Benjamin Britten The Prince of the Pagodas, Opp. 57 Videos
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2024-03-28
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Peter Pears Benjamin Britten Elgar Somervell Finzi Shelley Wordsworth Shakespeare Gustav Mahler London Symphony Orchestra Bbc Symphony Orchestra 1853 1913 1943 1945 1953 1958
Nocturne (Op. 60): I. On a poet's lips I slept 00:00 II. The Kraken 03:22 III. Encintures with a twine of leaves 06:39 IV. Midnight's bell 08:51 V. But that night when on my bed I lay 11:21 VI. The kind ghosts 14:24 VII. Sleep and poetry 1853 VIII. Sonnet XLII 22:21 Britten, Benjamin +••.••(...)) -composer Peter Pears -tenor Benjamin Britten -Conductor London Symphony Orchestra Playlist: "The art of British song: Elgar, Somervell, Williams, Finzi..": (http•••) The 1950s came as a time of mixed press and reexamination for Benjamin Britten. Following the unreserved success of his Serenade for Tenor, Horn and Strings (1943) and several operas, beginning with the rapturously received Peter Grimes (1945), the ensuing decade brought some muted reactions (Billy Budd) and questioning, if not entirely negative, reviews for Gloriana, presented during the Coronation Year of 1953. With Turn of the Screw, however, Britten was considered to have gotten himself back on track. Later consideration brought revised opinions on both Billy Budd and Gloriana, especially the former. After traveling to Bali, then composing the gamelan music influenced The Prince of the Pagodas and Noye's Fludde, Britten turned to a work not dissimilar to his Serenade, but fixed upon that imaginative realm partway between waking and dreaming. Some writers have sought to describe this work as a study for the opera, A Midsummer Night's Dream, which was introduced to the public two years later. Surely there is more cause to describe it thus than there is to suggest that the Serenade was a precursor to Peter Grimes. Both the Nocturne and Midsummer Night's Dream impart a dream-like, phantasmagoric aura. As always, Britten was knowing in his choice of texts. Beginning with Shelley's Prometheus Unbound, and including Tennyson's The Kraken, lines were drawn from Coleridge's The Wanderings of Cain; Thomas Middleton's Blurt, Master Constable; lines from Wordsworth's Prelude; The Kind Ghosts by Wilfred Owen (the great war poet to whom Britten returned for his moving War Requiem); Sleep and Poetry by Keats; and, finally, Sonnet 43 by Shakespeare. Throughout the work, there is a defining tension between D flat and C major which conjures in tonality the floating reverie that parallels the poetry and keeps the music above mundane sensibilities. Both in the presence of seven various obbligato instruments and in the tonal language, Nocturne, despite certain surface similarities with Serenade, occupies rather different territory. The scoring, too, is more diaphanous, calling to mind Gustav Mahler to whose widow, Alma, the work is dedicated. The premiere took place in Leeds, England, on October 16, 1958, with the BBC Symphony Orchestra and featuring Britten's tenor of choice, Peter Pears. Although not as widely performed as Britten's Serenade, the Nocturne represents the composer at his sensitive best, unerringly supporting beautifully wrought words with music at one and the same time firmly rooted and elevated beyond earthly things. Source: (http•••) Buy the CD here: (http•••)
Britten Oliver Knussen Colin McPhee Sarah Lewis Aldeburgh Festival 1956 2015
Britten’s trip to Bali in 1956 made a very strong impression on him. As David Attenborough remembers in this video, Britten was said to have been able to navigate his way across the island by recognising the subtle differences between the musical styles of the gamelan performances that were a feature of daily life in every village. On his return to the UK, Britten wrote his only full-length ballet, The Prince of the Pagodas, a piece filled with the sounds he encountered in Bali, mixed with lusciously Romantic, glittering orchestral textures. At the 2015 Aldeburgh Festival we present a four-part exploration of the piece: (http•••) Sunday 28 June, 4pm On the final day of the Festival, Sunday 28 June, Oliver Knussen conducts the Britten–Pears Orchestra (in their follow-up to Peter Grimes and Owen Wingrave) in concert extracts of the ballet, performed alongside stunning gamelan music written for orchestra by American composer and ethnomusicologist Colin McPhee. (http•••) Wednesday 24 - Saturday 27 June Workshops for adults and children give you the chance to play these gorgeous pitched percussion instruments. (http•••) Thursday 25 June, 11am Join us for a Study Day on Thursday 25 June to explore the piece and its background. You’ll also have the chance to play the gamelan. (http•••) Sunday 28 June, 2pm Inspired by Britten’s response to the sound-world of the gamelan, young people from different groups around Suffolk have worked to create new pieces drawing on the same inspiration, working with beatboxers Testament and Jason Singh and choreographer Sarah Lewis. See the results on Sunday 28 June just before the BPO concert. (http•••)
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