"I’m still not completely sold on it as a work of art: much of it still strikes me as high-minded mumbo jumbo with rather too high an opinion of itself, particularly in Part 3. I appreciate I’m in a minority on that front, though, and even I’m prepared to admit that this is the most convincing recording of it I’ve heard to date. And for that it’s Davis, more than Tippett, that we have to thank."
"more than Tippett", eh?
I have to wonder what age the writer is. His final paragraph suggests the limitations of youth, as well as a measure of projection, not least in that phrase, "too high an opinion of itself".
Part 3 of the work is, to many minds - especially those with vivid memories of the hell that was WW2 - profoundly moving.
I recall being seated across the aisle from Tippett at the Royal Festival Hall during a performance of this haunting work, when, during the opening chorus of Part 3, the composer's hand lifted off his seat-rest and traced in the air the shape of the music that accompanied those piercing words, "the cold deepens. The world descends into the icy waters where lies the jewel of great price". A truly indelible memory.
Simon Thompson is a highly experienced reviewer, who has written for MusicWeb for many years. He is not the first person - nor, I suspect, will he be the last - to express reservations about Sir Michael Tippett’s libretti, both in this work and in others. Tippett’s sincerity is not in doubt but his texts can create a barrier to his music for some. Personally, I’ve often wondered if he would have been better served had he selected someone else, a person fully in sympathy with his own views, to write his libretti for him. In my own review of the disc, published in July, I commented that I struggled with A Child of our Time for a long time and I have to say that the words were a big part of the problem for me.
At the risk of making the obvious point, any review is a matter of opinion. Simon has expressed his view on the libretto but, as with any work of art, individual responses will always vary so I think it’s healthy that you have put the other side of the argument.
The whole piece to me is profoundly moving. I have been to many performances over the years. Last year I saw it at the Liverpool Phil, Martyn Brabbins conducting, the solosists included the wonderful Roderick Williams - I never fail to be moved by the last song in Part one "How can I cherish my man in such days - steal away". Tippett was inspired with his use of negro spirituals
"I’m still not completely sold on it as a work of art: much of it still strikes me as high-minded mumbo jumbo with rather too high an opinion of itself, particularly in Part 3. I appreciate I’m in a minority on that front, though, and even I’m prepared to admit that this is the most convincing recording of it I’ve heard to date. And for that it’s Davis, more than Tippett, that we have to thank."
"more than Tippett", eh?
I have to wonder what age the writer is. His final paragraph suggests the limitations of youth, as well as a measure of projection, not least in that phrase, "too high an opinion of itself".
Part 3 of the work is, to many minds - especially those with vivid memories of the hell that was WW2 - profoundly moving.
I recall being seated across the aisle from Tippett at the Royal Festival Hall during a performance of this haunting work, when, during the opening chorus of Part 3, the composer's hand lifted off his seat-rest and traced in the air the shape of the music that accompanied those piercing words, "the cold deepens. The world descends into the icy waters where lies the jewel of great price". A truly indelible memory.
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