Benjamin Britten: Variations on a Theme of Frank Bridge, Op.10

Britten’s Variations on a Theme of Frank Bridge was the composer’s first work to Benjamin become truly popular. He had written much music prior to this including a large number of attractive film scores, the choral work A Boy was Born, chamber music and songs.  The Variations were written in a comparatively short period of time during the summer of 1937. It was composed at the behest of conductor Boyd Neel who desperately needed a new piece of British music for his orchestra to play at the Salzburg Festival of that year.

Frank Bridge (1879-1941) began teaching Britten when the young composer was only fourteen years old.  Perhaps Bridge’s greatest achievement as a teacher was to introduce him to the prevailing musical movements of twentieth century Europe including the works of Schoenberg and Webern. It was even mooted at one time that Britten should be sent to study with Alban Berg in Vienna. In honour of his years as Bridge’s pupil, Britten dedicated the score of his Variations to ‘F.B. A tribute with affection and admiration’. 

The work is structured as follows and includes the notes about Bridge’s personality made by Britten on the pencil score; however it is difficult to reconcile some of the elder composer’s character traits with the music presented.

Introduction and Theme [To FB – himself]

Variation 1: Adagio [His integrity]

Variation 2: March [His energy]

Variation 3: Romance [His charm]

Variation 4: Aria Italiana [His wit]

Variation 5: Bourrée Classique [His tradition]

Variation 6: Wiener Walzer [His gaiety]

Variation 7: Moto Perpetuo [His enthusiasm]

Variation 8: Funeral March [His sympathy (understanding)]

Variation 9: Chant [His reverence]

Variation 10: Fugue and Finale [His skill & our affection]

Britten utilised a theme from the second of Bridge’s Three Idylls for string quartet, Op.6, No.2 [H.67] which had been composed in 1906.  The basic concept of the Variations is to present a pastiche of various European musical styles and genres. The original theme is ‘translated, transformed, transferred and transfigured’ into a number of parodies. Examples of this include the Rossini-inspired ‘Aria Italiana’, a Wiener Walzer that is in the manner of Ravel’s La valse and a ‘Bourrée Classique’ that nods to the neo-classical composers of that time. However, the emotional tension of the work is epitomised in the placing of the bubbly ‘Moto Perpetuo’ immediately before the astringent and haunting ‘Funeral March’ which is infused with a Mahlerian intensity.

The final ‘devilish’ fugue is reputed to contain a number of references to other works by Frank Bridge including Summer, Enter Spring, The Sea, There is a Willow Grows Aslant a Brook and the Piano Trio from 1929.   The initial theme is reprised in finale. The Variations are scored for string orchestra with soloists. 

Commentators have often considered that there is an underlying ‘programme’ in the Variations. At the time of composition Britten was still mourning the death of his mother at the end of January of that year and was coming to terms with his homosexuality – he had met Peter Pears in 1936. Certainly the work vacillates between high spirits and downright melancholy and this may or may not suggest some personal struggle.  However, Britten would have nothing to do with such a suggestion. 

The Variations were duly heard at Salzburg on 27 August 1937; however the premiere was actually broadcast on Radio Hilversum two days previously. The work was received with great acclaim. 

An exellent version of Britten's Variations can be heard on the Naxos Label performed by the English Chamber Orchestra conducted by Steuart Bedforf. This recording has been uploaded to YouTube.