Editing Benjamin Britten (section)

===Legacy===
[[File:Snape Maltings Concert Hall, Snape, Suffolk (2).jpg|thumb|[[Snape Maltings]] concert hall, a main venue of the [[Aldeburgh Festival]], founded by Britten, Pears and Crozier]]
Britten's fellow composers had divided views about him. To Tippett he was "simply the most musical person I have ever met", with an "incredible" technical mastery;{{Sfn|Tippett|1994|p=117}} some contemporaries, however, were less effusive. In Tippett's view, Walton and others were convinced that Britten and Pears were leaders of a homosexual conspiracy in music,{{Efn|[[Steuart Wilson]], a retired singer who held a succession of posts as a musical administrator, launched an outspoken campaign in 1955 against "homosexuality in British music" and was quoted as saying: "The influence of perverts in the world of music has grown beyond all measure. If it is not curbed soon, Covent Garden and other precious musical heritages could suffer irreparable harm."<ref>''[[The Sunday People|The People]]'', 24 July 1955, cited in {{Harvnb|Britten|2004|p=7}}.</ref>}} a belief Tippett dismisses as ridiculous, inspired by jealousy of Britten's postwar successes.{{Sfn|Tippett|1994|p=214}} [[Leonard Bernstein]] considered Britten "a man at odds with the world", and said of his music: "[I]f you hear it, not just listen to it superficially, you become aware of something very dark."<ref>Bernstein, in the TV documentary ''A Time There Was'', quoted by {{Harvnb|Carpenter|1992|p=590}}.</ref> The tenor [[Robert Tear]], who was closely associated with Britten in the latter part of the composer's career, made a similar point: "There was a great, huge abyss in his soul&nbsp;... He got into the valley of the shadow of death and couldn't get out."<ref name=Carpenter590/>

In the decade after Britten's death, his standing as a composer in Britain was to some extent overshadowed by that of the still-living Tippett.{{Sfn|Steinberg|1998|p=643}} The film-maker [[Tony Palmer (director)|Tony Palmer]] thought that Tippett's temporary ascendancy might have been a question of the two composers' contrasting personalities: Tippett had more warmth and had made fewer enemies. In any event this was a short-lived phenomenon; Tippett adherents such as the composer [[Robert Saxton]] soon rediscovered their enthusiasm for Britten, whose audience steadily increased during the final years of the 20th century.<ref name=Carpenter590/> Britten has had few imitators; [[Philip Brett|Brett]] describes him as "inimitable, possessed of&nbsp;... a voice and sound too dangerous to imitate."<ref name= grove/> Nevertheless, after his death Britten was lauded by the younger generation of English composers to whom, in the words of [[Oliver Knussen]], he became "a phenomenal father-figure".<ref name="Carpenter590">{{Harvnb|Carpenter|1992|pp=590–591}}.</ref> Brett believes that he affected every subsequent British composer to some extent: "He is a key figure in the growth of British musical culture in the second half of the 20th century, and his effect on everything from opera to the revitalization of music education is hard to overestimate."<ref name= grove/>

Whittall believes that one reason for Britten's enduring popularity is the "progressive conservatism" of his music. He generally avoided the avant-garde, and did not challenge the conventions in the way that contemporaries such as Tippett did.{{Sfn|Whittall|1982|pp=299–301}} Perhaps, says Brett, "the tide that swept away serialism, atonality and most forms of musical modernism and brought in neo-Romanticism, minimalism and other modes of expression involved with tonality carried with it renewed interest in composers who had been out of step with the times."<ref name= grove/> Britten defined his mission as a composer in very simple terms: composers should aim at "pleasing people today as seriously as we can".{{Sfn|Oliver|1996|p=213}}