Cantata academica, Op. 62 | |
---|---|
by Benjamin Britten | |
Occasion | Quincentenary of the University of Basel |
Performed | 1 July 1960 |
Cantata academica, Carmen basiliense, Op. 62, is a 1959 cantata by Benjamin Britten to a Latin text. [1] It was commissioned by Paul Sacher for the quincentenary of the University of Basel. He conducted the premiere on 1 July 1960.
The cantata, completed in March 1959, was written for the 500th anniversary of the University of Basel on 1 July the following year. [2] The Latin text, which was compiled by Bernhard Wyss , is based on the charter of the university, as well as older orations praising Basel. [1] [2] Britten wrote out the text for the work on the pages of his old preparatory-school German exercise book. He later used the same book to plan his War Requiem. [3]
The work was premiered at the University of Basel on 1 July 1960, conducted by Paul Sacher; the performers were Agnes Giebel, Elsa Cavelti, Peter Pears, Heinz Rehfuss, the Basler Kammerchor, the Sterk'scher Privatchor, and the Basler Kammerorchester. [4] The British premiered was by the Cambridge University Musical Society in November, a few months after Britten received an honorary doctorate from the University. [3]
The cantata is scored for four vocal soloists ( soprano, alto or contralto, tenor, and bass), a four-part choir, two flutes, piccolo, two oboes, two clarinets in B-flat, two bassoons, four horns, two trumpets in C, three trombones, tuba, strings, timpani, four percussionists, two harps, and pianoforte. [4]
The work is in two parts and has thirteen total sections. [4]
Cantata academica is formally a work of serialism, although only on a large scale, "so tightly connected with the form that it is the form itself". [2] This reflects Britten's intention to be deliberately "clever" with the work; he noted in a letter to Wyss that the piece is "full of academic devices for the edification of the performers". [3] The final section is "but a unifying return to the opening"; each of the others has a single "ruling note", corresponding to the 12-note series of the work, which serves as an ostinato or pedal tone for the section. [2]
The movement Tema seriale con fuga was adapted for two 1973 compositions by Richard Rodney Bennett dedicated to Britten: a concerto for orchestra and a work called Alba for organ. It was also used as the basis for a 1963 collaborative composition by Bennett, Nicholas Maw, and Malcolm Williamson, called Reflections on a theme of Benjamin Britten. [4]
Cantata academica, Op. 62 | |
---|---|
by Benjamin Britten | |
Occasion | Quincentenary of the University of Basel |
Performed | 1 July 1960 |
Cantata academica, Carmen basiliense, Op. 62, is a 1959 cantata by Benjamin Britten to a Latin text. [1] It was commissioned by Paul Sacher for the quincentenary of the University of Basel. He conducted the premiere on 1 July 1960.
The cantata, completed in March 1959, was written for the 500th anniversary of the University of Basel on 1 July the following year. [2] The Latin text, which was compiled by Bernhard Wyss , is based on the charter of the university, as well as older orations praising Basel. [1] [2] Britten wrote out the text for the work on the pages of his old preparatory-school German exercise book. He later used the same book to plan his War Requiem. [3]
The work was premiered at the University of Basel on 1 July 1960, conducted by Paul Sacher; the performers were Agnes Giebel, Elsa Cavelti, Peter Pears, Heinz Rehfuss, the Basler Kammerchor, the Sterk'scher Privatchor, and the Basler Kammerorchester. [4] The British premiered was by the Cambridge University Musical Society in November, a few months after Britten received an honorary doctorate from the University. [3]
The cantata is scored for four vocal soloists ( soprano, alto or contralto, tenor, and bass), a four-part choir, two flutes, piccolo, two oboes, two clarinets in B-flat, two bassoons, four horns, two trumpets in C, three trombones, tuba, strings, timpani, four percussionists, two harps, and pianoforte. [4]
The work is in two parts and has thirteen total sections. [4]
Cantata academica is formally a work of serialism, although only on a large scale, "so tightly connected with the form that it is the form itself". [2] This reflects Britten's intention to be deliberately "clever" with the work; he noted in a letter to Wyss that the piece is "full of academic devices for the edification of the performers". [3] The final section is "but a unifying return to the opening"; each of the others has a single "ruling note", corresponding to the 12-note series of the work, which serves as an ostinato or pedal tone for the section. [2]
The movement Tema seriale con fuga was adapted for two 1973 compositions by Richard Rodney Bennett dedicated to Britten: a concerto for orchestra and a work called Alba for organ. It was also used as the basis for a 1963 collaborative composition by Bennett, Nicholas Maw, and Malcolm Williamson, called Reflections on a theme of Benjamin Britten. [4]