Benjamin Britten

(1913-1976)

Temporal Variations (1936)

Theme, Oration, March, Exercises, Commination, Chorale, Waltz, Polka, Resolution

Benjamin Britten’s Temporal Variations is arguably one of the composer’s first statements against war–a theme that is also deeply intertwined within the history of the Oboe. Due to their association with the Ottoman Oboe, a military instrument that was used by the Turkish army during their numerous conquests, Shalms received a barbaric connotation throughout Europe. During the numerous Turkish Wars and conquests of Europe throughout the 14th-20th Centuries, the Ottoman Oboe was established firmly in a military context by the elite infantry units of the Ottoman army. Eventually, this barbaric connotation would be transferred throughout Europe onto the shalm.

Britten had a clear stance against war–he was an outspoken pacifist and even composed a piece as a protest against WW2 and war altogether: the War Requiem . Around the time that he began working on his Temporal Variations, Britten started to occupy himself with the challenge of expressing pacifism in music. There are clear indications that the Temporal Variations were one of his first musical statements against war: the piece would become a model that Britten based some of his later works on, such as his Requiem or Cantata Misericordium, two pieces most closely associated with Britten’s pacifistic outlook. The theme of the Temporal Variations can even be recognized in the opening bars of his War Requiem (of the first Oboe part, in fact).

The titles of the individual variations can be grouped into certain categories by their connotation: Chorale, Commination, and Resolution are spiritual; Waltz and Polka pertain to a common, civil life. In contrast, March and Exercise use the oboe to depict the barbaric and brutal nature of war.

Emily Xu (Director) Sebastian Reuten (Composer)

The film tells the story of an artist suffering from the censorship of a military Regime. The country is at war and, as a result, continues to tighten regulations for its citizens–something which has become unbearable for the artist, despite her close friendship with the nation’s prince. The film’s emotional climax occurs during the pair’s farewell, when the artist inevitably resolves to–and must flee her home in pursuit of freedom.

One can draw many parallels between this fictitious story and certain historical or even current real world events: but for me, the clearest connection is that to the situation in Germany just before the second World War. While speaking with

Emily, the director, about the film, the Nazi Regime was even used as an allegory for the story’s political climate. Emily is very open about her support for freedom of speech and expression–one of the film’s central themes. The film advocates for the very manner of expression that artists – like Britten — employ in their work.

Francis Poulenc (1899-1963) Trio for Oboe, Bassoon and Piano, FP 43 (1926)

Having lived through both World Wars, Poulenc’s life was also deeply intertwined with the issue of war and freedom. During the German occupation of France in World War II, Poulenc lived in a precarious position due to his homosexuality and association with artists who aligned themselves with the anti-German Résistance. Even then, he expressed himself explicitly against the Nazi rule of tyranny, composing music with anti-German themes and facing censorship as a result. During this time, he was mostly popular in England, where he performed his compositions on multiple occasions. At one point, he even shared a stage with Benjamin Britten, performing Poulenc’s Concerto for Two Pianos in London.

An association with spirituality originating from an antique ancestor is not exclusive to the Oboe: there are numerous different double reed instruments which have developed from the Shalm–including the Bassoon. Poulenc’s Trio for Oboe, Bassoon, and Piano, which was composed between the two World Wars, primarily emphasizes the humourous and lighter side of his dichotomous music. However, similar to Bach or Britten, Poulenc was a very spiritual person. He composed much religious music and was, to the end of his life, in great inner conflict with himself, believing that his sexual orientation and faith could not be reconciled. This more serious side of his is also reflected in the piece: sections such as the introduction have gravity. For this music, Poulenc features two double reed instruments: The Oboe and the Bassoon, whose ancient roots in spirituality and celebration are once more brought forth in the Trio. As Poulenc himself said about the piece: “This music is tonic to ageing minds and senses.”

Sebastian Reuten was born in Canada in 2000. He received his first oboe lessons at the age of twelve with David Sussman in Calgary. After meeting Prof. Louise Pellerin at the Orford Summer Music Academy, he decided in 2018 to pursue his music studies with her at the Zurich University of the Arts. In his spare time he enjoys composing, watching films and travelling.

Miki Futamura was born in Japan. She studied Solo Piano, Global Art Song, and Chamber Music in Tokyo, Trossingen (Germany), and ZHdK respectively, and began teaching at the ZHdK in 2000. She is a passionate Chamber Musician and performs regularly as part of Piano Trio, Duo, and together with Singers and Conductors. Miki Futamura lives in Stuttgart with her four-person family and two cats.

Nicola Schöni was born in 2000 in Switzerland. He received his first piano lessons at age 8 from his mother, Rowena Schöni. From 2015-2020, he studied under Prof. Anna Adamik until the completion of his Matura in Feldkirch (Austria). Since 2020, he has been a student in the class of Prof. Eckart Heiligers at the Zurich University of the Arts.

Emily Fan Xu was born in China in 2001. In 2008, she and her family immigrated to Canada, where she completed her high school education in Calgary in the year of 2018. In the summer of 2022, she will graduate from Sheridan College with an Honours Bachelors of Animation, after which she will begin working at Disney as a Story Artist. She loves drawing and telling stories, and lives with her five imaginary cats.

Minju Kim was born in Korea in 1999 and started learning the bassoon at the age of 15. After completing her Bachelor’s Degree and graduating from the College of Music at Seoul National University in 2021, she began her studies with Prof. Matthias Racz at the Zurich University of the Arts (ZHdK). She has numerous orchestral experiences to date and plays with a woodwind quintet in Korea.

Tiankai Yu was born in Jiangxi (China) in 1999 and came to Germany at the age of 15. He completed his Bachelor’s with Tilman Krämer at the Musikhochschule Freiburg in 2020 and has since been studying with Prof. Till Fellner at the Zurich University of the Arts. In 2017 he was awarded second prize at the 9th International Rosario Marciano Piano Competition in Vienna as well as first place at the 12th International Piano Competition for Young People in Essen. Besides the piano, Tiankai Yu takes interest in chamber music, composition and philosophy.