Benjamin Britten's Temporal Variations An
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Britten Spring Symphony Welcome Ode • Psalm 150
BRITTEN SPRING SYMPHONY WELCOME ODE • PSALM 150 Elizabeth Gale soprano London Symphony Chorus Alfreda Hodgson contralto Martyn Hill tenor London Symphony Orchestra Southend Boys’ Choir Richard Hickox Greg Barrett Richard Hickox (1948 – 2008) Benjamin Britten (1913 – 1976) Spring Symphony, Op. 44* 44:44 For Soprano, Alto and Tenor solos, Mixed Chorus, Boys’ Choir and Orchestra Part I 1 Introduction. Lento, senza rigore 10:03 2 The Merry Cuckoo. Vivace 1:57 3 Spring, the Sweet Spring. Allegro con slancio 1:47 4 The Driving Boy. Allegro molto 1:58 5 The Morning Star. Molto moderato ma giocoso 3:07 Part II 6 Welcome Maids of Honour. Allegretto rubato 2:38 7 Waters Above. Molto moderato e tranquillo 2:23 8 Out on the Lawn I lie in Bed. Adagio molto tranquillo 6:37 Part III 9 When will my May come. Allegro impetuoso 2:25 10 Fair and Fair. Allegretto grazioso 2:13 11 Sound the Flute. Allegretto molto mosso 1:24 Part IV 12 Finale. Moderato alla valse – Allegro pesante 7:56 3 Welcome Ode, Op. 95† 8:16 13 1 March. Broad and rhythmic (Maestoso) 1:52 14 2 Jig. Quick 1:20 15 3 Roundel. Slower 2:38 16 4 Modulation 0:39 17 5 Canon. Moving on 1:46 18 Psalm 150, Op. 67‡ 5:31 Kurt-Hans Goedicke, LSO timpani Lively March – Lightly – Very lively TT 58:48 4 Elizabeth Gale soprano* Alfreda Hodgson contralto* Martyn Hill tenor* The Southend Boys’ Choir* Michael Crabb director Senior Choirs of the City of London School for Girls† Maggie Donnelly director Senior Choirs of the City of London School† Anthony Gould director Junior Choirs of the City of London School -
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. -
NABMSA Reviews a Publication of the North American British Music Studies Association
NABMSA Reviews A Publication of the North American British Music Studies Association Vol. 5, No. 2 (Fall 2018) Ryan Ross, Editor In this issue: Ita Beausang and Séamas de Barra, Ina Boyle (1889–1967): A Composer’s Life • Michael Allis, ed., Granville Bantock’s Letters to William Wallace and Ernest Newman, 1893–1921: ‘Our New Dawn of Modern Music’ • Stephen Connock, Toward the Rising Sun: Ralph Vaughan Williams Remembered • James Cook, Alexander Kolassa, and Adam Whittaker, eds., Recomposing the Past: Representations of Early Music on Stage and Screen • Martin V. Clarke, British Methodist Hymnody: Theology, Heritage, and Experience • David Charlton, ed., The Music of Simon Holt • Sam Kinchin-Smith, Benjamin Britten and Montagu Slater’s “Peter Grimes” • Luca Lévi Sala and Rohan Stewart-MacDonald, eds., Muzio Clementi and British Musical Culture • Christopher Redwood, William Hurlstone: Croydon’s Forgotten Genius Ita Beausang and Séamas de Barra. Ina Boyle (1889-1967): A Composer’s Life. Cork, Ireland: Cork University Press, 2018. 192 pp. ISBN 9781782052647 (hardback). Ina Boyle inhabits a unique space in twentieth-century music in Ireland as the first resident Irishwoman to write a symphony. If her name conjures any recollection at all to scholars of British music, it is most likely in connection to Vaughan Williams, whom she studied with privately, or in relation to some of her friends and close acquaintances such as Elizabeth Maconchy, Grace Williams, and Anne Macnaghten. While the appearance of a biography may seem somewhat surprising at first glance, for those more aware of the growing interest in Boyle’s music in recent years, it was only a matter of time for her life and music to receive a more detailed and thorough examination. -
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. -
That to See How Britten Handles the Dramatic and Musical Materials In
BOOKS 131 that to see how Britten handles the dramatic and musical materials in the op- era is "to discover anew how from private pain the great artist can fashion some- thing that transcends his own individual experience and touches all humanity." Given the audience to which it is directed, the book succeeds superbly. Much of it is challenging and stimulating intellectually, while avoiding exces- sive weightiness, and at the same time, it is entertaining in the very best sense of the word. Its format being what it is, there are inevitable duplications of information, and I personally found the Garbutt and Garvie articles less com- pelling than the remainder of the book. The last two articles of Brett's, excel- lent as they are, also tend to be a little discursive, but these are minor reserva- tions. For anyone who cares for this masterwork of twentieth-century opera, Downloaded from https://academic.oup.com/oq/article/4/3/131/1587210 by guest on 01 October 2021 or for Britten and his music, this book is obligatory reading. Carlisle Floyd Peter Grimes/Gloriana Benjamin Britten English National Opera/Royal Opera Guide 24 Nicholas John, series editor London: John Calder; New York: Riverrun Press, 1983 128 pages, $5.95 (paper) The English National Opera/Royal Opera Guides, small paperbacks with siz- able contents, are among the best introductions available to the thirty-plus operas published in the series so far. Each guide includes some essays by ac- knowledged authorities on various aspects of its subject, followed by a table of major musical themes, a complete libretto (original language plus transla- tion), a brief bibliography, and a discography. -
NMC227-Matthews-Wyastone Booklet-28-04-16.Indd
Colin Matthews Violin Concerto Cortège Cello Concerto No.2 Leila Josefowicz violin BBC Symphony Orchestra Oliver Knussen conductor Anssi Karttunen cello Rumon Gamba conductor Royal Concertgebouw Orchestra Riccardo Chailly conductor 2 Violin Concerto 20’00 1 Movement 1 10’38 Colin 12 Movement 2 9’22 Leila Josefowicz violin Matthews BBC Symphony Orchestra Oliver Knussen conductor Recorded live by BBC Radio 3 for the BBC Proms 3 Cortège 18’35 Royal Concertgebouw Orchestra Riccardo Chailly conductor Cello Concerto No.2 26’40 4 I Declamation. Sostenuto 4’40 5 II Song without text. Molto sostenuto 4’00 6 III Scherzo. Allegro energico 4’40 7 IV Song without text. Sostenuto 4’09 8 V Resolution. Sostenuto - Vigoroso 9’41 Anssi Karttunen cello BBC Symphony Orchestra • Rumon Gamba conductor Total 66’09 Rumon Gamba appears on this recording with the kind permission of Chandos Records Riccardo Chailly appears courtesy of Decca Music Group photo © Fiona Garden The critic Paul Griffiths, as usual, hits at least one nail on the in 2012, the other, from 2015, And there has, of course, been head. Colin Matthews, he writes, is “… the Isambard Kingdom another restrained work exploring more orchestral music. Traces Brunel of contemporary music: master of great time machines, silence, bring the tally to five. For Remain (2012-13) is an ingenious Claire Booth he has set Rilke in the summoning back and re-imagining steamy with energy derived from pulse and from massive, short cycle The Island (composed of discarded or unfinished fragments surging harmony, and openly displaying their structural in 2007-8, exactly a hundred years of others’ work, primarily the Robert engineering, all finished with a craftsman’s care.” after the words were written), Johnson lute song which may be accompanying soprano with seven all that remains of Shakespeare’s Since the inevitable but helpfully composer, made orchestral versions instruments. -
Proquest Dissertations
Benjamin Britten's Nocturnal, Op. 70 for guitar: A novel approach to program music and variation structure Item Type text; Dissertation-Reproduction (electronic) Authors Alcaraz, Roberto Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 02/10/2021 13:06:08 Link to Item http://hdl.handle.net/10150/279989 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be f^ any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitlsd. Brolcen or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author dkl not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectk)ning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6' x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additkxial charge. -
Memories of Aldeburgh
February 2013 Issue 42 Hemiola St George’s Singers INSIDE THIS ISSUE: MEMORIES OF ALDEBURGH Britten at 100—preview 2-3 2013 is a special year for fans of atmosphere created by Diary of a recording 4-5 Benjamin Britten, as the nation performing St Nicolas in Christmas concert review 6 celebrates the 100th birthday of the church where it was Singing Day success 7 one of our greatest composers. first performed and record- SGS News 8 For St George’s Singers, our ed, where Britten’s funeral Jeff takes to the streets 9 ‘Britten at 100’ concert on 23 had included the two February at RNCM also brings hymns from the work, and Name that tune 10 The staging party 11 back happy memories of the beside the Piper memorial Pilgrimage to Leipzig 12-13 Choir’s tour to Suffolk in 2005, window, intensified the when we performed St Nicolas emotion of the occasion. Fit to sing 14 in Britten’s own church in In the first half Marcus Eric Whitacre on choirs 15 Aldeburgh. Geoff Taylor or- [Farnsworth] sang Let the St George’s in China 16-17 ganised the tour, and wrote the Dreadful Engines and Even- following for Hemiola: ing Hymn by Purcell, and The bear goes home 18 The trees they grow so high, Mindful music 19 ‘On Saturday morning we trav- arranged by Britten. Jeff elled through the Suffolk by- played a Bach prelude and ways to Snape Maltings where ST GEORGE’S SINGERS Britten’s Prelude and Fugue Esther Platten, who works for PRESIDENT: on a Theme of Vittoria brilliant- John Piper’s memorial window to Benjamin the Britten-Pears Foundation, ly. -
Boston Symphony Orchestra Concert Programs, Summer, 1946
TANGLEWOOD— LENOX, MASSACHUSETTS THE Berkshire Music Center SERGE KOUSSEVITZKY, Director presents " ! cc PETER GRIMES" 11 by BENJAMIN BRITTEN Tuesday Evening, August 6 Wednesday Evening, August 7 Friday Evening, August 9 IP •*• 1946 W' !.«.w,a'i STEINWiV Since the time of Liszt, the Steinway has consistently been, year after year, the medium chosen by an overwhelming number of concert artists to express their art. Eugene List, Mischa El man and William Kroll, soloists of this Berk- shire Festival, use the Steinway. Significantly enough, the younger artists, the Masters of tomorrow, entrust their future to this world-famous piano — they cannot afford otherwise to en- danger their artistic careers. The Stein- way is, and ever has been, the Glory Road of the Immortals. M. STEINERT & SONS CO. : 162 BOYLSTON ST., BOSTON Jerome F. Murphy, President • Also Worcester and Springfield THEATRE-CONCERT HALL TANGLEWOOD (Between Stockbridge and Lenox, Massachusetts) Berkshire Music Center . SERGE KOUSSEVITZKY, Director Season 1946 Program Bulletin with historical and descriptive notes by John N. Burk COPYRIGHT, 1946, BY BOSTON SYMPHONY ORCHESTRA, InC. The trustees of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Henry B. Sawyer Vice-President Richard C. Paine Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Jacob J. Kaplan Alvan T. Fuller Roger I. Lee Jerome D. Greene Bentley W. Warren N, Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott TANGLEWOOD ADVISORY COMMITTEE Allan J. Blau G. Churchill Francis George P. Clayson Lawrence K. Miller Bruce Crane James T. Owens Henry W. Dwight Lester Roberts George W. Edman Whitney S. -
093-Britten-And-Bliss-Booklet.Pdf
Britten & Bliss Benjamin Britten (1913–1976) 1 Phantasy Quartet, Op. 2 (1932) (13:16) Arthur Bliss (1891–1975) Quintet for Oboe and String Quartet (1927) (22:35) 2 I. Assai sostenuto (8:09) 3 II. Andante con moto (8:40) 4 III. Vivace (5:38) Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not-for-profit foundation devoted to promot- ing the finest musicians and ensembles in the Chicago area. The Chicago Classical Recording Foundation’s activities are sup- Britten: String Quartet No. 3, Op. 94 (1975) (25:58) ported in part by contributions and grants from individuals, foundations, corporations, and government agencies including 5 the Alphawood Foundation, Irving Harris Foundation, Kirkland & Ellis Foundation, NIB Foundation, Negaunee Foundation, I. Duets: With moderate movement (5:28) Sage Foundation, Chicago Department of Cultural Affairs (CityArts III Grant), and the Illinois Arts Council, a state agency. 6 II. Ostinato: Very fast (3:19) Contributions to The Chicago Classical Recording Foundation may be made at www.cedillerecords.org or by calling 773-989-2515. 7 III. Solo: Very calm (4:40) Producer James Ginsburg 8 IV. Burlesque: Fast–con fuoco (2:14) Engineer Bill Maylone 9 V. Recitative and Passacaglia (La Serenissima) (10:02) Graphic Design Melanie Germond 24 Cover Photo Venice, Italy ca. 1950 by Ferruccio Leiss, © Alinari Archives/CORBIS Vermeer Quartet Recorded October 3 (Bliss) & 4 (Britten Phantasy Quartet), 2005 and April 25–26, 2006 (Britten Quartet No. 3) at WFMT-Chicago Publishers Alex Klein oboe Britten: ©1934 for the Phantasy Quartet and ©1977 for the 3rd String Quartet. -
Billy Budd Composer Biography: Benjamin Britten
Billy Budd Composer Biography: Benjamin Britten Britten was born, by happy coincidence, on St. Cecilia's Day, at the family home in Lowestoft, Suffolk, England. His father was a dentist. He was the youngest of four children, with a brother, Robert (1907), and two sisters, Barbara (1902) and Beth (1909). He was educated locally, and studied, first, piano, and then, later, viola, from private teachers. He began to compose as early as 1919, and after about 1922, composed steadily until his death. At a concert in 1927, conducted by composer Frank Bridge, he met Bridge, later showed him several of his compositions, and ultimately Bridge took him on as a private pupil. After two years at Gresham's School in Holt, Norfolk, he entered the Royal College of Music in London (1930) where he studied composition with John Ireland and piano with Arthur Benjamin. During his stay at the RCM he won several prizes for his compositions. He completed a choral work, A Boy was Born, in 1933; at a rehearsal for a broadcast performance of the work by the BBC Singers, he met tenor Peter Pears, the beginning of a lifelong personal and professional relationship. (Many of Britten's solo songs, choral and operatic works feature the tenor voice, and Pears was the designated soloist at many of their premieres.) From about 1935 until the beginning of World War II, Britten did a great deal of composing for the GPO Film Unit, for BBC Radio, and for small, usually left-wing, theater groups in London. During this period he met and worked frequently with the poet W. -
Naxos Catalog (May
CONTENTS Foreword by Klaus Heymann . 3 Alphabetical List of Works by Composer . 5 Collections . 95 Alphorn 96 Easy Listening 113 Operetta 125 American Classics 96 Flute 116 Orchestral 125 American Jewish Music 96 Funeral Music 117 Organ 128 Ballet 96 Glass Harmonica 117 Piano 129 Baroque 97 Guitar 117 Russian 131 Bassoon 98 Gypsy 119 Samplers 131 Best Of series 98 Harp 119 Saxophone 132 British Music 101 Harpsichord 120 Timpani 132 Cello 101 Horn 120 Trombone 132 Chamber Music 102 Light Classics 120 Tuba 133 Chill With 102 Lute 121 Trumpet 133 Christmas 103 Music for Meditation 121 Viennese 133 Cinema Classics 105 Oboe 121 Violin 133 Clarinet 109 Ondes Martenot 122 Vocal and Choral 134 Early Music 109 Operatic 122 Wedding Music 137 Wind 137 Naxos Historical . 138 Naxos Nostalgia . 152 Naxos Jazz Legends . 154 Naxos Musicals . 156 Naxos Blues Legends . 156 Naxos Folk Legends . 156 Naxos Gospel Legends . 156 Naxos Jazz . 157 Naxos World . 158 Naxos Educational . 158 Naxos Super Audio CD . 159 Naxos DVD Audio . 160 Naxos DVD . 160 List of Naxos Distributors . 161 Naxos Website: www.naxos.com Symbols used in this catalogue # New release not listed in 2005 Catalogue $ Recording scheduled to be released before 31 March, 2006 † Please note that not all titles are available in all territories. Check with your local distributor for availability. 2 Also available on Mini-Disc (MD)(7.XXXXXX) Reviews and Ratings Over the years, Naxos recordings have received outstanding critical acclaim in virtually every specialized and general-interest publication around the world. In this catalogue we are only listing ratings which summarize a more detailed review in a single number or a single rating.