Benjamin Britten in the classroom
Notes for Key Stage 3 teachers
The Britten-Pears Foundation was established after the death of Britten’s partner, Peter Pears, in 1986. It is based at the home they shared, The Red House in Aldeburgh. The foundation exists as a hub for all interest in the life and music of composer Benjamin Britten and his unique personal and creative partnership with Pears. The extensive archive in at The Red House (the largest of any single composer in the world) enables an insight into every aspect of Britten’s remarkable life. Britten is now the most performed British composer in the world and considered one of the twentieth century’s central musical figures. This guide is intended as an introduction to Britten, his life and music. It is targeted at Key Stage 3 teachers who may be teaching pupils who are just beginning to study music as a separate school subject. All pedagogical ideas are suggestions only and Britten’s rich and multi-layered music and life can be used in an endless variety of educational schemes and initiatives.
For more information please see: www.brittenpears.org
Britten—Pears Foundation | www.brittenpears.org
Benjamin Britten | KS3 Teachers’ notes
01 Introducing Britten
Photo: Kurt Hutton
Photo: Kurt Hutton
Outline Benjamin Britten was born in 1913 in the Suffolk fishing port of Lowestoft, the fourth child of a dentist and his wife. He began composing as a child and by the age of 18 had written more than 700 pieces, encouraged by his family and by influential teachers including Frank Bridge. Britten spent time studying and working in London, and travelled widely throughout his career, but was happiest living and working in Suffolk. In 1947 he moved to Aldeburgh and lived here until his death in 1976. Today Britten is the most performed British composer in the world. He is particularly known for a string of operas, starting with Peter Grimes in 1945, that
Key facts are widely regarded as reinventing opera in English. Britten was always interested in children and young people and wrote many pieces for them to peform on their own terms. Friday Afternoons, The Little Sweep and Noye’s Fludde are just a few. His other music remains highly accessible and provides a stimulating and inspiring focus for a multitude of cross-curricula themes. Britten is a significant British cultural figure and his life time, spanning the middle of the twentieth century, can serve as a starting point for cultural, social and political engagement and discussion.
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Britten was born in Lowestoft in 1913
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Britten had a strict composing regime that meant he kept to a daily schedule
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Britten died in Aldeburgh in 1976 where he lived for most of his life
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Britten had a taste for fast cars which he bought many of throughout his life
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Britten lived in America from 1939-1942
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Britten was from a middle-class background and his father was a dentist
Britten was also an accomplished pianist and conductor and performed other music in addition to his own
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He had three older siblings; two sisters and a brother
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Britten wrote film music in the 30s and 40s
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Britten was gay and lived with his partner, singer Peter Pears, from 1939
Britten wrote many famous and influencial works like Peter Grimes, War Requiem and The Turn of the Screw
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Britten had lots of friends including many key cultural figures of his time
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He also wrote many pieces for young people including Noye’s Fludde, Friday Afternoons and The Young Person’s Guide to the Orchestra
Britten—Pears Foundation | www.brittenpears.org
Benjamin Britten | KS3 Teachers’ notes
Photo: Hans Wild
Photo: Nigel Luckhurst
Timeline
1913 Britten is born in Lowestoft on 22 November
1937 Meets Peter Pears
1926 Meets the composer Frank Bridge
1932 First published composition
1930 Begins to study in London
1919 First attempts at composition
1935 Starts composing music for documentary films
1942 Returns to Suffolk
1939 Goes to America
1948 Founds the Aldeburgh Festival
1945 Premiere of Peter Grimes is a triumph
1956 Goes on a tour of the Far-East
1953 Writes the opera, Gloriana, to celebrate the coronation of Elizabeth II
1967 Snape Maltings concert hall is built to expand the Aldeburgh Festival
1962 Composes War Requiem as an antiwar statement
1976 Made a peer in July. Dies at The Red House on 4 December
1973 Composes last opera, Death in Venice, and has a partly successful heart operation
Britten—Pears Foundation | www.brittenpears.org
Benjamin Britten | KS3 Teachers’ notes
02 Britten in the classroom
Photo: Kurt Hutton
As a figure
In music
Britten was an inspiration figure who came from a ‘normal’ background and, through hardwork, enterprise as well as raw talent, became one of the most celebrated musical figures of the twentieth century and a great composer.
Ofsted have frequently reported that music education in secondary schools lacks focus, rigour and real-world application. Using Britten as part of a balanced music curriculum addresses these issues. Why not teach a module on Britten’s music and allow pupils to compose, listen and perform music of complexity and richness as well as providing valuable insight into real-life music making? A Britten project neatly intergrates with the five precepts of the National Curriculum:
Britten’s story provides focus and purpose for classroom projects. His progressive social views on pacifism, homosexuality and the role of the artist within communities make him a fascinating figure to explore. Britten was a complex man and this allows rich and multilayered discovery and interpretation. He died in 1976 making him seem more relevant and indeed his music and ethos can be seen as a ‘living legacy’.
Communication: Britten was a real person working as a real composer and musician. His complex persona is rich for discussion and debate. Practical music making allows and strengthens communication skills across the ability spectrum. Creativity: Listening to and exploring real
Photo: Clice Strutt
music that’s created as a response to real events fires creativity. The classroom can become a cultural vacuum but using Britten’s real music as a base and stimulus will fire creativity and facilitate artistic practices. Critical understanding:Examination of some of Britten’s multi-faceted music can lead to critical understanding and engagement with real compositional methods and practices. Emulation and evaluation of these techniques in practical work will mitigate against a didactic ‘set work’ approach. This model also lends itself to informal learning models and peer-teaching. There is no better way to understand formal musical concepts than to see, hear and assess it in real music. Cultural understanding: Britten did not work in a vacuum or in isolation. His life time spanned key events of history and the music he created comes as a personal and direct
response and reaction to this. His travels allowed him to learn from and assimilate the music of other culture and traditions. Within the classroom Britten’s music can retain its real-world intent. He was highly influenced by the Gamelan techniques he heard in Bali in the 50s, amogst other cultural styles. Many of Britten’s pieces can be used as a route into familiarity with music of other cultures. Integration of practice: Britten learned new skills and developed as a composer by listening and performing the music of other composers. This direct application of integrating musical practice leads into the classroom by study of Britten’s own processes and resulting pieces. Pupils can listen, discuss, perform and musically respond to his music during the same project. This enables them to draw creative links and better assess their own progress and place their own music in a real-world context.
Britten—Pears Foundation | www.brittenpears.org
Benjamin Britten | KS3 Teachers’ notes
03 Curriculum links
History
Art & Design Britten and Pears collected significant amounts of art and his stage works are rich in artistic links. Britten was a close collaborator of famous artist John Piper who designed his memorial window at Aldeburgh.
Citizenship Britten was an internationally recognised figure and formed part of the fabric of national life. He was recognised by the state and was anxious that his music should ‘be useful’. His creative ethos was bound up with his sense of community.
Geography Britten was firmly routed in his native East-Anglia but he travelled often and widely. His sense of ‘place’ is reflected in the music he wrote. He was interested in the ecology and environment of the place he lived. He walked the coastline most days to think over his music.
Britten was a significant cultural figure during the mid-twentieth century and lived through both world wars. His music directly engages and responds to major world events. Additionally his stage works are set in a multitude of historical periods that can be explored.
ICT Britten left behind a vast recorded legacy and his music continues to have a large digital presence. Much of BPF’s extensive archives are available for access online and Britten’s music dovetails neatly with all forms of digital media.
National Curriculum Key stage 3
PSHEE English Britten set texts by some of the most significant British poets like Shelley, Keats. He had a long and formative freindship with WH Auden and worked with EM Forster on an opera. His operatic version of Shakespeare’s A Midsummer Night’s Dream is masterful.
Britten’s pacifism and status as a conscientious objector raises interesting moral and ethical questions. As does his position as a prominent homosexual during a time of illegality and intolerance. The running of the Aldeburgh Festival also provides fascinating
MFL Music Britten’s position as one of the most important figures in twentieth century music leads naturally to his work fulfilling all curriculum points notably ‘integration of practice’. Set works can be used to introduce basic music knowledge and ensemble
Britten set many texts in foreign languages, including French, German, I tali an and Russian. His extensive travels insured he was constantly in contac t with foreign cultures and social conventions. His developed a particularly significant connection with Russia.
Britten—Pears Foundation | www.brittenpears.org
Benjamin Britten | KS3 Teachers’ notes
04 Learning through music
The National Plan for Music
School collaboration
SEN and G&T
‘Music is a moral law. it gives soul to the universe, wings to the mind, and life to everything...Without music, life would be an error.’ (Plato)
Placing music at the centre of a Key Stage 3 curriculum also facilitates easy links for cross-department collaboration. Britten’s life time encompassed key social, economical and political events and his music can be used as a way to introudice complex themes into a mutlitude of disparate subjects. Linking skills and ideas across subject groups also integrates practrice and provides a more relevant and relatable focus to school learning.
Musical projects often enable selfdifferentiation across all levels of the ability spectrum. As music involves preparation and development progress can be easily monitored and individual needs supported. Ensemble music making facilitates pupils of differing abilities working in close collaboration. Those with SEN can develop leadership skills when working within a musical framework.
at Key Stage 3. However, music should not become a inward looking school subject and must always be routed in real music making Music has a power of forming the character and and involve the practices of professional should therefore be introduced into the musicians. Focus on Britten as a real and education of the young.’ (Aristotle) relatable figure can ensure this.
The National Plan for Music Education (2011) states that ‘music education enables lifelong participation in, and enjoyment of, music, as well as under pinning excellence and professionalism’. Therefore any educatitive scheme that places music at the centre of a balanced and structured curriculum programme chimes with national policy. Music should not be a perihperal subject at the fringes of school experience but embedded within the fundamental curriculum
Teaching and learning Music education drives creativity and communication and provides a very clear framework for progression. Formative and summative models of feedback and assessment dovetail neatly with musical projects and the ethos of collaboration and rehearsal embed analysis and self-evaluation of learning into the process. PLTS learning targets are also found at the heart of all professional music making and find a natural and real-life application in a balanced musical school curriculum.
The new music hubs can provide opportunity to work with professional arts organisations and other schools as well as signposting further opportunities for collaboration.
Britten’s position as famous composer can stimulate G&T students and push their abilities in new directions. The organic nature of music and creative process can be stimulating for students at all levels. All pupils can be inspired by working with professional musicians and enjoy the processes they use within the classroom.
Britten—Pears Foundation | www.brittenpears.org
Benjamin Britten | KS3 Teachers’ notes
05 Works for exploration
A Midsummer Night’s Dream
Peter Grimes
The Prince of the Pagodas
War Requiem
Written: 1960
Written: 1945
Written: 1962
What is it?: An opera based on the play by Shakespeare. All but six words are taken directly from the play. It was first performed in the Jubilee Hall in Aldeburgh.
What is it?: An opera based on a poem, The Borough, written by Suffolk poet George Crabbe. Tells the story of tragic fisherman, Peter Grimes, who is an outsider in his community.
Written: 1957 What is it?: A full length ballet based on a fantasy story by the choreographer John Cranko. Princess Belle Rose is banished by her wicked sister and finds herself in the mysterious and exotic Pagoda Land. Highlights: Much of the music recalls Britten’s years as a film composer. The first act is rich with lush melodies. In the second act Britten uses Balinese Gamelan techniques (that he heard on his travels) to evoke the mystery of Pagoda Land. Topics for discussion: How does Britten use percussion instruments in the second act? How do you create music suitable for movement and dance? How does Britten develop characters without using words? Describe how different sounds are mixed together in the ballet.
Highlights: The opening music evokes the magic wood. The second act contains a ‘love duet’ between Tytania and the donkeyheaded Bottom. The third act contains the humorous performance by the group of ‘Mechanicals’. Topics for discussion: How does Britten create atmosphere at the beginning of the opera? In what ways does the opera differ from Shakespeares text and why? How is the music for the three different groups of characters made different? Does Britten’s music enhance the text?
Highlights: The prologue scene is set in during an inquest with the gossipy townspeople. The opera contains six ‘interludes’ that each evoke a sea scene and enhance the drama. The first act ‘pub scene’. There is much intense ‘crowd’ music. Topics for discussion: How do each of the interludes develop the drama and tension? Is the Borough right to distrust Grimes? Why do you think each of the characters acts they way they do? How does Britten create tension in music?
What is it?: A huge piece for choir and orchestra written for the rebuilding of Coventry Cathedral that was destoyed in WWII. Britten combined the latin mass text with poetry by Wilfred Owen. Highlights: The opening section shows how Britten uses three different groups of performers. ‘Dies irae’ conjours up the horrors of war. The final Owen poem used in the ‘Libera me’ explores the futility and irony of war. Topics for discussion: What is a pacifist and conscientious objector? Was Britten right to go to America in 1939? How does the use of Owen’s poems comment on the latin text. Why did Britten use three groups of performers? Is War Requiem successful in its message against war?
Britten—Pears Foundation | www.brittenpears.org
Benjamin Britten | KS3 Teachers’ notes
06 Classroom projects
Theme and variations
Opera
Introducing composition
Soundscapes
A project integrating listening, performing and composing.
How do you write an opera?
An introduction to composition - especially for year 9/immediately pre-GCSE.
Britten’s early years as a composer for film meant that his music always retained a specific ‘cinematic’ quality.
Using Britten’s The Young Person’s Guide to Orchestra and many of his early pieces pupils can explore the theme and variation form. By listening and performing real examples the nature of the basic compositional tecnhique is taught. Alongside this pupils can explore the orchestra as a rich palette of sound and be introduced to musical ideas of texture, timbre and form. Encouraged use of basic notation as well as graphic and aural representations. Mixed ability groups that work with either an existing theme or new one.
Pupils explore the creative genesis of an opera and can develop ideas and musical solutions to dramatic situations. GCSE exam boards examine music written for specfic purposes and a project based around creating an opera will place the music into a structured and real context. Pupils explore the history of the form and understand basic techniques of storyboarding, word setting and presentation. However, informal learning styles are to be encouraged so that the composition is driven by development and invention. Perform and record progress throughout.
Using a style of informal and peer learning developed by the Musical Futures scheme students begin by selecting a piece of Britten’s music and replicate it with classroom equipment.
In groups pupils develop aural soundscapes for specific dramatic or scenic moments. Using the interludes from Peter Grimes as a focus pupils can explore how effects are created in sound.
In the process they learn to adapt and refine ideas to facilitate their performance. Teacher modelling is required and suggested. Pupils should create an ‘ideas hierarchy’ in which musical ideas are evaluated and developed.
Formative feedback will be required at all stages to model and shape the learning. Selfsetting of targets each lesson will ensure progress.
In time pupils ‘compose’ their own group responses to the original music and are able to articulate their responses. Evaluate and contrast to the source material.
Basic musical analysis techniques can be employed to learn from Britten’s example and to assimilate and replicate his methods in the group work.
Britten—Pears Foundation | www.brittenpears.org
Benjamin Britten | KS3 Teachers’ notes
07 Available resources
Photo: Philip Vile
The Red House
The archive
Online
Our partners
Britten’s home from 1957 remains a central part of his legacy and is where BPF is based.
Housed in a newly built and architecturally stunning building in the grounds of The Red House the archive is the largest of any composer in the world. Britten and Pears never seemed to throw anything away and consequently the collection contains everything from original letters to clothing and household receipts.
BPF’s website provides a multitude of information pitched at many different levels. Here you can research information on Britten’s life and explore an interactive timeline, listen to samples of his music and take an interactive tour of The Red House.
BPF’s sister organisation, Aldeburgh Music, plan and impliment the Aldeburgh Festival every June and are based at Snape Maltings. They provide the performance based legacy to the Britten story most notably through the Britten-Pears Young Artist Programme which is funded by BPF.
InJune 2013 The Red House will open to the public and it wlll be possible to visit the upstairs studio in which Britten wrote much of his famous music, including War Requiem and A Midsummer Night’s Dream. The house is also undergoing a ‘representation’ and will appear as it was in the mid-1960s. The site also contains Britten and Pears purpose built library in which they would relax, read and rehearse. A brand new introductory exhibition also guides visitors through the life, music and legacy of Benjamin Britten and the purpose built education room ensures that schools groups can be facilitated with special learning sessions. Contact us for more information.
Addionally the archive houses the majority of Britten’s musical manuscripts and the genesis of any particular work can be traced from initial ideas through to completed and performed piece. The personal objects within the collection are rich educational tools and provide a window into Britten’s life as well as preserving a fascinating historial period.
Also availible on the website is the ability to search the extensive archive collections with the ability to examine literally thousands of photographs and programmes. For the centenary of Britten’s birth in 2013 a new website (www.britten100.org) has been launched to provide a focus for worldwide celebrations. Here you can explore an audio interactive to hundreds of Britten’s works as well as findng out about the many events that may be happening whereever you are.
Britten’s music is published by Chester Music, Boosey and Hawkes and Faber Music. His recording legacy appears mostly on Decca. During the centenary year BPF is also working extensively with Suffolk County Councils to place Britten’s birthplace, Lowestoft, at the centre of international celebrations. Other national organisations involved in Britten 100 include the BBC, Royal Opera House and British Library.
Britten—Pears Foundation | www.brittenpears.org
Benjamin Britten | KS3 Teachers’ notes
08 Going further
Photo: Nigel Luckhurst
Visit Aldeburgh
Visit Lowestoft
Performance
Visit the home of Benjamin Britten and see the town and place that drove his creativity. Many sites in Aldeburgh have strong associations to the Britten story and a new Britten Trail around the local area would be a good way of exploring them.
Visit the town where a great composer was born and rasied. The house in which he was born looks out to sea and experiences one of the first glimpses of the rising sun anywhere in the UK.
Why not put on a performance of music by A balanced and integrated music education Britten? This could become part of the formal at Key Stage 3 may inspire more students to assessment proceedure or just to provide a move onto GCSE music. tangible goal and focus of study. Many themes explored at KS3 can be Many pieces by Britten are suitable for explored and expanded at KS4. Whilst the performance by Key Stage 3 pupils. If your main exam boards focus on Listening, school does not have a choir or ensemble Performing and Composition as seperately why not create one for this purpose? assessed components, attainment and Performing the music makes it real and learning can be strengthened if they are Britten’s accessable and appealing music given a more integrated and real-life focus. stimulates and challenges young performers Several exam boards focus on set works. If BPF have resources for discovering study of individual pieces, like those of Britten’s music and programming adive is Britten’s, is a central part of KS3 music available if you are planning to put on a education this transition to a more formal performance (no matter how large or small). learning style can be a smoother and a more Additionally showcase student’s own music integrated one. alongside the music that inpired it.
The new introductory exhibition at The Red House will provide the opportunity to see original manuscripts, letters and objects owned and used by Britten and Pears. BPF’s new education room can be used to provide focus to any visit and ensure that learning is inspired by the sense of place by providing quality learning sessions that feed back to the classroom.
In 2013, Lowestoft will be the focus of the international celebrations for Britten’s centenary. The town will feature new displays, exhibitions and events celebrating Britten. The Royal Philharmonic Orchestra will also be resident and present a Britten season. Lowestoft also has a rich history as a port and fishing town. The town contains many resources for research and education development that support the study of local history and the examination of the fascinating social picture of the town.
Key Stage 4
Chris Milton - Learning Officer c.milton@brittenpears.org
The Red House, Golf Lane, Aldeburgh, Suffolk, IP!5 5LW
www.brittenpears.org