Benjamin Britten's Five Flower Songs, Op. 47, is a set of five part songs to poems in English by four authors which mention flowers, composed for four voices (SATB) in 1950 as a gift for the 25th wedding anniversary of Leonard and Dorothy Elmhirst. It was first performed in the open air at the couple's estate Dartington Hall, with Imogen Holst conducting a student choir. The set has been frequently recorded by English and foreign chamber choirs and ensembles, including Polyphony, Cambridge Singers and the RIAS Kammerchor.
History
Britten composed the music as a contribution to commemorate the 25th wedding anniversary of Leonard and Dorothy Elmhirst, who were both botanists, philanthropists, and fond of flowers.[1][2][3]: 90–91 Leonard Elmhirst was an agronomist who developed depressed rural regions such as in India and Devon county. Dorothy Elmhirst was a wealthy American, supporting education and women's rights. They had gardens at their estate, Dartington Hall.[1]
The music is in five movements, which Britten designed to be in that order, with mood-changes in mind.[2] It has been named a song cycle.[6] The duration is given as around 11 minutes.[4]
To Daffodils is marked Allegro impetuoso.[2] The text by Robert Herrick is a metaphor of life passing.[4][1] In The Succession of the Four Sweet Months, also by Herrick, each month is assigned a voice part to begin a fugal setting.[1]Marsh Flowers is a setting of a poem by George Crabbe who had also written the poems on which Britten's opera Peter Grimes was based.[1] Britten created "a slightly menacing atmosphere",[2] giving individual identity to flowers described as "slimy", "faded" or with "sickly scent".[1]Evening Primrose, on a poem by John Clare, serves as the set's slow movement,[2] depicting a nightscape,[1] with the music turning to slumber.[7] The anonymous The Ballad of Green Broom has been described as "a tour-de-force of humour",[2] with a gradual accelerando, as an exciting closing movement.[2] The tempo at the beginning is Cominciando esitando ("Beginning hesitantly"), the tenors begin as a ballad singer, while the other voices imitate guitar sounds, introducing a young lazy flower-cutter. The voices take turns telling the story, with increasing tempo, up to a final wedding to a rich woman, marked Vivace, with the first "guitar" chords as joyous and sonorous wedding bells.[1]