Changes

Musically, he was influenced by his [[Celts|Celtic]] heritage and, like so many composers of the English Revival, an appreciation of the late [[Medieval]] and [[Tudor]] composers - the rhythmic vigour in much of his music can be linked to the English [[madrigal]] and whilst the Celtic, almost ecstatic, lyricism of early works gave way to a later austerity, he never lost the ability to meld various forms and influences into a single work. He was never afraid to use non-“classical” forms in his music – the spiritual (whatever the modern politically correct term for it is), boogie-woogie, jazz – to give life to the essentially conservative basis of his natural style. He was concerned with the condition of man, relationships in times of good and evil and used every genre he could to further his art.  

Musically, he was influenced by his [[Celts|Celtic]] heritage and, like so many composers of the English Revival, an appreciation of the late [[Medieval]] and [[Tudor]] composers - the rhythmic vigour in much of his music can be linked to the English [[madrigal]] and whilst the Celtic, almost ecstatic, lyricism of early works gave way to a later austerity, he never lost the ability to meld various forms and influences into a single work. He was never afraid to use non-“classical” forms in his music – the spiritual (whatever the modern politically correct term for it is), boogie-woogie, jazz – to give life to the essentially conservative basis of his natural style. He was concerned with the condition of man, relationships in times of good and evil and used every genre he could to further his art.  

His output was extensive:  

His output was extensive:  

*Five operas, (the most popular of which are “''King Prium''” and “''The Midsummer Marriage''”) plus incidental music to Shakespeare’s “''The Tempes''t”.  

*Five operas, (the most popular of which are “''King Prium''” and “''The Midsummer Marriage''”) plus incidental music to Shakespeare’s “''The Tempest''”.  

*Much choral music, both sacred and secular ranging from “''A Child of Our Time''” and other large scale works, to motets, modern madrigals, folk song arrangements and a liturgical ''[[Magnificat]]'' and ''Nunc dimittis''.  

*Much choral music, both sacred and secular ranging from “''A Child of Our Time''” and other large scale works, to motets, modern madrigals, folk song arrangements and a liturgical ''[[Magnificat]]'' and ''[[Nunc dimittis]]''.  

*He wrote four symphonies, concertos for various instruments (including more than one at once) fantasias (arrangements) on themes of [[Handel]] and [[Corelli]], other orchestral works.  

*He wrote four symphonies, concertos for various instruments (including more than one at once) [[fantasia]]s (arrangements) on themes of [[Handel]] and [[Corelli]], other orchestral works.  

*Four piano sonatas.  

*Four piano [[sonata]]s.  

*Chamber music, including 4 string quartets.  

*[[Chamber music]], including 4 string quartets.  

*Songs and other solo vocal music.  

*[[Song]]s and other solo vocal music.  

[[Category: Composers]]

[[Category: Composers]]

{{DEFAULTSORT: Tippett, Sir Michael}}

{{DEFAULTSORT: Tippett, Sir Michael}}