Editing Benjamin Britten (section)

===Song cycles===
Throughout his career Britten was drawn to the song cycle form. In 1928, when he was 14, he composed an orchestral cycle, ''Quatre chansons françaises'', setting words by [[Victor Hugo]] and [[Paul Verlaine]]. Brett comments that though the work is much influenced by Wagner on the one hand and French mannerisms on the other, "the diatonic nursery-like tune for the sad boy with the consumptive mother in 'L'enfance' is entirely characteristic."<ref name=grove/> After he came under Auden's influence Britten composed ''Our Hunting Fathers'' (1936), ostensibly a protest against fox-hunting but which also alludes allegorically to the contemporary political state of Europe. The work has never been popular; in 1948 the critic Colin Mason lamented its neglect and called it one of Britten's greatest works. In Mason's view the cycle is "as exciting as ''Les Illuminations'', and offers many interesting and enjoyable foretastes of the best moments of his later works."<ref name="mason1">Mason, Colin. [https://www.jstor.org/stable/936395 "Benjamin Britten"], ''[[The Musical Times]]'', Vol. 89, No. 1261 (March 1948), pp. 73–75 {{Subscription}}.</ref>

[[File:Britten-poets.jpg|thumb|left|Poets whose words Britten set included (clockwise from top l) [[William Blake|Blake]], [[Arthur Rimbaud|Rimbaud]], [[Wilfred Owen|Owen]] and [[Paul Verlaine|Verlaine]]]]
The first of Britten's song cycles to gain widespread popularity was ''[[Les Illuminations (Britten)|Les Illuminations]]'' (1940), for high voice (originally soprano, later more often sung by tenors){{Efn|Matthews comments that the work is "so much more sensuous when sung by the soprano voice for which the songs were conceived."<ref name="M56">{{Harvnb|Matthews|2003|p=56}}.</ref>}} with string orchestra accompaniment, setting words by [[Arthur Rimbaud]]. Britten's music reflects the eroticism in Rimbaud's poems; Copland commented of the section "Antique" that he did not know how Britten dared to write the melody.<ref name=grove/> "Antique" was dedicated to "K.H.W.S.", or [[John Woolford (muse)|Wulff Scherchen]], Britten's first romantic interest. Matthews judges the piece the crowning masterpiece of Britten's early years.<ref name= M56/> By the time of Britten's next cycle, ''[[Seven Sonnets of Michelangelo]]'' (1942) for tenor and piano, Pears had become his partner and muse; in Matthews's phrase, Britten wrote the cycle as "his declaration of love for Peter".<ref name= M56/> It too finds the sensuality of the verses it sets, though in its structure it resembles a conventional 19th-century song cycle. Mason draws a distinction between this and Britten's earlier cycles, because here each song is self-contained, and has no thematic connection with any of the others.<ref name=mason1/>

The ''[[Serenade for Tenor, Horn and Strings]]'' (1943) sets verses by a variety of poets, all on the theme of night-time. Though Britten described the cycle as "not important stuff, but quite pleasant, I think", it was immediately greeted as a masterpiece, and together with ''Peter Grimes'' it established him as one of the leading composers of his day.<ref name=dnb/> Mason calls it "a beautifully unified work on utterly dissimilar poems, held together by the most superficial but most effective, and therefore most suitable symphonic method. Some of the music is pure [[word painting|word-painting]], some of it mood-painting, of the subtlest kind."<ref name="mason2">Mason, Colin. [https://www.jstor.org/stable/933105 "Benjamin Britten (continued)"], ''[[The Musical Times]]'', Vol. 89, No. 1262 (April 1948), pp. 107–110 {{Subscription}}.</ref> Two years later, after witnessing the horrors of Belsen, Britten composed ''[[The Holy Sonnets of John Donne]]'', a work whose bleakness was not matched until his final tenor and piano cycle a quarter of a century later. Britten's technique in this cycle ranges from atonality in the first song to firm tonality later, with a resolute B major chord at the climax of "Death, be not proud".<ref name="Matthews 80"/>

''[[Nocturne (Britten)|Nocturne]]'' (1958) is the last of the orchestral cycles. As in the ''Serenade'', Britten set words by a range of poets, who here include [[William Shakespeare|Shakespeare]], [[Samuel Taylor Coleridge|Coleridge]], [[John Keats|Keats]], [[Percy Bysshe Shelley|Shelley]], [[Alfred, Lord Tennyson|Tennyson]] and [[Wilfred Owen]].<ref name=grove/> The whole cycle is darker in tone than the ''Serenade'', with pre-echoes of the ''War Requiem''.<ref name="m120">{{Harvnb|Matthews|2003|pp=120–121}}.</ref> All the songs have subtly different orchestrations, with a prominent [[obbligato]] part for a different instrument in each.<ref name=m120/>
Among Britten's later song cycles with piano accompaniment is the ''[[Songs and Proverbs of William Blake]]'', composed for the baritone [[Dietrich Fischer-Dieskau]]. This presents all its poems in a continuous stream of music; Brett writes that it "interleaves a ritornello-like setting of the seven proverbs with seven songs that paint an increasingly sombre picture of human existence."<ref name=grove/> A Pushkin cycle, ''[[The Poet's Echo]]'' (1965), was written for [[Galina Vishnevskaya]], and shows a more robust and extrovert side of the composer.<ref name=grove/> Though written ostensibly in the tradition of European song cycles, it draws atmospherically on the polyphony of south-east Asian music.<ref name=dnb/> ''[[Who Are These Children?]]'' (1969), setting 12 verses by [[William Soutar]], is among the grimmest of Britten's cycles. After he could no longer play the piano, Britten composed a cycle of [[Robert Burns]] settings, ''[[A Birthday Hansel]]'' (1976), for voice and harp.<ref name=grove/>