours prior to the ideas and methods than mine; however profiling, shaping and construction stage. I’ve managed to make a living playing Now when forming it into a tube, as well First Bassoon in various orchestras for as it being well saturated, I steam it by 42 years, making noises through my own sitting it on the lid of a saucepan full of reeds. Some students I know were having rapidly boiling water, right where the lid trouble with their reeds leaking, so I put has holes for the steam to escape. You this together for them and offer it here in may cut right through the cane as I do, case it’s also useful for you. So this is not or just score it. Whichever method, the a ‘how to make a reed’ article, it is a tube must be persuaded into as round a focus on a few interesting moments of the state as possible. The best tool here is process that may apply whatever methods smooth-jawed parallel pliers, gently you use in the general construction. coaxing all the cane to conform to the shape of the mandrel as you gradually Here marginal overlapping can be seen The cane is bevelled in a taper between push it in. on the left side of the reed the 2nd wire and the end. However, if like me you use a thicker than standard but getting the circle round, without gouge (1.5mm in my case), don’t bevel overlaps or gaps. A tiny gap between the full depth of the cane as you get to fingers of cane is better than an overlap. the end. Half way down will be enough. If any gaps are too big, take the reed down towards the mandrel tip a When the cane is folded over, the millimetre or two and go through the 1st wire is put on. At this moment it is massaging and retightening process again. easy very slightly to misalign the two If there is a gap on one side and not the halves of the reed. Check that they are other, ‘persuade’ and rearrange the fingers sitting directly on top of each other as Coaxing with smooth-jawed pliers of cane around with the pliers. you wrap the wire round them. Check the alignment before you twist the two wire A proper shaper should have left you When satisfied, the 3rd wire is done up ends together and, if it’s out, take that with the right width of cane at the end to tightly. Check again that the tube is all bit of wire off, chuck it and start again. give a circle of the actual diameter that smoothed down on the mandrel up to the It’s as you make the very first bends of the will sit on the crook at the correct 2nd wire. Leave the reed on the mandrel wire that you have to be sure to hold the distance from its end. The tapering for 24 hours minimum to dry out. Ideally cane firmly together, exactly aligned. mandrel normally has a mark showing you have mandrels that detach from their how far it should be pushed in to give handles so you can make more than one this same diameter. Be prepared, reed at a time. however, if your piece of cane fails to conform. What matters is that every bit After 24 hours the wires will be loose on of the tube is sitting properly against the the dried out reed. Now the aim is to mandrel; it is important that you push in make the tube an integral self-supporting the mandrel far enough to make sure circle. Check the circle and tube; it none of the ‘fingers’ of cane are too should be a good circle if you did the squashed together causing marginal previous process just right but at this overlapping. If necessary, push the stage you can still correct or improve it if mandrel beyond the mark to ensure this. necessary. Carefully, without disturbing the blade alignment, retighten the 1st and As you finish forming the tube wrap the 2nd wires sufficiently to hold it all firmly 3rd wire round, pull it tight, then twist up together. Tighten up the the 3rd wire, the slack to lock. With the third wire on, checking it is a circle and tube without take the reed off the mandrel and check gaps, sufficiently to give a snug grip but (while the cane is still pliable) that the not more than that. Where precisely the end looks even. mark on the mandrel comes is not as important as getting this tube just so. Ideally the tube should have formed at the correct point of the taper to give a Now take the reed off the mandrel. If the Checking the alignment – the next bend perfect circle and the end will be where 3rd wire is now loose, the circle is not is the critical one the mark is. What matters is not the mark, sufficiently self-supporting. Put the reed

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back on the mandrel and tighten the wire the reed as long as possible: minimum more reason for using the reamer as a little more. Repeat until the wire is snug one day, but a week or month is better, little as possible during the original without the mandrel inside, yet with a or even more. construction. Following these ideas you perfect circle formed without gaps. should hopefully never be in the situation If necessary move the reed slightly down When it is time to use the reed, if it had where there is so little cane left that it the mandrel. Finally, after getting the to be made short of the mark now is the won’t go onto the crook at all, because wire just right, push the mandrel firmly time to ream it so that the end comes to there is no cane left inside the bark to into the reed to wedge it on for the the correct place. It shouldn’t need to be ream out! binding process, so that the cane is reamed to make it into a circle! Reaming compressed equally by the mandrel and should always be done with the reed dry, the binding thread. using a rat tail file to get rid of the last little shreds left by the reamer. If you do I may end up with the reed just short of this process when wet, it is a real bore the mark. All the time I’m trying to trying to get all these loosened fibres out establish the ideal diameter of the tube from between the blades. If the reed end for the actual cane dimension. Every doesn’t go to the mark it will not go piece of cane behaves slightly differently sufficiently far onto the crook, which will as a combined result of the imperfections make the tenor register harder to ‘sing’ of my preceding techniques and the fact properly as it will tend to be flat relative The finished reed, kept on a mandrel that we’re dealing with what was until to the lower registers. However good your until needed recently, and will continue to behave as reed, if you’re flat you will sound just If the reed fully dries out between playing if, a living organism. that: flat, dull and boring. (Though if you sessions, the first two wires become read my previous article for DRN you will actually quite loose, though the binding Now with the reed at its optimum know it is vital that the bassoon is never holds it together. To play on, the reed position on the mandrel, regardless of the sharp, and that a major third should be must be wet, and that means the whole mark, I bind the reed. After filing a little played slightly below pitch when it’s in reed, not just the blades. The wires nick each side on the tube to give the the middle of a chord.) become snug again as the wet cane thread a place to grip, I ‘paint’ it with a swells. A proper airtight seal around the generous layer of proper Evostik (only The reed must be reamed so that it is crook is needed and wet cane is better obtainable from hardware stores) from the not short of the mark on the mandrel. than dry. If after all this trouble you still 2nd wire to the end, particularly ensuring The aim here has been to make it have any leak, beeswax can be used, it gets into what remains of the crevices unnecessary to lose cane using the but I have had almost no experience where the two halves meet. After half an reamer in order simply to make it of this. hour or so this is sufficiently dry that you circular. If the reed goes further than the can bind the thread round without getting mark this is unlikely to be any problem; Lastly it’s worth saying that the flexibility the glue onto your skin, but tacky enough though if you worry it might make it too of soft brass wire of a given thickness (or to grip the thread. sharp then leave that little more length of ‘gauge’) does vary between suppliers. cane when you cut the tip. The definition of ‘soft’ seems to have People who value appearance above all become harder over the years! It should else waste their time making a pretty So now it’s ready to be used. I soak it a be malleable, not at all stiff. It can be ‘Turk’s head’, but I think the less binding whole morning or the equivalent before softened by holding in a flame, but better the better. All this stuff that holds the reed cutting the tip as I don’t want it to split to try to find some soft stuff to start with. together is damping the vibrancy of the after all this work. The wires, which had At all stages, I’m trying to have as little reed and killing the sound. I don’t even been tightened on the dry reed, now as possible stopping the reed doing what bind all the way from the 2nd wire. become too tight. For playing on I loosen we want, providing vibrations freely into I don’t bind it pulling very tight, just the wires so that they are snug: but not the instrument. reasonably firmly, as with the wires at this over tight with the cane wet, so they can stage. To play on, the reed has to be be very slightly rocked back and forth soaked and will swell up; so I aim not to when held at the twist. With my minimal constrict it more than is necessary in this binding the third wire is accessible: dry state, to keep it together for its life I slightly loosen this one, though being time, as what I primarily want is vibrancy covered with glue and varnish I’m not in the sound. The vibrations of the blades sure there’s much effect. should as far as possible travel into the instrument freely. A free-blowing reed is From here on, in the playing life of the what I’m after. reed, the problem becomes the reed gradually swelling inwards. Perhaps a After binding I put clear nail varnish on to reed box with miniature mandrel stubs the completed reed between the 2nd wire would be ideal. From time to time it will and the end, again as generously as I can, need to be reamed out to continue to go especially along the crevices. Now I leave on the crook the right distance. All the

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Benjamin Britten’s Temporal Variations An Enigma Explored, Part II George Caird continues his discussion on the background to the creation of Temporal Variations by looking at the significance of two of Britten’s great collaborators, W.H. Auden and Montagu Slater. (Part I was published in DRN124.)

Britten and W.H. Auden highly influential work which in its dedication Britten first met the poet to the poet Stephen W.H. Auden on 5th July Spender captures the 1935 when the anxiety of the age in documentary film-maker, pitting the individual or Basil Wright drove him to ‘hero’ against the power the Downs School in of the state: Colwell to begin talks about films for the GPO Private faces in film unit. Both Britten and public places Auden had already Are wiser and nicer contributed to the film Than public faces in unit’s Coal Face earlier in private places.6 the year, and now plans were made to work on At the time when Auden Night Mail and a film and Britten first met in about the introduction of 1935, the poet had also slaves to the West Indies.1 developed yet another By early September that theme on the Marxist year, Britten and Auden idea of the decline were meeting regularly on of the middle class these projects and the Benjamin Britten and W.H. Auden and its metamorphosis influence of the older towards militarism and Auden soon became natural desires. Nevertheless and revolution. The Dance apparent to the composer: paradoxically, Lawrence argued that of Death made use of a Dancer and an civilisation had opted wrongly for Announcer to lead changes that the ‘Spend day with Coldstream and ‘cerebral activity’ over spontaneous living: bourgeoisie seek, always resulting in Auden in Soho. Sq. and British failure. The parable ends with the Museum etc. ...I always feel very ‘It is impulse we have to live by, not death of the dancer (leader) and the young and stupid when with these the ideals or the idea.’4 collapse of the class’s dreams. The brains – I mostly sit silent when they metaphorical death inside the middle hold forth about subjects in general.’2 Auden’s first major works, Paid on Both classes is portrayed by the dancer who, Sides (1929) and The Orators (1932) through a process of escapism, Despite this remark Britten, in the ensuing developed these ideas and were to set nationalism, idealism and finally months, absorbed a huge amount from the tone for a generation of poets and cynicism, finds release only in death. Auden who, with Christopher Isherwood, authors that included Cecil Day Lewis, Auden invokes the structures of the music was writing the play The Dog Beneath the Louis MacNeice and Christopher pantomime and cabaret to create a Skin and subsequently collaborating on Isherwood. Both of these works are damaging critique of a ‘sick’ society. The Ascent of F6, both for the Group parable-like in form and charade-like in At the climax of the play, the dancer Theatre. The Dog Beneath the Skin, like structure; works that on the surface might becomes a Pilot whose ‘ambition is no an earlier work of Auden’s, The Dance of seem comical and unintelligible but at less than to reach the very heart of Death, was taken up with satirical and the core have layered and nuanced Reality’.7 This theme of the pilot should parable-like comment on the rise of meaning. Interwoven themes of the be compared with Auden’s Journal of an leader-driven power and the loss of positive and negative power of love, Airman from The Orators. cohesive social order. the value of leadership and the importance of group organisation over On 17th September and again on For Auden himself, the thinking behind the individual addressed the tensions in 6th October 1935, Britten attended these works came from ten years earlier the 1930s created by the ‘wasteland’ of the Group Theatre for productions of when, in the wake of T.S. Eliot’s post-First World War Europe and the Auden’s plays,8 and on the latter The Waste Land, and as an emerging marked rise of far-right politics. occasion he was impressed by poet he became influenced by the The Orators begins with four prose The Dance of Death. Thereafter, the ideological ideas of D.H. Lawrence as set ‘orations’ which build on the ideas of composer became involved in the out in his Phantasia of the Unconscious D.H. Lawrence whilst incorporating Theatre’s activities accepting commissions and his novels Kangaroo and the Plumed in the opening ‘Address for a Prize-Day’ to compose for productions, the first Serpent.3 Lawrence believed that it was another idea, gained from the German being Rupert Doone’s and Robert necessary to suppress education for all philosopher Georg Groddeck, that we Medley’s Timon of Athens. Robert but a few, and to appoint a supreme are all guilty of differing crimes against Medley’s recollections of the power and Leader to govern in order to achieve the love (excessive love, defective love, idealism of the Group Theatre leave us right balance between conscious perverted love).5 The following Journal of with an impression of how influential its controlling action and unconscious an Airman and Six Odes complete this work was:

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‘In spite of its potential for on 25th September. Auden juxtaposed ‘Lunch at Victoria with Mr. Graham propaganda, under Rupert’s direction three poems – two anonymous and Goodes (the very objectionable, self- the Group Theatre put art first as a one attributed to the sixteenth century important, ignorant, bumptious and way of discovering truth, but it Thomas Ravenscroft – about animals altogether despicable secretary of the could have not existed at all and death, framing them with a Prologue Norwich Festival). I find it not difficult without a degree of political and and an Epilogue that seek to define the to make him come round to letting social awareness. For one thing ‘poles between which our desire me do a vocal suite (Sophie Wyss) for it was impossible to ignore the unceasingly is discharged. A desire in the Sept. festival.’19 tragic consequences of the slump – which love and hatred so perfectly the poverty and unemployment. oppose themselves...’13 Could it be that Auden developed the The Group Theatre inevitably took idea of a more powerful analogy between on the left-wing colouring of its There have been a number of significant nature and human political ambition from time, but its aims were always to readings of Our Hunting Fathers, from an earlier plan to write an instrumental produce plays and performances Donald Mitchell’s view of the work as a suite as Britten had recorded earlier in that were intrinsically interesting, stand against the rise of fascism in 1935? Certainly something led the two and well done.’9 Europe,14 to Stephen Arthur Allen’s collaborators to fix on such a theme. Both connecting the work to Britten’s growing artists are known to have been deeply Thus in the autumn of 1935, as poet awareness of his sexuality guided by his concerned by the rise of nationalism in and composer worked closely together, collaboration with Auden.15 Paul Kildea Germany, in Italy and later that year in Britten had exposure to many of Auden’s adds another dimension of Auden at Spain, and it appears that the creative burgeoning ideas, and in addition, that time that ‘his eye remained on a process for Our Hunting Fathers did not least his views on the power of good disintegrating Europe and the iniquity of progress Britten’s preoccupation with and the power of love, derived from the the English class system… Both themes what Donald Mitchell has described as writings of Homer Lane: informed the new piece’.16 ‘acts of violence, their consequences and the “climates” that unleash them’.20 ‘Poetry is not concerned with telling More recently, Joanna Bullivant revisits people what to do, but with these themes and adds important extending our knowledge of good observations including the connection and evil, perhaps making the between the poems of the song cycle, necessity for action more urgent and and Auden’s poem, ‘Journal of an Airman’ its nature more clear, but only leading from ‘The Orators which ‘consists of an us to the point where it is possible for earlier exposition of some of the core us to make a rational and moral themes of Our Hunting Fathers: the choice.’10 comparison between humans and animals, the constant juxtaposition of Amidst the whirlwind of activities and levity and violence and musings on interests that both poet and composer the nature of love’.17 Bullivant concludes were involved with at the end of 1935, it that a full understanding of Britten’s is therefore important to note Britten’s work demands exploration of its literary diary entry for 2nd January 1936 where context and ‘provides new insights he records that he and Auden ‘talk into how Britten implemented a amongst many things of a new Song modernist musical language in a work Cycle (probably on Animals) that I may that remains a monument of 1930s write’.11 political art’.18

Britten is referring here to what was to Returning to Britten’s works for oboe, become Our Hunting Fathers, the song whether the choice of animals in

cycle that he discussed with his teacher, Our Hunting Fathers has any connection Photo: Enid Slater (Slater Estate) Frank Bridge on 23rd March having with the composer’s work on his (l-r) Christopher Isherwood received some of the texts from Auden: Insect Pieces is tenuous but this and W.H. Auden possible link must nevertheless be ‘I show him Auden’s stuff for me pointed out. Auden would have become Another important dimension to point out and he is impressed. Also find he is aware of the oboe work that was on is that the relationship between Auden very sympathetic towards my Britten’s mind during the last months and Britten rapidly became close from socialistic inclinations…’12 of 1935 and could easily have steered autumn 1935 onwards. For Britten this this in a direction that suited the was primarily driven by his admiration for Britten began composing Our Hunting emerging ideas behind the new Song Auden’s phenomenal intellectual and Fathers on 13th May 1936 and completed Cycle. It is worth noting that Britten artistic abilities but in Auden’s case there the work by 28th July with the first hinted at an earlier agreement on the was, in addition to his recognition of performance sung by Sophie Wyss commission in a meeting in London on Britten’s musical gifts, a strong personal at the Norwich Triennial Festival 18th February 1936: attraction. As Auden attempted to ‘bring

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him out’,21 most significantly the poet was two apart. Auden’s decision during the part of his Op.11 song cycle, On this to produce the poem Underneath (an) autumn of 1936 to turn away from Island, and all part of Auden’s seminal the abject willow that Britten would set absolute pacifism and to join the war publication Look, Stranger!, published and include in his Two Ballads which effort in Spain must have been a big facer in 1936.25 received their première on the same night for Britten as 1936 drew to a close and as as the Temporal Variations in December the première of the Temporal Suite Finally, this very collection also 1936. The poem exhorts the reader approached. After that concert and in the contained the poem, Underneath the (Britten) to be bolder: New Year, the two met on 8th January abject willow that has already been 1937 to say goodbye: discussed and formed part of the Two All that lives may love; why longer Ballads performed at Wigmore Hall Bow to loss ‘He goes off to Spain (to drive an concert on 15th December 1936. With arms across? ambulance) tomorrow. It is terribly Significantly, the other ballad, Mother Strike and you shall conquer.22 sad and I feel ghastly about it, tho’ Comfort, was by Montagu Slater whose I feel it is perhaps the logical thing relationship with Britten at this time now In September 1936, as an apparent for him to do – being such a direct needs consideration. afterthought to his earlier play, The Dance person. Anyway it’s phenomenally of Death, Auden wrote a remarkable brave. Spend a glorious morning with poem, Death’s Echo, that encapsulates a him (at Lyons Corner House, coffee Britten and Montagu Slater nihilistic rejection of the ambition of drinking). Talk over everything and he humanity. Now with the Spanish Civil gives me two grand poems – a lullaby, Britten first met the poet, playwright, War raging, both Auden and Britten and a simple folky Farewell – that is critic and left-wing activist Montagu reacted with great concern, Britten overwhelmingly tragic and moving. Slater in 1935 working on Coal Face for stepping up his pacifist activities and I’ve lots to do with them.24 the GPO Film Unit. The two had probably Auden making plans to join the met via Group Theatre events that Britten republicans in Spain. The exhortation of These were Danse Macabre, ‘It’s farewell had been drawn into by Auden. After Death’s Echo to turn away from empty to the drawing room’s civilised cry’ that Britten started to write scores for the endeavour and dance, seems in step with Britten used in his Ballad of Heroes in Group Theatre productions in September the mood of the second part of Temporal 1939 and ‘Lay your sleeping head my 1935, it is interesting to note that, on the Variations:23 love’. It is interesting to note that the 2nd December, he had ‘lunch with former of these follows Auden’s dance Montagu Slater at Bertorelli’s, and talk The desires of the heart are as theme and makes reference to Britten’s over sounds for his new Easter play… crooked as corkscrews duet playing with Adolph Hallis: See Slater & his orchestral leader Not to be born is the best for man; again...’.26 This was to involve the The second-best is a formal order; It’s farewell to the drawing-room’s composer in the work of the Left Theatre The dance’s pattern; dance while you can. mannerly cry, that Slater was heavily involved with. Dance, dance, for the figure is easy, The professor’s logical whereto The music and sounds that Britten The tune is catching and will not stop; and why, provided for Easter 1916 were Dance till the stars come down The frock-coated diplomat’s polished insubstantial but the collaboration from the rafters; aplomb, led to greater things in 1936. Dance, dance, dance till you drop. Now matters are settled with gas and with bomb. Britten finished his setting of Our Hunting Fathers in July 1936 and spent the early The works for two pianos, the part of August on holiday in Cornwall brilliant stories working on his Rossini suite, Soirées Of reasonable giants and Musicales. But it is reasonable to assume remarkable fairies, that he was also turning his thoughts The pictures, the ointments, the towards the oboe work by mid-August frangible wares and certainly was writing it by the time And the branches of olives are of his diary entry on 10th September. stored upstairs. Could the oboe work be a further ‘take’ on the ideas that he and Auden put into Britten had set other Auden works from Our Hunting Fathers? Could the ironic this period including, Night Mail and dances, Waltz and Polka, reflect the O lurcher-loving collier for the GPO films mood of Death’s Echo? and Stop all the clocks which was initially part of the play The Ascent of F6 in April The relationship between Britten and 1936, but later was set as Funeral Blues. Auden was undeniably a close one in In addition, Let the florid music praise, 1936, but the poet’s travels to Iceland in Now the leaves are falling fast, Look, July and the composer’s exceptional stranger, at this island now and As it is, Photo: Enid Slater (Slater Estate) workload were also factors in keeping the plenty were poems that in 1938 would be Montagu Slater by Enid Slater

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Born in Millom Cumberland in 1902 Stay Down Miner is of particular interest And meetings with Slater often remarked to a working class family, Slater was here because of its account of the struggle on how nice a man he was, such as the sixteen when the First World War ended of the Welsh miners against closed-shop diary note for 2nd July 1936: and, as Arnold Rattenbury has written: control and in favour of proper unionised representation, and raises the wider ‘Lunch with Montagu Slater – who is ‘…the world of his adolescent question on the morality of protest. a dear and exceptionally intelligent of awareness was one of collapsing In its original book form, Slater finishes course. We are thinking of a ballet on trade, of strikes, of returning with a reflective conversation with a Gulliver…’31 soldiers, of wounded begging in miner in the Nine Mile Point dispute. the streets, of homes unfit for The miner, named Howard, articulates So, where the relationship with Auden anyone, leave alone returning the connection of ‘fighting for ones rights’ was characterised by the composer’s heroes, and of the utter (in the dispute) with his strong chapel feelings of inadequacy, here was a ineffectualness of his father’s or religious beliefs: relationship that was more relaxed and anyone else’s religion. based on true friendship. More ‘When the money-changers were specifically and at this early stage of their ‘Insofar as Time can ever be thrown out of the Temple it wasn’t friendship, Britten and Slater found a pigeonholed away from the flow of because they hadn’t got a perfect mutual interest in pacifism, significantly events which make up History, those right to be there. They had. Their demonstrated by their attendance, 1930s of Montagu’s unregeneracy right had become a public wrong mentioned above, at the International were years in which slump, and it became right to expel them… Peace Society on Armistice Day 1936. unemployment, immiseration, I think you have no religion unless Britten wrote in his diary on that day: rearmament, approaching war, the you believe in the right for every emergent various fascisms of Italy, man to have sufficient to live a full, ‘In the morning I go with Montagu Germany, Japan, Spain and England happy and honourable life.’ Slater up to a meeting of the drew in massive movement a popular International Peace Society (Film, anger, determination for peace, and ‘But that means socialism.’ Theatre and Music Section) at increasingly practical thinking about Vaudeville Theatre. There aren’t many social justice.’27 ‘I think Christianity implies it.’29 people there – everyone is enjoying remorse and glorifying the noble Slater won a scholarship to Magdalen Whilst this exchange is not present milatry (sic) profession at the College, Oxford and thereafter pursued a in the script of the play that was to be cenotaph. However it gives one some career in journalism, firstly with the published as New Way Wins at the satisfaction that something is being Liverpool Post and later in London.28 end of 1936, it is indicative of Slater’s done (in 33 countries) to propagate He was drawn to socialism and in 1927 sensibilities and arguably in accord pacific settlement of disputes (if joined the Communist Party whilst also with Britten’s own religious and disputes there be)…’32 involving himself in left-leaning left wing sympathies. Graham Elliott enterprises such as the Left Theatre has pointed to the composer’s: The mutual understanding between (founded 1932) and the Left Review ‘My duty towards God is to believe in Slater and Britten on pacifism can be (1934 – 1938). His early writing him, to fear him, and to love him, seen in contrast to the work achieved by combined a strong feeling for social with all my heart’ from 1928, the year Auden and Britten in Our Hunting equality with his innate opposition to the of his confirmation and goes on to Fathers, in being more practical and misuse of political power as exemplified describe the changing relationship he had idealistic in opposing war. In 1936, by his first two novels, The Second City with his beliefs in the light of his mother’s Auden was articulating a more complex (1929) about life in a major provincial adherence to Christian Science.30 view that would involve him in joining town and Haunted Europe (1934) based In any case, Britten’s use of two ‘spiritual’ the Spanish Civil War, albeit as an in 1929 Berlin. titles (Commination and Chorale) in the ambulance driver, but this was a Temporal Variations, a work that has different position from that of other Benjamin Britten’s direct involvement strong connotations of protest, can be writers like Christopher Isherwood, who with Slater’s creative work began with attributed to influences that persisted remained fervently pacifist throughout his his writing of the scores of his next throughout the 1930s. life. These opposing positions were ones major works Easter 1916 (December which Britten must have weighed up at 1935) on the Irish uprising of that year, During 1936, the relationship with the time and his own emerging pacifist and Stay Down Miner (May 1936) Montagu Slater became a warm-hearted beliefs would have separated him from on the legendary strike at the Nine and special one. Britten recorded Auden to an extent. It is therefore Mile Colliery in Cwmfelinfach in 1935. meetings with moments of relaxation as understandable that the composer took These works were dramatised for on 8 April: strength from Slater, a friend who would the Left Theatre with music by Britten. uphold a more pure form of pacifism in In addition, Britten and Slater ‘Meet Slater for tea at M.M. at 5.0 these turbulent times. worked on a number of films and after discuss at length the music notably Calendar of the Year (March – for his new play, a little ping-pong In the years after 1936, Britten and Slater September 1936). after,…’ were to remain united on this issue and

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Slater may have tried to persuade Dear, shall we talk or will that cloud In part three, George Caird will consider Britten towards writing a war requiem.33 the sky? Britten’s relationship with the oboe and Britten was to dedicate his Ballad of Will you be Mother Comfort or shall I? the four oboists for whom he wrote his Heroes to Slater and the isolationism If I should love him, where would our renowned works for the instrument. of being a pacifist may have brought the lives be? two together in creating the composer’s And if you turn him out at last, then Author’s Correction regarding Part I: first and great opera, Peter Grimes whilst, friendship pity me! The first modern performance of the as this work was being premièred, My longing, like my heart, beats to Temporal Variations was the broadcast Britten toyed with the idea of a and fro made by Janet Craxton with pianist Ian ‘post-Hiroshima oratorio entitled Oh that a single life could be both Brown, recorded on 28th March 1979 Mea Culpa’34 under the influence of Yes and No. and broadcast on Radio 3 on 3rd April Ronald Duncan. And later still, Britten 1980. The première of Two Insect Pieces continued to ponder this theme With Auden (and probably Slater as was on 7th March 1979 at the Royal eventually producing his War Requiem well) at the concert, it must have been Northern College of Music played by in 1962 and Cantata Misericordium an extraordinary première of the Two Janet Craxton with pianist John Wilson. in 1963. Ballads in addition to the power of the The advertised pianist, Margot Wright Temporal Variations. had withdrawn from this performance.

Britten dedicated the Temporal Variations to Montagu Slater, which leaves us Footnotes with a continuing question as to a possible reason for and timing of such a 1 Benjamin Britten, Negroes eventually dedication. Was the creation of the work published as God’s Chillun in 1935. bound up with the creative discussions 2 John Evans, Journeying Boy, p. 278. that the two artists had had during the 3 Samuel Hynes, The Auden Generation year? Is the work an expression of the (Pimlico, 1976), pp. 94ff. pacifism that the two men are known to 4 D.H. Lawrence, Fantasia of the have shared? And what do the lyrics of Unconscious: see Humphrey Two Ballads tell us about these questions, Carpenter, W.H. Auden, a biography if anything? (Houghton Mifflin, 1981), pp. 87ff. 5 Humphrey Carpenter, W.H. Auden, a biography (Houghton Mifflin, 1981), Synthesis on Auden and Slater pp. 120 – 132. 6 W.H. Auden, The Orators, (Faber & The inclusion of the Two Ballads and Faber, 1932), dedication. Temporal Suite into the concert on 7 W.H. Auden, The Dance of Death 15th December 1936 could be seen (Faber and Faber, 1933). See Joanna as Britten’s way to bring together two Bullivant, ‘Our Hunting Fathers important and intertwining threads whilst Revisited’ in Literary Britten, committing them to separate works in the ed. Kate Kennedy (Boydell Press, same performance. In the Two Ballads 2018), pp. 212ff. 8 Photo: Enid Slater (Slater Estate) we have a lyric by Auden that seeks to John Evans, Journeying Boy, Benjamin Britten by Enid Slater challenge the composer to confront his p. 278 and p. 281. own sexuality and a lyric by Slater that 9 Robert Medley, Drawn from the Life: In the light of the growing friendship offers ‘comfort’ whilst wishing the A Memoir (Faber and Faber, 1983), between Britten and Slater in 1936, possibility to say both ‘Yes’ and ‘No’. pp. 123 – 124. it is significant for this study to note 10 W.H. Auden, The Poet’s Tongue, that Slater’s poem Mother Comfort But the Temporal Variations shows no sign (Faber and Faber, 1935). became the companion Ballad that of these personal considerations and 11 John Evans, Journeying Boy, p. 323. Britten set alongside Auden’s Underneath every sign of being part of the major 12 Ibid., p. 342. the abject willow, for the Two Ballads theme of the mid-1930s, the rise of fascist 13 W.H. Auden, Our Hunting Fathers that received their first performance in power and the need of artists to counter (Boosey and Hawkes, 1936), Prologue. Wigmore Hall on the same night as this with heroic stands against war. 14 Donald Mitchell, ‘Our Hunting the première of Temporal Variations. The logical conclusion would be that Fathers abroad and at home’ in Where Auden’s poem is seen as a plea Britten deliberately separated his personal Britten and Auden in the Thirties to Britten to abandon his reticence over ‘journey’ and his political/social beliefs (Faber and Faber, 1981), p. 19ff. his sexuality, Slater’s, drawing its title by programming two separate works in 15 Stephen Arthur Allen, ‘O hurry obliquely from Richard III’s aunt,35 this concert. This thought can hang in the to the fêted spot of your deliberate seems to offer consolation and air whilst we now consider the music fall’ in Rethinking Britten understanding at the dichotomy of itself and why the composer decided to ed. Philip Rupprecht (Oxford, 2013), making a choice: write Temporal Variations for the oboe. pp. 21 – 26.

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16 Paul Kildea, Benjamin Britten, 23 W.H. Auden, Death’s Echo, 30 Graham Elliott, Benjamin Britten, A Life in the Twentieth Century September 1936, in W.H. Auden, the Spiritual Dimension (Allen Lane), p.118. Collected Poems, ed. Edward (Oxford, 2006), p. 12 and p. 15. 17 Joanna Bullivant, ‘Our Hunting Mendelson (Faber and Faber, 1976), 31 John Evans, Journeying Boy, p. 361. Fathers Revisited’ in Literary Britten, p. 152. 32 Ibid., p. 387. ed. Kate Kennedy (Boydell Press, 24 John Evans, Journeying Boy, p. 400. 33 Emily Pailthorpe, programme note to 2018), p. 213. 25 W.H. Auden, Look, Stranger! Though Lovers be Lost (Oboe Classics 18 Ibid., p. 222. (Faber and Faber, 1936). CC2008, 2003). 19 John Evans, Journeying Boy, p. 333. 26 John Evans, Journeying Boy, p. 288. 34 Mervyn Cooke, Britten War Requiem, 20 Donald Mitchell, ‘Violent Climates’ in 27 Arnold Rattenbury, Introduction to (Cambridge University Press, 1996), The Cambridge Companion to Montagu Slater, Englishmen with pp. 17 and 20. Benjamin Britten, ed. Mervyn Cooke Swords (Merlin, 1991), viii. 35 William Shakespeare, King Richard III, (Cambridge, 1999), p. 189. 28 Philip Brett, ‘Montagu Slater (1902 – II:II:55 – 56. 21 Humphrey Carpenter, W.H. Auden, 1956), who was he?’ in Peter Grimes A Biography (HMCO, 1981), p. 187. (Cambridge Opera Handbooks, 1983), 22 W.H. Auden, ‘Underneath the abject pp. 22ff. willow’ in Look, Stranger! (Faber and 29 Montagu Slater, Stay Down Miner Faber, 1936), XXII verse 2. (Martin Lawrence, 1936), p. 77.

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A new decade and a new era for BDRS

With increasing membership and a growing appetite for new musical explorations, BDRS is entering – dare we say – the “rohr-ing ‘20s!” (apologies to German speakers), with a new programme of exciting events to stimulate the imaginations and enthusiasms of all double reed players.

Tuesday 21st to Saturday 25th April at Park Place, Wickham, Hampshire 5-Day Oboe and Bassoon Courses

These legendary courses (which run parallel), led by John Anderson and Laurence Perkins, are now a major feature in the UK musical calendar for double reed enthusiasts. Suitable for players of any playing level, they offer the chance to explore in depth the technical and musical aspects of playing that lead to more satisfying and enjoyable music-making.

Posture, breathing, tone production, tuning, dynamics and reed adjustment all feature in the technical aspects, all alongside expert advice and inspiration on the musical aspects of solo, orchestral and ensemble playing. Adult players of all playing levels are welcome – everyone at any stage in their playing development can benefit from these musical and technical essentials.

This is a wonderful opportunity for oboists to benefit from John Anderson’s vast experience as a principal orchestral player, soloist, and tutor at the Royal Academy of Music. Laurence Perkins also has an international reputation as a soloist through his recordings for Hyperion, and was a principal orchestral player for many years as well as a member of several chamber groups.

One aspect that both John and Laurence share is a real enthusiasm for working in depth with amateur musicians, exploring and achieving on both a technical and musical level, and this of course is one of the main ingredients for the success of this national double reed event which has now become an annual fixture in the UK musical calendar.

The courses have now been expanded to include two inspiring course assistants – the oboists have Alec Harmon, and the bassoonists have Amy Thompson, who will be taking very active rôles through the week in the classes and ensemble sessions. Many thanks to Crowther’s of Canterbury (The Oboe Shop) for funding Alec Harmon’s place, and to Howarth of London for funding Amy Thompson’s place.

The courses begin on Tuesday lunchtime 21st April, ending on Saturday afternoon 25th April, with an informal concert of music explored and rehearsed through the week. For those who have been to previous courses, the BDRS Double Reed Day will not be held on Saturday this year – this event will be held at the University of York on Saturday 10th October – details on this double-page spread. Trade stands will however be present at Park Place, giving you the chance to browse and take expert advice on instruments and accessories.

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