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In today's episode, we explore this sublime orchestral suite from one of the 20th Century master composers, Benjamin Britten. As I'll explain in the video, Brittan was inspired by poetry evoking his hometown while living in America, and he set off to write this opera in 3 acts. These four short interludes serve as 'moving' music in the opera between scenes and set changes. I hope you enjoy!

Files

Four Sea Interludes from Peter Grimes - Benjamin Britten | Behind the Score Ep. 53

Comments

George Davis-Stewart

This was a marvellous voyage. This opera has somehow escaped me, classic as it is. My score-reading has only ever been rudimentary but I enjoyed the aural palette that the orchestration choices created. Perfectly evocative of the natural world, not least the sea of course, and written to engage the audience dramatically whilst the tabs are closed (or however it is the director has chosen to manage the scene changes). I have worked backstage on opera a good many times in my career, a couple of musicals too; it's good to hear the nuts-and-bolts inspection of a passage of music, when often I have had to respond to it as an egg-timer to be beaten by the tasks required to prepare stage for the scene. The nearest a non-musical element might come to 'reading' the music is in lighting design, matching mood or, in this case, weather for example. It could be interesting to look at Bernard Herrman's film scores and other dramatically-led composition - particularly the films of Hitchcock. Thank you very much, Doug, and Peter for prompting him.

ax o'lotl

posted that previous comment before watching in total confidence. just watched, it was warranted. great stuff, thank you. yeah, BB reached back to all ages, but in particular Dowland, e.g. the Nocturnal for guitar, and probably my ATF BB the Lachrymae for viola, originally for viola and piano later arranged for strings. I think I prefer the original. I sang St Cecilia too. immortal fire.