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Benjamin Britten's Noye's Fludde BENJAMIN BRITTEN’S NOYE’S FLUDDE An Intergenerational Experience for Church Music Programs Joshua Hawkins Nannestad Joshua Hawkins Nannestad is a doctoral student of choral conducting at Boston University. He teaches music to students aged fi ve to eighty-fi ve in central Massachusetts. <[email protected]> certainly write music for human be- ings, directly and deliberately. I consider their voices, the range, the power, the I subtlety, and the colour potentialities of them all. I consider the instruments they play, their most expressive and suitable in- dividual sonorities, and where I may be said to have invented an instrument (such as the Slung Mugs of Noye’s Fludde), I have borne in mind the pleasure the young performers will have in playing it. I also take note of the human circumstances of music, of its environment and conventions. I believe, you see, in occasional music. Almost every piece of music I have ever written has been composed with a certain oc- casion in mind, usually for defi nite performers, and certainly always human ones.1 The Britten centennial year provides a little- needed excuse to program beloved works by the English master. No doubt huge-scale produc- tions of War Requiem will be mounted, Jubilate Deo in C will resonate in church choir lofts, and Rejoice in the Lamb will continue to occupy conducting syllabi everywhere. One hopes that young singers will delight in Old Abram Brown at the same time that The Ballad of Little Musgrave and Lady Barnard inspires a new crop of young men in high school and college choirs. Each one of these works was an “occasional” piece, written for a specifi c event, ensemble, or venue CHORAL JOURNAL Volume 54 Number 3 9 BENJAMIN BRITTEN’S NOYE’S FLUDDE (and sometimes all three). When level with professional mentors. he accepted the Aspen Prize in Michael Kennedy gives an apt 1964 (Photo 1), Britten’s speech summation of this most unusual detailed his process: audience experience: The work is a masterpiece by any When I am asked to compose standard… in Noye’s Fludde, which a work for an occasion, great or is easily his most lovable work, he small, I want to know in some makes an assault on the listener’s detail the conditions of the place emotions by inspired inventive where it will be performed, imagery of the simplest kind, by the size and acoustics, what the integration into the score instruments or singers will be of three of the fi nest and most available and suitable, the kind of evocative hymns of the Anglican people who will hear it, and what tradition, and by the disarmingly language they understand—and touching blend of the amateur even sometimes the age of the and the professional. Strong listeners and performers.2 men have been known to weep unashamedly at the sound of the A lesser-known but strikingly bugles [that] precede the animals’ original occasional work may march and at the appearance see a renaissance in the United of the rainbow, but let it not be States, thanks to last year’s thought that this is in any way a quirky fi lm Moonrise Kingdom. sentimental work. If our response Director Wes Anderson uses tends to be sentimental, that is not Britten’s fault… a work which may the opera Noye’s Fludde as both unhesitatingly be called sublime.6 soundtrack and setting in his fi lm, refl ecting a musical experience of Photo 1 - Benjamin Britten received the Robert O. Anderson Aspen Award in 1964. This author does not claim his youth. “My older brother and that Noye’s Fludde has lacked for I were actually in a production American performances. After of that when I was ten or eleven, English schoolchildren. It was premiered the American premiere was given at and that music was something I have at Orford Church as part of his beloved Union Theological Seminary, the opera always remembered, and it made a very Aldeburgh Festival in 1958. Although found an early champion in Jack Lang- strong impression on me. It is the color initial plans to record the opera for staff, founder of the Revels organization. 3 of the movie in a way.” television did not materialize, new pro- The Los Angeles Opera has given free At the Festival of Britain in 1951, the ductions became a common musical public performances, and children’s choir composer witnessed the revival of the experience of many English children. A or university-sponsored performances medieval Chester Mystery Plays, which 1963 article cited more than 100 per- can be found. The First Congregational 4 were biblical stories with decidedly formances per year. By 1981 another Church of Greenwich, Connecticut has a secular bits of comic relief and obvious critic declared, “It is a Britten work that splendid tradition of performing Noye’s anachronisms, acted out by individual has proved accessible to virtually any Fludde quadrennially. However, it never trade guilds on carts that were pulled English community and as such has been became a piece of core repertoire around town. This fascinating community given over and over again, becoming an as in England. Moonrise Kingdom and ritual motivated Britten to adapt the institution like Messiah, and one that is the Britten centennial may encourage segment about Noah’s ark to create a arguably still more involving, and more more frequent American performances, 5 genre-blurring work—a one-act opera/ personal.” This vital educational func- particularly as leaders of church music pageant that is meant to be sung in a tion did not diminish its substantial artis- programs recognize the unique value of church, yet is not exactly church music— tic merit, or the impact of witnessing the Noye’s Fludde. as a musical experience for scores of energy of children operating at a high 10 CHORAL JOURNAL Volume 54 Number 3 An Intergenerational Experience for Church Music Programs Scoring and Casting The astounding creativity of Ben- jamin Britten is evident from the very fi rst page, not the start of the score, but rather the description of perform- ing forces. The orchestra contains a core of professional instrumentalists: piano four hands, organ, string quintet, timpani, bugle, and recorder. Except for the keyboardists, each instrumentalist also leads a section of children. These instruments, along with the handbell choir that appears in the closing mo- ments, were present in typical English school life in 1958. The entire opera is scored in this master/apprentice model so that the professionals form a type of concertino group with a young ripieno section alongside them. Britten cleverly scores for their technical limitations. The ripieno violins, for example, are divided into three parts: the fi rsts do not go above third position, the seconds mostly remain in fi rst position, and the thirds play largely on the open strings. Thus, Britten created an opportunity for even the youngest violinists who can success- fully count measures, follow the leader, and sit still for the requisite time, to play in the ensemble of this opera. This master/apprentice or teacher/ student model carries through in the vocal casting, as well. Three professional adult roles (baritone, alto, and speaking) are complemented by scores of children as the animal pairs process in to “Kyrie Eleison” and out to “Alleluia.” The self- imposed technical limitations exist for the young vocalists, too. The "Kyrie" con- tains only two pitches (Figure 1), and the antiphonal "Alleluia" has a narrow range (Figure 2). Both tunes are repeated exactly and extensively. The orchestra provides increasingly crafty harmonic and rhythmic variation. In between the professionals and the youngest children is a comic ensemble of older teen girls CHORAL JOURNAL Volume 54 Number 3 11 BENJAMIN BRITTEN’S NOYE’S FLUDDE (Mrs. Noye’s gossips) and six roles for Hymns as Therefore his choices of hymn tunes what Britten once termed “professional Structural Elements and texts also refl ect the Victorian era, children”8 (Noye’s children). Noye’s the Tudor era, and English translation of three sons and their respective wives That concluding canon is one of classical texts. Fortuitously, these hymns all sing treble, with an accommodation three hymns that the congregation and are still relatively well known, and the made for one tenor son, if necessary. cast sing together. The blurring of sacred tunes or texts appear in many current They operate as soloists within a small and secular extends to the spectators, American hymnals: Southwell (“Lord ensemble framework, appearing one by who act as both opera audience and Jesus, Think on Me”), Melita (“Eternal one to add their tools to the construc- church congregation. In Noye’s Fludde, Father, Strong to Save”), and Tallis Canon tion and convincing the reticent Mrs. Britten created an experience that was (“The Spacious Firmament on High”). Noye to board the ark. Each leads a English to the core, taking its inspira- The hymns are architectonic pillars of portion of the company when the opera tion from medieval Chester, the central the work, sung at the beginning, the end- ends with the glorious unspooling of an role of the sea, and the scoring for the ing, and the central moment of highest eight-part canon. instruments from English student life. drama. Each hymn tune holds signifi cant CONNECT WITH YOUR CHOIR ONLINE, ANYTIME Groupanizer’s members-only sites help you organize repertoire, manage mailing lists, invoice members, and more. » Shared Calendar » Repertoire Management » Attendance Plans & Recording » Song Status » Online Riser Placement » Rehearsal Planning » Public Facing Websites Organize. Manage. Connect. www.groupanizer.com 12 CHORAL JOURNAL Volume 54 Number 3 An Intergenerational Experience for Church Music Programs infl uence over its third of the opera.
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