By Jonathan D. Green
This leading edge survey of enormous choral-orchestral works is a continuation of the author's prior examine of 20th century works with English texts. eco-friendly examines approximately 100 works, from Rachmaninov's Vesna to Penderecki's track of Songs. for every paintings, he offers a biography of the composer, entire instrumentation, textual content assets, versions, availability of appearing fabrics, functionality matters, discography, and bibliography of the composer and the paintings. established upon direct rating research, every one paintings has been evaluated by way of power functionality difficulties, practice session concerns, and point of trouble for either the choir and orchestra. whilst current, solo roles are defined. The composers represented during this paintings comprise 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 advisor for conductors and others considering programming live shows for choir and orchestra, this article is going to end up an invaluable resource of recent repertoire rules and a useful reduction 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
This work is in 13 sections each being centered around a different pitch with the final movement being a return to the pitch center of the first movement. Each movement is conspicuously tonal, but contains a statement of the overall-guiding row somewhere within its tonal fabric. 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.
Orff introduces a number of Asian instruments including trough xylophone and Japanese temple bells. Ligeti's and Penderecki's works feature: wood plate drums, thunder sheets, metal railroad rails, wooden bells, glass and metal wind chimes, rattles, and assorted marimbas, xylophones, and drums. Page 7 It is also interesting to note that an electronic instrument appears in only one work in this collection: Honegger used an Ondes Martenot in his Jeanne d'Arc au bûcher. Voices as Instruments Three scores use a textless chorus.
Bernstein, Leonard: The Joy of Music. New York: Simon and Schuster, 1959. : The Infinite Variety of Music. New York: Simon and Schuster, 1966. : The Unanswered Question. Cambridge, MA: Harvard University Press, 1976. : Findings. New York: Simon and Schuster, 1982. Hughes, Allen: "Leonard Bernstein: Musical Personality of 1960," Musical America (January 1961), 15. Leonard Bernstein: A Catalogue of His Works. New York: Boosey and Hawkes, 1978. Robinson, Paul: Bernstein (Art of the Conductor). New York: Vanguard Press of Simon and Schuster, 1982.
A conductor's guide to choral-orchestral works, twentieth century, part II: the music of Rachmaninov through Penderecki by Jonathan D. Green