Indeed, everything composed here by Benjamin Britten comes either before the composer left for Canada and the US or upon his return to England.
The recording title is confusing, but understandable. The last track takes its cue from the BBC / NBC documentary series Britain to America, thus a wonderful play on words is created for this program.
If I thought NMC's previous Britten recording, Britten on Film, was more for the Britten enthusiast rather than a casual film or Classical Music listener, Britten to America is a curio. Despite the headline performers of Sir Mark Elder leading the Hallé Orchestra, Elder truly only leads one 17-minute incidental suite, and Hallé hangs on for one additional two-minute track, with the young Harry Ogg at the podium.
Otherwise, the rest of the incidental music scores are composed for two pianos, along with an array of colorful percussion. I could imagine this music being orchestrated from the two-piano score, but that wasn't attempted here. Two trumpets add to the heft of On the Frontier, while a ukulele makes two appearances in The Ascent of F6. Vocal soloists and a narration, voiced by Samuel West, come and go among all of these works.
W. H. Auden's verse and prose for The Ascent of F6 is highfalutin and strange. Its music is a bit spare as well, featuring the two pianos without any support from winds or strings. Jean Rigby and Andrew Kennedy's solos are the best moments, where one solo rhymes 'tennis elbow' with 'have got B. O.' to humorous effect. Better is On the Frontier for the same instruments, plus two trumpets. Ex Cathedra, an eight-member vocal ensemble under the direction of Jeffrey Skidmore, are characterful throughout, with an especially lovely final chorale. Frontier's story, on the other hand, reminds me some of The Mouse That Roared, particularly in its skewering portrayal of government and society at the precipice of war. Here, I can better appreciate Auden's artistic purpose compared to Ascent's nonsense.
Most surprising is how much Britten is trying to ape popular music styles in his music. The Ascent of F6 tries to do this in a modernistic Britten-esque style, whereas On the Frontier is much more populous sounding. There are cabaret songs, jazz numbers, waltzes, blues, etc. and the presence of pianos gives a realistic feeling of performances in small spaces.
The final Where Do We Go From Here? is both Broadway and commercial jingle, where soprano Mary Carewe really belts out its music, and her second ditty, Roman Wall Blues, is a curious take on the Roman retreat from Hadrian's Wall.
The most straight forward selection, and best on the program in my opinion, comes with full orchestra; An American in England, where the duties of women approaching the oncoming WWII are highlighted. The opening British travelogue is exactly what I would expect to hear on a radio program, and Britten does it so well. Narrator Samuel West is perfect as the buttoned-up narrator, especially here with a Yankee accent.
Those looking to explore every hidey-hole of Britten's composing career will find much to enjoy here. The performers are excellent, as are the NMC sonics, plus the liner notes with the CD is exhaustive in its research.
Yet, I find this music more curious than something to live with or love. If new to Britten's works, I certainly wouldn't begin here, however the performances are most enjoyable. Plus, there is a whole lot of music to hear on this recording!
Works
The Ascent of F6 (5.50)
An American in England (9.32)
On the Frontier (14.07)
Hadrian's Wall: Roman Wall Blues (13.03)
Britain to America: Where Do We Go From Here? (2.06)
Soloists
Mary Carewe, mezzo-soprano
Jean Rigby, mezzo-soprano
Andrew Kennedy, tenor
Samuel West, narrator
Jonathan Holland, trumpet
Bruce Nockles, trumpet
Nigel Woodhouse, ukulele
Huw Watkins, piano
Mervyn Cooke, piano
Lucy Walker, piano
Matthew Dickinson, percussion
Performers
Ex Cathedra
Jeffrey Skidmore, conductor
Hallé Orchestra
Sir Mark Elder & Harry Ogg, conductor
Label: NMC
Year: 2013
Timing: 78.41
A curious program of incidental music for radio and stage plays. Only The Ascent of F6 rubbed me the wrong way, yet I really enjoyed An American in England.
All in all, this is a recording for those who really want to delve into the unknown Britten. Either way, these performances will do you just fine
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