By Jonathan D. Green
This leading edge survey of huge 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 offers a biography of the composer, entire instrumentation, textual content assets, variations, availability of acting fabrics, functionality matters, discography, and bibliography of the composer and the paintings. established upon direct ranking research, each one paintings has been evaluated by way of capability 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 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 advisor for conductors and others inquisitive about programming live shows for choir and orchestra, this article will end up an invaluable resource of latest repertoire principles and a useful relief to practice session education.
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Additional resources for A conductor's guide to choral-orchestral works, twentieth century, part II: the music of Rachmaninov through Penderecki
The first volume, published by Scarecrow in 1994, was an elaboration of my dissertation. It addressed choral-orchestral works written between 1900 and 1972 which contained at least some English text. This volume will address 89 more works by 21 composers without the language delimiter. I have included a few works with English texts, which were not included in the previous volume. Since nearly all of the works in the first volume were by American and British composers, it was interesting to observe trends within the entire body of repertoire.
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. Janácek became an expert in Moravian folk music; Holst collected English folksongs with Vaughan Williams; Kodaly and Bartok collaborated on numerous ethnomusicological projects. In most of the works studied here, the folk influences are merely heard as a shaping force in the various composers' musical style; however, in some works, there are direct uses of folk material.
Languages The clear majority of these works are in the language of the composer. There is an interesting return to Latin for a number of composers. Stravinsky has suggested that the use of Latin helps to internationalize a composition, by making it a second language to all who hear it. 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.
A conductor's guide to choral-orchestral works, twentieth century, part II: the music of Rachmaninov through Penderecki by Jonathan D. Green