| Michael Tippett |
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Information AboutMichael Tippett |
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Born in London of English and Cornish stock, he was educated at Fettes , Stamford School and the Royal College Of Music , where he studied composition with Vaughan Williams and conducting with Adrian Boult . In the 1920s , living simply in Surrey , he plunged himself into musical life, conducting amateur choirs and local operas. Unlike his contemporaries Walton and Britten , Tippett was a late developer as a composer and was severely critical of his early compositions. At the age of 30, he studied Counterpoint and Fugue with Reginald Owen Morris . His first mature compositions show a fascination with these aspects. From the mid-1960s until the early 1970s, Sir Michael Tippett had a close relationship with the Leicestershire Schools Symphony Orchestra, regularly conducting them in the UK and on tour in Europe and generally supporting the state-funded musical education programme which had produced an orchestra of such high standards. He conducted the LSSO almost exclusively in twentieth-century music - from Holst's ''The Planets'' to Charles Ives's ''Three Places in New England'', Gershwin's ''Rhapsody in Blue'', Hindemith's ''Symphonic Metamorphoses'' and many new works by English composers. Under Tippett, the LSSO, an orchestra of ordinary secondary school children aged 14 to 18, regularly performed on BBC radio and TV, made commercial gramophone records and established new standards for music-making in an educational context. Many leading British performers had their first experience of orchestral music in the LSSO under Tippett. Tippett was never a prolific composer, and his works, completed slowly over the following 60 years, comprised five String Quartet s, four Concerto s, four Symphonies , five Opera s and a number of vocal and Choral works. His music is typically seen as falling into four distinct periods. The first period (1935–1947), includes the first three quartets, the ''Concerto for Double String Orchestra'', the Oratorio '' A Child Of Our Time '' (written to his own libretto at the encouragement of T. S. Eliot and first performed by Morley College Choir ) and the First Symphony. This period is characterised by strenuous contrapuntal energy and deeply lyrical slow movements. The second period, from then until the late 1950s, includes the opera ''The Midsummer Marriage'', the ''Corelli Fantasia'', the Piano Concerto, and the Second Symphony; this period features rich textures and effervescent melody. The third period, the 1960s and 70s, is in stark contrast, and is characterised by abrupt statements and simplicity of texture, as in the opera '' King Priam '', the ''Concerto for Orchestra'' and the Second Piano Sonata. The fourth period is a rich mixture of all these styles, using many devices, such as quotation (from Ludwig Van Beethoven and Modest Mussorgsky , among others). The main works of this period were the Third Symphony, the operas ''The Ice Break'' and ''New Year'', and the large-scale choral work ''The Mask of Time''. Tippett was regarded by many as an outsider in British music, a view that may have been related to his early conscientious objection and his homosexuality. His Pacifist beliefs led to a prison sentence in World War II , and for many years his music was considered ungratefully written for voices and instruments, and difficult to perform. An intense intellectual, he maintained a much wider knowledge and interest in the literature and philosophy of other countries (Africa, Europe) than was common among British musicians. His (sometimes quirky) Libretti for his operas and other works reflect his passionate interest in the dilemmas of human society and the enduring strength of the human spirit. He was awarded the Order Of Merit in 1983. Some other important works not mentioned above include
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Tippett was patron of the LSSO and conducted them regularly in the UK and Europe. |
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