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, entire instrumentation, textual content resources, versions, availability of appearing fabrics, functionality concerns, discography, and bibliographies of the composer and the paintings. established upon direct rating learn, every one paintings has been evaluated by way of strength 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 an individual else occupied with programming live shows for choir and orchestra, this article should still turn out an invaluable resource of recent repertoire rules and a useful relief to practice session instruction.
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Additional info for A conductor's guide to choral-orchestral works
The choral parts are the most harmonically stable, while the soloists and orchestra have much polymodal/polytonal material. There is an unmeasured section beginning in the fourth bar after . In this same section of the score, the soloists are asked to approximate pitches within a specific rhythm. At , the choir is to divide into even groups which speak five metrically independent lines. The score calls for 2 percussionists, but 3 are needed. There is rapid unison passagework in the strings and winds.
Other works which were written as general anti-war statements include Britten's War Requiem and Vaughan Williams's Dona Nobis Pacem and Sancta Civitas. Other works are written in commemoration of great figures lost in our time, while the texts of these pieces remain metaphoric. Walt Whitman wrote his poem, "When Lilacs Last in the Dooryard Bloom'd," in reaction to the death of Abraham Lincoln. This text is used in two of the works reviewed. Paul Hindemith's setting was commissioned by Robert Shaw as a memorial tribute to Franklin D.
As he develops the theme, it takes on jazz rhythms of the 1920s and early 1930s. Dett also uses frequent non-functional seventh and ninth chords which were a prominent feature of the dance music of that era. Constant Lambert's The Rio Grande and Dave Brubeck's The Light in the Wilderness both feature jazz-based solos for piano. Lambert's composition is thoroughly composed in the manner of George Gershwin's concert works. Brubeck's piece is more fundamentally jazz-related. It reflects the performing proclivities of the composer in its feature of a jazz combo.
A conductor's guide to choral-orchestral works by Jonathan D. Green