Elegy for solo viola (1930)
Written the day after he left Gresham's School. Despite the difficulties of his time there, was he sad to go? Unlike 1928's Elegy for Strings, this is mournful throughout, its lamentation rising to an intense climax before subsiding again.
Elegy for solo viola (1930)
Written the day after he left Gresham's School. Despite the difficulties of his time there, was he sad to go? Unlike 1928's Elegy for Strings, this is mournful throughout, its lamentation rising to an intense climax before subsiding again.
Elegy for solo viola (1930)
Written the day after he left Gresham's School. Despite the difficulties of his time there, was he sad to go? Unlike 1928's Elegy for Strings, this is mournful throughout, its lamentation rising to an intense climax before subsiding again.
Elegy for solo viola (1930)
Written the day after he left Gresham's School. Despite the difficulties of his time there, was he sad to go? Unlike 1928's Elegy for Strings, this is mournful throughout, its lamentation rising to an intense climax before subsiding again.
A Hymn to the Virgin (1930)
Confined to his sickbed, the teenage Britten created "a tiny masterpiece" (Paul Spicer) that was sung at his own funeral 46 years later. Its heart-stopping beauty makes this "jewel of an anthem" (John Bridcut) among his best-loved works today.
A Hymn to the Virgin (1930)
Confined to his sickbed, the teenage Britten created "a tiny masterpiece" (Paul Spicer) that was sung at his own funeral 46 years later. Its heart-stopping beauty makes this "jewel of an anthem" (John Bridcut) among his best-loved works today.
A Hymn to the Virgin (1930)
Confined to his sickbed, the teenage Britten created "a tiny masterpiece" (Paul Spicer) that was sung at his own funeral 46 years later. Its heart-stopping beauty makes this "jewel of an anthem" (John Bridcut) among his best-loved works today.
A Hymn to the Virgin (1930)
Confined to his sickbed, the teenage Britten created "a tiny masterpiece" (Paul Spicer) that was sung at his own funeral 46 years later. Its heart-stopping beauty makes this "jewel of an anthem" (John Bridcut) among his best-loved works today.
Untitled Fragment (1930?)
The date of this 3-minute fragment is uncertain, but the paper, handwriting and style suggest 1930, when his interest on Berg and Schoenberg was at its height. The teenager abandoned many part-finished works, but seldom if ever destroyed them.
Untitled Fragment (1930?)
The date of this 3-minute fragment is uncertain, but the paper, handwriting and style suggest 1930, when his interest on Berg and Schoenberg was at its height. The teenager abandoned many part-finished works, but seldom if ever destroyed them.
▶️ open.qobuz.com/playlist/513...
▶️ open.qobuz.com/playlist/513...
▶️ open.qobuz.com/playlist/513...
▶️ open.qobuz.com/playlist/513...
Quartettino (1930)
"I am getting very fond of Schönberg, especially with study" (Britten's diary, 14th April 1930)
This key work shows the student going beyond his models and his teachers to make his own, thoroughly modern music of real power and emotional depth.
Quartettino (1930)
"I am getting very fond of Schönberg, especially with study" (Britten's diary, 14th April 1930)
This key work shows the student going beyond his models and his teachers to make his own, thoroughly modern music of real power and emotional depth.
Quartettino (1930)
"I am getting very fond of Schönberg, especially with study" (Britten's diary, 14th April 1930)
This key work shows the student going beyond his models and his teachers to make his own, thoroughly modern music of real power and emotional depth.
Quartettino (1930)
"I am getting very fond of Schönberg, especially with study" (Britten's diary, 14th April 1930)
This key work shows the student going beyond his models and his teachers to make his own, thoroughly modern music of real power and emotional depth.
Reflection, for viola and piano (1930)
Originally called simply "Piece", this mysterious and hypnotic meditation was retitled for posthumous publication in 1997. The new name suits its atmosphere of uneasy stillness surrounding a short, stirring climax.
Reflection, for viola and piano (1930)
Originally called simply "Piece", this mysterious and hypnotic meditation was retitled for posthumous publication in 1997. The new name suits its atmosphere of uneasy stillness surrounding a short, stirring climax.
Reflection, for viola and piano (1930)
Originally called simply "Piece", this mysterious and hypnotic meditation was retitled for posthumous publication in 1997. The new name suits its atmosphere of uneasy stillness surrounding a short, stirring climax.
Reflection, for viola and piano (1930)
Originally called simply "Piece", this mysterious and hypnotic meditation was retitled for posthumous publication in 1997. The new name suits its atmosphere of uneasy stillness surrounding a short, stirring climax.
www.youtube.com/watch?v=PQ0I...
www.youtube.com/watch?v=PQ0I...
O Why Did E'er My Thoughts Aspire (1930)
This setting of Colonel Edward Sackville sticks to an appropriately sombre B minor. Britten's instrumental music of the time is seeped in the influence of continental modernism, but his songs still haven't left the Edwardian parlour.
O Why Did E'er My Thoughts Aspire (1930)
This setting of Colonel Edward Sackville sticks to an appropriately sombre B minor. Britten's instrumental music of the time is seeped in the influence of continental modernism, but his songs still haven't left the Edwardian parlour.
O Why Did E'er My Thoughts Aspire (1930)
This setting of Colonel Edward Sackville sticks to an appropriately sombre B minor. Britten's instrumental music of the time is seeped in the influence of continental modernism, but his songs still haven't left the Edwardian parlour.
O Why Did E'er My Thoughts Aspire (1930)
This setting of Colonel Edward Sackville sticks to an appropriately sombre B minor. Britten's instrumental music of the time is seeped in the influence of continental modernism, but his songs still haven't left the Edwardian parlour.
Two pieces for violin, viola and piano (1929)
Blimey! The contrast between these pieces and Diaphenia (#25) could hardly be greater. Confidently swimming the strange harmonic seas of Berg, Schoenberg and Scriabin, they languished in a drawer until 2013. Amazing stuff!
Two pieces for violin, viola and piano (1929)
Blimey! The contrast between these pieces and Diaphenia (#25) could hardly be greater. Confidently swimming the strange harmonic seas of Berg, Schoenberg and Scriabin, they languished in a drawer until 2013. Amazing stuff!
Two pieces for violin, viola and piano (1929)
Blimey! The contrast between these pieces and Diaphenia (#25) could hardly be greater. Confidently swimming the strange harmonic seas of Berg, Schoenberg and Scriabin, they languished in a drawer until 2013. Amazing stuff!
Two pieces for violin, viola and piano (1929)
Blimey! The contrast between these pieces and Diaphenia (#25) could hardly be greater. Confidently swimming the strange harmonic seas of Berg, Schoenberg and Scriabin, they languished in a drawer until 2013. Amazing stuff!
Diaphenia (1929)
Britten wrote this sweet and simple song for tenor and piano, but its only recording is sung by a treble, which works well, emphasizing its purity and delicacy. Britten dedicated the song to his mother.
Diaphenia (1929)
Britten wrote this sweet and simple song for tenor and piano, but its only recording is sung by a treble, which works well, emphasizing its purity and delicacy. Britten dedicated the song to his mother.
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