Masterpieces Britten

Soon after his return from America, at the height of the war in 1943, Britten wrote incidental music for a radio play by Edward Sackville-West on the Homeric subject of Odysseus’s return to Penelope. Drawn from the complete score with barely any amendment of the original, and compressed into a 36-minute cantata, with Chris de Souza tailoring the text and Colin Matthews, Britten’s last amanuensis, most tactfully editing the music, the result is extraordinarily powerful. The most important role is that of the narrator, here masterfully taken by Dame Janet Baker who brings the story vividly to life despite the stylized classical language (e.g. “Odysseus, Lord of sea-girt Ithaca” or “His fair wife, white-armed Penelope”). Rather confusingly Athene also appears as a soprano, with the radiant Alison Hagley sounding totally unlike Dame Janet. She is one of a godly quartet of singers who contribute Greek-style commentaries – vocal passages which regularly add to the atmospheric beauty of the piece.

Hyperion’s Record of the Month for August by Polyphony and the Britten Sinfonia conducted by Stephen Layton portrays the ultimate dramatic event in history—the Crucifixion of Jesus Christ, expressed through the raw emotional power of one of Scotland’s most distinguished and vital composers, James MacMillan.

Between 2010 and 2014, the British Emperor Quartet released the three discs gathered here, with all of Benjamin Britten’s published music for string quartet – as well as his one work for string quintet, the Phantasy in F minor. Their performances of the three numbered quartets, undisputed masterpieces of 20th-century chamber music, were variously described by the critics as ‘stupendous’ (Classic FM Magazine), ‘a wonderful homage’ (Ensemble), and ‘a complete cosmos of colours and nuances’ (Fono Forum), and the discs received top marks and distinctions in magazines such as Fanfare, Diapason and International Record Review.

Ultimate Classical Chill Out: The Essential Masterpieces basically delivers what it promises: a large selection of mellow classical music appropriate for unobtrusive background listening. The pieces are from a variety of genres, including orchestral, symphonic, vocal, chamber, and keyboard music. Most are gently lyrical and are from the Romantic and post-Romantic periods, but there are also pieces from the Baroque, Classical, and Modern eras. The performances come from Decca's extensive archive and are consistently top-notch in quality, and the notes identify the performers of each piece. The sound ambience varies somewhat from track to track, but it is never less than very good. This five-disc set with over six hours of music is a good bargain for anyone looking for a broad assortment of quiet classical pieces.

Due to the profundity of Beethoven's late string quartets and the significance composers and critics have placed on them, few modern string quartets have been regarded as masterpieces on the same level. Bartók's, yes, and Shostakovich's, but almost no other set of twentieth century quartets has been similarly elevated. It is almost axiomatic, then, that Benjamin Britten's three string quartets have not received comparable recognition or reverence, because these bright, transparent works deny most expectations of the genre.

Britten‘s War Requiem: 50th anniversary in Coventry. 2012 brings the 50th anniversary of the premiere of Britten‘s War Requiem, one of the most powerful pacifist statements in music. The first performance took place in 1962 in the newly consecrated Coventry Cathedral, built alongside the ruins of the old cathedral, left as a sombre reminder of the wartime bombings. On 30 May 2012, 50 years to the day, Britten‘s masterpiece returns to the cathedral, performed as at the premiere by the City of Birmingham Symphony Orchestra and vocal soloists from three once warring nations. The anniversary performance is conducted by the CBSO‘s Music Director, Andris Nelsons, featuring the Canadian soprano Erin Wall, English tenor Mark Padmore singing the role written for Peter Pears, and German baritone Hanno Müller-Brachmann.