In Certainty of Song. Cantata... for Mixed Chorus with Chamber Orchestra (SATB and Solo Voices)

Notes ◽  
1952 ◽  
Vol 9 (2) ◽  
pp. 325
Author(s):  
Irving Lowens ◽  
Wallingford Riegger
Keyword(s):  
Chamber Orchestra ◽  
Mixed Chorus

The Instrumental Music of Nicholas Maw: Questions of Tonality

Tempo ◽  
1973 ◽  
pp. 26-33
Author(s):  
Arnold Whittall
Keyword(s):  
Instrumental Music ◽  
Chamber Orchestra ◽  
New Approach ◽  
Mixed Chorus ◽  
Instrumental Works ◽  
Piano Composition

This year two important new instrumental works by Nicholas Maw have received their first performances: the Serenade for chamber orchestra (Singapore, 31 March) and Life Studies for 15 solo strings (Cheltenham, 9 July). With the Five Irish Songs for mixed chorus (Cork International Choral Festival, 4 May) and a new piano composition (Personae, London, 2 August), 1973 looks like being one of Maw's most productive years. Stylistically it may also prove to have been the most crucial since 1962, when Scenes and Arias was first heard. Even after a single performance, I think there can be no doubt that Life Studies is a remarkable and convincing composition which could inaugurate a new approach by Maw to the whole question of form in instrumental music.

Engaging young string players in metacognition

2018 ◽  
Vol 36 (4) ◽  
pp. 659-670 ◽  
Author(s):  
Anne M. Power ◽  
Sarah J. Powell
Keyword(s):  
Focus Groups ◽  
Chamber Orchestra ◽  
Performing Arts ◽  
Role Models ◽  
Dynamic Control ◽  
Music Program ◽  
Technical Issues ◽  
Youth Music

This article is about one focus of a two-year project researching the Penrith (NSW Australia) Youth Music Program offered at the Joan Sutherland Performing Arts Centre. The Penrith Youth Music Program has been designed to encourage young string players through a program of guided rehearsals and tutorials with mentoring by performers from the Australian Chamber Orchestra. This article focuses on a part of the research that has engaged the young string players in reflection on their own progress. Eight young string players are the focus here, drawn from the whole study that encompasses 27 instrumentalists. In focus groups they were asked at intervals (at the end of each session of three ensemble rehearsals, spaced approximately 6 weeks apart) about their learning and about their practice strategies. This article presents the voices of the eight instrumentalists as they talk about technical issues, ensemble cuing, issues of balance and dynamic control. It also provides data that benefits in performance were achieved without an increase in the reported time given to practice but rather through thoughtful attention by the instrumentalists to their practice and to the proximity of the expert mentors as role models.

A Letter from Pete. Cantata for Mixed Chorus and Small or Large Orchestra (SATB and Soprano and Tenor Solos)

Notes ◽  
1953 ◽  
Vol 10 (4) ◽  
pp. 680
Author(s):  
Harold Shapero ◽  
Bernard Rogers
Keyword(s):  
Mixed Chorus

Sing We Merrily Unto God. Mixed Chorus with Organ, Organ and Strings, or Full Orchestra

Notes ◽  
1950 ◽  
Vol 7 (4) ◽  
pp. 634
Author(s):  
Paul Hume ◽  
Cecil Effinger
Keyword(s):  
Mixed Chorus

A German Requiem. Solo Voices, Mixed Chorus, Organ & Bass Viol

Notes ◽  
1959 ◽  
Vol 16 (4) ◽  
pp. 634
Author(s):  
Henry Leland Clarke ◽  
Heinrich Schutz ◽  
Arthur Mendel
Keyword(s):  
Mixed Chorus ◽  
Bass Viol

scholarly journals Интерпретации «Хайтармы» А. Спендиаряна в творчестве современных исполнителей республики Татарстан

2021 ◽  
pp. 44-51
Author(s):  
Лилия Бородовская
Keyword(s):  
Folk Music ◽  
Chamber Orchestra ◽  
Folk Dance ◽  
Professional Musicians ◽  
Historical Information ◽  
Wide Range ◽  
Musical Arrangements ◽  
Crimean Tatar

This article presents two musical arrangements of "Haytarma" from A. Spendiaryan's suite "Crimean Sketches" (part 1), performed by Kazan musicians and composers - R.E. Ilyasov for the "Kazan Nury" folk instrument orchestra and R.Yu. Abyazov for the "La Primavera" string chamber orchestra. A brief historical information about the work of A. Spendiaryan connected with the Crimean Tatar music is given. Also presented is material about the peculiarities of the Crimean Tatar folk dance "haitarma", about its different musical variants. This work will be useful to a wide range of professional musicians, as well as researchers of the Crimean Tatar folk music.

Lucie Brosseau, Music Librarian, Les Violons du Roy (Chamber Orchestra) and La Chapelle de Québec (Chamber Choir)

2022 ◽  
pp. 231-238
Author(s):  
Patrick Lo ◽  
Robert Sutherland ◽  
Wei-En Hsu ◽  
Russ Girsberger
Keyword(s):  
Chamber Orchestra ◽  
Chamber Choir
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