Tit For Tat 布瑞顿

20世纪60年代末，布里顿开始重温他在早熟多产的童年时期创作的一些作品。这五首沃尔特-德拉马雷的作品最初创作于 1928 年至 1931 年间，最初并不是一个完整的作品集：直到 1968 年春天布里顿准备出版这些作品时（稍加润色），他才将这些作品结集成册，取名为《Tit for Tat》，并献给诗人之子、当时布里顿的出版商 Faber Music 的董事长理查德-德拉马雷。虽然布里顿在出版的乐谱序言中写道："我对这些歌曲的重要性或原创性不作任何评价"，但这部 9 分钟的歌曲集在音乐语言的保证和对词句设置的敏感度方面都非常出众，尽管作曲家的艺术个性完全展现出来还尚需时日。此外，这些歌曲还预示了布里顿日后许多作品中都会出现的各种主题和关注点，尤其是最后一首歌《Tit for Tat》，这首歌曲谴责了无情的偷猎者汤姆-诺迪（Tom Noddy）捕捉无助动物的行为，触及了布里顿六年后创作的管弦乐组曲《我们狩猎的父辈》中更大规模的主题"

作曲家: Britten, Benjamin
乐器: Medium Voice, Piano
出版社: Faber Music
原文简介:
During the late 1960s, Britten began to revisit some of the works he had written during his remarkably precocious and prolific childhood. Originally composed between 1928 and 1931, these five settings of Walter de la Mare were not originally written as an integrated cycle: it was only when Britten prepared them for publication in the spring of 1968 (adding some minor retouchings) that he assembled them into a collection he entitled Tit for Tat and dedicated to Richard de la Mare, son of the poet and, at the time, chairman of Britten's publishers Faber Music. Although in his preface to the published score, Britten wrote 'I hold no claims whatever for the songs' importance or originality', this 9-minute song collection is remarkable for the assurance of musical language and sensitivity to word-setting, even if the composer's full artistic personality is still some way round the corner. Furthermore, the songs foreshadow various themes and preoccupations which would manifest themselves in many a later Britten work, not least in the final song,'Tit for Tat', which in its condemnation of the uncaring poacher Tom Noddy's ensnaring of helpless animals touches on a subject which Britten would return to on a larger scale in his orchestral song-cycle Our Hunting Fathers composed some six years later.