By Jonathan D. Green
This leading edge survey of enormous choral-orchestral works written among 1900 and 1972 and containing a few English textual content examines eighty-nine works, from Elgar's "Dream of Gerontius" to Bernstein's "Mass". for every paintings, the writer offers a biography of the composer, whole instrumentation, textual content assets, variations, availability of appearing fabrics, functionality concerns, discography, and bibliographies of the composer and the paintings. dependent upon direct ranking learn, each one paintings has been evaluated by way of power functionality difficulties, practice session concerns, and point of trouble for either choir and orchestra. while current, solo roles are defined. The forty-nine composers represented contain Samuel Barber, Arthur Bliss, Benjamin Britten, Henry Cowell, Frederick Delius, R. Nathaniel Dett, Gerald Finzi, Howard Hanson, Roy Harris, Paul Hindemith, Ulysses Kay, consistent Lambert, Peter Mennin, Gunther Schuller, William Schumann, Michael Tippett, Ralph Vaughan Williams, William Walton, and Healey Willan. Written as a box advisor for conductors and a person else interested in programming live shows for choir and orchestra, this article should still turn out an invaluable resource of recent repertoire rules and a useful reduction to practice session guidance.
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Extra resources for A conductor's guide to choral-orchestral works
Soloist: mezzo-soprano (or baritone an octave lower), range: b'-e", tessitura: eb'-c". This role sings only the second movement, and is well within the ability of a good high school singer. The singer must have a clear voice which is articulate and flexible. Choir: medium easy; Orchestra: medium. Discography: As of January 1993, no commercial recording has been made available. Page 19 Amram, David Werner (b. Philadelphia, PA, 17 November 1930). Life: Amram was educated at Oberlin Conservatory (1 year, 1948) and then George Washington University where he graduated with a BA in history in 1952.
The last qualification for inclusion is that performance materials are commercially available. Related Research Numerous studies have been made of various performance issues regarding a selected repertoire. A number of catalogues of works for men's choirs have been made, the most thorough of which is that edited by J. Merrill Knapp1 Charles C. Burnsworth2 has compiled a 1 J. Merrill Knapp, editor: Selected List of Music for Men's Voices. Princeton, NJ: Princeton University Press, 1952. 2 Charles C.
He applies a similar technique to some of the vocal passages as well. Bernstein uses the same technique in his Kaddish Symphony. Chant Some of the choral uses of aforementioned free repetition in Hovhaness's music are in the style of Mozarabic chant. Gustav Holst uses actual Gregorian chant in his Hymn to Jesus. " Page 6 Each of these chants is written in traditional metric notation with the stated intention of free performance. Hoist suggests that the trombonist who begins the work should familiarize himself with the style and nuances of these chants disregarding the literalism of the notation.
A conductor's guide to choral-orchestral works by Jonathan D. Green