An internationally acclaimed composer from “the land without music”, the reviver of British opera and co-founder of the Aldeburgh festival: Benjamin Britten is firmly ensconced in our national cultural pantheon. The time when he and his soon to be life-partner, the tenor Peter Pears, boarded an ocean liner and travelled to North America in spring 1939 as “a vacation from the general European atmosphere” – not returning until mid-1942 – has proved harder to celebrate. But in a season marking the 50th anniversary of the composer’s death, the Britten Sinfonia have grasped the nettle.
The result is a programme split mainly between works by Britten and Aaron Copland, who spent the summer of 1939 together in Woodstock. Cue tennis, swimming and mutual admiration. But Britten was also hard at work – first on his Young Apollo, a fanfare commissioned by the Canadian Broadcasting Corporation, and then on his song cycle Les Illuminations. Directing from the violin, Zoë Beyers launched a taut, witty performance of the former. Amid so much energetically engaged string playing, pianist Huw Watkins’ mercurial scales and delicate sweeps of glissando provoked audible giggles of delight from audience members behind me.
