A Child of Our Time Oratorio 提佩特 神剧 总谱 欧伊伦堡版
清唱剧《我们时代的孩子》是蒂佩特对 1938 年 11 月'水晶之夜'大屠杀事件的艺术和情感响应。在清唱剧的创作中，蒂佩特以巴赫的《受难曲》和亨德尔的《弥赛亚》为形式和历史典范，这两部作品与这一当代道德主题相同，都是以人类苦难的普遍背景下的个体死亡为主题。1941年，当蒂佩特完成清唱剧的创作时，在战时进行演出的实际困难可想而知。然而，在他一生的好友和专业同事本杰明-布里顿（Benjamin Britten）和彼得-皮尔斯（Peter Pears）的直接推动下，这部作品于 1944 年 3 月 19 日在伦敦首演，由前勋伯格学生沃尔特-戈尔（Walter Goehr）担任指挥，皮尔斯本人担任男高音独唱
作曲家: Tippett, Sir Michael
乐器: 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.