A Child of Our Time Oratorio Study Score by Sir Michael Tippett Study Score - Sheet Music

By Sir Michael Tippett

This oratorio was Tippett's artistic and emotional response to the events that led to the “Kristallnacht” pogrom of November 1938. Tippett used as his formal and historical models the Bach Passions and Handel's Messiah. Tippett's use of the spiritual serves as equivalent for the Lutheran chorale of Bach's time. By 1941, when Tippett had completed the composition of his oratorio, the practicalities of staging a performance during wartime were difficult to say the least. However, through the direct agency of his lifelong friends and professional colleagues, Benjamin Britten and Peter Pears, the work was performed in 1944, with Pears himself as tenor soloist.

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Details

Summary
Genres:
Classical
Composers:
Sir Michael Tippett
Publishers:
Eulenburg Edition
UPC:
841886009837
ISBN:
9783795767273
Format:
Study Score
Item types:
Physical
Level:
Intermediate
Musical forms:
Oratorio
Artist:
Sir Michael Tippett
Usages:
School and Community
Size:
7.5x10.5x0.44 inches
Number of Pages:
176
Shipping Weight:
1.29 pounds
Detailed Description
Study Score Score (2 * 2 * ca * 2 * 2 * cbn - 4 * 3 * 3 * 0 - timp * perc (cym) (1 player) - str) - intermediate

SKU: HL.49016790

Oratorio Study Score. Composed by Sir Michael Tippett. This edition: Paperback/Soft Cover. Sheet music. Study Score. Classical, Oratorio. Study score. Composed 1939-1941. 176 pages. Duration 66'. Eulenburg Edition #ETP8053. Published by Eulenburg Edition (HL.49016790).

ISBN 9783795767273. UPC: 841886009837. 7.5x10.5x0.44 inches. English - German - French.

This oratorio was Tippett's artistic and emotional response to the events that led to the “Kristallnacht” pogrom of November 1938. Tippett used as his formal and historical models the Bach Passions and Handel's Messiah. Tippett's use of the spiritual serves as equivalent for the Lutheran chorale of Bach's time. By 1941, when Tippett had completed the composition of his oratorio, the practicalities of staging a performance during wartime were difficult to say the least. However, through the direct agency of his lifelong friends and professional colleagues, Benjamin Britten and Peter Pears, the work was performed in 1944, with Pears himself as tenor soloist.

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