Ritual Dances from the opera The Midsummer Marriage 提佩特 祭舞 歌劇仲夏結婚 總譜 歐伊倫堡版
蒂佩特決定將歌劇《仲夏的婚禮》中的四支儀式舞曲摘錄為自成一體的音樂會套曲，這反映出舞蹈這一媒介始終存在於他對歌劇的構思中。從一開始，歌劇中的現實世界和神話世界（部分是希臘神話，部分是凱爾特神話）之間就存在著互動。在完成的歌劇中，這種神話元素在第二幕和第三幕的 "儀式舞 "中達到了頂峰。蒂皮特自己將他的歌劇描述為 "一種精心製作的《牧神午後》，其中的'儀式舞曲'顯示出強大的性能量，儘管與德彪西的妖嬈豔麗截然不同。1953 年 2 月 13 日，由保羅-薩切爾（Paul Sacher）指揮的巴塞爾交響樂團（Basel Kammerorchester）在巴塞爾首次以音樂會組曲的形式演奏了《儀式舞曲》，這比歌劇全集的首演早了兩年。如今，《儀式舞曲》可與《雙弦管弦樂協奏曲》（ETP 1331）相媲美，成為蒂佩特演出次數最多的管弦樂作品"
作曲家: Tippett, Sir Michael
樂器: orchestra, choir and 4 soloists ad. lib.
出版社: Ernst Eulenburg & Co. GmbH
曲目:
Preface - Prelude - Transformation - Preparation - First dance: The earth in autumn The hound chases the hare - Second dance: The waters in winter The otter chases the fish - Third dance: The air in spring The hawk chases the bird - Fourth dance: Fire in summer The voluntary human sacrifice
Tippett’s decision to extract the four Ritual Dances from his opera 'The Midsummer Marriage' as a self-contained concert suite reflects the fact that the medium of dance was always present in his conception of the opera. From the start, there was to be an interaction within the opera between the real world and the world of mythology, partly Greek, partly Celtic. This mythological element culminates, in the finished opera, in the 'Ritual Dances' of Acts 2 and 3. Tippett himself described his opera as ‘a kind of elaborate 'L’après midi d’un faune’, in which the 'Ritual Dances' display a powerful sexual energy, though of a very different kind from Debussy’s voluptuous langour.Composition of The Midsummer Marriage occupied Tippett for six years from 1946 to 1952. The first performance of the Ritual Dances as a concert suite was given in Basel on 13 February 1953 by the Basel Kammerorchester conducted by Paul Sacher, and preceded the premiere of the complete opera by two years. Today the Ritual Dances rival the Concerto for Double String Orchestra (ETP 1331) as Tippett’s most widely-performed orchestral work.