Benjamin Britten’s The Young Person’s Guide to the Orchestra is a captivating composition designed to introduce young listeners to the instruments and sections of a symphony orchestra. Originally conceived as the soundtrack for the educational film Instruments of the Orchestra (1946), commissioned by the British Ministry of Education, this piece quickly transcended its initial purpose and became a beloved concert staple. Its premiere took place in Liverpool, England, on October 15, 1946.
Britten based his work on a theme by the celebrated English Baroque composer Henry Purcell. Specifically, he chose the stately rondeau from Purcell’s Abdelazer. The piece begins with the full orchestra presenting the theme in its complete and glorious form. This is followed by restatements of the theme by each section of the orchestra individually: first the woodwinds, then the brass, the strings, and finally the percussion section. After this thorough introduction, the full orchestra reiterates the theme once more. This systematic presentation allows listeners to clearly distinguish the unique timbres, or tonal qualities, of each instrumental section.
The next portion of the Guide takes a deeper dive, showcasing individual instruments within each family. Britten presents variations of the Purcell theme, highlighting featured instruments from the woodwinds, strings, brass, and percussion families. Note that the order differs from the initial section presentation. Within each family, Britten generally begins with the highest-pitched instruments, such as flutes and piccolo in the woodwinds, and progresses to the lowest, like the bassoon. He masterfully employs varying tempi and dynamic energies to showcase the diverse timbral possibilities of each instrument.
When the Guide arrives at the percussion family, Britten gives special attention to instruments capable of playing distinct pitches, most notably the timpani and xylophone. However, he doesn’t neglect the rhythmic instruments that define the section. This comprehensive approach provides a thorough overview of the orchestra’s sonic palette.
The final segment of The Young Person’s Guide to the Orchestra is a thrilling culmination of all that has come before. Britten weaves all the orchestral sections together in a complex and engaging fugue. The fugue subject is a new, dancelike theme derived from Purcell’s original. The choice of a fugue, a musical form particularly popular during Purcell’s Baroque era, is a fitting tribute to Britten’s source material.
The fugue begins with the flutes and piccolo, with each instrument stating the new melody in turn, creating overlapping layers of music that gradually build in intensity. This not only allows the listener to appreciate the individual voices of the instruments but also offers a glimpse into the musical techniques of earlier centuries. The listener can hear how a melody can be passed from one instrument to another in sequence, while other melodic ideas fill the background. The grand finale arrives as the original Purcell theme reappears in its entirety, now set boldly beneath the dancelike fugue theme, bringing the work to a triumphant close. The Young Person’s Guide to the Orchestra stands as a testament to Britten’s skill as a composer and educator.
