*Britten*		Benjamin Britten (1913 - 1975) Saint Nicolas Britten's reputation is international. His music has travelled and continues to travel. At the same time, his name is a homophone for his country of origin. This factor may also have contributed to the diaspora of his music: Britten from Britain; Great Britten from Great Britain. Banal or not, this factor played its part alongside the intrinsic qualities and values of his music. Britten was born Edward Benjamin Britten in Lowestoft, Suffolk on 22nd November 1913, less than a year before the start of the Great War. That his birthday coincides with Saint Cecilia's Day is, we shall say, a happy coincidence. His birthplace was to remain a constant subject and influence throughout his life. Before going to school at age nine he went to 'prep school' but even before that he had taken piano lessons and had been composing since he was five. At school he continued to compose and took viola lessons. From these years date a symphonic poem Chaos and Cosmos and two enormous symphonies - all now disowned. When he was ten he encountered the music of Frank Bridge. The impact was immediate and deeply registered; "He was knocked sideways" by it. In 1928 Britten began regular lessons with Bridge who took the young composer under his wing and went to concerts with him, generally directing his growth and development. There was no molly-coddling. Bridge had no other pupils and he treated the callow Britten as if he were an adult. Bridge's influence also extended to his attitude to war and much of Britten's pacifism can be traced back to these days. In 1930 at the age of 16, and with many compositions already under his belt, he entered the Royal College of Music in London with an open scholarship. His composition lessons were with John Ireland. He studied piano with Arthur Benjamin having previously worked through school holidays with Harold Samuel. He became and remained a brilliant pianist and was later renowned as an accompanist par excellence in Schubert lieder. Despite his prowess as a pianist he did not compose at the piano. His method was to compose in the head and then at the desk. The role played by film music in Britten's development is too easily overlooked. His introduction to this world came with work for the GPO Film Unit. He wrote music for sixteen films by the GPO unit between 1935 and 1939; the most famous of these scores is the 1936 Night Mail which he composed in collaboration with the poet W.H. Auden. His success was such that he was able to sign a publishing contract with Boosey and Hawkes in 1936. John Ireland quipped "If Britten can write it, Boosey's can Hawke it!". His music was, from early on, recorded shortly after it was written or premiered. Decca gave us disc after disc of his music authoritatively interpreted by the composer and performers for whom it was written. The importance of this living archive is not to be underestimated. Britten was recognized life-long as a reliable composer. He met deadlines and was business-like. This was remarkable in someone in the rarefied world of the creative artist. Commissions with Britten 'produced the goods'. He liked to work to a strict timetable whether for his day to day working pattern or for the delivery of a piece of music. He was extraordinarily productive. Imogen Holst who worked as his assistant said he was capable of writing 30 pages of full score in a day! This productivity and faithfulness to deadlines endeared him to institutions and administrators as well as to many in the artistic world who were receptive to his music. The Aldeburgh Festival (an annual fixture without fail and which has continued since Britten's death) was a Britten-centred event and behind which he was the very clear moving force. The premises: various churches and the Jubilee Hall, Aldeburgh were very small and unsuitable but triumphs were won from these adverse circumstances. The first festival, in June 1948 opened with Britten's cantata Saint Nicolas.
*Saint Nicolas* *Venice, Basilica S.Marco*	*Saint Nicolas* *I. Introduction* The chorus, as contemporary people gazing back over the centuries, asks Nicolas to "strip off your glory . . ." and speak to them. The Saint responds across the span of sixteen hundred years saying that the seeds of faith survive "in you" and to preserve the living faith won by those who died "that you might worship God." In response, the choir asks God for strength to serve with simplicity. *II. The Birth of Nicolas* The sopranos and altos, representing school children, sing of the birth and childhood of Nicolas, even describing his enthusiasm in his bath or at his baptism. At the end of each verse, the boy Nicolas sings, "God be Glorified." The excitement builds to the dramatic moment when the voice of the boy Nicolas is transformed into the full power and confidence of the adult Nicolas' call: "God be Glorified." *III. Nicolas Devotes Himself to God* At the beginning, Nicolas relates his feelings as he views the "wider world of man," living in poverty, doomed to die "in everlasting fear of everlasting death." Nicolas sells his lands to feed the poor, but is still heart-sick and angry. He asks God to "purge my angry soul" and prays for sweet humility. The discords of the music come to rest indicating that the prayer of Nicolas is answered. *IV. He Journeys to Palestine* The men of the choir relate a sea voyage. On the journey, the sailors jeer at Nicolas who predicts a storm ahead. Darkness falls and, as the crew settles down to sleep, the wind arises and the waves begin to pour over the deck. The sailors try to launch the lifeboats and shorten sail, but finally break into cries of help. Schoolgirls sing of the lightning hissing through the night and of the angry roar of the wind and waves. At the height of the storm, the sailors kneel and pray. Nicolas joins the sailors and begs God to make the storm to cease. The thunder dies down, and wind loses its violence, and the waves lay down to rest. As the ship sails on, the stars appear in the calm sky and Nicolas kneels down in thankfulness. *V. He Comes to Myra and is Chosen Bishop* The full choir proclaims Nicolas Bishop of Myra. A small ensemble follows each action of the ceremonial acceptance of the mitre, the golden robe, the dalmatic, and the crozier. Following the setting of the ring on Nicolas' hand, the "Amen's" quicken to an energetic fugue: "Serve the Faith and spurn his enemies." At the conclusion of the fugue, there is a pause for the twentieth century congregation to "join the choir in singing the familiar hymn, 'All people that on earth to dwell’ . . ."
PLEASE STAND TO SING	All people that on earth do dwell, Sing to the Lord with cheerful voice! Him serve with fear, His praise forth tell, Come ye before Him and rejoice. O enter then His gates with praise, Approach with joy His courts unto, Praise, laud and bless His name always, For it is seemly so to do. For why? The Lord our God is good: His mercy is for ever sure; His truth at all times firmly stood, And shall from age to age endure. A - - - men. *VI. Nicolas From Prison* Nicolas tells of the persecution of the church for eight years by the Romans and relates having to celebrate communion with prison bread. Then he angrily admonishes those who "embrace the lash of sin" and "build your temples fair without and foul within . . . " Nicolas calls them to turn away from sin and "bow down your hard and stubborn hearts." *VII. Nicolas and the Pickled Boys* The choir sings of approaching travellers struggling along a wintry road seeking food in the city. Three women call for their missing boys, "Timothy, Mark, and John are gone." Upon reaching the inn, the travellers order a meal and invite Nicolas to join them. But Nicolas suddenly warns them not to touch the meat, for it is the flesh of the missing boys who have been killed by the butcher and pickled in salt. Before the eyes of the travellers, Nicolas calls the three boys back to life. They enter hand-in-hand, singing, "Alleluia." The choir joins them in praising God for the miracle. *VIII. His Piety and Marvellous Works* After being Bishop for forty years, the choir thanks Nicolas for being "our shepherd and our gentle guide . . ." They recall his courage, kindness, and of being "a spend-thrift in devotion." On many occasions, he saved them from prison, from famine, from shame of sin, from death, from shipwreck, and from oppression of being ruled by unjust men. The choir asks to keep the memory of Nicolas alive through his legends. *IX. The Death of Nicolas* Nicolas hears the summons of death and eagerly looks forward to "Him who waits for me above." During his final prayer, the choir sings the Nunc dimittis (Lord, now lettest thou thy servant depart in peace) with the voices growing in strength towards the final Amen. The sound of the organ quietly announces the beginning of the final hymn and the cantata concludes with the congregation joining the choir and singing: “God moves in a mysterious way, His wonders to perform."
PLEASE STAND TO SING	God moves in a mysterious way His wonders to perform; He plants His footsteps in the sea, And rides upon the storm. Deep in unfathomable mines Of never failing skill He treasures up his bright designs, And works his sovereign will. Ye fearful saints, fresh courage take, The clouds ye so much dread Are big with mercy, and shall break In blessings on your head. A-men!