'… a useful showcase of current Tippett scholarship … a significant gesture to the future.' Tempo

• Preface; References to Tippett's scores and essays; 1. 'Only half rebelling': tonal strategies, folksong and 'Englishness' in Tippett's Concerto for Double String Orchestra David Clarke; 2. From pastiche to free composition: R. O. Morris, Tippett and the development of pitch resources in the Fantasia Concertante on a Theme of Corelli Anthony Pople; 3. 'Is there a choice at all?' King Priam and motives for analysis Arnold Whittall; 4. Tippett's Second Symphony, Stravinsky and the language of neoclassicism: towards a critical framework Kenneth Gloag; 5. Tippett, sequence and metaphor Christopher Mark; 6. Tonal elements and their significance in Tippett's Sonata No. 3 for Piano Alastair Borthwick; 7. 'Significant gestures to the past': formal processes and visionary moments in Tippett's Triple Concerto Stephen Collisson; 8. Tippett's King Priam and 'the tragic vision' Rowena Pollard and David Clarke; 9. Tippett at the millennium: a personal memoir Wilfrid Mellers; 10. Decline or renewal in late Tippett? The Fifth String Quartet in perspective Peter Wright; Appendix; Index.

'… a useful showcase of current Tippett scholarship … a significant gesture to the future.' Tempo

• Preface; References to Tippett's scores and essays; 1. 'Only half rebelling': tonal strategies, folksong and 'Englishness' in Tippett's Concerto for Double String Orchestra David Clarke; 2. From pastiche to free composition: R. O. Morris, Tippett and the development of pitch resources in the Fantasia Concertante on a Theme of Corelli Anthony Pople; 3. 'Is there a choice at all?' King Priam and motives for analysis Arnold Whittall; 4. Tippett's Second Symphony, Stravinsky and the language of neoclassicism: towards a critical framework Kenneth Gloag; 5. Tippett, sequence and metaphor Christopher Mark; 6. Tonal elements and their significance in Tippett's Sonata No. 3 for Piano Alastair Borthwick; 7. 'Significant gestures to the past': formal processes and visionary moments in Tippett's Triple Concerto Stephen Collisson; 8. Tippett's King Priam and 'the tragic vision' Rowena Pollard and David Clarke; 9. Tippett at the millennium: a personal memoir Wilfrid Mellers; 10. Decline or renewal in late Tippett? The Fifth String Quartet in perspective Peter Wright; Appendix; Index.

'… a useful showcase of current Tippett scholarship … a significant gesture to the future.' Tempo

• Preface; References to Tippett's scores and essays; 1. 'Only half rebelling': tonal strategies, folksong and 'Englishness' in Tippett's Concerto for Double String Orchestra David Clarke; 2. From pastiche to free composition: R. O. Morris, Tippett and the development of pitch resources in the Fantasia Concertante on a Theme of Corelli Anthony Pople; 3. 'Is there a choice at all?' King Priam and motives for analysis Arnold Whittall; 4. Tippett's Second Symphony, Stravinsky and the language of neoclassicism: towards a critical framework Kenneth Gloag; 5. Tippett, sequence and metaphor Christopher Mark; 6. Tonal elements and their significance in Tippett's Sonata No. 3 for Piano Alastair Borthwick; 7. 'Significant gestures to the past': formal processes and visionary moments in Tippett's Triple Concerto Stephen Collisson; 8. Tippett's King Priam and 'the tragic vision' Rowena Pollard and David Clarke; 9. Tippett at the millennium: a personal memoir Wilfrid Mellers; 10. Decline or renewal in late Tippett? The Fifth String Quartet in perspective Peter Wright; Appendix; Index.