Spring Symphony - Benjamin Britten

London Symphony Orchestra & Chorus and Southend Boys Choir conducted by Richard Hickox. Elizabeth Gale as the soprano, Alfreda Hodgson as the contralto, and Martyn Hill as the tenor.

Part I. Introduction: Shine Out, Fair Sun. Lento, senza rigore (0:00) - The Merry Cuckoo. Vivace (10:02) - Spring, the Sweet Spring. Allegro con slancio (11:57) - The Driving Boy. Allegro molto (13:44) - The Morning Star. Molto moderato ma giocoso (15:42)
Part II. Welcome, Maids of Honour. Allegro rubato (18:52) - Waters Above! Molto moderato e tranquillo (21:30) - Out on the Lawn I Lie in Bed. Adagio molto tranquillo (23:53)
Part III. When Will my May Come? Allegro impetuoso (30:33) - Fair and Fair. Allegretto grazioso (32:58) - Sound the Flute! Allegretto molto mosso (35:12)
Part IV. Finale: London, to Thee I do Present. Moderato alla valse - Allegro pesante (36:38)

Britten's Spring Symphony was composed between Autumn of 1948 and Winter of 1949, being commissioned by the Koussevitzky Music Foundation for the Boston Symphony Orchestra. It was actually premiered in Amsterdam on July 14 of 1949, performed by the Concertgebouw Orchestra conducted by Eduard van Beinum. The American premiere was the following month at Tanglewood by its dedicatees. The work is divided in four parts, reminiscent of the classical symphony, but actually its more close to a song cycle.

Scored for large orchestra, boys' choir, a large SATB chorus and three vocal soloists, the piece is one of Britten's most ambitious works. It features several poets' lines from the XVII and XVIII centuries, such as Edmund Spenser, John Clare and George Peele. A notable exception is "Out on the lawn I lie in bed" by his friend W. H. Auden. In the composer's own words, the work represents "the progress of Winter to Spring and the reawakening of the earth and life which that means".

The first part begins deep in winter, a dark and mysterious introduction featuring vibraphone, harp and low percussion. It sets "Shine Out, Fair Sun," a prayer in winter for the coming of spring, which may be by George Chapman. The choir sings it a cappella alternating with orchestral passages, in which muted strings, muted brass and woodwinds are added. An expressive climax is reached, followed by an enigmatic passage for the chorus. A dissonant orchestral outburst explodes with great violence, answered by the chorus. A calm transition leads us to the "The Merry Cuckoo" of Edmund Spencer, sung by the tenor along three trumpets announcing the arrival of spring.

Then comes "Spring, the Sweet Spring" of Thomas Nashe. The chorus enters along the vocal soloist and orchestra in a florid pageant to the arrival of spring. Birdsongs are imitated by the soloists before it leads us to "The Driving Boy" of George Peelle and John Clare. It is joyfully sung by the soprano and boys' choir, the latter who whistle along the rhythm of the tambourine. John Milton comes with his poem "The Morning Star", sung by the mixed choir along brass with great solemnity. After an exultant climax, the first part ends with a reflective coda.

The second part opens with the poem "Welcome Maids of Honour" of Robert Herrick. The contralto sings (supported by a small ensemble) as she heralds the coming of the first spring flowers, violets, here called by their old name "maids-of-honour". Follows "Waters above" by Henry Vaughan, sung by the tenor welcoming the spring rain over string tremolandi. The final poem is "Out on the Lawn I Lie in Bed" by W. H. Auden. It is performed by contralto and mixed chorus, singing about how to enjoy the "windless nights of June" watching the stars overhead. It features an evocative pairing of alto flute and bass clarinet. The music rises in a boisterous climax, before a calm coda ends the part.

The third part begins with "When will my May Come?" by Richard Barnfield, interpreted by the tenor in a restless passage in which the poet is looking for his love, his beauty, but can only languish, waiting. Then comes "Fair and Fair" by George Peele, the tenor as the poet finally reunites with his lover represented the soprano. They sing about their love supported by a small ensemble. Follows "Sound the Flute!" by William Blake. Male, female and boys choruses lively sing the arrival of lambs and little children. A vivacious coda ends the part.

[Musical analysis continued in the comments section]

[Activate the subtitles to follow the lyrics along the music]

Picture: "A Naiad" (1893) by the English painter John William Waterhouse.

Sources: https://rb.gy/2qupv, https://rb.gy/aq9cp, https://rb.gy/3tspg, https://rb.gy/dyj8y and https://rb.gy/1nao4

Unfortunately the score is not freely available.

Видео Spring Symphony - Benjamin Britten канала Sergio Cánovas