Berkeley’s most influential British connection was his personal and professional relationship with Benjamin Britten. They first met when they were both having work performed in the International Festival of Contemporary Music held at Barcelona in 1936. It was a shattering experience for Berkeley to meet another British composer, ten years younger, who possessed such remarkable gifts. Britten seemed to know everything Berkeley had been trying to learn during the last decade in Paris. Their approach to composition was so similar they immediately collaborated on an orchestral suite, Mont Juic, based on popular tunes they heard in Barcelona and, for many years, nobody knew which composer wrote which of the four movements.
After his meeting with Britten, Berkeley had something to set against the domineering mother-figure of Nadia Boulanger. He reached his maturity at the end of the 1930’s, under the shadow of war, with outstanding orchestral works such as the Serenade for Strings, Symphony No. 1, and the Divertimento in Bb. By the late 1940s Berkeley’s now very personal style was brilliantly expressed in the Piano Sonata and the concertos for solo piano and for two pianos – arguably the finest British piano music of the century. The vocal counterpart of these works came with the deeply moving Four Poems of St. Teresa of Avila, so memorably sung by Kathleen Ferrier, and the Stabat Mater.
In the 1950s Berkeley boldly followed Britten into the theatre with the grand opera, Nelson, and the one-act comedy, A Dinner Engagement, both premiered in 1954 and the biblical Ruth two years later. By now Berkeley was totally independent of his earlier influences and had created an impressive synthesis capable of extension into a modified serial technique in the 1960s.
All these elements contribute in different ways to the success of Berkeley’s chamber music. The three String Quartets make an imposing contribution along with sonatas, or sonatinas, for several solo instruments with piano, the String Trio, the Horn Trio, and many more.
On other labels
Complete works available for download
|Andantino, Op 21 No 2a Mats Lidström (cello), Bengt Forsberg (piano)|
|Diversions, Op 63 The Nash Ensemble|
|Palm Court Waltz, Op 81 No 2 The Nash Ensemble|
|Quartet for oboe and string trio, Op 70 The Nash Ensemble|
|Sextet, Op 47 The Nash Ensemble|
|Sonatina for piano duet, Op 39 The Nash Ensemble|
|The Lord is my shepherd St Paul's Cathedral Choir, John Scott (conductor), Andrew Lucas (organ)|
|Three Mazurkas, Op 32 No 1 Jonathan Plowright (piano)|
Alphabetical listing of all musical works
|Andantino, Op 21 No 2a (Berkeley)|
|Because I liked you better No 5 of Five Songs, Op 14 No 3 (Berkeley)|
|Diversions, Op 63 (Berkeley)|
|Five Songs, Op 14 No 3 (Berkeley)|
|He would not stay for me No 3 of Five Songs, Op 14 No 3 (Berkeley)|
|Palm Court Waltz, Op 81 No 2 (Berkeley)|
|Quartet for oboe and string trio, Op 70 (Berkeley)|
|Sextet, Op 47 (Berkeley)|
|Sonata for flute and piano (Poulenc/Berkeley)|
|Sonatina for piano duet, Op 39 (Berkeley)|
|The Lord is my shepherd (Berkeley)|
|Three Mazurkas, Op 32 No 1 (Berkeley)|