Cabaret Songs
Benjamin Britten (1913-1976)
W.H. Auden (1907-1973)
Composed between 1937 and 1939
The 1930s marked the height of Benjamin Britten and poet W. H. Auden’s collaborative time together. Despite their differing political views and Auden’s openly gay lifestyle, which was a bit too radical for the shy and reserved composer, the two were able to work together to produce compelling works. Occasionally, Auden would write texts explicitly with Britten in mind, attempting to persuade him into recognizing his own sexual identity and thus being free to fully realize his dreams. These four Cabaret Songs, which were written over a period of two years, use texts that reflect the times Auden enjoyed in the seedy cabaret nightlife of Berlin in the early 1930s.
Tell me the truth about love displays Auden’s wry humor, which is mirrored perfectly by Britten’s closely bunched harmonies and overtly simplistic piano and vocal lines. Britten’s choice to set most of the text in a vocal register nearer to speaking than singing, allows the performer to effectively display Auden’s sarcasm and dry wit, placing the focus directly on the text and not the technical prowess of the musicians.
Benjamin Britten (1913-1976)
W.H. Auden (1907-1973)
Composed between 1937 and 1939
The 1930s marked the height of Benjamin Britten and poet W. H. Auden’s collaborative time together. Despite their differing political views and Auden’s openly gay lifestyle, which was a bit too radical for the shy and reserved composer, the two were able to work together to produce compelling works. Occasionally, Auden would write texts explicitly with Britten in mind, attempting to persuade him into recognizing his own sexual identity and thus being free to fully realize his dreams. These four Cabaret Songs, which were written over a period of two years, use texts that reflect the times Auden enjoyed in the seedy cabaret nightlife of Berlin in the early 1930s.
Tell me the truth about love displays Auden’s wry humor, which is mirrored perfectly by Britten’s closely bunched harmonies and overtly simplistic piano and vocal lines. Britten’s choice to set most of the text in a vocal register nearer to speaking than singing, allows the performer to effectively display Auden’s sarcasm and dry wit, placing the focus directly on the text and not the technical prowess of the musicians.
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