By Jonathan D. Green
This leading edge survey of enormous choral-orchestral works is a continuation of the author's past research of 20th century works with English texts. eco-friendly examines approximately 100 works, from Rachmaninov's Vesna to Penderecki's music of Songs. for every paintings, he presents a biography of the composer, whole instrumentation, textual content resources, variations, availability of acting fabrics, functionality concerns, discography, and bibliography of the composer and the paintings. dependent upon direct rating research, each one paintings has been evaluated when it comes to 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 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 enthusiastic about programming live shows for choir and orchestra, this article is going to end up an invaluable resource of latest repertoire principles and a useful reduction to practice session training.
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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
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. He was one of the most influential and renowned conductors of this century. His compositions are marked by an inventive integration of jazz with elements of concert music.
Life: Bernstein was educated at the Boston Latin School and Harvard (BA 1939). 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.
His skills as a communicator were displayed in the many educational programs given on national television with the New York Philharmonic, and through his popular books on musical topics. Page 14 Writings: The Joy of Music (1959), Young People's Concerts for Reading and Listening (1962, revised and enlarged 1970), The Infinite Variety of Music (1966), The Unanswered Question (1976), and Findings (1982). Principal Works: musicals/operas - On the Town (1944), Trouble in Tahiti (1951), Wonderful Town (1953), Candide (1956, revised 1973), West Side Story (1957), 1600 Pennsylvania Avenue (1976), A Quiet Place (1983); ballets - Fancy Free (1944), Facsimile (1946), Symphony no.