Ritual Dances from the opera The Midsummer Marriage 提佩特 祭舞 歌剧仲夏结婚 总谱 欧伊伦堡版
蒂佩特决定将歌剧《仲夏的婚礼》中的四支仪式舞曲摘录为自成一体的音乐会套曲，这反映出舞蹈这一媒介始终存在于他对歌剧的构思中。从一开始，歌剧中的现实世界和神话世界（部分是希腊神话，部分是凯尔特神话）之间就存在着互动。在完成的歌剧中，这种神话元素在第二幕和第三幕的 "仪式舞 "中达到了顶峰。蒂皮特自己将他的歌剧描述为 "一种精心制作的《牧神午后》，其中的'仪式舞曲'显示出强大的性能量，尽管与德彪西的妖娆艳丽截然不同。1953 年 2 月 13 日，由保罗-萨切尔（Paul Sacher）指挥的巴塞尔交响乐团（Basel Kammerorchester）在巴塞尔首次以音乐会组曲的形式演奏了《仪式舞曲》，这比歌剧全集的首演早了两年。如今，《仪式舞曲》可与《双弦管弦乐协奏曲》（ETP 1331）相媲美，成为蒂佩特演出次数最多的管弦乐作品"
作曲家: Tippett, Sir Michael
乐器: 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.