A Child of Our Time Oratorio 提佩特 神劇 總譜 歐伊倫堡版
清唱劇《我們時代的孩子》是蒂佩特對 1938 年 11 月'水晶之夜'大屠殺事件的藝術和情感回應。在清唱劇的創作中，蒂佩特以巴赫的《受難曲》和亨德爾的《彌賽亞》為形式和歷史典範，這兩部作品與這一當代道德主題相同，都是以人類苦難的普遍背景下的個體死亡為主題。1941年，當蒂佩特完成清唱劇的創作時，在戰時進行演出的實際困難可想而知。然而，在他一生的好友和專業同事本傑明-布裡頓（Benjamin Britten）和彼得-皮爾斯（Peter Pears）的直接推動下，這部作品於 1944 年 3 月 19 日在倫敦首演，由前勳伯格學生沃爾特-戈爾（Walter Goehr）擔任指揮，皮爾斯本人擔任男高音獨唱
作曲家: Tippett, Sir Michael
樂器: mixed choir (SATB/SATB), soloists (SATB) and orchestra
出版社: Ernst Eulenburg & Co. GmbH
曲目:
Part I - 1. Chorus - 2. The Argument. Alto solo - 3. Scena: Chorus and Alto Solo - 4. The Narrator. Bass Solo - 5. Chorus of the Oppressed - 6. Tenor Solo - 7. Soprano Solo - 8. A Spiritual: Chorus and Soli - Part II - 9. Chorus - 10. The Narrator. Bass Solo - 11. Double Chorus of Persecutors and Persecuted - 12. The Narrator. Bass Solo - 13. Chorus of the Self-righteous - 14. The Narrator. Bass Solo - 15. Scena: The Mother, the Uncle and Aunt, and the Boy. Solo Quartet - 16. A Spiritual. Chorus and Soli - 17. Scena: Duet, Bass and Alto - 18. The Narrator. Bass Solo - 19. The Terror. Chorus - 20. The Narrator. Bass Solo - 21. A Spiritual of Anger. Chorus and Bass Solo - 22. The boy sings in his Prison. Tenor Solo - 23. The Mother. Soprano Solo - 24. Alto Solo - 25. A Spiritual. Chorus and Soprano Solo - Part III: 26. Chorus - 27. Alto Solo - 28. Scena: Bass Solo and Chorus - 29. General Ensemble. Chorus and Soli - 30. A Spiritual. Chorus and Soli
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’.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.