| Description |
1 online resource (342 pages) |
| Series |
Music Since 1900 |
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Music since 1900.
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| Contents |
Cover; Half-title page; Series page; Title page; Copyright page; Contents; Figures; Acknowledgements; Abbreviations; Introduction; The creative condition; The creative cycle; Interpreting Tippett; 1 Symphonic Movement (1930-1) and the Symphony in B-flat (1933-4); Symphonic prologues; Becoming a composer; Symphonic Movement (1930-1); Symphony in B-flat (1933-4); 2 Concerto for Double String Orchestra (1938-9); A 'new Einstellung'; Sonata and syzygy: first movement; Separation and estrangement: second movement; Vision -- revision and a new-found confidence: third movement |
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Performance and publication3 Fantasia on a Theme of Handel (1939-41); 'A gay and gaudy work'; A 'continental' fantasia; 4 Symphony No. 1 (1944-5); 'A real symphony . . .'; Absolute conventions and conceptual dimensions: first movement; Love and loss: second movement; The pasts and the present: third movement; A first attempt at the 'finale' problem: fourth movement; 5 Little Music for String Orchestra (1946); Re-prosecution and commissions; Precedents and paradigms; 6 Suite in D (for the Birthday of Prince Charles) (1948); Transcending an occasion; Composition as interpretation: the Suite |
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7 Fantasia Concertante on a Theme of Corelli (1953)Omaggio al Italia; Composing with essence; 8 Divertimento on 'Sellinger's Round' (1953-4); Constructing conceptual dimensions; Gibbons, Purcell, Bartók, Britten and Sacher: compiling the Divertimento; 9 Piano Concerto (1953-5); A 'poetic work'; An abstracted Marriage: first movement; A posthumous tribute for Newton-Wood: second movement; Vision and revision: third movement; 10 Symphony No. 2 (1956-7); A 'new marriage between conciseness and imagination'; A breakthrough and a breakdown: first movement; New poeticisms: second movement |
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A Stravinskian scherzo: third movementConciseness and imagination: fourth movement; 11 Praeludium for Brass, Bells and Percussion (1962); 'What's past is prologue'; A pièce d'occasion or a necessary prelude?; 12 Concerto for Orchestra (1962-3); Conceptual collage: constructing a new archetype; An experiment in temporalities: first movement; A song for the 'hidden' gods: second movement; Conceptual confrontations: third movement; 13 Symphony No. 3 (1970-2); Spontaneity and measurement; Space and time: Part I; Blues and break: Part II; 14 Symphony No. 4 (1976-7); A birth-to-death experience |
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Attention and antiqueA 'compact' development; A second development; Scherzo and trio; A third development; Recapitulation and Coda; 15 Triple Concerto (1978-9); Lyrical re-awakenings; Echoes and amplifications; Non-music?; Night music; Jazz break; Fifth movement; 16 The Rose Lake (1991-3); Le Lac Rose: a song without words for orchestra; The Lake Song and its frames; Bibliography; Index |
| Summary |
Thomas Schuttenhelm's book presents an investigation into Michael Tippett's creative process and a comprehensive critical commentary on his orchestral music |
| Bibliography |
Includes bibliographical references and index |
| Notes |
English |
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Print version record |
| Subject |
Tippett, Michael, 1905-1998 -- Criticism and interpretation
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| SUBJECT |
Tippett, Michael, 1905-1998 fast |
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Tippett, Michael 1905-1998 gnd |
| Subject |
Orchestral music -- Great Britain -- History and criticism
|
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MUSIC -- Genres & Styles -- Classical.
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MUSIC -- Reference.
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Orchestral music
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Orchestermusik
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Great Britain
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| Genre/Form |
Criticism, interpretation, etc.
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| Form |
Electronic book
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| ISBN |
9781139864947 |
|
1139864947 |
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9781139034944 |
|
1139034944 |
|
9781139870658 |
|
1139870653 |
|
9781107000247 |
|
1107000246 |
|
9781139862806 |
|
1139862804 |
|
1139698540 |
|
9781139698542 |
|
1139861549 |
|
9781139861540 |
|
1139860666 |
|
9781139860666 |
|
1139868527 |
|
9781139868525 |
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