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The War Requiem, Op. 66, is a choral and orchestral composition by Benjamin Britten, composed mostly in 1961 and completed in January 1962. [1] The War Requiem was performed for the consecration of the new Coventry Cathedral, in the English county of Warwickshire, which was built after the original fourteenth-century structure was destroyed in a World War II bombing raid.
Britten's War Requiem (1963) is the first recording of Benjamin Britten's War Requiem.It featured Galina Vishnevskaya, Dietrich Fischer-Dieskau and Peter Pears with the London Symphony Orchestra, the Melos Ensemble, The Bach Choir and the Highgate School Choir, and was conducted by Britten himself.
Libretto by Montagu Slater, after the poem The Borough by George Crabbe. Premiered on 7 June 1945 at Sadler's Wells, London. Published by Boosey & Hawkes. The Rape of Lucretia, Op. 37: Opera in two acts, 107'. Libretto by Ronald Duncan, after the play Le Viol de Lucrèce by André Obey. Premiered on 12 July 1946 at Glyndebourne. Published by ...
From 1958 Britten conducted Decca recordings of many of his operas and vocal and orchestral works, including the Nocturne (1959), the Spring Symphony (1960) and the War Requiem (1963). [234] The last sold in unexpectedly large numbers for a classical set, and thereafter Decca unstintingly made resources available to Culshaw and his successors ...
This poem is the final one of Owen's poems set in the War Requiem of Benjamin Britten. It is sung by the tenor and baritone soloists accompanied by chamber orchestra, joined at the closing line "Let us sleep now..." by the full forces of orchestra, organ, and soprano soloist, mixed chorus and children's chorus, singing Latin texts.
This was followed by the 1962 premiere, and subsequent 1963 recording, of Benjamin Britten's War Requiem, for which the instrumental sections accompanying the English texts had been written specifically for the Melos, and were directed by the composer in the performance. [4] The recording received a Grammy Hall of Fame Award in 1998.
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A Child of Our Time has survived periods of indifference, particularly in America, to be ranked alongside Britten's War Requiem as one of the most frequently performed large-scale choral works of the post-Second World War period. [47]