Description

This piece underwent a lengthy development because Britten struggled to find an appropriate text. Auden was eventually approached and created the poem in 1940. Britten's composition was quickly acknowledged as a significant enhancement to the choral repertoire and has since established itself as one of his most lasting and favored choral pieces. It is a pleasant coincidence that Britten was born on the feast day of St. Cecilia (22 November). Cecilia is indeed the Patron Saint of musicians, believed to have sung hymns to God while facing martyrdom. The account of her death is chilling to read, and her singing in such dire circumstances seems almost miraculous! Britten eagerly engages with Auden's remarkable imagery. The poem's split into three 'movements' provides Britten with his musical framework, while the inclusion of a refrain ('Blessed Cecilia, appear in visions to all musicians, appear and inspire...') serves as a reference point indicating the conclusion of each part, as well as the entire piece. The three 'movements' vary significantly from one another. This is a demanding task that must not be approached carelessly. It requires considerate and meticulous preparation, comprehension of the lyrics, a willingness to address the challenges posed by the rapid pace of the 'scherzo' section, and a capacity to sustain pitch throughout this duration to ensure that the extremely low notes at the conclusion of the piece do not become even flatter due to an overall drop in pitch. With all this in mind, it is completely accessible for an amateur choir of decent skill, as long as sufficient rehearsal time is provided for its preparation. The choir must also have the ability to select five self-assured soloists. Although the solos are brief (with the first soprano solo being longer and distinct from the others), they pose challenges that can challenge a less self-assured singer.