Tippett Studies by David Clarke

By David Clarke

Michael Tippett is among the significant figures of British song during this century. This quantity of essays offers the 1st gigantic writing at the composer for over a decade and contains the paintings of proven students in addition to a number of new voices. throughout essays that surround various genres and elegance sessions, a couple of habitual topics should be detected. more often than not, the e-book strikes from technical dialogue eager about person works to wider questions of context--the "external" components that experience formed the composer's musical creation, reminiscent of his dating to the earlier, his fascination with historical Greece and his pursuit of the transcendent.

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Literary Awards
Samuel Johnson Prize for Non-Fiction Nominee for Longlist (2010)

Extra info for Tippett Studies

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W _ _ w _ 18 _ _ _ _ _ _ _ _ _ _ ˙ ƒ _ 8 œ œ. J Vn. I (Orch. I) œ œ œ œJ œ œ œ- œ J J tippet t’s concerto for d ouble string orchestra Ex. 3 Unifying function of pentatonic set (dynamics, expression markings and octave doublings omitted) (a) First movement: beginning of first group Allegro con brio x j j œ . œ œ . œ œ œ œ œ œ œ œ œ œJ œ œ ˙ J & 88 œ œ œ œ œ œ œ J J Vn. I & II, Va. (Orch. I) b. 1 œ ˙ œ œ œ [0, 2, 4, 7, 9] 5-35 (t = 7) Source set: & (b) First movement: beginning of second group x .

On the one hand, Tippett indeed exploits string sonorities that are quasiinherent to particular keys: the shift from A to C could almost be construed as an exchange of the characteristic sonic qualities of the upper strings of the violin for those of the lower strings of the viola and cello. On the other hand, much of the significance of the final swerve to C derives from the meaning that this tonality acquires when perceived in relation to A. Furthermore, the gesture does not come out of the blue.

Evidence for this conception comes immediately after the second group (Fig. 4ϩ2), when the return of the opening material of the movement, transposed to E, is felt as wrenching back to the earlier soundworld – and hence to the previous system – only now more intensely voiced, due to the transposition sharpwards. The use of sonorous qualities to highlight the contrast between the different systems is important. The more strongly the second group projects its identity, the more it tends to eschew the sparser, linear textures of its predecessor in favour of a deeper, more resonant and harmonically orientated soundworld.

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