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By Jonathan D. Green

This cutting edge survey of enormous choral-orchestral works written among 1900 and 1972 and containing a few English textual content examines eighty-nine works, from Elgar's "Dream of Gerontius" to Bernstein's "Mass". for every paintings, the writer offers a biography of the composer, whole instrumentation, textual content resources, variants, availability of acting fabrics, functionality concerns, discography, and bibliographies of the composer and the paintings. established upon direct rating learn, every one paintings has been evaluated when it comes to strength functionality difficulties, practice session concerns, and point of hassle for either choir and orchestra. whilst current, solo roles are defined. The forty-nine composers represented contain Samuel Barber, Arthur Bliss, Benjamin Britten, Henry Cowell, Frederick Delius, R. Nathaniel Dett, Gerald Finzi, Howard Hanson, Roy Harris, Paul Hindemith, Ulysses Kay, consistent Lambert, Peter Mennin, Gunther Schuller, William Schumann, Michael Tippett, Ralph Vaughan Williams, William Walton, and Healey Willan. Written as a box consultant for conductors and someone else interested by programming concert events for choir and orchestra, this article should still end up an invaluable resource of latest repertoire rules and a useful reduction to practice session instruction.

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Jazz Influences Characteristics of African-American music have been incorporated into concert works since the second decade of this century. Four of the works in this survey have conspicuously included idiomatic uses of jazz material. The oldest of these is Dett's The Ordering of Moses which incorporates actual African-American folk music. The composer uses the spiritual "Go Down Moses" as the principal thematic material of the entire oratorio. As he develops the theme, it takes on jazz rhythms of the 1920s and early 1930s.

These were taken from the Requiem Mass, Psalms 23 and 121, the Burial Service from the Book of Common Prayer, and the Salisbury Diurnal. Three other works which combine the Latin Requiem Mass with other English texts are Britten's War Requiem, John Foulds's World Requiem, and Nicholas Flagello's The Passion of Martin Luther King. The last of these uses extracts from Dr. King's speeches which are given to a baritone soloist. The choir sings only passages from the Missa pro defunctis. Foulds's composition combines portions of the Requiem Mass with biblical passages, the "Benedicite," and verses by Page 10 Kabir and the composer's paramour, Maude MacCarthy.

He does not, however, attempt to maintain the musical style of his sources. He preserves the melody and text of the spirituals, but sets them in the style of early twentieth-century English choral music. Intrumental Soloists In the manner of Beethoven's Choral Fantasy, three of the works feature an instrumental soloist with the choir and orchestra. Arthur Bliss includes a solo flute part in his Pastoral: Lie Strewn the White Flocks. Here the flutist's role is to portray a shepherd and Pan, both of whom have close associations with the flute.

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