Visit information for teachers

Visit information for teachers

www.brittenpears.org

Learning at The Red House

Cover. Philip Vile

Contents

Welcometo the former home of the composer, Benjamin Britten

Contents

1

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 14site

Britten trail and 16Snape Maltings

Self-guided visits 18

Risk assessment 19advice

Guidelines for 21visiting schools

Frequently Asked 24Questions

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Introduction

The Red House was composer Benjamin Britten and his partner, singerPeter Pears’ home from 1957 until their deaths. Many of the twentiethcentury’s most significant pieces of music were written here - inspired bythe very unique sense of place. Today, The Red House is home to theBritten–Pears Foundation who continue to promote Britten’s music andlegacy. Our learning department aim to provide quality learning in aninspiring 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 in2013, The Red House site hasundergone an 18 monthregeneration. With significantfunding from the Heritage LotteryFund we have been able toconstruct a new archive building tohouse the world’s largest collectionsrelating to a single composer andradically expand our learning offer.

We now have a purpose builtlearning room named after Britten’slong-time colleague and keeneducationist, Imogen Holst, which issituated under Britten’s restoredcomposition studio.

A new gallery space has beenopened up and now houses anexhibition introducing Britten andhis music to a whole new audience.The house itself has been returnedto its appearance from the mid-1960s and the site as a whole hasbecome a inpiring and livingtestament to a unique creativefigure.

Quality

Above all we value collaborationand most of our learning sessionsand workshops have beendeveloped after collaborations withschools and other groups. We willensure that your group gets thevery best from a visit to this

wonderful and inspiring place. We want everyone to have a greattime here. it is therefore vital thatyou plan you visit carefully. We canhelp with this but early booking isessential.

We hope that you find all theanswers to your questions in thisbooklet. Please take the time to readit carefully.

Please contact us if you have anyquestions. We are continuallydeveloping our programmes andwelcome any comments orsuggestions.

Who will deal with the booking?

The first point of contact is JuliaMael, Front of House Administrator.She will assist you with selecting anappropriate date and advise you onall aspects of your booking.

I am also available to discuss yourvisit requirements, so do get intouch! We are a flexibleorganisation and are very happy todiscuss individual requirements tomake your visit as enjoyable aspossible.

I look forward to hearing from you.

CHRIS MILTONLearning Officer

[email protected]

2

Visit overview

3

The following table indicated which National Curriculum key stages our themed visits/workshops aresuitable for. it also shows cross-curricular links. More detailed breakdowns are set out in the specific visitpages.

NAME OF VISIT KS MUSIC ART DRAMA GEOG HIST MATHS SCI ENG

Elements of music 1 ✓ ✓ ✓ ✓ ✓

Suffolk landscapes 2 ✓ ✓ ✓ ✓ ✓ ✓

Schoolboy composer 2 ✓ ✓ ✓ ✓

Tongs and the bones 2/3 ✓ ✓ ✓ ✓ ✓

Beginning composition 3 ✓ ✓ ✓

A Midsummer Night’sDream

3 ✓ ✓ ✓ ✓ ✓

GCSE composition 4 ✓ ✓

Composition forum A level ✓ ✓

4

Philip Vile

Booking a visit

INITIAL ENQUIRIES

Please telephone our main officeline or email the learningdepartment as soon as you have adate in mind to check availability:

Britten–Pears FoundationTelephone: 01728 [email protected]

Getting started...

You can make a preliminary booking at this initial enquiry stage. Thiswill be pencilled into the diary by our Front of House Administrator.You will then be sent a booking form by the learning departmentwhich must be completed as soon as possible and returned to us. Ifwe have not received your form within two weeks then your bookingwill be automatically cancelled.

Confirmation

When we have received your booking form you will received a letterfrom us confirming all the details. You will also received full details ofyour visit including maps.

Payment

There is no charge for any of our learning sessions or entry to The RedHouse site.

Cancellations

Should you need to cancel your booking, please let us know as soonas possible even if you have only made a preliminary booking.

5

The door to the new learning room.

Key stage 1

Elements of music - learning to listen

AIM OF THE VISIT

Discover the elements of music(in line with NationalCurriculum requirements) andwhat they mean. Discover the‘right way’ to listen and respondto music.

Students discover the basic elements of music. Theylearn about Britten and how he used theseelements to express his own ideas and feelings.They will begin to explore how to listen to musicand verbalise their responses.

Using the rich collection as a starting point, pupilsexamine how Britten lived with a focus onstorytelling, and how this might have influencedthe music he wrote. Students create a ‘soundcollage’ detailing their responses to certain musicand showing knowledge of the elements of music.

Students are encouraged to physically respond tosound and to express themsleves with each other.

Day summary

09.30 Arrival and gallery visit10.15 Break10.30 Class divide into two groups

Group 1: How did Britten live?Group 2: Sound collage and listening

11.30 Break11.45 Groups rotate activities12.45 Groups return to school

3hours

30max

KS1

6

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’?•

Key stage 2

Suffolk landscapes in art and music

Students discover how artists and musicians makecreative responses to what’s around them. UsingBritten’s music they gain a knowledge of how thenatural world can be evoked aurally and visually.

Students explore the flora and fauna of thelandscape around Aldebrugh and begin to developtheir own ideas for music and art works. Thecollections at The Red House provide inspiration todevelop creative skills and a sense of place.

We explore composition, ensemble skills andcreative sommunication.

Day summary


Group 1: Britten Trail in AldeburghGroup 2: Soundscape creation

12.30 Lunch13.15 Groups rotate activities14.30 Groups return to school

5hours

30max

KS2

7

AIM OF THE VISIT

Learn about how artists andmusicians respond to theirsurroundings and gain aknowledge of the creativeprocess.

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’?•

Shingle Street by John Piper

Key stage 2

Benjamin Britten: schoolboy composer

The focus is on stories and the narrative of Britten’schildhood. Students explore how Britten grew up asa young child in Lowestoft and developed hisinterest in music. Students examine items from thecollection that Britten owned as a child.

Emphasis is made of the fact that Britten workedhard to refine and devlop his musical skills andstudents begin to listen to music and respond to itcreatively.

They create their own ensemble pieces drawn fromthe rich legacy of Britten’s youth.

Day summary


Group 1: Collection explorationGroup 2: Britten’s childhood music


3hours

30max

KS2

8

AIM OF THE VISIT

Discover the story of Britten’schildhood and what inspiredhim to compose. Explorehistoric objects and draw linksto 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?

Key stage 2/3

‘Tongs and the bones’ - percussion and rhythm

Students explore percussion instruments throughBritten’s use of Gamelan. They learn basic Gamelantechniques and how this is culturally significant toa variety of other musical styles.

Focussing on Britten’s ballet The Prince of thePagodas students explore how rhythm can be usedto express mood and begin to respond to thismusic.

Students develop their own rhythmic compositionsin ensembles using a variety of percussioninstruments and based on the techniques used byBritten from the Balinese Gamelan. They also usecollection items to understand the link betweenvisual and aural simuli.

Day summary


Group 1: Gamelan and BrittenGroup 2: Collection examination


3hours

30max

KS2/3

9

AIM OF THE VISIT

Explore rhythmic improvisationand composition through the‘world music’ that inspiredBritten. Draw cultural links anddevelop composition skills.

Questions asked

What is Gamelan?•How did it inspire Britten?•What cultural connections can be made through•sound?Why is rhythm so pervasive?•

Nigel Luckhurst

Key stage 3

Beginning composition

Composition in schools often involves having toomany ideas and not knowing what to do with them.This session explores how Britten focussed hismusical ideas and how to generate musicalmaterial from the most basic of stimuli.

Students examine aspects of Britten’s own musicand begin to explore how he put pieces together.They work in small ensembles and develop theirown creative responses inspired by the sense ofplace.

Items from the rich collections are used to inspireand demonstrate real compositional issues andhow Britten experienced and overcame them.

Day summary


Group 1: Collection explorationGroup 2: Britten’s childhood music


3hours

30max

KS3

10

AIM OF THE VISIT

Discover the tools needed tocompose and make critical andcreative judgements about howmusic is put together. Learnabout the importance ofcontext and connections.

Questions asked

Why compose music?•What did Britten do with his ideas?•How can I draw musical connections?•How successful are our compositions?•

Nigel Luckhurst

Key stage 3

A Midsummer Night’s Dream

A perfect session to compliment school study of theShkaespeare play. Students examine how Brittenand Pears adapted the play text to make aneffective opera and how adaptations work moregenerally.

Our rich collections contain set models andcostumes designs and students creatively draw ontheir knowledge of the play to create their owndesigns for a production of the play/opera.

Students explore the strong links between dramaand music and how Britten illustrates Shakespeare’smagical world in sound.

Day summary

09.30 Arrival and gallery visit10.15 Break10.30 Class divides into two groups

Group 1: Musical workshopGroup 2: Adaptation/design workshop


3hours

30max

KS3

11

AIM OF THE VISIT

Gain a wider knowledge of theplay through its adaptations.Make critical decisions aboutanalysing source materials.Design creative responses.

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?•

Nigel Luckhurst

Key stage 4

GCSE composition

Based on successful projects run with local schoolsstudents use Britten’s music to create their ownresponses that can then feed back into classroomwork.

Students chose samples of Britten’s music andbegin to creatively explore it. Discussions aredeveloped about the piece, its intentions, culturalcontext and history. Students can explore collectionmaterial relating to the chosen musical samplesand how the music is constructed.

Students are encouraged to self-generate ideas andto evaluate their own creative processes.

This session can form part of a larger project withinschool that we can also facilitate.

Day summary

09.30 Arrival and gallery visit10.15 Break10.30 Class divides into two groups

Group 1: Musical workshopGroup 2: Exploration of objects


3hours

30max

KS4

12

AIM OF THE VISIT

Explore techniques ofcomposition alongside Britten’smusic. Improvise, refine andcritique ideas to improvecreative responses.

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?

Nigel Luckhurst

A level

Composition forum

Students undertaking A level composition projectsoften suffer from a multitude of ideas but withoutthe precise focus and refinement needed to obtainthe best marks.

Using selected pieces of Britten’s music studentscan examine the manuscript sources and gain anunderstanding of how Britten composed and honedhis ideas. Specific compositional questions can beexamined through detailed study of the sourcematerials and by listening to and analysing theresults.

Students are encourages to bring their own work toshare ideas in a creative forum and in the inspiringsetting of Britten’s home and place of work.

Day summary

09.30 Arrival and gallery visit11.00 Break11.15 Explore the manuscript in archive12.15 Specific compositional issues13.00 Lunch onsite 13.45 Composition forum and analysis14.30 Return to school

Chose one of four works

War Requiem1Peter Grimes2The Prince of the Pagodas3Night Mail4

5hours

20max

A level

13

AIM OF THE VISIT

Use Britten’s music to learnabout compositional techniquesand how to make critical andcreative judgements. Musicaldialogue and discussion areencouraged.

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?•

Nigel Luckhurst

14

The Red House site

The Red House site is spread overfive acres and consists ofnumerous buildings. Duringyour visit it will be possible toexplore some of these differentaspects and build up a picture ofhow Britten lived and how theBritten–Pears Foundationcontinues to use the spaces tofoster his legacy today.

Due to time constraints not allthe buildings on the site mayform part of your visit and someare only open seasonally or aspart of specific sessions.

The House

The house is open to visitors in the summer months. During the rest ofthe year the precious interiors, consisting of Britten and Pears’ personalpossessions, are conserved. It may be possible to visit certain roomswithin the house when it is open, however the corridors are narrow andgroups will be split to ensure the integrity of the space is preserved.Many of our sessions include the opportunity to see heritage objectsthroughout the year. Please get in touch if you wish to know furtherdetails.

The Studio

This is where Britten composed when he was at home. This inspiringspace has recently been restored as part of our redevelopment. Groupswill have the opportunity to see the studio during your visit. Please notethat members of the public have open access during weekdayafternoons (except Mondays).

Imogen Holst Room

This will be your base for your visit to The Red House - a purpose builtlearning space underneath Britten’s studio. With a toilet, small kitchenarea, interactive whiteboard and tables and chairs this space is perfectto host our unique learning sessions. There is no public access and it iskept locked when not in use.

14

The breakfast room. Philip Vile

Imogen Holst Room

The drawing room. Philip Vile

14

Full maps of The Red House sitewill be provided as soon as yourbooking is confirmed. Pleaseensure you and accompanyingadults are familiar with thebasic layout.

The Gallery

All our guided visits begin in our new gallery space. Built over Brittenand Pears’ swimming pool (which is still intact under the floor!) thegallery features an exhibition designed to introduce Britten’s life andmusic to a new audience. The audio features enable school groups tohear 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 tostore their books as well as hold small rehearsals. It has now beenrestored to its appearance in the mid-1960s. It is open to groups as anextension of the initial visit to the gallery.

The Archive

This new building was designed by architects Stanton Williams andkeeps our collections in a passively controlled strongroom that willpreserve them for generations to come. This building is not open to thepublic but some of our learning sessions feature a visit inside.

The Gardens

The large and varied gardens surrounding the various buildings arealways open to visitors and, weather permitting, are an excellent placeto rest and eat lunch!

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The studio. Philip Vile The gallery

The library

The archive. Philip Vile

14

Britten trail and Snape Maltings

As an exciting addition to yourvisit you may wish to explore theBritten Trail - a self-guidedjourney around Aldeburgh thattakes in sites that feature in theBritten story. This is great way tolearn about what makes thisbeautiful seaside town asignificant tourist destinationand place of culturalpilgramage.

Sites include: Aldeburgh Parish Church, the Moot Hall, Jubilee Hall,Britten’s former home on the sea front, the famous Scallop sculpture onthe beach, Baptist Chapel and Aldeburgh Music Room.

A map and a guide book are available at The Red House and from variouslocations in Aldeburgh itself.

There is no set route: you can visit the points of interest in any order andthere are several footpath options. The seafront route between Scallopand Crag Path is the most accessible. Groups can also explore the mainstreets of the town with a full range of shops before venturing onto thepebble beach with its views out across the North Sea that inspiredBritten’s own music.

Note that not all the sites described are open to the public, while othersare open only occasionally. Please see the practical information foropening times, acessibility, transport and parking information.

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The world famous SnapeMaltings concert hall was builtunder Britten’s guidance in 1967.It is now home to AldeburghMusic who plan the AldeburghFestival each summer and host amajor series of concerts, artistdevelopment and educationprogrammes throughout theyear. This beautiful place alsoboasts a range of shops,refreshment outlets andstunning scenery. A visit herewill give you the completepicture of Britten’s continuedlegacy.

www.aldeburgh.co.uk

Britten memorial window. Nigel Luckhurst

Scallop. Nigel Luckhurst Moot Hall. Nigel Luckhurst

Snape Maltings Concert Hall. Philip Vile

17

Peter Pears’ study. Philip Vile

Self-guided visits

18

You may wish to book a self-guided visit.

Although the best way to experience this wonderful place is by bookingone of our learning sessions for your visit.

Pre-booking in advance is essential for all self-guided visits. Please call usto book well in advance.

Cost

As with our learning sessions, there is no charge if you wish to come on aself-guided visit.

Supervision

Close supervision and quite, respectful behaviour is crucial, and thechildren should be divided into smaller working groups, each with anadult.

Keeping them focussed!

Please ensure that you have a range of activities planned whilst you areon-site. We have numerous resources and information sheets available fordownload on our website. www.brittenpears.org

What to do

The studio, gallery and gardens are open to self-guided groups. We regretthat we are unable to accommodate entry into the house or archive.

Philip Vile

Risk assessment advice

This risk assessment advice is offered to assist teachers and leaders with planning their visit to The RedHouse. It is recommended that the member of staff organising the visit makes an initial visit to the site inordr 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.

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LOCATION RISK IN ORDER OFSEVERITY

EXISTING CONTROLS LIKELIHOOD*

Studio Tripping or fallingon steep stair

The staircase is quite steep but well lit. Childrenshould be reminded to take care and to look wherethey are walking, keep to the right and hold theavailable stair rail.

2

Risk from membersof the public

Groups of children must be accompanied by anadult. A ratio of at least 1:15 is advised. Consult yourown guidelines in school. Groups using publictoilets must be accompanied by an adult.

2

Fire In the event of a fire/alarm Britten–PearsFoundation staff will direct visitors to the nearestexit. Teachers should conduct their own roll-callonce they are in a safe place.

2

Gallery Risk from membersof the public

Groups of children must be accompanied by anadult. A ratio of at least 1:15 is advised. Consult yourown guidelines in school. Groups using publictoilets must be accompanied by an adult

2

Imogen HolstRoom

(Learning room)

Fire In the event of a fire/alarm Britten–PearsFoundation staff will direct visitors to the nearestexit. Teachers should conduct their own roll-callonce they are in a safe place.

2

House Tripping on unevenfloor

Uneven floor due to the age of the floorings.Children should be reminded to take care. 1

Garden Falling into thepond

There is a single shallow pond in the gardenChildren should be advised not to lean into it andretain a safe distance. Advise staff supervision foryounger students.

2

Risk from membersof the public

Groups of children must be accompanied by anadult. A ratio of at least 1:15 is advised. Consult yourown guidelines in school. Groups using publictoilets must be accompanied by an adult.

2

*Likelihood: 1 Improbable - 2 Possible - 3 Likely - 4 Very likely - 5 Inevitable

20

Philip Vile

Guidelines for visiting schools

These guidelines are set out foryour enjoyment and safety - pleaseread them carefully. Please provideall accompanying adults with acopy and read it through withthem in advance of your visit.

Please ensure that you plan thevisit with your adult helpers inadvance, so that they know what isexpected of them on the day.

It is extrememly helpful to us ifyou arrange, in advance, how yourgroup will be divided into smallerworking groups on arrival at TheRed House. Time is precious on theday!

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 anhour 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 remindpupils about ‘appropriate’ behaviour before you come andreiterate this throughout the visit. Groups causing a disturbancewill 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 TheRed House. Should there be an accident/health incident, pleasecontact 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.

21

Oringal masks from Noye’s Fludde in the gallery

FIRE ALARM

Please follow the instructions ofBPF staff if you hear this loudsiren.

Groups will be led out the fireassembly point.

Please call a register when youassemble to ensure that all arepresent. It is important that youbring class lists with you. If youfind any of your group is missingplease inform a member of BPFstaff immediately.

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 reservethe 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 usedeveryday by academic readers who value the opportunity to workquietly without too much disruption!

The Red House is a busy place!

Please make all aware before the visit that you are coming to afamous and busy place. There may be many other visitors exploringthe site whilst you are there.

It is therefore imperative that you plan the visit carefully, brief all youradult helpers and the children themselves. We want you to have agreat time with us.

Please support our staff and volunteers throughout your visit. Theywill do their utmost to ensure you have a rewarding and inspiringvisit.

If you have questions about any aspects of your visit feel free to get intouch with us.

22

Philip Vile

23

The new archive. Philip Vile

Frequently asked questions

How do I get to The Red House?1

From the A12, take the A1094 to Aldeburgh. Atthe roundabout past the supermarket, take thefirst exit: the B1122 Leiston Road. Golf Lane is thesecond turning on the left, directly after the40mph speed limit ends. Users of satnav andonline mapping systems beware: you may bemisdirected into Linden Close, from where thereis no access to our site.

What are the opening hours?2

The Red House is open for school visits 9.30 -5.30 Monday - Friday throughout the year.However Monday is the preferred day for wholeday visits as the site is then closed to membersof the public. For half day visits: morning only.Last entry to the gallery is 17.00.

Do I need to book in advance?3

Yes please! Preferably at least three weeksnotice.

Do we pay?4

There is no charge for any of our sessions orentry to The Red House site.

Where are the toilets?5

Public toilets are found in the reception andthere is a toilet exclusively for school groups inthe Imogen Holst Room.

Will there be any other events during our visit?6

Members of the public are able to visit the siteevery afternoon except Monday. There is ascheduled house tour for public groups at thesetimes. The public do not have access to theImogen Holst Room.

Can we go inside the house?7

The house is only open during the summer dueto conservation. If you ask before hand we maybe able to schedule a viewing of the house. Itforms part of some of our sessions during theopen season.

Where can we eat lunch?8

Lunch can be eaten in the gardens or, if wet, theImogen Holst Room. Self-guided groups mayalso use this space if booked in advance, butpriority is given to guided groups.

Is there somewhere to leave our bags?9

Bags and belongings can be looked in theImogen Holst Room during visits. It may bepossible for self-guided groups to use thisfacility but please contact us in advance toarrange access.

Is there a shop?10

Yes, there is a small shop area in reception thatstocks books, CDs, postcards and other small giftitems.

Where should we go when we arrive?11

Groups should report to the visitor entrance atthe main reception.

Where can we park?12

Parking on the site is stricly limited and GolfLane is very narrow and accessible only fromone end. We encourage all groups arriving bycoach to be dropped off at the end of the lanewhere it is a very short walk to the gates of TheRed House. Please contact us for additionaldetails.

What facilites do you have for those with13Special Needs?

The learning areas and gallery space iswheelchair accessible. We regret that it is notpossible to take wheelchairs, or people withwalking difficulties up to the studio or upperfloor of the house as there is no lift.

Please inform us of any special needs in advanceof your visit.

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Britten–Pears FoundationThe Red HouseGolf Lane, AldeburghSuffolk, IP15 5PZ

01728 [email protected]

Britten at The Red House, 1976. N

igel Luckhurst

Documents

Visit information for teachers