WWII and Britten's War Requiem

This month, Clef Notes is exploring the topic “Music and War.” So far, we’ve looked at several war favorites premiered by the Cincinnati Symphony Orchestra, pieces commemorating September 11, and works written around WWI. This week, let’s wrap up by looking at a few pieces composed as a result of WWII.

The Cathedral of St. Michael in Coventry was bombed in 1940 by enemy forces. The building was a 14^th-century structure and this act of evil shook the nation. Years following the war, a new cathedral was built using remains from the original. Upon its completion in 1962, a dedication event was planned including a work composed for the festivities by Benjamin Britten.

Not everyone approved of Britten as the designated composer, as he was a pacifist and even left the country just before Britain entered the war. Despite this controversial decision, Britten successfully completed a memorial for the dead of all wars throughout history: the War Requiem.

Britten’s War Requiem is an oratorio that uses the Latin Requiem Mass with an added commentary text taken from settings of poems by Wilfred Owen, a young poet who died in battle during WWI. This grand work includes an orchestra, soprano solo, and mixed chorus for the performance of the ancient Requiem Mass. Owen’s poetry shows a more personal side of war, using tenor and baritone solos representing men affected by the war, a distant boy choir, chamber ensemble, and organ.

Here you can listen to Britten’s War Requiem. Do you think he effectively creates a memorial to those whose lives were taken by war?

How the Vaughan Williams Pastoral Symphony is Greatly Misunderstood

Ralph Vaughan Williams’ Symphony No. 3, A Pastoral Symphony is a greatly misunderstood work, many taking the title quite literally rather than understanding its true purpose. Today, let’s continue our chat about music inspired by WWI by looking at this moving symphony.

Vaughan Williams wrote his “Pastoral” Symphony in 1922. While many believe it relates to the English landscape, providing peace and rest to the listener, it is actually quite the opposite. Vaughan Williams uses his Third Symphony to depict the terrain of the WWI battlefields and writes in a way that causes his listeners to confront loss and death, remembering those who have found eternal rest. The symphony is unique in that each movement is slow. Vaughan Williams frequently changes the tonal center, causing his audience to feel emotionally unsettled.

Below you can listen to this symphony. Listen especially in the second movement during which a trumpet cadenza depicts a bugler that the composer heard practicing during the war:

WWI and Ravel’s Le tombeau de Couperin

This month we are looking at music inspired by war or written in commemoration of tragic events connected to war. This week, let’s focus on music written as a result of WWI, beginning with Maurice Ravel’s Le tombeau de Couperin.

During WWI, Ravel initially opted to refrain from serving in the military due to his small stature. He figured he would be able to help his country more by writing music. When his brother enlisted, however, young Ravel could not resist and decided to join as a nurse aide. He later went on to serve as a truck driver, delivering war materials by night. Following his mother’s death, Ravel was discharged from the military and sent home where he completed the piano version of Le tombeau de Couperin.

Le tombeau de Couperin is six movements in length, each dedicated to one of Ravel’s friends who died in the war. He gave it this particular title because the piece originated as homage to French music during the age of Francois Couperin (18^th century) but, following his military service, it came to reflect the tragedy brought on by war. The piece acts as a memorial rather than actually depicting battle. It is in the style of a Baroque suite with an introduction followed by a series of dances. Here is Angela Hewitt performing the piano version of Le tombeau de Couperin:

In 1919, Ravel orchestrated four of the six movements. You can hear this version below: