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Benjamin Britten Article | Hal Leonard Distributed by Britten Home YouTube Festival Biography Choral Publications Article: Explore the Choral Music of Benjamin Britten by Paul Spicer Benjamin Britten (1913-1976) was a unique force in British music. Of the fine composers among his contemporaries, none wrote such a wide variety of music across such a broad spectrum of genres and for such a range of ages and abilities. In many ways, though he might have been surprised by the comparison, he was the natural successor to Vaughan Williams, whose instincts for community and the nurture of amateur musicians brought him an almost cult-like status in Britain. Britten did not devote himself so wholeheartedly to these things, but a sizeable proportion of his choral music is easily within the reach of a good ordinary choir, another part is well within the grasp of a reasonable church choir, and there is, of course, all the music he wrote specifically for children. Among the 60 or so non-operatic choral works there are also works which are exceptionally demanding and perhaps best left to professionals and outstanding amateurs. The range of this output and the frequency of performance of the better-known works underline Britten's ubiquity in the world of choral singing, not just in the English-speaking community but far beyond. As with many composers who have devoted themselves to writing a large corpus of music for one particular genre, Britten has suffered from being too well-known for a few familiar pieces. Rejoice in the Lamb, A Ceremony of Carols, Hymn to the Virgin, Hymn to St Cecilia, Jubilate Deo in C and others have tended to obscure the fuller picture of Britten's choral output and, if nothing else, I hope that choral directors will look beyond their favourites and explore the rich variety of music which is still almost undiscovered. Schools, or choirs of upper or lower voices, will find music here of wonderful quality which rarely sees the light of day. Similarly, there is a genuine mix of sacred and secular and some useful blurring of the edges where words can be equally appropriate in either context. I hope that the corresponding online guide will also be of real practical help to those who aim to build programmes which may be structured in specific ways - thematically, by voice type, by religious or non-religious setting, or by the balancing of a well-known piece by a less-familiar or almost unknown work. It is a spirit of discovery and adventure which should fire the imagination, and it is a love of all this music which has inspired the commentary writing. Britten was a practical composer. He knew that the music he wrote was performable because he himself was an accomplished professional musician. This is, again, where the Vaughan Williams analogy holds true. To be there, in among those doing the singing, directing the performance, advising other conductors and acquiring great expertise and experience over a creative lifetime, gave him an unusual insight into what choirs enjoy singing. He discovered what levels were attainable by different types of group, and did much to encourage that sense of ambition which has led to a genuine rise in the quality of amateur choral music-making. Britten was also a practical composer because he gave his performers all the information they need to deliver a convincing and 'authentic' performance - his scores have clear and unambiguous performance directions throughout. He is known to have remarked that, if musicians follow his instructions to the letter (and can play or sing the notes in an accurate and musical fashion), they will give a performance of which the composer would approve. So the principal instruction to choral directors is to prepare the score thoroughly prior to embarking on rehearsals. Read the words in order to understand Britten's setting of them, and mark, learn and inwardly digest Britten's clear instructions about speed, dynamics, phrasing, and, often most importantly, articulation. The mood of a piece so often comes from the composer's approach to the text. Britten tended to choose texts which were not widely set by other composers. But to compare, for instance, his two connected settings of Gerard Manley Hopkins' "God's Grandeur" in A.M.D.G. and "The World of the Spirit" with Kenneth Leighton's version is to clearly demonstrate the point. No two responses could be more different and yet each excitingly shows the composer's individual reaction to the poem. To examine Britten's popular Jubilate Deo in C alongside Howells' Collegium Regale setting of the same words written some fifteen years earlier is, again, to emphasize how their idiomatic interpretations of the text helped shape each piece. Britten's style grew out of the English choral tradition he knew so well. He had not been a cathedral chorister but had boarded at Gresham's School from the age of 14. There he was exposed to the standard repertoire of the Anglican Church and his earliest well-known piece, "A Hymn to the Virgin," was written when he was only 16 and still a schoolboy. It unequivocally shows his feeling for the beauty and potential of choral sound, so it is no wonder that such precocious talent should develop to the extent it did. While there are pieces from his output which are more stylistically searching, this early gem sets the scene for a choral output that is essentially approachable, tonal, lyrical, and pleasing to both performer and listener. It is a remarkable legacy.

Curtains - Young @ Part | Hal Leonard Menu LEARN MORE About Young @ Part Showbox/Added Resources Order a Perusal Pack Online License Request 60-Min.ute Musicals [Young@Part] 60-Minute Musicals Addams Family All Shook Up Curtains Monty Python's Spamalot We Will Rock You Wind In The Willows 30-Min.ute Musicals [Younger@Part] 30-Minute Musicals Addams Family All Shook Up How I Became A Pirate Miss Nelson Is Missing Product Information Musical Numbers Cast of Characters Credits Book and Additional Lyrics: Rupert Holmes Music and Additional Lyrics: John Kander Lyrics: Fred Ebb Original Book and Concept: Peter Stone Overview / Synopsis It's the brassy, bright, and promising year of 1959. Boston's Colonial Theatre is host to the opening night performance of a new musical. When the leading lady mysteriously dies on stage the entire cast & crew are suspects. Enter a local detective, who just happens to be a musical theatre fan! Packed with glorious tunes and a witty, charming script filled with delightful characters, CURTAINS Young@Part® is a hilarious journey for both performers and the audience. Print Perusal - HL00237281 $19.95 ShowBox - HL00237276 $675.00 This ShowBox includes: 30 Cast Script/Vocal Books Director's Script 2 Piano/Vocal Scores Guide Vocals CD Performance Tracks CD Logo Pack CD Young @ Part Request Individual Components 00251192 - Director's Script $50.00 00251193 - Cast Script/Vocal Book $10.00 00251201 - Piano/Vocal Score $40.00 00251202 - Guide Vocals CD $50.00 00251203 - Performance Tracks CD $100.00 Hear A Sample Wide Open Spaces What Kind of Man? Show People In the Same Boat Thataway! He Did It Kansasland A Tough Act to Follow Transition to Stage A Tough Act (Finale) Lieutenant Frank Cioffi Sweetly endearing local Boston detective who idolizes the world of musical theatre and has reveled in the thrill of performing in community theatre. Called upon to solve the murder of the star of "Robbin' Hood" (a musical intended for Broadway that is currently out of town in Boston), Cioffi is very good at his job and, lamentably, married to his work. He is instantly smitten with ingénue Niki Harris. The undisputed central character of the musical. Requires deft and charming comedy, good singing, solid dancing in one extended "Fred and Ginger" number. Gender: Male Vocal Range: Ab3-G5 Niki Harris Pretty, almost too innocent ingénue, a local performer in a small role hoping "Robbin' Hood" will be the Boston production that at last takes her to Broadway. Love interest for Lieutenant Cioffi, apparently reciprocated. Requires a legit soprano and strong dancing in an extended "Fred and Ginger" number. Gender: Female Vocal Range: C4-E5 Georgia Hendricks Female half of our show-within-a-show's songwriting team on the lyric-writing side. Ends up taking on the leading lady role. Must sing and dance extremely well. Gender: Female Vocal Range: G3-E5 Carmen Bernstein Brash and brassy Broadway producer. Terrific comedic actress with a belt. Gender: Female Vocal Range: Bb3-E5 Aaron Fox The composer of the show-within-the-show. His songwriting partner, Georgia, is also his wife, from whom he's separated but for whom he still pines. He's a handsome, intense, somewhat tortured artist-type. Requires a strong vocalist with comedy. Gender: Male Vocal Range: Bb3-E5 Christopher Belling English director. Very camp. Very droll. Noel Coward meets Addison DeWitt meets Clifton Webb. Requires a superb comic actor. Gender: May be cast male or female Vocal Range: B3-E5 Bambi "Bernét" Performer in the chorus, daughter of Carmen, step-daughter of Sidney. Genuinely brassy and artificially blonde. Hungry to work her way out of the chorus; many think she was only hired because of her mother. She surprises everyone, however, when she shows genuine dancing and singing talent when at last called upon. Requires great dancing, strong "street-smart dumb blonde" comedy, and singing. Gender: Female Vocal Range: C4-E5 Oscar Shapiro From the garment district and sole investor in "Robbin' Hood." A likeably gruff man who knows nothing about theatre and frets over every dime of his that's spent. Requires good "rough around the edges" comedy and singing. Gender: Male Vocal Range: Bb3-E5 Bobby Pepper The Gene Kelly of "Robbin' Hood," its choreographer and male star, and a handsome rival to Aaron for Georgia's affection. Requires strong dancing, singing, comedy. Gender: Male Vocal Range: A3-E5 Johnny Harmon Stage Manager of the show-within-the-show, and both drill sergeant and mother hen to the cast. Barks orders but has a pleasant side as well, he keeps the company in line and on their toes throughout the rehearsal process. Comic actor who can sing. Gender: May be cast male or female (using the name Jenny Harmon) Vocal Range: E4-Eb5 Jessica Crenshaw Faded Hollywood star, a grand diva with no right to be one, and a plague to the show-with-the-show and to her cast. An absolutely dreadful singer and inept actress who stars in the show-within-a-show and gets murdered on its opening night in Boston. Must be skillful enough to sing hilariously out-of-tune and ineptly, and adroit enough to dance perfectly out of step with the rest of the cast. Appears only in the first minutes of the musical; on Broadway, this performer then adopted a different look and became part of the ensemble. Gender: Female Vocal Range: G4-D5 Randy Dexter A member of the singing & dancing ensemble featured in "Kansasland," pleasant but with a sensitive side. Gender: Male Vocal Range: A3-E5 Harv Fremont A member of the singing & dancing ensemble who bears a bouquet. Gender: Male Vocal Range: A3-E5 Ensemble