ABSTRACT
This chapter begins with a rare instance of Benjamin Britten turning to a literary source in order to provide the idea for a set of purely instrumental pieces. In this instance his gaze is directed toward Italy or, more particularly, ancient Rome; the result is a spectacular piece of modern music that manages also to be antique in its effect – a genuine piece of time travel. The one exception to Britten's distaste for France was Francis Poulenc, who was an admired friend. By 1951, when the Six Metamorphoses were written, Britten had already composed Peter Grimes, The Rape of Lucretia and Albert Herring; he was working towards Billy Budd, and Gloriana would soon follow. The term 'metamorphosis' implies the change of each of the gods into another form, but it also sums up the compositional process of variation and elaboration that is especially evident in Britten's handling of this unaccompanied melodic line.
