DXXXVIII. BRITTEN, Benjamin (1913-1976)
Britten seems influenced by Mahler's Das Lied von der Erde (1908-09) [see Post CXXII], not just in flattering echoes, but in the development of inter-movement relationships, which make this work much more than just a song cycle.
The first and final movement are drawn from the poems of W.H. Auden (the second movement is Anon, modernized by Auden; the third movement is Anon., the fourth movement is from Thomas Ravenscroft (c. 1592-1635).
1. Prologue
Britten allows the singer to clearly express the text, with the orchestra providing punches after each line.
2. Rats Away!
Here we hear near-quotes from Das Lied.
The orchestra broadly interacts with the text. One has to wonder what Britten had in mind as a parallel to "rats" in 1936!
The orchestra broadly interacts with the text. One has to wonder what Britten had in mind as a parallel to "rats" in 1936!
3. Messalina
Messalina, a fascinating read which illuminates the text. Beautiful orchestral music ends the movement, with particularly wonderful solos by the winds.
Messalina, a fascinating read which illuminates the text. Beautiful orchestral music ends the movement, with particularly wonderful solos by the winds.
[there are a few moments of silence on this YouTube video before the start of the next movement.]
4. Dance of Death (Hawking for the partridge)
Great intensity between singer and orchestra. The orchestra erupts at the end of the movement.
4. Dance of Death (Hawking for the partridge)
Great intensity between singer and orchestra. The orchestra erupts at the end of the movement.
5. Epilogue and Funeral Music
This incredible poem is layered in between a few bars of an eerie xylophone part, which is further developed after the singer finishes the text.
This incredible poem is layered in between a few bars of an eerie xylophone part, which is further developed after the singer finishes the text.
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