Ritual Dances : für Orchester, Michael Tippett

Titel (DE): Ritual Dances - from the opera "The Midsummer Marriage"
Titel (EN): Ritual Dances - from the opera "The Midsummer Marriage"
Titel (FR): Ritual Dances (Danses rituelles) - pour orchestre et choeur ad lib.
Komponist / Composer: Tippett, Sir Michael
Herausgeber / Editor:
Bearbeiter / Arranger:
Illustrator:
Opus:
Werkverzeichnis:
Besetzung / Instrumentation: Orchester, Chor und 4 Soli ad. lib. / orchestra, choir and 4 soloists ad. lib.
Besetzungsdetails:
Kompositionsjahr / Date of Composition:
Aufführungsdauer / Duration: 29'
Verlag / Publisher: Eulenburg
Erscheindungsdatum / Date of Publishing: 20.09.2007
Ausgabe / Publication: Studienpartitur - Study score -
- - -
Seiten / Pages: 140
Verarbeitung: Broschur - Paperback/Softcover
Schwierigkeitsgrad / Difficulty: - -
Sprache / Language: Englisch Deutsch Französisch
Reihe / Series: Eulenburg Studienpartituren
ISMN: M-2002-2382-8
ISMN-13: 979-0-2002-2382-8
ISMN-EAN: 9790200223828
UPC: 841886008014

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.

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

[FR]
La décision de Tippett d’extraire les quatre "Danses rituelles" de son opéra "Le mariage de la Saint-Jean" en d'en faire une suite de concert autonome, reflète le fait que la danse fut toujours présente dans sa conception de l’opéra. Dès le début, il s'agissait de trouver dans son opéra une interaction entre le monde réel et le monde de la mythologie, en partie grecque, en partie celtique. Cet élément mythologique culmine, une fois l'oeuvre achevée, dans les "Danses rituelles" des deuxième et troisième actes. Tippett lui-même décrit son opéra comme une sorte d’"Après-midi d’un faune" dans lequel les 'Danses rituelles' font montre d'une forte énergie sexuelle, d’un genre très différent cependant de la langueur voluptueuse de Debussy.

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