Main cтраница Main cтраница
Main cтраница
Main cтраница
Main cтраница

Main cтраница
Main cтраница Main cтраница Main cтраница Main cтраница

Benjamin Britten / Benjamin Britten (a part III)

we Will return to operas. For "+яхЁющ эшЁш§" has followed "…шыыш …Іфф". Here again the composer addresses to a difficult amalgam of the sincere world of the hero. Bills of Beddu, to the young seaman, the good-natured, cheerful, sociable person, resists izuverstvo boatswain Klegardta. In collision with it, the brutality carrier, itself without wishing it, Bills kills the boatswain and goes on execution.

The Condensed psychologism of this opera finds the expression in sharp opposition of musical language of heroes: Billi Bedda intonations naturally develop in melodic lines, related to national sources. The boatswain uses very limited intonational dictionary of recitative character. In the remarks of an orchestra accompanying "Ёхёі" the boatswain, naturalistic details are often heard. As well as in "¤ш=хЁх +Ёрщьёх" before us the hero allocated difficult, with contradictory traits and consequently its image so is vitally truthful.

Operas in which there is no chorus and ballet, are not present a bulky symphonic orchestra, the operas calculated on the most portable scenic registration, is not an invention of Brittena. Small one-act operas-interludes were known in a XVIII-th century, at the time of Pergolezi. It is a question not of a priority, and that in struggle for vital destinies of an opera of Britten on a new basis revives the forgotten traditions of a genre, today not less important, than in days of a birth "Рыѕцрэъш-уюёяюцш" Pergolezi, one of the operas-interludes of a XVIII-th century most popular to this day.

In search of a bright antithesis to harm and a gloom so persistently declaring itself in many compositions of Brittena, the composer comes to a wide range that, connected with the childhood, a youth, spring of a life. It acts as the writer-musician with the charming book "Оѕфхёэ№щ the world ьѕч№ъш" calculated on young readers. In it grasps an amazing combination of depth of the put problems and charming simplicity of the statement, forcing to recollect talented conversations with Dmitry Kabalevskogo and Sergey Obraztsova's youth. But not only the book Britten to youth is addressed. Sonorous voices of children sound in many his compositions: in "рюцфхё=тхэёъш§ яхёэюяхэш §" in original representation under the name "-ртрщ=х we will put юяхЁѕ" in the Military requiem and many other things.

The Difficult sincere world of the child (at will of the playwright and the composer adjoining to ghosts) it is reflected in an opera "¤ютюЁю= тшэ=р". Care of youth familiarising to "сюыі°ющ ¦ѕч№ъх" the composition of symphonic Variations and a fugue on a theme of Pyorsella already mentioned, known under the name "¤ѕ=хтюфш=хыі on an orchestra for ¦эю°хё=тр" is dictated;. In the beginning it was music to a film "Ђэё=Ёѕьхэ=№ юЁъхё=Ёр". Thousand letters of the young radio listeners containing not only thanks, but, naturally, and questions, councils, wishes, have suggested an idea the composer about creation "¤ѕ=хтюфш=хы " in which in the beginning a theme from "+сфхырчхЁр" it is stated six times and ansamblevyh combinations of orchestral groups, and then thirteen solo variations and a final fugue follow. Since Haydn's Children's symphony young listeners did not receive such talented, cheerful and useful musical gift.

Carried away propagando musical knowledge in the children's and adult nonprofessional environment, Britten quite often represents itself as the lecturer, convinced of importance of personal contacts to an audience.

Much of us could listen to its performances as the pianist in ensemble with Peter Pirsom during their numerous tours in Soviet Union, to see it behind a conductor's stand. What diverse and the vigorous activity and thus what purposefulness! It is possible to tell about Brittene; he/she is the musician for people.

Therefore so occurrence of the products directly responding to calls of day, on all that excites people of our epoch is natural and natural. For some years prior to the beginning of the Second World War of Britten writes chorus "Гр фхьюъЁр=ш¦" on R.Suinglera's words. In 1938 there is its Ballad about heroes. In courageous as from sonorous bronze of the minted melody V.Odena and R.Suinglera's verses sounded, singing of fighters of the International brigade, victims in fights for republican Spain. Here not only the talent of the musician, but also courage of the citizen, ventured to act with brightly antifascist product in England which office headed then Chemberlen. Two years later, in 1940, arises its tragical "Sinfonia da Requiem" - the direct response on the death of parents. From these products in which civil pathos sounds, grief, hatred, to repulse and the personal grief, a direct way conducts an appeal to most considerable of everything that is created by Brittenom, to the Military requiem.

About that has led to its Military requiem, Britten speaks: "Ї thought of the friends who were lost in two world wars much... I will not begin to assert that this composition is written in heroic tones. In it it is a lot of regret concerning the awful past. But for this reason the Requiem is turned to the future. Seeing examples of the awful past, we should prevent such accidents what are тющэ№".

In excellent work about Brittene Henry Orlov writes: "¤хЁтюх execution of the Military requiem on British isles has taken place in May, 1962. Soon it has bypassed the largest concert halls of Europe and America. Any composition written in the XX-th century, had no more considerable and fast success, than the Military requiem of Brittena; the unanimous opinion has proclaimed its most mature and eloquent display of talent ъюьяючш=юЁр". For the characteristic of success it is enough to tell that the complete set of plates with record of the Military requiem, let out by firm Decca, within first five months has dispersed in number of 200 000 copies.

Britten has addressed to a requiem, the ancient form of a requiem mass. Taking the full initial text in Latin language, Britten in parallel enters the text of English poet Uilfrida Ouena, the participant of the First World War who was lost on November, 4th, 1918. "Л William Plomera, the known writer, the poet, the publicist, there were enough bases to name it "т№фр¦Ёшьё  the English poet both the first, and the second world wars which addresses to grieving 1945 the same as grieving 1918. Moreover... As with fear of war all world is filled now, its elegies are turned directly to us. They яЁхфюё=хЁхур¦=".

The Military requiem is written for the mixed chorus, chorus of the boys, three soloists (a soprano, the tenor and a baritone), body, a symphonic orchestra and a chamber orchestra. Both choruses, a soprano and a symphonic orchestra execute the initial Latin text, and the tenor and a baritone accompanied by a chamber orchestra sing anti-war verses of Uilfrida Ouena. So, in two plans, it is developed pominovenie the lost soldiers. So that the Latin text generalises immemorial grief of all generations, English, remembering a victim of war, addresses to living nowadays, and orchestral layers of sonority, like waves of boundless ocean, break into consciousness of each listener, - so the impression of Rekviema Brittena turned not to god, and to mankind is grandiose.

Benjamin Britten is allocated by talent of fruitfulness. From under its feather symphonies, concerts (piano, violin, violonchelnyj), cycles of songs, set of chamber music were born.

< we come back