Item added to order. My Wish List. Deleted CDs Mystery Boxes. Title, Name or Code. Website Release Date January February March April May June July August September October November December. Tippett, M. Solo Soloist Craig Ogden. Conductor George Guest. Select your download format. When you purchase a lossless format, we include the MP3 free of charge Please note: On Mp3 format an unavoidable click may be heard on segue track breaks, to avoid this issue please select lossless.
Unemployment, poverty and despair affected much of Britain and Europe after the devastation of the First World War, and Tippett talked about how shocked he was on seeing malnourished children covered in sores grabbing the apple-cores and crumbs he had left behind on a walk.
He gladly accepted an invitation to take charge of the music at a work-camp designed to help unemployed miners of the Cleveland district. These were organised by a young idealist, Rolf Gardiner, whose ideas formed part of a vision shared by a number of radical thinkers, and it was this vision that also attracted Nichols.
Rolf Gardiner, a pioneer of the organic farming movement who later became a founding member of the Soil Association, saw a Europe renewed after the devastation of the war by self-supporting communities of young people. He visited Germany often, becoming a roving ambassador for the Kibbo Kift, an organisation similar to Woodcraft Chivalry.
Each of these groups shared the same ideals — of restoring to the dispossessed, particularly the young, a connection between Nature and Spirit that had been severed by political and economic forces. Nichols remained a socialist all his life, and was particularly interested in the Social Credit movement an enthusiasm of his Pendragon Vera Chapman too.
This movement grew out of the Kibbo Kift and became for a brief moment a political party. Tippett, however, moved further left than Nichols. Nevertheless he kept up his sympathy for communist ideals, though he rejected Stalinism and felt more in sympathy with the ideas of Trotsky. In he joined the Socialist Anti-War Front, led mainly by Trotskyists, which promoted the view that war was inherent in capitalism and would be eliminated only by a co-operative socialist order.
By this time he had already decided to use his musical talents in the service of his political ideals by following the lead of his friends Francesca Allinson and Alan Bush who conducted choirs associated with the labour movement. Allinson conducted the Clarion Glee Club, founded by the left-wing Rutland Boughton, who started the first Glastonbury festival and who composed an opera inspired by the Celtic Revival, and peopled with Bards and Druids, The Immortal Hour.
Both Nichols and Tippett were motivated in their politics by their desire for social justice. They had been exposed to the dark side of the British class system during their school days, and responded to it by wanting equality, not elitism, and by being particularly concerned for the welfare of young people for the rest of their lives.
They both responded to the sufferings of the First World War by becoming staunch advocates of Pacifism. During the war Tippett became a prominent member of the PPU, visiting Conscientious Objectors and speaking at meetings. Nichols never needed to register as a CO — probably because as Principal of a college his job was considered necessary. On appeal this was changed to working as an air raid warden, on the land, or with the fire service.
Believing his work to be important, Tippett refused to do any of these jobs and was sent to jail for three months. One CO who did accept a job on the land was the poet and pacifist James Kirkup, who received a letter from Ross one day admiring his poetry and suggesting they meet.
A ten year collaboration began which resulted in their working on a book together, The Cosmic Shape. The poem describes the Roman centurion taking Jesus from the cross and in his grief, making love to him.
While Tippett was developing his skills as a composer, Nichols was becoming an accomplished poet who was considered good enough to be reviewed in the national press. He was a contemporary of T. Eliot and W. Auden, both of whom Tippett had met.
Eliot was just one of a set of influences which played upon both Nichols and Tippett. When Nichols became an undergraduate at Cambridge, in , Frazer was a fellow of Trinity College and was at the height of his fame: the Frazer lectureship in Social Anthropology had just been founded at Cambridge, Oxford, Glasgow and Liverpool Universities, and over two hundred of the most prominent figures in the world of learning had subscribed their names to an address presented to him that year.
This rich mine was soon exploited in dozens of works. Her study argued that the foundations of the Grail mystery lay in the ancient fertility rituals that Frazer also explored Weston and Frazer were also cited by Eliot as key inspirations for his most famous poem The Waste Land. They both also had an interest in Celtic myth — an interest shared by a Jungian analyst, John Layard, who was influential for both men. It is often said that Tippett underwent a Jungian analysis, but this statement needs qualification: it was a self-analysis initiated after four months of informal analysis with Layard.
The self-analysis lasted for nine months and involved Tippett recording and analysing his own dreams. A few days later, I ventured an alternative interpretation: if you cannot accept love with the shining face, then the soul is dead. That ended my consultations with Layard. Tippett chose the path of expression rather than repression and exhibited a quality of self-determination that would also help to ensure his professional success.
Deep down he knew where he was going. The list of literary influences on both men continues. Tippett was sufficiently inspired by W. He was saved a summons through the intercession of his friend, the historian A. Rowse, with the local magistrate. By now we can understand how an opera like The Midsummer Marriage might have emerged from the heady brew of this cauldron of inspiration, with its evocative and varied ingredients.
From a very similar brew Nichols was inspired to write poetry, found an Order of Druidry, and offer initiation into the Mysteries. Tippett composed some of the most interesting music of the twentieth century, and offered initiation too - but through the vehicle of an opera rather than an esoteric school.
But once you know of the thinking, and of the influences that played upon this work that took ten years to create, and if you have been lucky enough to experience the opera, you may well agree that this work can indeed act as an initiation in itself. To understand The Midsummer Marriage we need to look first at the work that preceded it. Ian Kemp explains that the guiding idea of The Midsummer Marriage can be seen as an exploration of the meaning in the final lines of the oratorio Tippett wrote before he began work on the opera.
A Child of Our Time takes a true story related to the beginnings of the Holocaust and uses that to convey the pacifist message that violence can never be an effective response to violence, and in addition to convey the Jungian message that the journey to wholeness requires us to withdraw our projection of our Shadow on to the outside world.
The Shadow is a Jungian term that describes the unknown, often denied, aspects of ourselves. Jungians believe that much of our judgements about the nature of evil are coloured by these denied aspects of ourselves that we see instead reflected in people and events around us. To gain any kind of objectivity in our assessment of the nature of an event or person, we need to see beyond these reflections which are caused by the projection of our denied fears and desires.
The relationship between human psychology and the nature of evil is an enormously difficult issue to tackle - and by choosing such an emotive setting, Tippett risked being dismissed - at the very least - as a fool.
Of all world events the Holocaust is one of the hardest to evoke if we are trying to promote pacifism. Tippett took the story of Herschel Grynszpan, a young Jewish man who had fled from Germany to Paris in When he heard that his family had been arrested and deported to Poland by the Nazis, he wanted to protest in a way that would draw attention to their persecution of the Jews, and so he went to the German Embassy in Paris and shot dead the Third Secretary.
Tippett saw this event as a tragic example of the dilemma we face when confronted by evil. It is winter. It is spring. Behold the man! The scapegoat! The child of our time. He shoots the official — But he shoots only his dark brother — And see — he is dead. The world descends into the icy waters where lies the jewel of great price. She is old as the earth, beyond good and evil, the sensual garments. Her face will be illumined like the sun. Allegro assai. Little Music for string orchestra: I.
Prelude Maestoso. Little Music for string orchestra: II. Little Music for string orchestra: III. Air Andante espressivo. Little Music for string orchestra: IV. Finale Vivace. Songs for Dov: Song 1 [Bow-wow, bow-wow]. Songs for Dov: Song 2 [Bow-wow, bow-wow]. Songs for Dov: Song 3 [I passed by their home]. Sold by Amazon. Additional taxes may apply.
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