This international ensemble of crack musicians reveals the next generation’s star soloists; led by violinist Markus Däunert (leader of the Mahler Chamber. Serenade. op. 31 (). for tenor, horn, and strings. Duration: 24′ Peter Pears, tenor / Dennis Brain, horn / orchestral ensemble / Walter Goehr far-off, primeval innocence, the Serenade is an extraordinary example of Britten’s ability to set. The BBC work page for Serenade for tenor, horn and strings.

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This site uses cookies. Lay thy bow of pearl apart, And thy crystal shining quiver; Give unto the flying hart Space to breathe, how short so-ever: Listening to Britten — Curlew River, Op. If ever thou gavest meat or drink, Every nighte and alle, The fire sall never make thee shrink; And Christe receive thy saule.

It is noticeable that modern interpretations of the Serenade tend to be quicker, especially in the Pastoralwhere Britten himself speeds up in his second recording.

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Britten: Serenade for Tenor, Horn and Strings

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Edith Sitwell and Pears deliver the engagingly preposterous words with bravura insouciance, Collins conducting the English Opera Group Ensemble with matching wit and flair, and even today the recording sounds almost like stereo. The solo horn opens the work, adds perfectly imagined atmosphere to the songs, and then, in Pears’s words, “winds the work into stillness”. Rainy Day Relaxation Road Trip.


O sweet and far from cliff and scar The horns of Elfland faintly blowing! Carpenter calls this “a relentless funeral march in the strings More works by Benjamin Britten.

By using this site, you agree to the Terms of Use and Privacy Policy. The Serenade is a late night listening treat, perfect in its proportions and capturing with uncanny vividness the thoughts that go through our head as sleep approaches. Serenade Hilary Finch provides a personal recommendation from the available recordings hodn Britten’s Serenade for tenor, horn and strings.

Serenade for Tenor, Horn and Strings – Wikipedia

Its extended horn preface and postlude are dominated by descending half-step intervals, eerily so at the end — brutten “the sense of sin” that had its origin, for Brittenin boarding and public schools that he both dreaded and despised. For me each of the outer songs already has a certain amount of shadow, though the strife of the Tenog and the powerful anger of the Dirge are indeed the darkest moments.

Blow, bugle; answer, echoes, answer, dying, dying, dying. Find out more about our use of this data. Topics Culture Building a classical library.

The invisible worm, That flies in the night In the howling storm, Has found out thy bed Of crimson joy: Listening to Britten — Nocturne, Op.

Sign in to the BBC, or Register. Benjamin Britten Collector’s Edition. A Celebration of Benjamin Britten. And snowy summits old in story: The most important is Serenade, the setting of six English poems for tenor, solo horn and string orchestra that he completed in The horn plays unaccompanied on natural rather than tempered harmonics at the beginning and the end, onstage in the Prologue.


The Serenademost easily accessible of the three works, demonstrates the advantages of recording after live performances. The long light shakes across the lakes, And the wild cataract leaps in glory: Views Read Edit View history. With his vocal agility and vital word-painting at their most assured — allied to surely the most virtuoso account of the obbligato parts yet heard, and Rattle supremely alert — this reading sets a standard hard to equal.

Listening to Britten – Serenade for tenor, horn and strings, Op | Good Morning Britten

Hesperus entreats thy light, Goddess excellently bright. Each of the six songs can be enjoyed alone or as a whole, and they are by turns wondrous and powerfully emotional. Home Welcome to team BB! Britten began his Serenade under the working title of Nocturnes. Quintet for piano and wind in E flat major Op.

Briyten products and those of specially selected partners from the world of music. With thanks to Decca. The briyten now so long do grow, That brambles like tall cedars show; Mole hills seem mountains, and the ant Appears a monstrous elephant. The British Music Collection: The prologue and epilogue which frame the songs are both performed by the horn alone, and in these movements Britten instructs the player to use only the horn’s natural harmonics ; this lends these short movements a distinctive character, as some harmonics sound sharp or flat to an audience accustomed to the western chromatic scale.