Benjamin Britten began work on "Hymn to Saint Cecilia" just before leaving America, a period that coincided with his final break from the influence of poet W. H. Auden.
Compositional Technique
In "Hymn to Saint Cecilia," Britten avoids imitating specific instruments mentioned in W. H. Auden's poem, instead using short isolated solo cadenzas to suggest instrumental sources and highlight emotive lines.
Recording & Production
The recording of "Saint Nicolas" uses multiple choirs, including a girls' choir as a 'gallery choir' and a boys' choir for sections depicting Nicolas's birth and childhood, following Britten's own 1955 recording.
Compositional Technique
The instrumental accompaniment for "Saint Nicolas" was designed to be manageable by a school, consisting of piano duet, strings, percussion, and organ.
Composition History
Benjamin Britten's "Saint Nicolas" was commissioned in 1948 by Lancing College for its centenary, with Peter Pears, a former pupil, likely helping to secure the commission.
Recording & Production
This recording of "Saint Nicolas" includes a congregation for the two hymns, a feature often omitted from previous commercial recordings for practical reasons.
Composer's Artistic Vision
Britten's "Hymn to Saint Cecilia" and "A Ceremony of Carols" represent a shift in his artistic vision, moving away from "tricksy rhyming" and towards something "fundamentally English."
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