Britten Canticles

Britten: Canticle I Op.40 'My beloved is mine'; Canticle II Op.51 'Abraham and Isaac'; Canticle III Op.55 'Still falls the rain'; Canticle IV Op.86 'The journey of the magi'; Canticle V Op.89 'The death of St Narcissus'

Performers Ian Bostridge (tenor); David Daniels (counterttenor); Christopher Maltman (baritone); Julius Drake (piano); Aline Brewer (harp); David McClenaghan (horn)
Venue Usher Hall
Address Lothian Road Edinburgh
Reviewer Pat Napier

Ian Bostridge

Although, in terms of time, this seemed a somewhat skimpy recital, it turned out to be a perfectly marvellous, transcendal journey through some of the most beautiful and moving vocal music of the twentieth century. The intensity and depth of the emotional experience, enhanced by the artistes' request for no applause until the end, made time irrelevant. It was good to see a capacity audience in the Usher Hall for a Britten recital, especially for something so rarely performed in its entirety.

The Canticles were composed at two extraordinarily creative times in Britten's life. The first three were written between 1947 and 1954, following the impetus of his very successful opera Peter Grimes and at a time when post-war music was bursting into flower. The last two date from almost the end of Britten's life - 1971 and 1974 - when he had succumbed to ill health and had had open heart surgery which was to disable him. Two years later he was dead. Even though they were composed so far apart in time they have a wonderful unity, artistry and atmosphere, which must surely have come from the original tenor's musicianship as much as the composer's.

David Daniels

Canticles I, III and V were written in memory of the Rev Dick Sheppard, Noel Mewton-Wood and William Plomer respectively. Canticle II is a scene from a Chester Miracle Play and Canticle IV is set to T S Eliot's poem, which reflects on the Magis' difficulties in getting to Bethlehem. All are profoundly meditational and it is this meditational focus which sets the pattern for Britten's handling of compositional motifs and techniques to intensify mood and emotion.

Christopher Maltman

The unusual groupings of artistes and instruments add a piquancy. Who would have thought that the French Horn could be such a tender accompaniment to convey a spirit of "courage and light seen through horror and darkness"? (Canticle III). And surely, Britten's own illness must have contributed greatly to his decision to set the last canticle to a sublime harp accompaniment.

Ian Bostridge's exquisite tenor voice sang every canticle with the greatest of feeling, interpreting every note and phrase with an artistry, a gift for timing, clarity and nuance surely equal to that of Peter Pears himself, illuminating the words with a spiritual glow. When joined by David Daniels and Christopher Maltman, we were treated to a tapestry of the richest sound. In Julius Drake's hands the piano added yet another beauteous dimension and the tapestry became a magic carpet transporting us to other worlds.

© Pat Napier. 26 August 2001