Album insights
In 1945, on the 250th anniversary of Purcell's death, his influence was deeply felt in England's music scene and in the compositions of Benjamin Britten and his contemporaries. Britten had long admired Purcell's music, evident in works like the Festspielkantate Rejoice in the Lamb from 1943. However, in 1945, Britten composed two pieces demonstrating a profound understanding and appreciation of Purcell's style, notably seen in The Holy Sonnets of John Donne and the Chacony form in his second string quartet's closing movement. The following year, Britten produced one of his most popular works, The Young Person’s Guide to the Orchestra, drawing inspiration from Purcell's Abdelazar for the main theme.
Purcell's appeal to Britten and his peers, especially Tippett, stemmed from several factors. Purcell's theatrical background, despite only composing one true opera, Dido and Aeneas, was crucial as he wrote stage music for numerous plays, notably King Arthur and The Fairy Queen, which resonated with Britten, emphasizing his operatic contributions. Purcell's theatrical sensibilities were closely tied to his exceptional command of language and innovative acoustic word painting techniques, influences evident in Britten's vocal compositions. Furthermore, Tippett pointed out that Purcell's music was not as widely recognized before World War II, making it sound remarkably fresh and pioneering compared to the popular Handel. Britten and Tippett felt a personal connection and shared a desire to introduce Purcell's works to a broader audience.
Britten's early adaptations of Purcell's songs, including Fairest Isle, Man is for the woman made, If music be the food of love, and I spy Celia, were first performed in 1947 by Britten and Pears at various concerts. Their intention was to interpret most of the songs from Orpheus Britannicus and Harmonia Sacra. Britten's approach involved bringing a modern interpretation to Purcell's music, blending their creativity despite the time gap of over 250 years.
Britten's interpretations of Purcell's songs involve a delicate balance, respecting each song's mood and musical character. Whether accentuating the simplicity in melodious pieces like Fairest Isle or emphasizing the drama in Purcell's recitatives, Britten's arrangements enhance the original pieces without overshadowing them. Britten's talent shines in his skillful acoustic word painting, such as in Sweeter than roses and Music for a while, where he vividly captures the essence of the lyrics through musical elements.
Britten not only indulges in detailed word painting but also excels in capturing the overall mood of each song. From somber compositions like I take no pleasure to fanfare-like tones in Hark the ech’ing air!, Britten adeptly mirrors Purcell's style, infusing his own creativity and joy into interpreting these exquisite tunes. Through these interpretations, Britten showcases his imaginative prowess and sheer delight in presenting these exceptional musical gems.
David Trendell © 1995
Translator: Angela Ritter