By Jonathan D. Green
This cutting edge survey of huge 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 presents a biography of the composer, whole instrumentation, textual content assets, variations, availability of acting fabrics, functionality concerns, discography, and bibliographies of the composer and the paintings. established upon direct ranking learn, each one paintings has been evaluated when it comes to capability functionality difficulties, practice session concerns, and point of hassle 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 somebody else fascinated by programming concert events for choir and orchestra, this article should still end up an invaluable resource of recent repertoire principles and a useful reduction to practice session education.
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Extra resources for A conductor's guide to choral-orchestral works
Merrill Knapp, editor: Selected List of Music for Men's Voices. Princeton, NJ: Princeton University Press, 1952. 2 Charles C. Burnworth: Choral Musicfor Women's Voices. Metuchen, NJ: Scarecrow Press, 1968. Page xii descriptive guide to music for women's choirs which provides more detailed information about each work. Sergius Kagen3 addressed the quality, range and tessitura of vocal solos. The present study incorporates Kagen's methods in the evaluation of solo roles within each work. Instrumentation and performance times of orchestral works have been listed by David Daniel4, Eslinger and Daugherty5, Daugherty and Simons6, and Margaret K.
By introducing extended spoken sections, the quantity of challenging note learning for the vocal ensemble is diminished. In Finney's Still Are New Worlds and Martyr's Elegy and Mennin's Cantata de Virtute: The Pied Piper, there are extended sections for rhythmic speaking in the choir. These passages are well chosen and very convincing, but under close examination it is clear that this is an attempt to assure that the entire choral portion of the pieces can be learned. The location of these spoken parts in the middle of each of the works creates a well-conceived textural architecture and an ideal resting place for a choir which has been singing material through calculated intervals.
In A Child of Our Time, Michael Tippett uses black spirituals in a role similar to that of the chorales in Bach's Passions. Tippett's work is a Passion of sorts for the world's downtrodden. He uses the music of enslaved blacks as an eloquent expression of the futility felt by the oppressed of mankind. He does not, however, attempt to maintain the musical style of his sources. He preserves the melody and text of the spirituals, but sets them in the style of early twentieth-century English choral music.
A conductor's guide to choral-orchestral works by Jonathan D. Green