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Click here for more information."><img alt="Featured article" src="//upload.wikimedia.org/wikipedia/en/thumb/e/e7/Cscr-featured.svg/20px-Cscr-featured.svg.png" decoding="async" width="20" height="19" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/e/e7/Cscr-featured.svg/30px-Cscr-featured.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/e/e7/Cscr-featured.svg/40px-Cscr-featured.svg.png 2x" data-file-width="466" data-file-height="443" /></a></span></div></div> </div> <div id="siteSub" class="noprint">From Wikipedia, the free encyclopedia</div> </div> <div id="contentSub"><div id="mw-content-subtitle"></div></div> <div id="mw-content-text" class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Oratorio composed by Michael Tippett</div> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">For the BBC sociological documentary, see <a href="/wiki/Child_of_Our_Time" title="Child of Our Time">Child of Our Time</a>.</div> <p class="mw-empty-elt"> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Bundesarchiv_Bild_146-1970-083-42,_Magdeburg,_zerst%C3%B6rtes_j%C3%BCdisches_Gesch%C3%A4ft.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/b/b5/Bundesarchiv_Bild_146-1970-083-42%2C_Magdeburg%2C_zerst%C3%B6rtes_j%C3%BCdisches_Gesch%C3%A4ft.jpg/260px-Bundesarchiv_Bild_146-1970-083-42%2C_Magdeburg%2C_zerst%C3%B6rtes_j%C3%BCdisches_Gesch%C3%A4ft.jpg" decoding="async" width="260" height="178" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/b5/Bundesarchiv_Bild_146-1970-083-42%2C_Magdeburg%2C_zerst%C3%B6rtes_j%C3%BCdisches_Gesch%C3%A4ft.jpg/390px-Bundesarchiv_Bild_146-1970-083-42%2C_Magdeburg%2C_zerst%C3%B6rtes_j%C3%BCdisches_Gesch%C3%A4ft.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/b5/Bundesarchiv_Bild_146-1970-083-42%2C_Magdeburg%2C_zerst%C3%B6rtes_j%C3%BCdisches_Gesch%C3%A4ft.jpg/520px-Bundesarchiv_Bild_146-1970-083-42%2C_Magdeburg%2C_zerst%C3%B6rtes_j%C3%BCdisches_Gesch%C3%A4ft.jpg 2x" data-file-width="787" data-file-height="538" /></a><figcaption>Passers-by observe a wrecked Jewish business in <a href="/wiki/Magdeburg" title="Magdeburg">Magdeburg</a>, Germany, after the <a href="/wiki/Kristallnacht" title="Kristallnacht">Kristallnacht</a> pogrom of 9 November 1938. Events surrounding the pogrom inspired Tippett to write <i>A Child of Our Time</i>.</figcaption></figure> <p><i><b>A Child of Our Time</b></i> is a secular <a href="/wiki/Oratorio" title="Oratorio">oratorio</a> by the British composer <a href="/wiki/Michael_Tippett" title="Michael Tippett">Michael Tippett</a>, who also wrote the <a href="/wiki/Libretto" title="Libretto">libretto</a>. Composed between 1939 and 1941, it was first performed at the <a href="/wiki/Adelphi_Theatre" title="Adelphi Theatre">Adelphi Theatre</a>, London, on 19 March 1944. The work was inspired by events that profoundly affected Tippett: the assassination of a German diplomat by a young Jewish refugee in 1938, and the <a href="/wiki/Nazi_Germany" title="Nazi Germany">Nazi</a> government's reaction to the assassination which was in the form of a violent <a href="/wiki/Pogrom" title="Pogrom">pogrom</a> against Germany's Jewish population: <a href="/wiki/Kristallnacht" title="Kristallnacht">Kristallnacht</a>. Tippett's oratorio deals with these incidents in the context of the experiences of all <a href="/wiki/Oppression" title="Oppression">oppressed</a> people, and it carries a strongly <a href="/wiki/Pacifism" title="Pacifism">pacifistic</a> message of ultimate <a href="/wiki/Understanding" title="Understanding">understanding</a> and reconciliation. The text's recurrent themes of shadow and light reflect the <a href="/wiki/Carl_Jung" title="Carl Jung">Jungian</a> psychoanalysis which Tippett underwent in the years immediately before he wrote the work. </p><p>The oratorio uses a traditional three-part format based on that of <a href="/wiki/Messiah_(Handel)" title="Messiah (Handel)">Handel's <i>Messiah</i></a>, and is structured in the manner of <a href="/wiki/Johann_Sebastian_Bach" title="Johann Sebastian Bach">Bach</a>'s Passions. The work's most original feature is Tippett's use of African-American <a href="/wiki/Spiritual_(music)" class="mw-redirect" title="Spiritual (music)">spirituals</a>, which carry out the role allocated by Bach to <a href="/wiki/Chorale" title="Chorale">chorales</a>. Tippett justified this innovation on the grounds that these songs of oppression possess a universality absent from traditional hymns. <i>A Child of Our Time</i> was well received on its first performance, and has since been performed all over the world in many languages. A number of recorded versions are available, including one conducted by Tippett when he was 86 years old. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Background_and_conception">Background and conception</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=A_Child_of_Our_Time&action=edit&section=1" title="Edit section: Background and conception"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Stamford_School_-_illuminated_at_night.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f8/Stamford_School_-_illuminated_at_night.jpg/220px-Stamford_School_-_illuminated_at_night.jpg" decoding="async" width="220" height="165" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f8/Stamford_School_-_illuminated_at_night.jpg/330px-Stamford_School_-_illuminated_at_night.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f8/Stamford_School_-_illuminated_at_night.jpg/440px-Stamford_School_-_illuminated_at_night.jpg 2x" data-file-width="600" data-file-height="450" /></a><figcaption>Stamford School (photographed in 2006), where Tippett's musical abilities first became apparent</figcaption></figure> <p><a href="/wiki/Michael_Tippett" title="Michael Tippett">Michael Tippett</a> was born in London in 1905, to well-to-do though unconventional parents. His father, a lawyer and businessman, was a <a href="/wiki/Freethought" title="Freethought">freethinker</a>, his mother a writer and <a href="/wiki/Suffragette" title="Suffragette">suffragette</a>.<sup id="cite_ref-OMO_1-0" class="reference"><a href="#cite_note-OMO-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> He received piano lessons as a child, but first showed his musical prowess while a pupil at <a href="/wiki/Stamford_School" title="Stamford School">Stamford School</a> in Lincolnshire, between 1920 and 1922. Although the school's formal music curriculum was slight, Tippett received private piano tuition from Frances Tinkler, a noted local teacher whose most distinguished pupil had been <a href="/wiki/Malcolm_Sargent" title="Malcolm Sargent">Malcolm Sargent</a>, himself a former pupil at Stamford. Tippett's chance purchase in a local bookshop of <a href="/wiki/Charles_Villiers_Stanford" title="Charles Villiers Stanford">Stanford</a>'s book <i>Musical Composition</i> led to his determination to be a composer, and in April 1923 he was accepted as a student at the <a href="/wiki/Royal_College_of_Music" title="Royal College of Music">Royal College of Music</a> (RCM).<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> Here he studied composition, first under <a href="/wiki/Charles_Wood_(composer)" title="Charles Wood (composer)">Charles Wood</a> (who died in 1926) and later, less successfully, with <a href="/wiki/Charles_Herbert_Kitson" title="Charles Herbert Kitson">Charles Kitson</a>. He also studied conducting, first under Sargent and later under <a href="/wiki/Adrian_Boult" title="Adrian Boult">Adrian Boult</a>. He left the RCM in December 1928, but after two years spent unsuccessfully attempting to launch his career as a composer, he returned to the college in 1930 for a further period of study, principally under the professor of <a href="/wiki/Counterpoint" title="Counterpoint">counterpoint</a>, <a href="/wiki/R._O._Morris" title="R. O. Morris">R. O. Morris</a>.<sup id="cite_ref-OMO_1-1" class="reference"><a href="#cite_note-OMO-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> </p><p>In the economically depressed 1930s Tippett adopted a strongly left-wing political stance, and became increasingly involved with the unemployed, both through his participation in the North Yorkshire work camps,<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>n 1<span class="cite-bracket">]</span></a></sup> and as founder of the South London Orchestra made up of out-of-work musicians.<sup id="cite_ref-OMO_1-2" class="reference"><a href="#cite_note-OMO-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> He was briefly a member of the <a href="/wiki/Communist_Party_of_Great_Britain" title="Communist Party of Great Britain">British Communist Party</a> in 1935, but his sympathies were essentially <a href="/wiki/Trotskyism" title="Trotskyism">Trotskyist</a>, inimical to the <a href="/wiki/Stalinism" title="Stalinism">Stalinist</a> orientation of his local party, and he soon left.<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> In 1935 he embraced pacifism, but by this time he was becoming overtaken by a range of emotional problems and uncertainties, largely triggered by the break-up of an intense relationship with the painter <a href="/wiki/Wilfred_Franks" title="Wilfred Franks">Wilfred Franks</a>. In addition to these personal difficulties he became anxious that the political situation in Europe was leading inexorably towards war. After meeting the Jungian psychoanalyst <a href="/wiki/John_Layard" title="John Layard">John Layard</a>, Tippett underwent a period of therapy which included self-analysis of his dreams.<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> According to Tippett's biographer Geraint Lewis, the outcome of this process was a "rebirth, confirming for Tippett the nature of his homosexuality while ... strengthening his destiny as a creative artist at the possible expense of personal relationships".<sup id="cite_ref-ODNB_7-0" class="reference"><a href="#cite_note-ODNB-7"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> The encounter with Layard led Tippett to a lifelong interest in the work and teaching of <a href="/wiki/Carl_Jung" title="Carl Jung">Carl Jung</a>, an influence carried through into many of his subsequent compositions.<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> </p><p>In the mid-to-late 1930s several of Tippett's early works were published, including his String Quartet No. 1, Sonata No. 1 for piano, and <a href="/wiki/Concerto_for_Double_String_Orchestra_(Tippett)" title="Concerto for Double String Orchestra (Tippett)">Concerto for Double String Orchestra</a>. Among his unpublished output in these years were two works for voice: the <a href="/wiki/Ballad_opera" title="Ballad opera">ballad opera</a> <i><a href="/wiki/Robin_Hood_(Tippett_opera)" title="Robin Hood (Tippett opera)">Robin Hood</a></i>, written for performance at the Yorkshire work camps, and <i>A Song of Liberty</i> based on <a href="/wiki/William_Blake" title="William Blake">William Blake</a>'s "<a href="/wiki/The_Marriage_of_Heaven_and_Hell" title="The Marriage of Heaven and Hell">The Marriage of Heaven and Hell</a>".<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> In 1937, after completing <i>A Song of Liberty</i>, Tippett immediately began planning a large choral work on Jungian concepts titled <i>Nekyia</i>, which was to explore the theme of acknowledging the presence of both shadow and light within the personal and collective unconscious; the work foreshadowed some of the concepts used later in <i>A Child of Our Time,</i> but it was never completed.<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> As his self-confidence increased, Tippett felt increasingly driven to write a work of overt political protest. In his search for a subject he first considered the Dublin <a href="/wiki/Easter_Rising" title="Easter Rising">Easter Rising</a> of 1916: he may have been aware that <a href="/wiki/Benjamin_Britten" title="Benjamin Britten">Benjamin Britten</a> had written incidental music to <a href="/wiki/Montagu_Slater" title="Montagu Slater">Montagu Slater</a>'s play <i>Easter 1916</i>. However, events towards the end of 1938 turned his attention away from Irish matters.<sup id="cite_ref-W71_11-0" class="reference"><a href="#cite_note-W71-11"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> Tippett had made several visits to Germany, and had acquired a love for its literature and culture. He became increasingly distressed by reports of events in that country and, in particular the persecution of its Jewish population.<sup id="cite_ref-Steinberg284_12-0" class="reference"><a href="#cite_note-Steinberg284-12"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> In November 1938 the assassination in Paris of a German diplomat, <a href="/wiki/Ernst_vom_Rath" title="Ernst vom Rath">Ernst vom Rath</a>, by <a href="/wiki/Herschel_Grynszpan" title="Herschel Grynszpan">Herschel Grynszpan</a>, a 17-year-old Jewish refugee, precipitated the "<a href="/wiki/Kristallnacht" title="Kristallnacht">Kristallnacht</a>" pogrom across Germany. Over several days of violence synagogues were burned, Jewish homes and businesses attacked and destroyed, thousands of Jews were arrested, and some Jews were stoned or beaten to death.<sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> Reports from Germany of these events affected Tippett profoundly, and became the inspiration for his first large-scale dramatic work.<sup id="cite_ref-W71_11-1" class="reference"><a href="#cite_note-W71-11"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Creation">Creation</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=A_Child_of_Our_Time&action=edit&section=2" title="Edit section: Creation"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Libretto">Libretto</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=A_Child_of_Our_Time&action=edit&section=3" title="Edit section: Libretto"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Bundesarchiv_Bild_146-1988-078-07,_Herschel_Feibel_Grynszpan.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/8/8a/Bundesarchiv_Bild_146-1988-078-07%2C_Herschel_Feibel_Grynszpan.jpg/250px-Bundesarchiv_Bild_146-1988-078-07%2C_Herschel_Feibel_Grynszpan.jpg" decoding="async" width="170" height="252" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/8a/Bundesarchiv_Bild_146-1988-078-07%2C_Herschel_Feibel_Grynszpan.jpg/330px-Bundesarchiv_Bild_146-1988-078-07%2C_Herschel_Feibel_Grynszpan.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/8a/Bundesarchiv_Bild_146-1988-078-07%2C_Herschel_Feibel_Grynszpan.jpg/500px-Bundesarchiv_Bild_146-1988-078-07%2C_Herschel_Feibel_Grynszpan.jpg 2x" data-file-width="809" data-file-height="1200" /></a><figcaption><a href="/wiki/Herschel_Grynszpan" title="Herschel Grynszpan">Herschel Grynszpan</a>, whose actions formed the basis of <i>A Child of Our Time</i></figcaption></figure> <p>Having found his subject, Tippett sought advice on the preparation of the text from <a href="/wiki/T._S._Eliot" title="T. S. Eliot">T. S. Eliot</a>, whom he had met recently through a mutual friend, Francis Morley.<sup id="cite_ref-T50_15-0" class="reference"><a href="#cite_note-T50-15"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> The musicologist <a href="/wiki/Michael_Steinberg_(music_critic)" title="Michael Steinberg (music critic)">Michael Steinberg</a> comments that, given his anti-Semitism, Eliot may have been an inappropriate choice of collaborator,<sup id="cite_ref-Steinberg284_12-1" class="reference"><a href="#cite_note-Steinberg284-12"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> though Tippett considered the poet his spiritual and artistic mentor, and felt that his counsel would be crucial. Tippett writes: "I plucked up courage and asked him if he would write it. Eliot said he would consider the matter as long as I provided him with a precise scheme of musical sections and an exact indication of the numbers and kinds of words for each stage". When Tippett produced his detailed draft, Eliot advised the composer to write his own libretto, suggesting that his own superior poetry would either distract attention from the music, or otherwise would be "swallowed up by it". Either way, there would be a mismatch. Tippett accepted this advice; henceforth, he records, he always wrote his own texts.<sup id="cite_ref-T50_15-1" class="reference"><a href="#cite_note-T50-15"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> </p><p>Tippett resolved that his work would be an <a href="/wiki/Oratorio" title="Oratorio">oratorio</a> rather than an <a href="/wiki/Opera" title="Opera">opera</a>. He chose the title from <i><a href="/w/index.php?title=Ein_Kind_unserer_Zeit&action=edit&redlink=1" class="new" title="Ein Kind unserer Zeit (page does not exist)">Ein Kind unserer Zeit</a><span class="noprint" style="font-size:85%; font-style: normal;"> [<a href="https://de.wikipedia.org/wiki/Ein_Kind_unserer_Zeit" class="extiw" title="de:Ein Kind unserer Zeit">de</a>]</span></i>, a contemporary protest novel by the Austro-Hungarian writer, <a href="/wiki/%C3%96d%C3%B6n_von_Horv%C3%A1th" title="Ödön von Horváth">Ödön von Horváth</a>.<sup id="cite_ref-Steinberg284_12-2" class="reference"><a href="#cite_note-Steinberg284-12"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> The text that Tippett prepared follows the three-part structure used in Handel's <i><a href="/wiki/Messiah_(Handel)" title="Messiah (Handel)">Messiah</a></i>, in which Part I is prophetic and preparatory, Part II narrative and epic, Part III meditative and metaphysical. In <i>A Child of Our Time</i> the general condition of oppression is defined in the first part, the narrative elements are confined to the second part, while the third part contains interpretation and reflection on a possible healing.<sup id="cite_ref-Rodda_16-0" class="reference"><a href="#cite_note-Rodda-16"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-K157_17-0" class="reference"><a href="#cite_note-K157-17"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> Tippett perceived the work as a general depiction of man's inhumanity to man, and wanted Grynszpan's tragedy to stand for the oppressed everywhere.<sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> To preserve the universality of the work, Tippett avoids all use of proper names for people and places: thus, Paris is "a great city", Grynszpan becomes "the boy", the <a href="/wiki/Soprano" title="Soprano">soprano</a> is "the boy's mother", vom Rath is "the official".<sup id="cite_ref-Steinberg284_12-3" class="reference"><a href="#cite_note-Steinberg284-12"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> In addition to the broad themes of human oppression, Tippett's personal devastation at the end of his relationship with Wilfred Franks is woven into the libretto.<sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> At the time Tippett was writing the text, he was consumed by the break-up with Franks and felt "unable to come to terms with either the wretchedness of the separation or the emotional turmoil it let loose."<sup id="cite_ref-21" class="reference"><a href="#cite_note-21"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> As Tippett sought healing from his pain, Franks became a prominent figure in his Jungian dream analysis [during the first half of 1939]<sup id="cite_ref-22" class="reference"><a href="#cite_note-22"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> and the composer explained the image of Franks's shining face "appeared transformed in the alto aria in Part 3 of A Child of Our Time."<sup id="cite_ref-23" class="reference"><a href="#cite_note-23"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> </p><p>Commentators have identified numerous works as textual influences, including Eliot's <i><a href="/wiki/Murder_in_the_Cathedral" title="Murder in the Cathedral">Murder in the Cathedral</a></i> and <i><a href="/wiki/Ash_Wednesday" title="Ash Wednesday">Ash Wednesday</a></i>, <a href="/wiki/Johann_Wolfgang_von_Goethe" title="Johann Wolfgang von Goethe">Goethe</a>'s <i><a href="/wiki/Goethe%27s_Faust" title="Goethe's Faust">Faust</a></i> and <a href="/wiki/Wilfred_Owen" title="Wilfred Owen">Wilfred Owen</a>'s poem "The Seed".<sup id="cite_ref-24" class="reference"><a href="#cite_note-24"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> Tippett's biographer Ian Kemp equates the ending of the oratorio to the closing pages of Part I of <a href="/wiki/John_Bunyan" title="John Bunyan">John Bunyan</a>'s <i><a href="/wiki/Pilgrim%27s_Progress" class="mw-redirect" title="Pilgrim's Progress">Pilgrim's Progress</a></i>, in which Christian and Hopeful end their journey by crossing a deep and wide river to reach their heavenly home.<sup id="cite_ref-K157_17-1" class="reference"><a href="#cite_note-K157-17"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> The influence of Jungian themes is evident in the recurrent images of darkness and light, and the recognition and balancing of opposites.<sup id="cite_ref-S286_25-0" class="reference"><a href="#cite_note-S286-25"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> In a recent analysis of the work, Richard Rodda finds <i>A Child of Our Time</i> "rooted in the essential dialectic of human life that Tippett so prized in Jung's philosophy—winter/spring, darkness/light, evil/good, reason/pity, dreams/reality, loneliness/fellowship, the man of destiny/the child of our time".<sup id="cite_ref-Rodda_16-1" class="reference"><a href="#cite_note-Rodda-16"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Composition">Composition</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=A_Child_of_Our_Time&action=edit&section=4" title="Edit section: Composition"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Tippett completed his Jungian psychoanalysis on 31 August 1939. Three days later, on the day that Britain declared war on Germany, he began composing <i>A Child of Our Time</i>.<sup id="cite_ref-ODNB_7-1" class="reference"><a href="#cite_note-ODNB-7"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> His grounding in the traditions of European music guided him instinctively towards the Passions of <a href="/wiki/Johann_Sebastian_Bach" title="Johann Sebastian Bach">Bach</a> as his basic musical model. Thus the building blocks of the work are familiar: recitatives, arias, choruses and ensembles, with a male soloist acting as a narrator and the chorus as full participants in the action. Tippett also introduced two other formal number types: the operatic scena and the orchestral interlude, the latter allowing time for reflection on significant events.<sup id="cite_ref-26" class="reference"><a href="#cite_note-26"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> Tippett wished to punctuate his work with an equivalent to the congregation chorales which recur in Bach's Passions; however, he wanted his work to speak to atheists, agnostics and Jews as well as to Christians. He considered briefly whether folk-songs, or even Jewish hymns, could provide an alternative, but rejected these because he felt that, like the chorales, they lacked universality. A solution was suggested to him when he heard on the radio a rendering of the <a href="/wiki/Spiritual_(music)" class="mw-redirect" title="Spiritual (music)">spiritual</a> "<a href="/wiki/Steal_Away" title="Steal Away">Steal away</a>". In particular he was struck by the power of the words "The trumpet sounds within-a my soul".<sup id="cite_ref-T50_15-2" class="reference"><a href="#cite_note-T50-15"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> This led him to recognise spirituals as carrying an emotional significance far beyond their origin as slave songs in 19th-century America and as representing the oppressed everywhere.<sup id="cite_ref-27" class="reference"><a href="#cite_note-27"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> </p><p>Having found his substitute for the chorales, Tippett wrote off to America for a collection of spirituals. When this arrived, "I saw that there was one for every key situation in the oratorio".<sup id="cite_ref-T50_15-3" class="reference"><a href="#cite_note-T50-15"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> He chose five: "<a href="/wiki/Steal_Away" title="Steal Away">Steal Away</a>"; <a href="/wiki/Nobody_Knows_the_Trouble_I%27ve_Seen" title="Nobody Knows the Trouble I've Seen">"Nobody Knows the Trouble I See, Lord"</a>; <a href="/wiki/Go_Down_Moses" title="Go Down Moses">"Go Down, Moses"</a>; "O, By and By"; and <a href="/wiki/Deep_River_(song)" title="Deep River (song)">"Deep River"</a>. The first, fourth and fifth of these are placed at the ends of the oratorio's three parts, "Deep River" as the finale expressing, according to Tippett, the hope of a fresh spring after a long, dark winter. Kenneth Gloag, in his detailed analysis of the oratorio, writes: "As well as constructing the pathway through the dramatic narrative, the five spirituals also combine to provide moments of focus and repose ... giving shape to both the musical and literary dimensions of the work".<sup id="cite_ref-28" class="reference"><a href="#cite_note-28"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> Tippett felt that the work encapsulated all his current political, moral and psychological preoccupations.<sup id="cite_ref-ODNB_7-2" class="reference"><a href="#cite_note-ODNB-7"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Synopsis_and_structure">Synopsis and structure</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=A_Child_of_Our_Time&action=edit&section=5" title="Edit section: Synopsis and structure"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>According to Tippett's description, "Part I of the work deals with the general state of oppression in our time. Part II presents the particular story of a young man's attempt to seek justice by violence and the catastrophic consequences; and Part III considers the moral to be drawn, if any."<sup id="cite_ref-29" class="reference"><a href="#cite_note-29"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup> He later extended his summary to the following: </p> <ul><li><b>Part I</b>: The general state of affairs in the world today as it affects all individuals, minorities, classes or races that are felt to be outside the ruling conventions. Man at odds with his Shadow (i.e. the dark side of personality).</li> <li><b>Part II</b>: The "Child of Our Time" appears, enmeshed in the drama of his personal fate and the elemental social forces of our day. The drama is because the forces which drive the young man prove stronger than the good advice of his uncle and aunt, as it always was and always will be.</li> <li><b>Part III</b>: The significance of this drama and the possible healing that would come from Man's acceptance of his Shadow in relation to his Light.<sup id="cite_ref-Rodda_16-2" class="reference"><a href="#cite_note-Rodda-16"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup></li></ul> <style data-mw-deduplicate="TemplateStyles:r1216972533">.mw-parser-output .col-begin{border-collapse:collapse;padding:0;color:inherit;width:100%;border:0;margin:0}.mw-parser-output .col-begin-small{font-size:90%}.mw-parser-output .col-break{vertical-align:top;text-align:left}.mw-parser-output .col-break-2{width:50%}.mw-parser-output .col-break-3{width:33.3%}.mw-parser-output .col-break-4{width:25%}.mw-parser-output .col-break-5{width:20%}@media(max-width:720px){.mw-parser-output .col-begin,.mw-parser-output .col-begin>tbody,.mw-parser-output .col-begin>tbody>tr,.mw-parser-output .col-begin>tbody>tr>td{display:block!important;width:100%!important}.mw-parser-output .col-break{padding-left:0!important}}</style><div> <table class="col-begin" role="presentation"> <tbody><tr> <td class="col-break col-break-3"> <p><b>Part I</b> </p> <ol><li>Chorus: "The world turns on its dark side"</li> <li>The Argument (<a href="/wiki/Alto" title="Alto">alto</a> solo): "Man has measured the heavens", followed by an orchestral Interludium</li> <li>Scena (chorus and alto solo): "Is evil then good?"</li> <li>The Narrator (<a href="/wiki/Bass_(voice_type)" title="Bass (voice type)">bass</a> solo): "Now in each nation there were some cast out"</li> <li>Chorus of the Oppressed: "When shall the usurer's city cease?"</li> <li><a href="/wiki/Tenor" title="Tenor">Tenor</a> solo: "I have no money for my bread"</li> <li>Soprano solo: "How can I cherish my man?"</li> <li>A Spiritual (chorus and soli): "<a href="/wiki/Steal_Away" title="Steal Away">Steal Away</a>"</li></ol> </td> <td class="col-break"> <p><b>Part II</b> </p> <ol><li class="mw-empty-elt"></li><li value="9">Chorus: "A star rises in midwinter"</li> <li>The Narrator (bass solo): "And a time came"</li> <li>Double Chorus of Persecutors and Persecuted: "Away with them!"</li> <li>The Narrator (bass solo): "Where they could, they fled"</li> <li>Chorus of the Self-righteous: "We cannot have them in our Empire"</li> <li>The Narrator (bass solo): "And the boy's mother wrote"</li> <li>Scena: The Mother (soprano), the Uncle and Aunt (bass and alto), and the Boy (tenor): "O my son!"</li> <li>A Spiritual (chorus and soli): "<a href="/wiki/Nobody_Knows_the_Trouble_I%27ve_Seen" title="Nobody Knows the Trouble I've Seen">Nobody knows the trouble I see</a>"</li> <li>Scena: Duet (bass and alto): "The boy becomes desperate"</li> <li>The Narrator (bass solo): "They took a terrible vengeance"</li> <li>Chorus: The Terror: "Burn down their houses!"</li> <li>The Narrator (bass solo): "Men were ashamed"</li> <li>A Spiritual of Anger (chorus and bass solo): "<a href="/wiki/Go_Down_Moses" title="Go Down Moses">Go down, Moses</a>"</li> <li>The Boy Sings in his Prison (tenor solo): "My dreams are all shattered"</li> <li>The Mother (soprano solo): "What have I done to you, my son?"</li> <li>Alto solo: "The dark forces rise"</li> <li>A Spiritual (chorus and soprano solo): "O by and by"</li></ol> </td> <td class="col-break"> <p><b>Part III</b> </p> <ol><li class="mw-empty-elt"></li><li value="26">Chorus: "The cold deepens"</li> <li>Alto solo: "The soul of man"</li> <li>Scena (bass solo and chorus): "The words of wisdom"</li> <li>General Ensemble (chorus and soli): "I would know my shadow and my light"</li> <li>A Spiritual (chorus and soli): "<a href="/wiki/Deep_River_(song)" title="Deep River (song)">Deep River</a>"</li></ol> <p>  </p> </td></tr></tbody></table></div> <div class="mw-heading mw-heading2"><h2 id="Conscientious_objector">Conscientious objector</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=A_Child_of_Our_Time&action=edit&section=6" title="Edit section: Conscientious objector"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>After the outbreak of war in September 1939, Tippett joined the <a href="/wiki/Peace_Pledge_Union" title="Peace Pledge Union">Peace Pledge Union</a>—with which he had been informally associated since 1935—and applied for registration as a conscientious objector,<sup id="cite_ref-ODNB_7-3" class="reference"><a href="#cite_note-ODNB-7"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> although his case was not considered by the tribunal until February 1942. In October 1940 he became director of music at <a href="/wiki/Morley_College" title="Morley College">Morley College</a>,<sup id="cite_ref-Kemp40_30-0" class="reference"><a href="#cite_note-Kemp40-30"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> where the previous April he had conducted the South London Orchestra in the premiere of his Concerto for Double String Orchestra.<sup id="cite_ref-31" class="reference"><a href="#cite_note-31"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup> After completing the composition of <i>A Child of Our Time</i> in 1941, Tippett worked on other projects, feeling that the oratorio's pacifist message was out of touch with the prevailing national mood. <a href="/wiki/Walter_Goehr" title="Walter Goehr">Walter Goehr</a>, who conducted the Morley College orchestra, advised delaying its first performance until a more propitious time.<sup id="cite_ref-K52_32-0" class="reference"><a href="#cite_note-K52-32"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> In February 1942 Tippett was assigned by the tribunal to non-combative military duties. Following his appeal, this was changed to service either with <a href="/wiki/Air_Raid_Precautions" title="Air Raid Precautions">Air Raid Precautions</a> (ARP), with the <a href="/wiki/National_Fire_Service" title="National Fire Service">fire service</a> or on the land.<sup id="cite_ref-Kemp40_30-1" class="reference"><a href="#cite_note-Kemp40-30"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> He felt obliged to refuse these directions, and as a result was sentenced in June 1943 to three months' imprisonment, of which he served two months before his early release for good behaviour.<sup id="cite_ref-ODNB_7-4" class="reference"><a href="#cite_note-ODNB-7"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Performance_history_and_reception">Performance history and reception</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=A_Child_of_Our_Time&action=edit&section=7" title="Edit section: Performance history and reception"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Premiere">Premiere</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=A_Child_of_Our_Time&action=edit&section=8" title="Edit section: Premiere"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>After his release from prison in August 1943, with encouragement from Britten and the youthful music critic <a href="/wiki/John_Amis" title="John Amis">John Amis</a>, Tippett began to make arrangements for the oratorio's first performance.<sup id="cite_ref-K52_32-1" class="reference"><a href="#cite_note-K52-32"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> Goehr agreed to conduct, but overrode the composer's initial view that Morley College's orchestra could handle the work and insisted that professionals were needed. Tippett records that "somehow or other the money was scraped together to engage the <a href="/wiki/London_Philharmonic_Orchestra" title="London Philharmonic Orchestra">London Philharmonic Orchestra</a>".<sup id="cite_ref-Tippett_33-0" class="reference"><a href="#cite_note-Tippett-33"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Morley_College_Choir" title="Morley College Choir">Morley College Choir</a>'s choral forces were augmented by the London Regional Civil Defence Choir. Britten's connection with <a href="/wiki/Sadler%27s_Wells_Opera" class="mw-redirect" title="Sadler's Wells Opera">Sadler's Wells Opera</a> brought three soloists to the project: <a href="/wiki/Joan_Cross" title="Joan Cross">Joan Cross</a> (soprano), <a href="/wiki/Peter_Pears" title="Peter Pears">Peter Pears</a> (tenor), and Roderick Lloyd (bass). The fourth singer, Margaret MacArthur (alto), came from Morley College.<sup id="cite_ref-34" class="reference"><a href="#cite_note-34"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Evans_35-0" class="reference"><a href="#cite_note-Evans-35"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> The premiere was arranged for 19 March 1944, at London's <a href="/wiki/Adelphi_Theatre" title="Adelphi Theatre">Adelphi Theatre</a>. Before this event Amis introduced the work in an article for the February 1944 issue of <i><a href="/wiki/The_Musical_Times" title="The Musical Times">The Musical Times</a></i>, in which he predicted a noteworthy musical occasion: "The general style of the oratorio is simple and direct, and the music will, I think, have an immediate effect on both audience and performers".<sup id="cite_ref-Amis_36-0" class="reference"><a href="#cite_note-Amis-36"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> </p><p>Later writers would state that <i>A Child of Our Time</i> placed Tippett in the first rank of the composers of his generation,<sup id="cite_ref-ODNB_7-5" class="reference"><a href="#cite_note-ODNB-7"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> and most of the early reviews were favourable. Among these, <i><a href="/wiki/The_Times" title="The Times">The Times</a></i><span class="nowrap" style="padding-left:0.1em;">'</span>s critic called the work "strikingly original in conception and execution", and wrote that Tippett had succeeded quite remarkably in writing an effective tract for the times.<sup id="cite_ref-Times1_37-0" class="reference"><a href="#cite_note-Times1-37"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup> A second <i>Times</i> review, written a few days after the premiere, suggested that the oratorio had articulated a key contemporary question: "How is the conflict of the inevitable with the intolerable to be resolved?" It pointed to the hope expressed in the final spiritual, "Deep River", and concluded that despite some weak passages the work created a successful partnership between art and philosophy.<sup id="cite_ref-38" class="reference"><a href="#cite_note-38"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup> <a href="/wiki/William_Glock" title="William Glock">William Glock</a> in <i><a href="/wiki/The_Observer" title="The Observer">The Observer</a></i> was laudatory: "The most moving and important work by an English composer for many years". Glock found that the spirituals suited the themes of the oratorio perfectly, and had been arranged "with a profound sense of beauty".<sup id="cite_ref-Glock_39-0" class="reference"><a href="#cite_note-Glock-39"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> </p><p>In <i>The Musical Times</i> <a href="/wiki/Edwin_Evans_(music_critic)" title="Edwin Evans (music critic)">Edwin Evans</a> praised Tippett's text: "simple and direct ... he has wisely resisted any temptation to use quasi-biblical or 'Pilgrim's Progress' language." Evans was uncertain whether the music was truly reflective of the words: "the emotion seemed singularly cool under the provocations described in the text". Unlike Glock, Evans was unconvinced by the case for the inclusion of the spirituals: "[T]he peculiar poignancy they have in their traditional form tends to evaporate in their new environment".<sup id="cite_ref-Evans_35-1" class="reference"><a href="#cite_note-Evans-35"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Eric_Blom" title="Eric Blom">Eric Blom</a>, in <i><a href="/wiki/Music_%26_Letters" title="Music & Letters">Music & Letters</a></i>, thought the idea of using spirituals "brilliant", and the analogy with Bach's chorales convincing. Blom was less enthusiastic about the text, which he found "very terse and bald – rather poor, really"—though he thought this preferable to the pomposities such as those that characterise libretti written for <a href="/wiki/George_Frideric_Handel" title="George Frideric Handel">Handel</a>.<sup id="cite_ref-Blom_40-0" class="reference"><a href="#cite_note-Blom-40"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup> In his autobiography, Tippett makes only muted references to the premiere, noting that the event "had some mixed reviews", but in a letter to his friend Francesca Allinson he professed himself delighted with the breadth of response to the work: "It's got over not only to the ordinary listeners but even to the intellectuals like [Mátyás] Seiber, who has written to me of some of the 'lovely texture of some of the numbers'".<sup id="cite_ref-Tippett_33-1" class="reference"><a href="#cite_note-Tippett-33"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Early_performances">Early performances</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=A_Child_of_Our_Time&action=edit&section=9" title="Edit section: Early performances"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The generally positive reception of the premiere persuaded <a href="/wiki/Arthur_Bliss" title="Arthur Bliss">Arthur Bliss</a>, then serving as the <a href="/wiki/BBC" title="BBC">BBC</a>'s director of music,<sup id="cite_ref-ODNB_Bliss_41-0" class="reference"><a href="#cite_note-ODNB_Bliss-41"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> to arrange a broadcast performance of the work.<sup id="cite_ref-Bowenarticle_42-0" class="reference"><a href="#cite_note-Bowenarticle-42"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup> This took place on 10 January 1945 shortly after which, in February, Tippett conducted the work at the <a href="/wiki/Royal_Albert_Hall" title="Royal Albert Hall">Royal Albert Hall</a>.<sup id="cite_ref-43" class="reference"><a href="#cite_note-43"><span class="cite-bracket">[</span>42<span class="cite-bracket">]</span></a></sup> The radio broadcast had been heard by Howard Hartog, a music writer and publisher<sup id="cite_ref-FOOTNOTEHartog1961viii_44-0" class="reference"><a href="#cite_note-FOOTNOTEHartog1961viii-44"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup> who just after the war was in <a href="/wiki/Allied-occupied_Germany" title="Allied-occupied Germany">Occupied Germany</a>, attempting to re-establish the <a href="/wiki/North_German_Radio_Symphony_Orchestra" class="mw-redirect" title="North German Radio Symphony Orchestra">North German Radio Symphony Orchestra</a> in Hamburg. As part of this endeavour he decided to mount a performance of <i>A Child of Our Time</i>, with <a href="/wiki/Hans_Schmidt-Isserstedt" title="Hans Schmidt-Isserstedt">Hans Schmidt-Isserstedt</a> conducting. Because of his pacifism and record as a conscientious objector, Tippett was not allowed into the occupied zone and thus missed the performance.<sup id="cite_ref-45" class="reference"><a href="#cite_note-45"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup> However, in 1947 he was able to travel to Budapest where his friend, the Hungarian composer <a href="/wiki/M%C3%A1ty%C3%A1s_Seiber" title="Mátyás Seiber">Mátyás Seiber</a>, had organised a performance by <a href="/wiki/Magyar_R%C3%A1di%C3%B3" title="Magyar Rádió">Hungarian Radio</a>. The local singers' problems with the English text meant that the work was sung in Hungarian, which Tippett, who conducted, described as "a very odd experience".<sup id="cite_ref-T192_46-0" class="reference"><a href="#cite_note-T192-46"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup> </p><p>In the early 1950s Tippett attended a performance of the oratorio at the Radio Hall in Brussels, after which members of the audience expressed to him their gratitude for the work which, they said, exactly represented their wartime experiences.<sup id="cite_ref-T192_46-1" class="reference"><a href="#cite_note-T192-46"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup> In December 1952 he travelled to Turin for a radio performance, conducted by <a href="/wiki/Herbert_von_Karajan" title="Herbert von Karajan">Herbert von Karajan</a> and with operatic stars <a href="/wiki/Elisabeth_Schwarzkopf" title="Elisabeth Schwarzkopf">Elisabeth Schwarzkopf</a> and <a href="/wiki/Nicolai_Gedda" title="Nicolai Gedda">Nicolai Gedda</a> among the soloists. He records that during the rehearsals the bass soloist, <a href="/wiki/Mario_Petri" title="Mario Petri">Mario Petri</a>, had problems singing his recitatives, and that despite some coaching from the composer, was still "at sea" during the performance. Karajan asked Tippett if he would object to an extra interval in Part II, to which Tippett replied that he would mind very much. Karajan nevertheless imposed the break, thus presenting a four-part version of the work.<sup id="cite_ref-47" class="reference"><a href="#cite_note-47"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Wider_audience">Wider audience</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=A_Child_of_Our_Time&action=edit&section=10" title="Edit section: Wider audience"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In May 1962 <i>A Child of Our Time</i> received its Israel premiere in Tel Aviv.<sup id="cite_ref-Steinberg287_48-0" class="reference"><a href="#cite_note-Steinberg287-48"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup> Tippett says that this performance was delayed because for a while there were local objections to the word "Jesus" in the text. When it came about, among the audience was Herschel Grynszpan's father who, Tippett wrote, was "manifestly touched by the work his son's precipitate action 25 years earlier had inspired."<sup id="cite_ref-49" class="reference"><a href="#cite_note-49"><span class="cite-bracket">[</span>48<span class="cite-bracket">]</span></a></sup> The performance, by the <a href="/wiki/Kol_Yisrael" title="Kol Yisrael">Kol Yisrael</a> Orchestra with the Tel Aviv Chamber Choir, was acclaimed by the audience of 3000, but received mixed reviews from the press. <i>The Times</i> report noted contrasting opinions from two leading Israeli newspapers. The correspondent for <i><a href="/wiki/Haaretz" title="Haaretz">Haaretz</a></i> had expressed disappointment: "Every tone is unoriginal, and the work repeats old effects in a most conventional manner". Conversely, according to the <i>Times</i> report, <i><a href="/wiki/HaBoker" title="HaBoker">HaBoker</a>'</i>s critic had "found that the composition had moved everyone to the depths of his soul ... no Jewish composer had ever written anything so sublime on the theme of the Holocaust."<sup id="cite_ref-50" class="reference"><a href="#cite_note-50"><span class="cite-bracket">[</span>49<span class="cite-bracket">]</span></a></sup> </p><p>Despite its successes in Europe <i>A Child of Our Time</i> did not reach the United States until 1965, when it was performed during the <a href="/wiki/Aspen_Music_Festival_and_School" title="Aspen Music Festival and School">Aspen Music Festival</a>, with the composer present. In his memoirs Tippett mentions another performance on that American tour, at a women's college in Baltimore, in which the male chorus and soloists were black Catholic ordinands from a local seminary.<sup id="cite_ref-51" class="reference"><a href="#cite_note-51"><span class="cite-bracket">[</span>50<span class="cite-bracket">]</span></a></sup> The first significant American presentations of the work came a decade later: at Cleveland in 1977 where <a href="/wiki/Charles,_Prince_of_Wales" class="mw-redirect" title="Charles, Prince of Wales">Prince Charles</a>, who was visiting, delayed his departure so that he could attend,<sup id="cite_ref-52" class="reference"><a href="#cite_note-52"><span class="cite-bracket">[</span>51<span class="cite-bracket">]</span></a></sup> and at <a href="/wiki/Carnegie_Hall" title="Carnegie Hall">Carnegie Hall</a>, New York, where <a href="/wiki/Colin_Davis" title="Colin Davis">Colin Davis</a> conducted the <a href="/wiki/Boston_Symphony_Orchestra" title="Boston Symphony Orchestra">Boston Symphony Orchestra</a> and the <a href="/wiki/Tanglewood_Festival_Chorus" title="Tanglewood Festival Chorus">Tanglewood Festival Chorus</a>. Reviewing this performance for <i><a href="/wiki/The_New_York_Times" title="The New York Times">The New York Times</a></i>, <a href="/wiki/Donal_Henahan" title="Donal Henahan">Donal Henahan</a> was unconvinced that the work's "sincerity and unimpeachable intentions add[ed] up to important music". The spirituals were sung with passion and fervour, but the rest was "reminiscent of a familiar pious sermon" in which the words were only intermittently intelligible.<sup id="cite_ref-53" class="reference"><a href="#cite_note-53"><span class="cite-bracket">[</span>52<span class="cite-bracket">]</span></a></sup> Meanwhile, the work had achieved its African debut, where in 1975 Tippett observed a performance with an improvised orchestra which incorporated the Zambian Police Band. The Zambian president, <a href="/wiki/Kenneth_Kaunda" title="Kenneth Kaunda">Kenneth Kaunda</a>, was present, and entertained the composer afterwards.<sup id="cite_ref-54" class="reference"><a href="#cite_note-54"><span class="cite-bracket">[</span>53<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Later_performances">Later performances</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=A_Child_of_Our_Time&action=edit&section=11" title="Edit section: Later performances"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In October 1999, in the year following Tippett's death, <i>A Child of Our Time</i> received a belated <a href="/wiki/New_York_Philharmonic" title="New York Philharmonic">New York Philharmonic</a> premiere, at the <a href="/wiki/Avery_Fisher_Hall" class="mw-redirect" title="Avery Fisher Hall">Avery Fisher Hall</a>. The <i>New York Times</i> reviewer, Paul Griffiths, expressed some astonishment that this was the orchestra's first attempt at the work.<sup id="cite_ref-55" class="reference"><a href="#cite_note-55"><span class="cite-bracket">[</span>54<span class="cite-bracket">]</span></a></sup> As part of the celebrations for the centenary of the composer's birth in January 2005, <a href="/wiki/English_National_Opera" title="English National Opera">English National Opera</a> staged a dramatised performance of the work, directed by <a href="/wiki/Jonathan_Kent_(director)" title="Jonathan Kent (director)">Jonathan Kent</a>—coincidentally, the first performance fell in the week of the 60th anniversary of the liberation of the death camps at <a href="/wiki/Auschwitz_concentration_camp" title="Auschwitz concentration camp">Auschwitz</a>. Anna Picard, writing in <i><a href="/wiki/The_Independent" title="The Independent">The Independent</a></i>, recognised the work's sincerity but found the dramatisation of its pacifist message wholly inappropriate: "Do we really need to see a dozen well-fed actors and singers stripped and led into a smoking pit in order to understand the Holocaust?"<sup id="cite_ref-56" class="reference"><a href="#cite_note-56"><span class="cite-bracket">[</span>55<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Anthony_Holden" title="Anthony Holden">Anthony Holden</a> in <i>The Observer</i> was more positive, commenting that "If you must stage a work intended for concert performance ... it is hard to imagine a more effective version than Kent's, shot through with heavy symbolism of which Tippett would surely have approved." Nevertheless, Holden found the overall result "super-solemn, lurching between the over-literalistic and the portentous".<sup id="cite_ref-57" class="reference"><a href="#cite_note-57"><span class="cite-bracket">[</span>56<span class="cite-bracket">]</span></a></sup> The 2005 Holocaust Days of Remembrance (1–8 May) were marked at the <a href="/wiki/Kennedy_Center" class="mw-redirect" title="Kennedy Center">Kennedy Center</a> in Washington DC by a special performance of <i>A Child of Our time</i>, in which the Washington Chorus was directed by <a href="/wiki/Robert_Shafer_(conductor)" title="Robert Shafer (conductor)">Robert Shafer</a>.<sup id="cite_ref-58" class="reference"><a href="#cite_note-58"><span class="cite-bracket">[</span>57<span class="cite-bracket">]</span></a></sup> </p><p><i>A Child of Our Time</i> has survived periods of indifference, particularly in America, to be ranked alongside Britten's <i><a href="/wiki/War_Requiem" title="War Requiem">War Requiem</a></i> as one of the most frequently performed large-scale choral works of the post-Second World War period.<sup id="cite_ref-Steinberg287_48-1" class="reference"><a href="#cite_note-Steinberg287-48"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup> According to Meirion Bowen, Tippett's long-time companion and a champion of his music, the work's particular quality is its universal message, with which audiences all over the world have identified.<sup id="cite_ref-Bowenarticle_42-1" class="reference"><a href="#cite_note-Bowenarticle-42"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup> In his notes accompanying the performance at the 2010 <a href="/wiki/Grant_Park_Music_Festival" title="Grant Park Music Festival">Grant Park Music Festival</a> in Chicago, Richard E. Rodda summarises the work's continuing appeal: "[I]t deals with issues as timeless as civilization itself—man's inhumanity to man, the place of the individual who confronts ruthless power ... the need for learning the lessons of history and for compassion and understanding and honesty and equality in our dealings with each other, whatever our differences may be. Tippett's <i>Child</i> still speaks profoundly to us in our own deeply troubled time".<sup id="cite_ref-Rodda_16-3" class="reference"><a href="#cite_note-Rodda-16"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Music">Music</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=A_Child_of_Our_Time&action=edit&section=12" title="Edit section: Music"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Deep_River_sheet_music_page_one.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d1/Deep_River_sheet_music_page_one.jpg/170px-Deep_River_sheet_music_page_one.jpg" decoding="async" width="170" height="227" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d1/Deep_River_sheet_music_page_one.jpg/255px-Deep_River_sheet_music_page_one.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d1/Deep_River_sheet_music_page_one.jpg/340px-Deep_River_sheet_music_page_one.jpg 2x" data-file-width="1298" data-file-height="1730" /></a><figcaption>"Deep River, my home is over Jordan" The final spiritual in the oratorio, sheet music version 1917</figcaption></figure> <p>Kemp describes Tippett's central problem in composing <i>A Child of Our Time</i> as integrating the language of the spirituals with his own musical style. Tippett was, in Kemp's view, entirely successful in this respect; "O by and by", he says, sounds as if it could almost have been composed by Tippett. To assist the process of integration the composer had obtained recordings of American singing groups, especially the <a href="/wiki/Hall_Johnson" title="Hall Johnson">Hall Johnson Choir</a>,<sup id="cite_ref-59" class="reference"><a href="#cite_note-59"><span class="cite-bracket">[</span>58<span class="cite-bracket">]</span></a></sup> which provided him with a three-part model for determining the relationships between solo voices and chorus in the spirituals: chorus, soloists, chorus.<sup id="cite_ref-K172_60-0" class="reference"><a href="#cite_note-K172-60"><span class="cite-bracket">[</span>59<span class="cite-bracket">]</span></a></sup> Tippett's instructions in the score specify that "the spirituals should not be thought of as congregational hymns, but as integral parts of the Oratorio; nor should they be sentimentalised but sung with a strong underlying beat and slightly 'swung'".<sup id="cite_ref-T1944_61-0" class="reference"><a href="#cite_note-T1944-61"><span class="cite-bracket">[</span>60<span class="cite-bracket">]</span></a></sup> </p><p>The brief orchestral prelude to Part I introduces the two contrasting moods which pervade the entire work. Kemp likens the opening "snarling trumpet triad" to "a descent into Hades",<sup id="cite_ref-62" class="reference"><a href="#cite_note-62"><span class="cite-bracket">[</span>61<span class="cite-bracket">]</span></a></sup> but it is answered immediately by a gently mournful phrase in the strings.<sup id="cite_ref-S286_25-1" class="reference"><a href="#cite_note-S286-25"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> In general the eight numbers which comprise this first part each have, says Gloag, their own distinct texture and harmonic identity, often in a disjunctive relationship with each other,<sup id="cite_ref-63" class="reference"><a href="#cite_note-63"><span class="cite-bracket">[</span>62<span class="cite-bracket">]</span></a></sup> although the second and third numbers are connected by an orchestral "interludium". From among the diverse musical features Steinberg draws attention to rhythms in the chorus "When Shall The Usurer's City Cease" that illustrate Tippett's knowledge of and feel for the English <a href="/wiki/Madrigal" title="Madrigal">madrigal</a>.<sup id="cite_ref-S286_25-2" class="reference"><a href="#cite_note-S286-25"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> What Kemp describes as "one of the supreme moments in Tippett's music" occurs towards the end of the Part, as the soprano's aria melts into the spiritual "Steal away": "a [transition] so poignant as to set off that instant shock of recognition that floods the eyes with emotion ... although the soprano continues to grieve in a floating <a href="/wiki/Melisma" title="Melisma">melisma</a>, the spiritual comes as a relief as well as a release".<sup id="cite_ref-K172_60-1" class="reference"><a href="#cite_note-K172-60"><span class="cite-bracket">[</span>59<span class="cite-bracket">]</span></a></sup> </p><p>Because of its large number (17) of generally short components, Part II is the most diffuse of the three parts, texturally and harmonically.<sup id="cite_ref-64" class="reference"><a href="#cite_note-64"><span class="cite-bracket">[</span>63<span class="cite-bracket">]</span></a></sup> The narrative is driven largely by alternating choruses and comments from the Narrator, with two brief operatic scenas in which the four soloists participate. Kemp finds in one of the choruses an allusion to "Sei gegrüsset" from Bach's <i><a href="/wiki/St_John_Passion" title="St John Passion">St John Passion</a></i>, and hears traces of <a href="/wiki/Edward_Elgar" title="Edward Elgar">Elgar</a> in the soprano's solo "O my son!" which begins the first scena. The narrative climax is reached with the "Spiritual of Anger": "Go Down, Moses", which Tippett arranges in the form of a chorale.<sup id="cite_ref-65" class="reference"><a href="#cite_note-65"><span class="cite-bracket">[</span>64<span class="cite-bracket">]</span></a></sup> This is followed by three short meditations from tenor, soprano and alto soloists, before a possible redemption is glimpsed in the spiritual which ends the Part, "O by and by", with a soprano descant which Steinberg describes as "ecstatic".<sup id="cite_ref-Steinberg287_48-2" class="reference"><a href="#cite_note-Steinberg287-48"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup> Part III consists of only five numbers, each rather more extensive than most of those in the earlier sections of the oratorio. The Part has, on the whole, a greater unity than its predecessors.<sup id="cite_ref-66" class="reference"><a href="#cite_note-66"><span class="cite-bracket">[</span>65<span class="cite-bracket">]</span></a></sup> The musical and emotional climax to the whole work is the penultimate ensemble: "I Would Know my Shadow and my Light". Kemp writes: "The whole work has been leading to this moment ... the ensemble flows into a rapturous wordless benediction [before] a modulation leads into 'Deep River'". In this final spiritual, for the first time the full vocal and instrumental resources are deployed.<sup id="cite_ref-67" class="reference"><a href="#cite_note-67"><span class="cite-bracket">[</span>66<span class="cite-bracket">]</span></a></sup> The oratorio ends quietly, on an extended <i>pianissimo</i> "Lord".<sup id="cite_ref-Steinberg287_48-3" class="reference"><a href="#cite_note-Steinberg287-48"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup> </p><p>The total vocal and instrumental resources required for the oratorio are a <a href="/wiki/SATB" title="SATB">SATB</a> chorus with soprano, alto, tenor and bass soloists, and an orchestra comprising two flutes, two oboes, English horn, two clarinets, two bassoons, contrabassoon, four horns, three trumpets, three trombones, timpani, cymbals and strings. According to the vocal score, the approximate duration of the work is 66 minutes.<sup id="cite_ref-T1944_61-1" class="reference"><a href="#cite_note-T1944-61"><span class="cite-bracket">[</span>60<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-68" class="reference"><a href="#cite_note-68"><span class="cite-bracket">[</span>67<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Recordings">Recordings</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=A_Child_of_Our_Time&action=edit&section=13" title="Edit section: Recordings"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The first recording of <i>A Child of Our Time</i> was issued in 1958, and remained the only available version for 17 years. <a href="/wiki/Colin_Davis" title="Colin Davis">Sir Colin Davis</a> made the first of his three recordings of the work in 1975. Tippett himself, at the age of 86, conducted a recording of the work with the <a href="/wiki/City_of_Birmingham_Symphony_Orchestra" title="City of Birmingham Symphony Orchestra">City of Birmingham Symphony Orchestra</a> and Chorus in 1991.<sup id="cite_ref-Tippettrecording_69-0" class="reference"><a href="#cite_note-Tippettrecording-69"><span class="cite-bracket">[</span>68<span class="cite-bracket">]</span></a></sup> </p> <table class="wikitable" style="width: 100%;"> <tbody><tr> <th width="50px">Year </th> <th width="200px">Soloists<br />(<a href="/wiki/SATB" title="SATB">SATB</a>) </th> <th width="300px">Conductor<br />Orchestra and chorus </th> <th width="250px">Label </th> <th width="50px">References </th></tr> <tr> <td align="center">1958 </td> <td><a href="/wiki/Elsie_Morison" title="Elsie Morison">Elsie Morison</a><br />Pamela Bowden<br /><a href="/wiki/Richard_Lewis_(tenor)" title="Richard Lewis (tenor)">Richard Lewis</a><br />Richard Standen </td> <td><a href="/wiki/John_Pritchard_(conductor)" title="John Pritchard (conductor)">John Pritchard</a><br /><a href="/wiki/Royal_Liverpool_Philharmonic" title="Royal Liverpool Philharmonic">Royal Liverpool Philharmonic</a> Chorus and Orchestra </td> <td>Vinyl: Pye CCL30114/5<br />Vinyl: Argo ZDA19/20 (stereo 1963) </td> <td><sup id="cite_ref-70" class="reference"><a href="#cite_note-70"><span class="cite-bracket">[</span>69<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-71" class="reference"><a href="#cite_note-71"><span class="cite-bracket">[</span>70<span class="cite-bracket">]</span></a></sup> </td></tr> <tr> <td align="center">1975 </td> <td><a href="/wiki/Jessye_Norman" title="Jessye Norman">Jessye Norman</a><br /><a href="/wiki/Janet_Baker" title="Janet Baker">Janet Baker</a><br /><a href="/wiki/Richard_Cassilly" title="Richard Cassilly">Richard Cassilly</a><br /><a href="/wiki/John_Shirley-Quirk" title="John Shirley-Quirk">John Shirley-Quirk</a> </td> <td><a href="/wiki/Colin_Davis" title="Colin Davis">Colin Davis</a><br /><a href="/wiki/BBC_Symphony_Orchestra" title="BBC Symphony Orchestra">BBC Symphony Orchestra</a> and <a href="/wiki/BBC_Singers" title="BBC Singers">BBC Singers</a> </td> <td>Vinyl: Philips 6500985 </td> <td><sup id="cite_ref-72" class="reference"><a href="#cite_note-72"><span class="cite-bracket">[</span>71<span class="cite-bracket">]</span></a></sup> </td></tr> <tr> <td align="center">1986 </td> <td><a href="/wiki/Sheila_Armstrong_(singer)" title="Sheila Armstrong (singer)">Sheila Armstrong</a><br /><a href="/wiki/Felicity_Palmer" title="Felicity Palmer">Felicity Palmer</a><br /><a href="/wiki/Philip_Langridge" title="Philip Langridge">Philip Langridge</a><br /><a href="/wiki/John_Shirley-Quirk" title="John Shirley-Quirk">John Shirley-Quirk</a> </td> <td><a href="/wiki/Andr%C3%A9_Previn" title="André Previn">André Previn</a><br /><a href="/wiki/Royal_Philharmonic_Orchestra" title="Royal Philharmonic Orchestra">Royal Philharmonic Orchestra</a> and <a href="/wiki/Brighton_Festival_Chorus" title="Brighton Festival Chorus">Brighton Festival Chorus</a> </td> <td>CD: RPO 7012 </td> <td><sup id="cite_ref-73" class="reference"><a href="#cite_note-73"><span class="cite-bracket">[</span>72<span class="cite-bracket">]</span></a></sup> </td></tr> <tr> <td align="center">1991 </td> <td>Faye Robinson<br /><a href="/wiki/Sarah_Walker_(mezzo-soprano)" title="Sarah Walker (mezzo-soprano)">Sarah Walker</a><br /><a href="/wiki/Jon_Garrison" title="Jon Garrison">Jon Garrison</a><br />John Cheek </td> <td><a href="/wiki/Michael_Tippett" title="Michael Tippett">Michael Tippett</a><br /><a href="/wiki/City_of_Birmingham_Symphony_Orchestra" title="City of Birmingham Symphony Orchestra">City of Birmingham Symphony Orchestra</a> and <a href="/wiki/CBSO_Chorus" title="CBSO Chorus">CBSO Chorus</a> </td> <td>CD: Naxos 855750 </td> <td><sup id="cite_ref-Tippettrecording_69-1" class="reference"><a href="#cite_note-Tippettrecording-69"><span class="cite-bracket">[</span>68<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Presto_74-0" class="reference"><a href="#cite_note-Presto-74"><span class="cite-bracket">[</span>73<span class="cite-bracket">]</span></a></sup> </td></tr> <tr> <td align="center">1992 </td> <td><a href="/wiki/Cynthia_Haymon" title="Cynthia Haymon">Cynthia Haymon</a><br />Cynthia Clarey<br />Damon Evans<br /><a href="/wiki/Willard_White" title="Willard White">Willard White</a> </td> <td><a href="/wiki/Richard_Hickox" title="Richard Hickox">Richard Hickox</a><br /><a href="/wiki/London_Symphony_Orchestra" title="London Symphony Orchestra">London Symphony Orchestra</a> and Chorus </td> <td>CD: Chandos CHAN9123 </td> <td><sup id="cite_ref-Presto_74-1" class="reference"><a href="#cite_note-Presto-74"><span class="cite-bracket">[</span>73<span class="cite-bracket">]</span></a></sup> </td></tr> <tr> <td align="center">2003 </td> <td><a href="/wiki/Ute_Selbig" title="Ute Selbig">Ute Selbig</a><br />Norah Gubisch<br /><a href="/wiki/Jerry_Hadley" title="Jerry Hadley">Jerry Hadley</a><br /><a href="/wiki/Robert_Holl" title="Robert Holl">Robert Holl</a> </td> <td><a href="/wiki/Colin_Davis" title="Colin Davis">Colin Davis</a><br /><a href="/wiki/Staatskapelle_Dresden" title="Staatskapelle Dresden">Staatskapelle Dresden</a> </td> <td>CD: Profil PH7052 </td> <td><sup id="cite_ref-Presto_74-2" class="reference"><a href="#cite_note-Presto-74"><span class="cite-bracket">[</span>73<span class="cite-bracket">]</span></a></sup> </td></tr> <tr> <td align="center">2007 </td> <td>Indra Thomas<br /><a href="/wiki/Mihoko_Fujimura" title="Mihoko Fujimura">Mihoko Fujimura</a><br />Steve Davislim<br /><a href="/wiki/Matthew_Rose_(bass)" title="Matthew Rose (bass)">Matthew Rose</a> </td> <td><a href="/wiki/Colin_Davis" title="Colin Davis">Colin Davis</a><br /><a href="/wiki/London_Symphony_Orchestra" title="London Symphony Orchestra">London Symphony Orchestra</a> and Chorus </td> <td>CD: LSO0670 (recorded live performance) </td> <td><sup id="cite_ref-Presto_74-3" class="reference"><a href="#cite_note-Presto-74"><span class="cite-bracket">[</span>73<span class="cite-bracket">]</span></a></sup> </td></tr></tbody></table> <div class="mw-heading mw-heading2"><h2 id="Notes_and_references">Notes and references</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=A_Child_of_Our_Time&action=edit&section=14" title="Edit section: Notes and references"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p><b>Notes</b> </p> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap"><ol class="references"> <li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text">These camps were organised from 1932 by a prominent landowner and his wife, as a means of encouraging out-of-work miners to engage in self-help projects which included gardening, furniture making, music and drama.<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup></span> </li> </ol></div></div> <p><b>Citations</b> </p> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239543626" /><div class="reflist reflist-columns references-column-width" style="column-width: 20em;"> <ol class="references"> <li id="cite_note-OMO-1"><span class="mw-cite-backlink">^ <a href="#cite_ref-OMO_1-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-OMO_1-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-OMO_1-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite id="CITEREFClarke" class="citation web cs1">Clarke, David. <a rel="nofollow" class="external text" href="http://www.oxfordmusiconline.com/subscriber/article/grove/music/28005?q=Michael+Tippett&hbutton_search.x=6&hbutton_search.y=10&source=omo_t237&source=omo_gmo&source=omo_t114&search=quick&pos=1&_start=1">"Tippett, Sir Michael (Kemp)"</a>. <a href="/wiki/Grove_Music_Online" class="mw-redirect" title="Grove Music Online">Grove Music Online</a><span class="reference-accessdate">. Retrieved <span class="nowrap">9 May</span> 2012</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Tippett%2C+Sir+Michael+%28Kemp%29&rft.pub=Grove+Music+Online&rft.aulast=Clarke&rft.aufirst=David&rft_id=http%3A%2F%2Fwww.oxfordmusiconline.com%2Fsubscriber%2Farticle%2Fgrove%2Fmusic%2F28005%3Fq%3DMichael%2BTippett%26hbutton_search.x%3D6%26hbutton_search.y%3D10%26source%3Domo_t237%26source%3Domo_gmo%26source%3Domo_t114%26search%3Dquick%26pos%3D1%26_start%3D1&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span> <span style="font-size:0.95em; font-size:95%; color: var( --color-subtle, #555 )">(subscription required)</span></span> </li> <li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text">Kemp, pp. 8–13</span> </li> <li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text">Tippett 1994, pp. 40–41</span> </li> <li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text">Kemp, p. 31–32</span> </li> <li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text">Kemp, pp. 36–37</span> </li> <li id="cite_note-ODNB-7"><span class="mw-cite-backlink">^ <a href="#cite_ref-ODNB_7-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-ODNB_7-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-ODNB_7-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-ODNB_7-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-ODNB_7-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-ODNB_7-5"><sup><i><b>f</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFLewis2010" class="citation encyclopaedia cs1">Lewis, Geraint (May 2010). <span class="id-lock-subscription" title="Paid subscription required"><a rel="nofollow" class="external text" href="http://www.oxforddnb.com/view/article/69100?docPos=1">"Tippett, Sir Michael Kemp"</a></span>. <i><a href="/wiki/Dictionary_of_National_Biography#Oxford_Dictionary_of_National_Biography" title="Dictionary of National Biography">Oxford Dictionary of National Biography</a></i> (online ed.). Oxford University Press. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1093%2Fref%3Aodnb%2F69100">10.1093/ref:odnb/69100</a><span class="reference-accessdate">. Retrieved <span class="nowrap">29 April</span> 2012</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Tippett%2C+Sir+Michael+Kemp&rft.btitle=Oxford+Dictionary+of+National+Biography&rft.edition=online&rft.pub=Oxford+University+Press&rft.date=2010-05&rft_id=info%3Adoi%2F10.1093%2Fref%3Aodnb%2F69100&rft.aulast=Lewis&rft.aufirst=Geraint&rft_id=http%3A%2F%2Fwww.oxforddnb.com%2Fview%2Farticle%2F69100%3FdocPos%3D1&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span> <span style="font-size:0.95em; font-size:95%; color: var( --color-subtle, #555 )">(Subscription or <a rel="nofollow" class="external text" href="https://www.oxforddnb.com/help/subscribe#public">UK public library membership</a> required.)</span> <span style="font-size:0.95em; font-size:95%; color: var( --color-subtle, #555 )">(subscription required)</span></span> </li> <li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text">Whittall, p. 32</span> </li> <li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text">Kemp, pp. 498–99</span> </li> <li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text">Soden, pp. 194-95</span> </li> <li id="cite_note-W71-11"><span class="mw-cite-backlink">^ <a href="#cite_ref-W71_11-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-W71_11-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Whittall, p. 71</span> </li> <li id="cite_note-Steinberg284-12"><span class="mw-cite-backlink">^ <a href="#cite_ref-Steinberg284_12-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Steinberg284_12-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Steinberg284_12-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Steinberg284_12-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text">Steinberg, pp. 284–85</span> </li> <li id="cite_note-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-13">^</a></b></span> <span class="reference-text">Kemp, pp. 150–51</span> </li> <li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFKopplin" class="citation web cs1">Kopplin, Dave. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20180310010101/http://laphillive.net/philpedia/music/child-of-our-time-michael-tippett">"<i>A Child of Our Time</i>"</a>. <a href="/wiki/Los_Angeles_Philharmonic_Association" class="mw-redirect" title="Los Angeles Philharmonic Association">Los Angeles Philharmonic Association</a>. Archived from <a rel="nofollow" class="external text" href="http://laphillive.net/philpedia/music/child-of-our-time-michael-tippett">the original</a> on 10 March 2018<span class="reference-accessdate">. Retrieved <span class="nowrap">8 March</span> 2018</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=A+Child+of+Our+Time&rft.pub=Los+Angeles+Philharmonic+Association&rft.aulast=Kopplin&rft.aufirst=Dave&rft_id=http%3A%2F%2Flaphillive.net%2Fphilpedia%2Fmusic%2Fchild-of-our-time-michael-tippett&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span></span> </li> <li id="cite_note-T50-15"><span class="mw-cite-backlink">^ <a href="#cite_ref-T50_15-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-T50_15-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-T50_15-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-T50_15-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text">Tippett 1994, pp. 50–51</span> </li> <li id="cite_note-Rodda-16"><span class="mw-cite-backlink">^ <a href="#cite_ref-Rodda_16-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Rodda_16-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Rodda_16-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Rodda_16-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFRodda2010" class="citation web cs1">Rodda, Richard E (July 2010). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20120422124309/http://www.grantparkmusicfestival.com/uploads/pdf/Child_Of_Our_Time_Program_Notes.pdf">"Notes, Grant Park Music Festival: Thirteenth Program: <i>A Child of Our Time</i>"</a> <span class="cs1-format">(PDF)</span>. Grant Park Music Festival. Archived from <a rel="nofollow" class="external text" href="http://www.grantparkmusicfestival.com/uploads/pdf/Child_Of_Our_Time_Program_Notes.pdf">the original</a> <span class="cs1-format">(PDF)</span> on 22 April 2012<span class="reference-accessdate">. Retrieved <span class="nowrap">3 May</span> 2012</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Notes%2C+Grant+Park+Music+Festival%3A+Thirteenth+Program%3A+A+Child+of+Our+Time&rft.pub=Grant+Park+Music+Festival&rft.date=2010-07&rft.aulast=Rodda&rft.aufirst=Richard+E&rft_id=http%3A%2F%2Fwww.grantparkmusicfestival.com%2Fuploads%2Fpdf%2FChild_Of_Our_Time_Program_Notes.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span></span> </li> <li id="cite_note-K157-17"><span class="mw-cite-backlink">^ <a href="#cite_ref-K157_17-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-K157_17-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Kemp, p. 157</span> </li> <li id="cite_note-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-18">^</a></b></span> <span class="reference-text">Golding, Robin (1986). "<i>A Child of Our Time</i>: the darkness declares the glory of light". Notes on recording, Compact Disc CDRPO 7012, RPO Records.</span> </li> <li id="cite_note-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-19">^</a></b></span> <span class="reference-text">Kemp, p. 160</span> </li> <li id="cite_note-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-20">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFGilgan2019" class="citation journal cs1">Gilgan, Danyel (2019). <a rel="nofollow" class="external text" href="https://www.britishmusicsociety.co.uk/publications/">"Reflections of a Broken Love in Michael Tippett's A Child of Our Time (1941)"</a>. <i>British Music the Journal of the British Music Society</i>. <b>41</b> (2): <span class="nowrap">31–</span>49<span class="reference-accessdate">. Retrieved <span class="nowrap">10 January</span> 2021</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=British+Music+the+Journal+of+the+British+Music+Society&rft.atitle=Reflections+of+a+Broken+Love+in+Michael+Tippett%27s+A+Child+of+Our+Time+%281941%29&rft.volume=41&rft.issue=2&rft.pages=%3Cspan+class%3D%22nowrap%22%3E31-%3C%2Fspan%3E49&rft.date=2019&rft.aulast=Gilgan&rft.aufirst=Danyel&rft_id=https%3A%2F%2Fwww.britishmusicsociety.co.uk%2Fpublications%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span></span> </li> <li id="cite_note-21"><span class="mw-cite-backlink"><b><a href="#cite_ref-21">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFKemp1984" class="citation book cs1">Kemp, Ian (1984). <i>Tippett The Composer and His Music</i>. Oxford: Oxford University Press. p. 36. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-19-282017-6" title="Special:BookSources/0-19-282017-6"><bdi>0-19-282017-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Tippett+The+Composer+and+His+Music&rft.place=Oxford&rft.pages=36&rft.pub=Oxford+University+Press&rft.date=1984&rft.isbn=0-19-282017-6&rft.aulast=Kemp&rft.aufirst=Ian&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span></span> </li> <li id="cite_note-22"><span class="mw-cite-backlink"><b><a href="#cite_ref-22">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFSoden2019" class="citation book cs1">Soden, Oliver (2019). <i>Michael Tippett The Biography</i>. London: Weidenfeld & Nicolson. pp. <span class="nowrap">220–</span>221. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-4746-0602-8" title="Special:BookSources/978-1-4746-0602-8"><bdi>978-1-4746-0602-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Michael+Tippett+The+Biography&rft.place=London&rft.pages=%3Cspan+class%3D%22nowrap%22%3E220-%3C%2Fspan%3E221&rft.pub=Weidenfeld+%26+Nicolson&rft.date=2019&rft.isbn=978-1-4746-0602-8&rft.aulast=Soden&rft.aufirst=Oliver&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span></span> </li> <li id="cite_note-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-23">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFTippett1991" class="citation book cs1">Tippett, Michael (1991). <i>Those Twentieth Century Blues</i>. London: Hutchinson. p. 109. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-09-175307-4" title="Special:BookSources/0-09-175307-4"><bdi>0-09-175307-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Those+Twentieth+Century+Blues&rft.place=London&rft.pages=109&rft.pub=Hutchinson&rft.date=1991&rft.isbn=0-09-175307-4&rft.aulast=Tippett&rft.aufirst=Michael&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span></span> </li> <li id="cite_note-24"><span class="mw-cite-backlink"><b><a href="#cite_ref-24">^</a></b></span> <span class="reference-text">Gloag, pp. 10–14</span> </li> <li id="cite_note-S286-25"><span class="mw-cite-backlink">^ <a href="#cite_ref-S286_25-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-S286_25-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-S286_25-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text">Steinberg, p. 286</span> </li> <li id="cite_note-26"><span class="mw-cite-backlink"><b><a href="#cite_ref-26">^</a></b></span> <span class="reference-text">Kemp, p. 168</span> </li> <li id="cite_note-27"><span class="mw-cite-backlink"><b><a href="#cite_ref-27">^</a></b></span> <span class="reference-text">Kemp, p. 158</span> </li> <li id="cite_note-28"><span class="mw-cite-backlink"><b><a href="#cite_ref-28">^</a></b></span> <span class="reference-text">Gloag, pp. 27–30</span> </li> <li id="cite_note-29"><span class="mw-cite-backlink"><b><a href="#cite_ref-29">^</a></b></span> <span class="reference-text">Steinberg, p. 284</span> </li> <li id="cite_note-Kemp40-30"><span class="mw-cite-backlink">^ <a href="#cite_ref-Kemp40_30-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Kemp40_30-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Kemp, pp. 40–41</span> </li> <li id="cite_note-31"><span class="mw-cite-backlink"><b><a href="#cite_ref-31">^</a></b></span> <span class="reference-text">Kemp, p. 499</span> </li> <li id="cite_note-K52-32"><span class="mw-cite-backlink">^ <a href="#cite_ref-K52_32-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-K52_32-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Kemp, pp. 52–53</span> </li> <li id="cite_note-Tippett-33"><span class="mw-cite-backlink">^ <a href="#cite_ref-Tippett_33-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Tippett_33-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Tippett 1994, pp. 156–57</span> </li> <li id="cite_note-34"><span class="mw-cite-backlink"><b><a href="#cite_ref-34">^</a></b></span> <span class="reference-text">Gloag, p. 89</span> </li> <li id="cite_note-Evans-35"><span class="mw-cite-backlink">^ <a href="#cite_ref-Evans_35-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Evans_35-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFEvans1944" class="citation journal cs1"><a href="/wiki/Edwin_Evans_(music_critic)" title="Edwin Evans (music critic)">Evans, Edwin</a> (April 1944). "<i>A Child of Our Time</i>". <i><a href="/wiki/The_Musical_Times" title="The Musical Times">The Musical Times</a></i>. <b>85</b> (1214): 124. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/921477">921477</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Musical+Times&rft.atitle=A+Child+of+Our+Time&rft.volume=85&rft.issue=1214&rft.pages=124&rft.date=1944-04&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F921477%23id-name%3DJSTOR&rft.aulast=Evans&rft.aufirst=Edwin&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span> <span style="font-size:0.95em; font-size:95%; color: var( --color-subtle, #555 )">(subscription required)</span></span> </li> <li id="cite_note-Amis-36"><span class="mw-cite-backlink"><b><a href="#cite_ref-Amis_36-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFAmis1944" class="citation journal cs1"><a href="/wiki/John_Amis" title="John Amis">Amis, John</a> (February 1944). "New Choral Work by Michael Tippett: <i>A Child of Our Time</i>". <i><a href="/wiki/The_Musical_Times" title="The Musical Times">The Musical Times</a></i>. <b>85</b> (1212): <span class="nowrap">41–</span>42. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.2307%2F921782">10.2307/921782</a>. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/921782">921782</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Musical+Times&rft.atitle=New+Choral+Work+by+Michael+Tippett%3A+A+Child+of+Our+Time&rft.volume=85&rft.issue=1212&rft.pages=%3Cspan+class%3D%22nowrap%22%3E41-%3C%2Fspan%3E42&rft.date=1944-02&rft_id=info%3Adoi%2F10.2307%2F921782&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F921782%23id-name%3DJSTOR&rft.aulast=Amis&rft.aufirst=John&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span> <span style="font-size:0.95em; font-size:95%; color: var( --color-subtle, #555 )">(subscription required)</span></span> </li> <li id="cite_note-Times1-37"><span class="mw-cite-backlink"><b><a href="#cite_ref-Times1_37-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation journal cs1">"Tippett's New Oratorio". <i>The Times</i>: 6. 20 March 1944.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Times&rft.atitle=Tippett%27s+New+Oratorio&rft.pages=6&rft.date=1944-03-20&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span></span> </li> <li id="cite_note-38"><span class="mw-cite-backlink"><b><a href="#cite_ref-38">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation journal cs1">"Philosophy and Music". <i>The Times</i>: 6. 24 March 1944.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Times&rft.atitle=Philosophy+and+Music&rft.pages=6&rft.date=1944-03-24&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span></span> </li> <li id="cite_note-Glock-39"><span class="mw-cite-backlink"><b><a href="#cite_ref-Glock_39-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFGlock1944" class="citation journal cs1"><a href="/wiki/William_Glock" title="William Glock">Glock, William</a> (26 March 1944). "Music". <i>The Observer</i>: 2.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Observer&rft.atitle=Music&rft.pages=2&rft.date=1944-03-26&rft.aulast=Glock&rft.aufirst=William&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span></span> </li> <li id="cite_note-Blom-40"><span class="mw-cite-backlink"><b><a href="#cite_ref-Blom_40-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFBlom1944" class="citation journal cs1"><a href="/wiki/Eric_Blom" title="Eric Blom">Blom, Eric</a> (April 1944). "<i>A Child of Our Time</i>. Oratorio by Michael Tippett". <i><a href="/wiki/Music_%26_Letters" title="Music & Letters">Music & Letters</a></i>. <b>25</b> (2): <span class="nowrap">124–</span>125. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/728902">728902</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Music+%26+Letters&rft.atitle=A+Child+of+Our+Time.+Oratorio+by+Michael+Tippett&rft.volume=25&rft.issue=2&rft.pages=%3Cspan+class%3D%22nowrap%22%3E124-%3C%2Fspan%3E125&rft.date=1944-04&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F728902%23id-name%3DJSTOR&rft.aulast=Blom&rft.aufirst=Eric&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span> <span style="font-size:0.95em; font-size:95%; color: var( --color-subtle, #555 )">(subscription required)</span></span> </li> <li id="cite_note-ODNB_Bliss-41"><span class="mw-cite-backlink"><b><a href="#cite_ref-ODNB_Bliss_41-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFBurn2010" class="citation encyclopaedia cs1">Burn, Andrew (May 2010). <span class="id-lock-subscription" title="Paid subscription required"><a rel="nofollow" class="external text" href="http://www.oxforddnb.com/view/article/30827?docPos=1">"Bliss, Sir Arthur Edward Drummond"</a></span>. <i><a href="/wiki/Dictionary_of_National_Biography#Oxford_Dictionary_of_National_Biography" title="Dictionary of National Biography">Oxford Dictionary of National Biography</a></i> (online ed.). Oxford University Press. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1093%2Fref%3Aodnb%2F30827">10.1093/ref:odnb/30827</a><span class="reference-accessdate">. Retrieved <span class="nowrap">30 April</span> 2012</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Bliss%2C+Sir+Arthur+Edward+Drummond&rft.btitle=Oxford+Dictionary+of+National+Biography&rft.edition=online&rft.pub=Oxford+University+Press&rft.date=2010-05&rft_id=info%3Adoi%2F10.1093%2Fref%3Aodnb%2F30827&rft.aulast=Burn&rft.aufirst=Andrew&rft_id=http%3A%2F%2Fwww.oxforddnb.com%2Fview%2Farticle%2F30827%3FdocPos%3D1&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span> <span style="font-size:0.95em; font-size:95%; color: var( --color-subtle, #555 )">(Subscription or <a rel="nofollow" class="external text" href="https://www.oxforddnb.com/help/subscribe#public">UK public library membership</a> required.)</span> <span style="font-size:0.95em; font-size:95%; color: var( --color-subtle, #555 )">(subscription required)</span></span> </li> <li id="cite_note-Bowenarticle-42"><span class="mw-cite-backlink">^ <a href="#cite_ref-Bowenarticle_42-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Bowenarticle_42-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFBowen1986" class="citation web cs1">Bowen, Meirion (September 1986). <a rel="nofollow" class="external text" href="http://www.meirion-bowen.com/mbartmtbritten.htm">"Britten, Tippett and the Second English Musical Renaissance <i>(Souvenir Programme Notes for the Britten/Tippett Festival, 1986)</i>"</a>. London Sinfonietta<span class="reference-accessdate">. Retrieved <span class="nowrap">30 April</span> 2012</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Britten%2C+Tippett+and+the+Second+English+Musical+Renaissance+%28Souvenir+Programme+Notes+for+the+Britten%2FTippett+Festival%2C+1986%29&rft.pub=London+Sinfonietta&rft.date=1986-09&rft.aulast=Bowen&rft.aufirst=Meirion&rft_id=http%3A%2F%2Fwww.meirion-bowen.com%2Fmbartmtbritten.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span></span> </li> <li id="cite_note-43"><span class="mw-cite-backlink"><b><a href="#cite_ref-43">^</a></b></span> <span class="reference-text">Tippett 1994, pp. 181 and 183</span> </li> <li id="cite_note-FOOTNOTEHartog1961viii-44"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEHartog1961viii_44-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFHartog1961">Hartog 1961</a>, p. viii.</span> </li> <li id="cite_note-45"><span class="mw-cite-backlink"><b><a href="#cite_ref-45">^</a></b></span> <span class="reference-text">Tippett 1994, p. 159</span> </li> <li id="cite_note-T192-46"><span class="mw-cite-backlink">^ <a href="#cite_ref-T192_46-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-T192_46-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Tippett 1994, p. 192</span> </li> <li id="cite_note-47"><span class="mw-cite-backlink"><b><a href="#cite_ref-47">^</a></b></span> <span class="reference-text">Tippett 1994, p. 206</span> </li> <li id="cite_note-Steinberg287-48"><span class="mw-cite-backlink">^ <a href="#cite_ref-Steinberg287_48-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Steinberg287_48-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Steinberg287_48-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Steinberg287_48-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text">Steinberg, p. 287</span> </li> <li id="cite_note-49"><span class="mw-cite-backlink"><b><a href="#cite_ref-49">^</a></b></span> <span class="reference-text">Tippett 1994, pp. 260–61</span> </li> <li id="cite_note-50"><span class="mw-cite-backlink"><b><a href="#cite_ref-50">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation journal cs1">"Tippett Oratorio Given In Israel". <i>The Times</i>: 2. 3 May 1962.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Times&rft.atitle=Tippett+Oratorio+Given+In+Israel&rft.pages=2&rft.date=1962-05-03&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span></span> </li> <li id="cite_note-51"><span class="mw-cite-backlink"><b><a href="#cite_ref-51">^</a></b></span> <span class="reference-text">Tippett 1994, pp. 250–52</span> </li> <li id="cite_note-52"><span class="mw-cite-backlink"><b><a href="#cite_ref-52">^</a></b></span> <span class="reference-text">Tippett 1994, p. 257</span> </li> <li id="cite_note-53"><span class="mw-cite-backlink"><b><a href="#cite_ref-53">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFHenahan1978" class="citation journal cs1"><a href="/wiki/Donal_Henahan" title="Donal Henahan">Henahan, Donal</a> (19 January 1978). "Music: Bostonians Give Premiere of Oratorio". <i>The New York Times</i>: C17.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+New+York+Times&rft.atitle=Music%3A+Bostonians+Give+Premiere+of+Oratorio&rft.pages=C17&rft.date=1978-01-19&rft.aulast=Henahan&rft.aufirst=Donal&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span></span> </li> <li id="cite_note-54"><span class="mw-cite-backlink"><b><a href="#cite_ref-54">^</a></b></span> <span class="reference-text">Tippett 1994, p. 244</span> </li> <li id="cite_note-55"><span class="mw-cite-backlink"><b><a href="#cite_ref-55">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFGriffiths1999" class="citation journal cs1">Griffiths, Paul (31 October 1999). <a rel="nofollow" class="external text" href="https://www.nytimes.com/1999/10/31/arts/how-five-gunshots-inspired-an-oratorio.html?src=pm">"How Five Gunshots Inspired an Oratorio"</a>. <i>The New York Times</i>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+New+York+Times&rft.atitle=How+Five+Gunshots+Inspired+an+Oratorio&rft.date=1999-10-31&rft.aulast=Griffiths&rft.aufirst=Paul&rft_id=https%3A%2F%2Fwww.nytimes.com%2F1999%2F10%2F31%2Farts%2Fhow-five-gunshots-inspired-an-oratorio.html%3Fsrc%3Dpm&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span></span> </li> <li id="cite_note-56"><span class="mw-cite-backlink"><b><a href="#cite_ref-56">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFPicard2005" class="citation news cs1">Picard, Anna (30 January 2005). <span class="id-lock-limited" title="Free access subject to limited trial, subscription normally required"><a rel="nofollow" class="external text" href="https://www.independent.co.uk/arts-entertainment/music/reviews/a-child-of-our-timeeno-coliseum-londonthe-knot-gardenscottish-opera-theatre-royal-glasgow-5345030.html">"<i>A Child of Our Time</i>/ENO, Coliseum, London"</a></span>. <i><a href="/wiki/The_Independent" title="The Independent">The Independent</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20160629153623/http://www.independent.co.uk/arts-entertainment/music/reviews/a-child-of-our-timeeno-coliseum-londonthe-knot-gardenscottish-opera-theatre-royal-glasgow-5345030.html">Archived</a> from the original on 29 June 2016.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Independent&rft.atitle=A+Child+of+Our+Time%2FENO%2C+Coliseum%2C+London&rft.date=2005-01-30&rft.aulast=Picard&rft.aufirst=Anna&rft_id=https%3A%2F%2Fwww.independent.co.uk%2Farts-entertainment%2Fmusic%2Freviews%2Fa-child-of-our-timeeno-coliseum-londonthe-knot-gardenscottish-opera-theatre-royal-glasgow-5345030.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span></span> </li> <li id="cite_note-57"><span class="mw-cite-backlink"><b><a href="#cite_ref-57">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFHolden2005" class="citation journal cs1"><a href="/wiki/Anthony_Holden" title="Anthony Holden">Holden, Anthony</a> (30 January 2005). <a rel="nofollow" class="external text" href="https://www.theguardian.com/music/2005/jan/30/classicalmusicandopera.shopping">"Tippett under the spotlight"</a>. <i>The Observer</i>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Observer&rft.atitle=Tippett+under+the+spotlight&rft.date=2005-01-30&rft.aulast=Holden&rft.aufirst=Anthony&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fmusic%2F2005%2Fjan%2F30%2Fclassicalmusicandopera.shopping&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span></span> </li> <li id="cite_note-58"><span class="mw-cite-backlink"><b><a href="#cite_ref-58">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFPage2005" class="citation news cs1">Page, Tim (4 May 2005). <a rel="nofollow" class="external text" href="https://www.washingtonpost.com/wp-dyn/content/article/2005/05/03/AR2005050301355.html">"<i>A Child of Our Time</i> Indeed"</a>. <i><a href="/wiki/The_Washington_Post" title="The Washington Post">The Washington Post</a></i><span class="reference-accessdate">. Retrieved <span class="nowrap">23 May</span> 2016</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Washington+Post&rft.atitle=A+Child+of+Our+Time+Indeed&rft.date=2005-05-04&rft.aulast=Page&rft.aufirst=Tim&rft_id=https%3A%2F%2Fwww.washingtonpost.com%2Fwp-dyn%2Fcontent%2Farticle%2F2005%2F05%2F03%2FAR2005050301355.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span></span> </li> <li id="cite_note-59"><span class="mw-cite-backlink"><b><a href="#cite_ref-59">^</a></b></span> <span class="reference-text">Kemp, p. 164</span> </li> <li id="cite_note-K172-60"><span class="mw-cite-backlink">^ <a href="#cite_ref-K172_60-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-K172_60-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Kemp, p. 172</span> </li> <li id="cite_note-T1944-61"><span class="mw-cite-backlink">^ <a href="#cite_ref-T1944_61-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-T1944_61-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Tippett 1944, pp. ii–iv</span> </li> <li id="cite_note-62"><span class="mw-cite-backlink"><b><a href="#cite_ref-62">^</a></b></span> <span class="reference-text">Kemp, p. 170</span> </li> <li id="cite_note-63"><span class="mw-cite-backlink"><b><a href="#cite_ref-63">^</a></b></span> <span class="reference-text">Gloag, p. 31</span> </li> <li id="cite_note-64"><span class="mw-cite-backlink"><b><a href="#cite_ref-64">^</a></b></span> <span class="reference-text">Gloag, p. 44</span> </li> <li id="cite_note-65"><span class="mw-cite-backlink"><b><a href="#cite_ref-65">^</a></b></span> <span class="reference-text">Kemp, pp. 173–76</span> </li> <li id="cite_note-66"><span class="mw-cite-backlink"><b><a href="#cite_ref-66">^</a></b></span> <span class="reference-text">Gloag, pp. 62–63</span> </li> <li id="cite_note-67"><span class="mw-cite-backlink"><b><a href="#cite_ref-67">^</a></b></span> <span class="reference-text">Kemp, p. 177</span> </li> <li id="cite_note-68"><span class="mw-cite-backlink"><b><a href="#cite_ref-68">^</a></b></span> <span class="reference-text">Steinberg, p. 280</span> </li> <li id="cite_note-Tippettrecording-69"><span class="mw-cite-backlink">^ <a href="#cite_ref-Tippettrecording_69-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Tippettrecording_69-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation news cs1"><a rel="nofollow" class="external text" href="http://www.gramophone.co.uk/features/focus/the-new-gramophone-digital-archive">"Tippett. <i>A Child of Our Time</i>"</a>. <i>Gramophone</i>. September 1992. p. 154.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Gramophone&rft.atitle=Tippett.+A+Child+of+Our+Time&rft.pages=154&rft.date=1992-09&rft_id=http%3A%2F%2Fwww.gramophone.co.uk%2Ffeatures%2Ffocus%2Fthe-new-gramophone-digital-archive&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span></span> </li> <li id="cite_note-70"><span class="mw-cite-backlink"><b><a href="#cite_ref-70">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20121105033715/http://www.gramophone.co.uk/features/focus/the-new-gramophone-digital-archive">"Tippett. <i>A Child of our Time</i>"</a>. <i><a href="/wiki/Gramophone_(magazine)" title="Gramophone (magazine)">Gramophone</a></i>. November 1958. p. 60. Archived from <a rel="nofollow" class="external text" href="http://www.gramophone.co.uk/features/focus/the-new-gramophone-digital-archive">the original</a> on 5 November 2012<span class="reference-accessdate">. Retrieved <span class="nowrap">23 May</span> 2016</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Gramophone&rft.atitle=Tippett.+A+Child+of+our+Time&rft.pages=60&rft.date=1958-11&rft_id=http%3A%2F%2Fwww.gramophone.co.uk%2Ffeatures%2Ffocus%2Fthe-new-gramophone-digital-archive&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span><span style="font-size:0.95em; font-size:95%; color: var( --color-subtle, #555 )">(subscription required)</span></span> </li> <li id="cite_note-71"><span class="mw-cite-backlink"><b><a href="#cite_ref-71">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20121105033715/http://www.gramophone.co.uk/features/focus/the-new-gramophone-digital-archive">"Tippett. <i>A Child of Our Time</i>"</a>. <i><a href="/wiki/Gramophone_(magazine)" title="Gramophone (magazine)">Gramophone</a></i>. April 1963. p. 51. Archived from <a rel="nofollow" class="external text" href="http://www.gramophone.co.uk/features/focus/the-new-gramophone-digital-archive">the original</a> on 5 November 2012<span class="reference-accessdate">. Retrieved <span class="nowrap">23 May</span> 2016</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Gramophone&rft.atitle=Tippett.+A+Child+of+Our+Time&rft.pages=51&rft.date=1963-04&rft_id=http%3A%2F%2Fwww.gramophone.co.uk%2Ffeatures%2Ffocus%2Fthe-new-gramophone-digital-archive&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span><span style="font-size:0.95em; font-size:95%; color: var( --color-subtle, #555 )">(subscription required)</span></span> </li> <li id="cite_note-72"><span class="mw-cite-backlink"><b><a href="#cite_ref-72">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20121105033715/http://www.gramophone.co.uk/features/focus/the-new-gramophone-digital-archive">"Tippett. <i>A Child of Our Time</i>—Oratorio"</a>. <i>Gramophone</i>. November 1975. p. 124. Archived from <a rel="nofollow" class="external text" href="http://www.gramophone.co.uk/features/focus/the-new-gramophone-digital-archive">the original</a> on 5 November 2012<span class="reference-accessdate">. Retrieved <span class="nowrap">23 May</span> 2016</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Gramophone&rft.atitle=Tippett.+A+Child+of+Our+Time%E2%80%94Oratorio&rft.pages=124&rft.date=1975-11&rft_id=http%3A%2F%2Fwww.gramophone.co.uk%2Ffeatures%2Ffocus%2Fthe-new-gramophone-digital-archive&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span><span style="font-size:0.95em; font-size:95%; color: var( --color-subtle, #555 )">(subscription required)</span></span> </li> <li id="cite_note-73"><span class="mw-cite-backlink"><b><a href="#cite_ref-73">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20121105033715/http://www.gramophone.co.uk/features/focus/the-new-gramophone-digital-archive">"Tippett: <i>A Child of Our Time</i>"</a>. <i>Gramophone</i>. August 1997. p. 86. Archived from <a rel="nofollow" class="external text" href="http://www.gramophone.co.uk/features/focus/the-new-gramophone-digital-archive">the original</a> on 5 November 2012<span class="reference-accessdate">. Retrieved <span class="nowrap">23 May</span> 2016</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Gramophone&rft.atitle=Tippett%3A+A+Child+of+Our+Time&rft.pages=86&rft.date=1997-08&rft_id=http%3A%2F%2Fwww.gramophone.co.uk%2Ffeatures%2Ffocus%2Fthe-new-gramophone-digital-archive&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span><span style="font-size:0.95em; font-size:95%; color: var( --color-subtle, #555 )">(subscription required)</span></span> </li> <li id="cite_note-Presto-74"><span class="mw-cite-backlink">^ <a href="#cite_ref-Presto_74-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Presto_74-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Presto_74-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Presto_74-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.prestoclassical.co.uk/w/56049/Michael-Kemp-Tippett-A-Child-of-Our-Time">"Tippett: <i>A Child of Our Time</i>"</a>. Presto Classical<span class="reference-accessdate">. Retrieved <span class="nowrap">12 May</span> 2012</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Tippett%3A+A+Child+of+Our+Time&rft.pub=Presto+Classical&rft_id=http%3A%2F%2Fwww.prestoclassical.co.uk%2Fw%2F56049%2FMichael-Kemp-Tippett-A-Child-of-Our-Time&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span> <span style="font-size:0.95em; font-size:95%; color: var( --color-subtle, #555 )">(subscription required)</span></span> </li> </ol></div> <p><b>Bibliography</b> </p> <ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFGloag1999" class="citation book cs1">Gloag, Kenneth (1999). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=BgbHKrGODnIC&q=%22A+Child+of+Our+Time%22"><i>Tippett, A Child of Our Time</i></a>. Cambridge UK: Cambridge University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-521-59753-1" title="Special:BookSources/978-0-521-59753-1"><bdi>978-0-521-59753-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Tippett%2C+A+Child+of+Our+Time&rft.place=Cambridge+UK&rft.pub=Cambridge+University+Press&rft.date=1999&rft.isbn=978-0-521-59753-1&rft.aulast=Gloag&rft.aufirst=Kenneth&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DBgbHKrGODnIC%26q%3D%2522A%2BChild%2Bof%2BOur%2BTime%2522&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFHartog1961" class="citation book cs1">Hartog, Howard, ed. (1961). <i>European Music in the Twentieth Century</i>. Harmondsworth: Penguin Books. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/602294799">602294799</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=European+Music+in+the+Twentieth+Century&rft.place=Harmondsworth&rft.pub=Penguin+Books&rft.date=1961&rft_id=info%3Aoclcnum%2F602294799&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFKemp1987" class="citation book cs1">Kemp, Ian (1987). <i>Tippett: The Composer and His Music</i>. Oxford UK: Oxford University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-19-282017-6" title="Special:BookSources/0-19-282017-6"><bdi>0-19-282017-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Tippett%3A+The+Composer+and+His+Music&rft.place=Oxford+UK&rft.pub=Oxford+University+Press&rft.date=1987&rft.isbn=0-19-282017-6&rft.aulast=Kemp&rft.aufirst=Ian&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFSteinberg2005" class="citation book cs1"><a href="/wiki/Michael_Steinberg_(music_critic)" title="Michael Steinberg (music critic)">Steinberg, Michael</a> (2005). <span class="id-lock-registration" title="Free registration required"><a rel="nofollow" class="external text" href="https://archive.org/details/choralmasterwork00stei"><i>Choral Masterworks: A Listener's Guide</i></a></span>. New York: Oxford University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-19-512644-0" title="Special:BookSources/978-0-19-512644-0"><bdi>978-0-19-512644-0</bdi></a>. <q>A Child of Our Time.</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Choral+Masterworks%3A+A+Listener%27s+Guide&rft.place=New+York&rft.pub=Oxford+University+Press&rft.date=2005&rft.isbn=978-0-19-512644-0&rft.aulast=Steinberg&rft.aufirst=Michael&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fchoralmasterwork00stei&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFTippett1994" class="citation book cs1">Tippett, Michael (1994). <i>Those Twentieth Century Blues</i>. London: Pimlico. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7126-6059-3" title="Special:BookSources/0-7126-6059-3"><bdi>0-7126-6059-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Those+Twentieth+Century+Blues&rft.place=London&rft.pub=Pimlico&rft.date=1994&rft.isbn=0-7126-6059-3&rft.aulast=Tippett&rft.aufirst=Michael&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFTippett1944" class="citation book cs1">Tippett, Michael (1944). <i>A Child of Our Time: Oratorio for soli, chorus and orchestra</i>. London: Schott & Co. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/22331371">22331371</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=A+Child+of+Our+Time%3A+Oratorio+for+soli%2C+chorus+and+orchestra&rft.place=London&rft.pub=Schott+%26+Co.&rft.date=1944&rft_id=info%3Aoclcnum%2F22331371&rft.aulast=Tippett&rft.aufirst=Michael&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFWhittall1982" class="citation book cs1">Whittall, Arnold (1982). <i>The Music of Britten and Tippett</i>. Cambridge UK: Cambridge University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-521-23523-5" title="Special:BookSources/0-521-23523-5"><bdi>0-521-23523-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Music+of+Britten+and+Tippett&rft.place=Cambridge+UK&rft.pub=Cambridge+University+Press&rft.date=1982&rft.isbn=0-521-23523-5&rft.aulast=Whittall&rft.aufirst=Arnold&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span></li></ul> <div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=A_Child_of_Our_Time&action=edit&section=15" title="Edit section: Further reading"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFBowen1982" class="citation book cs1">Bowen, Meiron (1982). <i>Michael Tippett</i>. London: Robson Books. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-86051-137-5" title="Special:BookSources/0-86051-137-5"><bdi>0-86051-137-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Michael+Tippett&rft.place=London&rft.pub=Robson+Books&rft.date=1982&rft.isbn=0-86051-137-5&rft.aulast=Bowen&rft.aufirst=Meiron&rfr_id=info%3Asid%2Fen.wikipedia.org%3AA+Child+of+Our+Time" class="Z3988"></span></li></ul> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=A_Child_of_Our_Time&action=edit&section=16" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li>Richard Smith, <i>An introduction to Michael Tippett's 'A Child of Our Time'</i>, documentary, <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=S6i37HYX5gI"><span class="plainlinks">Part 1</span></a> on <a href="/wiki/YouTube_video_(identifier)" class="mw-redirect" title="YouTube video (identifier)">YouTube</a> <b>·</b>  <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=PdArcTj-VoI"><span class="plainlinks">Part 2</span></a> on YouTube <b>·</b>  <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=UFDfXVSU_yM"><span class="plainlinks">Part 3</span></a> on YouTube</li> <li><a rel="nofollow" class="external text" href="https://www.chandos.net/chanimages/Booklets/LS0170.pdf">Libretto (on pp. 10–11)</a></li></ul> <div class="navbox-styles"><style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist 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td.hlist ul{padding:0.125em 0}.mw-parser-output .navbox .navbar{display:block;font-size:100%}.mw-parser-output .navbox-title .navbar{float:left;text-align:left;margin-right:0.5em}body.skin--responsive .mw-parser-output .navbox-image img{max-width:none!important}@media print{body.ns-0 .mw-parser-output .navbox{display:none!important}}</style></div><div role="navigation" class="navbox" aria-labelledby="Michael_Tippett304" style="padding:3px"><table class="nowraplinks mw-collapsible mw-collapsed navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374" /><style data-mw-deduplicate="TemplateStyles:r1239400231">.mw-parser-output .navbar{display:inline;font-size:88%;font-weight:normal}.mw-parser-output .navbar-collapse{float:left;text-align:left}.mw-parser-output .navbar-boxtext{word-spacing:0}.mw-parser-output .navbar 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href="/wiki/Template:Michael_Tippett" title="Template:Michael Tippett"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Michael_Tippett" title="Template talk:Michael Tippett"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Michael_Tippett" title="Special:EditPage/Template:Michael Tippett"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="Michael_Tippett304" style="font-size:114%;margin:0 4em"><a href="/wiki/Michael_Tippett" title="Michael Tippett">Michael Tippett</a></div></th></tr><tr><td class="navbox-abovebelow" colspan="2"><div><a href="/wiki/List_of_compositions_by_Michael_Tippett" title="List of compositions by Michael Tippett">List of compositions</a></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Opera</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/Robin_Hood_(Tippett_opera)" title="Robin Hood (Tippett opera)">Robin Hood</a></i> (1934)</li> <li><i><a href="/wiki/The_Midsummer_Marriage" title="The Midsummer Marriage">The Midsummer Marriage</a></i> (1955)</li> <li><i><a href="/wiki/King_Priam" title="King Priam">King Priam</a></i> (1962)</li> <li><i><a href="/wiki/The_Knot_Garden" title="The Knot Garden">The Knot Garden</a></i> (1970)</li> <li><i><a href="/wiki/The_Ice_Break" title="The Ice Break">The Ice Break</a></i> (1977)</li> <li><i><a href="/wiki/New_Year_(opera)" title="New Year (opera)">New Year</a></i> (1989)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Orchestral works</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Concerto_for_Double_String_Orchestra_(Tippett)" title="Concerto for Double String Orchestra (Tippett)">Concerto for Double String Orchestra</a> (1938–39)</li> <li><a href="/wiki/Symphony_No._1_(Tippett)" title="Symphony No. 1 (Tippett)">Symphony No. 1</a> (1944–45)</li> <li><i><a href="/wiki/Fantasia_Concertante_on_a_Theme_of_Corelli" title="Fantasia Concertante on a Theme of Corelli">Fantasia Concertante on a Theme of Corelli</a></i> (1953)</li> <li><a href="/wiki/Symphony_No._2_(Tippett)" title="Symphony No. 2 (Tippett)">Symphony No. 2</a> (1956–57)</li> <li><a href="/wiki/Symphony_No._3_(Tippett)" title="Symphony No. 3 (Tippett)">Symphony No. 3</a> (1970–72)</li> <li><a href="/wiki/Symphony_No._4_(Tippett)" title="Symphony No. 4 (Tippett)">Symphony No. 4</a> (1976–77)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Concertos</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Piano_Concerto_(Tippett)" title="Piano Concerto (Tippett)">Piano Concerto</a> (1953–55)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Choral music</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a class="mw-selflink selflink">A Child of Our Time</a></i> (1939–41)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Vocal music</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/Boyhood%27s_End" title="Boyhood's End">Boyhood's End</a></i> (1943)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Collaborations</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/Variations_on_an_Elizabethan_Theme" title="Variations on an Elizabethan Theme">Variations on an Elizabethan Theme</a></i> (1953)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related articles</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Science_fiction_opera" title="Science fiction opera">Science fiction opera</a></li></ul> </div></td></tr><tr><td class="navbox-abovebelow" colspan="2"><div><b><span class="noviewer" typeof="mw:File"><span title="Category"><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/16px-Symbol_category_class.svg.png" decoding="async" width="16" height="16" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/23px-Symbol_category_class.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/31px-Symbol_category_class.svg.png 2x" data-file-width="180" data-file-height="185" /></span></span> <a 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