By Jonathan D. Green
This leading edge survey of enormous choral-orchestral works is a continuation of the author's prior learn 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 presents a biography of the composer, whole instrumentation, textual content resources, variations, availability of appearing fabrics, functionality matters, discography, and bibliography of the composer and the paintings. dependent upon direct rating learn, every one paintings has been evaluated by way of power functionality difficulties, practice session matters, and point of trouble 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 eager about programming live shows for choir and orchestra, this article is going to end up an invaluable resource of recent repertoire principles 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
Sample text
Bloch, Ernest: "My Sacred Service," in Ernest Bloch Creative Spirit: A Program Source Book, Suzanne Bloch and Irene Heskes, editors New York: Jewish Music Council, 1976. Reprinted in Source Readings in American Choral Music, edited by David P. DeVenney. Missoula, MT: College Music Society, 1995. : "The 'Jewish' Works of Ernest Bloch," Journal of Musicological Research, volume 3, numbers 3-4 (1981), 259. Berger, Melvin: Guide to Choral Masterpieces: A Listener's Guide, 7079. New York: Anchor Books, 1993.
Voices as Instruments Three scores use a textless chorus. They are Debussy's Nocturnes, Ravel's Daphnis and Chloe, and Holst's The Planets. In the first of these, the women's voices are supposed to be evocative of the Sirens after whom the movement is named. The use of textless voices in the remaining two works was surely influenced by Debussy's programatically inspired precedent. Both Ligeti and Penderecki score nonsense texts which have been conceived for their sonic value alone. In the works of each, consonants are often strung together to create percussive effects wholly unrelated to language or to traditional singing.
The use of Latin and classical Greek provides this same service for Penderecki whose native tongue is far less accessible to non-Polish ensembles. An interesting exploration of "historic" language for a composer, is Janácek, whose Glagolithic Mass is a setting of a translation of the Roman Catholic Latin Mass into Church Slavonic. This process results in universally recognized text themes set in a language far removed even from its original practitioners. ). Folkmusic Influences Many of the composers discussed in this text had a substantial involvement in the collection and cataloguing of folkmusic.
