A conductor's guide to choral-orchestral works, twentieth by Jonathan D. Green

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 track of Songs. for every paintings, he offers a biography of the composer, entire instrumentation, textual content assets, variants, availability of acting fabrics, functionality matters, discography, and bibliography of the composer and the paintings. dependent upon direct rating examine, every one paintings has been evaluated by way of capability functionality difficulties, practice session matters, and point of hassle 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 interested by programming concert events for choir and orchestra, this article is going to end up an invaluable resource of latest repertoire principles and a useful relief to practice session practise.

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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

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Each composer has clearly written his works with a highly trained professional orchestra and choir in mind. In the Soviet Union, Shostakovich and Prokofiev wrote a number of pieces, mostly for state occasions, for which they have written for a professional orchestra and a large amateur choir. In most of the remaining works it is apparent that the composers have a clear sense of the level of ensemble for which they are writing, especially in the choral portions. Much of this can be seen in the ways in which the accompaniment supports the vocal parts.

He was offered a teaching post at the David Mannes School of Music in New York in 1917. In 1924, Bloch became an American citizen. He served as director of the Cleveland Institute of Music (1920-25) and the San Francisco Conservatory (1925-30). He moved to Switzerland in 1930 and returned to the United States in 1939, teaching at Berkeley (1940-52). Bloch then retired to Portland, Oregon where he spent his final years composing. Around the time of his arrival in the United States, Bloch began a conscious focus upon creating a genre of concert works which reflected his Jewish heritage.

He entered the Curtis Institute in 1941, where he studied conducting with Fritz Reiner and orchestration with Randall Thompson. He also studied conducting with Serge Koussevitsky and composition with Aaron Copland and Paul Hindemith at Tanglewood (1940-42). He was catapulted to fame as a conductor when he substituted for the ailing Bruno Walter in a national radio broadcast. After a year as joint principal conductor with Dmitri Mitropoulos, he was named sole conductor of the New York Philharmonic (1958-69), retiring as conductor laureate.

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