Research Point – Extended Tonality – Britten

Britten’s ideas around contrasting a ‘tonal centre’ with other keys and scales provided within the same composition, highlights some interesting ideas in terms of composition.  As a pianist I often find myself frustrated by the constraints of the tradition diatonic system and am interested to see how Britten has blended historical techniques with a deep sense of chromaticism.

Programme Notes: Britten – The Turn of the Screw (1954)

Benjamin Britten’s The Turn of the Screw was premiered in Teatro La Fenice, Venice on the 14^th September 1954.  Conducted by the composer himself, the works are based on a novella by Henry James written in the late 1800’s.

Composed using a ‘twelve-note’ technique, Britten has seamlessly blended orchestral techniques based around a central ‘theme’, using both tonality and dissonance to create a theatrical and dramatic effect.  Based around the life of a Governess in London, this ghost story is equally split into two Acts and a Prologue, neatly packed within Britten’s twelve-note motif. 

The Prologue, using a Tenor voice to narrate a backdrop of the governess being offered a childcare role, offers an almost comical lyrical style backed perfectly by the solo piano.  Blending together harmonious arpeggiated runs with short dissonant chords, both the piano and vocals display a dramatic and theatrical score to this section.

Act One is made up of 8 scenes, all containing very different timbre and feel to them.  Each provides a further insight into Britten’s experimentations with tonality and is perfectly backed by a vocal score of Soprano, Treble and Tenors.   This Act tells the story of the Governess settling into her home and eventually discovering a ghost-like man in their midst.   The rich orchestral blend of sounds, overlaid with elements of chromaticism, Britten quickly portrays feels of joy, drama and intrigue. 

Act Two contains a further 8 scenes but uses larger dissonant features to create a darker and more dramatic sound.  During this section the orchestra are able to display a full range of rich layers motifs and bi-tonality to achieve this effect.  This dramatic sound provides a perfect score to the storyline that continues to tell of the demise of the Governess and the strange events occurring in the house.

The Britten-Pears Foundations (n.d.) writes that:

“The work is one of the most tautly constructed and tightly-knit of all Britten’s operas, the musical material almost wholly derived from the twelve-note ‘Screw’ theme heard near the work’s opening. However, this very concentration helps give this work its overwhelming feeling of intense claustrophobia and its astonishing dramatic power can have a shattering impact in the theatre.”