Thomas Schuttenhelm provides a detailed account of the events leading up to and throughout the compositional process associated with Michael Tippett’s Fifth String Quartet and a comprehensive analysis of the entire quartet. The commentary discusses this work in the context of Tippett’s creative development and places it within the historical context of the genre of the string quartet. The commentary includes interviews with the members of the Lindsay String Quartet, who premiered the work, as well as previously unpublished letters from the composer and interviews with Tippett in which he discusses the quartet in detail. Special attention is given to Tippett’s preliminary attempts, which were only recently discovered (2011) and to the evidence that suggests he altered the original ending. Included are images from the composer’s sketchbooks and manuscripts, as well as the original beginning and the altered ending.

Cover -- Half Title -- Title Page -- Copyright Page -- Contents -- List of musical examples -- Acknowledgments -- 1 Introduction -- 2 Pre-conditions -- 3 Creative cycles -- 4 Transformation-notation -- 5 Archetypes -- 6 Dreamscapes -- 7 From concept to composition -- 8 First movement: compositional peregrinations -- 9 Interlude -- 10 Second movement -- Bibliography -- Index

This Companion provides a wide ranging and accessible study of one of the most individual composers of the twentieth century. A team of international scholars shed new light on Tippett's major works and draw attention to those that have not yet received the attention they deserve.

'A delight to read' Philip Pullman 'Essential reading ... a genuine landmark publication' Tom Service A BBC Radio 4 'Book of the Week' The music of the British composer Michael Tippett - including the oratorio A Child of Our Time, five operas, and four symphonies - is among the most visionary of the twentieth century. But little has been written about his extraordinary life. In this long-awaited first biography, Oliver Soden weaves a century-spanning narrative of epic scope and penetrating insight. Soden has discovered troves of unpublished letters and manuscripts, and recorded moving interviews with Tippett's friends and colleagues. He paints a portrait of a powerful intellect and infectious personality: charming, stubborn, and great fun. But he also uncovers the sorrows and secrets that Tippett stowed away beneath his cheerfulness, not least the darker reaches of some tempestuous and often tragic love affairs. Soden's achievement is to have enriched our understanding not only of Tippett but of his times. Figures such as T.S. Eliot, E.M. Forster, Barbara Hepworth, and W.H. Auden jostle in the cast list. An Edwardian world of gaslight and empire cedes to turmoil and warfare; one startling revelation is the extent of Tippett's involvement in the fiery left-wing politics of the 1930s. The narrative roves from the mining villages of the north, blighted by unemployment, to a cell at Wormwood Scrubs, where Tippett was imprisoned as a conscientious objector. Later chapters uncover his operas' game-changing attitudes to gay and civil rights, against a backdrop of the Cold War and the Space Race. And singing from the page comes the music, through which Soden charts an exquisitely written course, offering lucid readings of Tippett's most famous works while resuscitating forgotten masterpieces. The result is a landmark in the study of twentieth-century culture, simultaneously an astonishing feat of scholarship and a story as enthralling as in any great novel.

This research guide is an annotated bibliography of sources dealing with the string quartet. This second edition is organized as in the original publication (chapters for general references, histories, individual composers, aspects of performance, facsimiles and critical editions, and miscellaneous topics) and has been updated to cover research since publication of the first edition. Listings in the previous volume have been updated to reflect the burgeoning interest in this genre (social aspects, newly issued critical editions, doctoral dissertations). It also offers commentary on online links, databases, and references.

Thomas Schuttenhelm's book presents an investigation into Michael Tippett's creative process and a comprehensive critical commentary on his orchestral music.

Essays from an international group of contributors make up this volume of specially commissioned interpretations of the relationships between music and literature that permeate and characterize Tippett's music and his writings.