A Child of Our Time - Partitions musicales à imprimer - Mondial de la partition numérique

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A Child of Our Time

A Child of Our Time

A Child of Our Time

2 Â· 2 Â· ca Â· 2 Â· 2 Â· cbn - 4 Â· 3 Â· 3 Â· 0 - timp Â· perc (cym) (1…(+)

2 Â· 2 Â· ca Â· 2 Â· 2 Â· cbn - 4 Â· 3 Â· 3 Â· 0 - timp Â· perc (cym) (1 player) - str mixed choir (SATB/SATB), soloists (SATB) and orchestra - intermediate - Digital Download SKU: S9.Q21223 Oratorio. Composed by Sir Michael Tippett. This edition: study score. Choral music - ernst eulenburg - score. Eulenburg Miniature Scores. Downloadable, Study score. Duration 66' 0. Ernst Eulenburg & Co. GmbH - Digital #Q21223. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q21223). English â€¢ German â€¢ French.The oratorio 'A Child of Our Time' was Tippettâ€™s artistic and emotional response to the events that led to the 'Kristallnacht' pogrom of November 1938. For his oratorio Tippett used as his formal and historical models the Bach Passions and Handelâ€™s Messiah which share with this contemporary morality the subject of the death of an individual set against the universal background of human suffering. Tippettâ€™s use of the spiritual as a contemporary equivalent for the Lutheran chorale of the Bach settings draws his audience more closely into the drama through the spiritualsâ€™ â€˜unique verbal and musical metaphorâ€™. By 1941, when Tippett had completed the composition of his oratorio, the practicalities of staging a performance during wartime were difficult to say the least. It was, however, through the direct agency of his lifelong friends and professional colleagues, Benjamin Britten and Peter Pears, that the work was first performed in London on 19 March 1944 under the direction of the former Schoenberg pupil Walter Goehr, and with Pears himself as the tenor soloist.
$41.99 37.63 € #1941, when Tippett had completed the composition of his oratorio, the practicalities of staging a performance during wartime were difficult to say the least #Sir Michael Tippett #A Child of Our Time #Ernst Eulenburg & Co. GmbH - Digital #SheetMusicPlus

#A Child of Our Time

A Child of Our Time

2 Flutes, 2 Oboes, Cor Anglais, 2 Clarinets, 2 Bassoons, Double bassoon, 4 Horns, 3 Trumpe…(+)

2 Flutes, 2 Oboes, Cor Anglais, 2 Clarinets, 2 Bassoons, Double bassoon, 4 Horns, 3 Trumpets, 3 Trombones Timpani and Cymbals (1 Player), Strings mixed choir (SATB/SATB), soloists (SATB) and orchestra - intermediate - Digital Download SKU: S9.Q22468 Oratorio. Composed by Sir Michael Tippett. This edition: vocal/piano score. Downloadable, Piano reduction. Duration 66' 0. Schott Music - Digital #Q22468. Published by Schott Music - Digital (S9.Q22468). English.The oratorio 'A Child of Our Time' was Tippett's artistic and emotional response to the events that led to the 'Kristallnacht' pogrom of November 1938. For his oratorio Tippett used as his formal and historical models the Bach Passions and Handel's Messiah which share with this contemporary morality the subject of the death of an individual set against the universal background of human suffering. Tippett's use of the spiritual as a contemporary equivalent for the Lutheran chorale of the Bach settings draws his audience more closely into the drama through the spirituals' 'unique verbal and musical metaphor'.
$23.99 21.5 € #Sir Michael Tippett #A Child of Our Time #Schott Music - Digital #SheetMusicPlus

Mixed chorus (SSAATTBB) with soloists - intermediate - Digital Download From A Child of Our Time. Composed by Sir Michael Tippett (1905-1998). This edition: choral score. Downloadable. Duration 12 minutes. Schott Music - Digital #Q19288. Published by Schott Music - Digital
English.<br> <br> These five spirituals for unaccompanied chorus, despite the occasional appearance of complexity are basically simple: the harmony, indeed, is of the simplest possible. The apparent complexity arises primarily from the number of parts, which are not however all real parts. These, in fact, seldom comprise more than the traditional four. Lines are frequently doubled at the octave, rather in the manner of organ registration, so that the chorus needs to be thought of as an organ-like body producing a homogeneous sound at many levels of the chords and melodies. Thus, the numbers and even the kinds of voices needed to produce these chords and melodies in the most effective manner must be selected by the conductor from the whole body of the chorus according to the conditions of performance. Great latitude can be taken in this respect, even to the extent of using low female voices for the high registers of written tenor parts, or high male voices for the low registers of written alto parts, etc. The only parts which are strictly differentiated are those marked Leader. These should be an individual voice, standing out from the choir sufficiently to lead the singing, both in the words and in the music. They need not be soloists engaged from outside. If the spirituals are performed in this way the apparent complexity of certain printed pages will disappear. Any reasonably sized chorus with four good leaders can produce the effect required.