Tippett, M.: Child of Our Time (A)
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Sir Michael Tippett (1905-1998) A Child of Our Time Michael Tippett was one of the most gifted and most inspiring figures in twentieth-century British...
Sir Michael Tippett (1905-1998)
A Child of Our Time
Michael Tippett was one of the most gifted and most
inspiring figures in twentieth-century British musical
life. He was born on 2nd January 1905 in London, but
grew up in a village in the East Anglian county of
Suffolk and at a succession of boarding schools.
Because his parents lived most of the time on the
Continent, he travelled extensively in Europe, acquiring
facility in languages and an unusually international
outlook. Childhood piano lessons and concert-going
prompted the ambition of becoming a composer, which
was furthered by study at the Royal College of Music in
London between 1923 and 1928, and later by private
lessons with R.O. Morris. During the 1930s Tippett
lived in the Surrey countryside south of London, earning
a frugal living from teaching, and becoming involved in
left-wing politics. He withheld most of his compositions
of that period: his earliest published works are his First
String Quartet, completed in 1935 (and in fact rewritten
eight years later), and the first of his four Piano Sonatas,
composed in 1936-38. Early in the Second World War,
Tippett was appointed Director of Music at Morley
College, an adult education institute in south London; he
was to hold the post until 1951, conducting the Morley
Choir in numerous concerts of early and new music. A
lifelong pacifist, he was imprisoned for three months in
1943 as a conscientious objector, but his stock as a
composer rose gradually, through performances and
broadcasts of works including his Concerto for Double
String Orchestra and A Child of Our Time. These
established his individual compositional voice, with
traditional forms modelled on those of Beethoven filled
out in contrapuntal textures - line against line as
opposed to chord after chord - and melodies animated
by lithe syncopated or irregular rhythms, suggested
equally by Stravinsky, sixteenth-century madrigals and
jazz.
After the War Tippett became well known not only
as a conductor but also as a broadcaster on musical and
cultural topics; meanwhile, he was working for several
years on the first of his five operas, The Midsummer
Marriage, which eventually reached the stage in 1955.
This and two satellite works of the 1950s, the Piano
Concerto and the Second Symphony, marked a peak of
rich, exuberant invention in his music. In the early
1960s, he adopted more austere textures, complemented
by mosaic-like construction, in such works as the opera
King Priam, the Concerto for Orchestra and the short
oratorio The Vision of St Augustine. Despite turning
sixty in 1965, and being knighted the following year,
Tippett remained apart from the Establishment,
retaining his iconoclastic youthfulness of manner, and
delighting in collaborations with young players and
performances to young audiences. He became especially
popular in the United States: his visits there brought a
new swathe of influences, from both American classical
music and popular culture, into such works of the 1970s
as the operas The Knot Garden and The Ice Break and
the Third Symphony; and American commissions or cocommissions
in the 1970s and 1980s resulted in his
Fourth and last Symphony, his evening-long choral work
The Mask of Time, and his last opera New Year.
Something of Tippett's early lyricism returned in his
later works, which also include a Triple Concerto, the
last of his five String Quartets, and his farewell to
composition, The Rose Lake for orchestra. In his
autobiography, Those Twentieth Century Blues, Tippett
declared with characteristic optimism 'My real hope is
to see in the new millennium'; but he died in 1998, six
days after his 93rd birthday.
Tippett wrote his oratorio A Child of Our Time
between 1939 and 1941; its first performance, at the
Royal Adelphi Theatre in London in March 1944, was
one of the outstanding artistic events in the capital
during the War. As later with all his operas, he wrote his
own text; at one stage, he asked the great poet T.S. Eliot
to write it, but on seeing his draft outline Eliot advised
Tippett to complete it himself, as anything he might
write would be so overtly poetic as to get in the way of
the music. The work was inspired by an incident which
took place in Paris in November 1938: a seventeen-yearold
Polish Jew, a refugee whose family had been
arrested by the Gestapo and stranded with thousands of
others at the Polish frontier, and who was himself being
sheltered illegally in France by his uncle and aunt, shot
and killed a diplomat at the German Legation. He was
tried and imprisoned by the French authorities; and the
Nazis, by way of reprisal for the killing, launched one of
their most savage pogroms in Germany and Austria, the
notorious 'Kristallnacht'. Tippett's libretto does not
simply narrate these events, but views them at one
remove, from the standpoint of a non-believer, a
convinced pacifist, and an admirer of the writings of the
psychiatrist Carl Gustav Jung. Its central theme is the
need for each individual to come to terms with his or her
own evil side, rather than project it on to an enemy -
because the two sides of the personality are
complementary, and both necessary, like winter and
spring, darkness and light. This is stated most clearly in
the unexpectedly hopeful passage in Part Three in which
the tenor soloist and then the chorus sing: 'I would know
my shadow and my light, so shall I at last be whole.'
The music of A Child of Our Time similarly
reconciles and integrates apparent opposites. The overall
form of the work, the composer himself said, recalls the
tripartite arrangement of Handel's Messiah, in which the
first part consists of 'great but general prophecies', the
second of narrative, and the third of 'commentary and
judgment'. Within this framework, there are more
specific reminiscences of Handel's oratorios and of
Bach's Passion settings, in such things as the dual rôles
of the soloists as characters in the drama and
commentators, the choral 'crowd scenes', among them
the double chorus of persecutors and persecuted in Part
Two, the frequent use of fugal texture, the constantly
varying instrumental colours of successive numbers or
sections, and most obviously the familiar first-inversion
chords which herald the solo bass's passages of
narrative recitative. But the musical language of the
work is by no means pastiche: it is Tippett's own,
recognisably English, especially in its madrigal-like
adherence to the natural stresses of the words against the
underlying pulse, and coloured by echoes of jazz and
popular music such as the tango rhythm of the tenor's 'I
have no money for my bread'. These go halfway to meet
one of the most striking features of the work, the Negro
spirituals which are introduced from time to time to
comment on the actions and emotions of the drama, in
the same way as the Lutheran chorales in Bach's
Passions. The spirituals are included as the songs of the
victims of oppression in another generation and on
another continent, and through their very familiarity
they emphasize the relevance to us of the events Tippett
describes and comments on: more than sixty years later,
the anguished boy is still 'a child of our time'.
Anthony Burton
A Child of our Time (more info)
Performed by:
City of Birmingham Symphony Orchestra
London Symphony Orchestra
Vancouver Symphony Orchestra
Dresden Staatskapelle
Composed by:
Michael Tippett
Conducted by:
Bruce Pullan
Richard Hickox
Colin Davis
Simon Halsey
Ute Selbig, soprano
Robert Holl, bass-baritone
Willard White, bass
Jerry Hadley, tenor
Damon Evans, tenor
Cynthia Clarey, alto
Nora Gubisch,
Cynthia Haymon, soprano
Faye Robinson, soprano
Sarah Walker, mezzo-soprano
Jon Garrison, tenor
John Cheek, bass
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Part 1: The world turns on its dark side (Chorus) - 4:05
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Part 1: The Argument - Man has measured the heavens with a telescope (Alto) - 2:14
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Part 1: Interludium - Scena - Is evil then good? (Chorus and Alto) - 4:13
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Part 1: The Narrator - Now in each nation there were some cast out (Bass) - 1:18
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Part 1: Chorus of the Oppressed - When shall the usurers' city cease - 2:21
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Part 1: I have no money for my bread (Tenor) - 3:25
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Part 1: How can I cherish my man in such days (Soprano) - 3:33
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Part 1: A Spiritual - Steal away (Chorus and Soli) - 2:32
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Part 2: A star rises in mid-winter (Chorus) - 3:27
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Part 2: The Narrator - And a time came (Bass) - 0:19
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Part 2: Chorus of Persecutors and Persecuted - Away with them! (Double Chorus) - 1:00
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Part 2: The Narrator - Where they could, they fled from the terror (Bass) - 0:29
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Part 2: Chorus of the Self-righteous - We cannot have them in our Empire - 0:48
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Part 2: The Narrator - And the boy's mother wrote a letter (Bass) - 0:16
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Part 2: Scena - O my son! (Soloists) - 1:23
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Part 2: A Spiritual - Nobody knows the trouble I see, Lord (Chorus and Soli) - 1:36
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Part 2: Scena - The boy becomes desperate in his agony (Bass, Alto) - 1:30
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Part 2: The Narrator - They took a terrible vengeance (Bass) - 0:29
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Part 2: The Terror - Burn down their houses! (Chorus) - 1:06
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Part 2: The Narrator - Men were ashamed of what was done (Bass) - 0:39
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Part 2: A Spiritual of Anger - Go down, Moses (Chorus and Bass) - 3:08
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Part 2: The boy sings in his prison - My dreams are all shattered in a ghastly reality (Tenor) - 3:45
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Part 2: The Mother - What have I done to you, my son? (Soprano) - 1:36
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Part 2: The dark forces rise like a flood (Alto) - 0:52
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Part 2: A Spiritual - O, by and by (Chorus and Soprano) - 1:28
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Part 3: The cold deepens (Chorus) - 4:20
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Part 3: The soul of man is impassioned like a woman (Alto) - 2:28
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Part 3: Scena - The words of wisdom are these (Bass, Chorus) - 4:55
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Part 3: Preludium - I would know my shadow and my light (Chorus and Soli) - 6:32
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Part 3: A Spiritual - Deep river, my home is over Jordan (Chorus and Soli) - 3:31