"Sir Michael Tippett and The Blue Guitar: An Examination of the Manuscript," Soundboard, Fall, 1998.

Introdcution

Often times it takes the death of a composer to spark or renew interest in the life and works of that individual. But Sir Micahel Tippett's death on January 8th, just one week after his 93rd birthday, might very well be the exception to the rule. His struggle to achieve recognition was slow and difficult, but his stature as England's foremost composer born in the first half of the 20th century remains uncontested. His contribution to the guitar literature might at first appear to be limited to a few works, and only one solo work, "The Blue Guitar." But closer examination of his output reveals a composer deeply sensitive to the instrument and keenly aware of its potentials. Tippett was constantly inventing new sound worlds, and his creations for the guitar are examples of his unique and unmistakable voice.

This article will provide a brief summary of Tippett's contribution to the guitar literature, with specific emphasis on "The Blue Guitar." I will attempt to give a comparison of the manuscript (BL MS 63838) with the only available published version (Schott ED 12218). Although it is easy to lapse into academic restoration in the name of historic correctness, it is not my aim to 'purify' this work and return it to its 'original' state, but rather, to document any differences that exist, and to witness the process of creation and composition from one of the twentieth century's most original composers.