By Jonathan D. Green
This leading edge survey of huge choral-orchestral works is a continuation of the author's past examine 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 resources, variants, availability of appearing fabrics, functionality matters, discography, and bibliography of the composer and the paintings. dependent upon direct rating examine, each one paintings has been evaluated by way of power functionality difficulties, practice session matters, and point of trouble 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 serious about programming concert events for choir and orchestra, this article is going to turn out an invaluable resource of recent repertoire principles and a useful relief to practice session guidance.
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Additional info for A conductor's guide to choral-orchestral works, twentieth century, part II: the music of Rachmaninov through Penderecki
Orff introduces a number of Asian instruments including trough xylophone and Japanese temple bells. Ligeti's and Penderecki's works feature: wood plate drums, thunder sheets, metal railroad rails, wooden bells, glass and metal wind chimes, rattles, and assorted marimbas, xylophones, and drums. Page 7 It is also interesting to note that an electronic instrument appears in only one work in this collection: Honegger used an Ondes Martenot in his Jeanne d'Arc au bûcher. Voices as Instruments Three scores use a textless chorus.
This same modal influence can be heard in Shostakovich's works, but in his music there are also many subtle references to Russian Jewish folksongs. In the works of Debussy, Ravel, and Holst there is a greater preponderance of extended tertian harmonies. In the French works there are some whole-tone and pentatonic scales. In Holst's work, the whole-tone scale appears and there are a number of modal shifts which reflect the composer's involvement with English folksong and Anglican church music. In Orff's music there are numerous attempts toward primitivism using prolonged pedal figures, pure diatonicism, and modally guided parallel fourths and fifths.
1915) 37 This Sacred Gound (1963) 38 Duruflé, Maurice (1902-1986) 40 Requiem, op. 9 (1947) 40 Finzi, Gerald (1901-1956) 43 Intimations of Immortality (1950) 45 Page vi Henze, Hans Werner (b. 1926) 47 Novae de Infinito Laudes (1962) 48 Die Muzen Siziliens (1966) 50 Das Floss der Medusa (1968) 52 Hindemith, Paul (1895-1963) 55 Das Unaufhörliche (1931) 57 ITE, Angeli Veloces 60 I Triumphgesang Davids (1955) 60 II Custos quid de nocte (1955) 62 III Cantique de l'esprance (1953) 63 Holst, Gustav (1874-1934) 65 The Planets (1914-16) 67 Honegger, Arthur (1892-1955) 71 Le Roi David (1921) 72 Jeanne d'Arc au bûcher (1934-37) 76 Janácek, Leos (1854-1928) 78 Glagolithic Mass (1926) 79 Ridalka (1925, rev 1927) 82 Kodály, Zoltán (1882-1967) 84 Psalmus Hungaricus (1923) 86 Budavári Te Deum (1936) 88 Missa brevis (1944) 90 Ligeti, György (b.