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Eulenburg A Child of Our Time (Oratorio Study Score) Composed by Michael Tippett

Gear returned in mint condition. If you're looking for a virtually new instrument in possibly less-than-perfect packaging, this is a great value.
  • Includes 45-Day, No-Hassle Returns
  • Includes full manufacturer's warranty
Gear returned in great condition, with only minor signs of use, such as slight scuffs or pick marks. It looks and plays like new and may be considered an equivalent to display units found in retail stores.
  • Includes 45-Day, No-Hassle Returns
  • Includes full manufacturer's warranty
$50.00
Item #: 
1500000086289
Product Description:

This oratorio was Tippett's artistic and emotional response to the events that led to the Kristallnacht pogrom of November 1938. Tippett used as his formal and historical models the Bach Passions and Handel's Messiah. Tippett's use of the spiritual serves as equivalent for the Lutheran chorale of Bach's time. By 1941, when Tippett had completed the...  Click To Read More About This Product

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Gear returned in mint condition. If you're looking for a virtually new instrument in possibly less-than-perfect packaging, this is a great value.
  • Includes 45-Day, No-Hassle Returns
  • Includes full manufacturer's warranty
Gear returned in great condition, with only minor signs of use, such as slight scuffs or pick marks. It looks and plays like new and may be considered an equivalent to display units found in retail stores.
  • Includes 45-Day, No-Hassle Returns
  • Includes full manufacturer's warranty
$50.00
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Overview

This oratorio was Tippett's artistic and emotional response to the events that led to the Kristallnacht pogrom of November 1938. Tippett used as his formal and historical models the Bach Passions and Handel's Messiah. Tippett's use of the spiritual serves as equivalent for the Lutheran chorale of Bach's time. 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. However, through the direct agency of his lifelong friends and professional colleagues, Benjamin Britten and Peter Pears, the work was performed in 1944, with Pears himself as tenor soloist.

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