In these three song cycles, Britten draws his inspiration from the peaks of European poetry (Shakespeare, Blake, Shelley, Keats, but also Rimbaud), the better to push back the boundaries of the genre. He multiplies the relationship between voices and instruments, moving from strings alone (Les Illuminations) to a string ensemble featuring obbligato wind instruments, harp and timpani (Nocturne), not forgetting the fascinating dialogue with the horn in the Serenade. A unique sound world is revealed here by artists at the top of their form.
1 Britten: Les Illuminations for Tenor and String Orchestra, Op. 18: I. Fanfare
2 Britten: Les Illuminations for Tenor and String Orchestra, Op. 18: II. Villes
3 Britten: Les Illuminations for Tenor and String Orchestra, Op. 18: III a. Phrase
4 Britten: Les Illuminations for Tenor and String Orchestra, Op. 18: III B. Antique
5 Britten: Les Illuminations for Tenor and String Orchestra, Op. 18: IV. Royauté
6 Britten: Les Illuminations for Tenor and String Orchestra, Op. 18: V. Marine
7 Britten: Les Illuminations for Tenor and String Orchestra, Op. 18: VI. Interlude
8 Britten: Les Illuminations for Tenor and String Orchestra, Op. 18: VII. Being Beauteous
9 Britten: Les Illuminations for Tenor and String Orchestra, Op. 18: VIII. Parade
10 Britten: Les Illuminations for Tenor and String Orchestra, Op. 18: IX. Départ
11 Britten: Serenade for Horn, Tenor and Strings, Op. 31: I. Prologue
12 Britten: Serenade for Horn, Tenor and Strings, Op. 31: II. Pastoral
13 Britten: Serenade for Horn, Tenor and Strings, Op. 31: III. Nocturne
14 Britten: Serenade for Horn, Tenor and Strings, Op. 31: IV. Elegy
15 Britten: Serenade for Horn, Tenor and Strings, Op. 31: V. Dirge
16 Britten: Serenade for Horn, Tenor and Strings, Op. 31: VI. Hymn
17 Britten: Serenade for Horn, Tenor and Strings, Op. 31: VII. Sonnet
18 Britten: Serenade for Horn, Tenor and Strings, Op. 31: VIII. Epilogue
19 Britten: Nocturne for Tenor, 7 Obbligato Instruments and Strings, Op. 60: I. on a Poet's Lips I Slept
20 Britten: Nocturne for Tenor, 7 Obbligato Instruments and Strings, Op. 60: II. Below the Thunders of the Upper Deep
21 Britten: Nocturne for Tenor, 7 Obbligato Instruments and Strings, Op. 60: III. Encinctured with a Twine of Leaves
22 Britten: Nocturne for Tenor, 7 Obbligato Instruments and Strings, Op. 60: IV. Midnight's Bell Goes Ting, Ting, Ting
23 Britten: Nocturne for Tenor, 7 Obbligato Instruments and Strings, Op. 60: V. But That Night When on My Bed I Lay
24 Britten: Nocturne for Tenor, 7 Obbligato Instruments and Strings, Op. 60: VI. She Sleeps on Soft, Last Breaths
25 Britten: Nocturne for Tenor, 7 Obbligato Instruments and Strings, Op. 60: VII. What Is More Gentle Than a Wind in Summer?
26 Britten: Nocturne for Tenor, 7 Obbligato Instruments and Strings, Op. 60: VIII. When Most I Wink, Then Do Mine Eyes Best See
In these three song cycles, Britten draws his inspiration from the peaks of European poetry (Shakespeare, Blake, Shelley, Keats, but also Rimbaud), the better to push back the boundaries of the genre. He multiplies the relationship between voices and instruments, moving from strings alone (Les Illuminations) to a string ensemble featuring obbligato wind instruments, harp and timpani (Nocturne), not forgetting the fascinating dialogue with the horn in the Serenade. A unique sound world is revealed here by artists at the top of their form.