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| 迈克尔·蒂皮特爵士(Sir Michael Tippett 1905——1998) | |||||||||||||||||||||||||||||
| 西蒙·拉特尔爵士指挥蒂皮特《玫瑰湖》《马勒第十交响曲》（伦敦交响乐团 ） | |||||||||||||||||||||||||||||
| The Tenth Symphony of Mahler, Conducted by Sir Simon Rattle | |||||||||||||||||||||||||||||
| 蒂皮特''玫瑰湖'' 马勒第十交响曲 西蒙拉特尔爵士指挥 | |||||||||||||||||||||||||||||
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音乐历史上的今天 1976年7月7日，蒂皮特（M. Tippett）的第三部歌剧《冰融》（The lce Break）在科文特花园上演，直面了东方与西方，黑人与白人，老人与青年之间看似不可调和的差异。
迈克尔·肯普·蒂皮特爵士(Sir
Michael Kemp Tippett
1905——1998))是20世纪一位多产的英国作曲家，也是一位人道主义者和和平主义者。他的全部作品包括5部歌剧、4部交响曲、5部弦乐四重奏、大量的歌曲和合唱设置、4部钢琴奏鸣曲、如“三协奏曲”等管弦乐作品，以及《圣奥古斯丁的愿景》等为人声和管弦乐队创作的作品。迪佩特在第二次世界大战期间因拒服兵役而被监禁三个月。他也是最早的同性恋作曲家之一，公开承认自己的性取向，并用自己的音乐来探讨性问题。尽管他经常自己写歌剧的剧本，他还是受到了严厉的批评。然而，这并不妨碍他通过作品表达自己的思想或政治思想。在他的一生中，他一直是一个音乐的狂热学习者。作为指挥，他录制了许多自己的作品。
1979年，蒂皮特建立了迈克尔·蒂皮特音乐基金会，这是一个慈善信托基金，最初的收入来自于向大英图书馆出售他的大部分亲笔签名手稿。1997年，他在斯德哥尔摩举办音乐会回顾展时，患上了肺炎，被带回英国，并于1998年初在那里去世。作曲家如马克·安东尼·特内奇，大卫·马修斯，威廉·马蒂亚斯和爱德华·考伊都承认了
蒂皮特对他们创作的影响。 |
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| 迈克尔·蒂皮特(Sir Michael Tippett） 的唱片封面 | |||||||||||||||||||||||||||||
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| 迈克尔·蒂皮特爵士(Sir Michael Tippett)在创作中 | |||||||||||||||||||||||||||||
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Today in the
history of music M. Tippett's third opera, "The Lce Break," opened at Covent Garden on July 7, 1976, confronting The seemingly irreconcilable differences between East and West, black and white, old and young. Sir Michael Kemp Tippett was a prolific British composer of the 20th century, a humanitarian and a pacifist. The entire gamut of his work comprises of five operas, four symphonies, five string quartets, numerous songs and choral settings, four piano sonatas, orchestral works like the ‘Triple Concerto’, and works for voices and orchestra such as “The Vision of Saint Augustine,” etc. Tippet was imprisoned for three month for being a conscientious objector during the Second World War. He was also one of the first gay composers, who confessed his sexual orientation in public and used his music to explore the issues of sexuality.Though the libretti of his operas, which he often wrote himself, he faced stern criticism. However, that hardly deterred him from expressing his ideas or political thoughts through his works. Throughout his lifetime, he remained an avid learner of music. As a conductor, he recorded many of his own works. |
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| 迈克尔·蒂皮特爵士(Sir Michael Tippett) | |||||||||||||||||||||||||||||
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Sir Michael Kemp Tippett was born on 2 January in the year 1905 in the
city of London in an affluent family. His father, Henry William Tippett,
was a lawyer and an entrepreneur and his mother, Isabel Clementina Binny
Kemp, was a charity worker, a member of the labor party and a
suffragette. His inclination towards music was evident from the very
childhood. Tippet won a scholarship and went to study at Fettes College,
but when his liaison with another boy transpired, his parents moved him
to Stamford School in Lincolnshire where he completed the rest of his
school education. There he learned piano and harmony from Frances
Tinkler. His first experience of modern music was on hearing Ravel's
Mother Goose suite at a concert in Leicester conducted by Malcolm
Sargent. From that day onwards, he yearned to be a composer. During the
First World War, his family was confronted with a financial exigency,
which obliged them to lead an unsettled life moving around Europe.
Tippet joined his parents in vacations. Due to Tippet’s atheistic and
rebellious demeanor, his headmaster asked him to be removed from the
school premises and to be lodged somewhere else in the town. During this
time, he bought a copy of Stanford’s musical composition and started
teaching himself. Tippet then went on to study at the Royal College of
Music in the year 1923. He learned his first lessons in composition from
Charles Wood. After the death of Wood, Tippet went to learn music from
Dr. C.H. Kitson. However, there were certain discords between the
teacher and the student regarding the style and had to quit. He also
gained some working knowledge of the orchestra and conducting. At the
RCM, he spent five years and graduated in 1928, taking five instead of
four years as he failed in his first attempt. Though Tippet confessed his homosexuality at a very young age, yet the fear of being ostracized from normal life haunted him. He enchanted both women and man equally with his looks and charm. Throughout his life, he held close relationships with many women. Evelyn Maude, an amateur cellist, was deeply enamored by Tippet and played a role of an elder sister in his life. When Allison, a musician and musicologist with whom he even contemplated adopting a child once committed suicide at the end of World War II, Tippet was left shattered and aggrieved. However, not until Wilfred Franks, a young painter, entered his life, Tippet felt the pangs of real and passionate love. On his relationship with Frank, Tippett once said, “the deepest, most shattering experience of falling in love,” and “a major factor underlying the discovery of my own individual musical 'voice'.” Tippet was offered to conduct a concert and operatic society in Oxted, Surrey. Thus, in a quest to find solitude to compose, away from the bustling city of London, he fled to placid rural environment. In 1929, he rented a small cottage on the North Downs, formed a madrigal group, and became a music teacher at a local school. Soon with his father’s aid, he constructed a bungalow for himself at Limpsfield. Tippet then went on to produce a number of stage works, one of which was his own version of the 18th century ballad ‘The Village Opera’. Tippett's own music started featuring in Oxted programmes and in April 1930, he held a concert, which was devoted solely to his own compositions. To brush up his skills further, he went to study with R. O. Morris, who had already taught Tippett at the RCM and was considered to be specialist of 16th century polyphony.Thistraining turned out to be particularly fruitful for him as he was able to emulate the Bach’s style of writing figures. Tippett was overwhelmed by injustice and oppression, which was taking place in Europe those days.Driven by a strong feeling of empathy, Tippet started fusing his music with radicalized political actions. He then left the teaching job and opted for the conductorship of a number of amateur choirs. The year 1939 witnessed the commencement of his first magnum opus “A Child of Our Time,” which can be said to be the outcome of his crystallized atheistic ideas, which took shape during the course of several informal rendezvous with the Nobel laureate T.S. Eliot whom he often referred to as his spiritual father. “A Child of Our Time” was based on a real incident in which a boy victim of injustice retorted back with violence, an action which then went on to beget much greater violence. The work was completed in 1941 and was performed in 1944 for the first time. Tippett always strived to express universal feeling about such occurrences and his choice of Negro Spirituals achieved the desired dramatic effect. Tippett’s radical political stand was further fostered when Francesca Allinson introduced him to the Marxist composer Alan Bush, who was the conductor of the London Labor Choral Union. Tippett conducted the orchestra at the Pageant of Labour at the Crystal Palace on 15–20 October 1934. As Tippett strongly championed the idea of individual freedom and reprobated the existence of any tyrannous authority, he chose Trotsky's internationalism over Stalin's rigidly controlled and centralized state. He joined the Communist Party in 1935, but left in the wake of an overpowering clout of Stalinist ideologies. In the same year, Tippett wrote an agitprop play, ‘War Ramp’, about the role of public credit in the financing of war whose argument though seemed to spur the idea of convulsive revolution was denied by him and later started resorting to the idea of pacifism. Trapped between the Scylla of Nazism and Charybdis of Stalinism, Tippett became one of the thousands to take up the pledge of Rev. Dick Sheppard, which then resulted in a peace pledge union of which Tippett became the president eventually. In 1943, he was sentenced to three months imprisonment for refusing, as a pacifist, to comply with conditions of exemption from active war servicebut his loyalty towards pacifist ideology remained unaffected. In 1960, he moved away from Sussex and went to live in Wiltshire, first in the village of Corsham, and then on Derry Hill above the town of Calne. In the year 1965, he visited the United States, where his music won advocates and audiences, and Tippett in turn introduced elements of American slang and music into his own work, for example in The Knot Garden, first performed in 1970. In 1966, he was knighted, and awarded the Order of Merit in 1983. He remained very active composing and conducting. His opera, ‘New Year’ premiered in 1989, which didn’t get a warm reception. ‘Byzantium’, a piece for soprano and orchestra, was premièred in 1991. “Those Twentieth Century Blues”, the autobiography of Tippett was published in 1991. His Fifth String Quartet was premièred in 1992. In 1995, Tippett was honored on his 90th birthday with special events in Britain, Canada and the US, including the première of his final work, The Rose Lake. In that year a collection of his essays, “Tippett on Music”, also came out. In 1996, Tippett moved from Wiltshire to London for health concerns. In 1979, Tippett set up The Michael Tippett Musical Foundation, a charitable trust that owed its initial income to the sale of most of his autographed manuscripts to the British Library. In 1997, when he was visiting Stockholm for a retrospective of his concert music, he developed pneumonia and was brought home to England, where he died in early 1998. Composers like Mark-Anthony Turnage, David Matthews, William Mathias and Edward Cowie have admitted the influence of Tippet on their work. Video of the day: Sir Simon Rattle conducting Tippeter's Lake Rose and Mahler's 10th Symphony (London Symphony Orchestra);2. The Children of Our Times, oratorio by Michael Tippett. |
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| 迈克尔·蒂皮特爵士(Sir Michael Tippett) | |||||||||||||||||||||||||||||
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| 迈克尔·蒂皮特爵士(Sir Michael Tippett）和另一位英国著名的作曲家本杰明·布里顿（Benjamin Britten，1913-1976）在一起。 | |||||||||||||||||||||||||||||
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| 迈克尔·蒂皮特爵士(Sir Michael Tippett）与乔治·索蒂爵士，1977年新闻摄影 | |||||||||||||||||||||||||||||
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| 迈克尔·蒂皮特清唱剧《我们时代的孩子》(英国的古典音乐夏季盛会--BBC逍遥音乐会(BBC Proms)) | |||||||||||||||||||||||||||||
| 《我们时代的孩子》是一部世俗清唱剧，作者是英国作曲家迈克尔·蒂皮特(Michael Tippett, 1905-98)，他也写了剧本。这首曲子创作于1939年至1941年间，1944年3月19日在伦敦阿德尔菲剧院首演。这部作品的灵感来自于对蒂佩特影响深远的事件:1938年，一名年轻的犹太难民暗杀了一名德国外交官，以及纳粹政府对其犹太人进行的暴力大屠杀——“水晶之夜”(Kristallnacht)。蒂佩特的清唱剧以被压迫人民的经历为背景来处理这些事件，并传递了一种强烈的和平主义信息，即最终的理解与和解。 | |||||||||||||||||||||||||||||
| A Child of Our Time is a secular oratorio by the British composer Michael Tippett (1905–98), who also wrote the libretto. Composed between 1939 and 1941, it was first performed at the Adelphi Theatre, London, on 19 March 1944. The work was inspired by events that affected Tippett profoundly: the assassination in 1938 of a German diplomat by a young Jewish refugee, and the Nazi government's reaction in the form of a violent pogrom against its Jewish population—called Kristallnacht. Tippett's oratorio deals with these incidents in the context of the experiences of oppressed people generally, and carries a strongly pacifist message of ultimate understanding and reconciliation. | |||||||||||||||||||||||||||||
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