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Benjamin Britten / Benjamin Britten (1913-1976)

Almost in each work Henry Pyorsella's name though two these English musicians the considerable distance - divides three centuries is mentioned Brittene near to it. Also there is it not because Britten has anew edited "-шфюэѕ and ¦эх " - the best opera of the far predecessor also has written the wittiest Variations and a fugue on a theme of its other scenic music - "+сфхырчхЁ". About Brittene speak and write as about the composer-Englishman, the first after Pyorsella obtained a world recognition. There were centuries after death "…Ёш=рэёъюую +Ё¶х " - as named Pyorsella, - and the country which has given to the world of the greatest playwright, constellation of poets, actors, painters, architects, in musical creativity proved immeasurably more modestly. For three hundred years was in England the composers, capable to draw attention much. But any has not acted in a world field so brightly that the world has turned to it with interest, agitation, with impatience expecting that the new will appear in its following opus. Britten which have got today an international recognition became such only. It is possible to tell about it: England has waited it.

Benjamin Britten / Benjamin Britten Benjamin Britten was born on November, 22nd, 1913 in Loustafte (a county Suffolk) where has received initial music education. It has finished it in the early thirties in Royal musical college under the direction of Ajrlenda, Benjamin. Frenk a Bridge, the visible composer and the conductor, was its teacher on a composition.

Already early compositions of Brittena - the Simple symphony and Simfonietta for a chamber orchestra have drawn attention a charming combination of youthful freshness and a professional maturity. The beginning of the creative biography of Brittena reminds young Shostakovich: shining pianizm, amazing knowledge of the musical literature of all genres, a spontaneity and constant readiness to write music, free possession of secrets of composer craft.

Neither in early years, nor at later stages of the creative evolution of Britten did not put before itself problems of the pioneer of new techniques of a composition or theoretical substantiations of the individual style. Unlike many contemporaries of Britten never took a great interest in a pursuit for "ёрь№ь эют№ь" no less than did not try to find support in the settled receptions of a composition inherited from masters of previous generations. It is guided first of all by free flight of imagination, imagination, realistic expediency, instead of an accessory to one of numerous "°ъюы" our century. Britten always appreciated more and appreciates creative sincerity, than scholastic dogma, with whatever ultramodern dresses it invested. He allowed all winds of an epoch to get into the creative laboratory, to get, but not to dispose in it. Speaking about Brittene, fairly mark that influence which have rendered on its creativity Mahler, Shostakovich, Alban Berg. Undoubtedly, both Stravinsky, and Prokofiev were embodied by any lines in its consciousness. Brittena often accuse of eclecticism. Especially try in this sense "ртрэурЁфшё=№" as in some cases Britten addressed and to elements dodekafonicheskoj technicians, addressed, but Vebernu, to Berg did not swear on fidelity Shyonbergu.

Benjamin Britten is inconceivable out of the concrete national environment which generated it and have adhered to in thousand of threads. In the childhood, a youth, in mature years, today he states the musical thoughts, without resorting neither to citations, nor to folklore, to stylisation. But he loves the English music. Between 1945 - 1948 years it will arrange English national songs and lets out two collections, and between them - the collection of the French songs. Before he composes "-рэрфёъшщ ърЁэртры" for an orchestra and the Scottish ballad for two pianos with an orchestra. Not only folklore sources formed its language.

Music of England of the different epoch As well influenced it, remained in modern to it to a life or causing at it desire to remind of it, to admire with it the contemporaries. zachityvajas music of times of Shakespeare, he writes symphonic Variations on a theme of the Elizavetinsky epoch; rendering tribute to respect to the teacher Frenku to the Bridge, it in ten aspects represents one of its themes "КЁх§ шфшыышщ". In this product for a string band it is possible to judge flight of creative imagination of Brittena even under names of variations: the Adagio, the March, the Romance, the Italian aria, Classical burre, the Viennese waltz, Perpetuum to a mobile phone. A mourning march, the Song and the Ending with a fugue. The worship for great Pyorsellom is embodied in product under the unusual name "¤ѕ=хтюфш=хыі on an orchestra for ¦эю°хё=тр" where it is used as a basic point "ё=Ёрэё=тшщ" a melody of Pyorsella. Carried away in young years Rossini's music, he writes two symphonic suites: "¦ѕч№ърыіэ№х тхёхЁр" and "¦ѕч№ърыіэ№х ѕ=Ёр". So it acquires, but does not appropriate receptions, a manner of melodic development, wit of characteristics with which so its author "Рхтшыіёъюую чшЁ¦ыіэшър" has bewitched;. When in the opera "+ыісхЁ= +хЁЁшэу" composed it is a lot of years later, it has come to be in the genre atmosphere close to the Italian comic opera, its music has poured down with unusual melodic generosity and humour, but anything particularly did not specify in related communications with Rossini. Only "фѕ§ рюёёшэш" soared over heroes of the incident which have happened in small, prudish English small town...

In the beginning of a creative way of Brittena mainly tool music involved: symphonic suites, variations, the piano and violin concerts, already mentioned the Simple symphony and Simfonietta; in a chamber genre - piano and violin plays, a string quartet, the Fantastic quartet for an oboe, violins, an alto and a violoncello.

Brittena have a magnificent line of the present "Ёхьхёыхээшър" not disdaining any work for each, any work gives rise to creative impulses; it "эрсштрх= Ёѕъѕ" on film music, on registration of dramatized programmes, any composition of samples "с№=ютющ ьѕч№ъш".

Interest to Brittenu, and behind it and glory come from abroad. In Italy (1934), Spain (1936), Switzerland (1937) at festivals of modern music it receives an appreciation of the products. Here again in force there is a sad parable about the prophet and fatherland...

In 1939 it leaves in the USA where remains for three years. One of the best compositions of it trehletija - Seven sonnets Michelangelo for the tenor and a piano, music of Sincere confusion, melancholy and bitterness. Was absolutely uneasy to find the executor allocated with thin understanding not only vocal problems, but logic and style of a modern melodic singsong of verses of the great sculptor and the poet of the Renaissance. The meeting with Peter Pirsom has designated the beginning of a new stage of a creative way of Brittena. It is quite probable that dialogue with the Pier, the singer of exclusively high culture combining in the art passionate pathetics with deepened intellektualizmom, has served its purpose in origin at Brittena of interest to vocal music and as a result has led to its opera genre.

For many years the opera becomes the basic sphere of application of its huge talent for Brittena. It is difficult to assume that, being accepted to the first opera, the composer saw in the long term followed for it even more ten operas of different genres. But it is easy to imagine that Britten knew, how for a long time as many composers of the XX-th century over the decision of a problem of the modern, innovative opera persistently fight, capable to grasp a hall. Britten knew that many consider an opera as a genre dying, kept on a scene only thanks to public, by tradition filling many-tier boxes of the gilt auditoriums. Interfering in this genre new to, Britten assigned to it high hopes, considering the most important - a mass audience of fans of an opera. Has begun with "¤ш=хЁр +Ёрщьёр" at once the international recognition which has brought to its author. The plot is borrowed from a short story "+юЁюфюъ" the English writer of the beginning of a XIX-th century George Krabba.

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