Tippett's Tearoom

[Der lächelnde Schatten]

Here's a question: have any of you seen the John Bridcut documentary called Michael Tippett, The Shadow and The Light? It's too bad this isn't available for streaming or on DVD.

[Irons]

Another Tippett discovery.

Divertimento for Chamber Orchestra 'Sellinger's Round'.



Baroque imbued with modernism, or could be other way around. Heart of the work A Lament described by Michael Kennedy as " one of those wonderful Tippett melodies" which I found to be more then that - music that touches the soul.

[Der lächelnde Schatten]

Another Tippett discovery.

Divertimento for Chamber Orchestra 'Sellinger's Round'.



Baroque imbued with modernism, or could be other way around. Heart of the work A Lament described by Michael Kennedy as " one of those wonderful Tippett melodies" which I found to be more then that - music that touches the soul.

That looks like a neat recording. I especially like Britten's Sinfonietta. For a work that was designated as 'Op. 1', he was certainly off to a good start. I'll have to revisit that Tippett work.

[kyjo]

Forthcoming from LPO:

This new disc seems very promising! Since Osborne already recorded the PC excellently with Martyn Brabbins and the BBC Scottish SO on Hyperion, I'm especially looking forward to hearing Gardner's take on the powerful and sometimes elusive 2nd Symphony.

[Symphonic Addict]

This new disc seems very promising! Since Osborne already recorded the PC excellently with Martyn Brabbins and the BBC Scottish SO on Hyperion, I'm especially looking forward to hearing Gardner's take on the powerful and sometimes elusive 2nd Symphony.

I get what you say about the Symphony No. 2. Some months ago I listened to the Chandos recording and it impressed me a lot. Tippett's distinctive voice sounds loud and clear in that piece. It feels fresh, fluent, agile, inventively orchestrated; there are some interesting contrapuntal passages, but never gets academic (word that you particularly are not fond of  ). That symphony and many others reward enormously with each listen.

[kyjo]

I get what you say about the Symphony No. 2. Some months ago I listened to the Chandos recording and it impressed me a lot. Tippett's distinctive voice sounds loud and clear in that piece. It feels fresh, fluent, agile, inventively orchestrated; there are some interesting contrapuntal passages, but never gets academic (word that you particularly are not fond of  ). That symphony and many others reward enormously with each listen.

Absolutely! Tippett's inventive use of non-academic counterpoint ( ) is one of the driving features of many of his works, and can have quite a thrilling effect. Tippett, rather like Britten, was a composer who was neither conservative nor avant-garde, and occupied a unique and intriguing position between the two camps.

BTW, what is everyone's opinion of the somewhat controversial Third Symphony? It's the one major (mostly) instrumental work of his which I haven't got around to listening to yet.

[Der lächelnde Schatten]

Absolutely! Tippett's inventive use of non-academic counterpoint ( ) is one of the driving features of many of his works, and can have quite a thrilling effect. Tippett, rather like Britten, was a composer who was neither conservative nor avant-garde, and occupied a unique and intriguing position between the two camps.

BTW, what is everyone's opinion of the somewhat controversial Third Symphony? It's the one major (mostly) instrumental work of his which I haven't got around to listening to yet.

The 3rd is...bizarre. The injection of a blues with vocal into an otherwise rather knotty, angular work is rather peculiar to say the least. I still don't know what to make of this piece. I have yet to fully wrap my mind around it, but I feel this way about a lot of Tippett's work.

[pjme]

BTW, what is everyone's opinion of the somewhat controversial Third Symphony? It's the one major (mostly) instrumental work of his which I haven't got around to listening to yet.

Surely Tippetts third symphony isn't easy at all :
it lasts almost an hour, the orchestra is large with plenty of (metallic) percussion and extremely intricate rythmical figures for winds and strings, it has a soprano soloist singing (imho) beautiful texts in a blues-like manner, often accompanied by a Flügelhorn soloist, there are quotes from Beethovens 9th..Its general message is hugely ambitious. Is it possibly to make music, to write a symphony that offers some hope in this cruel, divided world?
Tippett's answer is a tiny glimmer of hope (always torn between stasis and movement, pent up energy and release of energy).

It left me speechless in 1975 when the symphony was premiered in Tongeren (Belgian Limburg) with the Flemish radio Orchestra, Irwin Hoffman and soprano janet Price. Not a perfect performance (Tippett was in the cathedral). If I remember correctly, the piano/xylophone/vibraphone/harp section went awry at some point...
I showed Tippet my copy of "Moving into Aquarius", which he kindly signed.

Anyway, I definitely like this work and try to reflect on the texts that -to me- are significant in our war/hate/cruelty torn times.
Some critics find the lyrics mawkish, simplistic, toe curling.... I'm naive enough to grasp the message and I delight in the originality of the unusual singing style that balances between simple lines and gloriously extatic melismatic effusions.

[Der lächelnde Schatten]

Surely Tippetts third symphony isn't easy at all :
it lasts almost an hour, the orchestra is large with plenty of (metallic) percussion and extremely intricate rythmical figures for winds and strings, it has a soprano soloist singing (imho) beautiful texts in a blues-like manner, often accompanied by a Flügelhorn soloist, there are quotes from Beethovens 9th..Its general message is hugely ambitious. Is it possibly to make music, to write a symphony that offers some hope in this cruel, divided world?
Tippett's answer is a tiny glimmer of hope (always torn between stasis and movement, pent up energy and release of energy).

It left me speechless in 1975 when the symphony was premiered in Tongeren (Belgian Limburg) with the Flemish radio Orchestra, Irwin Hoffman and soprano janet Price. Not a perfect performance (Tippett was in the cathedral). If I remember correctly, the piano/xylophone/vibraphone/harp section went awry at some point...
I showed Tippet my copy of "Moving into Aquarius", which he kindly signed.

Anyway, I definitely like this work and try to reflect on the texts that -to me- are significant in our war/hate/cruelty torn times.
Some critics find the lyrics mawkish, simplistic, toe curling.... I'm naive enough to grasp the message and I delight in the originality of the unusual singing style that balances between simple lines and gloriously extatic melismatic effusions.

Thanks for the feedback in regards to the 3rd. What performance do you feel does the symphony full justice? I've got several: Colin Davis (Decca), Hickox (Chandos) and Brabbins (Hyperion). I believe these are the only ones available.

[pjme]

I know only Heather Harper/Davis, which I find excellent. Years ago I bought Barstow/Leppard (BBC Live?) - havent listened to it recently...
Faye Robinson (Hickox) has performed several of Tippetts vocal works. I should seek that one out.
Peter

[Iota]

Absolutely! Tippett's inventive use of non-academic counterpoint ( ) is one of the driving features of many of his works, and can have quite a thrilling effect. Tippett, rather like Britten, was a composer who was neither conservative nor avant-garde, and occupied a unique and intriguing position between the two camps.

BTW, what is everyone's opinion of the somewhat controversial Third Symphony? It's the one major (mostly) instrumental work of his which I haven't got around to listening to yet.

I like the Third Symphony, the 'arrest-movement' structure works well on small and larger scales I think, and there's plenty of good writing. But the final vocal 'blues' section doesn't really work for me. There are good moments in it, and I appreciate its intent, but it seems to lack the tautness and impact of the earlier part of the symphony.

@Der lächelnde Schatten, you didn't ask me, but fwiw I have the Davis and have heard the Hickox, and probably prefer the latter. The next time I listen I'll certainly give the Brabbins a go, perhaps he can give me a more positive perspective on the final section.

[foxandpeng]

I like the Third Symphony, the 'arrest-movement' structure works well on small and larger scales I think, and there's plenty of good writing. But the final vocal 'blues' section doesn't really work for me. There are good moments in it, and I appreciate its intent, but it seems to lack the tautness and impact of the earlier part of the symphony.

@Der lächelnde Schatten, you didn't ask me, but fwiw I have the Davis and have heard the Hickox, and probably prefer the latter. The next time I listen I'll certainly give the Brabbins a go, perhaps he can give me a more positive perspective on the final section.

Again, an unrequested opinion, but Hickox tends to be my usual reach.

I like all of Tippett's symphonies, but 3 is rarely my first longing.

[Der lächelnde Schatten]

I like the Third Symphony, the 'arrest-movement' structure works well on small and larger scales I think, and there's plenty of good writing. But the final vocal 'blues' section doesn't really work for me. There are good moments in it, and I appreciate its intent, but it seems to lack the tautness and impact of the earlier part of the symphony.

@Der lächelnde Schatten, you didn't ask me, but fwiw I have the Davis and have heard the Hickox, and probably prefer the latter. The next time I listen I'll certainly give the Brabbins a go, perhaps he can give me a more positive perspective on the final section.

Thanks for the feedback, @Iota. I haven't really been courageous enough to revisit this symphony. The last time I listened to was when I was going through the Brabbins cycle. Very good performance, but the work itself still leaves me scratching my head more than anything.

[pjme]

The 3rd is...bizarre.

That is a thought I get when listening to Bruckner , Mahler, Wagner, Chostakovich, Stockhausen 

Peter