17633652
A Child of Our Time
17633652
17633652
17633652
Copyright Material for Preview Only - Sheet Music Plus
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.
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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