Editing Benjamin Britten (section)

== Career ==
===Early professional life===
In February 1935, at Bridge's instigation, Britten was invited to a job interview by the BBC's director of music [[Adrian Boult]] and his assistant [[Edward Clark (conductor)|Edward Clark]].{{Sfn|Carpenter|1992|pp=62–63}} Britten was not enthusiastic about the prospect of working full-time in the [[BBC]] music department and was relieved when what came out of the interview was an invitation to write the score for a documentary film, ''[[The King's Stamp]]'', directed by [[Alberto Cavalcanti]] for the [[GPO Film Unit]].{{Sfn|Powell|2013|p=92}}

[[File:AudenVanVechten1939.jpg|thumb|left|upright=0.55|W. H. Auden in 1939]]
Britten became a member of the film unit's small group of regular contributors, another of whom was [[W. H. Auden]]. Together they worked on the documentary films ''Coal Face'' and ''[[Night Mail]]'' in 1935.{{Sfn|Kennedy|1983|p=17}} They also collaborated on the song cycle ''[[Our Hunting Fathers]]'' (1936), radical both in politics and musical treatment, and subsequently other works including ''Cabaret Songs'', ''[[On This Island]]'', [[Paul Bunyan (operetta)|''Paul Bunyan'']] and ''[[Hymn to St Cecilia]]''.{{Sfn|Carpenter|1992|pp=104, 105, 148, 166}} Auden was a considerable influence on Britten, encouraging him to widen his aesthetic, intellectual and political horizons, and also to come to terms with his homosexuality. Auden was, as [[David Matthews (composer)|David Matthews]] puts it, "cheerfully and guiltlessly promiscuous"; Britten, puritanical and conventional by nature, was sexually repressed.{{Sfn|Matthews|2003|p=34}}

In the three years from 1935 to 1937 Britten wrote nearly 40 scores for the theatre, cinema and radio.<ref>White, Eric Walter. [https://www.jstor.org/stable/944267 "Britten in the Theatre: A Provisional Catalogue"], ''[[Tempo (journal)|Tempo]]'', New Series, No 107, December 1973, pp. 2–10 {{Subscription}}.</ref> Among the film music of the late 1930s Matthews singles out ''Night Mail'' and ''[[Love from a Stranger (1937 film)|Love from a Stranger]]'' (1937); from the theatre music he selects for mention ''[[The Ascent of F6]]'' (1936), ''[[On the Frontier]]'' (1938), and ''[[Johnson Over Jordan]]'' (1939); and of the music for radio, ''King Arthur'' (1937) and ''The Sword in the Stone'' (1939).{{Sfn|Matthews|2003|p=184}}

In 1937 there were two events of huge importance in Britten's life: his mother died, and he met the tenor [[Peter Pears]]. Although Britten was extraordinarily devoted to his mother and was devastated at her death, it also seems to have been something of a liberation for him.<ref>{{Harvnb|Powell|2013|p=127}}; and {{Harvnb|Matthews|2003|p=38}}.</ref> Only after that did he begin to engage in emotional relationships with people his own age or younger.{{Sfn|Matthews|2003|pp=38–39}} Later in the year he got to know Pears while they were both helping to clear out the country cottage of a mutual friend who had died in an air crash.{{Sfn|Powell|2013|p=130}} Pears quickly became Britten's musical inspiration and close (though for the moment platonic) friend. Britten's first work for him was composed within weeks of their meeting, [[The Company of Heaven#History|a setting]] of [[Emily Brontë]]'s poem, "A thousand gleaming fires", for tenor and strings.{{Sfn|Carpenter|1992|p=112}}

During 1937 Britten composed a ''Pacifist March'' to words by [[Ronald Duncan]] for the [[Peace Pledge Union]], of which, as a pacifist, he had become an active member; the work was not a success and was soon withdrawn.{{Sfn|Matthews|2003|p=40}} The best known of his compositions from this period is probably ''[[Variations on a Theme of Frank Bridge]]'' for string orchestra, described by Matthews as the first of Britten's works to become a popular classic.{{Sfn|Matthews|2003|p=46}} It was a success in North America, with performances in Toronto, New York, Boston, Chicago and San Francisco, under conductors including [[John Barbirolli]] and [[Serge Koussevitzky]].<ref name="press">{{Harvnb|Robinson|1997}}.</ref>

===America 1939–42===
In April 1939 Britten and Pears sailed to North America, going first to Canada and then to New York. They had several reasons for leaving England, including the difficult position of pacifists in an increasingly bellicose Europe; the success that ''Frank Bridge'' had enjoyed in the US; the departure of Auden and his friend [[Christopher Isherwood]] to the US from England three months previously; hostile or belittling reviews of Britten's music in the English press; and under-rehearsed and inadequate performances.<ref name=dnb/><ref name="grove">{{Harvnb|Doctor|LeGrove|Banks|Wiebe|2013}}.</ref> Britten and Pears consummated their relationship and from then until Britten's death they were partners in both their professional and personal lives.{{Sfn|Headington|1993|pp=87–88}} When the Second World War began, Britten and Pears turned for advice to the British embassy in Washington and were told that they should remain in the US as artistic ambassadors.<ref name=press/> Pears was inclined to disregard the advice and go back to England; Britten also felt the urge to return, but accepted the embassy's counsel and persuaded Pears to do the same.{{Sfn|Headington|1993|pp=91–92}}

Already a friend of the composer [[Aaron Copland]], Britten encountered his latest works ''[[Billy the Kid (ballet)|Billy the Kid]]'' and ''An Outdoor Overture'', both of which influenced his own music.{{Sfn|Evans|1979|p=57}} In 1940 Britten composed ''Seven Sonnets of Michelangelo'', the first of many song cycles for Pears.{{Sfn|Headington|1993|pp=98–99}} Britten's orchestral works from this period include the [[Violin Concerto (Britten)|Violin Concerto]], ''[[Sinfonia da Requiem]]'', and ''[[An American Overture]]''. In 1941 Britten produced his first music drama, ''Paul Bunyan'', an [[operetta]], to a [[libretto]] by Auden.<ref name=grove/> While in the US, Britten had his first encounter with [[Balinese gamelan]] music, through transcriptions for piano duo made by the Canadian composer [[Colin McPhee]]. The two met in the summer of 1939 and subsequently performed a number of McPhee's transcriptions for a recording.{{Sfn|Kennedy|1983|p=31}} This musical encounter bore fruit in several Balinese-inspired works later in Britten's career.{{Sfn|Kennedy|1983|pp=213, 216, 256}}

Moving to the US did not relieve Britten of the nuisance of hostile criticism: although both [[Olin Downes]], the doyen of New York music critics, and [[Irving Kolodin]] took to Britten's music, [[Virgil Thomson]] was, as the music scholar Suzanne Robinson puts it, consistently "severe and spiteful". Thomson described ''[[Les Illuminations (Britten)|Les Illuminations]]'' (1940) as "little more than a series of bromidic and facile 'effects'&nbsp;... pretentious, banal and utterly disappointing", and was equally unflattering about Pears's voice. Robinson surmises that Thomson was motivated by "a mixture of spite, national pride, and professional jealousy."<ref name=press/> ''Paul Bunyan'' met with wholesale critical disapproval,<ref>Brogan, Hugh. [https://www.jstor.org/stable/27556404 "W. H. Auden, Benjamin Britten, and Paul Bunyan"], ''Journal of American Studies'', Volume 32, No 2, August 1998, pp. 281–282 {{Subscription}}.</ref> and the ''Sinfonia da Requiem'' (already rejected by its Japanese sponsors because of its overtly Christian nature) received a mixed reception when Barbirolli and the [[New York Philharmonic]] premiered it in March 1941. The reputation of the work was much enhanced when Koussevitzky took it up shortly afterwards.{{Sfn|Carpenter|1992|pp=150–151}}

===Return to England===
[[File:Peter-grimes-the-borough-1812.jpg|thumb|Page from "Peter Grimes" in 1812 edition of Crabbe's ''The Borough'']]
In 1942 Britten read the work of the poet [[George Crabbe]] for the first time.{{Sfn|White|1954|p=35}} ''[[The Borough (poem)|The Borough]]'', set on the Suffolk coast close to Britten's homeland, awakened in him such longings for England that he knew he must return. He also knew that he must write an opera based on Crabbe's poem about the fisherman Peter Grimes.<ref name=press/> Before Britten left the US, Koussevitzky, always generous in encouraging new talent, offered him a $1,000 commission to write the opera.<ref name=press/>{{Efn|Koussevitzky's generosity later extended to waiving his rights to mount the first production, allowing Britten and his [[English National Opera|Sadler's Wells]] associates the chance to do so. The opera's first performance under Koussevitzky's aegis was at the [[Tanglewood Music Festival]] in 1947, conducted by the young [[Leonard Bernstein]].{{Sfn|Powell|2013|p=252}} Bernstein retained a love of the work, and he conducted the orchestral "Sea Interludes" from the opera at his final concert, given in Tanglewood in 1990, shortly before his death.<ref>[[John Rockwell|Rockwell, John]]. [https://www.nytimes.com/1990/10/16/arts/the-last-days-of-leonard-bernstein.html?pagewanted=all&src=pm "The Last Days of Leonard Bernstein"], ''[[The New York Times]]'', 16 October 1990, accessed 10 June 2016.</ref>}} Britten and Pears returned to England in April 1942. During the long transatlantic sea crossing Britten completed the choral works ''[[A Ceremony of Carols]]'' and ''Hymn to St Cecilia''. The latter was his last large-scale collaboration with Auden. Britten had grown away from him, and Auden became one of the composer's so-called "corpses" – former intimates from whom he completely cut off contact once they had outlived their usefulness to him or offended him in some way.{{Sfn|Matthews|2003|p=79}}

Having arrived in Britain, Britten and Pears applied for recognition as [[conscientious objector]]s; Britten was initially allowed only non-combatant service in the military, but on appeal he gained unconditional exemption.{{Sfn|Matthews|2003|p=66}} After the death of his mother in 1937 he had used money she bequeathed him to buy the Old Mill in [[Snape, Suffolk|Snape]], Suffolk which became his country home. He spent much of his time there in 1944 working on the opera ''[[Peter Grimes]]''. Pears joined [[English National Opera|Sadler's Wells Opera Company]], whose artistic director, the singer [[Joan Cross]], announced her intention to re-open the company's home base in London with Britten's opera, casting herself and Pears in the leading roles.{{Efn|[[Sadler's Wells Theatre]] in [[Islington]], London, was requisitioned by the government in 1942 as a refuge for people made homeless by air-raids; the Sadler's Wells opera company toured the British provinces, returning to its home base in June 1945.{{Sfn|Gilbert|2009|pp=78, 83, 98}}}} There were complaints from company members about supposed favouritism and the "cacophony" of Britten's score, as well as some ill-suppressed [[Homophobia|homophobic]] remarks.{{Sfn|Gilbert|2009|p=98}} ''Peter Grimes'' opened in June 1945 and was hailed by public and critics;<ref>See, for example, "Sadler's Wells Opera – ''Peter Grimes''", ''[[The Times]]'', 8 June 1945, p. 6, and [[William Glock|Glock, William]]. "Music", ''[[The Observer]]'', 10 June 1945, p. 2.</ref> its box-office takings matched or exceeded those for ''[[La bohème]]'' and ''[[Madama Butterfly|Madame Butterfly]]'', which were staged during the same season.{{Sfn|Banks|2000|pp=xvi–xviii}} The opera administrator [[George Lascelles, 7th Earl of Harewood|Lord Harewood]] called it "the first genuinely successful British opera, [[Gilbert and Sullivan]] apart, since [[Henry Purcell|Purcell]]."{{Sfn|Blyth|1981|p=79}} Dismayed by the in-fighting among the company, Cross, Britten and Pears severed their ties with Sadler's Wells in December 1945, going on to found what was to become the [[English Opera Group]].{{Sfn|Gilbert|2009|p=107}}

A month after the opening of ''Peter Grimes'', Britten and [[Yehudi Menuhin]] went to Germany to give recitals to concentration camp survivors.<ref name="Matthews 80">{{Harvnb|Matthews|2003|p=80}}.</ref> What they saw, at [[Bergen-Belsen concentration camp|Belsen]] most of all, so shocked Britten that he refused to talk about it until towards the end of his life, when he told Pears that it had coloured everything he had written since.<ref>{{Harvnb|Carpenter|1992|p=228}} and {{Harvnb|Matthews|2003|p=80}}.</ref> [[Colin Matthews]] comments that the next two works Britten composed after his return, the song-cycle ''The Holy Sonnets of John Donne'' and the Second String Quartet, contrast strongly with earlier, lighter-hearted works such as ''Les Illuminations''.{{Sfn|Matthews|2003|pp=80–81}} Britten recovered his ''joie de vivre'' for ''[[The Young Person's Guide to the Orchestra]]'' (1945), written for an educational film, ''Instruments of the Orchestra'', directed by [[Muir Mathieson]] and featuring the [[London Symphony Orchestra]] conducted by [[Malcolm Sargent]].<ref>[http://explore.bfi.org.uk/4ce2b69f17167 "Instruments of the Orchestra"] {{Webarchive|url=https://web.archive.org/web/20151122145032/http://explore.bfi.org.uk/4ce2b69f17167 |date=22 November 2015}}, British Film Institute, accessed 24 May 2013.</ref> It became, and remained, his most often played and popular work.{{Sfn|Matthews|2003|p=81}}

Britten's next opera, ''[[The Rape of Lucretia]]'', was presented at the first post-war [[Glyndebourne Festival Opera|Glyndebourne Festival]] in 1946. It was then taken on tour to provincial cities under the banner of the "Glyndebourne English Opera Company", an uneasy alliance of Britten and his associates with [[John Christie (opera manager)|John Christie]], the autocratic proprietor of Glyndebourne.<ref>[[Philip Hope-Wallace|Hope-Wallace, Philip]]. "Opera at Glyndebourne", ''The Manchester Guardian'', 15 July 1946, p. 3; and {{Harvnb|Carpenter|1992|pp=242–243}}.</ref> The tour lost money heavily, and Christie announced that he would underwrite no more tours.{{Sfn|Carpenter|1992|p=243}} Britten and his associates set up the English Opera Group; the librettist [[Eric Crozier]] and the designer [[John Piper (artist)|John Piper]] joined Britten as artistic directors. The group's express purpose was to produce and commission new English operas and other works, presenting them throughout the country.<ref>Wood, Anne. "English Opera Group", ''The Times'', 12 July 1947, p. 5.</ref> Britten wrote the comic opera ''[[Albert Herring]]'' for the group in 1947; while on tour in the new work Pears came up with the idea of mounting a festival in the small Suffolk seaside town of [[Aldeburgh]], where Britten had moved from Snape earlier in the year, and which became his principal place of residence for the rest of his life.<ref>{{Harvnb|Headington|1993|pp=149–150}}; and {{Harvnb|Matthews|2003|p=89}}.</ref>

===Aldeburgh; the 1950s===
The [[Aldeburgh Festival]] was launched in June 1948, with Britten, Pears, and Crozier directing.{{Sfn|Headington|1993|p=151}} ''Albert Herring'' played at the Jubilee Hall, and Britten's new cantata for tenor, chorus, and orchestra, [[Saint Nicolas (Britten)|''Saint Nicolas'']], was presented in the parish church.{{Sfn|Matthews|2003|pp=92–93}} The festival was an immediate success and became an annual event that has continued into the 21st century.<ref>Hall, George. "Festival Overtures: Britten in Bloom", ''[[Opera (British magazine)|Opera]]'' Volume 64.4, April 2013, pp. 436–438.</ref> New works by Britten featured in almost every festival until his death in 1976, including the premieres of his operas ''[[A Midsummer Night's Dream (opera)|A Midsummer Night's Dream]]'' at the Jubilee Hall in 1960 and ''[[Death in Venice (opera)|Death in Venice]]'' at [[Snape Maltings]] Concert Hall in 1973.<ref>Mason, Colin. "Benjamin Britten's ''Dream''", ''The Guardian'', 11 June 1960. p. 5; and [[Edward Greenfield|Greenfield, Edward]]. "Britten's ''Death in Venice''", ''The Guardian'', 18 June 1973, p. 8.</ref>

[[File:Benjamin Britten memorial window ... - geograph.org.uk - 1131630.jpg|right|thumb|upright|[[John Piper (artist)|John Piper]]'s Benjamin Britten memorial window in the Church of St Peter and St Paul, Aldeburgh]]
Unlike many leading English composers, Britten was not known as a teacher,{{Efn|[[Arthur Sullivan|Sullivan]], [[Hubert Parry|Parry]], [[Charles Villiers Stanford|Stanford]], [[Edward Elgar|Elgar]], [[Ralph Vaughan Williams|Vaughan Williams]], [[Gustav Holst|Holst]] and [[Michael Tippett|Tippett]] were among the leading British composers of their time who held posts at conservatoires or universities.<ref name="wright">Wright, David. [https://www.jstor.org/stable/3557473 "The South Kensington Music Schools and the Development of the British Conservatoire in the Late Nineteenth Century"], ''Journal of the Royal Musical Association'', Oxford University Press, Volume 130 No. 2, pp. 236–282 (Sullivan, Parry and Stanford) {{Subscription}}; [[Diana McVeagh|McVeagh, Diana]]. [http://www.oxfordmusiconline.com/subscriber/article/grove/music/08709?q=elgar&search=quick&pos=1&_start=1#firsthit "Elgar, Edward"], Grove Music Online, Oxford University Press, (Elgar) {{Grove Music subscription}}; Graebe, Martin. [https://www.proquest.com/docview/884536926 "Gustav Holst, Songs of the West, and the English Folk Song Movement"], ''Folk Music Journal'', Volume 10.1, 2011, pp. 5–41 (Vaughan Williams and Holst) {{Subscription}}; and Clarke, David. [http://www.oxfordmusiconline.com/subscriber/article/grove/music/28005 "Tippett, Sir Michael]", ''Grove Music Online'', Oxford University Press, accessed 24 May 2013. {{Grove Music subscription}}</ref> Those who, like Britten, were not known for teaching included [[Frederick Delius|Delius]]<ref>[[Philip Arnold Heseltine|Heseltine, Philip]]. [https://www.jstor.org/stable/909510 "Some Notes on Delius and His Music"], ''[[The Musical Times]]'', March 1915, pp. 137–142 {{Subscription}}.</ref> and [[William Walton|Walton]].<ref>Kirkbride, Jo. [https://web.archive.org/web/20150325011443/http://sco.org.uk/content/two-pieces-henry-v?print=1 "William Walton (1902–1983), Two Pieces from Henry V (1944)"], [[Scottish Chamber Orchestra]], accessed 10 June 2016</ref>}} but in 1949 he accepted his only private pupil, [[Arthur Oldham]], who studied with him for three years. Oldham made himself useful, acting as musical assistant and arranging ''Variations on a Theme by Frank Bridge'' for full orchestra for the [[Frederick Ashton]] ballet ''Le Rêve de Léonor'' (1949),<ref>"Ballets de Paris de Roland Petit – ''Le Rêve de Léonor''", ''The Times'', 27 April 1949, p. 3.</ref> but he later described the teacher–pupil relationship as "beneficial five per cent to [Britten] and ninety-five per cent to me!"{{Sfn|Carpenter|1992|p=214}}

Throughout the 1950s Britten continued to write operas. ''[[Billy Budd (opera)|Billy Budd]]'' (1951) was well received at its [[Royal Opera House|Covent Garden]] premiere and was regarded by reviewers as an advance on ''Peter Grimes''.<ref>Blom, Eric. "Britten's ''Billy Budd'', ''The Observer'', 2 December 1951, p. 6; Hope-Wallace, Philip. "Britten's ''Billy Budd''", ''The Manchester Guardian'', 3 December 1951, p. 5; and Porter, Andrew. [https://www.jstor.org/stable/730800 "Britten's ''Billy Budd''"], ''[[Music & Letters]]'', Volume 33, No. 2, April 1952, pp. 111–118 {{Subscription}}.</ref> ''[[Gloriana]]'' (1953), written to mark the [[coronation of Elizabeth II]], had a cool reception at the gala premiere in the presence of the Queen and the British [[The Establishment|Establishment]] ''en masse''. The downbeat story of [[Elizabeth I of England|Elizabeth I]] in her decline, and Britten's score – reportedly thought by members of the premiere's audience "too modern" for such a gala<ref name=hso/> – did not overcome what Matthews calls the "ingrained philistinism" of the ruling classes.{{Sfn|Matthews|2003|p=107}}{{Efn|The critic [[Andrew Porter (music critic)|Andrew Porter]] wrote at the time: "The audience naturally contained many people distinguished in political and social spheres rather than noted for their appreciation of twentieth-century music, and ''Gloriana'' was not well received at its first hearing. The usual philistine charges brought against it, as against so much contemporary music ('no tunes – ugly, discordant sounds', and the rest), are beneath consideration. On the other hand, those who found ''Gloriana'' ill-suited to the occasion may be allowed to have some right on their side."<ref name="hso">Porter, Andrew. [https://www.jstor.org/stable/731059 "Britten's ''Gloriana''"], ''[[Music & Letters]]'', Vol. 34, No. 4 (October 1953), pp. 277–287 {{Subscription}}.</ref>}} Although ''Gloriana'' did well at the box office, there were no further productions in Britain for another 13 years.<ref>[[Edward Greenfield|Greenfield, Edward]]. "''Gloriana'' at Sadler's Wells", ''The Guardian'', 22 October 1966, p. 6.</ref> It was later recognised as one of Britten's finer operas.<ref>[[Rupert Christiansen|Christiansen, Rupert]]. [https://www.telegraph.co.uk/culture/music/opera/10111461/Gloriana-Brittens-problem-opera.html "Gloriana: Britten's problem opera"], ''[[The Daily Telegraph]]'' 18 June 2013; and Church, Michael. [https://www.independent.co.uk/arts-entertainment/classical/reviews/classical-review-richard-joness-revelatory-roh-revival-of-brittens-underrated-gloriana-8668470.html "Richard Jones's revelatory ROH revival of Britten's underrated Gloriana"], ''[[The Independent]]'', 21 June 2013.</ref> ''[[The Turn of the Screw (opera)|The Turn of the Screw]]'' the following year was an unqualified success;<ref>Mason, Colin. "Britten's New Opera at Venice Festival: Welcome for ''The Turn of the Screw''", ''The Manchester Guardian'', 15 September 1954, p. 5.</ref> together with ''Peter Grimes'' it became, and at 2013 remained, one of the two most frequently performed of Britten's operas.<ref>[http://operabase.com/top.cgi?lang=en&show=operas&by=Britten "Operas, Britten"], Operabase, accessed 25 May 2013. {{Webarchive|url=https://web.archive.org/web/20130223092029/http://www.operabase.com/top.cgi?lang=en&show=operas&by=Britten |date=23 February 2013}}.</ref>

In the 1950s the "fervently anti-homosexual" [[Home Secretary]], [[David Maxwell Fyfe, 1st Earl of Kilmuir|Sir David Maxwell Fyfe]],{{Sfn|Weeks|1989|pp=239–240}} urged the police to enforce the [[Victorian era|Victorian]] laws making homosexual acts illegal.{{Sfn|Carpenter|1992|p=334}}{{Efn|The principal law against homosexual acts was the [[Criminal Law Amendment Act 1885]], in which [[Labouchere Amendment|Section 11]] made any kind of sexual activity between men illegal for the first time. It was not repealed until the passage of the [[Sexual Offences Act 1967]]}} Britten and Pears came under scrutiny; Britten was visited by police officers in 1953 and was so perturbed that he discussed with his assistant [[Imogen Holst]] the possibility that Pears might have to enter a [[lavender marriage|sham marriage]] (with whom is unclear). In the end nothing was done.{{Sfn|Carpenter|1992|p=335}}

An increasingly important influence on Britten was the music of the East, an interest that was fostered by a tour there with Pears in 1956, when Britten once again encountered the music of the Balinese gamelan{{Sfn|Britten|2008|p=388}} and saw for the first time Japanese [[Noh]] plays, which he called "some of the most wonderful drama I have ever seen."{{Sfn|Britten|2008|p=441}} These eastern influences were seen and heard in the ballet ''[[The Prince of the Pagodas]]'' (1957) and later in two of the three semi-operatic "Parables for Church Performance": ''[[Curlew River]]'' (1964), ''[[The Burning Fiery Furnace]]'' (1966) and ''[[The Prodigal Son (Britten)|The Prodigal Son]]'' (1968).{{Sfn|Carpenter|1992|pp=434–435, 478–480}}

He was invited to a competition to compose the future anthem of the [[Federation of Malaya]] (now [[Malaysia]]) in 1956. He attempted a composition after several couple of days which he described as "curious" and "unsuccessful". The committee returned the score with suggestions that he could make it "sound more [[Music of Malaysia|Malaysian]]", but to no avail.<ref>{{cite news |last1=Perdota |first1=Greg |title=Benjamin Britten: An Anthem for Malaysia |url=https://interlude.hk/benjamin-britten-anthem-malaysia |work=Interlude |date=27 October 2015}}</ref>

===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>

===Last years===
[[File:Britten 1970s.jpg|thumb|upright|Britten {{circa| 1976}}]]
In September 1970 Britten asked [[Myfanwy Piper]], who had adapted the two Henry James stories for him, to turn another prose story into a libretto. This was [[Thomas Mann]]'s novella ''[[Death in Venice]]'', a subject he had been considering for some time.{{Sfn|Piper|1989|p=15}} At an early stage in composition Britten was told by his doctors that a heart operation was essential if he was to live for more than two years. He was determined to finish the opera and worked urgently to complete it before going into hospital for surgery.<ref name="graham">{{Harvnb|Graham|1989|p=55}}.</ref> His long-term colleague [[Colin Graham]] wrote:
{{Blockquote|Perhaps of all his works, this one went deepest into Britten's own soul: there are extraordinary cross-currents of affinity between himself, his own state of health and mind, Thomas Mann, Aschenbach (Mann's dying protagonist), and Peter Pears, who must have had to tear himself in three in order to reconstitute himself as the principal character.<ref name=graham/>|}}

After the completion of the opera Britten went into the [[The Heart Hospital|National Heart Hospital]] and was operated on in May 1973 to replace a failing heart valve. The replacement was successful, but he suffered a slight stroke, affecting his right hand. This brought his career as a performer to an end.<ref name=grove/> While in hospital Britten became friendly with a senior nursing sister, [[Rita Thomson]]; she moved to Aldeburgh in 1974 and looked after him until his death.{{Sfn|Oliver|1996|p=206}}

Britten's last works include the ''Suite on English Folk Tunes "A Time There Was"'' (1974); the Third String Quartet (1975), which drew on material from ''Death in Venice''; and the dramatic cantata ''[[Phaedra (cantata)|Phaedra]]'' (1975), written for [[Janet Baker]].{{Sfn|Carpenter|1992|p=596}}

In June 1976, the last year of his life, Britten accepted a [[life peer]]age – the first composer so honoured – becoming Baron Britten, of Aldeburgh in the County of Suffolk.<ref name="TheLondon">{{London Gazette|issue=46954|page=9295|date=6 July 1976}}</ref>{{Efn|Some writers have supposed that Britten was earlier offered and had declined a [[knighthood]],{{Sfn|Powell|2013|p=458}} but his name is not included in the official list issued in 2012 by the [[Cabinet Office]] naming everyone (except those still living at the time of publication) who had declined an honour between 1950 and 1999.<ref>Rosenbaum, Martin. [https://www.bbc.co.uk/news/uk-politics-16721511 "Government forced to release list of rejected honours"], BBC, 26 January 2012, accessed 24 May 2013; and [https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/61126/document2012-01-24-075439.pdf List of honours refused], Cabinet Office, January 2012</ref>}} After the 1976 Aldeburgh Festival, Britten and Pears travelled to Norway, where Britten began writing ''Praise We Great Men'', for voices and orchestra based on a poem by [[Edith Sitwell]].{{Sfn|Headington|1996|p=143}} He returned to Aldeburgh in August, and wrote ''Welcome Ode'' for children's choir and orchestra.<ref name="Kennedy114">{{Harvnb|Kennedy|1983|p=114}}.</ref> In November, Britten realised that he could no longer compose.{{Sfn|Matthews|2003|p=154}} On his 63rd birthday, 22 November, at his request Rita Thomson organised a champagne party and invited his friends and his sisters Barbara and Beth, to say their goodbyes to the dying composer.<ref name="Matthews155">{{Harvnb|Matthews|2003|p=155}}.</ref> When Rostropovich made his farewell visit a few days later, Britten gave him what he had written of ''Praise We Great Men''.<ref name="Matthews155"/>

{{Quote box| quoted=true|width=40%|bgcolor=#D8D8D8|align=right|quote= I heard of his death&nbsp;... and took a long walk in total silence through gently falling snow across a frozen lake, which corresponded exactly to the inexpressible sense of numbness at such a loss. The world is colder and lonelier without the presence of our supreme creator of music. |salign = right|source= [[Peter Maxwell Davies]], 1977.<ref name="max">[[Peter Maxwell Davies|Davies, Peter Maxwell]], [[Nicholas Maw]] and others. [https://www.jstor.org/stable/942546 "Benjamin Britten: Tributes and Memories"], ''[[Tempo (journal)|Tempo]]'', New Series, No. 120, March 1977, pp. 2–6 {{Subscription}}.</ref>}}
Britten died of [[congestive heart failure]] on 4 December 1976. His funeral service was held at [[St Peter and St Paul's Church, Aldeburgh|Aldeburgh Parish Church]] three days later,<ref name="Matthews155"/> and he was buried in its churchyard, with a gravestone carved by [[Reynolds Stone]].<ref>Powers, Alan. [http://www.fpba.com/parenthesis/select-articles/p16_reynolds_stone_tribute.html "Reynolds Stone: A Centenary Tribute".] {{Webarchive|url=https://web.archive.org/web/20181010183205/https://www.fpba.com/parenthesis/select-articles/p16_reynolds_stone_tribute.html |date=10 October 2018}}, Fine Press Book Association, accessed 27 May 2013.</ref> The authorities at [[Westminster Abbey]] had offered burial there, but Britten had made it clear that he wished his grave to be side by side with that, in due course, of Pears.{{Sfn|Headington|1993|p=277}} A memorial service was held at the Abbey on 10 March 1977, at which the congregation was headed by [[Queen Elizabeth The Queen Mother]].<ref>"Memorial service: Lord Britten, OM, CH", ''The Times'', 11 March 1977, p. 20.</ref>