BENJAMIN BRITTEN REJOICE IN THE LAMB Festival Cantata for Chorus (SATB) with Treble, Alto, Tenor and Bass solos, and Organ Op. 30 Words by Christopher Smart BOOSEY (cy HAWKES @Q- wwwhalleonard.comREJOICE IN THE LAMB Op. 30 Festival Cantata for Chorus (SATB) with Treble, Alto, Tenor and Bass solos, and Organ. Composed May-17 July 1943. Text by Christopher Smart. First published by Boosey & Hawkes in 1943. Dedication: “For the Rev. Walter Hussey and the choir of St. Matthew's Church, Northampton, on the occasion of the 50th anniversary of the consecration of their church, September 21st 1943,” First performance: 21 September 1943, St. Matthew’s Church, Northampton, England. Choir of St. Matthew’s Church, Northampton, Charles Barker (organ), Benjamin Britten (conductor). First broadcast: 31 October 1943, BBC Home Service. Choir of St. Matthew's Church, Northampton, Benjamin Britten (conductor). Duration: 16 minutes Available orchestration: Imogen Holst’s orchestration, written at the request of Benjamin Britten for a concert given at the 1952 Aldeburgh Festival. Scored for small orchestra, it realizes the orchestral colors latent in the more familiar organ version with great skill and imagination. Available on rental from Boosey & Hawkes. Other Britten compositions from this period: Now sleeps the crimson petal (Tenor, Horn and Strings, completed 22 March 1943); Serenade, Op. 31 (Tenor, Horn and Strings, March-April 1943); Prelude and Fugue, Op. 29 (18-part String Orchestra, May 1943); The Rescue (incidental music to the radio drama, September-November 1943); The Ballad of Little Musgrave and Lady Barnard (Male Voices and Piano, completed 13 December 1943). ! For all works contained herein: Unauthorized copying, arranging, adapting, recording, Intemet posting, public performance, or other distribution of the printed music in this publication is an infringement of copyright. Infringers are liable under the law. ‘The right of Benjamin Britten to be identified as the composer of the musical work entitled REJOICE IN THE LAMB is hereby asserted. The name of Benjamin Britten as composer must therefore be stated in association with any Performance, recording or other use of the work or any part of it. Any derogatory treatment of this work is illegal. No ‘arrangement or adaptation of this work may be made without the prior written permission of the publishers. Printed in U.S.A. and distributed by Hal Leonard Corporation, Milwaukee WIIt was in 1937 that Rev, Walter Hussey, then Vicar of St. Matthew’s Church, Northampton, and later Dean of Chichester Cathedral had the idea of bringing artists and the Church back together — something extraordinary in England at that time. “How sad it was,” he said, “that the arts had become largely divorced from the Church: Sad, because artists think and meditate a lot and are in the broadest sense of the word ‘religious’, They create fine expressions of the human spirit which can symbolize and express worship, as well as conveying the truth of God to mankind in a vivid and memorable way.” Hussey began to think about the 50th anniversary of the consecration of St. Matthew’s Church and his desire to “get a piece of music written for the occasion.” He wrote to Benjamin Britten in March, 1943: “I have been wondering whether you would consider the possibility of a commission to write some music for our Jubilee celebrations next September — perhaps a four- part anthem for our voluntary choir of men’s and boys’ voices. I have had a great ‘bee’ about a closer connection between the Church and the arts.” Britten responded that he “also had a ‘bee’ about a closer connection between the arts and the Church and am thinking about something lively for such an occasion.” ? Interestingly, the piece was begun shortly thereafter (in May) and completed in July, 1943. The poem which Britten chose, “Rejoice in the Lamb” by Christopher Smart is a long poem from which Britten selected certain parts totaling 10 sections. Smart, an 18th-century poet in whom genius and madness were nearly together, was practically unknown at that time, The theme is “Benedicite Omnia opera’ with some of God’s humblest creations being called upon to testify to the glory of God. When Hussey expressed reservations about the ‘cat’ section, Britten replied: “P’ve used a bit about the cat Jeffrey, but don’t see how it could hurt anyone — he is such a nice cat.” The Times of London reviewed the concert and felt that ‘the spirit of the curious, vivid poem has been caught and the outcome of a commission by the Church for a modern work of, religious art’ is beautiful. The title, “Rejoice in the Lamb” is the same that Smart used, only his was in Latin — “Jubilate Agno.” The title comes from a passage in the book of Revelation: “Salvation to our God which sitteth upon the throne, and unto the Lamb.” Smart wanted “Jubilate Agno” to be closely parallel to portions of the Order for Morning Prayer and the Psalter and was intended as a responsive reading, which is why the Let and For sections are physically distinct while corresponding verse for verse. He was admitted to St. Luke’s Hospital for the insane in 1757 and “Jubilate Agno” was begun after this time and took four years to complete, the last line being written on 30 January 1763 very near the date of Smart’s release from a second asylum. Britten came to St. Matthew's and conducted final rehearsals and the premiere. He later wrote to Rev. Hussey: “I do hope that I have given you something which will be of more lasting value than just for this particular occasion.” And, indeed, he had! — Philip Brunelle * Benjamin Bricten: Britten: A Catalogue of the Published Works, compiled and edited by Paul Banks (Aldeburgh: published by The Britten-Pears Library for the Britten Estate Lit ited, 1999), 65-69 ? Letters from a Life: Selected Letters and Diaries of Benjamin Britten Volume Two 1939 — 45 ‘edited by Donald Mitchell and Philip Reed (London: Faber and Faber Limited, 1991), 1139, 1142, 1143, 1157, 1161, 1162NOTE FROM THE ORIGINAL PUBLICATION ‘The words of the Cantata ~ “Rejoice in the Lamb” ~ are taken from a long poem of the same name. The writer was Christopher Smart, an eighteenth century poet, deeply religious, but of a strange and unbalanced mind. “Rejoice in the Lamb” was written while Smart was in an asylum, and is chaotic in form but, contains many flashes of genius. Itis a few of the finest passages that Benjamin Britten has chosen to set to music. The main theme of the poem, and that of the Cantata, is the worship of God, by all created beings and things, each in its own way. ‘The Cantata is made up of ten short sections. The first sets the theme. The second gives a few examples of one person after another being summoned from the pages of the Old Testament to join with some creature in praising and rejoicing in God. The third is a quiet and ecstatic Hallelujah. In the fourth section Smart takes his beloved cat as an example of nature praising God by being simply what the Creator intended it to be. The same thought is carried on in the fifth section with the illustration of the mouse. The sixth section speaks of the flowers ~ “the poetry of Christ.” In the seventh section Smart refers to his troubles and suffering, but even these are an occasion for praising God, for it is through Christ that he will find his deliverance. The eighth section gives four letters from an alphabet, leading to a full chorus in section nine which speaks of musical instruments and music’s praise of God. The final section repeats the Hallelujah. — Walter Hussey Text from Jubilate Agno by Christopher Smart CHORUS Rejoice in God, O ye Tongues; give the glory to the Lord, and the Lamb. Nations, and languages, and every Creature, in which is the breath of Life. Let man and beast appear before him, and magnify his name together. Let Nimrod, the mighty hunter, bind a Leopard to the altar, and consecrate his spear to the Lord. Let Ishmael dedicate a Tyger, and give praise for the liberty in which the Lord has let him at large. Let Balaam appear with an Ass, and bless the Lord his people and his creatures for a reward eternal. Let Daniel come forth with a Lion, and praise God with all his might through faith in Christ Jesus. Let Ithamar minister with a Chamois, and bless the name of Him, that cloatheth the naked. Let Jakim with the Satyr bless God in the dance. Let David bless with the Bear ~The beginning of victory to the Lord - to the Lord the perfection of excellence — Hallelujah from the heart of God, and from the hand of the artist inimitable, and from the echo of the heavenly harp in sweetness magnifical and mighty.TREBLE SOLO For I will consider my cat Jeofiry. For he is the servant of the Living God, duly and daily serving him. For at the first glance of the glory of God in the East he worships in his way. For this is done by wreathing his body seven times round with elegant quickness. For he knows that God is his Saviour. For God has blessed him in the variety of his movements. For there is nothing sweeter than his peace when at rest. For I am possessed of a cat, surpassing in beauty, from whom I take occasion to bless Almighty God. ALTO SOLO For the Mouse is a creature of great personal valour. For ~ this a true case ~ Cat takes female mouse — male mouse will not depart, but stands threat’ning and daring. .If you will let her go, I will engage you, as prodigious a creature as you are. For the Mouse is a creature of great personal valour. For the Mouse is of an hospitable disposition. TENOR SOLO For the flowers are great blessings. For the flowers have their angels even the words of God's Creation. For the flower glorifies God and the root parries the adversary. For there is'a language of flowers. For flowers are peculiarly the poetry of Christ. CHORUS For I am under the same accusation with my Saviour — For they said, he is besides himself, For the officers of the peace are at variance with me, and the watchman smites me with his staff. For Silly fellow! Silly fellow! is against me and belongeth neither to me nor to my family. For I am in twelve HARDSHIPS, but he that was born of a virgin shall deliver me out of all. RECITATIVE (BASS SOLO) AND CHORUS: For H is a spirit and therefore he is God. For K is king and therefore he is God. For L is love and therefore he is God. For M is musick and therefore he is God. For the instruments are by their rhimes. For the Shawm rhimes are lawn fawn moon boon and the like. For the harp rhimes are sing ring string and the like. For the cymbal rhimes are bell well toll soul and the like. For the flute rhimes are tooth youth suit mute and the like. For the Bassoon rhimes are pass class and the like. For the dulcimer rhimes are grace place beat heat and the like. For the Clarinet rhimes are clean seen and the like. For the trumpet rhimes are sound bound soar more and the like. For the TRUMPET of God is a blessed intelligence and so are all the instruments in HEAVEN. For GOD the father Almighty plays upon the HARP of stupendous magnitude and melody. For at that time malignity ceases and the devils themselves are at peace. For this time is perceptible to man by a remarkable stillness and serenity of soul. CHORUS: Hallelujah from the heart of God, and from the hand of the artist inimitable, and from the echo of the heavenly harp in sweetness magnifical and mighty.For the Rev. Walter Hussey and the choir of St. Matthew's Church, Northampton, on the occasion of the 50th anniversary of the consecration of their church, September 2ist 1943 REJOICE IN THE LAMB Festival Cantata CHRISTOPHER SMART BENJAMIN BRITTEN Op. 30 Measured and mysterious (J = 63) (Andante misterioso) Ppp sist. TREBLES Re-joice Pppsist. ALTOS Re-joice Pppsist TENORS = Re-joice Ppp sist BASSES Re-joice in God, O Tongues; Measured and mysterious (4 = 63) (Andante misterioso) ORGAN PRP (stonly) < (Pea Ppp eres glo-ry to the Lord,and the Lamb. Na-tions, and Ppp crese the Lord, and Na-tions, Ppp crese. the Lord, and Na-tions, pep (re the Lord, and ‘Na-tions, © Copyright 1943 by Boosey & Co., Lid. Copyright Renewed. ‘Copyright for all countries. All rights reserved—3— —3— —I— Jan - gua - g&3,__————__ and ver-y Crea- ture in which is the —— —— —3— I = lan-gua - ges, and sver=y — Crea-ture in which is the — —— —o 3-7 Jan-gua - ges, and Crea - ture in which is the ——— —3I— a lan- gua - ges, e-ver-y Crea-ture in which is the f —— Wp SA breath of | Life. <<" f sO breath of | Life. <<" Sf breath of Life. breath of Life. (any tf‘attaccaWith vigour (2) = 200) (Con bray pp with force Let Nim - ppnihfarce the might-y Let Nim - pp sith force the might-y Let Nim - with force fs 3 5 , the might-y the might-y With vigour (J = 200) (+d) =— ‘pp short hun = ter, bind a Leo-pard to the con-se-crate his spear — to the “pp short bind a Leo-pard tothe al - tarand con-se-crate his spear to the ppshort hun = ter, bind @ Leo-pard tothe al - tarand con-se-crate his spear to the ppshort bind a Leo-pard to the con-se-crate his spear G44)de-di-cate Ish - mail de-di-cate a Ty - ger, Lord, Let Ish - mail de-di-cate a Ty - ger, fs 3 = de-di-cate =P and give which the Lord has Pp and give which the Lord has PR. and give which the Lord has PP and give which the Lord hasFy Jededy Lf ' ' large. Ba-laam ap-pear with an and bless the Lord his Ba-laam ap-pear with an Ass,____and bless the Lord his Ho => = tt = > st Ba-laam ap-pear with an and bless the Lord his Ba-laam ap-pear with an Ass,____and bless the Lord his -_—— Py fr and his crea-tures for tures for and his crea-tures for 2p and his crea-tures for(+d) Da-ni-el come forth with a Lion, __and_ praise God with all his might through — ae <> coy Da-ni-el come forth with a Lion, ____and_ praise God with all his might through ——ae x = Da-ni-el come forth with a Lion, ___and_ praise God with all his might _ through > > s =— forth with Lion, —_ and praise God with all his might (dade) (+d) +d. dadeded. an go Geet faith in Christ Je - sus. Let 1 e z min - is-ter with a faith in Christ Je - sus. Lett I with a faith in Christ Je - sus. Let 1 tha-mar min - is-ter with a faith in Christ Je - sus. Let 1 = tha-mar min - is-ter with a (diedied Geeseededededy Cha-mois, bless the name Cha-mois, and the name the Cha-mois, and bless. the name ~—of Him that cloath-eth the Cha-mois, and bless the name cloath-eth (d+dedededy— Pp aoe Oe ee God. in the dance, crese. molto = a = a = God in the dance, eresc, molto ee God - in the dance, crese, molto God in the dance, t a ‘crese.1 molto bless with the bless with the bless with theper-fee-tion per-fee-tion per-fec-tion cel-lence. cel-lence.i iD} Gently moving (4 = 60) ndanie con moro) *p riythnic Hal - P jah, Hal - p rhythmic Hal - le *p rhythmic Hal - [9] Gently moving (J = 60) (Andante con moto) (pp sustained [Ped] — pif ores. —= = Iu - jah from the heart of God, and from the hand of, —= pit, crese. from the heart of God, and from the hand pli.f from the heart of + God, —___ Hal - le - lu - jah from the hand of the tf erese ——— Hal - le - lw - jah from the heart of God, and from the hand ___ +2.2 rhythmic to be sung approximately ass12 fo3— = in - im-it-a - ble, and from the ¢ - cho of the P SS pr =P ae tist in = - im it - a- ble, and, and =>— _—_——"—8— Pp PB in - im it - a- ble, tf = oP it - a-ble, 3 on hea = ven-ly harp in sweet - ness mag-ni - fi-cal and might - 3 ——S i from thee - — cho, the e ~ cho of the hea ven-ly harp, 3 an, e - choof — thehea = —ven-ly harp in sweet - ness mag-ni - fi > ae dim. from the e - choof the hea - — venly harp, mag-13 10) PP Hal - le-lu - jah, Hal - le- lu - jah, Hal - le~ PP - fi-cal and might - => Hal = le - lu - jah, Hal - le-lu - — and might - y, — - fi-cal and might - jah, Hal - le- ee jahHal -le- lu - jah, Hal atiaceaTi] Quietly moving (. [-.] = 58) (Andante tranquilio) TREBLE SOLO clearly ———_ For I will con - si-der my Cat (Solo) 3 =P ([Man.] uo 3 = —— Jeof - fry, For he_______is_ the ser-vant of the cs Tee, 3 du-ly and dai - ly serv - ing him, — 3a rsa AR sa sempre p a For at the first = Yeah15 aa er glance of the glo-ry of God in the East he wor - ships in his way. For oa ASQ on 34 tr PP smooth —— this is done by wreath-ing his bo-dy _se-ven times round—__—with—e-le - gant ma psn Hy Avot ath het a) ——$ (J f quick - ness. Forhe knows thatGod is his Sa - viour. SIRREPAEERS SEES tt iif has bless'd him in the va~ty of his move - ments, For there is no - thing trom tremens Ee sweet-er than his peace Fe trbeeeemneeeenens FF ppparlamte, freely express. For I am possessed of a cat, sur-pass-ing in beau-ty, fromwhom! take oc - a = ca-sion to bless Al-migh - ty (ony atacca13] Fast and light (J = 100) (Presto, leggiero) ALTOSOLO of For the Mouse is a aoa Oe [Manuel] p > oS - ture of great per - so-nal va - tour. ee ee 14] freely @ tempo (ad lib.) Q_ pp =f For-this is a truecase_ Cat _ takes fe-male mouse male mouse will a a —= —o om not de - part,butstands threat - ‘ning aos a18, S dramatic ff Ifyou will let her go, T willen = gage you, aspro-di_- ~—giousa = Hh Y ¢ a eX fe ee le ‘animated 15]a tempo t crea-ture as you are, For the Mouse Se ture of — great per = so-nal as tee rit. - = atempo try = table dis - po - 4 of19 16] Slow (4 = 54) (Lento) TENOR SOLO _ sweetly For the flowers are great bles - sings, always very smooth Pes] UoR ony) — = For the flowers are great —_bles - sings. flowers have their an - gels - ven the words of God's For the — flower glorifies SS ee20 ae the par-ries the ad ~ ver-sa- ry. — For there Jan = guage of flowers. flowers are pe - cu - liar - ly the2 Slow and passionate (4 (Grave ed appassionato) "pp TREBLES For 1 am under the same ae - cu - sa - tion with my —— pp ALTOS — For 1am un der the =~ same = ac. - cu - sa - tion with my ‘pp TENORS SS For Tam un - der the =~ same = ac. - cu - sa - tion with my pp BASSES SS For Tam un - der the =~ same =~ ac - cu - sa - tion__ with my Slow and passionate (J = 54) (Grave ed appassionato) fon —== =— pp Sa-viour For they said, fp. —= Sa-viour For they said, his. be - sides him-self. — p he is be - sides him-self. PP Sa-viour — For they is be said, ~ sides him-self. 91) P ———2 Pp $= #-—_ of-fi-cers of the peace are at va-ri-ance with me— Se of-fi-cers of the peace are at va-ri-ance with me— SH of-fi-cers of the peace are at va-ri-ance with me— SS] oS of-fi-cers of the peace are at va-ri-ance with me_ crese, —————————-_ + and the — watch-man smites. me with his staff. res ————_ + watch-man smites me with his staff. rese ———————_ + and the watch-man smites. me with his staff. crese ——————__ + watch-man smites me with his staff. =s— (Solo), | ff =} (Ped)23 lamenting [55 (lamentoso) ft f. => —— is a-gainst me and be-long-eth nei-ther to me nor to ——$= Sf, —— a => Ve? ——— is a-gainst me and be-long-eth nei-ther to me nor to my —— {> f ——s — is a-gainst me. and be-long-eth nei-ther to me nor to > f | ——— is against me and be-long-eth nei-ther to me nor to my (Solo) i ——24 broadly po i] argamente) pp sis pps, broadly argamente) ——~ am in twelve Hard- ships, that was bom of a res —— Hard - ships, but he that wasborn of a vir - gin shall de - ee — For twelve Hard - ships, but he — that was a in twelve Hard - shi but he that was born of a vir - gin25 — dim. ———— - gin’ shall de - li - ver —— ft -ti - me shall de - li - ver me out of all, SF” oe: bon ofa vir - gin shall de li - ver me out of, a —— shall de - li shall de - li - ver me - li- ver me all, shall de - li - ver ‘antacca26 Recit. Slow (Leno) “pp BASS SOLO 22| an ~~ Pit a For His a spi-rit and there-fore he is God. For K is [Ped.} (32f. only) —= , = > SS A a — and there-fore he is God. For Lis love and there-fore he is God, a 2 a TREBLES i And fF there - fore TENORS ff And there - fore with force. Ce a CHOIR BS F(BASS SOLO) M_ is mu-sick and there-fore he— is God. And there - fore he — 1827 (23) Very gay and fast (~) (2 = 96) Vivace) God God. Very gay and fast (2) (4 = 96) (ivace) in-stru - ments in-stru ~ ments —— in-stru - ments28 nf For the Shawmrhimes are lawn af > For the Shawmrhimes are lawn mf For the Shawmrhimes are moon boon and the like, nf —_s = = For the Shawmrhimes are moon boon and the like, > = —— and the like. => = For the harp rhimes are -_ fawn and the like. For the harp rhimes are GS29 For the harp rhimes are o_ For the harp rhimes are = 25 iif and the like. =— For the cym-bal rhimes are and the like. — pif ro bell For the cym-bal rhimes are ae For the cym-bal rhimes are bell a -30 if For the flute rhimes are tooth A o—— For the flute rhimes are tooth 26 pif ——> For the flute rhimes are “suit and the — like. —___ — and the like. — — and the like. t— ———— For the Bas-soon rhimes are * pronounce: soote, moote.31 foo.“ For the dul-ci-mer thimes are grace place Sf — For the dul-ci-merrhimes are =— and the like. —— the Cla-ri-netrhimes are clean seen f —, For the Cla-ri-netrhimes are clean 27|32 ‘trum-pet rhimes are sound place and the like. For the trum-pet rhimes are sound trum-pet rhimes are sound trum-pet rhimes are sound and the like. and the like. and the like. more and the like. soos eet,-tel - li- gence— —— = stru - ments = stru - ments -tel = li- gence — — in - stru - ments —=—_the fa-ther Al - might - y Heav’n, [29] poco a poco rall. -35 - - - - sempre pit: tude and mel —= _ — tude and mel —= _ ——— tudeand mel - 0 - dy. sempre pitt 30] Very much slower (J. = 48) rae. == = = (tolio meno mosso) that time that time ma - lig - ni - ty that time ma - lig - ni - ty PP, For at that time m: 30] Very much slower (J. = 48) == (Motio meno mosso) Ged ) rah. = 7 ee [Ped. only}36 them-selves are them-selves are de - vils them-selves are de - vils them-selves are pli For this time is per-cep-ti-ble to itp. —4i— For this time is per-cep-ti-ble to37 eae by a re - mark-a-ble still - ness and se-ren - dim. = ren 25 by a re - mark-a-ble still - ness and se-ren-i- ty of rake 2 238 31] Gently moving (as before) (Andante con moto (come sopra)) *p rhythmic +p rhythmic Hal - le - lw - jah, Hal Gently moving (as before) (Andante con moto (come sopra)) ‘pp sustained (Ped) — pif —_cvese -lu - jah from the heart of God, and from the hand of the ar - tist — Plt cresc. from the heart of God, and from the hand if, from the heart of God, Hal - le - lu = jah from the hand —— nth, ee Hal - le - lu - jah from the heart of God, and from the +).4 rhythmic to be sung approximately asd 239 ta =— >» and from the e - cho of the ——— in - im-it-a - ble, —= f—3— A a tist in = im- it - a- ble, and, = — 3 — P artist in-im = it- a-ble, and from the f = SS —— 3 a Pee in-im it - a-ble, —— - fi-cal and might - SS in sweet - ness mag - —— F from thee - cho, the © = cho of the hea = - —ven-ly harp, 3 aim, ven-ly harp in sweet - ness mag-ni - fi- 3 — dim. from the e - choof the hea - — ven-ly harp, mag-40 32) PP. Hal - le-lu - jah, Hal - le - lu - jah, Hal - Ie- PP. mag-ni - fi-cal and might Hal - le - lu ~ jah, Hal - le-lu - => — and might =—— jah, Hal - Ie- jah, Hal = le - lu rit, e - Duly 17th 1943]BENJAMIN BRITTEN was born in Lowestoft, Suffolk, on the east coast of England, on 22 November 1913. Although he was already composing vigorously as a child, he nonetheless felt the importance of some solid guidance and in 1928 turned to the composer Frank Bridge; two years later he went to the Royal College of Music in London, studying with Arthur Benjamin, Harold Samuel and John Ireland. While still a student, he wrote his ‘official’ Op. 1, the Sinfonietta for chamber ensemble, and the Phantasy Quartet for oboe and string trio, and in 1936 he composed Our Hunting Fathers, an ambitious song-cycle for soprano and orchestra, which confirmed Britten’s virtuosic vocal and instrumental technique. He was already earning his living as a composer, having joined the GPO (Post Office) Film Unit the previous year; the collaboration he began there with the poet W. H. Auden was to prove an important one throughout his career. Britten found himself in the United States at the outset of World War II and stayed there for three more years, returning to Britain in 1942. In America he produced a number of important works, among them the orchestral Sinfonia da Requiem, the song-cycle Les Illuminations for high voice and strings, and his Violin Concerto. With the opera Paul Bunyan he also made his first essay in a genre that would be particularly important to him. Back in Britain, where as a conscientious objector he was excused military service, he began work on the piece that would establish him beyond question as the pre-eminent British composer of his generation the opera Peter Grimes, premiered to an ecstatic reaction on 7 June 1945. The Young Person’s Guide to the Orchestra: Variations and Fugue on a Theme of Purcell - a cornerstone of the orchestral repertoire - was first performed in the following year. Indeed, Britten now composed ‘one major work after another, among them the operas The Rape of Lucretia (1946), Albert Herring (1947), Billy Budd (1951), Gloriana (1953), The Turn of the Screw (1954), Noye’s Fludde (1957), A Midsummer Night's Dream (1960), Owen Wingrave (1970-71) and Death in Venice (1971-73); the Nocturne for tenor and orchestra (1958), the War Requiem (1961-62), a Cello Symphony (1963) for Rostropovich and his orchestral Suite on English Folk Tunes (1974). Britten’s importance in post-War British cultural life was enhanced by his founding of the English Opera Group in 1946 and the Aldeburgh Festival two years later. His career as a composer was matched by his outstanding ability as a performer: he was both a refined pianist and a spontaneous and fluent conductor ~ his Mozart was particularly highly esteemed. Britten’s later career was clouded by bouts of ill-health, culminating in heart disease. He never fully recovered from open- heart surgery in 1973, and died on 4 December 1976, at the age of 63, a few months after being appointed a Life Peer, ‘Baron Britten of Aldeburgh in the County of Suffolk’~ the first composer ever to know that honor.