Choral-Orchestral Repertoire: A Conductor’s Guide, Omnibus Edition offers an expansive compilation of choral-orchestral works from 1600 to the present. Synthesizing Jonathan D. Green’s earlier six volumes on this repertoire, this edition updates and adds to the over 750 oratorios, cantatas, choral symphonies, masses, secular works for large and small ensembles, and numerous settings of liturgical and biblical texts for a wide variety of vocal and instrumental combinations. Each entry includes a brief biographical sketch of the composer, approximate duration, text sources, performing forces, available editions, and locations of manuscript materials, as well as descriptive commentary, a discography, and a bibliography. Unique to this edition are practitioner’s evaluations of the performance issues presented in each score. These include the range, tessitura, and nature of each solo role and a determination of the difficulty of the choral and orchestral portions of each composition. There is also a description of the specific challenges, staffing, and rehearsal expectations related to the performance of each work. Choral-Orchestral Repertoire is an essential resource for conductors and students of conducting as they search for repertoire appropriate to their needs and the abilities of their ensembles.
Every phase of his career and output, the workings of his mind, and his relations with other composers are being studied by scholars in various countries. This collection of articles were written for the Musical Quarterly by internationally known authorities who examine various aspects of Mozart's style, his works, and his life. The introduction is an essay on the special nature of Mozart's genius. Erich Hartzmann leads us into the composer's workshop; Edward E. Lowinsky and Hans T. David analyze his rhythm and harmony; Nathan Broder describes the instrument for which the piano works were written; Ernst Fritz Schmid contrasts Mozrt's personality and output with those of his friend and older contemporary, Haydn; Friedrich Blume unravels the tangled skein of the creation of the requiem; Frederick W. Sternfeld establishes the relationship between Papageno's song and Bach's motet Singet dem Herren ein neues lied; Nathan Broder assesses A. E. Muller's Guide to the accurate performance of Mozartean Piano Concertos; and Otto Erich Deutsch investigates the errors and fallacies in Mozart biography.
Also Available: Orchestral Music Online This fourth edition of the highly acclaimed, classic sourcebook for planning orchestral programs and organizing rehearsals has been expanded and revised to feature 42% more compositions over the third edition, with clearer entries and a more useful system of appendixes. Compositions cover the standard repertoire for American orchestra. Features from the previous edition that have changed and new additions include: · Larger physical format (8.5 x 11 vs. 5.5 x 8.5) · Expanded to 6400 entries and almost 900 composers (only 4200 in 3rd Ed.) · Merged with the American Symphony Orchestra League's OLIS (Orchestra Library Information Service) · Enhanced specific information on woodwind & brass doublings · Lists of required percussion equipment for many works · New, more intuitive format for instrumentation · More contents notes and durations of individual movements · Composers' citizenship, birth and death dates and places, integrated into the listings · Listings of useful websites for orchestra professionals
When it was originally published in 1967, this study of J.S. Bach was the first important work on the composer in nearly a generation. The many discoveries about Bach’s life and music that occurred in the postwar years created the need for a new interpretative study incorporating this research and this was the only book which incorporated the vast amount of material uncovered since 1950, the bicentennial of Bach’s death. The volume begins with a brief biography and is followed by an analysis of each major type of composition: vocal, organ, keyboard and instrumental music. In each section the author examines thoroughly many Bach compositions and evaluates them in relation to the rest of the composer’s work, as well as in relation to the music of his contemporaries. More than 70 music examples enable the reader to understand how Bach worked, the manner in which his genius developed and grew, and to see outstanding excerpts from his music in various stages of completion. An interesting aspect of research methods is revealed through an explanation of the detective work which has been done regarding handwriting, paper and watermarks in the original sources.
Originally published in 1967, in this book the author delves deeply into the fascinating field of Bach’s music and the reasons for his ‘borrowing’, and adaptation within his oeuvre. This book, scrupulously uncontroversial in its manner, contains evidence which upends many established judgements. Whether concerned with Bach’s artistic personality or with details of his performance, this voluminous record, with commentary, of his adaptations, recompositions or transcriptions is an essential work of reference. When it was first published much of the information on the Choralgesänge and the chorals contained in or intended for the Orgelbüchlein was available for the first time in English.