A conductor's guide to choral-orchestral works, twentieth by Jonathan D. Green

By Jonathan D. Green

This leading edge survey of huge choral-orchestral works is a continuation of the author's past learn of 20th century works with English texts. eco-friendly examines approximately 100 works, from Rachmaninov's Vesna to Penderecki's music of Songs. for every paintings, he presents a biography of the composer, whole instrumentation, textual content resources, versions, availability of acting fabrics, functionality concerns, discography, and bibliography of the composer and the paintings. established upon direct ranking learn, each one paintings has been evaluated when it comes to power functionality difficulties, practice session matters, and point of trouble for either the choir and orchestra. whilst 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 fascinated about programming concert events for choir and orchestra, this article will end up an invaluable resource of latest repertoire rules and a useful relief to practice session training.

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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

Sample text

The first trumpet part has a high tessitura and all of the brass parts require solid players. 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'.

93 (1944) 178 Ivan the Terrible, op. 116 (194245, 1961) 178 Page viii Flourish Our Mighty Land, op. 114 (1947) 181 On Guard for Peace, op. 124 (1950) 182 Rachmaninov, Sergei (1873-1943) 184 Vesna [Spring], op. 20 (1902) 185 Kolokola [The Bells], op. 35 (1913) 187 Ravel, Maurice (1875-1937) 190 Daphnis and Chloe (1909-12) 191 Schoenberg, Arnold (1874-1951) 196 Gurrelieder (1900-11) 198 Die Jakobsleiter (1917-22) 201 Kol Nidre, op. 39 (1938) 204 Survivor from Warsaw, op. 46 (1947) 206 Moderne Psalmen, op.

A single central movement treats the row more conspicuously in a baroque-inspired contrapuntal exercise. Instrumentation Two interesting developments from an orchestrational point of view have to do with the varied perceptions of the constitution of an orchestra. These works exhibit trends to expand and reduce the instrumentation in the orchestra throughout the century. The most strikingly original departure from the traditional orchestra is Stravinsky's Svadebka [Les Noces/The Wedding] in which the orchestra has been reduced to four pianos and percussion.

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