One powerful segment, possibly the best part of the piece, came near the end of the second of three parts. Also on Ionarts: (May 7, 2005) (May 12, 2005) Other Reviews: Richard Dyer, ( Boston Globe, October 29) Keith Powers, ( Boston Herald, October 28) Steve Smith, (Night After Night, October 30) The BSO handled the piece deftly, with its huge fugal sections and clever orchestrations in the pared-down moments. It seems that the piece came at a time when the wartime musical community of England was in need of an emotional catharsis, and Tippett fit the bill, while, in the same vein, trying to work out his own neuroses. There is very little continuity, or dramatic interest, in the text alone (a account written by Tippett with a heavily personal, slant), or the musical framework, which intermingles 20th-century tonality interspersed with African-American spirituals (what the agnostic Tippett considered a “musical metaphor” for religious emotion), and one tango, for reasons that are beyond explanation.
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