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 offers a biography of the composer, whole instrumentation, textual content resources, versions, availability of appearing fabrics, functionality matters, discography, and bibliographies of the composer and the paintings. dependent upon direct rating learn, every one paintings has been evaluated when it comes to power functionality difficulties, practice session matters, 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 consultant for conductors and an individual else curious about programming concert events for choir and orchestra, this article should still turn out an invaluable resource of recent repertoire principles and a useful relief to practice session coaching.
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Extra info for A conductor's guide to choral-orchestral works
The singer must have a clear voice which is articulate and flexible. Choir: medium easy; Orchestra: medium. Discography: As of January 1993, no commercial recording has been made available. Page 19 Amram, David Werner (b. Philadelphia, PA, 17 November 1930). Life: Amram was educated at Oberlin Conservatory (1 year, 1948) and then George Washington University where he graduated with a BA in history in 1952. S. in 1955. He then enrolled in the Manhattan School of Music, studying with Dmitri Mitropoulos, Vittorio Giannini, and Gunther Schuller.
Important limitations to successful performance and important rehearsal considerations are addressed. Each work has been labeled with regard to the difficulty of the orchestra and chorus roles. Five gradations of difficulty have been used: easy, medium easy, medium, medium difficult, and difficult. These are subjective labels determined by detailed score study. Easy works are those which are accessible to inexperienced ensembles. Those labeled difficult are within the abilities of only the most skilled performing organizations, and even for them demanding of extensive rehearsal time.
This conclusion is reinforced by the consistent presence of contrapuntal material in the orchestral writing of these same works. While the text themes of previous centuries remain a viable pursuit for modern composers, the social conscience of the musical creator has become particularly evident in the selection of texts in the works of this century. The role of composer as propagandist and giver of tribute has come to prominence. Unlike the choral-orchestral works of the past, the contributions to the repertoire from this century frequently address and reflect the moral and historical concerns of composers and listeners alike.