"Benjamin Britten at 100 - time for a new appraisal?"

[Ferretfancy]

ferniehoughgeliebte

I met Bliss once, he was like a kindly English officer, and therefore his absence from Britain would have been thought quite acceptable by the fuddy duddys who ruled the arts establishment during the 1940s and beyond. Britten and Pears, on the other hand, were in a gay partnership recognised as such at a time when gay men were being imprisoned on a regular basis. They were lucky to escape the law, but less lucky in that their critics found other reasons to attack them.

Much the same sniping was aimed at Auden and Isherwood when they left for the United States, notably by Evelyn Waugh. There was a man who had indulged in homosexual activity in his youth, but now felt that he could afford to be censorious, trusting in people's short memories.

I do think that too much emphasis has been placed on Britten's sexuality. We ( I hope! ) live in a slightly more enlightened age. Nevertheless, I think that the fact of his gayness, really only known to the cognoscenti, explains a lot of the spite. The words 'facile' and 'precious' featured in a lot of it.

[ferneyhoughgeliebte]

I do think that too much emphasis has been placed on Britten's sexuality. We ( I hope! ) live in a slightly more enlightened age. Nevertheless, I think that the fact of his gayness, really only known to the cognoscenti, explains a lot of the spite. The words 'facile' and 'precious' featured in a lot of it.

I agree, Ferret, (and I envy your meeting Bliss, by the way) - but the sniping began well before the War (you missed out "clever", which word - like "intellectual" - is a term of deepest approbation in English culture) and doesn't account for the respect and deep affection held for other gay figures in Britten's lifetime: Noel Coward the most obvious example. In addition to his sexuality, there was also the further fact which put Britten beyond the pale: he was (I blush to mention it) Middle Class! "What is an English public schoolboy doing writing stuff like this?" was the Mantra which followed Britten throughout his career.

[EdgeleyRob]

I don't think that's what ER meant.

The fact that a British composer could write music too, not just Germans and Russians was an eye-opener (ear?) for me as a young person.

It caused me to become very interested in music written by British composers.

Much of this music I suppose is not specifically 'British' (whatever that is).

From the age of maybe 14 I started to listen to classical music.
My parents had a few records,the 3 B's, Mozart, Tchaikovsky etc and I would quite often break off from listening to prog rock and have a dabble in these.
I became increasingly hooked.
For the next couple of years or so the only classical music I heard was by these composers.
I'd noticed LPs of Britten,Elgar, RVW etc in the school record library but was never inclined to try them.
One day I took the plunge and took home a Britten record,I couldn't believe that this stunning music was written by an Englishman.

[Mary Chambers]

the sniping began well before the War (you missed out "clever", which word - like "intellectual" - is a term of deepest approbation in English culture) and doesn't account for the respect and deep affection held for other gay figures in Britten's lifetime: Noel Coward the most obvious example. In addition to his sexuality, there was also the further fact which put Britten beyond the pale: he was (I blush to mention it) Middle Class! "What is an English public schoolboy doing writing stuff like this?" was the Mantra which followed Britten throughout his career.

Britten, Pears, Auden and Isherwood were indeed all Middle Class and public school. They were also left wing, which might have been seen as class betrayal by the Establishment. Pears himself wrote to Britten (I'm quoting from memory) that they were, after all, "queer and left and conshie, which is enough to put us, or make us put ourselves, outside the pale."

Noel Coward was not middle class, but strove to be. He was also very patriotic. The combination of the things Pears mentioned was just too much for many people - who became somewhat confused when (via Lord Harewood's love of opera) he and Britten became acceptable to the Royal family, and mildly friendly with them.

[gradus]

I'm not a devotee and have always found him quirky with a slow-burn appeal but an appeal nevertheless, especially his vocal music.
Abraham and Isaac is a good example of a piece that took me a while to warm to. I particularly like the Charm of Lullabies too - full of character and a wonderful piece for a singer good with words. By the way there was a lovely performance of the Waly Waly arrangement yesterday by Ruby Hughes as an encore to her Wigmore Hall lunchtime recital.

[PianoSteve.]

In February 1991 there was a programme on either ITV or Channel 4 (more likely to be 4) called J'accuse. It was a series where well known people in various fields where brouth into question regarding something signiuficant in their achievements. The one about Britten was little more than the sniping already mentioned. After the war he visited at least one of the concentration camps I believe. The second string quartet composed afterwards is a powerful heart rending testament to all of his demons.

[ferneyhoughgeliebte]

In February 1991 there was a programme on either ITV or Channel 4 (more likely to be 4) called J'accuse. It was a series where well known people in various fields where brouth into question regarding something signiuficant in their achievements. The one about Britten was little more than the sniping already mentioned.

I remember that programme, but not the contributors - except for Steve Martland (wither he these days?) who made a second career making "outrageous" comments about the "Classical" Music scene for anyone who asked him. (A pity; I quite enjoy some of the Music he wrote in the '90s.)

The whole "mission statement" of J'Accuse was to take a cultural icon and "dis" him/her/it: it collapsed under its own self-regard and absence of viewers. It was the first time I remember anyone trying to suggest that Britten's sexual activity was predatory. In the absence of evidence, this was a series of insinuations, sniggers and vicarious salacious outrage.

[Thropplenoggin]

I remember that programme, but not the contributors - except for Steve Martland (wither he these days?) who made a second career making "outrageous" comments about the "Classical" Music scene for anyone who asked him. (A pity; I quite enjoy some of the Music he wrote in the '90s.)

The whole "mission statement" of J'Accuse was to take a cultural icon and "dis" him/her/it: it collapsed under its own self-regard and absence of viewers. It was the first time I remember anyone trying to suggest that Britten's sexual activity was predatory. In the absence of evidence, this was a series of insinuations, sniggers and vicarious salacious outrage.

It's available to watch here: http://www.youtube.com/watch?v=_NvhhZG4IBA

It doesn't make for pleasant viewing. I didn't make it to the end of Part 1.

[Mary Chambers]

I remember that programme, and I'm pretty sure there was another one at some point along much the same lines.

The main accusations seem to be:

His style changed with age.
He was homosexual.
He was a pacifist.
He was insecure.
He didn't live in London.
He preferred people who loved him to people who didn't.
He preferred some performers to others.

His style changed with age.
He was homosexual.......

.......and so on ad infinitum.

[Sir Velo]

I remember that programme, and I'm pretty sure there was another one at some point along much the same lines.

The main accusations seem to be:

His style changed with age.
He was homosexual.
He was a pacifist.
He was insecure.
He didn't live in London.
He preferred people who loved him to people who didn't.
He preferred some performers to others.

His style changed with age.
He was homosexual.......

.......and so on ad infinitum.

One accusation which is constantly levelled at Britten is that he "dropped" people. It begs the question how much of this was due to snide asides which were directed either at himself or Pears. Given the prevailing social climate of the time it is hardly surprising that Britten wanted only people he felt sure he could trust, in his inner circle.

[ferneyhoughgeliebte]

It's available to watch here: http://www.youtube.com/watch?v=_NvhhZG4IBA

It doesn't make for pleasant viewing. I didn't make it to the end of Part 1.

Yes, distinctly un-pleasant.

It's interesting to remember a time when C4 actually devoted air time to Arts matters (most were very good). Nowadays, it's more likely to broadcast a series called Jacuzzi, in which not-quite-naked people in their twenties are unpleasant to each other whilst sharing a large bubble bath.

[Ferretfancy]

One accusation which is constantly levelled at Britten is that he "dropped" people. It begs the question how much of this was due to snide asides which were directed either at himself or Pears. Given the prevailing social climate of the time it is hardly surprising that Britten wanted only people he felt sure he could trust, in his inner circle.

Sir Velo
I understand your comment, and I am a huge admirer of Britten, but I don't think it can be denied that he did discard some of his associates. When Robert Tear accepted an offer from Glyndebourne instead of continuing with the English Opera Group he was declared persons non grata at Aldeburgh, and once discussed this rather ruefully in an interview some years after the composer's death.
That doesn't diminish him for me, as you say, he had an intense need to feel secure in a quite horrible climate which I have painful memories of myself.

[amateur51]

Sir Velo
I understand your comment, and I am a huge admirer of Britten, but I don't think it can be denied that he did discard some of his associates. When Robert Tear accepted an offer from Glyndebourne instead of continuing with the English Opera Group he was declared persons non grata at Aldeburgh, and once discussed this rather ruefully in an interview some years after the composer's death.
That doesn't diminish him for me, as you say, he had an intense need to feel secure in a quite horrible climate which I have painful memories of myself.

Same here, Ferret - well said

[Mary Chambers]

It should be mentioned, though, that Robert Tear was (as I think he admitted himself) one of those who made snide comments.

[amateur51]

It should be mentioned, though, that Robert Tear was (as I think he admitted himself) one of those who made snide comments.

Yes indeed and Charles Mackerras, sadly.

But as Ferret has said, that's how "it" was in those days