Britten

[Beef Oven]

There were some people who felt the original thread had degenerated into a slanging match and so hoped that a second attempt might be more civilised.

On a slightly related topic, why do contributors to a forum for Radio 3 listeners feel the need to adopt ludicrous pseudonyms?
Surely that is what one would encounter among the users of Radio 1 fan-sites.
It seems to me that intelligent people should have no need of such disguises and the use of our real names might discourage any lapses into outrageous behaviour.

And they could say something about themselves in the 'about me' section in their profile.

[EdgeleyRob]

The obvious suspects with me. War Requiem, Peter Grimes, Les Illuminations, Frank Bridge Variations, Sinfonietta, Spring Symphony, the list goes on!!

I'm not that keen on Britten, except for...
Op. 1, Sinfonietta, 1932
Op. 2, Phantasy, oboe quartet, 1932
Op. 3, A Boy was Born for mixed chorus with organ ad lib, 1933, revised 1955
Op. 4, Simple Symphony for strings, 1934 (+ also version for string quartet)
Op. 5, Holiday Diary for piano, 1934
Op. 6, Suite for violin and piano, 1935
Op. 7, Friday Afternoons for children's voices and piano, 1935
Op. 8, Our Hunting Fathers for soprano or tenor and orchestra (words W. H. Auden), 1936
Op. 9, Soirées musicales for orchestra (after Rossini), 1936
Op. 10, Variations on a Theme of Frank Bridge for string orchestra, 1937
Op. 11, On this Island for soprano or tenor and piano (words W. H. Auden), 1937
Op. 12, Mont Juic (after Catalan dances, with Lennox Berkeley), 1937
Op. 13, Piano Concerto, 1938, revised 1945
Op. 14, Ballad of Heroes for tenor or soprano, chorus and orchestra (words W. H. Auden and Randall Swingler), 1939
Op. 15, Violin Concerto, 1939, revised 1958
Op. 16, Young Apollo for piano and strings, 1939 (withdrawn)
Op. 17, Paul Bunyan, opera (libretto W. H. Auden), 1941, revised 1976
Op. 18, Les Illuminations, for soprano or tenor and strings (words Arthur Rimbaud), 1939
Op. 19, Canadian Carnival overture, 1939
Op. 20, Sinfonia da Requiem, 1940
Op. 21, Diversions for piano (left hand) and orchestra, 1940, revised 1954
Op. 22, Seven Sonnets of Michelangelo for tenor and piano, 1940
Op. 23 No. 1, Introduction and Rondo alla burlesca for two pianos, 1940
No. 2, Mazurka elegaica for two pianos, 1941
Op. 24, Matinées musicales for orchestra (after Rossini), 1941
Op. 25, String Quartet No. 1, 1941
Op. 26, Scottish Ballad for two pianos and orchestra, 1941
Op. 27, An American Overture, 1941 [first performance 1983]
Op. 27, Hymn to St. Cecilia for SSATB, 1942
Op. 28, A Ceremony of Carols for trebles and harp, 1942
Op. 29, Prelude and Fugue for 18 strings, 1943
Op. 30, Rejoice in the Lamb for soloists, chorus and organ, 1943
Op. 31, Serenade for Tenor, Horn and Strings, song cycle, 1943
Op. 32, Festival Te Deum for chorus and organ, 1945
Op. 33, Peter Grimes, opera (libretto Montagu Slater after George Crabbe), 1945 Op. 33a, Four Sea Interludes from Peter Grimes
Op. 33b, Passacaglia from Peter Grimes
Op. 34, Variations and Fugue on a Theme of Henry Purcell (The Young Person's Guide to the Orchestra), 1946
Op. 35, The Holy Sonnets of John Donne for soprano or tenor and piano, 1945
Op. 36, String Quartet No. 2, 1945
Op. 37, The Rape of Lucretia, opera (libretto Ronald Duncan after André Obey), 1946 revised 1947
Op. 38, Occasional Overture, 1946
Op. 39, Albert Herring, opera (libretto Eric Crozier after Guy de Maupassant), 1947
Op. 40, My beloved is mine (Canticle I) for soprano or tenor and piano (words Francis Quarles), 1947
Op. 41, A Charm of Lullabies for mezzo soprano and piano, 1947
Op. 42, Saint Nicolas for soloists, chorus, strings, piano (4 hands), percussion and organ, 1948
Op. 43, The Beggar's Opera after John Gay, 1948
Op. 44, Spring Symphony for soloists, mixed choir, children's choir and orchestra, 1949
Op. 45, The Little Sweep, opera (libretto Eric Crozier), 1949
Op. 46, A Wedding anthem Amo Ergo Sum for soprano, tenor chorus and organ (words Ronald Duncan), 1949
Op. 47, Five Flower Songs for SATB, 1950
Op. 48, Lachrymae for viola and piano, 1950 Op. 48a, Lachrymae for viola and strings, 1976
Op. 49, Six Metamorphoses after Ovid for oboe, 1951
Op. 50, Billy Budd, opera (libretto E. M. Forster and Eric Crozier after Herman Melville), 1951, revised 1960
Op. 51, Abraham and Isaac (Canticle II) for alto, tenor and piano (Chester miracle play), 1952
Op. 52, Winter Words for soprano or tenor and piano (words Thomas Hardy), 1953
Op. 53, Gloriana, opera (libretto William Plomer after Lytton Strachey), 1953 Op. 53a, Symphonic Suite "Gloriana" for tenor or oboe and orchestra, 1954
Op. 54, The Turn of the Screw, opera (libretto Myfanwy Piper after Henry James), 1954
Op. 55, Still Falls the Rain (Canticle III) for tenor, horn and piano (words Edith Sitwell), 1954
Op. 56a, Hymn to St. Peter for treble, SATB and organ, 1955
Op. 56b, Antiphon for SATB and organ, 1955
Op. 57, The Prince of the Pagodas, ballet, 1956 Op. 57a, Pas de six from The Prince of the Pagodas
Op. 58, Songs from the Chinese for soprano or tenor and guitar, 1957
Op. 59, Noye's Fludde, opera (Chester mystery play), 1957
Op. 60, Nocturne for tenor, 7 obbligato instruments and string orchestra, song cycle, 1958
Op. 61, Sechs Hölderlin-Fragmente, 1958
Op. 62, Cantata academica, 1959
Op. 63, Missa brevis for boys' voices and organ, 1959
Op. 64, A Midsummer Night's Dream, opera (libretto Benjamin Britten and Peter Pears after William Shakespeare), 1960
Op. 65, Sonata for cello and piano, 1961
Op. 66, War Requiem, 1961
Op. 67, Psalm CL for children's chorus and instruments, 1962
Op. 68, Cello Symphony, 1963
Op. 69, Cantata misericordium, 1963
Op. 70, Nocturnal after John Dowland for guitar, 1963
Op. 71, Curlew River, church parable (libretto William Plomer after Noh), 1964
Op. 72, Cello Suite No. 1, 1964
Op. 73, Gemini Variations for flute, violin and piano four hands, 1965
Op. 74, Songs and Proverbs of William Blake for baritone and piano, 1965
Op. 75, Voices for Today for boys' voices, chorus and organ ad lib, 1965
Op. 76, The Poet's Echo for soprano or tenor and piano (words Alexander Pushkin), 1965
Op. 77, The Burning Fiery Furnace, church parable (libretto William Plomer after The Book of Daniel), 1966
Op. 78, The Golden Vanity for boys' voices and piano (words Colin Graham), 1966
Op. 79, The Building of the House overture, for chorus or organ or brass and orchestra, 1967
Op. 80, Cello Suite No. 2, 1967
Op. 81, The Prodigal Son, church parable (libretto William Plomer), 1968
Op. 82, Children's Crusade (words Bertolt Brecht/Hans Keller), 1968
Op. 83, Suite for Harp, 1969
Op. 84, Who are these Children? for tenor and piano (words William Soutar), 1969
Op. 85, Owen Wingrave, opera (libretto Myfanwy Piper based on Henry James), 1970
Op. 86, The Journey of the Magi (Canticle IV) for countertenor, tenor, baritone and piano (words T. S. Eliot), 1971
Op. 87, Cello Suite No. 3, 1972
Op. 88, Death in Venice, opera (libretto Myfanwy Piper based on Thomas Mann), 1973
Op. 89, The Death of Narcissus (Canticle V) for tenor and harp (words T. S. Eliot), 1974
Op. 90, A Suite on English Folk Tunes "A Time There Was" for chamber orchestra, 1974
Op. 91, Sacred and Profane (8 medieval lyrics) for five voices (SSATB), 1975
Op. 92, A Birthday Hansel for high voice and harp (words Robert Burns), 1975
Op. 93, Phaedra, cantata (words Robert Lowell after Jean Racine), 1975
Op. 94, String Quartet No. 3, 1975
Op. 95, Welcome Ode for young people's voices and orchestra, 1976
Op. 96, Praise we great men for soloists, chorus and orchestra (words Edith Sitwell), 1976 (Unfinished)

[Nick Armstrong]

Shall we try and keep this to just Britten's music...?

Anyone else think "Turn of the Screw" is his greatest opera?

(I wish video existed of the early 1980s ENO production with Philip Langridge - spinechilling and unforgettable)


EDIT: Edgers, you beat me to it... and how!!!

[Mahler's3rd]

I think I would say Peter Grimes, It was the first Opera I saw. I do remember it was done by Opera North. I thought The Performance by ENO at the Proms last year of Peter Grimes was superb also. I also really like the War Requiem, Spring Symphony, Serenade For Tenor Horn & Srings, Sinfonia da Requiem, Young Apollo, The Violin & Piano Concerto's. I hope Glyndebourne do Billy Budd as their Prom this year, that would be great, and I'm looking forward to seeing ENO's "Death In Venice" & Royal Opera's "Gloriana" in June. I heard that Birmingham Royal Ballet are going to do Prince Of The Pagodas some time this year and does anybody know when details will be released as to when Opera North are doing their "Britten Trilogy" in the Autumn?

[Nick Armstrong]

I think I would say Peter Grimes, It was the first Opera I saw.

Coincidence, M3rd - in my case, 'Turn of the Screw' was the first opera I ever went to. Maybe we are each marked by that....

[Belgrove]

Anyone else think "Turn of the Screw" is his greatest opera?

(I wish video existed of the early 1980s ENO production with Philip Langridge - spinechilling and unforgettable)

I have already written that I believe it to be one of the greatest operas of the last century.

Caliban, do see the recently released Glyndebourne DVD/BluRay of the 2011 performance. There are many remarkable and deeply disturbing things in this fluent production, but the queasy Prelude to Act 2 makes the flesh crawl in a way I have never heard done before (Jakub Hrusa conducting). A difficult and uncomfortable experience.

[Ferretfancy]

Caliban

You have mentioned the Diversions for Left Hand, a very fine piece. One of my first LPs was the version with Britten himself conducting the great Julius Katchen. Decca tried to 'stereoise ' it for an Eclipse release, but luckily the original mono has appeared on CD. Another fine version comes from the Boston SO and Ozawa with Fleischer, splendidly recorded and with the Ravel Left Hand and Prokofiev's 4th as couplings

[ahinton]

The Screw is one of the (three) greatest operas of the last century in my opinion.

Whilst you do not name what you consider to be the other two, this is surely a most rash claim, notwithstanding the fact that it is undoubtedly a fine work? Do you really mean to suggests that it sits above Pelléas et Mélisande, Salome, Elektra, Der Rosenkavalier, Doktor Faust, Wozzeck, Die Frau ohne Schatten and Die Soldaten? (for the last of which a similar claim to yours was once memorably made by, of all people, Claudio Arrau)...

[Mahler's3rd]

What does everyone think is the best version on CD of Peter Grimes, I've got The Glyndebourne one and the LSO Set, does anyone have any recommendations. Also got the ENO Production on VHS!

[Mahler's3rd]

I was Spellbound Caliban by the intensity of Peter Grimes, reckon your right, the first one leaves a mark

[Nick Armstrong]

I have already written that I believe it to be one of the greatest operas of the last century.

Caliban, do see the recently released Glyndebourne DVD/BluRay of the 2011 performance. There are many remarkable and deeply disturbing things in this fluent production, but the queasy Prelude to Act 2 makes the flesh crawl in a way I have never heard done before (Jakub Hrusa conducting). A difficult and uncomfortable experience.

Belgrove, I've watched it twice. Very good indeed.

[ferneyhoughgeliebte]

On a slightly related topic, why do contributors to a forum for Radio 3 listeners feel the need to adopt ludicrous pseudonyms?

Oh, I know! Some of them are utterly ridiculous, aren't they!

It seems to me that intelligent people should have no need of such disguises and the use of our real names might discourage any lapses into outrageous behaviour.

Mine originated on the old BBC Message Boards. Before contributing, I noticed that everyone seemed to have a nom-du-web and I thought this was compusory. Following Bax-of-Delight's example, I elected to splice my "favourite" living composer with my favourite "dead" one. I hovered around "TransitVan" for a while, but am glad I settled on this one - I quite like "ferney" as a shortener; not sure I'd be happy about "Trannie".

[Stephen Whitaker]

http://www.buxtonfestival.co.uk/whats-on/operas/the-turn-of-the-screw/

One of my highlights of opera going last year (see the reviews)

It still feels to me like an investigation of child abuse which it's hard to like.

[Mr Pee]

It still feels to me like an investigation of child abuse which it's hard to like.

And let's keep all that stuff for the other thread, shall we?

[ferneyhoughgeliebte]

I'm not that keen on Britten, except for...
Op. 1, Sinfonietta, 1932
Op. 2, Phantasy, oboe quartet, 1932
Op. 3, A Boy was Born for mixed chorus with organ ad lib, 1933, revised 1955
Op. 4, Simple Symphony for strings, 1934 (+ also version for string quartet)
Op. 5, Holiday Diary for piano, 1934
Op. 6, Suite for violin and piano, 1935
Op. 7, Friday Afternoons for children's voices and piano, 1935
Op. 8, Our Hunting Fathers for soprano or tenor and orchestra (words W. H. Auden), 1936
Op. 9, Soirées musicales for orchestra (after Rossini), 1936
Op. 10, Variations on a Theme of Frank Bridge for string orchestra, 1937
Op. 11, On this Island for soprano or tenor and piano (words W. H. Auden), 1937
Op. 12, Mont Juic (after Catalan dances, with Lennox Berkeley), 1937
Op. 13, Piano Concerto, 1938, revised 1945
Op. 14, Ballad of Heroes for tenor or soprano, chorus and orchestra (words W. H. Auden and Randall Swingler), 1939
Op. 15, Violin Concerto, 1939, revised 1958
Op. 16, Young Apollo for piano and strings, 1939 (withdrawn)
Op. 17, Paul Bunyan, opera (libretto W. H. Auden), 1941, revised 1976
Op. 18, Les Illuminations, for soprano or tenor and strings (words Arthur Rimbaud), 1939
Op. 19, Canadian Carnival overture, 1939
Op. 20, Sinfonia da Requiem, 1940
Op. 21, Diversions for piano (left hand) and orchestra, 1940, revised 1954
Op. 22, Seven Sonnets of Michelangelo for tenor and piano, 1940
Op. 23 No. 1, Introduction and Rondo alla burlesca for two pianos, 1940
No. 2, Mazurka elegaica for two pianos, 1941
Op. 24, Matinées musicales for orchestra (after Rossini), 1941
Op. 25, String Quartet No. 1, 1941
Op. 26, Scottish Ballad for two pianos and orchestra, 1941
Op. 27, An American Overture, 1941 [first performance 1983]
Op. 27, Hymn to St. Cecilia for SSATB, 1942
Op. 28, A Ceremony of Carols for trebles and harp, 1942
Op. 29, Prelude and Fugue for 18 strings, 1943
Op. 30, Rejoice in the Lamb for soloists, chorus and organ, 1943
Op. 31, Serenade for Tenor, Horn and Strings, song cycle, 1943
Op. 32, Festival Te Deum for chorus and organ, 1945
Op. 33, Peter Grimes, opera (libretto Montagu Slater after George Crabbe), 1945 Op. 33a, Four Sea Interludes from Peter Grimes
Op. 33b, Passacaglia from Peter Grimes
Op. 34, Variations and Fugue on a Theme of Henry Purcell (The Young Person's Guide to the Orchestra), 1946
Op. 35, The Holy Sonnets of John Donne for soprano or tenor and piano, 1945
Op. 36, String Quartet No. 2, 1945
Op. 37, The Rape of Lucretia, opera (libretto Ronald Duncan after André Obey), 1946 revised 1947
Op. 38, Occasional Overture, 1946
Op. 39, Albert Herring, opera (libretto Eric Crozier after Guy de Maupassant), 1947
Op. 40, My beloved is mine (Canticle I) for soprano or tenor and piano (words Francis Quarles), 1947
Op. 41, A Charm of Lullabies for mezzo soprano and piano, 1947
Op. 42, Saint Nicolas for soloists, chorus, strings, piano (4 hands), percussion and organ, 1948
Op. 43, The Beggar's Opera after John Gay, 1948
Op. 44, Spring Symphony for soloists, mixed choir, children's choir and orchestra, 1949
Op. 45, The Little Sweep, opera (libretto Eric Crozier), 1949
Op. 46, A Wedding anthem Amo Ergo Sum for soprano, tenor chorus and organ (words Ronald Duncan), 1949
Op. 47, Five Flower Songs for SATB, 1950
Op. 48, Lachrymae for viola and piano, 1950 Op. 48a, Lachrymae for viola and strings, 1976
Op. 49, Six Metamorphoses after Ovid for oboe, 1951
Op. 50, Billy Budd, opera (libretto E. M. Forster and Eric Crozier after Herman Melville), 1951, revised 1960
Op. 51, Abraham and Isaac (Canticle II) for alto, tenor and piano (Chester miracle play), 1952
Op. 52, Winter Words for soprano or tenor and piano (words Thomas Hardy), 1953
Op. 53, Gloriana, opera (libretto William Plomer after Lytton Strachey), 1953 Op. 53a, Symphonic Suite "Gloriana" for tenor or oboe and orchestra, 1954
Op. 54, The Turn of the Screw, opera (libretto Myfanwy Piper after Henry James), 1954
Op. 55, Still Falls the Rain (Canticle III) for tenor, horn and piano (words Edith Sitwell), 1954
Op. 56a, Hymn to St. Peter for treble, SATB and organ, 1955
Op. 56b, Antiphon for SATB and organ, 1955
Op. 57, The Prince of the Pagodas, ballet, 1956 Op. 57a, Pas de six from The Prince of the Pagodas
Op. 58, Songs from the Chinese for soprano or tenor and guitar, 1957
Op. 59, Noye's Fludde, opera (Chester mystery play), 1957
Op. 60, Nocturne for tenor, 7 obbligato instruments and string orchestra, song cycle, 1958
Op. 61, Sechs Hölderlin-Fragmente, 1958
Op. 62, Cantata academica, 1959
Op. 63, Missa brevis for boys' voices and organ, 1959
Op. 64, A Midsummer Night's Dream, opera (libretto Benjamin Britten and Peter Pears after William Shakespeare), 1960
Op. 65, Sonata for cello and piano, 1961
Op. 66, War Requiem, 1961
Op. 67, Psalm CL for children's chorus and instruments, 1962
Op. 68, Cello Symphony, 1963
Op. 69, Cantata misericordium, 1963
Op. 70, Nocturnal after John Dowland for guitar, 1963
Op. 71, Curlew River, church parable (libretto William Plomer after Noh), 1964
Op. 72, Cello Suite No. 1, 1964
Op. 73, Gemini Variations for flute, violin and piano four hands, 1965
Op. 74, Songs and Proverbs of William Blake for baritone and piano, 1965
Op. 75, Voices for Today for boys' voices, chorus and organ ad lib, 1965
Op. 76, The Poet's Echo for soprano or tenor and piano (words Alexander Pushkin), 1965
Op. 77, The Burning Fiery Furnace, church parable (libretto William Plomer after The Book of Daniel), 1966
Op. 78, The Golden Vanity for boys' voices and piano (words Colin Graham), 1966
Op. 79, The Building of the House overture, for chorus or organ or brass and orchestra, 1967
Op. 80, Cello Suite No. 2, 1967
Op. 81, The Prodigal Son, church parable (libretto William Plomer), 1968
Op. 82, Children's Crusade (words Bertolt Brecht/Hans Keller), 1968
Op. 83, Suite for Harp, 1969
Op. 84, Who are these Children? for tenor and piano (words William Soutar), 1969
Op. 85, Owen Wingrave, opera (libretto Myfanwy Piper based on Henry James), 1970
Op. 86, The Journey of the Magi (Canticle IV) for countertenor, tenor, baritone and piano (words T. S. Eliot), 1971
Op. 87, Cello Suite No. 3, 1972
Op. 88, Death in Venice, opera (libretto Myfanwy Piper based on Thomas Mann), 1973
Op. 89, The Death of Narcissus (Canticle V) for tenor and harp (words T. S. Eliot), 1974
Op. 90, A Suite on English Folk Tunes "A Time There Was" for chamber orchestra, 1974
Op. 91, Sacred and Profane (8 medieval lyrics) for five voices (SSATB), 1975
Op. 92, A Birthday Hansel for high voice and harp (words Robert Burns), 1975
Op. 93, Phaedra, cantata (words Robert Lowell after Jean Racine), 1975
Op. 94, String Quartet No. 3, 1975
Op. 95, Welcome Ode for young people's voices and orchestra, 1976
Op. 96, Praise we great men for soloists, chorus and orchestra (words Edith Sitwell), 1976 (Unfinished)

And what do you have against these, Edgy?

http://www.youtube.com/watch?v=U7DELWAqpTI