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The two male soloists, representing two soldiers, and the chamber orchestra which accompanies them were placed to the right of the space in a dry acoustic to capture verbal clarity and to more accurately portray
Britten's directions in the score, which frequently called for a "cold" tone from the string players. The large forces of the Mass itself (soprano soloist, chorus and orchestra) were placed in the centre of the hall with the chorus in the gallery which gave the desired level of reverberation, implying the large space of a cathedral without losing too much definition. The boys chorus and small organ were placed to the left of the space to create the sense of distance Britten wanted.
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During rehearsals John
Culshaw surreptitiously taped footage which was presented as a special vinyl record with its own catalogue number, BB50, to Britten on his 50th birthday. Britten was not particularly happy about this invasion of his privacy and the present was not positively received. Despite
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Culshaw praised
Britten for his understanding of the possibilities and limitations of the technical side of stereo recording. They discussed the recording setup in depth and placed each of the three distinct forces—Britten wrote the piece in three distinct planes or levels—in appropriate locations.
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Recording producer John
Culshaw reports that Vishnevskaya threw a tantrum during the recording, as she believed—not having performed the work before—she was being insulted by being placed with the choir instead of at the front with the male soloists. The following day she returned, apparently
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The striking and simple box design of the original record, which has been retained in reissues, has been frequently praised and attributed to helping the early success of the record. The design was initially conceived by
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his initial negativity
Britten later sent a postcard to John Culshaw thanking him for his "intelligent and thoughtful work on it". The tape was kept in a cupboard at Britten's home,
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inspired him to include one. Fischer-Dieskau and Pears sang at the first performance; however, Vishnevskaya was unable to perform due to visa restrictions imposed by the
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Britten wrote the music with the soloists in this recording in mind. He did not originally intend to have a female soloist, but hearing
Vishnevskaya sing at
177:. Within five months of its release in May 1963 it sold 200,000 copies, an unheard-of number for a piece of contemporary classical music at that time.
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447:(Transferred to digital print. ed.). Cambridge, UK: Cambridge University Press.
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The recording was released in May 1963 and sold over 200,000 sets in five months.
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Choir, and was conducted by
Britten himself. The recording took place in the
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United States
National Recording Registry recordings
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and was first revisited for the 1999 Decca reissue.
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295:Selling Britten: Music and the Marketplace
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18:1963 studio album by Benjamin Britten
268:The Orchestra: A Very Short Introduction
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364:Humphreys, Garry (18 December 2012).
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325:London: Faber and Faber, 1992: p411.
265:D. Kern Holoman (25 October 2012).
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468:"Britten's War Requiem review".
323:Benjamin Britten: A Biography.
169:in London and was produced by
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508:Decca Classics; 2013 remaster
405:"Britten and the War Requiem"
292:Paul Francis Kildea (2002).
126:Britten's War Requiem (1963)
391:Putting the Record Straight
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445:Britten : War requiem
403:Culshaw, John (May 1963).
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432:(Media notes). Decca.
366:"Galina Vishnevskaya"
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484:"Grammy Awards 1963"
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139:Galina Vishnevskaya
393:(1981): pp. 312-13
246:1963 Grammy Awards
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472:. May 1963.
430:War Requiem
147:Peter Pears
135:War Requiem
24:War Requiem
517:Categories
470:Gramophone
454:0521446333
409:Gramophone
252:References
242:Gramophone
181:Performers
236:Reception
187:Aldeburgh
149:with the
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389:Culshaw
375:3 August
161:and the
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59:Recorded
51:Released
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346:15 June
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100:Label
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