Learning at The Red House
Visit information for teachers www.brittenpears.org
Cover. Philip Vile
Contents
Contents
Welcome
Britten at The Red House, late 50s
to the former home of the composer, Benjamin Britten
Introduction
2
Booking a visit
5
Key Stage 1
6
Key Stage 2
7
Key Stage 3
10
Key Stage 4
12
A level
13
The Red House site
14
Britten trail and Snape Maltings
16
Self-guided visits
18
Risk assessment advice
19
Guidelines for visiting schools
21
Frequently Asked Questions
24
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Introduction The Red House was composer Benjamin Britten and his partner, singer Peter Pears’ home from 1957 until their deaths. Many of the twentieth century’s most significant pieces of music were written here - inspired by the very unique sense of place. Today, The Red House is home to the Britten–Pears Foundation who continue to promote Britten’s music and legacy. Our learning department aim to provide quality learning in an inspiring setting and to continue Britten’s own commitment to education. We look forward to welcoming you to this very special place. Facilities In time for Britten’s centenary in 2013, The Red House site has undergone an 18 month regeneration. With significant funding from the Heritage Lottery Fund we have been able to construct a new archive building to house the world’s largest collections relating to a single composer and radically expand our learning offer. We now have a purpose built learning room named after Britten’s long-time colleague and keen educationist, Imogen Holst, which is situated under Britten’s restored composition studio. A new gallery space has been opened up and now houses an exhibition introducing Britten and his music to a whole new audience. The house itself has been returned to its appearance from the mid1960s and the site as a whole has become a inpiring and living testament to a unique creative figure. Quality Above all we value collaboration and most of our learning sessions and workshops have been developed after collaborations with schools and other groups. We will ensure that your group gets the very best from a visit to this
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wonderful and inspiring place. We want everyone to have a great time here. it is therefore vital that you plan you visit carefully. We can help with this but early booking is essential. We hope that you find all the answers to your questions in this booklet. Please take the time to read it carefully. Please contact us if you have any questions. We are continually developing our programmes and welcome any comments or suggestions. Who will deal with the booking? The first point of contact is Julia Mael, Front of House Administrator. She will assist you with selecting an appropriate date and advise you on all aspects of your booking. I am also available to discuss your visit requirements, so do get in touch! We are a flexible organisation and are very happy to discuss individual requirements to make your visit as enjoyable as possible. I look forward to hearing from you.
CHRIS MILTON Learning Officer c.milton@brittenpears.org
Visit overview The following table indicated which National Curriculum key stages our themed visits/workshops are suitable for. it also shows cross-curricular links. More detailed breakdowns are set out in the specific visit pages.
NAME OF VISIT
KS
MUSIC
Elements of music
1
✓
Suffolk landscapes
2
✓
Schoolboy composer
2
✓
Tongs and the bones
2/3
✓
Beginning composition
3
✓
A Midsummer Night’s Dream
3
✓
GCSE composition
4
✓
✓
A level
✓
✓
Composition forum
ART
DRAMA
GEOG
✓
✓
✓
✓
✓
MATHS
✓
✓
✓
✓
SCI
ENG
✓
✓
✓
✓
✓
HIST
✓
✓
✓
✓
✓
✓
✓
✓
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Philip Vile
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Booking a visit INITIAL ENQUIRIES
Getting started...
Please telephone our main office line or email the learning department as soon as you have a date in mind to check availability:
You can make a preliminary booking at this initial enquiry stage. This will be pencilled into the diary by our Front of House Administrator. You will then be sent a booking form by the learning department which must be completed as soon as possible and returned to us. If we have not received your form within two weeks then your booking will be automatically cancelled.
Britten–Pears Foundation Telephone: 01728 451700 learning@brittenpears.org
Confirmation When we have received your booking form you will received a letter from us confirming all the details. You will also received full details of your visit including maps. Payment There is no charge for any of our learning sessions or entry to The Red House site. Cancellations Should you need to cancel your booking, please let us know as soon as possible even if you have only made a preliminary booking.
The door to the new learning room.
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Key stage 1
Elements of music - learning to listen
AIM OF THE VISIT Discover the elements of music (in line with National Curriculum requirements) and what they mean. Discover the ‘right way’ to listen and respond to music.
Questions asked • • • •
Who was Britten and what did he do? Did the way he lived affect his work? What are the elements of music and can they be identified in some of Britten’s music? How successful is the ‘sound collage’?
Students discover the basic elements of music. They learn about Britten and how he used these elements to express his own ideas and feelings. They will begin to explore how to listen to music and verbalise their responses. Using the rich collection as a starting point, pupils examine how Britten lived with a focus on storytelling, and how this might have influenced the music he wrote. Students create a ‘sound collage’ detailing their responses to certain music and showing knowledge of the elements of music. Students are encouraged to physically respond to sound and to express themsleves with each other.
6
3 hours
30 max
KS1
Day summary 09.30 10.15 10.30
11.30 11.45 12.45
Arrival and gallery visit Break Class divide into two groups Group 1: How did Britten live? Group 2: Sound collage and listening Break Groups rotate activities Groups return to school
Key stage 2
Suffolk landscapes in art and music
AIM OF THE VISIT Learn about how artists and musicians respond to their surroundings and gain a knowledge of the creative process.
Shingle Street by John Piper
Questions asked • •
What is the environment around Aldeburgh? How can this be heard in Britten’s music and seen in art in The Red House collection? What sounds work best to evoke images? How successful is the ‘soundscape’?
5 hours
Students discover how artists and musicians make creative responses to what’s around them. Using Britten’s music they gain a knowledge of how the natural world can be evoked aurally and visually.
Day summary
• •
Students explore the flora and fauna of the landscape around Aldebrugh and begin to develop their own ideas for music and art works. The collections at The Red House provide inspiration to develop creative skills and a sense of place.
09.30 11.00 11.15
12.30 13.15 14.30
30 max
KS2
Arrival and gallery visit Break Class divide into two groups Group 1: Britten Trail in Aldeburgh Group 2: Soundscape creation Lunch Groups rotate activities Groups return to school
We explore composition, ensemble skills and creative sommunication.
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Key stage 2
Benjamin Britten: schoolboy composer
AIM OF THE VISIT Discover the story of Britten’s childhood and what inspired him to compose. Explore historic objects and draw links to the past.
Questions asked • • • •
Who was Britten and what did he do? How did he grow up? What inspired him? What do heritage objects tell us about Britten’s life, music and inspiration to day?
The focus is on stories and the narrative of Britten’s childhood. Students explore how Britten grew up as a young child in Lowestoft and developed his interest in music. Students examine items from the collection that Britten owned as a child. Emphasis is made of the fact that Britten worked hard to refine and devlop his musical skills and students begin to listen to music and respond to it creatively. They create their own ensemble pieces drawn from the rich legacy of Britten’s youth.
8
3 hours
30 max
KS2
Day summary 09.30 10.15 10.30 11.30 11.45 12.45
Arrival and gallery visit Break Class divide into two groups Group 1: Collection exploration Group 2: Britten’s childhood music Break Groups rotate activities Groups return to school
Key stage 2/3
‘Tongs and the bones’ - percussion and rhythm
AIM OF THE VISIT Explore rhythmic improvisation and composition through the ‘world music’ that inspired Britten. Draw cultural links and develop composition skills.
Nigel Luckhurst
Questions asked • • • •
What is Gamelan? How did it inspire Britten? What cultural connections can be made through sound? Why is rhythm so pervasive?
Students explore percussion instruments through Britten’s use of Gamelan. They learn basic Gamelan techniques and how this is culturally significant to a variety of other musical styles. Focussing on Britten’s ballet The Prince of the Pagodas students explore how rhythm can be used to express mood and begin to respond to this music. Students develop their own rhythmic compositions in ensembles using a variety of percussion instruments and based on the techniques used by Britten from the Balinese Gamelan. They also use collection items to understand the link between visual and aural simuli.
3 hours
30 max
KS2/3
Day summary 09.30 10.15 10.30 11.30 11.45 12.45
Arrival and gallery visit Break Class divide into two groups Group 1: Gamelan and Britten Group 2: Collection examination Break Groups rotate activities Groups return to school
9
Key stage 3
Beginning composition
AIM OF THE VISIT Discover the tools needed to compose and make critical and creative judgements about how music is put together. Learn about the importance of context and connections.
Nigel Luckhurst
Questions asked • • • •
Why compose music? What did Britten do with his ideas? How can I draw musical connections? How successful are our compositions?
Composition in schools often involves having too many ideas and not knowing what to do with them. This session explores how Britten focussed his musical ideas and how to generate musical material from the most basic of stimuli. Students examine aspects of Britten’s own music and begin to explore how he put pieces together. They work in small ensembles and develop their own creative responses inspired by the sense of place. Items from the rich collections are used to inspire and demonstrate real compositional issues and how Britten experienced and overcame them.
10
3 hours
30 max
KS3
Day summary 09.30 10.15 10.30 11.30 11.45 12.45
Arrival and gallery visit Break Class divide into two groups Group 1: Collection exploration Group 2: Britten’s childhood music Break Groups rotate activities Groups return to school
Key stage 3
A Midsummer Night’s Dream
AIM OF THE VISIT Gain a wider knowledge of the play through its adaptations. Make critical decisions about analysing source materials. Design creative responses.
Nigel Luckhurst
Questions asked • • • •
Why adapt a play? Is it successful to cut bits out? What does Britten’s music add to the drama? How successful are the new designs?
A perfect session to compliment school study of the Shkaespeare play. Students examine how Britten and Pears adapted the play text to make an effective opera and how adaptations work more generally. Our rich collections contain set models and costumes designs and students creatively draw on their knowledge of the play to create their own designs for a production of the play/opera.
3 hours
30 max
KS3
Day summary 09.30 10.15 10.30 11.30 11.45 12.45
Arrival and gallery visit Break Class divides into two groups Group 1: Musical workshop Group 2: Adaptation/design workshop Break Groups rotate activities Groups return to school
Students explore the strong links between drama and music and how Britten illustrates Shakespeare’s magical world in sound.
11
Key stage 4
GCSE composition
AIM OF THE VISIT Explore techniques of composition alongside Britten’s music. Improvise, refine and critique ideas to improve creative responses.
Nigel Luckhurst
Questions asked • • • •
What is Britten doing in the music? How does he do this? Can you copy it? How successful are the compositions and techniques?
Based on successful projects run with local schools students use Britten’s music to create their own responses that can then feed back into classroom work. Students chose samples of Britten’s music and begin to creatively explore it. Discussions are developed about the piece, its intentions, cultural context and history. Students can explore collection material relating to the chosen musical samples and how the music is constructed. Students are encouraged to self-generate ideas and to evaluate their own creative processes. This session can form part of a larger project within school that we can also facilitate.
12
3 hours
30 max
KS4
Day summary 09.30 10.15 10.30 11.30 11.45 12.45
Arrival and gallery visit Break Class divides into two groups Group 1: Musical workshop Group 2: Exploration of objects Break Groups rotate activities Groups return to school
A level
Composition forum
AIM OF THE VISIT Use Britten’s music to learn about compositional techniques and how to make critical and creative judgements. Musical dialogue and discussion are encouraged.
Nigel Luckhurst
Questions asked • • • •
What is Britten doing in the music? How successful is this? What can be discovered in the manuscripts about Britten’s process? How successful are our compositions? Why?
Students undertaking A level composition projects often suffer from a multitude of ideas but without the precise focus and refinement needed to obtain the best marks. Using selected pieces of Britten’s music students can examine the manuscript sources and gain an understanding of how Britten composed and honed his ideas. Specific compositional questions can be examined through detailed study of the source materials and by listening to and analysing the results. Students are encourages to bring their own work to share ideas in a creative forum and in the inspiring setting of Britten’s home and place of work.
5 hours
20 max
A level
Day summary 09.30 11.00 11.15 12.15 13.00 13.45 14.30
Arrival and gallery visit Break Explore the manuscript in archive Specific compositional issues Lunch onsite Composition forum and analysis Return to school
Chose one of four works 1 2 3 4
War Requiem Peter Grimes The Prince of the Pagodas Night Mail
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The Red House site The Red House site is spread over five acres and consists of numerous buildings. During your visit it will be possible to explore some of these different aspects and build up a picture of how Britten lived and how the Britten–Pears Foundation continues to use the spaces to foster his legacy today. Due to time constraints not all the buildings on the site may form part of your visit and some are only open seasonally or as part of specific sessions.
The drawing room. Philip Vile
The House The house is open to visitors in the summer months. During the rest of the year the precious interiors, consisting of Britten and Pears’ personal possessions, are conserved. It may be possible to visit certain rooms within the house when it is open, however the corridors are narrow and groups will be split to ensure the integrity of the space is preserved. Many of our sessions include the opportunity to see heritage objects throughout the year. Please get in touch if you wish to know further details. The Studio The breakfast room. Philip Vile
This is where Britten composed when he was at home. This inspiring space has recently been restored as part of our redevelopment. Groups will have the opportunity to see the studio during your visit. Please note that members of the public have open access during weekday afternoons (except Mondays). Imogen Holst Room This will be your base for your visit to The Red House - a purpose built learning space underneath Britten’s studio. With a toilet, small kitchen area, interactive whiteboard and tables and chairs this space is perfect to host our unique learning sessions. There is no public access and it is kept locked when not in use.
Imogen Holst Room
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Full maps of The Red House site will be provided as soon as your booking is confirmed. Please ensure you and accompanying adults are familiar with the basic layout.
The studio. Philip Vile
The gallery
The Gallery All our guided visits begin in our new gallery space. Built over Britten and Pears’ swimming pool (which is still intact under the floor!) the gallery features an exhibition designed to introduce Britten’s life and music to a new audience. The audio features enable school groups to hear Britten’s music in a space filled with objects from the collections. The Library Britten and Pears constructed this library in 1964 as a spcae in which to store their books as well as hold small rehearsals. It has now been restored to its appearance in the mid-1960s. It is open to groups as an extension of the initial visit to the gallery.
The library
The Archive This new building was designed by architects Stanton Williams and keeps our collections in a passively controlled strongroom that will preserve them for generations to come. This building is not open to the public but some of our learning sessions feature a visit inside. The Gardens The large and varied gardens surrounding the various buildings are always open to visitors and, weather permitting, are an excellent place to rest and eat lunch!
The archive. Philip Vile
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Britten trail and Snape Maltings As an exciting addition to your visit you may wish to explore the Britten Trail - a self-guided journey around Aldeburgh that takes in sites that feature in the Britten story. This is great way to learn about what makes this beautiful seaside town a significant tourist destination and place of cultural pilgramage.
Scallop. Nigel Luckhurst
Moot Hall. Nigel Luckhurst
Britten memorial window. Nigel Luckhurst
Sites include: Aldeburgh Parish Church, the Moot Hall, Jubilee Hall, Britten’s former home on the sea front, the famous Scallop sculpture on the beach, Baptist Chapel and Aldeburgh Music Room. A map and a guide book are available at The Red House and from various locations in Aldeburgh itself. There is no set route: you can visit the points of interest in any order and there are several footpath options. The seafront route between Scallop and Crag Path is the most accessible. Groups can also explore the main streets of the town with a full range of shops before venturing onto the pebble beach with its views out across the North Sea that inspired Britten’s own music. Note that not all the sites described are open to the public, while others are open only occasionally. Please see the practical information for opening times, acessibility, transport and parking information. The world famous Snape Maltings concert hall was built under Britten’s guidance in 1967. It is now home to Aldeburgh Music who plan the Aldeburgh Festival each summer and host a major series of concerts, artist development and education programmes throughout the year. This beautiful place also boasts a range of shops, refreshment outlets and stunning scenery. A visit here will give you the complete picture of Britten’s continued legacy. www.aldeburgh.co.uk Snape Maltings Concert Hall. Philip Vile
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Peter Pears’ study. Philip Vile
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Self-guided visits You may wish to book a self-guided visit.
Although the best way to experience this wonderful place is by booking one of our learning sessions for your visit. Pre-booking in advance is essential for all self-guided visits. Please call us to book well in advance. Cost As with our learning sessions, there is no charge if you wish to come on a self-guided visit. Supervision Close supervision and quite, respectful behaviour is crucial, and the children should be divided into smaller working groups, each with an adult. Keeping them focussed! Please ensure that you have a range of activities planned whilst you are on-site. We have numerous resources and information sheets available for download on our website. www.brittenpears.org What to do The studio, gallery and gardens are open to self-guided groups. We regret that we are unable to accommodate entry into the house or archive.
Philip Vile
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Risk assessment advice This risk assessment advice is offered to assist teachers and leaders with planning their visit to The Red House. It is recommended that the member of staff organising the visit makes an initial visit to the site in ordr to carry out their own risk assessment. This should include the journey to and from The Red House. Risk assessments are your responsibility, this is merely our advice to you.
LOCATION Studio
RISK IN ORDER OF SEVERITY Tripping or falling on steep stair
EXISTING CONTROLS The staircase is quite steep but well lit. Children should be reminded to take care and to look where they are walking, keep to the right and hold the available stair rail.
Risk from members Groups of children must be accompanied by an of the public adult. A ratio of at least 1:15 is advised. Consult your own guidelines in school. Groups using public toilets must be accompanied by an adult. Fire
Gallery
Imogen Holst Room (Learning room)
House
Garden
In the event of a fire/alarm Britten–Pears Foundation staff will direct visitors to the nearest exit. Teachers should conduct their own roll-call once they are in a safe place.
Risk from members Groups of children must be accompanied by an of the public adult. A ratio of at least 1:15 is advised. Consult your own guidelines in school. Groups using public toilets must be accompanied by an adult Fire
In the event of a fire/alarm Britten–Pears Foundation staff will direct visitors to the nearest exit. Teachers should conduct their own roll-call once they are in a safe place.
LIKELIHOOD*
2
2
2
2
2
Tripping on uneven Uneven floor due to the age of the floorings. floor Children should be reminded to take care.
1
Falling into the pond
2
There is a single shallow pond in the garden Children should be advised not to lean into it and retain a safe distance. Advise staff supervision for younger students.
Risk from members Groups of children must be accompanied by an of the public adult. A ratio of at least 1:15 is advised. Consult your own guidelines in school. Groups using public toilets must be accompanied by an adult. *Likelihood: 1 Improbable - 2 Possible - 3 Likely - 4 Very likely - 5 Inevitable
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Philip Vile
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Guidelines for visiting schools These guidelines are set out for your enjoyment and safety - please read them carefully. Please provide all accompanying adults with a copy and read it through with them in advance of your visit.
Helpful reminders: •
Please telephone The Red House if you know you are going to be late: 01728 451700. Booked groups who arrive more than half an hour late may miss their guided visit.
•
Behaviour. The Red House is a historic and precious site. We therefore ask that all are respectful whilst visiting. Please remind pupils about ‘appropriate’ behaviour before you come and reiterate this throughout the visit. Groups causing a disturbance will be asked to leave the site.
•
Photography is not allowed throughout the buildings on site due to preservation issues and copyright. Please tell your pupils.
•
School staff and accompanying adults remain responsible for the welfare and behaviour of students throughout their visit to The Red House. Should there be an accident/health incident, please contact the Learning Officer or other member of BPF staff directly.
•
Please ensure that all mobile phones are turned off whilst inside the buildings. please tell your pupils this before they arrive.
•
Please do not allow your pupils to eat/drink/chew gum in the gallery spaces.
Please ensure that you plan the visit with your adult helpers in advance, so that they know what is expected of them on the day. It is extrememly helpful to us if you arrange, in advance, how your group will be divided into smaller working groups on arrival at The Red House. Time is precious on the day!
Oringal masks from Noye’s Fludde in the gallery
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FIRE ALARM
•
Please follow the instructions of BPF staff if you hear this loud siren.
Pupils must be supervised at all times by school staff on The Red House site. For groups of 30 we ask for at least 2 adults. We reserve the right to refuse access if there are insufficient adults.
•
Groups are welcome to enjoy the garden during break and lunch times however please remind pupils that the archive is used everyday by academic readers who value the opportunity to work quietly without too much disruption!
Groups will be led out the fire assembly point. Please call a register when you assemble to ensure that all are present. It is important that you bring class lists with you. If you find any of your group is missing please inform a member of BPF staff immediately.
The Red House is a busy place! Please make all aware before the visit that you are coming to a famous and busy place. There may be many other visitors exploring the site whilst you are there. It is therefore imperative that you plan the visit carefully, brief all your adult helpers and the children themselves. We want you to have a great time with us. Please support our staff and volunteers throughout your visit. They will do their utmost to ensure you have a rewarding and inspiring visit. If you have questions about any aspects of your visit feel free to get in touch with us.
Philip Vile
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The new archive. Philip Vile
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Frequently asked questions 1
How do I get to The Red House? From the A12, take the A1094 to Aldeburgh. At the roundabout past the supermarket, take the first exit: the B1122 Leiston Road. Golf Lane is the second turning on the left, directly after the 40mph speed limit ends. Users of satnav and online mapping systems beware: you may be misdirected into Linden Close, from where there is no access to our site.
2
What are the opening hours? The Red House is open for school visits 9.30 5.30 Monday - Friday throughout the year. However Monday is the preferred day for whole day visits as the site is then closed to members of the public. For half day visits: morning only. Last entry to the gallery is 17.00.
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Do I need to book in advance? Yes please! Preferably at least three weeks notice.
4 Do we pay? There is no charge for any of our sessions or entry to The Red House site. 5
Where are the toilets? Public toilets are found in the reception and there is a toilet exclusively for school groups in the Imogen Holst Room.
6 Will there be any other events during our visit? Members of the public are able to visit the site every afternoon except Monday. There is a scheduled house tour for public groups at these times. The public do not have access to the Imogen Holst Room. 7
8 Where can we eat lunch? Lunch can be eaten in the gardens or, if wet, the Imogen Holst Room. Self-guided groups may also use this space if booked in advance, but priority is given to guided groups. 9 Is there somewhere to leave our bags? Bags and belongings can be looked in the Imogen Holst Room during visits. It may be possible for self-guided groups to use this facility but please contact us in advance to arrange access. 10 Is there a shop? Yes, there is a small shop area in reception that stocks books, CDs, postcards and other small gift items. 11 Where should we go when we arrive? Groups should report to the visitor entrance at the main reception. 12 Where can we park? Parking on the site is stricly limited and Golf Lane is very narrow and accessible only from one end. We encourage all groups arriving by coach to be dropped off at the end of the lane where it is a very short walk to the gates of The Red House. Please contact us for additional details. 13 What facilites do you have for those with Special Needs? The learning areas and gallery space is wheelchair accessible. We regret that it is not possible to take wheelchairs, or people with walking difficulties up to the studio or upper floor of the house as there is no lift.
Can we go inside the house? The house is only open during the summer due to conservation. If you ask before hand we may be able to schedule a viewing of the house. It forms part of some of our sessions during the open season.
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Please inform us of any special needs in advance of your visit.
Britten at The Red House, 1976. Nigel Luckhurst
Britten–Pears Foundation The Red House Golf Lane, Aldeburgh Suffolk, IP15 5PZ 01728 451700 learning@brittenpears.org