Editing Michael Tippett (section)

===Towards maturity===

====Personal crisis====
Before the outbreak of the Second World War in September 1939, Tippett released two further works: the Piano Sonata No. 1, first performed by [[Phyllis Sellick]] at the Queen Mary Hall, London, on 11 November 1938, and the [[Concerto for Double String Orchestra (Tippett)|Concerto for Double String Orchestra]], which was not performed until 1940.<ref name= Kemp498/> In a climate of increasing political and military tension, Tippett's compositional efforts were overwhelmed by an emotional crisis. When his relationship with Franks ended acrimoniously in August 1938 he was thrown into doubt and confusion about both his homosexuality and his worth as an artist. He was saved from despair when, at Ayerst's suggestion, he undertook a course of [[Carl Jung|Jungian]] analysis with the psychotherapist [[John Layard]]. Through an extended course of therapy, Layard gave Tippett the means to analyse and interpret his dreams. Tippett's biographer [[Ian Kemp]] describes this experience as "the major turning point in [his] life", both emotionally and artistically. His particular discovery from dream analysis was "the Jungian '[[Shadow (psychology)|shadow]]' and 'light' in the single, individual psyche ... the need for the individual to accept his divided nature and profit from its conflicting demands".<ref name= Kemp36>Kemp, pp. 36–37</ref> This brought him to terms with his homosexuality, and he was able to pursue his creativity without being distracted by personal relationships.<ref name= odnb/> While still unsure of his sexuality, Tippett had considered marriage with Francesca Allinson, who had expressed the wish that they should have children together.<ref name= Kemp36/><ref name= Robinson96/> After his psychotherapy he enjoyed several committed—and sometimes overlapping—same-sex relationships. Among the most enduring, and most tempestuous, was that with the artist Karl Hawker, whom he first met in 1941.<ref name= Robinson96/><ref>Tippett (1991), pp. 231–232</ref>

====''A Child of Our Time''====
[[File:Bundesarchiv Bild 146-1988-078-07, Herschel Feibel Grynszpan.jpg|thumb|upright|[[Herschel Grynszpan]]]]
{{main|A Child of Our Time}}
While his therapy proceeded, Tippett was searching for a theme for a major work—an opera or an [[oratorio]]—that could reflect both the contemporary turmoil in the world and his own recent catharsis. Having briefly considered the theme of the Dublin [[Easter Rising]] of 1916, he based his work on a more immediate event: the murder in Paris of a German diplomat by a 17-year-old Jewish refugee, [[Herschel Grynszpan]].<ref>Whittall (1982), p. 71</ref> This murder triggered ''[[Kristallnacht]]'' (Crystal Night), a coordinated attack on Jews and their property throughout Nazi Germany on 9–10 November 1938.<ref name= Kemp36/> Tippett hoped that Eliot would provide a libretto for the oratorio, and the poet showed interest. But when Tippett presented him with a more detailed scenario, Eliot advised him to write his own text, suggesting that the poetic quality of the words might otherwise dominate the music.<ref>Tippett (1991), pp. 50–51</ref> Tippett called the oratorio ''[[A Child of Our Time]]'', taking the title from ''Ein Kind unserer Zeit'', a contemporary protest novel by the Austro-Hungarian writer [[Ödön von Horváth]].<ref>Steinberg, pp. 284–285</ref> Within a three-part structure based on Handel's ''Messiah'', Tippett took the novel step of using North American [[spirituals]] in place of the traditional [[chorales]] that punctuate oratorio texts. According to Kenneth Gloag's commentary, the spirituals provide "moments of focus and repose ... giving shape to both the musical and literary dimensions of the work".<ref>Gloag, ''A Child of Our Time'', pp. 27–30</ref> Tippett began composing the oratorio in September 1939, on the conclusion of his dream therapy and immediately after the outbreak of war.<ref name= odnb/>

====Morley, war, imprisonment====
With the South London Orchestra temporarily disbanded because of the war, Tippett returned to teaching at Hazelwood. In October 1940 he accepted the post of Director of Music at [[Morley College]], just after its buildings were almost completely destroyed by a bomb.<ref>Tippett (1991), p. 113</ref> Tippett's challenge was to rebuild the musical life of the college, using temporary premises and whatever resources he could muster. He revived the [[Morley College Choir]] and orchestra, and arranged innovative concert programmes that typically mixed early music ([[Orlando Gibbons]], [[Claudio Monteverdi|Monteverdi]], [[John Dowland|Dowland]]), with contemporary works by Stravinsky, [[Paul Hindemith|Hindemith]] and [[Béla Bartók|Bartók]].<ref>Kemp, pp. 40, 45–46</ref>

[[File:Purcell engraving.png|thumb|upright|left|[[Henry Purcell]]: Tippett continued the Morley College tradition of promoting Purcell's music]]
He continued the college's established association with the music of [[Henry Purcell|Purcell]];<ref>Mark, pp. 37–38</ref> a performance in November 1941 of Purcell's ''[[Hail! Bright Cecilia|Ode to St Cecilia]]'', with improvised instruments and rearrangements of voice parts, attracted considerable attention.<ref name= Kemp44>Kemp, pp. 44–45</ref> The music staff at Morley was augmented by the recruitment of refugee musicians from Europe, including [[Walter Bergmann (musician)|Walter Bergmann]], [[Mátyás Seiber]], and [[Walter Goehr]], who took charge of the college orchestra.<ref name= odnb/><ref name= Bowen24>Bowen, pp. 24–25</ref>

''A Child of Our Time'' was finished in 1941 and put aside with no immediate prospects of performance. Tippett's ''Fantasia on a Theme of Handel'' for piano and orchestra was performed at the [[Wigmore Hall]] in March 1942, with Sellick again the soloist, and the same venue saw the première of the composer's String Quartet No. 2 a year later.<ref name= Kemp498/> The first recording of Tippett's music, the Piano Sonata No. 1 played by Sellick, was issued in August 1941. The recording was well received by critics; [[Wilfrid Mellers]] predicted a leading role for Tippett in the future of English music.<ref>Kemp, p. 51</ref> In 1942, [[Schott Music]] began to publish Tippett's works, establishing an association that continued until the end of the composer's life.<ref name= Bowen24/>

The question of Tippett's liability for war service remained unresolved until mid-1943. In November 1940 he had formalised his pacifism by joining the [[Peace Pledge Union]] and applying for registration as a [[conscientious objector]]. His case was heard by a tribunal in February 1942, when he was assigned to non-combatant duties. Tippett rejected such work as an unacceptable compromise with his principles and in June 1943, after several further hearings and statements on his behalf from distinguished musical figures, he was sentenced to three months' imprisonment in [[HM Prison Wormwood Scrubs]]. He served two months, and although thereafter he was technically liable to further charges for failing to comply with the terms set by his tribunal, the authorities left him alone.<ref>Kemp, pp. 41–43</ref>