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Journal articles on the topic 'Benjamin Britten'

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Published: 4 June 2021
Last updated: 5 February 2022

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1

Rudnick, Tracey, Michael Oliver, and Peter J. Hodgson. "Benjamin Britten." Notes 54, no. 1 (September 1997): 92. http://dx.doi.org/10.2307/899964.

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2

Law, Joe K. "Benjamin Britten Times Three." Opera Quarterly 11, no. 1 (1994): 168–73. http://dx.doi.org/10.1093/oq/11.1.168.

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3

McKee, David. "Peter Grimes. Benjamin Britten." Opera Quarterly 11, no. 3 (1995): 193–96. http://dx.doi.org/10.1093/oq/11.3.193.

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4

Law, J. K. "Peter Grimes. Benjamin Britten." Opera Quarterly 13, no. 1 (January 1, 1996): 97–99. http://dx.doi.org/10.1093/oq/13.1.97.

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5

Law, J. K. "Billy Budd. Benjamin Britten." Opera Quarterly 16, no. 1 (January 1, 2000): 153–56. http://dx.doi.org/10.1093/oq/16.1.153.

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6

Law, J. K. "Billy Budd. Benjamin Britten." Opera Quarterly 17, no. 4 (January 1, 2001): 777–80. http://dx.doi.org/10.1093/oq/17.4.777.

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7

Law, Joe K. "Paul Bunyan. Benjamin Britten." Opera Quarterly 7, no. 1 (1990): 201–4. http://dx.doi.org/10.1093/oq/7.1.201.

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8

Law, Joe K. "Noye's Fludde. Benjamin Britten." Opera Quarterly 7, no. 3 (1990): 181–82. http://dx.doi.org/10.1093/oq/7.3.181.

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9

McKee, David. "Billy Budd. Benjamin Britten." Opera Quarterly 8, no. 1 (1991): 112–14. http://dx.doi.org/10.1093/oq/8.1.112.

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10

Terry, Sarah. "Collaboration as Communication in the Works of W. H. Auden and Benjamin Britten, 1935–1941." Modernist Cultures 14, no. 1 (February 2019): 70–87. http://dx.doi.org/10.3366/mod.2019.0241.

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W. H. Auden and Benjamin Britten's 1941 opera Paul Bunyan marked the most public production of their almost decade-long collaborative relationship. Like the song settings that preceded it, the opera highlights the influence of Britten on Auden's aesthetic regarding musical and literary collaborations. This article argues that the poems Auden dedicated to Britten, and that Britten subsequently set to music, establish collaboration as a form of communication through which Auden challenges Britten to respond to public statements he has made about Britten's sexuality – trying to coerce him to bring private sentiments into the open. Without the Britten material, much of what would be known of Auden's engagement with music would come from the essays he wrote about music in the 1960s, thirty years after this first major musical collaboration. Despite the fact that Auden's own account of the relation between words and music later shifted toward an aesthetic in which words must be subordinate to music, particularly in operatic works, in his work with Britten, Auden explored more fluid and indirect forms of collaboration. In fact, their direct collaborative relationship evolved out of mutual admiration for the products of their initial, indirect collaborations.
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11

Kildea, Paul. "Benjamin Britten: Inventing English Expressionism?" University of Toronto Quarterly 74, no. 2 (April 2005): 657–70. http://dx.doi.org/10.3138/utq.74.2.657.

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12

Foreman, Lewis. "Benjamin Britten and ‘The Rescue’." Tempo, no. 166 (September 1988): 28–33. http://dx.doi.org/10.1017/s0040298200024281.

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Since Benjamin Britten Died in 1976, attention has turned to performance of those of his works which were little-known in his lifetime. To my mind, this activity has been an unprecedented success, quite different from the barrel-scraping seen in the cases of certain other composers. Not only has there been added, in Paul Bunyan, a worthwhile stage work that will be widely performed, but the remarkably self-assured pieces of his teens which have now been heard, and in some cases recorded, have added music of real value to our experience. However of even greater interest, in my opinion, is the considerable quantity of incidental music that Britten wrote for films, plays, and radio productions: these are now the last source of substantial, unfamiliar scores by him.
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13

Petch, Michael C. "The heart of Benjamin Britten." Journal of the Royal Society of Medicine 107, no. 9 (September 2014): 339–41. http://dx.doi.org/10.1177/0141076814540879.

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14

Camati, Anna Stegh. "A Midsummer Night’s Dream: Reflections on Benjamin Britten’s Chamber Opera." Letras de Hoje 55, no. 1 (April 28, 2020): 33796. http://dx.doi.org/10.15448/1984-7726.2020.1.33796.

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Opera performances, located at the intersection of literature, theater music and the visual arts, tend to fuse specificities of several art forms. This essay reflects on the libretto and score of the chamber opera A Midsummer Night’s Dream (1960), by Benjamin Britten (1913-1976), based on Shakespeare’s homonymous text (1595-1596), and analyses the 1981 operatic adaptation at Glyndebourne, directed by the renowned theatre director and régisseur Peter Hall (1930-2017). The intermedial dialogues among Shakespeare, Britten and Hall will be investigated in the light of theoretical perspectives by Linda and Michael Hutcheon, Claus Clüver, Jorge Coli, Freda Chapple and others.***Sonho de uma noite de verão: reflexões sobre a ópera de câmara de Benjamin Britten***Situada na interface da literatura, teatro, música e artes visuais, a performance operística é caracterizada pela fusão de especificidades de diversas formas de arte. Este ensaio reflete sobre o libreto e a partitura de Sonho de uma noite de verão (1960), ópera de câmara de Benjamin Britten (1913-1976), composta a partir do texto homônimo (1595-1596) de Shakespeare, e analisa a adaptação operística de 1981 apresentada em Glyndebourne, dirigida pelo renomado diretor de teatro e régisseur Peter Hall (1930-2017). Os diálogos intermidiáticos entre Shakespeare, Britten e Hall serão investigados à luz de considerações teóricas de Linda e Michael Hutcheon, Claus Clüver, Jorge Coli, Freda Chapple e outros.Palavras-chave: Shakespeare; Benjamin Britten; Peter Hall; Adaptação;Intermidialidade
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15

Kozel, Dávid. "MELANCHOLY IN THE MUSIC OF JOHN DOWLAND AND BENJAMIN BRITTEN." Hudba - integrácie - interpretácie 19, no. 1 (2016): 59–80. http://dx.doi.org/10.17846/hii.2016.19.59-80.

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16

Cooke, Mervyn. "Benjamin Britten and the Balinese gamelan." Indonesia Circle. School of Oriental & African Studies. Newsletter 18, no. 52 (June 1990): 22–24. http://dx.doi.org/10.1080/03062849008729733.

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17

Law, J. K. "A Midsummer Night's Dream. Benjamin Britten." Opera Quarterly 14, no. 2 (January 1, 1997): 172–75. http://dx.doi.org/10.1093/oq/14.2.172.

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18

Roseberry, Eric. "Britten's Piano Concerto: The Original Version." Tempo, no. 172 (March 1990): 10–18. http://dx.doi.org/10.1017/s0040298200061088.

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Benjamin Britten's revision of the original (1938) version of his ‘First’ Piano Concerto (he wrote no other) was undertaken in 1945. There had been discussions of a revival of the work between the composer and his friend, the pianist Clifford Curzon, who had encouraged Britten to replace the original third movement, entitled ‘Recitative and Aria’, and was delighted with the substituted ‘Impromptu’. As Curzon wrote to Britten on 1 September, 1946:It has arrived and is exquisite. I can't tell you how delighted I am…
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19

Salfen, Kevin. "Britten the Anthologist." 19th-Century Music 38, no. 1 (2014): 79–112. http://dx.doi.org/10.1525/ncm.2014.38.1.079.

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Abstract Benjamin Britten was one of several twentieth-century British composers active before the Second World War who wrote “anthology cycles”—that is, cyclic vocal works on poetry anthologies of the composer's own making. This apparently British invention is deeply indebted to the widespread success of the anthology as a literary form in classrooms, homes, and marketplaces of Victorian and Edwardian England. Britten's early attraction to canonical anthologies such as Arthur Quiller-Couch's Oxford Book of English Verse (1900), for example, is representative of a cultural practice of reading. Britten and other British composers renewed their connection to that practice when they became anthologists for their musical works, identifying themselves as arbiters of poetic and musical taste. Britten's anthology cycle Serenade for tenor, horn, and strings (1943) uses Quiller-Couch's Oxford Book for as many as four of its six texts, many of which share pastoral themes. And yet the composer's musical settings often seem to challenge a conventional reading of the chosen texts and the generic titles Britten assigned to each movement. By creating a canonical, pastoral anthology and then challenging it through music, Britten, who had just returned to England from the United States, invested Serenade with the potential to present the world of prewar England as embattled.
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20

Conway, Paul. "Aldeburgh Festival 2013: Judith Weir, Sally Beamish, Charlotte Bray, Anna Meredith, Thea Musgrave, Jonathan Harvey." Tempo 67, no. 266 (October 2013): 73–75. http://dx.doi.org/10.1017/s0040298213000880.

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In Benjamin Britten's centenary year, the music of its founding father featured widely at the 2013 Aldeburgh Festival. However, there was also a strong showing of music by contemporary composers, including six new pieces for different ensembles co-commissioned by the Britten–Pears Foundation and the Royal Philharmonic Society to mark the bicentenary of the foundation of the RPS, as well as Britten's hundredth anniversary.
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21

Kovács, Krisztián. "A megbékélés hangjai Benjamin Britten Háborús requiemjében." Studia Universitatis Babeș-Bolyai Theologia Reformata Transylvanica 65, no. 1 (June 20, 2020): 158–76. http://dx.doi.org/10.24193/subbtref.65.1.09.

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22

Kildea, Paul F. "Response to Petch article on Benjamin Britten." Journal of the Royal Society of Medicine 108, no. 2 (February 2015): 47–48. http://dx.doi.org/10.1177/0141076814558985.

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23

Francis, Mary C. "The Cambridge Companion to Benjamin Britten (review)." Notes 57, no. 1 (2000): 148–50. http://dx.doi.org/10.1353/not.2000.0023.

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24

Little, Christopher. "Benjamin Britten and Russia by Cameron Pyke." Notes 74, no. 2 (2017): 246–48. http://dx.doi.org/10.1353/not.2017.0108.

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25

Effron, David. "The Turn of the Screw. Benjamin Britten." Opera Quarterly 3, no. 2 (1985): 94–95. http://dx.doi.org/10.1093/oq/3.2.94.

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26

Law, Joe K. "The Turn of the Screw. Benjamin Britten." Opera Quarterly 8, no. 2 (1991): 169–70. http://dx.doi.org/10.1093/oq/8.2.169.

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27

Johnson, Shersten. "Britten, Voice and Piano: Lectures on the Vocal Music of Benjamin Britten." Music Educators Journal 91, no. 3 (January 2005): 61. http://dx.doi.org/10.2307/3400078.

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28

Whittall, Arnold. "Review: Britten, Voice and Piano: Lectures on the Vocal Music of Benjamin Britten." Music and Letters 85, no. 3 (August 1, 2004): 494–97. http://dx.doi.org/10.1093/ml/85.3.494-a.

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29

McTyre, Ruthann Boles. "Britten, Voice, & Piano: Lectures on the Vocal Music of Benjamin Britten (review)." Notes 61, no. 3 (2005): 737–38. http://dx.doi.org/10.1353/not.2005.0026.

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30

Tenzer, Michael, and Mervyn Cooke. "Britten and the Far East: Asian Influences in the Music of Benjamin Britten." Asian Music 32, no. 1 (2000): 190. http://dx.doi.org/10.2307/834335.

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31

BROGAN, HUGH. "W. H. Auden, Benjamin Britten, and Paul Bunyan." Journal of American Studies 32, no. 2 (August 1998): 281–82. http://dx.doi.org/10.1017/s0021875898005921.

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Somewhat to the surprise of the critics and the public, the exiled company of the Royal Opera House had a great success with their production of Benjamin Britten's “operetta,” Paul Bunyan, just before Christmas, 1997. Everyone knew the difficulties in advance – for instance, the piece has absolutely no dramatic momentum – but no one seems to have foreseen that the splendid music would carry all before it in a theatre, or that a highly accomplished cast would find so many moments of real comedy and pathos in performance. Even now it is hard to imagine the piece entering the regular repertory, but it is easy to foresee frequent revivals, and still more frequent concert performances.To an Americanist, however, the work presented as many unexpected problems as pleasures. The fault was entirely W. H. Auden's. His libretto is in many respects as brilliant and beautiful as the music (though at times it sinks to doggerel) but the theme he expounds sticks in my craw. Once upon a time the New World, he says, was nothing but virgin forest. Then Paul Bunyan, the giant, was born, and dreamed of felling trees – of being the greatest logger in history. And such he became. When the forests had all been cleared, “America” had emerged – the America of the farmer, the clerk, the hotel manager, and Hollywood. Paul Bunyan therefore moved on, leaving his followers with the message, “America is what you make it.”The difficulty is not simply that this myth of America seems ecologically and historically unsound to anyone who knows something of the pollution and despoliation inflicted by American logging companies; nor even that the total elimination of the natives from the story (except for one reference to fighting Indians) is a grave falsification; nor even that the accumulation of these and many other simplifications produce an effect that in today's terms is politically incorrect and in 1941 seems to have been thought patronizing. It is that to anyone with actual knowledge, however slight, of American history, Auden's myth is so inaccurate as to make any suspension of disbelief largely impossible. To take but one detail: as Auden said himself, Paul Bunyan is a post-industrial-revolution myth: he is a product of the nineteenth-century frontier, in the tall-tale tradition. The loggers, like the mountain men, the boatmen, the cowboys, and the slaves, were at the mercy of large economic forces; they consoled themselves for their impotence by developing the legend of the giant lumberjack who was invincible and omnipotent. The forests were far from virgin: if they were silent it was because first the game and then the original inhabitants had been driven off by the process of European settlement. Even in 1939, when the influence of F. J. Turner was at its height, Auden could have discovered these points – probably did discover them. But he chose to ignore them.
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32

Forrest, David. "Prolongation in the Choral Music of Benjamin Britten." Music Theory Spectrum 32, no. 1 (April 2010): 1–25. http://dx.doi.org/10.1525/mts.2010.32.1.1.

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33

Venn, E. "Benjamin Britten: The Spiritual Dimension. By Graham Elliott." Music and Letters 89, no. 1 (February 1, 2008): 143–48. http://dx.doi.org/10.1093/ml/gcm023.

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34

ELLIOTT, GRAHAM. "The Operas of Benjamin Britten A Spiritual View." Opera Quarterly 4, no. 3 (1986): 28–44. http://dx.doi.org/10.1093/oq/4.3.28.

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35

Bullock, Philip Ross. "Book Review: Cameron Pyke: Benjamin Britten and Russia." Journal of European Studies 47, no. 1 (March 2017): 98–99. http://dx.doi.org/10.1177/0047244116687968n.

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36

Whitesell, Lloyd. "Britten's Dubious Trysts." Journal of the American Musicological Society 56, no. 3 (2003): 637–94. http://dx.doi.org/10.1525/jams.2003.56.3.637.

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Abstract One hypothesis pursued in contemporary queer musicology argues that music provides an arena for reflection on a composer's experience of a marginal sexual identity. The music of Benjamin Britten has furnished material for a recent outpouring of such criticism. Much of this work, however, addresses covert meanings constrained by censorship and directed toward a minority audience of initiates or sympathizers; its impact on Britten reception in general remains unclear. I propose that Britten's music dramatizes a deviant perspective in fundamental ways, resulting in a queer aesthetic whose import extends to all listeners. Britten composes dramas of psychological reorientation from the following elements: the appearance of a stranger, a figure of worldly or spiritual initiation, in opposition to the familiar protagonist; and the setting in a limbo between worlds, making possible uncanny meetings whose vocal exchanges convey erotic knowledge. The confrontation of different perspectives casts the protagonist into disorientation and leads to bonds of identification across incompatible positions. Through the protagonist's perspective, such effects of deviant perception and cross-identification extend to the audience. Britten's queer aesthetic is not so much defiant or antagonistic as Socratic—based on a logic of persuasion and transformative dialogue.
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37

WIEBE, HEATHER. "Benjamin Britten, the ““National Faith,”” and the Animation of History in 1950s England." Representations 93, no. 1 (2006): 76–105. http://dx.doi.org/10.1525/rep.2006.93.1.76.

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ABSTRACT This article examines constructions of national Christian tradition in 1950s England, focusing on images of deadness and revivification in two products of the religious drama movement: the York Mystery and other plays presented at the 1951 Festival of Britain, and Benjamin Britten's 1958 children's opera Noye's Fludde.
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38

Mark, Christopher. "Britten and the Far East: Asian Influences in the Music of Benjamin Britten (review)." Notes 57, no. 1 (2000): 145–48. http://dx.doi.org/10.1353/not.2000.0038.

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39

Anderson, Martin. "London, St. John's Smith Square: Britten and David Matthews premières." Tempo 57, no. 226 (October 2003): 69. http://dx.doi.org/10.1017/s0040298203240365.

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The world première of Benjamin Britten's Two Pieces (his title) for violin, viola and piano on 9 July provided further proof of his precocious genius, and also hinted intriguingly at the turning his compositional career never took. The concert that presented the Britten trio and another première, David Matthews's Duet Variations for violin and piano, was organized by Haus Publishing to launch Matthews's new biography of Britten, and it was while researching the book that Matthews came across the score of the Two Pieces, written in late 1929 for a chamber group in which he played the viola. Like the Quartettino, which it immediately predates, the Two Pieces shows Britten trying his hand at a Bergian expressionism. A note in his diary at the time (November 1929), quoted in the programme for the concert, reveals the direction his mind was taking: ‘I am thinking much about modernism in art, debating whether Impressionism, Expressionism, Classicism etc are right. I have half decided on Schoenberg’. His music confirms his words.
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40

Cooke, Mervyn. "Three Songs for Les Illuminations by Benjamin Britten, and: Six Early Songs (1929–31) for medium voice and piano by Benjamin Britten, and: Two Pieces for violin, viola and piano (1929) by Benjamin Britten, and: Two Psalms: Out of the deep, Praise ye the Lord, for SATB chorus and orchestra by Benjamin Britten, and: Variations for piano (1965) by Benjamin Britten." Notes 71, no. 2 (2014): 349–52. http://dx.doi.org/10.1353/not.2014.0135.

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41

Banks, Paul. "Encompassing a Plenitude: Cataloguing the Works of Benjamin Britten." Studia Musicologica Academiae Scientiarum Hungaricae 34, no. 3/4 (1992): 317. http://dx.doi.org/10.2307/902286.

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42

Allen, Stephen Arthur. "Christianity and Homosexuality in the Music of Benjamin Britten." International Journal of the Humanities: Annual Review 2, no. 1 (2006): 0. http://dx.doi.org/10.18848/1447-9508/cgp/v02i01/43187.

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43

Cacqueray, Elisabeth de. "Music, poetry, realism : Benjamin Britten and his film scores." Anglophonia/Caliban 11, no. 1 (2002): 227–36. http://dx.doi.org/10.3406/calib.2002.1468.

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44

SUTCLIFFE, JAMES HELME. "A Life for Music Benjamin Britten: A Biographical Sketch." Opera Quarterly 4, no. 3 (1986): 4–10. http://dx.doi.org/10.1093/oq/4.3.4.

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45

Payne, Anthony. "Britten and the String Quartet." Tempo, no. 163 (December 1987): 2–6. http://dx.doi.org/10.1017/s0040298200023548.

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THAT BENJAMIN BRITTEN already possessed in his early twenties a most astonishing technical assurance has never been in doubt; nor that he commanded a range of feeling and a stylistic integrity which proclaimed a uniquely precocious maturity. So much was evident from early published scores like the Sinfonietta, Phantasy for oboe quartet, Variations on a theme of Frank Bridge, and Our Hunting Fathers. The route by which he had reached this early maturity, however, was not generally known until comparatively recently, and the book which was for decades to remain the most reliable and perceptive guide to his music—the symposium of 1952 edited by Donald Mitchell and Hans Keller—said little about the pre-opus 1 works, or about influences.
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46

Frantzen, Allen J. "The Handsome Sailor and the Man of Sorrows: Billy Budd and the Modernism of Benjamin Britten." Modernist Cultures 3, no. 1 (October 2007): 57–70. http://dx.doi.org/10.3366/e2041102209000318.

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Allen Frantzen's essay examines Benjamin Britten's “Billy Budd” (1951) in relation to the Festival of Britain, treating the opera as an example of a more conservative “mid-century modernism.” Frantzen analyzes in depth the changes Britten's librettists, E. M. Forster and Eric Crozier, made to the novella by Melville, in order to conclude that Britten's opera offers an art that seeks to establish itself within English society and culture, but that nevertheless makes clear, both in its music and text, that change is on its way.
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47

Vermeulen, K., and B. Spies. "Musikale narratief in Benjamin Britten se opera Billy Budd." Literator 28, no. 1 (July 30, 2007): 85–104. http://dx.doi.org/10.4102/lit.v28i1.152.

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Musical narrative in Benjamin Britten’s opera Billy Budd In Herman Melville’s story, which is set on a British warship during the Napoleonic wars, Billy Budd becomes the object of a jealous master-at-arms, John Claggart. When the young Billy faces Captain Vere about Claggart’s false accusation of mutiny, he stutters and in a moment of despair, kills Claggart with one blow. The death sentence is inevitable. The discrepancy between the nature of the three main characters and their actual deeds results in ambiguity. Billy, the innocent boy, kills. Vere, the father figure, does not protect Billy on the day of his conviction. Claggart, the manipulator, cannot avoid his own death and dies as the victim. This article takes Melville’s story and its historic background as a point of departure to investigate the correspondence between the narrative and the unfolding of the music in the opera by Benjamin Britten. The analysis shows that specific musical images depict the diverse, dualistic nature of the three main characters in the opera. Furthermore, the manner in which these musical images are transformed in the course of the opera depicts the evolving plot to create a musical narrative. By promoting the understanding of the manner in which the musical narrative communicates a message, this article is an attempt to contribute to the hermeneutic project in the field of music.
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48

Venn, Edward. "BBC Proms 2013: David Matthews and Thomas Adès." Tempo 68, no. 267 (January 2014): 59–61. http://dx.doi.org/10.1017/s004029821300137x.

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Robin Holloway's brief illustrative list of composers who populate the ‘continuing or reconstructed mainstream’ begins in Britain, with ‘Tippett and Britten, hence Maw and both Matthewses’ and ends with the broader international sweep of ‘Takemitsu, Knussen and Lieberson (stemming equally from serialism à la Berg and à la late Stravinsky); hence Lindberg, Benjamin, Turnage, Anderson, Adès and all’. Whilst these groupings, which position David Matthews and Thomas Adès towards opposing ends of the continuum, might be inadvertent, the premieres of their latest works, given over consecutive (and swelteringly hot) nights in July, would appear to strengthen such a polarity.
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49

Ward-Griffin, Danielle. "Theme Park Britten: Staging the English Village at the Aldeburgh Festival." Cambridge Opera Journal 27, no. 1 (March 2015): 63–95. http://dx.doi.org/10.1017/s0954586714000159.

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AbstractJournalists and scholars have long observed how Aldeburgh seems to function as a larger stage for Benjamin Britten’s village-themed operas. Not only is it the explicit setting forPeter Grimes, but it also serves as the site for the annual Aldeburgh Festival of Music and the Arts, founded by Britten in 1948. This article examines how the Festival served as a parallel construction of the village life seen in Britten’s early operas, particularlyAlbert Herring(1947) andLittle Sweep(1949). Analysing materials from the initial years of the Festival – including programme books and accounts of exhibitions and performances – I trace how Festival organisers drew upon the rhetoric and modes of behaviour of contemporary tourism in promoting a particular vision of the local community. By blurring the line between the fictional worlds of Britten’s village-themed operas and the site of Aldeburgh, the Festival encouraged the visitors to fabricate the very kind of community that organisers claimed could already be found at Aldeburgh.
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50

Cooke, Mervyn, and Christopher Mark. "Early Benjamin Britten: A Study of Stylistic and Technical Evolution." Music Analysis 16, no. 3 (October 1997): 409. http://dx.doi.org/10.2307/854407.

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