Alan Bush. A life - ACE128.8

Tippett’s view is that some music is deeper than the social system, rather than being there "to serve the revolution". Bush hopes that some of his music can stir people to take part in revolution. He believes his four operas present the struggle as something "fine; good rather than bad". They all have tragic endings, but three of the four end with choruses inspired to act by heroes who have met their death. Audiences will identify with the causes for which the heroes died. Music will not bring about revolution, but it will help people to take part in it. Programme (?) for Radlett Co…… (obscured by timecode) with picture of Alan and Nancy Bush. Nancy Bush talks about her first libretto, for Wat Tyler, which was one of only four to be commissioned for the Festival of Britain. Alan and Nancy Bush discuss their collaborations and working together. She says that the libretto takes second place to the music, something that many playwrights don’t take kindly to. News articles about the premiere of Wat Tyler, broadcast from East Berlin, and its first stage production, in Leipzig. Photos of Bush and Helmut Seidelmann, the Leipzig conductor, and of the production. Bush on the lack of state support for opera in Britain, and the fact that, prior to the Second World War, there was no state support for any kind of music. This only came after the founding of the Arts Council. Tippett suggests that Bush is more nearly within an ‘establishment’ than he could ever be himself. Bush describes how organisations tend to decline to perform his work. Bush playing number 20 of his 24 Preludes Op.86 (1977). Bush considers himself a professional musician, a professional teacher, but has always tried to unite his music, "at least in part", with "real happenings". Bush playing Air from Suite for Harpsichord or Piano Op:54 (1960). Music continues over credits.