Benjamin Britten

Benjamin Britten ' cantate Mesa : Carmen Basiliense' était composée et didicated à l'Université de Bâle pour la célébration de son 500e anniversaire. Le texte Latin a été compilé de la Charte de l'Université et des oraisons plus âgés à la louange de Bâle. / Solistes (SATB), Choeur Mixte Et Orchestre

Instrument : mixed choir (SATB), soloists (TBar) and orchestraType : choral scoreNombre de Pages : 22

Cette sélection a été faite avec les pianistes à l'esprit et les chanteurs de l'étudiant. Ils sont 12 des plus pratiques et accessibles des paramètres de bijou comme folksong de Britten. Le livre comprend également des notes historiques sur les chansons et le CD des représentations par professionnel / Voix Elevée(s) Et Piano

Ce livre contient des arrangements simplifiées de toutes les chansons de l'album qui a Carole King en coulisses et fait d'elle une star. Cela a été aménagé pour piano facile avec les paroles et les symboles de la corde. / Piano/Vocal/Guitare (PVG)

The Ride-By-Nights by Benjamin Britten for 2-part boys' or women's voices and Piano. From Three Two-part Songs.

four boy's voices and piano reduction-Vocal score to Britten's cantata Saint Nicolas op. 42 for tenor solo mixed choir women's choir four boy's voices and piano reduction of orchestral parts.This cantata was written about the life of Saint Nicolas the Bishop Of Myra who is the patron-saint of Children Seamen and travellers. It was commissioned for performance at the Centenary Celebrations of Lancing College in Sussex on July 24th 1948.

Britten was so remarkably prolific as a young composer that many of the works from his teens were put aside to await revision or completion as he rushed on to the next piece. This was particularly the case around the time of hisOpus 1 Sinfonietta composed in the summer of 1932 his second year as a student at the Royal College Of Music.The Sinfonietta was written (in less than three weeks) very soon after Britten had completed thefirst draft of the Double Concerto; but after finishing the Sinfonietta he went back to revise the Concerto's second movement. He started work on his Op.2 Phantasy for Oboe and String Trio a few weekslater.Although the Concerto follows the same three-movement pattern as the Sinfonietta it is more ambitious in scale; and since the sketch is unusually for Britten complete in practically every detail it ispuzzling that he never made a full score of the work after finishing the composition and seems to have made no attempt to get it performed. It is not clear if he had particular performers in mind (he was of course a Violaplayer although he is not likely to have intended the part for himself). He showed the work to his composition teacher at the college John Ireland who as Britten recorded in his diary was 'pretty pleased' with it; but it isdistinctly possible that his experience in rehearsing the Sinfonietta with a student orchestra in 1932 ('I have never heard such an appalling row!' reads another diary entry) discouraged him from going on to complete theDouble Concerto in score. He was not to hear any of his orchestral works until the first performance of Our Hunting Fathers in 1936.In the absence of Britten's full score it was necessary for me to prepare the workfrom the sketch. But the instrumentation is so carefully indicated in the draft that the resulting score is not far from being 100% Britten - only between bars 70 and 74 of the slow movement did there seem to be any need to add