Four Sea Interludes from Peter Grimes - Benjamin Britten | Behind the Score Ep. 53
Added 2024-04-23 21:44:23 +0000 UTCIn today's episode, we explore this sublime orchestral suite from one of the 20th Century master composers, Benjamin Britten. As I'll explain in the video, Brittan was inspired by poetry evoking his hometown while living in America, and he set off to write this opera in 3 acts. These four short interludes serve as 'moving' music in the opera between scenes and set changes. I hope you enjoy!
Comments
Catching up on older videos…. I was introduced to Benjamin Britten at my high school in the UK, I performed in Noyes Fludde with the school choir, and he visited the school at some point. Later I got Simon Rattles recording of The War Requiem, and it’s very special. I hope Doug schedules it at some point. I hadn’t heard the Peter Grimes suite though, so thanks for the analysis.
Adrian Cockcroft
2025-01-15 08:47:11 +0000 UTCposted that previous comment before watching in total confidence. just watched, it was warranted. great stuff, thank you. yeah, BB reached back to all ages, but in particular Dowland, e.g. the Nocturnal for guitar, and probably my ATF BB the Lachrymae for viola, originally for viola and piano later arranged for strings. I think I prefer the original. I sang St Cecilia too. immortal fire.
ax o'lotl
2024-05-18 14:18:16 +0000 UTCThis was a marvellous voyage. This opera has somehow escaped me, classic as it is. My score-reading has only ever been rudimentary but I enjoyed the aural palette that the orchestration choices created. Perfectly evocative of the natural world, not least the sea of course, and written to engage the audience dramatically whilst the tabs are closed (or however it is the director has chosen to manage the scene changes). I have worked backstage on opera a good many times in my career, a couple of musicals too; it's good to hear the nuts-and-bolts inspection of a passage of music, when often I have had to respond to it as an egg-timer to be beaten by the tasks required to prepare stage for the scene. The nearest a non-musical element might come to 'reading' the music is in lighting design, matching mood or, in this case, weather for example. It could be interesting to look at Bernard Herrman's film scores and other dramatically-led composition - particularly the films of Hitchcock. Thank you very much, Doug, and Peter for prompting him.
George Davis-Stewart
2024-05-16 23:00:09 +0000 UTCThanks Adie!
R. Douglas Helvering
2024-04-25 04:32:25 +0000 UTCWhat a joy! This piece (plus the passacaglia) was the gateway drug for me to the full Peter Grimes opera, my all time favourite opera. I never miss a concert that includes this piece, and I was once able to see a performance of the full opera. These pieces are programmatic, but the opera is soulful, as it reflected the spiritual position of Britten the outcast. In fact, when you become familiar with the opera, these pieces are felt more soulful as the motifs from the opera are used in them. I would love to hear more Britten on TDD. How clever he was, and how he brought his brilliance to bring home fundamental human truths, would be great for more to see. For any who want to hear further, I recommend the War Requiem, Serenade for Tenor, Horn, and Strings, and the Cello Suites.
Adie
2024-04-25 00:01:02 +0000 UTCThank you for recommending this, Peter. Thanks again, Doug. Great video!
Robert Thornton
2024-04-24 03:47:13 +0000 UTCMany thanks for doing this one, Doug ! I always thought the Interludes (especially ‘Dawn’) were Britten at his most programmatic. Things like the instrumental flourishes in Dawn (‘choirs' you called them) representing the little breezes of wind that come up off the water and then rapidly die down, and the major/minor shifts in the brass representing the shifting clouds filtering the sunlight between grey and bright. “Moonlight” I always thought of being just a little influenced by perhaps what he was hearing in America during his stay while writing this. I could be wrong, but some of the chord voicings strike me as being a little ‘Copland-ish’ (speak of the devil). Anyway, thanks a million for putting on the ears for this one and digging into the mechanics of the piece, illuminating what ‘makes it work’. (BTW, I noticed the ‘Johnny Cash at Folsom Prison' album behind you. Great album.)
Peter Tutak
2024-04-24 02:10:32 +0000 UTCFirst time I heard the end scene of Peter Grimes (was in a music history textbook) my jaw was on the floor the whole time. I was 19 and had never really heard bitonality like that before.
Gary Thobaben
2024-04-24 02:09:31 +0000 UTCThanks Jim! That Copland is a good idea!
R. Douglas Helvering
2024-04-24 00:54:24 +0000 UTCWould love to hear a BTS of Copland's Symphony for Organ and Orchestra.
Jim Reeves
2024-04-24 00:03:14 +0000 UTCThanks Peter for recommending this beautiful piece, you can feel the weight and depth of the sea so clearly. Thanks Dr. Doug for interpreting it for us!
Jim Reeves
2024-04-23 23:32:59 +0000 UTCa masterclass in orchestration. thanks in advanks!
ax o'lotl
2024-04-23 22:22:24 +0000 UTC
![VAM_Erup[VR]](https://samsuka.com/istorage/28584.jpg)
