Editing Benjamin Britten (section)

===1960s===
By the 1960s, the Aldeburgh Festival was outgrowing its customary venues, and plans to build a new concert hall in Aldeburgh were not progressing. When redundant Victorian [[Malthouse|maltings]] buildings in the village of Snape, six miles inland, became available for hire, Britten realised that the largest of them could be converted into a concert hall and opera house. The 830-seat Snape Maltings hall was opened by the Queen at the start of the twentieth Aldeburgh Festival on 2 June 1967; it was immediately hailed as one of the best concert halls in the country.<ref>[[William Mann (critic)|Mann, William]], "Queen opens concert hall", ''The Times'', 3 June 1967, p. 7; and [[Edward Greenfield|Greenfield, Edward]], "Inaugural Concert at the Maltings, Snape", ''The Guardian'', 3 June 1967, p. 7.</ref> The hall was destroyed by fire in 1969, but Britten was determined that it would be rebuilt in time for the following year's festival, which it was. The Queen again attended the opening performance in 1970.<ref>Greenfield, Edward. "Queen at new Maltings concert", ''[[The Guardian]]'', 6 June 1970, p. 1.</ref>

[[File:RIAN archive 25562 Mstislav Rostropovich and Benjamin Britten after a concert.jpg|thumb|upright|left|[[Mstislav Rostropovich]] and Britten, 1964]]
The Maltings gave the festival a venue that could comfortably house large orchestral works and operas. Britten conducted the first performance outside Russia of Shostakovich's [[Symphony No. 14 (Shostakovich)|Fourteenth Symphony]] at Snape in 1970.<ref>[[William Mann (critic)|Mann, William]]. "Shostakovich special", ''The Times'', 15 June 1970, p. 10.</ref> Shostakovich, a friend since 1960, dedicated the symphony to Britten;{{Sfn|Matthews|2003|p=124}} he was himself the dedicatee of ''The Prodigal Son''.{{Sfn|Carpenter|1992|p=482}} Two other Russian musicians who were close to Britten and regularly performed at the festival were the pianist [[Sviatoslav Richter]] and the cellist [[Mstislav Rostropovich]]. Britten composed his [[Cello suites (Britten)|cello suites]], ''[[Cello Symphony (Britten)|Cello Symphony]]'' and [[Cello Sonata (Britten)|Cello Sonata]] for Rostropovich, who premiered them at the Aldeburgh Festival.{{Sfn|Matthews|2003|pp=124–125, 127}}

One of the best known of Britten's works, the ''[[War Requiem]]'', was premiered in 1962. He had been asked four years earlier to write a work for the consecration of the new [[Coventry Cathedral]], a [[Modern architecture|modernist]] building designed by [[Basil Spence]]. The old cathedral had been left in ruins by an [[Coventry Blitz|air-raid on the city]] in 1940 in which hundreds of people died.{{Sfn|Ray|2000|p=155}} Britten decided that his work would commemorate the dead of both World Wars in a large-scale score for soloists, chorus, chamber ensemble and orchestra. His text interspersed the traditional [[Requiem|Requiem Mass]] with poems by [[Wilfred Owen]]. Matthews writes, "With the ''War Requiem'' Britten reached the apex of his reputation: it was almost universally hailed as a masterpiece."{{Sfn|Matthews|2003|p=127}} Shostakovich told Rostropovich that he believed it to be "the greatest work of the twentieth century".{{Sfn|Blyth|1981|p=151}}

In 1967 the BBC commissioned Britten to write an opera specially for television. ''[[Owen Wingrave]]'' was based, like ''The Turn of the Screw'', on a ghost story by [[Henry James]].<ref name=grove/> By the 1960s Britten found composition much slower than in his prolific youth; he told the 28-year-old composer [[Nicholas Maw]], "Get as much done now as you can, because it gets much, much more difficult as you grow older."<ref name=max/> He did not complete the score of the new opera until August 1970.<ref name=grove/> ''Owen Wingrave'' was first broadcast in Britain in May 1971, when it was also televised in Austria, Belgium, Denmark, France, Germany, Ireland, the Netherlands, Norway, Sweden, Switzerland, the US and Yugoslavia.<ref>[[Peter Evans (musicologist)|Evans, Peter]]. "Britten's Television Opera", ''[[The Musical Times]]'', Volume 112, No. 1539, May 1971, pp. 425–428 {{JSTOR|955942}}{{Subscription}}.</ref>