121-686: The Burning Fiery Furnace is an English music drama with music composed by Benjamin Britten , his Opus 77, to a libretto by William Plomer . One of Britten's three Parables for Church Performances , this work received its premiere at the St Bartholomew's Church, Orford , Suffolk, England, on 9 June 1966 by the English Opera Group. Colin Graham was the stage director of this first production. Set designs were by Annena Stubbs. The United States premiere
242-460: A Pacifist March to words by Ronald Duncan for the Peace Pledge Union , of which, as a pacifist, he had become an active member; the work was not a success and was soon withdrawn. The best known of his compositions from this period is probably Variations on a Theme of Frank Bridge for string orchestra, described by Matthews as the first of Britten's works to become a popular classic. It
363-572: A dame school , run by the Misses Astle. The younger sister, Ethel, gave him piano lessons; in later life he said that he remained grateful for the excellence of her teaching. The following year he moved on to a prep school , South Lodge , Lowestoft, as a day boy . The headmaster, Thomas Sewell, was an old-fashioned disciplinarian; the young Britten was outraged at the severe corporal punishments frequently handed out, and later he said that his lifelong pacifism probably had its roots in his reaction to
484-624: A 'Benedicite'. Britten himself, along with Viola Tunnard, supervised the first commercial recording of this work, for Decca/London, with the following participants: The instrumentalists were Richard Adeney (flute), Neill Sanders (horn), Roger Brenner (trombone), Cecil Aronowitz (viola), Keith Marjoram (double bass), Osian Ellis (harp), James Blades (percussion) and Philip Ledger (organ). Sources Benjamin Britten Edward Benjamin Britten, Baron Britten OM CH (22 November 1913 – 4 December 1976)
605-525: A Theme by Frank Bridge for full orchestra for the Frederick Ashton ballet Le Rêve de Léonor (1949), but he later described the teacher–pupil relationship as "beneficial five per cent to [Britten] and ninety-five per cent to me!" Throughout the 1950s Britten continued to write operas. Billy Budd (1951) was well received at its Covent Garden premiere and was regarded by reviewers as an advance on Peter Grimes . Gloriana (1953), written to mark
726-612: A best-seller. As well as his performing partnership with Britten, Pears established another with Julian Bream , who, as a lutenist , accompanied him in many works, most notably those of English composers of the Tudor period. Pears and Britten maintained an arduous international touring schedule, and made many broadcasts and gramophone recordings. In the 1970s Pears created roles in Britten's last two operas, playing General Wingrave in Owen Wingrave recorded at Aldeburgh for its premiere, which
847-501: A bit but not for long (he was quite tough), the staff couldn't object if his work and games didn't suffer. He wrote lots of it, reams and reams of it. Audrey Alston encouraged Britten to go to symphony concerts in Norwich . At one of these, during the triennial Norfolk and Norwich Festival in October 1924, he heard Frank Bridge 's orchestral poem The Sea , conducted by the composer. It was
968-471: A certain whiteness of tone ... a kind of English cathedral sound." In the same year, after Peter Burra was given a long-term loan of a cottage on Bucklebury Common , Berkshire, Pears began to stay with him regularly, and it was through Burra that he got to be friendly with the rising young composer Benjamin Britten , who had become another good friend of Burra's. In 1937 Burra was killed in an air crash. Pears and Britten volunteered to clear his possessions from
1089-693: A composition scholarship at the Royal College of Music (RCM) in London; his examiners were the composers John Ireland and Ralph Vaughan Williams and the college's harmony and counterpoint teacher, S P Waddington. Britten was at the RCM from 1930 to 1933, studying composition with Ireland and piano with Arthur Benjamin . He won the Sullivan Prize for composition, the Cobbett Competition for chamber music, and
1210-405: A copy of Crabbe's collection of narrative poems The Borough . He suggested to Britten that the section about the fisherman Peter Grimes would make a good subject for an opera. Britten agreed, and, a Suffolk man himself, was struck with a deep nostalgia by the poem. He later said, "I suddenly realised where I belonged and what I lacked". He and Pears began to plan their return to England. They made
1331-443: A damaged heart, and doctors warned his parents that he would probably never be able to lead a normal life. He recovered more fully than expected, and as a boy was a keen tennis player and cricketer. To his mother's great delight he was an outstandingly musical child, unlike his sisters, who inherited their father's indifference to music, while his brother, Robert, though musically talented, was interested only in ragtime . Edith gave
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#17328519874381452-538: A farmer had been thwarted by lack of capital, and he had instead trained as a dentist, a profession he practised successfully but without pleasure. While studying at Charing Cross Hospital in London he met Edith Hockey, the daughter of a civil service clerk in the British Government's Home Office . They were married in September 1901 at St John's, Smith Square , London. The consensus among biographers of Britten
1573-491: A few days later, Britten gave him what he had written of Praise We Great Men . I heard of his death ... and took a long walk in total silence through gently falling snow across a frozen lake, which corresponded exactly to the inexpressible sense of numbness at such a loss. The world is colder and lonelier without the presence of our supreme creator of music. Peter Maxwell Davies , 1977 Britten died of congestive heart failure on 4 December 1976. His funeral service
1694-516: A great interest in writing music for children and amateur performers, including the opera Noye's Fludde , a Missa Brevis , and the song collection Friday Afternoons . He often composed with particular performers in mind. His most frequent and important muse was his personal and professional partner, the tenor Peter Pears ; others included Kathleen Ferrier , Jennifer Vyvyan , Janet Baker , Dennis Brain , Julian Bream , Dietrich Fischer-Dieskau , Osian Ellis and Mstislav Rostropovich . Britten
1815-430: A happy childhood. He enjoyed his schooldays at his prep school , The Grange, and his public school, Lancing College , which he attended from 1923 to 1928. He showed considerable talent for music, both as a pianist and as a singer, playing leading roles in school productions of Gilbert and Sullivan operas. He was a capable and enthusiastic cricketer, and remembered all his life the pride he felt in scoring 81 not out in
1936-476: A poem by Edith Sitwell . He returned to Aldeburgh in August, and wrote Welcome Ode for children's choir and orchestra. In November, Britten realised that he could no longer compose. On his 63rd birthday, 22 November, at his request Rita Thomson organised a champagne party and invited his friends and his sisters Barbara and Beth, to say their goodbyes to the dying composer. When Rostropovich made his farewell visit
2057-618: A stroke ended his singing career in 1980 shortly after the celebrations marking his seventieth birthday. After that he remained an active director of the Aldeburgh Festival, and taught at the Britten-Pears School which he and his partner had set up in 1972. Pears died in Aldeburgh on 3 April 1986 at the age of 75. He was buried beside Britten in the churchyard of the parish church of St Peter and St Paul , Aldeburgh. Pears's voice
2178-478: A trial match against Surrey at the Oval . Lancing had a strong Christian tradition; while there, Pears felt a sense of vocation for the priesthood, but increasingly found this impossible to reconcile with his growing awareness of his homosexuality. In 1928 Pears went to Keble College, Oxford , to study music. He was not at this stage sure whether his musical future was as a singer or as player; during his brief time at
2299-426: A wholly suitable voice coach. In 1938 he had his first professional experience of opera, as an understudy and member of the chorus at Glyndebourne . In April 1939, Pears accompanied Britten as he sailed to North America , going first to Canada and then to New York . Their relationship ceased to be platonic, and from then until Britten's death they were partners in both their professional and personal lives. When
2420-628: Is that his father was a loving but somewhat stern and remote parent. Britten, according to his sister Beth, "got on well with him and shared his wry sense of humour, dedication to work and capacity for taking pains." Edith Britten was a talented amateur musician and secretary of the Lowestoft Musical Society. In the English provinces of the early 20th century, distinctions of social class were taken very seriously. Britten described his family as "very ordinary middle class", but there were aspects of
2541-522: The BBC Singers , who first performed it the following year. In this same period he wrote Friday Afternoons , a collection of 12 songs for the pupils of Clive House School, Prestatyn , where his brother was headmaster. In February 1935, at Bridge's instigation, Britten was invited to a job interview by the BBC's director of music Adrian Boult and his assistant Edward Clark . Britten was not enthusiastic about
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#17328519874382662-664: The Luard family was notable for its naval and military connections, and on his father's side there was a strong religious tradition, both Anglican and Quaker , with Elizabeth Fry counted among his ancestors. Mitchell comments that Pears's lifelong pacifism stemmed from the Quaker side of the family, and adds, "There was indeed something of the patrician Quaker in his looks, manners, and deeds. His habitual charm and courtesy rarely deserted him." Although his father, and sometimes his mother, were absent abroad for long periods, Pears evidently had
2783-467: The Royal College of Music in London, first as a part-time student and then, having been awarded a scholarship, studying full-time from 1934. He shared an apartment with Trevor Harvey and Basil Douglas . He appeared in student productions of opera, finding himself wholly at home on the stage, and learning from the experience of singing Delius under Sir Thomas Beecham and roles in works by Mozart and Puccini . But, as at Oxford, he failed to complete
2904-619: The Second World War began, Britten and Pears turned for advice to the British embassy in Washington and were told that they should remain in the US as artistic ambassadors. Pears was inclined to disregard the advice and go back to England; Britten also felt the urge to return, but accepted the embassy's counsel and persuaded Pears to do the same. In 1940 Britten composed Seven Sonnets of Michelangelo ,
3025-757: The Suite on English Folk Tunes "A Time There Was" (1974); the Third String Quartet (1975), which drew on material from Death in Venice ; and the dramatic cantata Phaedra (1975), written for Janet Baker . In June 1976, the last year of his life, Britten accepted a life peerage – the first composer so honoured – becoming Baron Britten, of Aldeburgh in the County of Suffolk. After the 1976 Aldeburgh Festival, Britten and Pears travelled to Norway, where Britten began writing Praise We Great Men , for voices and orchestra based on
3146-546: The coronation of Elizabeth II , had a cool reception at the gala premiere in the presence of the Queen and the British Establishment en masse . The downbeat story of Elizabeth I in her decline, and Britten's score – reportedly thought by members of the premiere's audience "too modern" for such a gala – did not overcome what Matthews calls the "ingrained philistinism" of the ruling classes. Although Gloriana did well at
3267-530: The 1950s. Hemmings later said, "In all of the time that I spent with him he never abused that trust", and Crawford wrote "I cannot say enough about the kindness of that great man ... he had a wonderful patience and affinity with young people. He loved music, and loved youngsters caring about music." It was long suspected by several of Britten's close associates that there was something exceptional about his attraction to teenage boys: Auden referred to Britten's "attraction to thin-as-a-board juveniles ... to
3388-549: The 1960s was the premiere of Britten's War Requiem in May 1962, marking the consecration of the new Coventry Cathedral . Britten composed it with the voices of Pears, Dietrich Fischer-Dieskau and Galina Vishnevskaya in mind. The Soviet authorities prevented Vishnevskaya from taking part ( Heather Harper deputised) but in January 1963 all three intended soloists took part in a Decca recording conducted by Britten, which unexpectedly became
3509-404: The 1960s, the Aldeburgh Festival was outgrowing its customary venues, and plans to build a new concert hall in Aldeburgh were not progressing. When redundant Victorian maltings buildings in the village of Snape, six miles inland, became available for hire, Britten realised that the largest of them could be converted into a concert hall and opera house. The 830-seat Snape Maltings hall was opened by
3630-483: The Aldeburgh Festival. One of the best known of Britten's works, the War Requiem , was premiered in 1962. He had been asked four years earlier to write a work for the consecration of the new Coventry Cathedral , a modernist building designed by Basil Spence . The old cathedral had been left in ruins by an air-raid on the city in 1940 in which hundreds of people died. Britten decided that his work would commemorate
3751-510: The Brittens that were not ordinary: Edith's father was illegitimate, and her mother was an alcoholic; Robert Britten was an agnostic and refused to attend church on Sundays. Music was the principal means by which Edith Britten strove to maintain the family's social standing, inviting the pillars of the local community to musical soirées at the house. When Britten was three months old he contracted pneumonia and nearly died. The illness left him with
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3872-697: The Duke in Rigoletto , Alfredo in La traviata , Almaviva in The Barber of Seville , Ferrando in Così fan tutte and Vašek in The Bartered Bride . His growing operatic experience and expertise affected the composition of Britten's opera Peter Grimes . The composer had envisaged the central figure, based on Crabbe's brutal fisherman, as a villainous baritone, but he began to rethink
3993-417: The English Opera Group; the librettist Eric Crozier and the designer John Piper joined Britten as artistic directors. The group's express purpose was to produce and commission new English operas and other works, presenting them throughout the country. Britten wrote the comic opera Albert Herring for the group in 1947. Pears played the title role – one of his fairly rare excursions into comedy. Reviews of
4114-524: The Kid and An Outdoor Overture , both of which influenced his own music. In 1940 Britten composed Seven Sonnets of Michelangelo , the first of many song cycles for Pears. Britten's orchestral works from this period include the Violin Concerto , Sinfonia da Requiem , and An American Overture . In 1941 Britten produced his first music drama, Paul Bunyan , an operetta , to a libretto by Auden. While in
4235-553: The Orchestra (1945), written for an educational film, Instruments of the Orchestra , directed by Muir Mathieson and featuring the London Symphony Orchestra conducted by Malcolm Sargent . It became, and remained, his most often played and popular work. Britten's next opera, The Rape of Lucretia , was presented at the first post-war Glyndebourne Festival in 1946. It was then taken on tour to provincial cities under
4356-481: The Queen at the start of the twentieth Aldeburgh Festival on 2 June 1967; it was immediately hailed as one of the best concert halls in the country. The hall was destroyed by fire in 1969, but Britten was determined that it would be rebuilt in time for the following year's festival, which it was. The Queen again attended the opening performance in 1970. The Maltings gave the festival a venue that could comfortably house large orchestral works and operas. Britten conducted
4477-727: The Queen's Jubilee Medal, 1977, Musician of the Year, Incorporated Society of Musicians, 1978, and the Royal Opera House's Long Service Medal, 1979. For Decca, Pears recorded almost all the music written for him by Britten. The major exception is the role of the Earl of Essex in Gloriana , which was not recorded until after Britten and Pears were dead. Pears's other Decca recordings range from early music by Dowland , Schütz and their contemporaries to Walton's Façade , and include such varied repertory as
4598-507: The Second World War began, Britten and Pears turned for advice to the British embassy in Washington and were told that they should remain in the US as artistic ambassadors. Pears was inclined to disregard the advice and go back to England; Britten also felt the urge to return, but accepted the embassy's counsel and persuaded Pears to do the same. Already a friend of the composer Aaron Copland , Britten encountered his latest works Billy
4719-457: The Stone (1939). In 1937 there were two events of huge importance in Britten's life: his mother died, and he met the tenor Peter Pears . Although Britten was extraordinarily devoted to his mother and was devastated at her death, it also seems to have been something of a liberation for him. Only after that did he begin to engage in emotional relationships with people his own age or younger. Later in
4840-577: The String Quartet in F, completed in April 1928, and the Quatre Chansons Françaises , a song-cycle for high voice and orchestra. Authorities differ on the extent of Bridge's influence on his pupil's technique. Humphrey Carpenter and Michael Oliver judge that Britten's abilities as an orchestrator were essentially self-taught; Donald Mitchell considers that Bridge had an important influence on
4961-511: The US, Britten had his first encounter with Balinese gamelan music, through transcriptions for piano duo made by the Canadian composer Colin McPhee . The two met in the summer of 1939 and subsequently performed a number of McPhee's transcriptions for a recording. This musical encounter bore fruit in several Balinese-inspired works later in Britten's career. Moving to the US did not relieve Britten of
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5082-419: The US, Koussevitzky, always generous in encouraging new talent, offered him a $ 1,000 commission to write the opera. Britten and Pears returned to England in April 1942. During the long transatlantic sea crossing Britten completed the choral works A Ceremony of Carols and Hymn to St Cecilia . The latter was his last large-scale collaboration with Auden. Britten had grown away from him, and Auden became one of
5203-448: The banner of the "Glyndebourne English Opera Company", an uneasy alliance of Britten and his associates with John Christie , the autocratic proprietor of Glyndebourne. The tour lost money heavily, and Christie announced that he would underwrite no more tours. Britten and his associates set up the English Opera Group; the librettist Eric Crozier and the designer John Piper joined Britten as artistic directors. The group's express purpose
5324-537: The box office, there were no further productions in Britain for another 13 years. It was later recognised as one of Britten's finer operas. The Turn of the Screw the following year was an unqualified success; together with Peter Grimes it became, and at 2013 remained, one of the two most frequently performed of Britten's operas. In the 1950s the "fervently anti-homosexual" Home Secretary , Sir David Maxwell Fyfe , urged
5445-511: The cane or the slipper were happily rare (although one nocturnal expedition to stalk ghosts left its marks behind); he worked his way up the school slowly and steadily, until at the age of thirteen he reached that pinnacle of importance and grandeur, never to be quite equalled in later days: the head of the Sixth, head-prefect, and Victor Ludorum . But – there was one curious thing about this boy: he wrote music. His friends bore with it, his enemies kicked
5566-608: The character as "neither a hero nor a villain" and not a baritone but a tenor, written to fit Pears's voice. In January 1944 Britten and Pears began a long association with the Decca Record Company , recording four of Britten's folk song arrangements. In May of the same year, with Dennis Brain and the Boyd Neel Orchestra, they recorded the Serenade. As the war was nearing its end, the artistic director of Sadler's Wells,
5687-857: The comic (Flute in A Midsummer Night's Dream , 1960) to the deeply serious (Aschenbach in Death in Venice , 1973). His other creations at Aldeburgh included the Madwoman in Curlew River (1964), Nebuchadnezzar in The Burning Fiery Furnace (1966) and the Tempter in The Prodigal Son (1968). For the English Opera Group during the 1950s, Pears also sang Macheath in Britten's radically revised version of The Beggar's Opera , Satyavān in Holst 's Sāvitri , and
5808-478: The composer sustained many deep friendships to the end of his life. Throughout his adult life, Britten had a particular rapport with children and enjoyed close friendships with several boys, particularly those in their early teens. The first such friendship was with Piers Dunkerley, who was 13 years old in 1934, when Britten was aged 20. Other boys Britten befriended were the young David Hemmings and Michael Crawford , both of whom sang treble roles in his works in
5929-401: The composer's so-called "corpses" – former intimates from whom he completely cut off contact once they had outlived their usefulness to him or offended him in some way. Having arrived in Britain, Britten and Pears applied for recognition as conscientious objectors ; Britten was initially allowed only non-combatant service in the military, but on appeal he gained unconditional exemption. After
6050-458: The cottage, and their daily contact during this period cemented their friendship. Pears quickly became Britten's musical inspiration and close (though for the moment platonic) friend. Britten's first work for him was composed within weeks of their meeting, a setting of Emily Brontë 's poem, "A thousand gleaming fires", for tenor and strings. Up to this point Pears had not pursued his career or his vocal training with any great determination. With
6171-534: The course. He chafed at subsisting on a student's limited funds, and wanted a good, steady income. He auditioned for the BBC and was given a two-year contract as a member of the BBC Singers , a small vocal ensemble. In 1936 Pears made his first recording as a soloist, in Peter Warlock 's "Corpus Christi Carol". Headington comments on "a thoughtful word delivery and a sensitive moulding of quietly flowing phrases, but also
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#17328519874386292-558: The creation of Snape Maltings concert hall in 1967. In 1976, he was the first composer to be given a life peerage . He died shortly afterwards, aged 63. Britten was born in the fishing port of Lowestoft in Suffolk , on the east coast of England on 22 November 1913, the feast day of Saint Cecilia , the patron saint of music. He was the youngest of four children of Robert Victor Britten (1877–1934) and his wife Edith Rhoda, née Hockey (1874–1937). Robert Britten's youthful ambition to become
6413-498: The cycle. In September 1928 Britten went as a boarder to Gresham's School , in Holt, Norfolk . At the time he felt unhappy there, even writing in his diary of contemplating suicide or running away: he hated being separated from his family, most particularly from his mother; he despised the music master; and he was shocked at the prevalence of bullying, though he was not the target of it. He remained there for two years and in 1930 he won
6534-465: The dead of both World Wars in a large-scale score for soloists, chorus, chamber ensemble and orchestra. His text interspersed the traditional Requiem Mass with poems by Wilfred Owen . Matthews writes, "With the War Requiem Britten reached the apex of his reputation: it was almost universally hailed as a masterpiece." Shostakovich told Rostropovich that he believed it to be "the greatest work of
6655-531: The death of his mother in 1937 he had used money she bequeathed him to buy the Old Mill in Snape , Suffolk which became his country home. He spent much of his time there in 1944 working on the opera Peter Grimes . Pears joined Sadler's Wells Opera Company , whose artistic director, the singer Joan Cross , announced her intention to re-open the company's home base in London with Britten's opera, casting herself and Pears in
6776-609: The documentary films Coal Face and Night Mail in 1935. They also collaborated on the song cycle Our Hunting Fathers (1936), radical both in politics and musical treatment, and subsequently other works including Cabaret Songs , On This Island , Paul Bunyan and Hymn to St Cecilia . Auden was a considerable influence on Britten, encouraging him to widen his aesthetic, intellectual and political horizons, and also to come to terms with his homosexuality. Auden was, as David Matthews puts it, "cheerfully and guiltlessly promiscuous"; Britten, puritanical and conventional by nature,
6897-529: The end of his life, when he told Pears that it had coloured everything he had written since. Colin Matthews comments that the next two works Britten composed after his return, the song-cycle The Holy Sonnets of John Donne and the Second String Quartet, contrast strongly with earlier, lighter-hearted works such as Les Illuminations . Britten recovered his joie de vivre for The Young Person's Guide to
7018-421: The event Pears did not take to Oxford's academic regime, which required him to study a range of subjects before specialising in music. He failed the first-year examinations ( Moderations ) and though he was entitled to resit them he decided against doing so, and went down from Oxford. With no clear idea of his future, Pears took a teaching post at his old preparatory school in 1929. Among his dearest friends were
7139-553: The extensive press coverage was to do with the work, but there was also high praise for the performances of Pears and Cross. Dismayed by the in-fighting among the company, Cross, Britten and Pears severed their ties with Sadler's Wells in December 1945, going on to found what was to become the English Opera Group . Britten's next opera, The Rape of Lucretia , was presented at the first post-war Glyndebourne Festival, in 1946. It
7260-686: The festival and the school, where he was director of singing. His voice had a distinctive timbre, not to all tastes; however, he could use his voice very well in singing many musical styles. Pears was born in Farnham , Surrey, the youngest of the seven children of Arthur Grant Pears and his wife, Jessie Elizabeth de Visme, daughter of Richard Luard . Arthur Pears was a civil engineer and successful businessman, who spent much of his time working overseas. The biographers Christopher Headington and Donald Mitchell both remark on two contrasting strands in Pears's heredity:
7381-475: The first of many song cycles for Pears. The composer and biographer David Matthews described the cycle as Britten's "declaration of love for Peter". The partners made a private recording of the work in New York shortly after it was completed, but the public premiere was not for a further two years. In 1941, spurred by a magazine article by E M Forster about the Suffolk poet George Crabbe , Pears bought Britten
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#17328519874387502-507: The first performance outside Russia of Shostakovich's Fourteenth Symphony at Snape in 1970. Shostakovich, a friend since 1960, dedicated the symphony to Britten; he was himself the dedicatee of The Prodigal Son . Two other Russian musicians who were close to Britten and regularly performed at the festival were the pianist Sviatoslav Richter and the cellist Mstislav Rostropovich . Britten composed his cello suites , Cello Symphony and Cello Sonata for Rostropovich, who premiered them at
7623-499: The first substantial piece of modern music he had ever encountered, and he was, in his own phrase, "knocked sideways" by it. Audrey Alston was a friend of Bridge; when he returned to Norwich for the next festival in 1927 she brought her not quite 14-year-old pupil to meet him. Bridge was impressed with the boy, and after they had gone through some of Britten's compositions together he invited him to come to London to take lessons from him. Robert Britten, supported by Thomas Sewell, doubted
7744-430: The in-fighting among the company, Cross, Britten and Pears severed their ties with Sadler's Wells in December 1945, going on to found what was to become the English Opera Group . A month after the opening of Peter Grimes , Britten and Yehudi Menuhin went to Germany to give recitals to concentration camp survivors. What they saw, at Belsen most of all, so shocked Britten that he refused to talk about it until towards
7865-549: The inaugural festival, Albert Herring played at the Jubilee Hall, and Britten's new cantata Saint Nicolas , was presented in the parish church, with Pears as the tenor soloist. The festival was an immediate success and became an annual event that has continued into the 21st century. New works by Britten featured in almost every festival until his death in 1976. They included operas in which leading roles were created by Pears, and written with his voice in mind. They ranged from
7986-537: The leading 20th-century composers in the genre. In addition to large-scale operas for Sadler's Wells and Covent Garden , he wrote chamber operas for small forces, suitable for performance in venues of modest size. Among the best known of these is The Turn of the Screw (1954). Recurring themes in his operas include the struggle of an outsider against a hostile society and the corruption of innocence. Britten's other works range from orchestral to choral, solo vocal, chamber and instrumental as well as film music. He took
8107-598: The leading roles. There were complaints from company members about supposed favouritism and the "cacophony" of Britten's score, as well as some ill-suppressed homophobic remarks. Peter Grimes opened in June 1945 and was hailed by public and critics; its box-office takings matched or exceeded those for La bohème and Madame Butterfly , which were staged during the same season. The opera administrator Lord Harewood called it "the first genuinely successful British opera, Gilbert and Sullivan apart, since Purcell ." Dismayed by
8228-465: The nuisance of hostile criticism: although Olin Downes , the doyen of New York music critics, and Irving Kolodin took to Britten's music, Virgil Thomson was, as the music scholar Suzanne Robinson puts it, consistently "severe and spiteful". Thomson described Les Illuminations (1940) as "little more than a series of bromidic and facile 'effects' ... pretentious, banal and utterly disappointing", and
8349-470: The opera were mixed, but Pears's performance as Albert, the mother's boy who kicks over the traces, received consistently good notices. While on tour as Albert, Pears came up with the idea of mounting a festival in the small Suffolk seaside town of Aldeburgh . Britten had bought a house there, and the town was his principal residence for the rest of his life. The Aldeburgh Festival was launched in June 1948, with Britten, Pears and Crozier directing it. For
8470-563: The perilous Atlantic crossing in April 1942. Having arrived in England, Britten and Pears successfully applied for official recognition as conscientious objectors , Pears's application running much more smoothly than Britten's. One of their early performances together after their return was the public premiere of the Michelangelo cycle at the Wigmore Hall in September 1942. Their recording of
8591-454: The police to enforce the Victorian laws making homosexual acts illegal. Britten and Pears came under scrutiny; Britten was visited by police officers in 1953 and was so perturbed that he discussed with his assistant Imogen Holst the possibility that Pears might have to enter a sham marriage (with whom is unclear). In the end nothing was done. An increasingly important influence on Britten
8712-418: The premieres of his operas A Midsummer Night's Dream at the Jubilee Hall in 1960 and Death in Venice at Snape Maltings Concert Hall in 1973. Unlike many leading English composers, Britten was not known as a teacher, but in 1949 he accepted his only private pupil, Arthur Oldham , who studied with him for three years. Oldham made himself useful, acting as musical assistant and arranging Variations on
8833-568: The principal character. After the completion of the opera Britten went into the National Heart Hospital and was operated on in May 1973 to replace a failing heart valve. The replacement was successful, but he suffered a slight stroke, affecting his right hand. This brought his career as a performer to an end. While in hospital Britten became friendly with a senior nursing sister, Rita Thomson; she moved to Aldeburgh in 1974 and looked after him until his death. Britten's last works include
8954-454: The prospect of working full-time in the BBC music department and was relieved when what came out of the interview was an invitation to write the score for a documentary film, The King's Stamp , directed by Alberto Cavalcanti for the GPO Film Unit . Britten became a member of the film unit's small group of regular contributors, another of whom was W. H. Auden . Together they worked on
9075-447: The ranks of his 'corpses' and I have always recognized that any ordinary person must soon outlive his usefulness to such a great creative artist as Ben." Dame Janet Baker said in 1981, "I think he was quite entitled to take what he wanted from others ... He did not want to hurt anyone, but the task in hand was more important than anything or anybody." Matthews feels that this aspect of Britten has been exaggerated, and he observes that
9196-464: The regime at the school. He himself rarely fell foul of Sewell, a mathematician, in which subject Britten was a star pupil. The school had no musical tradition, and Britten continued to study the piano with Ethel Astle. From the age of ten he took viola lessons from a friend of his mother, Audrey Alston, who had been a professional player before her marriage. In his spare time he composed prolifically. When his Simple Symphony , based on these juvenilia,
9317-455: The relationships affectionate – including bed-sharing, kissing and nude bathing – but strictly platonic. Peter Pears Sir Peter Neville Luard Pears CBE ( / ˈ p ɪər z / PEERZ ; 22 June 1910 – 3 April 1986) was an English tenor . His career was closely associated with the composer Benjamin Britten , his personal and professional partner for nearly forty years. Pears' musical career started slowly. He
9438-480: The rest of his life. The Aldeburgh Festival was launched in June 1948, with Britten, Pears, and Crozier directing. Albert Herring played at the Jubilee Hall, and Britten's new cantata for tenor, chorus, and orchestra, Saint Nicolas , was presented in the parish church. The festival was an immediate success and became an annual event that has continued into the 21st century. New works by Britten featured in almost every festival until his death in 1976, including
9559-517: The score of the new opera until August 1970. Owen Wingrave was first broadcast in Britain in May 1971, when it was also televised in Austria, Belgium, Denmark, France, Germany, Ireland, the Netherlands, Norway, Sweden, Switzerland, the US and Yugoslavia. In September 1970 Britten asked Myfanwy Piper , who had adapted the two Henry James stories for him, to turn another prose story into a libretto. This
9680-716: The sexless and innocent", and Pears once wrote to Britten: "remember there are lovely things in the world still – children, boys, sunshine, the sea, Mozart, you and me." In public, the matter was little discussed during Britten's lifetime and much discussed after it. Carpenter 's 1992 biography closely examined the evidence, as do later studies of Britten, most particularly John Bridcut 's Britten's Children (2006), which concentrates on Britten's friendships and relationships with various children and adolescents. Some commentators have continued to question Britten's conduct, sometimes very sharply. Carpenter and Bridcut conclude that he held any sexual impulses under firm control and kept
9801-431: The singer Joan Cross , announced her intention to re-open the company's home base in London with Britten's new opera Peter Grimes , casting herself and Pears in the leading roles. There were complaints from company members about supposed favouritism and the "cacophony" of Britten's score, as well as some ill-suppressed homophobic remarks. Peter Grimes opened in June 1945 and was hailed by public and critics. Most of
9922-418: The son of a dentist. He showed talent from an early age. He studied at the Royal College of Music in London and privately with the composer Frank Bridge . Britten first came to public attention with the a cappella choral work A Boy Was Born in 1934. With the premiere of Peter Grimes in 1945, he leapt to international fame. Over the next 28 years, he wrote 14 more operas, establishing himself as one of
10043-404: The stimulus of Britten's music written for him he became much more focused. After their deaths John Amis wrote that Britten would have become a great composer without Pears, but that Pears would probably not have become a great singer without Britten. Pears took vocal lessons from the eminent Lieder singer Elena Gerhardt , but they were of limited help to him, and it was some time before he found
10164-465: The story. The Burning Fiery Furnace tells the story of Nebuchadnezzar (the historical Nebuchadnezzar II ) and the three Israelites, Ananias, Misael and Asarias (corresponding Babylonian names: Shadrach, Meshach and Abednego ), who were thrown into a furnace for their refusal to worship Nebuchadnezzar's image of gold. However, God saves them from death, as the voice of an angel joins the Israelites in
10285-441: The success that Frank Bridge had enjoyed in the US; the departure of Auden and his friend Christopher Isherwood to the US from England three months previously; hostile or belittling reviews of Britten's music in the English press; and under-rehearsed and inadequate performances. Britten and Pears consummated their relationship and from then until Britten's death they were partners in both their professional and personal lives. When
10406-677: The tenor part in Das Lied von der Erde in the same year. From the late 1940s he gained an international reputation as the Evangelist in the St Matthew Passion . The music critic David Cairns wrote, "Pears's interpretation of the evangelist's part in the Bach Passions seemed complete as no other singer's: it encompassed every turn in the drama, the pity, the anger, the despair, the resignation." In Lieder by Schubert , Schumann and others he
10527-541: The term was invented by Lord Harewood. Both Mackerras and Harewood joined the list of corpses, the former for joking that the number of boys in Noye's Fludde must have been a delight to the composer, and the latter for an extramarital affair and subsequent divorce from Lady Harewood , which shocked the puritanical Britten. Among other corpses were his librettists Montagu Slater and Eric Crozier . The latter said in 1949, "He has sometimes told me, jokingly, that one day I would join
10648-716: The title role in Mozart's Idomeneo . At Covent Garden he created roles in operas by Britten and Walton: Vere in Billy Budd (1951), Essex in Gloriana (1953), and Pandarus in Troilus and Cressida (1954). Among his roles in older operas were Tamino, Vašek, and David in Die Meistersinger von Nürnberg . Throughout the 1940s and 1950s Pears continually expanded his recital and concert repertoire. He sang his first Gerontius in 1944, and
10769-447: The twentieth century". In 1967 the BBC commissioned Britten to write an opera specially for television. Owen Wingrave was based, like The Turn of the Screw , on a ghost story by Henry James . By the 1960s Britten found composition much slower than in his prolific youth; he told the 28-year-old composer Nicholas Maw , "Get as much done now as you can, because it gets much, much more difficult as you grow older." He did not complete
10890-508: The twins Peter Burra and Nell Burra; Peter was a close friend from Lancing days, and Nell looked on Pears as almost another brother. She urged him not to drift into a lifetime of schoolmastering, and he concluded that his future lay in singing. He later said that it was hearing the tenor Steuart Wilson (a distant cousin) singing the Evangelist in J S Bach 's St Matthew Passion that "started me off". He successfully applied for admission to
11011-453: The university, he was appointed temporary assistant organist at Hertford College , which was useful practical experience. Headington comments that a musical conservatoire such as the Royal College of Music would have suited Pears better than the Oxford course, but at the time it was seen as a natural progression for an English public school boy to continue his education at Oxford or Cambridge. In
11132-577: The voice could also be commanding, almost heroic, as was shown in the more vehement sections of Captain Vere's role or in the part of the Madwoman in Curlew River . David Cairns broadly concurred, writing: His voice … was not beautiful in itself; its reedy timbre was so idiosyncratic that for some people it came between them and the music. Even his countless admirers might have agreed that, objectively considered, it lacked warmth and variety of colour. But so great
11253-536: The wisdom of pursuing a composing career; a compromise was agreed by which Britten would, as planned, go on to his public school the following year but would make regular day-trips to London to study composition with Bridge and piano with his colleague Harold Samuel . Bridge impressed on Britten the importance of scrupulous attention to the technical craft of composing and the maxim that "you should find yourself and be true to what you found." The earliest substantial works Britten composed while studying with Bridge are
11374-705: The work for HMV was released in February 1943. Britten was by now so obsessed with the sound of Pears's "heavenly voice" that he went out of his way to discourage sopranos from singing his earlier song cycle, Les Illuminations , though it had been specifically composed for the soprano voice. For Pears, Britten composed one of his most popular works, the Serenade for Tenor, Horn and Strings (1943). In early 1943 Pears joined Sadler's Wells Opera Company . His roles included Tamino in The Magic Flute , Rodolfo in La bohème ,
11495-468: The work was much enhanced when Koussevitzky took it up shortly afterwards. In 1942 Britten read the work of the poet George Crabbe for the first time. The Borough , set on the Suffolk coast close to Britten's homeland, awakened in him such longings for England that he knew he must return. He also knew that he must write an opera based on Crabbe's poem about the fisherman Peter Grimes. Before Britten left
11616-540: The works written for Pears by Britten, as well as a wide range of music by other composers. Working with other musicians, Pears sang an extensive repertoire of music from four centuries, from the Tudor period to the most modern times. With Britten, Pears was a co-founder of the Aldeburgh Festival in 1947 and the Britten-Pears School in 1972. After Britten died in 1976, Pears remained an active participant in
11737-438: The year he got to know Pears while they were both helping to clear out the country cottage of a mutual friend who had died in an air crash. Pears quickly became Britten's musical inspiration and close (though for the moment platonic) friend. Britten's first work for him was composed within weeks of their meeting, a setting of Emily Brontë 's poem, "A thousand gleaming fires", for tenor and strings. During 1937 Britten composed
11858-630: The years by Britten before his final heart complaint developed. Emotionally, according to some commentators, Britten never completely grew up, retaining in his outlook something of a child's view of the world. He was not always confident that he was the genius others declared him to be, and though he was hypercritical of his own works, he was acutely, even aggressively sensitive to criticism from anybody else. Britten was, as he himself acknowledged, notorious for dumping friends and colleagues who either offended him or ceased to be of use to him – his "corpses". The conductor Sir Charles Mackerras believed that
11979-408: The young Britten his first lessons in piano and notation. He made his first attempts at composition when he was five. He started piano lessons when he was seven years old, and three years later began to play the viola . He was one of the last composers brought up on exclusively live music: his father refused to have a gramophone or, later, a radio in the house. When he was seven Britten was sent to
12100-728: Was Thomas Mann 's novella Death in Venice , a subject he had been considering for some time. At an early stage in composition Britten was told by his doctors that a heart operation was essential if he was to live for more than two years. He was determined to finish the opera and worked urgently to complete it before going into hospital for surgery. His long-term colleague Colin Graham wrote: Perhaps of all his works, this one went deepest into Britten's own soul: there are extraordinary cross-currents of affinity between himself, his own state of health and mind, Thomas Mann, Aschenbach (Mann's dying protagonist), and Peter Pears, who must have had to tear himself in three in order to reconstitute himself as
12221-411: Was a celebrated pianist and conductor, performing many of his own works in concert and on record. He also performed and recorded works by others, such as Bach 's Brandenburg Concertos , Mozart symphonies, and song cycles by Schubert and Schumann . Together with Pears and the librettist and producer Eric Crozier , Britten founded the annual Aldeburgh Festival in 1948, and he was responsible for
12342-579: Was a chamber piece for eight singers and an orchestra of twelve players. Pears and Cross were the Male and Female Chorus, with Kathleen Ferrier as Lucretia. After the festival, the work was taken on tour to provincial cities under the banner of the "Glyndebourne English Opera Company", an uneasy alliance of Britten and his associates with John Christie , the autocratic proprietor of Glyndebourne. The tour lost money heavily, and Christie announced that he would underwrite no more tours. Britten and his associates set up
12463-516: Was a success in North America, with performances in Toronto, New York, Boston, Chicago and San Francisco, under conductors including John Barbirolli and Serge Koussevitzky . In April 1939 Britten and Pears sailed to North America, going first to Canada and then to New York. They had several reasons for leaving England, including the difficult position of pacifists in an increasingly bellicose Europe;
12584-403: Was almost always accompanied by Britten, a partnership that Headington calls "as nearly an artistic unity as could be imagined"; Cairns calls their Lieder performances "never to be forgotten". They made recordings for Decca of Die schöne Müllerin , Winterreise and Dichterliebe that have remained in print since their first issue in the 1960s. Among the highlights of Pears's career in
12705-463: Was an English composer, conductor, and pianist. He was a central figure of 20th-century British music, with a range of works including opera, other vocal music, orchestral and chamber pieces. His best-known works include the opera Peter Grimes (1945), the War Requiem (1962) and the orchestral showpiece The Young Person's Guide to the Orchestra (1945). Britten was born in Lowestoft , Suffolk ,
12826-555: Was at first unsure whether to concentrate on playing piano and organ, or singing; it was not until he met Britten in 1937 that he threw himself wholeheartedly into singing. Once he and Britten were established as a partnership, the composer wrote many concert and operatic works with Pears's voice in mind, and the singer played roles in more than ten operas by Britten. In the concert hall, Pears and Britten were celebrated recitalists, known in particular for their performances of lieder by Schubert and Schumann . Together they recorded most of
12947-431: Was both unmistakable and controversial. Some music-lovers found his characteristic timbre uncongenial. The critic Alan Blyth described it thus: Clear, reedy and almost instrumental in quality, it was capable of great expressive variety and flexibility, if no wide range of colour. Its inward, reflective timbre, tinged with poetry, was artfully exploited by Britten, from the role of Peter Grimes to that of Aschenbach, but
13068-611: Was equally unflattering about Pears's voice. Robinson surmises that Thomson was motivated by "a mixture of spite, national pride, and professional jealousy." Paul Bunyan met with wholesale critical disapproval, and the Sinfonia da Requiem (already rejected by its Japanese sponsors because of its overtly Christian nature) received a mixed reception when Barbirolli and the New York Philharmonic premiered it in March 1941. The reputation of
13189-511: Was eventually dissuaded by his parents, on the advice of the RCM staff. The first of Britten's compositions to attract wide attention were composed while at the RCM: the Sinfonietta , Op. 1 (1932), the oboe quartet Phantasy , Op. 2, dedicated to Léon Goossens who played the first performance in a BBC broadcast on 6 August 1933, and a set of choral variations A Boy was Born , written in 1933 for
13310-562: Was headed by Queen Elizabeth The Queen Mother . Despite his large number of works on Christian themes, Britten has sometimes been thought of as an agnostic. Pears said that when they met in 1937 he was not sure whether or not Britten would have described himself as a Christian. In the 1960s Britten called himself a dedicated Christian, though sympathetic to the radical views propounded by the Bishop of Woolwich in Honest to God . Politically, Britten
13431-449: Was held at Aldeburgh Parish Church three days later, and he was buried in its churchyard, with a gravestone carved by Reynolds Stone . The authorities at Westminster Abbey had offered burial there, but Britten had made it clear that he wished his grave to be side by side with that, in due course, of Pears. A memorial service was held at the Abbey on 10 March 1977, at which the congregation
13552-606: Was his skill and so subtle and imaginative his musical sensitivity and mastery of inflection that it conveyed, together with his air of patrician authority, an extraordinary richness of atmosphere and feeling. Pears was awarded honorary degrees or fellowships by three music academies and nine universities in the UK and US. He was appointed a Commander of the Order of the British Empire (CBE) in 1957, and knighted in 1978. Other awards included
13673-514: Was not, and learned little from him. He continued to study privately with Bridge, although he later praised Ireland for "nurs[ing] me very gently through a very, very difficult musical adolescence." Britten also used his time in London to attend concerts and become better acquainted with the music of Stravinsky , Shostakovich and, most particularly, Mahler . He intended postgraduate study in Vienna with Alban Berg , Arnold Schoenberg 's student, but
13794-550: Was on BBC television, and Aschenbach in Death in Venice (1973). It was in the latter role that Pears made his debut at the Metropolitan Opera , New York, at the age of 64. After Britten's death in 1976, Pears had the good fortune to find another accompanist with whom he could collaborate fruitfully. With Murray Perahia , Pears gave performances of such works as Britten's Michelangelo Sonnets and Schumann's Liederkreis to critical acclaim. He continued to perform until
13915-488: Was on the left. He told Pears that he always voted either Liberal or Labour and could not imagine ever voting Conservative , but he was never a member of any party, except the Peace Pledge Union. Physically, Britten was never robust. He walked and swam regularly and kept himself as fit as he could, but in his 1992 biography, Carpenter mentions 20 illnesses, a few of them minor but most fairly serious, suffered over
14036-473: Was presented at the Caramoor Summer Music Festival on 25 June 1967 with Andrea Velis as Nebuchadnezzar. The scale and manner of instrumentation are similar to those in Curlew River , but one notable difference is the use of the alto trombone . Clifford Hindley has commented on a reading of a subtext sympathetic to homosexuality on the part of both Britten and Plomer in their treatment of
14157-494: Was recorded in 1956, Britten wrote this pen-portrait of his young self for the sleeve note: Once upon a time there was a prep-school boy. ... He was quite an ordinary little boy ... he loved cricket, only quite liked football (although he kicked a pretty "corner"); he adored mathematics, got on all right with history, was scared by Latin Unseen; he behaved fairly well, only ragged the recognised amount, so that his contacts with
14278-497: Was sexually repressed. In the three years from 1935 to 1937 Britten wrote nearly 40 scores for the theatre, cinema and radio. Among the film music of the late 1930s Matthews singles out Night Mail and Love from a Stranger (1937); from the theatre music he selects for mention The Ascent of F6 (1936), On the Frontier (1938), and Johnson Over Jordan (1939); and of the music for radio, King Arthur (1937) and The Sword in
14399-706: Was the music of the East, an interest that was fostered by a tour there with Pears in 1956, when Britten once again encountered the music of the Balinese gamelan and saw for the first time Japanese Noh plays, which he called "some of the most wonderful drama I have ever seen." These eastern influences were seen and heard in the ballet The Prince of the Pagodas (1957) and later in two of the three semi-operatic "Parables for Church Performance": Curlew River (1964), The Burning Fiery Furnace (1966) and The Prodigal Son (1968). By
14520-419: Was to produce and commission new English operas and other works, presenting them throughout the country. Britten wrote the comic opera Albert Herring for the group in 1947; while on tour in the new work Pears came up with the idea of mounting a festival in the small Suffolk seaside town of Aldeburgh , where Britten had moved from Snape earlier in the year, and which became his principal place of residence for
14641-491: Was twice winner of the Ernest Farrar Prize for composition. Despite these honours, he was not greatly impressed by the establishment: he found his fellow-students "amateurish and folksy" and the staff "inclined to suspect technical brilliance of being superficial and insincere." Another Ireland pupil, the composer Humphrey Searle , said that Ireland could be "an inspiring teacher to those on his own wavelength"; Britten
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