"Which composer wrote the 1944 oratorio ""A Child of our Time""?"
"Our Time"" was issued in 1958, and remained the only available version for 17 years. Sir Colin Davis made the first of his three recordings of the work in 1975. Tippett himself, at the age of 86, conducted a recording of the work with the City of Birmingham Symphony Orchestra and Chorus in 1991. Notes Citations Bibliography A Child of Our Time A Child of Our Time is a secular oratorio by the British composer Michael Tippett (190598), who also wrote the libretto. Composed between 1939 and 1941, it was first performed at the Adelphi Theatre, London, on 19 March"
"Eliot would provide a libretto for the oratorio, and the poet showed interest. However, when Tippett presented him with a more detailed scenario, Eliot advised him to write his own text, suggesting that the poetic quality of the words might otherwise dominate the music. Tippett called the oratorio ""A Child of Our Time"", taking the title from ""Ein Kind unserer Zeit"", a contemporary protest novel by the Austro-Hungarian writer Ödön von Horváth. Within a three-part structure based on Handel's ""Messiah"", Tippett took the novel step of using North American spirituals in place of the traditional chorales that punctuate oratorio texts."
"and Peter Pears, for whom he wrote the cantata ""Boyhood's End"" for tenor and piano. Encouraged by Britten, Tippett made arrangements for the first performance of ""A Child of Our Time"", at London's Adelphi Theatre on 19 March 1944. Goehr conducted the London Philharmonic Orchestra, and Morley's choral forces were augmented by the London Regional Civil Defence Choir. Pears sang the tenor solo part, and other soloists were borrowed from Sadler's Wells Opera. The work was well received by critics and the public, and eventually became one of the most frequently performed large-scale choral works of the post-Second World War"
"to popular choral repertoire. The choir gave one of the first modern performances of the Claudio Monteverdi Vespers of 1610, and other concerts included works by Bononcini, Francesco Cavalli, Antonio Vivaldi, Heinrich Schütz, Marc-Antoine Charpentier, Camille Saint-Saëns, Gustav Holst, Anton Bruckner and William Walton. In October 1966, they gave one of the first UK performances of the Duruflé Requiem in Bath. Michael Tippett's oratorio A Child of our Time was sung under the composer's baton as a part of the Bath Festival in June 1968. During this period the works of Ralph Vaughan Williams, the choir's first president, also featured"
"Michael Tippett Sir Michael Kemp Tippett (2 January 1905 – 8 January 1998) was an English composer who rose to prominence during and immediately after the Second World War. In his lifetime he was sometimes ranked with his contemporary Benjamin Britten as one of the leading British composers of the 20th century. Among his best-known works are the oratorio ""A Child of Our Time"", the orchestral ""Fantasia Concertante on a Theme of Corelli"", and the opera ""The Midsummer Marriage"". Tippett's talent developed slowly. He withdrew or destroyed his earliest compositions, and was 30 before any of his works were published."
"""A Child of Our Time"", and the masses and oratorios of J. S. Bach, Beethoven, Haydn, Mozart, Berlioz, Gounod, Dvořák, Elgar, Fauré, Verdi and Mendelssohn. The chorus has taken part in opera productions such as ""Carmen"" (1990), ""Cosi fan tutte"" (1999) and ""The Other Wise Man"" (2000), and is a regular feature in the Singapore Arts Festival. Most recently, the SSC has performed Janáček's ""Glagolitic Mass"" (2004), Beethoven’s Symphony No. 9 in D minor ""Choral"" (2005), Mendelssohn's ""Elijah"" (2005), Beethoven’s ""Missa Solemnis"" in April 2006 and Haydn's ""The Creation"" later in 2006, followed by John Rutter works in the Christmas"
"BBC's director of music, to arrange a broadcast performance of the work. This took place on 10 January 1945 shortly after which, in February, Tippett conducted the work at the Royal Albert Hall. The radio broadcast had been heard by Howard Hartog, a music writer and publisher who just after the war was in Occupied Germany, attempting to re-establish the North German Radio Symphony Orchestra in Hamburg. As part of this endeavour he decided to mount a performance of ""A Child of Our Time"", with Hans Schmidt-Isserstedt conducting. Because of his pacifism and record as a conscientious objector, Tippett was"
"the BBC Proms 2016 on 23 July by the BBC National Orchestra and Chorus of Wales. ""A Child of Our Time"" has survived periods of indifference, particularly in America, to be ranked alongside Britten's ""War Requiem"" as one of the most frequently performed large-scale choral works of the post-Second World War period. According to Meirion Bowen, Tippett's long-time companion and a champion of his music, the work's particular quality is its universal message, with which audiences all over the world have identified. In his notes accompanying the performance at the 2010 Grant Park Music Festival in Chicago, Richard E. Rodda"
"document. After the Kristallnacht, Salvador Allende, Gabriel González Videla, Marmaduke Grove, Florencio Durán and other members of the Congress of Chile sent a telegram to Adolf Hitler denouncing the persecution of Jews. A more personal response, in 1939, was the oratorio ""A Child of Our Time"" by the English composer Michael Tippett. ""Kristallnacht"" changed the nature of the Nazi persecution of Jews from economic, political, and social to physical with beatings, incarceration, and murder; the event is often referred to as the beginning of the Holocaust. In the words of historian Max Rein in 1988, ""Kristallnacht came...and everything was changed."""
"had conducted the South London Orchestra in the premiere of his Concerto for Double String Orchestra. After completing the composition of ""A Child of Our Time"" in 1941, Tippett worked on other projects, feeling that the oratorio's pacifist message was out of touch with the prevailing national mood. Walter Goehr, who conducted the Morley College orchestra, advised delaying its first performance until a more propitious time. In February 1942 Tippett was assigned by the tribunal to non-combative military duties. Following his appeal, this was changed to service either with Air Raid Precautions (ARP), with the fire service or on the"
"newspapers. The correspondent for ""Haaretz"" had expressed disappointment: ""Every tone is unoriginal, and the work repeats old effects in a most conventional manner"". Conversely, according to the ""Times"" report, ""HaBoker""'s critic had ""found that the composition had moved everyone to the depths of his soul ... no Jewish composer had ever written anything so sublime on the theme of the Holocaust."" Despite its successes in Europe ""A Child of Our Time"" did not reach the United States until 1965, when it was performed during the Aspen Music Festival, with the composer present. In his memoirs Tippett mentions another performance on"
"British première. Among British composers, his greatest passion was for Delius (he was an adviser to the Delius Trust from 1961, and later the President of the Society), and he was on amicable terms with Benjamin Britten, William Walton and Michael Tippett: while at the LPO, he was instrumental in arranging the premiere of Tippett's ""A Child of Our Time"" in 1944. Other friends included the conductors Thomas Beecham, Victor de Sabata, Roger Désormière, Ernest Ansermet and Charles Münch, as well as the singer Maggie Teyte, the cellist Pierre Fournier and the pianist Monique Haas. For much of the 20th"
"and carries a strongly pacifist message of ultimate understanding and reconciliation. The text's recurrent themes of shadow and light reflect the Jungian psychoanalysis which Tippett underwent in the years immediately before writing the work. The oratorio uses a traditional three-part format based on that of Handel's ""Messiah"", and is structured in the manner of Bach's Passions. The work's most original feature is Tippett's use of African-American spirituals, which carry out the role allocated by Bach to chorales. Tippett justified this innovation on the grounds that these songs of oppression possess a universality absent from traditional hymns. ""A Child of Our"
"BBC Choral Society sang Mahler, a great deal of Stravinsky, some Britten, and much Beethoven. When Colin Davis took over in 1967, a new group of composers came to the fore: Berlioz, Liszt (the Dante Symphony as well as the Faust Symphony), and Michael Tippett. This last connection brought the BBC Choral Society its opportunity to make its first recording for a commercial company in recent years (though Mendelssohn's Elijah had been recorded as long ago as 1930): Tippett's oratorio A Child of Our Time was recorded under Davis's direction for Philips Classics Records. There followed a succession of major"
"Concerto marks the proper beginning of Tippett's maturity as an orchestral composer. In ""A Child of Our Time"" Tippett was, in Kemp's view, wholly successful in integrating the language of the spirituals with his own musical style. Tippett had obtained recordings of American singing groups, especially the Hall Johnson Choir, which provided him with a model for determining the relationships between solo voices and chorus in the spirituals. Thus, Kemp believes, the fourth spiritual ""O by and by"" sounds almost as if it had been composed by Tippett. The composer's instructions in the score specify that ""the spirituals should not"
"our time, commissioning twelve works for chorus and orchestra, from ten composers: John Harbison (twice), Peter Child, Donald Sur, Andrew Imbrie, Andy Vores (twice), T.J. Anderson, James Primosch, Stephen Hartke, Lior Navok, and Yehudi Wyner. Many of these works respond to challenging issues: Sur's Slavery Documents, Anderson's Slavery Documents 2, and Navok's Slavery Documents 3: The Trains Kept Coming...form the beginning of a stream of compositions that grapple with extraordinarily difficult subjects, American slavery and the Holocaust; Child's Estrella protests 1980s American policy in Nicaragua; Harbison's The Flight into Egypt suggests, through the metaphor of Mary and Joseph, the pain"
"the oratorios ""Judith"" (1732) and ""Joseph"" (1746), as well as chamber duets, solo and trio sonatas, concertos and part songs. Both oratorios were thought lost until 1980 when a copy of a manuscript of ""Joseph"" was found in London's Royal Academy of Music. De Fesch's music was influenced by the Italians, particularly Vivaldi, as well as Handel. Willem de Fesch Willem de Fesch (, 1687, Alkmaar – 3 January 1761) was a virtuoso Dutch violone player and composer. The pupil of Karel Rosier, who was a Vice-Kapellmeister at Bonn, de Fesch later married his daughter, Maria Anna Rosier. De Fesch"
"L'enfance du Christ L'enfance du Christ (""The Childhood of Christ""), Opus 25, is an oratorio by the French composer Hector Berlioz, based on the Holy Family's flight into Egypt (see Gospel of Matthew 2:13). Berlioz wrote his own words for the piece. Most of it was composed in 1853 and 1854, but it also incorporates an earlier work ""La fuite en Egypte"" (1850). It was first performed at the Salle Herz, Paris on 10 December 1854, with Berlioz conducting and soloists from the Opéra-Comique: Jourdan (Récitant), Depassio (Hérode), the couple Meillet (Marie and Joseph) and Bataille (Le père de famille)."
"Robert Hood Bowers Robert Hood Bowers (24 May 1877 - 29 December 1941) was an American composer, conductor and musical director of operettas and stage musicals, and a conductor and musical director for radio. He composed the musical scores for some of the most popular silent movies, including ""Aloma of the South Seas"" and ""A Daughter of the Gods"". Born and raised in Chambersburg, Pennsylvania, Robert Hood Bowers was the eldest son of Ellen Graham Heyser and Oliver C. Bowers (a district attorney of Franklin County, and nominee for the Democratic Party for Pennsylvania's 17th congressional district for the 1904"
"Ancient Voices of Children Ancient Voices of Children is a composition by the American composer George Crumb. Written in 1970, the work is scored for soprano, boy soprano, oboe, mandolin, harp, amplified piano (and toy piano), and percussion (three players), and was commissioned by the Elizabeth Sprague Coolidge Foundation. ""Ancient Voices of Children"" is subtitled “A Cycle of Songs on Texts by Federico García Lorca.” The piece was premiered at the Library of Congress in Washington, D.C., on October 31, 1970, as part of the Coolidge Foundation's 14th Festival of Chamber Music. The initial performers of the ""Ancient Voices of"
"the music will, I think, have an immediate effect on both audience and performers"". Later writers would state that ""A Child of Our Time"" placed Tippett in the first rank of the composers of his generation, and most of the early reviews were favourable. Among these, ""The Times""s critic called the work ""strikingly original in conception and execution"", and wrote that Tippett had succeeded quite remarkably in writing an effective tract for the times. A second ""Times"" review, written a few days after the premiere, suggested that the oratorio had articulated a key contemporary question: ""How is the conflict of"
"The Triumph of Time and Truth The Triumph of Time and Truth is the final name of an oratorio by George Frideric Handel produced in three different versions across fifty years of the composer’s career: Handel’s very first oratorio, composed in spring 1707, to an Italian-language libretto by Cardinal Benedetto Pamphili. Time and Disillusion are personified (thus spelled with an initial capital even in Italian). Comprising two sections, the oratorio was premiered that summer in Rome. One of its famous arias is ""Lascia la spina, cogli la rosa (Leave the Thorn, Take the Rose)"", later recast as ""Lascia ch’io pianga"
"Cleveland Orchestra, New York Philharmonic, Atlanta Symphony Orchestra, Minnesota Orchestra, Tucson Symphony Orchestra, Saint Paul Chamber Orchestra, and many others. In 2011 he also co-wrote a Concerto ""Timepiece"" with his son, Greg Paulus, for the Minnesota Orchestra. Paulus has written over 150 works for chorus ranging from his Holocaust oratorio, ""To Be Certain of the Dawn"", recorded by the Minnesota Orchestra on the BIS label, to the poignant anthem, ""Pilgrims' Hymn,"" sung at the funerals of U.S. Presidents Ronald Reagan and Gerald Ford and a setting of the Stabat Mater for the Saint Louis Chamber Chorus. His works have received"
"""A Child of Our Time"" received its Israel premiere in Tel Aviv. Tippett says that this performance was delayed because for a while there were local objections to the word ""Jesus"" in the text. When it came about, among the audience was Herschel Grynszpan's father who, Tippett wrote, was ""manifestly touched by the work his son's precipitate action 25 years earlier had inspired."" The performance, by the Kol Yisrael Orchestra with the Tel Aviv Chamber Choir, was acclaimed by the audience of 3000, but received mixed reviews from the press. ""The Times"" report noted contrasting opinions from two leading Israeli"
"at the American Conservatory of Music, Chicago . Early recognition came when his Violin Concerto was premiered in 1913 by the Chicago Symphony Orchestra . He spent time in France during World War I in the role of bandmaster . In 1921 he was awarded the Rome Prize (from the American Academy in Rome), the first composer to receive this. He joined the American Conservatory of Music as faculty in 1924 . In addition he received the 1946 Pulitzer Prize for Music for his cantata, the ""Canticle of the Sun"", written in 1944 (; ) In 1927 he became organist-choirmaster"
"University, where he taught from 1946 to 1954. Here he conducted American premier performances of Anton Bruckner's Mass No. 1 and Michael Tippett's ""A Child of Our Time"". He served on the National Humanities Council from 1968 to 1974 and the Music Planning Section of the National Arts Endowment from 1977 to 1979. Following Gershkovitch's death in 1953, guest conductors lead the Portland Junior Symphony (now known as the Portland Youth Philharmonic) for its thirtieth season—one was Avshalomov. Avshalomov was appointed the orchestra's second conductor in 1954. During his forty-year tenure Avshalomov encouraged international tours and produced several recordings, some"
"The oratorio ""Hiawatha’s Lied"", opus 37 (1933-1947) is often cited as his ""magnum opus"". It is a setting of a Dutch translation by Guido Gezelle of Henry Longfellow’s ""The Song of Hiawatha"". Marinus De Jong Marinus de Jong (14 January 1891, Oosterhout - 13 July 1984, Ekeren) was a Belgian composer and pianist of Dutch origin. Marinus de Jong was born in Oosterhout (The Netherlands) to a working-class family with twelve children. His musical talent became apparent early in his life: he was accepted into the Royal Conservatoire of Antwerp (Belgium) at the age of fifteen, where he was taught"
"MacMillan's ""Sun-Dogs"" (2006), for chorus a cappella; the ""Missa ad Consolationis Dominam Nostram"" (1994) by the Mexican composer Mario Lavista, and the premiere and recording of Juan Orrego-Salas's choral-orchestral cantata ""La ciudad celeste"" (2004). Other notable projects are the American, Midwest and/or university premieres of John Adams's oratorio ""El Niño"" (2001); Ralph Shapey's oratorio ""Praise""; Karlheinz Stockhausen's choral opera ""Atmen gibt das Leben"" (1994), Steve Reich's ""Tehillim"" and ""Desert Music""; ""Music/Theater Piece"" by Philip Glass; Arvo Pärt's ""Passio"" and ""Miserere"", Gilles Swayne's ""Cry""; James MacMillan's ""Seven Last Words from the Cross""; and several world-premieres by Feliù Gasull, Aurelio de la"
"complete English version of the Christmas Oratorio was that prepared in 1874 by John Troutbeck for the music publisher Novello. A new edition has been worked up by Neil Jenkins. Each section combines choruses (a pastoral ""Sinfonia"" opens Part II instead of a chorus), chorales and from the soloists recitatives, ariosos and arias. By notational convention the recitatives are in common time. Christmas Oratorio The Christmas Oratorio (), , is an oratorio by Johann Sebastian Bach intended for performance in church during the Christmas season. It was written for the Christmas season of 1734 and incorporates music from earlier compositions,"
"Richard Einhorn Richard Einhorn (born 1952) is an American composer of contemporary classical music. Einhorn graduated summa cum laude and Phi Beta Kappa from Columbia University in 1975, and studied composition and electronic music with Jack Beeson, Vladimir Ussachevsky, and Mario Davidovsky. His best-known work, ""Voices of Light"" (1994) is an oratorio scored for soloists, chorus, orchestra and a bell. It was inspired by Carl Theodor Dreyer's silent film ""The Passion of Joan of Arc"" (1928). He has also composed many horror and thriller film scores, including ""Shock Waves"" (1977), ""Don't Go in the House"" (1980), ""Eyes of a Stranger"""
"Miserere (Górecki) , Op. 44 () is a choral work composed in 1981 by Henryk Górecki for large (120 voices) a cappella mixed choir. The text comprises five words: "" (""Lord our God""), which are repeated for the first ten sections, resolved by a chorus of "" (""Have mercy on us"") in the eleventh and final section. Both lines of text are sung as imploring pleas. A typical performance lasts 35 minutes. Górecki composed the work in 1981 in protest to government intervention against the Polish Solidarity trade union - specifically, in response to the government-sanctioned assault of activists in"
"Christmas Oratorio The Christmas Oratorio (), , is an oratorio by Johann Sebastian Bach intended for performance in church during the Christmas season. It was written for the Christmas season of 1734 and incorporates music from earlier compositions, including three secular cantatas written during 1733 and 1734 and a now lost church cantata, BWV 248a. The date is confirmed in Bach's autograph manuscript. The next performance was not until 17 December 1857 by the Sing-Akademie zu Berlin under Eduard Grell. The ""Christmas Oratorio"" is a particularly sophisticated example of parody music. The author of the text is unknown, although a"
"The Canticle of the Sun (Sowerby) The Canticle of the Sun is a musical composition by Leo Sowerby (1895–1968) setting Matthew Arnold's English translation of Francis of Assisi's ""Canticle of the Sun"" for chorus and orchestra in 1945; the work was awarded the Pulitzer Prize for Music the following year. The first performance was in New York at Carnegie Hall by the Schola Cantorum and the New York Philharmonic on April 16, 1945. The first recording of it by Chicago's Grant Park Orchestra and Chorus under Carlos Kalmar was released in June 2011. The piece was commissioned by the Alice"