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character. The tune becomes more dissonant as the storm approaches, and when the storm arrives, the men's song is halted. The female chorus, singing from the galleries, represents the winds and tempests; the girls’ voices describe the terrifying storm, pausing only for the sailors’ cries for mercy. As the storm subsides, Nicolas emerges; his prayer is musically and textually simple. The movement ends with a return of the initial tune, this time in F major with very slight alteration.
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degree to travel from one mode to the other. The harmonies supporting the modal melodies are tonal and fairly straightforward. At the moment that
Nicolas becomes a man, Britten colours the melody's supporting harmonies in a much more dissonant manner, using a semitone clash to darken the simple refrain.
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The seventh movement of Saint
Nicolas depicts the legend of the Pickled Boys. Nicolas finds himself in an inn where a group of travellers have paused for the night. They invite the bishop to dine with them, but Nicolas stops them from eating, realising that the meat that they eat is in fact the flesh
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Britten orchestrated the second movement for just strings and tenors; the texture is much less complicated than the preceding movements. The third movement lacks a tonal center and meanders through significantly more dissonant harmonies; the absence of a catchy, recognisable tune (found in most other
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opens with an introduction in which the mixed choir, representing a contemporary people, calls to
Nicolas to speak to them across the ages. They sing, “Our eyes are blinded by the holiness you bear,” and they wish to hear the true story of Nicolas, the man. After being implored to “Strip off glory,”
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The second movement begins the depiction of
Nicolas’ life, recounting the story of his miraculous birth, when “…from his mother's womb he sprang and cried, 'GOD BE GLORIFIED!’” Stories of his childhood continue, punctuated by the refrain “GOD BE GLORIFIED!”, sung by the boy Nicolas (portrayed by the
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marks
Britten's first professional work intended primarily for performance by amateur musicians: it is now frequently performed by youth and amateur ensembles. The duration is given as 50 minutes. While the piece was written for Lancing College, the first performance was actually, with the college's
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Like the second and fourth movements, the seventh employs a diatonic mode (here it is B-Aeolian) and a memorable tune sung by the chorus. The female chorus, again singing from the galleries, employ
Phrygian and Aeolian modes as they sing the roles of mothers seeking their missing sons. When Nicolas
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The movement opens with an energetic modal melody centred on F; the melody alternates between the
Aeolian, or natural minor mode, and Dorian, with its raised sixth. Britten even raises the fourth occasionally, hinting at Lydian. The interplay between modes in this melody contributes to its lilting
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This movement is the most traditionally tonal of the entire cantata; D major is strongly established in the chorus’ homophonic texture. Halfway through the movement, Britten employs a diatonic fugato that concludes in G major. In this key, the congregation joins in the singing of the hymn known as
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This movement consists of a tune written in the A-Lydian mode. Britten modulated between A-Lydian and E-Lydian for alternating verses; he did so by altering the Lydian modes into whole-tone-collections, raising the fourth scale degree (as is customary for Lydian) but also raising the fifth scale
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The fourth movement of the cantata depicts a sea voyage bringing
Nicolas to Palestine. During this voyage, a mighty storm assails the ship, perhaps as punishment to the faithless sailors who have mocked the pious saint. The storm is terrifying, and the sailors despair. Amidst the violent winds,
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The choral introduction is centred on the pitch class E, prominent as a pedal tone for much of the first movement. Harmonic tension is achieved by brief chromatic meanderings that return to the central pitch; this technique is effective by providing harmonic and melodic interest while remaining
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paints a dramatically bold portrait of the saint's character, exaggerating the legends and glory that have accumulated over the centuries around
Nicholas's story. Britten's music enhances the drama of Crozier's text using striking contrasts in instrumentation, vocal style, and musical textures.
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Like the third movement, the sixth recalls an operatic recitative. Here
Nicolas admonishes mankind for accepting its wilderness, calling them to turn to God. While the strings and piano accompaniment are generally centred on a D minor chord, the vocal melody is highly chromatic and dissonant.
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accessible to young and/or amateur singers. Nicolas’ response to the chorus departs from the emphasis on E, travelling through many different keys, though generally using diatonic melodies. Nicolas ends his solo on pitch class A, which becomes the new pedal tone for the choral prayer.
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In the final movement of the cantata, Nicolas speaks to his impending death with joy, eagerness, and acceptance. He sings, "Lord, I come to life, to final birth ..." using a highly chromatic melody characteristic of the tenor's solo section. Simultaneously, the chorus chants the
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This movement is a choral song of praise to Nicolas, briefly recounting several different stories of his mercy, charity, and kindness. Most of this movement is written homophonically, with a brief canonic section towards the end. This movement is strongly tonal, in G major.
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The third movement is sung by Nicolas alone, who recounts how “My parents died … All too soon I left the tranquil beauty of their home … and knew the wider world of men.” Nicolas then bemoans his distress over man's faults and devotes himself to a life of service to God.
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enters the scene, he begins with a melody based on F#-Mixolydian, with occasional chromatic alterations. He ends his call to the dead boys in A major, and the movement concludes with a triumphant repeat of the opening motif in B major.
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In the fifth movement, Nicolas is appointed Bishop of Myra. The chorus calls upon him to “Serve the faith and spurn its enemies.” Nicolas vows to do just that, and the movement closes with a congregational hymn.
377:, which misses out verses 2 and 5 and begins with the words "All people that on earth do dwell" The semichorus sings an upliftingly beautiful descant in Verse 2, rising up to a top B on the word
330:'youngest boy in the choir', as specified by the composer.) At the end of the movement, the boy becomes a man, and the movement closes with the full-voiced adult tenor singing the refrain.
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of three boys murdered and pickled by the butcher. Nicolas calls to the boys, "Timothy, Mark, and John, put your fleshly garments on!” and the boys come back to life, singing “Alleluia!"
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Hansler, George. “Stylistic characteristics and trends in the choral music of five twentieth-century British composers,” Dissertation (Ph.D.) – New York University, 1957.
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and percussion. The only professional musicians required are the tenor soloist, five string section principals to lead the other strings, and the first percussionist.
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Hart, Ralph Eugene. “Compositional Techniques in Choral Works of Stravinsky, Hindemith, Honegger, and Britten,” Dissertation (Ph.D.) – Northwestern University, 1952.
501:"Saint Nicolas / Op. 42. Cantata for tenor solo, chorus (SATB), semi-chorus (SA), four boy singers and string orchestra, piano duet, percussion and organ. (1948)"
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Nicolas responds in a flourish, speaking to the choir, “Across the tremendous bridge of sixteen hundred years…” The first movement ends with a choral prayer.
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and percussion. The only professionals required are the tenor soloist, a quintet of string players to lead the other strings, and the first percussionist.
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in Sussex, with the resources of the institution in mind. It is scored for mixed choir,
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in Sussex. Writing for the resources available, Britten scored the piece for mixed
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waves, and rain, Nicolas gathers the sailors in prayer, and the storm subsides.
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224:. 42, from December 1947 to May 1948 for the centennial celebrations of
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Benjamin Britten: A Commentary on His Works from a Group of Specialists
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Holst, Imogen. “Britten’s Saint Nicolas”, Tempo, no.10 (1948), 23–5.
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589:"Saint Nicolas-Kantate, op. 42, von Benjamin Britten (1913 – 1976)"
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movements) makes the third movement come across as a recitative.
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after extensive research into the legendary life of
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1651:Benjamin Britten: A Life in the Twentieth Century
616:Benjamin Britten: A Life in the Twentieth Century
189:soloist, four boy singers, strings, piano duet,
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706:Program notes by Chapel Hill Community Chorus
364:V. Nicolas Comes to Myra and is Chosen Bishop
249:permission, the opening concert of the first
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1037:Diversions for Piano Left Hand and Orchestra
691:Mitchell, Donald, and Hans Keller, editors.
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695:. New York: Philosophical Library, 1953.
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253:on 5 June 1948, when it was performed in
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1416:Sacred and Profane (8 medieval lyrics)
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672:. New York: C. Scribner's Sons, 1992.
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1583:Britten Pears Young Artist Programme
1223:Canticle IV: The Journey of the Magi
1086:Serenade for Tenor, Horn and Strings
411:VIII. His Piety and Marvellous Works
16:Cantata composed by Benjamin Britten
1665:Cantus in Memoriam Benjamin Britten
1263:Songs and Proverbs of William Blake
338:III. Nicolas Devotes Himself to God
1536:Variations on an Elizabethan Theme
1217:Canticle III: Still falls the rain
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474:. brittenproject.org. 31 May 1948
398:VII. Nicolas and the Pickled Boys
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665:. London: Faber and Faber, 2006.
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1192:Britten's Purcell realizations
1185:The Holy Sonnets of John Donne
591:(in German). Johannis-Kantorei
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1177:Seven Sonnets of Michelangelo
677:The Music of Benjamin Britten
670:Benjamin Britten: A Biography
619:. London: Lane. p. 312.
541:"Saint Nicolas op. 42 (1948)"
439:God Moves in a Mysterious Way
1725:Cantatas by Benjamin Britten
1497:Nocturnal after John Dowland
1475:Six Metamorphoses after Ovid
351:IV. He Journeys to Palestine
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1483:Fanfare for St Edmundsbury
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1442:String Quartet in D major
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1169:Beware! Three Early Songs
925:The Prince of the Pagodas
882:The Burning Fiery Furnace
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708:containing the full text.
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1619:Benjamin Britten Academy
1614:Benjamin Britten (train)
1598:The Red House, Aldeburgh
420:IX. The Death of Nicolas
325:II. The Birth of Nicolas
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1279:Who Are These Children?
1054:Vocal/Choral Orchestral
389:VI. Nicolas from Prison
1486:(three trumpets, 1959)
1247:Songs from the Chinese
645:30 August 2012 at the
1134:Cantata misericordium
1070:The Company of Heaven
823:The Turn of the Screw
668:Carpenter, Humphrey.
385:is seemly so to do".
1528:Homage to Paderewski
1510:String Quartet No. 3
1460:String Quartet No. 2
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1435:Chamber/Instrumental
1392:A Hymn of St Columba
1338:A Ceremony of Carols
1231:A Charm of Lullabies
1202:(1947–75, including
783:The Rape of Lucretia
752:List of compositions
675:Evans, Peter Angus.
236:soloist, four boys,
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1607:Named after Britten
1362:Rejoice in the Lamb
1062:Our Hunting Fathers
982:Sinfonia da Requiem
545:Boosey & Hawkes
201:in June 1948, with
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1578:Britten Pears Arts
1573:Aldeburgh Festival
1506:(1964, 1967, 1972)
1408:Children's Crusade
1346:Hymn to St Cecilia
1142:Children's Crusade
990:Matinées musicales
759:Opera and operetta
663:Britten's Children
441:" is known as the
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216:wrote the cantata
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1370:Five Flower Songs
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1306:Friday Afternoons
1287:A Birthday Hansel
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1024:(1939, rev. 1958)
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1547:Film adaptations
1448:Phantasy Quartet
1378:Hymn to St Peter
1354:Festival Te Deum
1040:(1940 rev. 1954)
890:The Prodigal Son
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1478:(oboe, 1951)
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593:. Retrieved
548:. Retrieved
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173:, Bishop of
167:Eric Crozier
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83:Eric Crozier
24:
18:
1557:(1989 film)
1555:War Requiem
1309:(1932–1935)
1220:(1954) and
1199:5 Canticles
1126:War Requiem
1009:Concertante
943:Sinfonietta
901:Film/Ballet
767:Paul Bunyan
298:Prix Italia
203:Peter Pears
157:. 42, is a
127:mixed choir
1714:Categories
936:Orchestral
917:Night Mail
807:Billy Budd
595:5 December
550:5 December
511:5 December
478:6 December
449:References
443:London New
429:using the
139:percussion
133:piano duet
1172:(1922–26)
974:Mont Juic
640:Debrett's
431:Gregorian
100:Performed
1699:Category
1214:(1952),
1110:Nocturne
815:Gloriana
643:Archived
613:(2013).
433:"fourth
381:in "For
304:Overview
282:libretto
92:Life of
89:Based on
67:Occasion
1194:(1945)+
1150:Phaedra
656:Sources
238:strings
209:History
159:cantata
130:strings
115:Scoring
107:1948-06
105: (
32:Cantata
1566:Legacy
1539:(1953)
1531:(1941)
1512:(1975)
1492:(1961)
1462:(1945)
1456:(1941)
1444:(1931)
1427:(1961)
1419:(1974)
1411:(1968)
1403:(1966)
1395:(1962)
1387:(1959)
1381:(1955)
1373:(1950)
1365:(1943)
1357:(1944)
1349:(1942)
1341:(1942)
1333:(1938)
1325:(1934)
1317:(1933)
1298:Choral
1290:(1975)
1282:(1969)
1274:(1965)
1266:(1965)
1258:(1958)
1250:(1957)
1242:(1954)
1234:(1947)
1226:(1971)
1188:(1945)
1180:(1940)
1153:(1975)
1145:(1969)
1137:(1963)
1129:(1961)
1121:(1959)
1113:(1958)
1105:(1949)
1097:(1948)
1089:(1943)
1081:(1939)
1073:(1937)
1065:(1936)
1046:(1963)
1032:(1939)
1001:(1946)
993:(1941)
985:(1940)
977:(1937)
969:(1937)
961:(1937)
953:(1934)
945:(1932)
928:(1956)
920:(1936)
912:(1931)
893:(1968)
885:(1966)
877:(1964)
858:(1973)
850:(1971)
842:(1960)
834:(1958)
826:(1954)
818:(1953)
810:(1951)
802:(1949)
794:(1947)
786:(1946)
778:(1945)
770:(1941)
623:
1161:Vocal
278:Lycia
242:organ
234:tenor
230:choir
191:organ
187:tenor
179:Lycia
136:organ
621:ISBN
597:2018
552:2018
513:2018
480:2018
435:tone
288:The
274:Myra
175:Myra
124:boys
78:Text
58:Opus
81:by
34:by
1716::
1208:,
560:^
543:.
521:^
488:^
457:^
445:.
383:it
379:it
300:.
276:,
232:,
222:Op
220:,
177:,
155:Op
153:,
62:42
735:e
728:t
721:v
629:.
599:.
554:.
515:.
482:.
109:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
