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 presents a biography of the composer, entire instrumentation, textual content resources, versions, availability of appearing fabrics, functionality matters, discography, and bibliographies of the composer and the paintings. established upon direct ranking research, every one paintings has been evaluated by way of power functionality difficulties, practice session matters, and point of trouble for either choir and orchestra. whilst current, solo roles are defined. The forty-nine composers represented comprise 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 consultant for conductors and a person else focused on programming live shows for choir and orchestra, this article may still turn out an invaluable resource of latest repertoire rules and a useful reduction to practice session education.
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Additional info for A conductor's guide to choral-orchestral works
Whicher Performing Forces: voices: mezzo-soprano or baritone soloists; SATB, SSA, and SA Choirs; orchestra: 3 flutes, 2 oboes, 3 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (3 players - snare drum, tenor drum, bass drum, tambourine, crash cymbals, suspended cymbal, triangle, wood block, temple blocks, ratchet, xylophone), and strings. 5 Edition: A Whole Bunch of Fun is published and distributed by Oxford University Press. The piano-vocal score is available for purchase; orchestral materials are available on rental.
By thoughtful arrangement of these sources, he develops a thought-provoking allegory between the Pied Piper myth and the very real transience of life. Parallel to this, Persichetti compiled approximately one hundred sources from mythology, poetry, and science all pertaining to the genesis of our universe for his Creation. The composer's arrangement of the verses, and the unity imposed upon them by the music, fosters the sense of a realization of a unified creation myth rather than a survey of disparate possibilities.
It too uses African-American musical sources, but not idiomatically. 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