TYPICALLY TIPPETT - THE LEGACY

  • Introduction by Meirion Bowen
  • Chris Jameson remembers a visit from Sir Michael Tippett

 

Introduction

A standard memorial service or gala commemorative concert for Sir Michael Tippett, attended by the great, the good and the gay, all afterwards posing for the cameras, would have been not at all to his liking. From his own standpoint, it would suffice if he knew that orchestras, ensembles and soloists had made a commitment to keep his music in their regular repertory.

Many already have; perhaps more will now follow suit.

The Tippett legacy is, of course, more than just a collection of remarkable compositions, for Tippett himself set an example to his own and succeeding generations through his artistic integrity, commitment to the advancement of education, pacificism, humanitarian values and philanthropy. Some of all this is already being kept alive by the charitable Foundation Tippett established in 1979, which offers financial support un particular to contemporary music and education projects.

But there is room for more and now a younger generation have begun a fresh initiative under the umbrella title Typically Tippett. Unlike the Basically Bach and Mostly Mozart festivals in America, this does not merely promise wall-to-wall Tippett. Rather, it aims at the outset to provide a context for major Tippett performances, with constellations of related events and projects, including specially commissioned pieces and repeat performances of new works. As it develops and acquires more resources, Typically Tippett may help to establish composer fellowships and composer residencies with orchestras - and a lot else. In a nutshell, it should become a network of opportunities for music-makers at many levels.

The initial launch - organised by a group of young musicians coordinated by composer John Cooney - took place at the Royal Albert Hall on 6 September, immediately before the Prom performance of A Child of our Time conducted by Sir Colin Davis.

Amongst those attending and introducing Typically Tippett were Chris Jameson - co-leader of the Northern Junior Philharmonic Orchestra at the time of their memorable performances of The Rose Lake in 1996 - and Devon-based community opera composer David Haines (who drove the composer on some of his hair-raising adventure holidays late in life). Representatives of amateur choral societies, youth orchestras, professional ensembles and promoting boldies were also out in force. Naturally the Tippett Foundation has given its blessing and support in principle to Typically Tippett and a more concrete relationship will no doubt develop in due course.

Typically Tippett is now forming is own action committee. Their target at the outset will be to help stimulate and organise events and projects that will come to fruition throughout the month or so leading up to the performance of The Mask of Time which opens the 1999 Proms on July 16.


Further details will be posted on this site.
INFORMATION:

John Conney

Tel: 0181 318 0331

Fax: 0181 852 1752

Chris Jameson

former co-leader of the Northern Junior Philharmonic Orchestra in 1995 when they performed The Rose Lake remembering a visit from Sir Michael Tippett:

I remember the day he arrived. He entered at the back of the room in a glorious plumage of reds, greens and yellows - the Byzantium outfit.

He was introduced to the orchestra and we applauded patiently as he slowly - physically unstable - made his way to the podium. He gave us a merry waves, then put his hands to his lips and blew us a kiss. You could have heard a pin drop. And then he said to 110 Geordie kids, hacking their way through a difficult section of The Rose Lake, 'That's for you. I mean it.'

His eyes, which by then served him little purpose, were to us pockets of vitality, mischief, sparkle, genius. And I remember thinking how incredible it must be for him to hear his final piece played by the youngest generation of musicians, who were in time, inspired by his music.

Sir Michael isn't here any more. His eyes will no longer stimulate young people: his anecdotes no longer entertain and make us all giggle; his manner no longer encourage. But that doesn't mean that his music won't be listened to or performed by young people - it is far too good for that. To make it a relevant and creative experience and something which young people will want to follow through in later life, exploring his music under their own initiative and, in the process, recognising its relevance to their lives in the 21st centjury, it has to be presented in a way which sees beyond the immediate educational experience to something which is everlasting. Like Beethoven.

Sir Michael at a rehearsal with members of the Northern Junior Philharmonic Orchestra