© The Britten–Pears Foundation, 2010 All Rights ... - Boydell & Brewer

Bibliography 717Discography 725Index of Britten’s Works 731Index of Other Composers 736General Index 740

introductionxxixThe extraordinary pressures placed on Britten by others, and no less by the composeron himself – his responsibilities to the Aldeburgh Festival, to the EnglishOpera Group, to his publishers, to Pears (personally and professionally), to hisfamily, friends and colleagues – together took a considerable toll on the composeras he moved from his forties into his fifties. His health is frequently poor during theyears covered by the present volume, with a recurrence of the problems in his armand shoulder that had first plagued him in 1953, and complaints of exhaustion anddepression are commonplace in his correspondence. A major crisis is reached in1960, when Britten’s continuing health issues and their implications for the professionalfuture of the Pears–Britten duo were apparently serious enough for Pears tomake an unscheduled visit to Aldeburgh from abroad to discuss the situation (seeLetter 974). During his first visit to Greece in the autumn of 1960, Britten appears tohave found a possible escape route from some of the stress of his hectic life. Whileholidaying there with Pears and the Prince and Princess of Hesse and the Rhine, hebecame so enchanted by the country, its climate and easygoing lifestyle, that heseriously considered purchasing a small property there in order to work free ofdistraction each winter (see Letter 995 n. 7). It was a dream, however, that remainedunrealized.Among the many compositions completed during the period 1958–65 are two majorstage works: A Midsummer Night’s Dream (1960), for which Britten and Pearslovingly crafted a libretto from Shakespeare’s play; and Curlew River (1964), the firstof the church parables, whose origins can be traced back to that occasion inFebruary 1956 when Britten first saw Sumidagawa, the Japanese Nō play on whichthe parable is based. 4 Two further operatic works bookend volume 5: the scoringand first performance of Noye’s Fludde (see Letters 915, 916 and 926 n. 1) in the firsthalf of 1958 (Britten had sketched the setting of the Chester mystery play in theautumn of 1957); and, in 1965, the drafting of the libretto for the second churchparable, The Burning Fiery Furnace, the sketching of the music for which Brittenbegan in the autumn of that year (see Letter 1150). Its completion and premiere willopen volume 6.Whereas work on the two-and-a half-hour opera of A Midsummer Night’s Dreamoccupied Britten for just under a year – he and Pears were reshaping the play in thesummer of 1959 and Britten began work on the composition draft while in Venicethat October (see Letter 964 n. 2) – the genesis of Curlew River, a work that amountsto seventy minutes’ duration, was to preoccupy the composer and his librettist,William Plomer, intermittently for eight years. As was shown in volume 4, theearliest work on the libretto of what would eventually become Curlew River tookplace in the summer of 1958, a gap of two years after Britten’s visit to Japan. Butthere can be no doubting Britten’s immediately positive response to the countryand more specifically to the Japanese theatrical genres and music that he experiencedduring his fortnight’s stay there. Writing to Plomer on 13 May 1956, thecomposer’s first letter to his collaborator after returning from the world trip, Britten4 See Letter 856, and mcbfe, pp. 115–20 and 130–37. Britten was so moved by his first encounterwith Sumidagawa that he insisted on seeing it for a second time before leaving Japan: seeLetter 856 n. 15.

xxxintroductionmentions his ‘incredibly strong reactions to Japan’ and his need for them to meet inorder that they can ‘talk about those Noh plays, that Court music (I’ve brought aSho back with me), Nara, that charm & bewilderment . . . ad infinitum’ (Letter 868).Rather casually – and somewhat typically – he throws out a question, almost as anafterthought: ‘Do you know the play Sumidagawa by the way?’ (Letter 868). 5Already established as one of Britten’s most agreeable collaborators, Plomerwould surely have been excited by Britten’s newfound enthusiasm for the highlystylized, ritualistic genre of Nō drama, with which he himself was already familiar.When they did meet, there was presumably a lively discussion of all that Britten hadexperienced in Japan, with the conversation turning towards the possibility of theirmaking together an operatic adaptation of Sumidagawa. But as ever with Britten,ideas for new compositions could not always be acted on immediately; they weremore usually placed on hold, either to allow them to simmer away as part of a slowburningsubconscious creative process, or – on a mundanely practical level –because other projects were simply more pressing. During the years covered byvolume 5, Britten’s compositional schedule was always nearly full, with his commitmentsfor new works stretching out several years ahead. The groaning weight of hiscompositional in-tray was frequently deployed by Britten as a perfectly genuineexcuse for refusing commissions, no matter how artistically attractive or financiallylucrative they might be. For example, Letter 977 and its annotations trace onedeclined project, a musical in collaboration with the writer Robert Graves and thechoreographer and director Jerome Robbins. 6In the summer of 1957, while explaining to Plomer that he had relegated theadaptation of Sumidagawa to the ‘back of my mind’, Britten was at the same timedeclaring ‘it is something I’m deeply interested in, & determined to do sometime’(Letter 897). In 1958 the project became live and Plomer developed a libretto –entitled Sumida River – from an official English translation of the play. 7 Plomer’stext, which adhered to the structure and retained much of the verbal detail of theauth orized English translation, formed the basis for further discussion of theproject. Letter 936 (16 November 1958) gives Britten’s immediate reactions to this5 Plomer had lived in Japan in the late 1920s and had commended various cultural activities toBritten and Pears prior to their visiting the country. Among his recommendations were theprincipal Japanese theatrical arts: Nō plays, Kabuki and the Bunraku puppet theatre.6 One of Britten’s ‘business’ skills as a composer was his uncanny knack of writing the works hewanted to – under commission. The present volume includes a prime example of this: thecommission from the Coventry Cathedral Festival for what turned out to be War Requiem, awork which, in some sense, he had wanted to write since the late 1940s (see wrmc, p. 20). AsBritten explained to John Lowe, Artistic Director of the Coventry Cathedral Festival, one ofthe principal factors in his accepting the commission was the realistic lead-up time to delivery(Letter 933). More often than not, potential commissioners approached him too late: see,for example, Letter 986 n. 6.7 Japanese Noh Dramas: ten plays selected and translated from the Japanese. See also mcbfe, p. 139.Britten’s copy is at bpl and has been annotated by him. The illustrations that appear throughoutthe text to indicate the positions and gestures of the actors in the Nō plays served as amodel for those drawn by Alix Stone to illustrate the gestures devised by Colin Graham forthe first production of Curlew River. See Colin Graham’s ‘Production Notes and Remarks onthe Style of Performing Curlew River by Benjamin Britten and William Plomer’, published byFaber Music (1965) in conjunction with the rehearsal score of Curlew River.

introductionxxxifirst draft libretto; but he would reflect further on this text and discuss it withPlomer for several months more.Britten’s letter to Plomer of 15 April 1959 (Letter 947) summarizes the results ofthose months’ deliberation on Britten’s part. Whereas in November 1958 the composeradvocated retaining ‘the original style & look of it’ (i.e. the Nō play) and wonderedhow he might ‘find some equivalent to those extraordinary noises theJapanese musicians made’, by April 1959 he is proposing a wholesale reappraisal ofthe work in Christian terms. Many librettists would have been disturbed by such aradical change of approach, but Plomer’s immediate and wholly positive responsetestifies to his flexibility and skill as a writer, not to mention his professional tact(see Letter 947 n. 3). During his work with Britten on Gloriana in 1952–53, he hadproved himself a near-ideal collaborator, always willing to redraft material better tosuit the composer’s needs; it was an aspect of his qualities as a librettist that wouldserve Britten well for Curlew River and its successors The Burning Fiery Furnace(1966) and The Prodigal Son (1968). Plomer is even able to muster some humourinto his reply to Britten’s letter of 15 April 1959: ‘I can’t say that I’m astonished atyour [. . .] setting fire to your – and indeed my – kimono.’What had so radically changed Britten’s mind during the winter of 1958–59? InLetter 947 Britten mentions that Pears had been involved in the process of rethinkingSumida River from the Christian point of view. As has been shown in earliervolumes of Letters from a Life, Pears often played a defining role in shaping Britten’screative path, especially when the tenor was destined to take a major performingrole in the piece in question. Occasionally, Britten found Pears’s negative reaction tohis compositional ideas inhibiting: the singer’s unthinking disapproval could soeasily turn Britten away from a scheme that held promise. Destined in Curlew Riverto play the role of the Madwoman searching for her lost son, Pears can be imaginedembarking on a detailed discussion of Plomer’s draft libretto with Britten. Weshould recall that Pears was present at the moment of creative ignition of whatbecame Curlew River: he attended the same performances of the Nō play as Brittenin 1956 and it was he (at Britten’s request) who arranged for a tape recording ofSumidagawa to be made and sent to them in the UK. 8 He had been already closelyinvolved in the parable’s embryonic stages and would give life to the Madwoman’splight at the first performance of Curlew River in 1964.The proposed recasting of Sumida River in Christian terms, allying the piece tothe English medieval mystery-play tradition, was borne out of the experience of8 In his ‘Far East Diary’ (prpp, pp. 56–7 and 64), Pears made only brief notes about the first ofthe two performances of Sumidagawa the party attended: ‘Nôh. Chanting solo: then 5dancers. Sumida river. Foot movement: Intoning. 3 Instruments (Flute, two perc.) & 2 Singers.Chorus. Mask of widow.’ Prince Ludwig of Hesse and the Rhine recorded a fuller account ofthe occasion in his journal, Ausflug Ost, concluding the entry with the observation, ‘theimpression of the piece is moving and profound. It has greatly affected Ben.’ Plate 35 of volume4 shows Pears and Prince Ludwig imitating the playing of the Japanese drums used inSumidagawa on a couple of wastepaper baskets; the suppressed laughter clearly visible ontheir faces suggests that they found the experience of the Nō play – or at least its musicalaspects – not without humour. Britten confessed to Roger Duncan (Letter 856) that he toowas at first amused by the strangeness of the genre: ‘At first it all seemed too silly, & we giggleda lot. But soon we began to catch on a bit, & at the end it was very exciting.’

general indexAachen, West Germany, 438; PBp, 437Aaltonen, Maija, 702Abt, Franz, 72; see also iocAcademy for Educational Development, New York, 605Adams, Brian, 464Adams, David, 388–9, 434–5, 552, 553, 568, 655, 666Adams, Dr Wilhelm, 8; qcp, 8Adelaide Festival (1970), 464Adeney, Richard, xxxviii, 366, 582Ady, Andrew: ‘The Fanfare of God’, 603Agiou Georghiou, Greece, 375Agra, India, 637Ahlstedt, Douglas, 20Aix, France, 290Akenfield (film), 263Alan, Hervey, 294, 295, 297Alberni String Quartet, 667, 680, 681Albert Hall, London, see Royal Albert Hall, LondonAlbertini, Ambrosius von, 397, 453, 454, 459Alde, River, 525Aldeburgh, Suffolk, 49, 98, 117, 118, 149, 169–70, 177, 185, 189,199–200, 212, 225, 247, 253, 254, 286, 296, 338, 397, 435,444, 459, 473, 575, 580, 590, 653, 672; Baptist Chapel, 130,131–2; Brudenell Hotel, 199; Honorary Freedom of theBorough, 417, 442, 443, 444; Moot Hall, plates 16, 17; 417,442, 444; see also Jubilee Hall, AldeburghAldeburgh Deutsch, 294, 387, 543Aldeburgh Festival, plates 11–15, 28, 31; 1948: 169, 259; 1950:174, 183, 193, 196; 1951: 174, 528; 1952: 174; 1953: 174, 401;1955: 112, 121; 1956: 15, 121, 167, 296, 365, 493; 1957: 95, 159,493, 509, 706; 1958: plate 11; xl, 3, 5–12, 7, 7, 15, 18, 21, 28,34, 35, 43, 45, 47–54, 60, 64, 297; 1959: xxxix, 42, 67, 75, 81,86, 93, 94, 112–13, 117, 120, 121, 123, 131, 138, 142, 149, 151,168, 174, 183; 1960: plate 31; xxxix, xlix, 121, 148, 156, 162,171, 173, 174, 176, 181, 182, 184, 185, 201, 202, 211, 219, 220,221, 270, 271, 427; 1961: plate 15; xlix, l, 121, 148, 167, 174,179, 219, 220, 235, 252, 257, 258, 260, 269, 274, 276–8, 281–2, 284, 295, 297, 301, 302, 306, 309, 324, 328, 334, 342, 358;1962: 113, 121, 174, 193, 311, 344, 359, 366, 374, 378, 402, 424;1963: 186, 382, 386, 410, 411, 418, 424, 427, 429, 461, 462,466, 473, 478, 480, 533; 1964: xxxiii, 118, 275, 339, 413, 463,501, 503, 504, 505, 512, 513–14, 548, 556, 562, 566, 573, 586,589, 599; 1965: plates 13, 14, 28; xlix, 65, 121, 333, 586, 587,601–3, 621, 623–6, 628–9, 642, 651, 660, 667, 675, 676–7,680, 683, 706; 1966: 41, 43, 123, 627, 691, 712, 713; 1967: 194,204, 284, 348, 502; 1968: 43, 194, 338, 662, 706; 1969: 194,348; 1970: 338, 588; 1971: 114, 194, 509, 510, 588; 1972: 114;1973: 365; 1974: 352; 1975: 339, 509; 1976: 118, 252, 427; 1977:174; 1979: 324, 501; 1986: 427; 1990: 463–4; 1991: 118; 1992:392; 1996: 95; 1998, 179; 1999: 27; 2009: 122; 2010: 713; BBCInvitation Concerts, 513; Blake song competition (1957),179, 493; fund-raising and supporters, 15, 157, 161, 181–2,192, 237, 249, 250, 269–72, 365; Hesse Lectures, 15; HesseStudents Scheme, 15; officers and patrons, xlv–xlvi, 15,60, 95, 122, 253, 630–31; programme books, xlix n. 36, 7,10, 27, 35, 41, 50–51, 64, 95, 96, 112, 121, 122, 196, 201, 210,324, 333, 343, 344, 358, 365, 366, 413, 463, 504, 514, 533, 588,589, 602, 691, 713; programming and management, xxix,xlviii, 5–7, 9–10, 12, 13, 15, 31, 46, 52–3, 92, 120, 123, 131, 188,189, 192, 214, 240, 256, 259, 376, 401, 424–5, 426, 461, 462,478, 513, 556, 624–5, 660, 696; recordings, 10, 165Aldeburgh Festival/Foundation Appeal Auctions, 1961: 192,196, 201, 237, 268, 271, 282–3, 309, 322, 329–30; 1971: 266–7; 1985: 365Aldeburgh Festival Club and Gallery, 193, 311, 402, 409Aldeburgh Festival Orchestra, 81, 102, 165, 183Aldeburgh Festival Singers, 533Aldeburgh Festival Theatre (unachieved scheme), 169Aldeburgh Foundation, xxxvii n. 18Aldeburgh Music, xxxvii n. 18Aldeburgh Music Club, 459Aldeburgh Parish Church, plate 14; 10, 12, 15, 182, 185, 220,278, 366, 425, 481, 548, 589, 626, 629, 660, 706; Hall (exhibitionspace), 193, 269; Bw, 629, 660Aldermaston marches, 538Alderson family, 293, 295Aldwych Theatre, London, 696Alexander, Peter F., 130, 347, 679Alexander the Great, 643All-India Radio, 542, 638All Souls College, Oxford, 575Allegri String Quartet, 358Alleppy, India, 645Alston, Audrey, 159Alston, John, 157, 159, 159Alston, Richard, 450Altman, Robert, 623, 624Alwyn, Kenneth, 367Amadeus String Quartet, 12, 219, 220, 467, 468Amboise, France, 672American Academy & Institute, 149American Philosophical Society, 594Amici String Quartet, 492Aminabad, India, 639Amintayeva, Aza, plate 39Amis, John, 34, 102, 118, 122, 538, 554, 681Amityville, USA, 221Ampenoff, Rufina, 255, 257–8, 475–6, 536, 537

general index 741Amsterdam, Netherlands, 8, 210, 214, 219, 369, 549;Concertgebouw, 212, 214, 215, 589; Pay Bas Hotel, 210;Westerkerk, 590, 591; B/Pp, 8, 9, 214, 219, 570, 609; Bw,589, 591, 597Analecta Hymnica, 397Andersen, Hans Christian: The Emperor’s Nightgale, 514Anderson, Ande, 441Anderson, Janet, 212Anderson, Sir Colin, 462Anderson, Martin, 18, 675Anderson, Robert O., plate 54; 594Andor, Ilona, 601Andreeva, Eleonora, 470Andrewes, John, 19, 19, 28, 56, 146, 506, 509, 536, 557, 567,647; qcb, 28, 146, 567–8, 569Angadi, Ayana Deva, 64–5; qcb, 65Angadi, Darien, 366Anglo–German Music Days, see Schloss ElmauAnglo-Soviet Cultural Agreement (1963–65), 608Animal Farm (film), 93Annan, Noel, 98Anne, Princess (subsequently Princess Royal), 87Ansbach, West Germany, 5, 158, 161; Gumbertuskirche, 158,162; Johanniskirche, 483; Onoldia Saal, 597; Orangerie,158; Schwesterhaus, 594; PBp, 8Ansbach Bachwoche (Bach Festival), 9, 158, 386–7, 481–3,593–4Ansermet, Ernest, 4, 66, 202, 396, 397, 419, 453, 459, 495, 614,624; qcb, 495; wife, 202Anthony, Trevor, 49, 366Antinous, 464Aprahamian, Felix, 49, 52Argo (recording company), 68, 167, 252, 366, 378–9, 509Argos, Greece, 375–6, 382Aristotle, 673Armenia, USSR, plate 39; l, 275, 622, 645, 690–92, 695Armenian Composers’ Union, 622, 691Armstrong, Sir Thomas, 341, 522Arne, Thomas, 167, 364; see also iocArnold, Malcolm, 94, 217–18; see also iocArnold, Matthew: ‘Dover Beach’, 226Aronowitz, Cecil, xxxviii n. 20Ars Musici, 237Arsenius the Hermit, St, 459Arts Council, 53–4, 124, 256, 263, 426, 593, 611, 697–8; exhibitions,533, 599; management, officers and personnel,54, 256, 378, 462; qcb, 53Arutunjan, Alexander, plate 38; 692Asam, Cosmas Damian, 483Asam, Quirin, 483Ashcroft, Peggy, 262, 263, 268Ashkenazy, Vladimir, 624Ashton, Frederick, 242Asian Music Circle, 64–5Asini, Greece, 382Asoka, 613, 672, 674Aspen, Colorado, 548, 593, 594, 599, 605; Bw, 594, 595Aspen Festival Orchestra, 595Aspen Institute for Humanistic Studies, 548, 594, 605Assam, India, 634Associated British Pictures Television, 31Associated Music Publishers, 616Associated Rediffusion, 15, 60, 199; Wembley studios, 164;The Turn of the Screw, 155, 164, 192, 196, 198, 199Associated Television (ATV), 15; Noye’s Fludde, 3, 15Astor, Viscount, 681–2Astor family, 681Athens, Greece, 247, 271, 374–6, 455, 460, 461; BritishInstitute, 376; PBp, 461Attlee, Clement, 450Auden, W. H. (Wystan Hugh), 96, 110, 111–12, 115, 220, 250,269, 465–7, 672; The Bassarids (libretto, with ChesterKallman), 97; ‘Chorale after an Old French Carol’, 295;The Dance of Death, 193; Elegy for Young Lovers (libretto,with Kallman), 96, 219, 221; An Elizabethan Song Book(ed., with Kallman and Noah Greenberg), 250; FaberBook of Aphorisms/The Viking Book of Aphorisms (ed.,with Louis Kronenberger), 673; For the Time Being: AChristmas Oratorio, 296; ‘Lay Your Sleeping Head, MyLove’, 25; ‘A Shepherd’s Carol’, 296Augener (music publisher), 674, 676Augsburg, West Germany, 209–10; Pp, 209–10Aurelius, Marcus, 666, 673; Meditations, 666Australia, 21Australian Broadcasting Corporation (ABC), 675Austria: Nazi period, 136Aveling, Valda, 364, 365Avignon, France: PBp, 33Avranches, France, 672Babadjanyan, Arno, 692Bach, Carl Philipp Emanuel, 556; see also iocBach, Johann Sebastian, 5–6, 8–10, 12, 53, 158, 215–16, 220,221, 227, 233, 364, 365, 483, 548, 556, 593, 662, 663, 690,704; facsimile, 529; see also iocBach Choir, London, 259, 379, 419, 423, 505, 570, 662Backhouse (Aldeburgh), 661, 662Badings, Henk, 220BAFTA (British Academy of Film and Television Arts), 199Baker, George, 521, 522Baker, Janet, 296, 337, 359, 387, 426, 427–8, 428–9, 608, 661,667; Full Circle, 428Baker, Josephine, 520Baker, Richard, 586Bakewell, Derbyshire, 517; Milford House Hotel, 517Balasaraswati (Indian dance troupe), 642Balaton, Lake, Hungary, 587, 589Balinese music, 379Balkwill, Bryan, 593, 595Baltika (ship), 430, 431Bangalore, India, 650, 652Banks, Paul, xxxv n. 11, xxxvii n. 19, xxxviii n. 20, xxxixn. 22, 189, 704Barcelona, Spain, 215Bardgett, Herbert, 76, 337Barker, Nicholas, 27Barnes, Jennifer, 60, 198Barnfield, Richard, 32, 36; ‘When will my May come’, 36Barraud, Henri, 34; qcb, 34–5Barrie, J. M.: Peter Pan, 352Barshai, Rudolf, plate 34Bartók, Béla, 39, 241, 535, 587; Estate, 45; see also iocBarwick, J. P., 110, 111, 115Basel, Switzerland, 39, 61, 72, 94, 101, 110, 177, 198, 219, 238,527, 529; Fasnacht, 72; Kongresshalle, 156, 237; B/Pp, 311,385, 527; Bw, 148, 156, 239Basel, University of, 4, 70–72, 128, 142, 219, 235, 236–7Basler Kammerchor, 237Basler Kammerorchester, 237Basler Nachtrichten, 237Bassae, Greece, 375Batchelor, Joy, 93Bates, Alan, 709Bath Abbey, 425Bath College of Higher Education, 421Bath Festival, 184, 186, 250, 425, 426, 556, 557Bath Festival Orchestra (subsequently Menuhin FestivalOrchestra), 10, 186

742 general indexBavaria, West Germany, 9, 14, 58, 99, 100, 294Bavarian Radio Symphony Orchestra, 215Bavarian State Opera (Bayerische Staatsoper), 241: Balletof (subsequently Bavarian State Ballet), 26, 527; Bw, 26,46Bayreuth Festspielhaus, 113, 296BBC (British Broadcasting Corporation): and Mahler centenary,155; management and personnel, 52–3, 54, 66, 80,93, 166, 179, 180, 203, 212, 225, 255, 257, 259, 295, 381, 421,428, 429, 446, 586, 662–3; recordings, commissions andbroadcasts, 52–3, 94, 96, 106, 113, 118, 120, 121, 155, 227,330, 374, 386, 426, 510, 523, 678–9, 681BBC Central European (Hungarian) Service, 333BBC Choral Society, 379, 486, 491BBC Chorus, 373, 486, 491BBC composition competition (1965), 662BBC Department of European Talks and English Service,595; qcb, 595BBC Ensemble, 378BBC Features Department, 225BBC Henry Wood Promenade Concerts, 180, 204, 485, 490,502, 510, 610; Britten’s Fiftieth Birthday Prom, xlviii,457–8, 485–6, 500, 504; Bw, 418, 457–8, 485, 486, 491, 502,548, 594, 595, 600BBC Home Service, 25, 225, 589, 626, 678; Bw, 501; see alsoPeople Today and Portrait of E. M. ForsterBBC Legends (record label), 260, 426, 427, 626BBC Maida Vale Studios, 76BBC Men’s Chorus, 226BBC Midland Orchestra, 80BBC Midland Region, 662BBC North of England Home Service: Bw, 501BBC Radio, 3; see also Personal Choice and Talking AboutMusicBBC Scottish Orchestra, 179BBC singing competition (1965), 661, 662BBC Symphony Orchestra, 4, 65, 80, 81, 123, 181, 226, 373,380, 450, 485, 491, 507; soloists, 74, 77BBC Television, 3, 54, 493, 647, 675; PBp, 166, 489; Bw, xliin. 25, 16, 59, 166, 284, 427, 429, 595, 661, 662–3; see alsoBritten and His Festival, Doctor Who, Monitor, Newsreel,Schubert WorkshopBBC Third Programme (later Radio 3), 136, 203, 259, 260,380, 402, 421, 551, 570, 626, 660; Thursday InvitationConcerts, 202, 203, 294, 295–6, 297, 302, 556; PBp, 16, 85;Bw, 85, 225, 226, 247, 253, 280, 281–3, 286, 373, 377–9,402–3, 408, 422, 495, 506, 683, 702BBC Training Orchestra, 284BBC Transcription Service, 52–3, 110, 112–13, 706; Bw, 52–3BBC1, see BBC TelevisionBBC2, see BBC TelevisionBeard, Kenneth, 336Beard, Paul, 66, 80Beaumont, Antony, 136Beauvais, France, 249Beck, Conrad, 238Beddoes, Thomas, 226Bedford, Steuart, 158Beecham, Thomas, 702Beethoven, Ludwig van, 77, 220, 404, 516, 517, 519; see alsoiocBeethoven String Quartet, 680, 681Behrend, George, 295Behrend, John Louis (Bow), 294, 295; qcb, 363Behrend, Mary, 94, 198, 294, 295; qcbp, 94, 196, 262, 263,265, 363, 375–6, 550Beirut, Lebanon, 632Bell, Angelica, 265Bell, Donald, 505Bell, Vanessa, 261, 265Bellini, Giovanni, 436, 437, 551; The Virgin on the ThroneAdoring the Child Sleeping, 551Bellini, Vincenzo, 121, 549, 551; see also iocBelock Recording Company, 36Benjamin Britten Aspen Fund, 510Bennett, Richard Rodney, plate 30; xlviii, 195, 284, 419, 429,508, 508–9, 510, 646, 697, 709; see also iocBentwaters (RAF/USAF base), Suffolk, 149–50, 283Berg, Alban, 118, 282, 288, 342, 519; see also iocBerg, Helene, 288Berganza, Teresa, 76, 81Bergman, Erik, 702Berio, Luciano, 490Berkeley, Lennox, 156, 262, 263, 427, 485, 508, 510; see alsoiocBerkeley, Michael, 366Berlin, East, 581Berlin, West, 9, 271, 371, 437, 441, 453, 581–2; Hochschule fürMusik, 450, 582; Komische Oper, xli; B/Pp, 8, 450, 582,667; Bw, xli, 271, 417, 437, 449–50; see also DeutschesOper BerlinBerlin Festival (Berlin Festwochen), 169; Bw, 173Berlin Philharmonic Orchestra, 12, 450, 514Berlin Wall, xliii, 496, 581Berliner Ensemble, 495, 496Berlioz, Hector, 348, 450, 519; see also iocBernstein, Elmer: see iocBernstein, Leonard, 217, 221, 257, 275; see also iocBerry, Walter, 450Betz, Rudolf, 27Bevis, Trevor, 57Beynac, France, 672Bharatanatyam (Indian dance form), 642Bi, see Oliver, DaphneBicknell, David, 423Bideford, Devon, 162Billows, Lionel, 64; qcb, 64Billy Liar (film), 55Bim (BB’s ‘adopted’ Indian child), 640, 641Birmingham, 284, 402; PBp, 518; Bw, 284Birnau, West Germany, 483Birtwistle, Harrison, xlviii, 179, 351, 600, 705, 705–6; see alsoiocBizet, Georges: see also iocBlades, James, xxxviii n. 20, 120, 122, 123; qcb, 123Blaha, Colonel (USAF), 149Blake, Mrs (Royal Opera House), 440, 440Blake, William, 673, 674; ‘The Chimney-Sweeper’, 25; ‘APoison Tree’, 670; Proverbs of Hell, 670; ‘The Sick Rose’,667; Songs of Experience, 667; Songs of Innocence, 670;‘Ah! Sun-flower!’, 25Blech, Leo, 714Bletchley Park: Government CommunicationHeadquarters, 454Bliss, Arthur, xli–xlii, 126, 156, 183, 276, 445, 446, 493, 607,692; see also iocBlitzstein, Marc, 217; see also iocBloch, Ernest, 185; see also iocBloch, Marguerite, 184, 185; qcb, 185Bloch, Michael, 444, 463Blond, Anthony, 330, 330Bloomsbury Group, 265Blow, John: see iocBlunden, Edmund, 314, 342, 504, 505, 663Blyth, Alan, 18, 118, 121, 201, 428, 450, 597Blythburgh Church (Holy Trinity), plate 13; 10, 374, 601,626, 630, 667Blythe, Ronald, 15, 606; Akenfield, 263; Aldeburgh

general index 743Anthology, 606Blyton, Carey, 674–5, 675, 675–6; qcb, 676Blyton, Enid, 675Bobbi, see Mesirca, SieglindeBogan, Louise, 287Bolshoi Ballet, 278, 380Bolshoi Opera, l, 363, 571, 648, 698; Bw, 571, 696, 698Bolshoi Theatre, Moscow, 278, 325, 424, 468Bombay (now Mumbai), India, 639, 651, 653; Elephantatemple, 653; B/Pp, 641Boosey, Leslie, plate 52; xlvi–xlvii, 36–8, 38, 39–40, 43–5, 47,55, 292, 387–8, 434, 568; qcb, 38, 39–40, 45, 388–9Boosey, Ethel, 388Boosey, Nigel, 388Boosey & Hawkes: Board, 36, 39, 43, 292–3, 389, 435; composers,510, 511–12, 522–3, 535; Educational Department,39, 44, 536; instrument hire and manufacture, xlvii, 55–6,292; management and personnel, xxxiii, xxxvii, xxxix,xlv, xlvi–xlvii, xlviii n. 35, 3, 19, 26, 36–40, 43–6, 47, 52,55–7, 61, 105, 108, 143, 146, 162, 167, 173, 176, 200, 203, 204,206, 209, 214, 235, 248, 255, 257–8, 291–3, 345, 364, 387–8,418, 433–5, 442, 449, 465, 474–7, 492, 496, 505, 506, 508,516, 522–3, 534–7, 551–4, 557, 566–9, 571–2, 575–6, 579,600, 628, 629, 655, 665, 677, 686, 711Boosey & Hawkes (Canada), 59, 553Boosey & Hawkes (France), 36Boosey & Hawkes (Germany), 26–7, 102, 537Boosey & Hawkes Inc. (USA), 38, 40, 57, 59, 106, 388–9,434–5, 508, 553Bordeaux, France, 188, 672Borg, Kim, 75Borodin String Quartet, 431Borsinger, Melchior, 396Boston, USA, 111; Bw, 713Boston College Humanities Series, 105Boston Symphony Orchestra, 475Bottoms, Pastor, 131Boughton, Joy, 137Boulanger, Nadia, 220, 510Boulez, Pierre, 178, 179, 508; see also iocBoult, Adrian, 506Bourdet, Denise, 33Bourges, France, 481, 482, 484Bourtzi, Greece, 375Bowen, Meirion, 526Bowness, Sophie, 401Boyd, Malcolm, 9Boys, Henry, 204, 517, 519, 520Bradbury, Ernest, 34, 77, 80, 232–3, 236Bragg, Melvyn, 54Brahms, Johannes, 220, 339, 519, 626, 702; see also iocBrain, Dennis, 3, 6, 8, 10–12, 124, 125; memorial work, 3, 6,10–12Brainin, Norbert, 6, 12, 220Brandt, Willy, 450Brannigan, Owen, plates 7, 25; 48, 49, 67, 227, 228, 231, 232,234, 365Bratby, John, 462Bray, Trevor, 273Bream, Julian, xlviii, 58, 94, 102, 111, 111, 116, 120, 157, 158, 176,209, 294, 364, 366, 430, 441, 442, 446, 483, 513, 525, 557; asmusic editor, 58, 111; qcb, 58, 94; performances and tourswith PP, 3, 12, 58, 61, 75, 94, 96, 116–17, 120, 129, 157, 158,178, 203, 209, 212, 430, 514; and Nocturnal after JohnDowland, 212, 513; and Songs from the Chinese, 3, 56, 58,430; see also Julian Bream ConsortBrecht, Bertolt, 496; Leben Eduard des Zweiten von England(with Leon Feuchtwanger), 549, 551Bremen, West Germany, 210; PBp, 8Bremner, Michael, 167Bridge, Ethel, xlix, 207, 247, 272–3, 273, 322, 324, 382–3Bridge, Frank, xlix, 159, 247, 258, 259, 272–3, 273, 324, 369,382, 394–5, 508, 526, 617, 674–6; manuscripts, xlix, 207,322–4; see also iocBright, John, 674Brighton, Sussex, 242Brimmer, Jude, 714Bristol, University of, 490Bristol Cathedral, 557Bristow, Elsie, 43Britain, Festival of, 54, 137British Council, xxxvi, l, 64, 118, 225, 227, 235, 286, 376, 378;Chile, 376; Czechoslovakia, 376; Greece, 375; India, 64,641; Italy, 206; Japan, 376; Sweden, 261; USSR, 378, 446,467British Institute of Recorded Sound (later National SoundArchive), 330, 333British Library, 333; see also National Sound ArchiveBritish Museum, London, 28, 323, 397, 413, 459British Red Cross Society, 396Brittany, France, 286Britten, Alan (nephew), 110, 112Britten, Barbara (sister), xxviii, 20–21, 21, 98, 442, 518, 707;qcb, 98, 169, 407, 692; qcp, 691britten, benjamin, plates 1–5, 11, 13–18, 20–21, 27–37, 39–43, 45, 49, 54; and Aldeburgh, future plans for, 482–4; onartist, role of, 22–3, 444, 462–3, 470, 604; and artworks,279–81, 599; and Benjamin Britten Aspen Fund, 510, 605;as Benjy, 273, 519; as conductor, plates 3, 36, 40; 4, 10, 16,36, 54, 62, 66, 67, 76, 80–81, 85, 86, 87, 93, 102, 110, 113, 126,136, 155, 156, 167, 180, 184, 185, 226, 227, 228, 232–3, 235,247, 270, 278, 281, 284, 309, 310, 311, 335, 337, 339, 342, 344,345, 354, 355, 358–9, 372–4, 384, 386, 387, 401, 403–5, 407,409–10, 417, 418, 419, 423, 426, 428, 429, 442, 449–50, 457,460, 468, 474, 491, 500, 527–8, 541, 547, 548, 570, 573, 586,589, 590, 595, 596, 614, 622, 631, 690; ConscientiousObjectors Appellate Tribunal, 226, 539; and critics/thepress, 20, 173, 228, 283, 448–9, 470, 550–51, 577, 609, 657,678, 686; and design, 28, 177; diaries, 45, 92, 104, 136, 138,204, 516; fiftieth-birthday events and tributes, xxviii,xxxiii, xlvii, xlix, 126, 236, 266, 348, 352, 395, 418, 419, 439–40, 457–8, 465, 472, 485–6, 487, 492, 499, 504, 506, 508–10,513, 521, 524, 525–34, 537–8, 541–2, 562, 578; and finances,xlvii n. 34, 65, 165, 167, 177, 203, 249, 477, 571–2, 577–8,594, 613, 677–8, 679; and folk music, 207; as harpsichordist,12, 126, 364, 366; health, xxix: 1958: eye operation,45, 47, flu, 18, 20, 68, pleurisy, 47, 65, tinnitus, 62, 65;1958–59: back problems, 97, 98, 99, 101, 120; 1958–60:wrist injury, 99, 100, 101, 120, 250; 1959: dental work, 111,120, flu, 128; 1959–60: depression, 201–2, 257, 261, 286;1959–61: tendonitis, xxix, xxxix, 148, 155, 192, 198, 200,202, 203, 204, 209, 212, 214, 219, 281, 286, 335, 344; 1960:dental problems, 236, gout, 213, 219, suspected diabetes,213; 1961: flu, 293, 302, 303, 358, 363, 364; 1962: frozenshoulder, 410, 425, haemorrhoids, 310, 383, 390, 392–5,410; 1962: bruising and stiffness, 432, viral infection, 442,444, 445; 1962–63: general ill health, 417, 422, 425, 427,431–3, 436, 439, 442, 445, 447, 453, 458, 465, 467; 1963: skiinginjury, 466, 467, 476; 1965: general ill health, 661, 696;1973: heart surgery, 195, 263, 691; mid-1970s: 126, 339–40,352; and holidays/working holidays: 1955–56: Far East,xxix–xxx, 15, 64, 88, 376, 690; 1958: Austria, 17, India(cancelled), 62, 64, Madeira, 73, 74, 76, 87, 90; 1959:Sweden and Denmark, 168, 169, Venice, xxix, 155, 186;1960: Greece, xxix, 247, 270–73, 274, 279, 282; 1961:Greece, 286, South-East England, 341, Yugoslavia, 343–4;1962: European tour, 385, France, 311, Greece, 310, 363,

744 general index364, 374–8, 381, 382; Venice, 265, 417, 430, 433, 436–9, 444;1963: France, 418, 480, 481, Greece, 418, 455, 461, 465, 466,471, 476, Switzerland, 466, Venice, 537, 541; 1964: Venice,xxxiii–xxxvii, 547, 549–53, 556, 558–64, 566–7; 1965:Armenia, l, 501, 568, 586, 677, 687–9, 690–92, 695, 712,France, 621, 671, 675, 677, India, xlvi, 65, 501, 586, 621, 624,626, 632–53, 677, 697, 712; homes, see Chapel House,Horham; Chester Gate, London; Crag House, Alde -burgh; Finchley Road, London; Halliford Street,London; Marlborough Place, London; Nevern Square,London; Old Mill, Snape, and Red House, Aldeburgh;honours and awards: Aldeburgh, Freedom of theBorough of (1962), plate 16, 417, 442, 443, 444; AspenAward (1964), 23, 510, 548, 590, 592, 594–5, 598, 599–600,606; Hanseatic Goethe Prize (1961), 310, 311, 360, 362, 363,378, 390; honorary degrees, memberships and fellowships,86, 149, 192, 195–6, 548, 615, 616–17, 618, 683, 706,707, 710; Order of Merit (1965), 194, 621, 632, 663–5, 675;Royal Philharmonic Society Gold Medal (1964), 521, 548;Sibelius Prize (1965), 622, 702; and India and Indianculture, 62, 64–5, 135, 379, 541–2, 586, 632–53; interviewsand questionnaires, 33, 122, 156, 207–8, 383, 394, 470, 487,488, 570, 586, 609, 613–14, 680–81, 702; and Japan andJapanese culture, xxix–xxx, 88, 90–91, 130, 135, 336, 558–62, 574; and languages, 33, 70–71, 146, 147, 395, 466, 472,612; letters (facsimiles), 2, 84, 154, 246, 308, 416, 546, 620;as librettist, xxix, xxxix, xl, 155, 162, 168, 171–2, 177, 182,198, 205, 231, 262; and liturgical music, 103–6, 108; mentoringof younger composers, 351–2, 368–9, 489–91, 510,511, 513, 705; and music publishing, 36–41, 43–5, 55–7,291–3, 387–9, 433–5, 547, 569, 709, see also Boosey &Hawkes and Faber Music; and notation, xxxviii n. 20,554, 569, 656, 657, 666–7, 674–5; as organist, 273; pacifism,xlii, xliv, 74, 149–50, 382, 518, 538, 613; as pianist, 12,42, 185, 211, 220, 279, 295, 301, 309, 337, 339, 358, 418, 425,427, 469, 486–7, 509, 514, 580, 616, 621, 629, 636, 671, 691;political views and support for individuals and causes,95, 187, 267, 283–4, 285, 382, 613; on PP’s voice, 135, 136,282, 661, 677, 712; and recordings, 10, 12, 16, 34, 36, 52–3,64, 66, 75–6, 93, 97, 98, 110–11, 116, 138, 164–7, 339, 343,344, 419, 508, 539–41, 712, see also Index of Britten’sWorks; at Royal College of Music, 70, 509, 539; at school,226, 363; and serial composition techniques, 233, 237,238, 421, 508, 538, 670; and sexual morality, 223, 630–31;sexuality, 532, 683; and sports: croquet, 6, 593, skiing, 17,101, 461, 466, 476, swimming, xxvii, 162, 481, 593, 594,tennis, xxvii, 6, 593; and stereo equipment, 68, 474; tastein food and drink, 64, 343, 438, 526, 637, 671, 679, 690;tributes, 351–2; Will and Executors, 19, 164, 206; writingsand speeches, xlix, 3, 8, 9, 23, 61, 88, 113, 211, 212, 229–30,333, 394, 470, 471, 481–2, 522, 526, 592, 594–5, 602–4, 603,610–11, 683, 691Britten, Edith Rhoda (mother), 518–19Britten, Marjorie (sister-in-law), 110, 112Britten, Robert Harry Marsh (brother), xxviii, 112, 517, 521,706–7Britten, Robert Victor (father), 516, 518Britten Estate Ltd, 206Britten and His Festival (BBC TV documentary), 193Britten–Pears Foundation, xxviii n. 1, 118, 206, 697Britten–Pears Library, xxvii, xxxix, 597; holdings, 106, 488,531, 533: Bridge–Fass–Oliver holdings, 324; Crozier–Evans Collection, 254, 526; Jeney bench, 654, 656, 657;Mayer Collection, 177Britten–Pears School for Advanced Musical Studies, 484;courses, 118, 714; teaching staff, 118, 254, 325, 440, 714Brooke, Henry, 496Brooke, Rupert, 452Brouwenstijn, Gré, 378, 380Brown, Ian, 392Bruce (British Embassy official, Budapest), 657Bruckner, Anton, 216; see also iocBrüggen, Frans, 174Brussels, Belgium, 45; Gemini Variations, 660Bryanston Summer School (later Dartington SummerSchool), 180Buckel, Ursula, 483, 594Buckingham, Bob, 115, 117, 393, 402, 500, 528Buckingham, May, 117, 393, 402, 500Buckingham, Robin Morgan, 392, 393Buckingham Palace, London, 20, 22, 639Buckland, Sidney, 330Budapest, Hungary, xlix, 241, 333, 547, 581, 582, 587, 588, 590,601, 650, 655–6, 660, 677; Bartók Conservatory, 661;British Embassy, 582, 656, 657, 660; PBp, 582; Bw, 582, 588Buenos Aires, Argentina, 538Bull, Father Alfred, 397, 458–9, 459Bullock, Ernest, 206Bundy, William, 199, 201Bungay, Suffolk, 15Bunraku puppet theatre, xxx n. 5, 88Burgess, Grayston, 366Burn, Andrew, 510Burney, Roger, 382Burrell, Barbara, 116, 117Burrell, Billy, 116, 117Burrell family, 442Burton, Humphrey, 54, 538Bury Free Post, 141Bury St Edmunds, Suffolk, 137, 138; Mayor of, 138; see alsoSt Edmundsbury CathedralBusch, Fritz, 714Butler, Samuel, 614; ‘My Son’, 615Butt, Richard, 402–3Byam Shaw, Glen, 441Byles, Edward, 234Byng, Douglas, 231Byron, George Gordon, xxxiii, 550, 559Cable, James H., 9Cadbury-Brown, Jim, 170Café Royal, London, 106Cahors, France, 672Cairo, Egypt, 653Calais, France, 672Calder, John, 575California, USA, 136, 564Callas, Maria, 121, 554Cambridge, 173, 249, 252, 376, 454, 486, 565, 672, 713;Guildhall, 227, 247; Bw, 615Cambridge, University of, 86, 179, 196, 288, 290, 393, 453,485, 490, 638, 666; honorary degrees, 192, 195; SenateHouse, 195; see also individual collegesCambridge University Musical Society (CUMS), 227, 258,259, 287, 409; Bw, 225, 227, 247, 282, 287Cambridgeshire, 421, 493Camden Theatre, London, 226Camillus de Lellis, St, 459Campaign for Nuclear Disarmament (CND), 268; see also‘Stars in Our Eyes’Campbell, Margaret, 278Camus, Albert, 674Canada, 110, 119, 259, 340, 356, 382, 384, 388, 390, 393, 408, 615Canada Dry, 634, 635Canadian Broadcasting Corporation (CBC), 46, 59; interviewwith PP, 116; Bw, 46, 56, 59, 383, 506; see also MusicDiary

general index 745Candlemas, 552, 554Cantelo, April, plate 25; 228, 234, 449, 450, 593Canterbury Cathedral Choir, 174Cape (publishing house), 346capital punishment (UK), 555Caplan, Isador, 64–5, 116, 118, 119, 188, 568; qcb, 65Caplan, Joan, 188, 189, 358Carlyle, Joan, 236, 260, 303, 306Carnegie Hall, New York, 363Carner, Mosco, 489Caron, Leslie, 262Carpaccio, Vittore, 186, 189Carpenter, Humphrey, xlv–xlvi nn. 31, 32; 212, 220, 296, 427,532, 597, 648, 691Carroll, Lewis, 715; Alice’s Adventures Under Ground, 715;Alice’s Adventures in Wonderland, 715Carter, Alan, 25–7, 26, 46Carter’s Garage, Aldeburgh, 47Casals, Pablo, 624Cassilly, Richard, 59Catholic Herald, 397Cavelti, Elsa, 237Cavendish, Suffolk, 438Cawston College, Norfolk, 632, 635, 636, 638CBC, see Canadian Broadcasting CorporationCBC Vancouver Chamber Orchestra, 383CBS network (US), 59–60, 493, 557Cecil Sharp House, London: PBp, 3, 41Celan, Paul, 667Centre 42, 462Cervantes, Miguel de: Don Quixote, 565Chabrier, Emmanuel: see iocChagrin, Claude, xxxv, 583Chagrin, Nicholas, 236, 303, 306Channon, Merlin, 122Chapel House, Horham (BB/PP home), 121, 150, 286, 715Chappell, William, 512Charleston, Sussex, plate 19, 261, 265–7, 281Charpentier, Marc-Antoine: see iocChartres Cathedral, France, 607Chauveton Madame, 111, 114, 119Chavez, Carlos, 295; see also iocChelsea, London, 180Chelsea Symphony Orchestra, 260Chelsea Town Hall, London, 260; Bw, 260Cheltenham Festival, 284, 351Chennai, India, see Madras, IndiaCherbourg, France, 672Cheshire, Leonard, 438, 640, 642Cheshire Foundation Homes for the Sick, 438, 640Chester Cathedral, 137Chester Gate (BB/PP London home), 80, 111, 114, 116, 119Chester mystery cycle, xxix, 15, 48, 49, 60, 137, 493Chichester, Sussex, 157, 159Chicago, USA, 713Chicago Symphony Orchestra, 241, 348Children’s Opera Group, 170Chile, 376Cholmondeley, Sybil, 88Chopin, Fryderyk: see iocChorus Pro Musica, 475Chrisman, Carolyn, 20Christian Action, 285–6Christie, Julie, 709Christie’s (auction house), 193, 196, 237, 268–9, 271, 309,329–30Christmas Sequence chosen by Benjamin Britten from theChester Mystery Cycle, A, 493Christoff, Boris, 355, 439, 440Chulaki, Mikhail, 474Churchill, Winston: state funeral, 199Cillario, Carlo Felice, 554Cirencester Grammar School, Gloucestershire, 351–2City of Birmingham Symphony Orchestra (CBSO), 335;Bw, 335, 401, 403–5, 407City Hall, London: Schubertiad, 501–2City of London Festival (1964), 474, 512, 583; Bw, 474, 583,600Civil, Alan, 345Clare College, Cambridge, 458; Bw, 458Clark, Jane, 261, 263, 525Clark, Kenneth (Kay), 54, 193, 196, 261, 263–5, 460, 462, 463,525, 551, 606; qcb, 54, 306, 460Clark, Patricia, 110, 114, 121Clarke, Jeremiah, 367; see also iocCleverdon, Douglas, 225Cliveden, Buckinghamshire, 681, 683Close, Eleanor, 374, 376, 377, 461Close, Reginald, 374, 376, 377, 461Clubwala Jadar, Mary, 640, 642Clytie (dog), 111, 115, 120, 208, 224, 712Coates, Edith, 429Cobby, J. C., 365Coburg, West Germany, 209–10; Pp, 209–10, 210Cochin, India, 644, 650; Malabar Hotel, 644Cochrane, Peggy, 176Coghill, Joy, 357Cohen, Alexander, 216–17Coimbatore, India, 643, 644Colchester, Essex, 704Cold War, l, 149, 344Coldstream, William, 269Coleman, Basil, xli, 115, 116, 117, 120, 161, 244, 310, 344, 355,355–6, 357, 358, 360, 428, 505, 550, 592–3, 596, 635, 661–2;qcb, xliii, 284, 303, 407, 550–51; qcp, 117, 295, 314Coleridge, Samuel Taylor: The Rime of the AncientMariner, 166, 464; ‘The Wanderings of Cain’, 25, 63, 68Collegium Musicum Zürich, 72, 148Colleymore, Gillian, 119, 121Colleymore, Peter, 121, 597Collier, Marie, 359, 544Collins (publishing house), 221Collins, Revd Canon L. John, 285–6Cologne, West Germany, 23, 75, 95, 148, 514, 647; DomHotel, 8; B/Pp, 8, 95, 286, 437; Bw, 437Cologne Opera, 666; Bw, 666Colorado, USA, Governor of, 594Columbus Boy Choir, Princeton, New Jersey, 20, 475Coming of the Fludde, The (bpl exhibition), 15Committee of 100, 268, 462Commonwealth Festival (1965), 542Communion Service, Anglican, 106, 108Concertgebouw Orchestra, 212–13, 215, 369, 589Connolly, Cyril, 566Constance, Switzerland, 481Conway Hall, London, 681Cook, Melville, 66–7, 345; qcb, 66–7Cooke, Arnold, 184, 186Cooke, Deryck, 204Cooke, Mervyn, xliv, 163, 171, 250, 455, 709Coolidge String Quartet, 507Coombs, John, 57Cooper, Martin, 49, 77, 227, 230, 470Co-optimists, 101Copenhagen, Denmark, 169, 431, 472, 615; Domkirke, 474;Tivoli Gardens, 614; Pp, 474, 615Copland, Aaron, xliv n. 29, xlix, 92, 156, 182, 183, 525, 526–7,535, 551, 553; qcb, 183; see also ioc

746 general indexCorinth, Gulf of, 375Corsham, Wiltshire, 426Cosman, Milein: portrait of Erwin Stein, plate 1Costa, Mary, 357Counterplan (film), 612Couperin, François, 556; see also iocCoustances Cathedral, 672Covent Garden, see Royal Opera House, Covent GardenCovent Garden Opera Chorus, 66, 286Covent Garden Opera Company (subsequently RoyalOpera), xl, 17, 76, 114, 188, 241, 255, 360Covent Garden Opera Orchestra, 66; see also Royal OperaHouse, Covent GardenCoventry, West Midlands, 225, 263, 392, 422, 501; BelgradeTheatre, 409; Hippodrome Theatre, 256; TechnicalCollege Theatre, 393Coventry Cathedral (St Michael’s), 66, 72–3, 108, 235, 247,255, 261, 263, 284, 311, 313, 334, 370–72, 402–8; WarRequiem, plates 40, 43, 45–6; xxx n. 6, xli, xliii, 284–5, 311,372, 380, 392, 401–8, 422, 474Coventry Cathedral Festival, xxx n. 6, xli–xlii, 4, 73, 108,256–7, 313, 369–70, 393, 398–400, 409; Committee, 72,256, 335Coventry Festival Chorus, 335, 401, 403, 405, 407Cowell, W. S. (printing firm), 27Crabbe, George, 530; The Borough, 530Craft, Robert, 258, 474, 507, 564, 564, 565–6Crag House, Aldeburgh, xxvii, 6, 7, 98Craig, Charles, 544Cranborne Chase School, Dorset, 706Cranbrook, Countess of (Fidelity Cranbrook), plate 15; xlvin. 32, 120, 122, 161, 170, 345, 442, 630, 631, 683Cranbrook, Dowager Countess of (Dorothy Cranbrook),442, 444Cranbrook, Earl of (Jock Cranbrook), 161, 446, 525Cranko, John, plate 21; xl–xli, xliv, 31, 115, 152 163, 199, 242–4; qcb, xl, 242–4; and A Midsummer Night’s Dream, 161,229, 230–32, 234, 240, 242–4; and The Prince of thePagodas, 163Cranks (revue), 242Crawford, Michael, plate 7Crawley, Peter, 575, 710Craxton, Antony, 586Crehan, Father Joseph, 397Crete, Greece, 247, 271Crist, Elizabeth B., xliv n. 29, 182Croatian National Theatre of Zagreb, Opera of, 344; Bw,344Croomb, John, 56, 59Cross, Beverley: Scarlet Ribbons, 647Cross, Joan, xlv, 21, 176, 356, 359, 525Crosse, Gordon, 596, 697; see also iocCrossley-Holland, Peter, 428; qcb, 428Croydon, Surrey, 585; PBp, 585–6Crozier, Eric, xlv, 98, 247, 252–3, 253, 254, 281, 526, 532, 551,600, 647, 648, 683; qcb, 254; Albert Herring (libretto),648; ‘Albert in Later Life’, 526; ‘Notes on BenjaminBritten’, 532; see also Forster, E. M.Cruft, John, 377, 378, 445Cuban missile crisis (1962), xliiiCuenod, Hugues, 172, 201Cullen, David, 170; see also iocCullum, Jeremy, xxviii, 63, 69, 100, 115, 116, 119, 120, 157, 184,199, 343, 337–8, 388, 403, 485, 517, 576, 579, 592, 635, 636,653, 661, 697, 704Cullum, Simon, 378, 380Culshaw, John, plate 42; 16, 68, 92, 164–6, 166–7, 208, 241,366–7, 377, 379, 423, 461, 474–5, 476–7, 539, 540–41, 580,660–61, 677; qcb, 16, 68, 166, 423, 460, 580, 660–61Culture, Soviet Ministry of, l, 278, 329, 370–71Cumberland, 485, 503Curcio, Maria, 262, 631curlew sign, 554, 657, 666–7Curtin, Phyllis, 475Curzon, Clifford, 166, 219, 220, 525‘Custodes hominum’ (plainsong), xxxiv, xxxviii, 559, 563Cyprus, 138Czechoslovakia, Soviet invasion of (1968), 325, 648Daily Express, 458Daily Mail, 678Daily Telegraph: articles, 297, 470; letters to, 206; obituaries,18, 69, 118, 121, 159, 186, 256, 278, 284, 348, 365, 378, 464,484, 510, 531, 538, 596; reviews, 8, 49, 77, 227–8, 230–31,496, 572; staff, 205, 394, 433, 555Dalgat, Djemal, 118Dallas, Texas, 419, 525Dalmeny House, near Edinburgh, 430, 431Dancy, John, 71; qcb, 71Daniel, Book of, 591, 606, 607, 664Daniel, Play of, 249, 250, 252, 583Danielis Ludus, see Daniel, Play ofDanilevich, Lev, 572Darmstadt, West Germany, 85, 102, 481; Landestheater, 128,129; PBp, 8; Bw, 128Dart, Thurston, 9, 662Dartington Summer School (formerly Bryanston SummerSchool), xlix, 113, 155, 176–8, 180, 220, 256, 257, 261, 262,446, 492; Choir, 177; PBp, 8; Bw, 58, 155, 177–8Davies, Meredith, plate 40; 226, 282, 283, 284–5, 311, 335, 352,357, 358–9, 372–3, 401, 404–5, 407–8, 417, 418, 429, 439,441, 491, 512, 548, 567, 595Davies, Peter Maxwell, xlviii, 178, 179, 351, 351–2, 508, 510,511–12, 522–3, 535, 536, 553, 599–600, 697, 705; qcb, 523;see also iocDavis, Colin, 203, 417, 426, 441–2, 449–50, 450, 647Day Lewis, Cecil, 68, 252, 268, 342, 413, 505de la Mare, Giles, 673de la Mare, Richard, 547, 574–6, 579, 710; qcb, 576, 710de la Mare, Walter, 68, 575, 576, 664De Sabata, Victor, 348Dean Street (coffee room), London, 106Deardon, Ruth, 586; qcb, 586Debussy, Claude, 36, 118, 309, 311, 339, 517, 521; see also iocDecca (recording company), xlvii n. 34, 121, 241, 252, 330,379, 380, 485, 505; advertisements, 35, 67, 175, 353, 544;Aldeburgh Festival recordings, 10, 165, 167; BB recordings,16, 21, 36, 67–9, 85, 92, 113, 114, 120, 122, 159, 164–7,174–6, 178, 201, 219, 221, 226, 229, 247, 259, 260, 275, 286,290, 291, 309, 339, 344, 367, 374, 377–80, 386, 411, 418, 419,423, 427, 429, 455, 461, 464, 473, 475–7, 489, 508, 539–41,541, 547, 548, 568, 570, 575, 577, 579, 596, 615, 622, 630,660–61, 667, 677, 705; ‘Britten at Aldeburgh’ series, 374,386; ‘Britten–Pears Collection’ series, 429; ‘Britten thePerformer’ series, 122, 260; contractual arrangements, 10,423; ‘Legends’ series, 489; staff, 16, 164–7, 379, 461; stereorecording, 67, 166, 474, 477, 580; in USA, 475December Nights Festival (Moscow), 339; Bw, 339Defence, Ministry of, London, 268Del Mar, Norman, xlv, 167, 260, 467, 468, 527–9, 529, 647;qcb, 408, 527–8Del Mar, Pauline, 408, 527Delhi, India, 542, 633, 636–7, 639, 646, 651; British HighCommission, 636; Red Fort, 633, 635; Sangeet NatakAkademi (Academy of Music, Art and Dancing), 636,638; PBp, 636, 646Delius, Frederick, 284, 519; see also iocDeller, Alfred, plate 24; xli, 113, 126, 173–4, 174, 192, 228,

general index 747229–32, 234, 236, 366; qcb, 126, 228–9; qcp, 174Deller Consort, 113, 174Delphi, Greece, 375–6, 382Del’vig, Anton, 338Denison, John, 255, 256Denmark, 614Denshers (Fass home), Sussex, 322–4Depolo, Josip, 344Derry, Revd Wilfred, 53, 66; qcb, 53, 66Detmold, West Germany, 23; PBp, 8Deutsch, Otto Erich, 208, 211Deutsche Oper Berlin, 128, 450, 714; Chorus, 450; Bw, 450Devi, Rukmini, 641, 642Devon, 30, 31, 162Diamand, Maria, see Curcio, MariaDiamand, Peter, 15–16, 65, 208, 631; qcb, 16, 203Dickens, Charles: David Copperfield, 328Dickinson, Peter, 183, 485Dickson, Joan, 509Dilizhan, Armenia, plate 38; 622, 691; Composers’ Retreat,624, 691–2Disney, Walt, 381; cartoon characters, 121DiVirgilio, Nicholas, 475Dobson, Dennis (publishing house), 31Doctor, Jenny, 180Doctor Who (television drama), 675Dodabetta mountain, India, 644Dohnányi, Ernö, 241Dolukhanova, Zara, 505Donizetti, Gaetano, 121; see also iocDonne, John, 673Dordogne, France, 671, 677Dorliak, Nina, 343, 344, 624–5, 626; qcb, 626–7Dorliak, Xenia, 626Dorset, 709Douglas, Basil, xlv, 24, 113Dowd, Ronald, 441Dowland, John, 203, 294, 418, 515; see also iocDownes, Edward, 544Downes, Ralph, 601, 704; qcb, 704Downing College, Cambridge, 290Drake, Bryan, plate 50; xxxvi n. 18, 429, 582, 583Drew, David, xlviii n. 35, 234Driberg, Tom, 462Drogheda, Garrett, Earl of, 241, 615Drottningholm Court Theatre, Sweden, 113, 118, 311; Bw,113, 311, 356, 359, 392Dryden, John, 367Du Sautoy, Mollie, 575, 664, 709, 710Du Sautoy, Peter, 547, 569, 574, 574–5, 575–6, 579–80, 605,663, 673, 674, 709, 710; qcb, 605, 664Dubrovnik, 311, 343, 346; Fort Lovrjenac, 343, 344; Rector’sPalace, 344, 385; B/Pp, 311, 344, 385Dubrovnik Summer Festival (1961), 309, 344, 360; PBp, 309;Bw, 309, 343, 344, 345Dumbarton Oaks, Washington, 183Duncan, Briony, 17, 101Duncan, Felicity, 485, 517Duncan, Roger, 14, 17, 30, 101, 111, 114, 119, 162, 223–4, 288,392–3, 485, 517, 634; portrait by Mary Potter, plate 1; qcb,188–9, 224, 228, 277, 486, 690Duncan, Ronald, xlii, 17, 30, 30, 106–7, 119, 329, 330, 333,393, 448–9, 487, 516–17, 525, 530, 707–8; All Men AreIslands, 516–21, 529, 707–8; Christopher Sly (libretto), 30,31; ‘The Humanity of George Crabbe’, 530; Mea Culpa,xlii; Pacifist March (text), 516, 518–19; The Rape ofLucretia (libretto), 30, 580; St Peter (text), 30, 31; SaintSpiv, 31; qcb, 17, 31, 106, 448–9, 708; see also Harewood,Countess of (Marion Harewood)Duncan, Rose-Marie, 17, 119, 393, 517, 530Dunkerley, Piers, 382Dunlop, Isobel, 431Dunn, Geoffrey, 512Dunsden Vicarage, Oxfordshire, 342, 413Dunwich, Suffolk, 653, 654Dupré, Desmond, 174Duranchelle (concert promoter), 294, 295Düren, West Germany: PBp, 8Durham, University of, 168, 173Dusseldorf, West Germany, 8, 438; B/Pp, 8, 9, 34, 286, 297,349, 437Dutilleux, Henri, 275Dyer, Olive, 172; qcb, 172Dykes, John Bacchus, 48; see also iocEaling Grammar School, London: boys’ choir, 509Easdale, Brian, xliiEast Anglian Daily Times, 5, 269East Germany, see German Democratic RepublicEastwood, Clint, 159Eastwood, Thomas, 30, 31; see also iocEde, Christopher, 137, 137, 138; qcb, 138Edel, Leon, 430Edinburgh, 343, 345, 349, 364, 378, 410, 427, 431, 486, 487,628; Freemasons’ Hall, Edinburgh, 66, 345; King’sTheatre, 431; Usher Hall, Edinburgh, 345; B/Pp, 22;Bw, 66, 345; see also National Gallery of ScotlandEdinburgh, Duke of, see Philip, Prince, Duke of EdinburghEdinburgh Festival, xlv, 66, 188, 189, 338, 340, 349, 356, 385,488; 1958: 4, 62, 66; 1959: 181; 1960: 276; 1961: 310, 347, 348,355, 357, 360, 440; 1962: 336, 337, 338, 358, 383, 384, 417,429–33; 1963: 426–30, 480, 485, 486, 495–6; 1968: 493;International Drama Conference (1963), 496; B/Pp, 4, 66,310, 345, 349; Bw, 4, 66, 310, 356, 358–9, 429, 430, 432, 485Editio Musica Budapest (music publisher), 655Egypt, 376Ehrlich, Bettina, 533Ehrlich, George, 526, 533, 533, 548, 599; Boy on the Beach(‘Thumbsucker’), 533; The Brothers, plate 1; busts of BBand PP, 533, 534; pencil drawing of boy’s head, 533, 534;Standing Boy, 599; qcp, 714, 715Eindhoven, Netherlands, 609; B/Pp, 609Eisenhower, Dwight, 149Elgar, Edward, 445, 446, 663; see also iocEliot, T. S. (Thomas Stearns), 269, 575, 663, 664, 710;Murder in the Cathedral, 645Elizabeth II, Queen, 23, 62, 76, 87, 371, 707Elizabeth, Queen Mother, 373, 417, 452, 453, 593Elizabethan Singers, 577Ellington, Duke, 65Ellis, Osian, xxxviii n. 20, 103, 104, 108Elmau, Schloss, 85, 98, 143, 242, 294, 297, 483; Anglo-German Music Days, 100–101, 101, 294, 297; PBp, 85, 100;Bw, 100Elmhirst, Leonard, 113Elms, Lauris, 110, 114Elwes, John, 178; see also Hahessy, JohnEly, Cambridgeshire, 493Ely Cathedral, 348; Bw, 548, 589EMI (recording company), 183, 422; contractual arrangements,10, 422–3; recordings, 10, 183, 423Emanuel Boys’ School, Wandsworth: choir, 227, 286Emmanuel College, Cambridge, 707Engen, Keith, 483, 597English Chamber Orchestra (ECO), plate 37; 195, 239, 309,339, 374, 378, 387, 426, 474, 548, 585, 590, 625, 628English Music Theatre (formerly English Opera Group),60

748 general indexEnglish National Opera (ENO), xlv, 428; Bw, 18English Opera Group (EOG; subsequently English MusicTheatre): Board, 118, 256, 263, 357, 672, 696, 697; finances,xl, 53–4, 243–4, 256; fund-raising, 502; management andpersonnel, xxix, xxxv, xxxvii, xl, xlv, xlviii, 18, 24, 30–31,46, 60, 67, 117, 121, 137, 161, 188, 189, 192, 200, 201, 211–12,235, 240, 253, 255, 284, 345, 356, 360, 376, 427, 428, 464,493, 505, 529, 596, 695–8, 705; USSR tour (1964), 548, 596,608–9, 615, 696; productions: Albert Herring, xli, 121, 284,356, 360, 427, 548, 608, 615; Il ballo delle ingrate, xl, 53,297; The Beggar’s Opera, 284, 426–7, 429, 478, 485; TheBurning Fiery Furnace, 697; Così fan tutte, 426–8; CurlewRiver, xxxvi; Dido and Aeneas, 110, 113, 311, 356, 359, 427;English Eccentrics, 512; Idomeneo, 166, 211, 442, 596; Let’sMake an Opera, 18, 27, 284; Les Mamelles de Tirésias, xl,53, 297; A Midsummer Night’s Dream, xl–xli, 173, 201, 233,235, 240, 242, 255, 284, 697; Noye’s Fludde, 47–53; Punchand Judy, 706; The Rape of Lucretia, xli, 220, 284, 427,428, 548, 596, 608; Sāvitri, 427; The Turn of the Screw, xli,18, 122, 155, 198, 337, 356, 358, 360, 548, 557, 593, 595, 596,608, 615; Venus and Adonis, 265, 296English Opera Group Orchestra, 200, 233ENSA (Entertainments National Service Association), 211Epidaurus, Greece, 374–5, 382, 461Epstein, Jacob, xli, 73, 263Erdmann, Charles, 128, 130, 131, 168, 341, 346, 347, 402, 452,461, 504, 562, 570, 604, 678, 699Erede, Alberto, 631Essen, West Germany, 360, 438; B/Pp, 349, 437Eton Literary Society, 705Ettal, Germany, 57, 100, 101; Bw, 57, 100, 101–2Eurovision, 595; Bw, 595Evans, Geraint, 17, 67, 81, 119, 121, 242, 303, 306, 355, 357Evans, John, 518Evans, Myfanwy, see Piper, MyfanwyEvans, Nancy, 211, 253, 254Evans, Peter, 434–5, 616–17, 618Evening Standard, 707Exeter Cathedral (St Peter’s), 31Faber, Enid, 575Faber, Geoffrey, 575, 664Faber, Richard, 575Faber, Tom, 575Faber and Gwyer, 575Faber and Faber, xlvii, 293, 474, 525, 547–8, 552, 555, 569,574–6, 579, 615, 616, 622, 655, 691, 710–11; Board, 574–5,710; design, 26, 27, 672; publications, xlviii, 555, 564, 566,603, 604, 672; staff, 206, 574–5Faber Music (initially Faber and Faber music department),586, 622, 666, 672, 675, 696, 709, 710–11, 715; Board, 19,622, 710; composers, 511; design, 27; formation, xlvii, 38,206, 293, 547–8, 552, 555, 569, 574–6, 709, 710; publications,xxx n. 7, xxxvii, 492, 498, 503, 506–7, 567, 605, 614,616–18, 663–4, 665, 671, 672–4, 674–6Faber Music News, 683Fairfax, Bryan, 525, 537, 577, 578; qcb, 578Fairfield Halls, Croydon, 548; Bw, 711, 713Falkner, Keith, 205, 206–7, 322–4; qcb, 206, 322–3Faludi, Rezső, 207, 208Fanning, David, 338, 421Far from the Madding Crowd (film), 55, 708–9Farrar, Straus and Giroux (publishing house), 287Fass, Marjorie, xlix, 272–3, 273, 322, 323–4, 382, 383; qcb,273, 323–4Fauré, Gabriel, 53; see also iocFeiniger, Andreas, 288Feiniger, Lyonel, 282, 288; Mellingen V, 288Felmar, Albert, 19, 20Felsenstein, Walter, xliFenice, La, Venice, 549, 551Ferguson, Howard, 508Ferrier, Kathleen, 34, 166, 662Ferris, Paul, 54Festival Hall, London, see Royal Festival Hall, LondonFestival of Music and Musicians from the Soviet Union(1963), 505Feuchtwanger, Leon, 551; see also Brecht, BertoltFigaro littéraire, Le, 33Finch, Ronald, 617Finchley, London, 373, 518Finchley Road, London (BB flat), 708Finchley Children’s Music Group, 509Finland, 698Finney, Ross Lee, 185; see also iocFirbank, Ronald, 429, 430; The Eccentricities of CardinalPirelli, 430Fires of London, 352Fischer, Annie, 76Fischer-Dieskau, Dietrich, plates 14, 46; xlix–l, 25, 311, 313,313–14, 339, 409, 419, 422, 423, 453, 460, 478, 487–8, 495,541, 586, 621, 625, 626, 648, 666–7, 692; chamber ensemble,422; mother, 667; qcb, xlii–xliii, 314, 322, 422, 478,667; as translator, 18, 392, 440, 467; Echoes of a Lifetime,408, 423, 487; and Songs and Proverbs of William Blake,586, 621, 622, 666–7, 670–71, 677, 711, 712, 713; and WarRequiem, xlii, xliv, 313–14, 335, 372, 378, 379, 392–3, 401–2,404–8, 413, 418, 422, 423, 460, 466, 487–8, 540, 589, 667Fisher, Sylvia, 7, 15, 18, 20, 21, 116, 359, 419, 429, 431, 525;qcb, 21Fitzwilliam Virginal Book, 468Flesch, Carl, 714Florence, Italy, 186Floyd, Carlisle: see iocFontainebleu, France, 481Fonteyn, Margot, 64Forbes, Elizabeth, 21, 121, 201, 284Foreign Office, London, l, 609, 648Foreman, Lewis, 41, 186, 379Forster (teacher at Cawston College), 632Forster, E. M., 7, 97, 98, 110, 115, 128, 130, 173, 247, 249,252–4, 269, 271, 272, 281–2, 343, 392–3, 402, 454, 500, 525,528, 551, 564, 603, 605, 606, 672, 677, 678–9, 713; ArcticSummer, 528; Billy Budd (libretto, with Eric Crozier),97–8, 247, 252–4, 281–2, 439; ‘A Definition of Tolerance’,272; Howards End, 393, 394; Longest Journey, 393; ‘A Visitto Bayreuth’, 7; qcb, 98, 253, 283–4, 393, 606Fortner, Wolfgang, 8; see also iocFoster, Kay, see Raffe, KayFramlingham Church, Suffolk, 12, 28; Richmond Tomb, 29Françaix, Jean, 294France, 32–5, 36, 150, 188, 221, 286, 314, 480, 675; B/Pp, 385Franck, César, 220; see also iocFrancomb, Peter, 12Frank, Alan, 108; qcb, 108Frankenstein, Alfred, 357Frankfurt, West Germany, 214, 272, 582, 632, 653; PBp, 8,129, 129Freda (Aldeburgh friend of BB and PP), 442Freiburg, 196, 237Fretwell, Elizabeth, 359, 431Fricker, Peter Racine, 311, 445, 446, 557; see also iocFriends’ House, Euston Road, London, 80, 102, 123, 660;Bw, 660Friston, Sussex, 273, 322, 324, 382Friston Field (Bridge home), 323Friston Parish Church, 383Froschauer, Helmuth, 609; qcb, 609

general index 749Furbank, P. N., 393, 529Furtseva, Ekaterina, plate 35; l, 370–71, 423–4, 467, 468, 471,570, 571, 581, 609; qcb, 423–4Gagaku (Japanese court music), xxxiii, 88, 90, 689Gainsborough, Thomas, 431Gammond, Peter, 174–6, 176Gandhi, Indira, 634, 635Gandhi, Mohandas Karamchand, 633, 634, 635, 672Gardini, Ubaldo, 21; qcb, 21Garrard, Don, 583Garrick Club, London, 345, 536, 537Garth (schoolfriend of Roger Duncan), 119Garvie, Peter, 383, 408Gathorne-Hardy, Lady Anne, see Hill, Lady AnneGathorne-Hardy, Robert, 525Gauntlett, Henry, 638; see also iocGay, John, 704; The What D’Ye Call It, 90; see also iocGeddes, Hugh, 436, 437Geddes, John, 436, 437Geddes, Hon. Margaret Campbell, see Hesse and theRhine, Princess Margaret ofGeddes family, 374Geiser, Walter, 238Gelsenkirchen, West Germany, 582; Schalker Gymnasium,582; PBp, 582Gencer, Leyla, 551Gendron, Maurice, xlix, 156, 184, 185, 418, 425, 480–81Gendron, Monique, 480–81General Election (1964), 611, 683Genesis, Book of, 183Geneva, 395, 453, 486, 528, 653, 662; Conservatoire, 129, 286;Grand Théâtre, 396, 419, 495; Hôtel des Bergues, 495;Hotel Victoria, 459; B/Pp, 129, 286, 527, 662; Bw, 396, 419,453, 457, 458, 485, 494, 495, 528, 615Geneva Conventions (1929), 396Genève, Journal de, 457George V, 102Gerhard, Roberto, xlviii n. 35German, Edward: see iocGerman Democratic Republic, 496, 581Germany, 77; see also German Democratic Republic andWest GermanyGhosh, Nikhil, 64Giebel, Agnes, 237Gielgud, John, xli, 240, 241–2, 303, 306, 352, 357, 488; qcb,306Gifford, Charles, 170Gilbert, William Schwenk, and Sullivan, Arthur: operettas,254, 522, 552, 555, 639; see also iocGilda (dog), 712, 715Gill, David, 382Gilliam, Laurence, 225–6, 225Gillies, Malcolm, 43Giotto di Bondone, 436, 437Gishford, Anthony (Tony), xlvi–xlvii, 18–19, 19, 32–3, 47,53, 112, 161, 182, 311, 334, 345, 358, 385, 427, 430–32, 436, 437,442, 525–6, 536, 552, 553, 576, 605, 665, 695–6, 697–8, 710–11; and Boosey & Hawkes, 3, 26–7, 36–41, 43–6, 47, 293,388; Tribute to Benjamin Britten on His Fiftieth Birthday(tbb), xlviii, 19, 419, 525–30, 542, 605, 606; qcb, 20, 53,605, 697, 711; qcb, xlvi; qcp, 21,Giulini, Carlo Maria, 310, 335, 345, 348, 348, 352, 360, 372–3,525, 596Glastonbury Festival, 89Glikman, Isaak, 433Glimmerglass Opera, 647Glock, William, 178, 180, 180, 181, 202, 203, 255, 256, 295–6,338, 372–3, 373, 377, 510; qcb, 181, 203–4, 296Glossop, Peter, 418Gluck, Christoph Willibald von, 119; see also iocGlyndebourne Festival Opera, 97, 296, 297, 357, 428, 446,510, 595, 697, 714; Bw, 263Goa, 652, 654Gobbi, Tito, 554‘God rest ye merry, Gentlemen’, 226Goehr, Alexander, xlviii, 177, 179, 301, 303, 337, 351, 352, 600,697, 705; see also iocGoehr, Walter, 179Goethe, Johann Friedrich von, 219, 310, 389, 466, 672;Italian Journey (1786–1788), 220, 465–7; ‘UmMitternacht’, 310, 390Goff, Thomas, 364, 365, 366Goldberg, Szymon, 211, 220Goldsbrough, Arnold, 403Goodman, Arnold, 611Goodwin, John, 263Goossens, Eugene, 16, 290, 291Gore-Booth, Lady, 636Gore-Booth, Sir Paul, 636, 638Gorky, USSR, 385Gosconcert, l, 278, 298, 370, 380, 447, 608, 628Gosh, Pannalal, 542Gould, Peter, 80; qcb, 80Grace Church, Newark, 106Graham, Colin, plates 8, 49; 56, 60, 113, 557, 596, 646–7,647–8, 695–6, 705; and Albert Herring, 359; and AnnaKarenina, 325; and The Beggar’s Opera, 429; and TheBurning Fiery Furnace, 607, 678, 679, 688, 705; andCurlew River, xxx n. 7, xxxiii–xxxviii, 132, 419, 504–5,549–50, 558–9, 562–3, 580, 583, 584, 679; and Dido andAeneas, 356, 359; Golden Vanity (libretto), 610; and Noye’sFludde, xxxv n. 11, 48–9, 52, 56, 58; and The Turn of theScrew, 198, 200, 593Grainger, Ella, 41, 41, 42Grainger, Percy, xlix, 3, 41, 41, 41–3; qcb, 41–2; see also iocGramercy Park, New York, 111Gramophone (magazine): reviews, 105, 221, 367, 473, 489Grand Rapids, USA, 117Grant, Duncan, plate 19, 261, 265–7, 279–81; Les Femmessavantes, 266; Fêtes champêtres, 266–7; portrait of PP,264, 265–7; qcb, 266, 281; qcp, 265–7Grant, Keith (EOG), xxxv n. 12, xxxvi, xxxviii n. 21, 212,256, 473, 505, 557, 608, 646, 696Grant, Keith (sculptor), 194Granville Barker, Frank, 21Graves, Robert, xxx, 216, 216, 217–18; A Song for Sheba, 216–18; qcb, 217–18Great Banana Phenomenon, The (television series), 675Great Glemham House, Suffolk, 3, 161Greece, xxix, 150, 270–73, 274, 279, 286, 310, 364, 374–8, 381,382, 418, 455, 461, 465, 466, 471, 476, 643; German invasionof, 376Greece, King and Queen of, 461Green, Kenneth, 526Greenberg, Noah, 250, 252Greene, Eric, 17Greene, Graham: The Third Man, 683Greene, Richard, 125Grenfell, Joyce, 211, 212Gresham’s School, Holt, 518Greuner (Boosey & Hawkes representative, Bonn), 26, 27Grey, Theresa, 59Griffiths, Chris, 12Griffiths, Paul, 510Grilli, Marcel, 91Grimsby, Lincolnshire: Central Hall, 33; Town Hall, 32;PBp, 32, 33, 46