A Child of Our Time Oratorio
Instrument: mixed choir (SATB/SATB), soloists (SATB) and orchestra
Publisher: Ernst Eulenburg & Co. GmbH
Song List:
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.