Britten for children a guide to Benjamin Britten’s works for children and young performers
Introduction
Benjamin Britten (1913-1976) strongly believed in the power and worth of music for children. Throughout a varied career he created a series of works both for children as central performers and pieces involving elements of child participation. Britten’s own ethos of music education revolved around the notion of total immersion and ownership of the music of young performers - their involvement is not a passive one. In this way each of the pieces he created utilise the child performers in a unique and involving way. Britten was highly aware of the relative abilities of the performers for whom he wrote and each of the works detailed in this guide displays differing levels of complexity ranging from the elementary to densely complex and challenging. Each of the pieces are highly accessible and, if approached with enthusiasm and care, are rewarding musical experiecnes for young performers. Whether the enseble is a small choir of very young children or a large orchestra of accomplished young adults, Britten’s varied output for children contains many suitable works that can both inspire and stimulate creativity. The legacy that Britten left behind and the fascinating story of his life provide a rich context for each piece that enhances the rehearsal and learning process.
Difficulty rating A graded system has been devised to indicate the relative difficulties of performing each piece: 1
Very easy. The writing is mostly in unison and within a limited range
2 Easy. There are a few instances of harmony or extended instrumental ranges 3 Medium. The writing is mostly in parts and there is a degree of rhythmic complexity 4 More challenging. The harmony and textures and more complex and there is extended instrumental ranges 5 Most challenging. Harmony, texture and rhythm are more complex and require structured rehearsal
Simple Symphony Op. 4 (1934)
For string orchestra (or string quartet) Difficulty level: 3 Based on material which Britten wrote between the ages of nine and twelve for the piano. 1. Boisterous Bourée 2. Playful Pizzicato 3. Sentimental Saraband 4. Frolicsome Finale
At the age of twenty Britten felt the need to reexamine some of his childhood pieces. This resulting piece bubbles over with youthful energy. There are lots of big tunes and textures that are not too difficult to be played by a school orchestra. The four movements are all of contrasting character and their basis in dance means that they are all immediately appealing. The opening movement begins with abrupt chords before moving into a lilting and suitably ‘boisterous’ dance. The second movement entirely uses plucked strings which gives the piece a bubbling sound. In the final two movements a rich and lyrical dance is followed by a finale that begins with fanfare like flourishes before embarking on a rollicking race to the finish. This piece is a great introduction to Britten’s style and his youthful energy. It is suitable for able string players who would relish the challenge of a four movement work.
Duration: 18 min Published by Oxford University Press
Friday Afternoons op. 7 (1933-35)
Twelve children’s songs with piano accompaniment Difficulty level: 1 1. Begone, dull care (anon.) 2. A Tragic Story (William Makepeace Thackeray) 3. Cuckoo! (Jane Taylor) 4. ‘Eh-Oh!’ (anon.) 5. A New Year Carol (anon.) 6. I mun be married on Sunday (Nicholas Udall) 7. There was a man of Newington (anon.) 8. Fishing Song (Izaak Walton) 9. The Useful Plough (anon.) 10. Jazz-Man (Eleanor Farjeon) 11. There was a monkey (anon.) 12. Old Abram Brown (anon.)
This set of mainly unison songs for young voices is a gift for a concert of music for upper voices. It is a substantial work taken as a whole but its individual movements are both short and straightforward in their various challenges. Britten wrote the work for the boys of his brother’s preparatory school (age 7-13), Clive House, Prestatyn, in Wales to sing. The texts are carefully chosen to provide Britten with variety of mood. The relative simplicity of the vocal writing is counteracted by the piano part which at times is challenging. However the effect of melodious narratives embellished with innovative pianistic writing creates a special sound-world that young performers and audiences alike find thrilling. The unison is only broken in the last song where Britten utilises a simple descending melody in a four part canon. A must for a group of young performers with a talented pianist. Duration: 22 min Published by Boosey & Hawkes
SoirĂŠes musicales Op. 9 (1935-36)
Suite of five movements from Rossini for orchestra Difficulty level: 4 Scoring: 2 fl (II=picc), 2 ob, 2 cl, 2 bn - 4 hn, 2 tpt, 3 trbn III=bass trbn) - timp, 2 perc (bd, sd, cymb, trgl, castanets, xyl, glock) - harp - str Also for small orchestra fl, ob, cl - tpt, trbn - perc (bd, sd, cymb, trgl, castanets) harp (or pf) - str
1. March 2. Canzonetta 3. Tirolese 4. Bolero 5. Tarantella
Britten worked writting incidental music for documentary films in the 1930s. For one of these films, The Tocher, (adventising the benfits of a Post Office Savings account)he assembled a score taken from tunes by the nineteenth century opera composer, Rossini. He later expanded this into an orchestral suite. Available in both the full version and with a smaller orchestration this is a great work for a young orchestra. The music is light and tuneful but with colours and textures that could only be Britten. The contrasting movements give each orchestral family good exposure and familiar melodies by Rossini are tossed about the orchestra with great pace. The piece is highly suitable to talented ensembles and is short enough to be combined with the later MatinĂŠees musicales to create a satisfying concert experience.
Duration: 11 mins Published by Boosey & Hawkes
Matinées musicales Op. 24 (1941)
Second suite of five movements from Rossini for orchestra Difficulty level: 4 Scoring: 2 fl (II=picc), 2 ob, 2 cl, 2 bn - 4 hn, 2 tpt, 2 trbn, bass trbn, tuba - timp, 2 perc (sd, td, bd, cymnb, wb, trgl, tamb) - harp, cel - str
1. March 2. Nocturne 3. Waltz 4. Pantomime 5. Moto perpetuo
When Britten was in the USA the American Ballet Comany asked if he could write a companion piece for his Soirées musicales so
that the two could be combined as a ballet. This happened in 1941 with choreography by the famous George Balachine. A marginally more challenging work than its predecessor this piece still contains many highly melodious moments and light and witty orchestration. The last movement specifically contains many touches in which Britten reworks Rossini’s melodies in his own unique way. Suitable for a good youth orchestra who would enjoy the frivolity of the piece it works as an excellent companion to the first Rossini suite. Both suites are sure fire winners with both audiences and players who may be wary of much of Britten’s later music.
Duration: 13 mins Published by Boosey & Hawkes
A Ceremony of Carols op. 28 (1942-43)
for treble voices and harp Difficulty level: 3 1. Procession 2. Wolcum Yole! (anon.) 3. There is no rose (anon.) 4. a) That yonge child (anon.) b) Balulalow (James, John and Robert Wedderburn) 5. As Dew in Aprille (anon.) 6. This little Babe (Robert Southwell) 7. Interlude (for harp) 8. In Freezing Winter (Robert Southwell) 9. Spring Carol (William Cornish) 10. Deo gracias (anon.) 11. Recession
The Ceremony of Carols is one of Britten’s best-known and most-performed works. It is a brilliantly conceived and dramatic concert work which sees the voices process to their places singing unaccompanied plainsong and, at the end, processing out again to the same chant. These movements can also be accompanied but strictly only if the voices do not process. The final Alleluia can be repeated as many times as necessary to get the singers to and from their destination. The carols are for three-part children’s voices (though, of course they can be sung by female adults as well) and they form a twopart work around a central Interlude for harp which is based on the plainsong from the Procession. Variety is the key word here as all the carols have such individual identities. Lovely solos and duos add further colour and the harp part, an inspired choice of accompaniment, enriches, colours and surrounds the voices with its pictorial musical imagery. If anything shows Britten’s genius for writing for voices it must be this work. Duration: 23 min Published by Boosey & Hawkes
The Young Person’s Guide to the Orchestra Op. 34 (1945) Variations and fugue on a theme of Henry Purcell, for speaker and orchestra, or orchestra alone
Difficulty level: 5 Scoring: Picc, 2 fl, 2 ob, 2 cl, 2 bn - 4 hn, 2 tpt, 3 trbn, tuba - timp, 3 perc (bd, cymb, tamb, trgl, sd, Chinese block, xyl, castanets, gong, whip) - harp - str
This piece was originally composed for an educational film, Instruments of the Orchestra, in which the music is used in conjunction with a commentary to explore the different instruments - their sounds, characters and capabilities. As a concert work the piece can be performed with or without a commentary. The wondefully strong opening gives way to a thrilling set of variations in which Purcell’s memorable theme travels in different guises throughout the orchestra. Although written with the intention to teach children this is not a children’s piece in the usual sense. The orchestral writing is complex and at times virtuostic. However, an excellent youth orchestra could get to grips with the score and produce a dazzling performance. The chance to showcase the full range of instruments makes this piece very appealing to those who are up to the challenge!
Duration: 17 mins (19 mins with commentary) Published by Boosey & Hawkes
The Little Sweep Op. 45 (1949)
An entertainment for young people Difficulty level: 4 Cast: Black Bob/Tom bass, Clem/Alfred ten, Sam trbl, Miss Baggott contr, Juliet Brook sop, Gay Brook sop, Rowan sop, Jonny Crome trbl, Hughie Crome trbl, Tina Crome sop Orchestra: pf (4 hands) - perc (timp, bd, sd, gong, cymb, trgl, castanets, large and small wbs) - string quartet Text: Eric Crozier
Originally featured as the second half of an event called Let’s Make an Opera in which the a dialogue was given about rehearsing, producing and performing an opera before the second half featured The Little Sweep. However, the text is a little dated today so the opera stands very well on its own. Based on a poem by William Blake the story features a chimney-sweep and nursery in Victorian England. With a very small orchestra made up of professionals and only two adults in the cast this little opera is an excellent opportunity to showcase talented child singers and actors. Whilst some may find the text rather twee by today’s standards, the music is highly varied and Britten at his mature best. The moments for audience participation are especially strong and give real moments of fun. For a small group of talented budding young perfomers this is a wonderful introduction to performing on stage. Duration: 45 mins Published by Boosey & Hawkes
Noye’s Fludde Op. 59 (1958)
The Chester Miracle Play, set for adults’ and children’s voices, children’s chorus, chamber ensemble and children’s orchestra Difficulty level: 4 Principals: The Voice of God spkr, Noye bass-bar, Mrs Noye contr, Sem, Ham, Jaffet noy trbls, Mrs Sem, Mrs Ham, Mrs Jaffett girl sops, Mrs Noye’s Gossips girl sops Chorus of Animals and Birds: Children Professional ensemble: trbl recorder - timp, pf (four hands), org - string quintet (2 vn, va, vc, db) Amateur/children’s orchestra: dec rec (2 parts), trbl recs, bugles (4 parts), 12 handbells, perc (bd, td, sd, tamb, cymb, trgl, whip, gong, Chinese blocks, wind machine, sandpaper, slung mugs) str (vn in 3 parts, va, vc in 2 parts, db)
A retelling of the story of Noah and his ark this was written by Britten as a community opera. Professional singers and players feature alongside children who can barely sing or read music - as a result the experience of the production and performance is something very special indeed. The sound world created by a barage of recorders, bugles and learner violinists is very unique and Britten finds a way to fully integrate this into the whole. The children’s orchestral parts are written for those who are beginners, those with medium skill and reasonably competant players. Much of the fun in this work is created in the process of putting on a serious piece of theatre - from creating masks and costumes to telling the famous story. It is a great opportunity for communities to work together and create a musically diverse and dramatically satisfying piece. Even the audience has occasions to sing along. Duration: 50 mins Published by Boosey & Hawkes
Missa Brevis in D op. 63 (1959)
For boys’ voices and organ Difficulty level: 2-3 1. Kyrie 2. Gloria 3. Sanctus-Benedictus 4. Agnus Dei
Like the A Ceremony of Carols this work is one of Britten’s most performed and wellloved works for upper voices. It was written for the boys of Westminster Cathedral with their distinctively bright continental tone. Many other types of upper voices have since adopted it, of course, and these days it is as much performed by women or girls, or mixed boys’ and girls’ voices as by boys alone. The writing is exceptionally bright and fresh and whilst not demanding there are still challenging moments. The voices sing in three parts and there are also three solo lines. The familiar latin text is given great dramatic treatment and a young choir would relish the contrasting moods - from hushed staccato to almost jazz inflected canons. This is a satisfying work for a young choir that is both refreshing and bold in its vitality.
Duration: 11 min Published by Boosey & Hawkes
Fancie (1961, rev. 1965)
for unison voices and piano Difficulty level: 1
Text: William Shakespeare
Britten wrote this short and very simple setting of Shakespeare as one of a group with others by Poulenc and Kodรกly. He revised it four years later to include an optional divisi into three parts and this makes for a slightly richer version. In its style it is very Britten - highly melodious with an unusual and rich piano part. It may be slight be makes for a wonderful performance opportunity for young voices perhaps attempting part singing for the first time.
Duration: 1 min Published by Boosey & Hawkes
Psalm 150 Op. 67 (1962)
For two-part children’s voices and instruments Difficulty level: 2 Scoring: Treble instr 1, Treble instr II, bass instr, 2 perc (timps, sd or tamb, cymb, susp cym, trng, tamb or castanets), keyboard. Optional parts, transposed if necessary, for 2 cl; tpt, hn, trbn; va Text: Psalm 150 (sung in English)
Written for the centenial celebrations of Britten’s own prep school this piece combines a tuneful and simple setting of the famous psalm with a clattering range of percussion. A great piece for young performers who can be divided into singers and players. The percussion writing gives lots of opportunity to experiment with rhythm. The main melody is lively, and perfect for singing by a group of children. The pianist takes the weight of responsibility for creating the right mood to support the singers. The idea of using a tenor soloist in dialogue with the children is brilliant. Not only does it add colour and texture but an element of drama as well. The ending rushes madly for the final barline!
Duration: 5 mins Published by Boosey & Hawkes
The Golden Vanity op. 78 (1966)
A vaudeville for boys and piano after the Old English ballad Difficulty level: 2-3 Piano Text: Colin Graham
This work for treble voices (it really needs to be boys because of the subject matter) is another gift for schools – or for those communities or towns which still have boys’ choirs. Its subject matter is heavily masculine but, like a lot of Britten’s more searingly emotional works, involves the individual against the crowd, the powerful against the underdog, the power of impossible love, and the ultimate weakness of those who are supposed to be leaders. The work divides the choir into two, representing the two ships. It also requires various soloists to sing the parts of the Captain (alto), Bosun (treble) and Cabinboy (treble) from the first, and Pirate Captain (alto) and Pirate Bosun (treble) from the second. The boys should dress in costume but mime the actions. The piano writing is, as usual, highly innovative and works as an equal to the vocal parts which only separate into parts on a few occasions. This is a fun work that works best with little staging. Duration: 17 min Published by Faber Music
Children’s Crusade Op. 82 (1969)
A ballad for children’s voices and orchestra Difficulty level: 5 Scoring: 6 solo perc (small gong, bd, susp cymb, large cymb, small cymb, wb, trgl, sd, tabor, 2 glock, tamb, bells, td, xyl, scraper, gong t-t) - tutti perc (‘divided into three categories which can included any number of the following instruments’, tuned: t bells, xyl, vibr, glock, cel; rhythmic: sd, td, tabor, bd, wb, tamb, castanets, rattle, trgl, susp, cymb; clashed or ringing: clashed cymb, trgl, gong or t-t, anvil, cowbells, slighbells - 2 pf, chamber or electronic org Text: Bertolt Brecht (set in German)
A rather grim story about a group of orphan’s wandering through the Polish wilderness in World War II is one of Britten’s most interesting pieces written exclusively for children. The huge array of percussion is designed to be played by school children supplemented by a few teachers/adults. The piano and organ parts are specifically designed to support the singers and to help with providing the pitch for starts of phrases and often with continuation as well. In this piece young people are never being written down to. Britten writes a work which challenges them on every level – including the nature of the story. That makes Children’s Crusade a hugely worthwhile work to rehearse and perform. With today’s emphasis on co-education the involvement of girls with boys makes the whole thing far more achievable in every sense than it might have been at the time of its premiere. A challenge yet amazingly rewarding! Duration: 14 mins Published by Faber Music
Welcome Ode Op. 95 (1976)
For young people’s chorus (SAB - optional T) and orchestra. Difficulty level: 2-3 Scoring: 2 fl, 2 ob, 2 cl, 2 bn/4 hn, 2 tpt, 3 trb, tuba/timp = sd/3 perc (bd, sd, cymb, trgl, tamb, xyl)/piano/strings Texts: 1. March Thomas Dekker and John Ford 2. Jig (orch) 3. Roundel anon. 1600 4. Modulation (orch) 5. Canon Henry Fielding
This is a wonderfully joyful work that was written for the Queen’s Silver Jubilee Celebrations in Ipswich in 1977. As Britten was very ill he asked his assistant, Colin Matthews, to orchestrate it for him. Sadly Britten died before the premiere and it was his final completed composition. The piece is very much in the celebratory vein of several other Britten pieces but he keeps the style light and simple for young peoples’ voices. There is only a short optional tenor section as he knew how this voice type is seldom well established in young people. The three choral sections are all contrasting; from the rousing opening, through the lullabylike ‘Roundel’ and finishing off with a boisterous canon. The orchestraion is suitable for a youth orchestra with some more challenging bits for solo string players. Whilst this is a short and ‘occasional’ piece it showcases young voices and is great fun!
Duration: 9 min Published by Faber Music
Britten–Pears Foundation The Red House Golf Lane, Aldeburgh Suffolk, IP15 5PZ 01728 451700
www.brittenpears.org