Q.1.
What was the main work within which the Interludes belong?
Q.2.
What more general musical techniques does Britten use to disturb and disorient the listener (and indeed, potentially, the performers!) during the ?
Q.3.
Towards one minute into the piece, which group of instruments comes clearly through the overall sound to create an atmosphere of rising menace?
Q.4.
There are four Sea Interludes spaced throughout the opera, reflecting musically the changing moods of the sea (and, by fairly obvious extension, of the action and audience). Which of the other titles below is the only WRONG one?
Q.5.
What instrument do the flute-players switch to during the piece, to enhance the effect of shrieking wind and spray?
Q.6.
The score for this piece is marked : how does this mean Britten intends it to be played?
Q.7.
What is the name of the original singer of the role of Grimes, for whom the Interludes would have offered a few welcome minutes' break from singing onstage?
Q.8.
The was one of a set of orchestral 'Interludes'. What does this term mean?
Q.9.
What is the technical term for when players of any instrument (strings, winds, percussion or keyboards) keep a note going and busy-sounding, by playing it in a quivering way?
Q.10.
About 3 minutes into the piece we hear a greater sense of steadiness: the calm within the storm, presumably. Which group of instruments is playing more sustainedly to suggest this?