By Jonathan D. Green
This cutting edge survey of huge choral-orchestral works is a continuation of the author's prior research of 20th century works with English texts. eco-friendly examines approximately 100 works, from Rachmaninov's Vesna to Penderecki's tune of Songs. for every paintings, he offers a biography of the composer, entire instrumentation, textual content resources, variants, availability of appearing fabrics, functionality concerns, discography, and bibliography of the composer and the paintings. dependent upon direct rating research, each one paintings has been evaluated when it comes to strength functionality difficulties, practice session concerns, and point of hassle for either the choir and orchestra. while current, solo roles are defined. The composers represented during this paintings contain Bela Bartok, Leonard Bernstein, Ernest Bloch, Maurice Duruf?, Hans Werner Henze, Paul Hindemith, Arthur Honegger, Leos Janacek, Gy?rgy Ligeti, Gustav Mahler, Carl Orff, Krzysztof Penderecki, Francis Poulenc, Igor Stravinsky, Anton Webern, and Kurt Weill. Written as a box consultant for conductors and others enthusiastic about programming concert events for choir and orchestra, this article will turn out an invaluable resource of latest repertoire rules and a useful reduction to practice session practise.
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Extra info for A conductor's guide to choral-orchestral works, twentieth century, part II: the music of Rachmaninov through Penderecki
The string parts are the most accessible, while rhythmic and chromatic, they present few technical difficulties. Soloists: boy, range: d'-e", tessitura: e'-c", this solo represents the young psalmist, King David, he sings only in the second movement; the part is well doubled in the accompaniment, which is suitably transparent to not overshadow a young singer. There are four choral soloists with brief solos in the first and third movements: soprano - range: d-ab", tessitura: g'-g"; alto - range: d'-d", tessitura: d'-b'; tenor - range: d-a', tessitura: a-d'; bass - range: db-e', tessitura: d-d'.
Young: "Report from Germany," American Choral Review, volume 14, number 4 (1972). Cantata Misericordium (1963) Duration: ca. 20 minutes Text: The text is a Latin dramatization of the parable of the Good Samaritan from the New Testament as adapted by L. Patrick Wilkerson.
His music is characterized by an exceptional lyric gift, innovative rhythms, and a unique extension of tonality through modal exploration. He enjoyed writing music for amateurs that consistently maintains a high level of artistic integrity. Most of all, he had a distinctive sensibility for setting texts. His texts are generally concerned with themes of lost innocence and the relationship between an outsider and society. Both of these themes border upon the autobiographical. Page 23 Principal Works: opera - Paul Bunyan (1940-1), Peter Grimes (1945), The Rape of Lucretia (1946), Albert Herring (1947), Billy Budd (1951, revised 1960), Gloriana (1953), The Turn of the Screw (1954), A Midsummer Night's Dream (1960), Owen Wingrave (1971), Death in Venice (1973); orchestra - Sinfonietta (1932), Simple Symphony (1934), Variations on a Theme of Frank Bridge (1937), Piano Concerto (1938, revised 1945), Violin Concerto (1939, revised 1958), Sinfonia da Requiem (1940), Young Person's Guide to the Orchestra (1946), Cello Symphony (1963); choral- Hymn to the Virgin (1930, revised 1934), A Boy was Born (1933, revised 1955), Ceremony of Carols (1942), Hymn to St.
A conductor's guide to choral-orchestral works, twentieth century, part II: the music of Rachmaninov through Penderecki by Jonathan D. Green