Chamber Orchestra Research Articles

Northern Chamber Orchestra

Northern Chamber Orchestra

Canterbury Concerto for Chamber Orchestra and Piano, 1978

Canterbury Concerto for Chamber Orchestra and Piano, 1978

Concerto for Double Bass and Chamber Orchestra, 1978

Concerto for Double Bass and Chamber Orchestra, 1978

REVIEWS OF MUSIC

Journal Article REVIEWS OF MUSIC Get access Carter Elliott, A Mirror on which to Dwell: six poems of Elizabeth Bishop, for soprano and chamber orchestra. Score; A Fantasy about Purcell's ‘Fantasia upon One Note’, for brass quintet. Score and parts. ( Associated Music Publishers, New York & London, 1977, £24.10, £4.55) [Schirmer] ARNOLD WHITTALL ARNOLD WHITTALL Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 61, Issue 2, April 1980, Pages 230–231, https://doi.org/10.1093/ml/61.2.230 Published: 01 April 1980

Three Choruses on Biblical Texts for SATB and Chamber Orchestra. Merion Music (Presser), 1976. I: Out of the Depths

Three Choruses on Biblical Texts for SATB and Chamber Orchestra. Merion Music (Presser), 1976. I: Out of the Depths

REVIEWS OF RECORDS

REVIEWS OF RECORDS ELLIOTT CARTER: Double Concerto for Harpsichord and Piano with Two Chamber Orchestras. Paul Jacobs, harpsichord; Gilbert Kalish, piano; The Contemporary Chamber Ensemble, cond. Arthur Weisberg. Duo for Violin and Piano. Paul Zukofsky, violin; Gilbert Kalish, piano. Nonesuch H-71314 (stereo). BRUCE ARCHIBALD BRUCE ARCHIBALD Search for other works by this author on: Oxford Academic Google Scholar The Musical Quarterly, Volume LXIII, Issue 2, April 1977, Pages 287–289, https://doi.org/10.1093/mq/LXIII.2.287 Published: 01 April 1977

LIVING BRITISH COMPOSERS: CENTRAL MUSIC LIBRARY SCHEME

Journal Article LIVING BRITISH COMPOSERS: CENTRAL MUSIC LIBRARY SCHEME Get access Arnold, Malcolm, Hongkong Anniversary Overture. Score. ( Faber Music, London, n.d.) Boyd, Anne, String Quartet No. 2. Score. ( Faber Music, London, n.d.) Cruft, Adrian, Songs of Good Counsel. ( Chappell, London, n.d. Dodgson, Stephen, Concerto No. 1,for guitar and chamber orchestra. Score. ( Chappell, London, n.d. Gilbert, Anthony, Regions, for orchestra. Score. ( Schott, London, n.d. Hamilton, Iain, Dialogues on Lines of Chaleaubriand, for soprano, flute, trumpet, cello, percussion, piano and celesta. Score. ( Schott, London, n.d. Harvey, Jonathan, Quantumplation, for flute, clarinet, violin, cello, piano and tam tam. Score. ( Novello, London, n.d. Milner, Anthony, Quintet, for flute, oboe, clarinet, horn and bassoon. Score. ( Novello, London, n.d. Ridout, Alan, Concertante, for flute, oboe, clarinet, horn and bassoon. Score. ( Chappell, London, n.d. Tomlinson, Ernest, English Pageant, for clarinet, violin, cello and piano. Score. ( Mills Music, Croydon, 1961 Wilson, Thomas, Complementi (1973), for clarinet, violin, cello and piano. Score. ( Chappell, London, n.d. DAVID WULSTAN DAVID WULSTAN Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 58, Issue 2, April 1977, Page 257, https://doi.org/10.1093/ml/58.2.257 Published: 01 April 1977

Redcliffe-Maud and its Implications

Apart from suggestions that such pioneering chamber orchestras as the Fires of London and the London Sinfonietta ought to receive regular grant-aid, and that ‘The Arts Council should initiate discussions between the four subsidised London orchestras and the BBC, in the light of recommendations made in the 1970 Peacock Report, of subsequent experience and of present and future shortage of funds available for music’, Lord Redcliffe-Maud's report on Support for the Arts in England and Wales contains few specific proposals calculated to have an immediate impact on the fortunes of contemporary music in Britain. It is not that sort of report. Properly enough, Maud has deployed his wide knowledge of and enthusiasm for particular arts fields not as a topic in itself, but as background and justification for a much broader consideration of how those arts are and ought to be supported in this country. So even if the immediate impact is limited, the longer-term effect of his views will be of vital interest for all of us who are concerned with the welfare of music today and of musicians today.

Dallapiccola: A Programme-Planner's Guide

A catalogue raisonnée of the works of Luigi Dallapiccola is planned for the next issue of TEMPO, as a tribute to the memory of the Italian master a year after his death. The following instrumentation-chart is a preliminary measure designed to elucidate the practical problems of mounting performances of his vocal and non-vocal chamber music (from solo instrument to chamber orchestra—here defined as small orchestra without full string body).

Sessions's Concertino

‘A concerto of relatively small dimensions’ is Roger Sessions's own characterization of his Concertino for Chamber Orchestra. In a programme note accompanying the recording and (in slightly abridged form) the score, the composer explains how his conception of the work arose largely from practical, though artistically relevant, circumstances. The Concertino, written in 1971–72, had been commissioned by the Fromm Foundation for The Contemporary Chamber Players of the University of Chicago, a group directed by the wellknown composer and conductor Ralph Shapey:… Mr. Shapey's organization is composed of players who, especially among the woodwinds, are accustomed to playing several instruments in their chosen categories. Since this work, designed as it is for an orchestra of chamber dimension, … by conception as well as by the demands of the medium itself, emphasizes solo performance, I decided to avail myself of the players' versatility and give each of the various available instruments a significant role to play.

Night Music, for Chamber Orchestra

Night Music, for Chamber Orchestra

The Music for Orchestra

After the songs, they form his largest single body of music, and orchestral composition is a genre he cultivated throughout his career, beginning with a Holiday Quickstep (among his first dozen pieces) written for small theatre orchestra in 1887 at age thirteen and extending to the unfinished Universe symphony, worked on primarily from 1914 to 1928, which is among the last music he composed. In his catalogue of Ives' music manuscripts,' John Kirkpatrick lists fifty-eight orchestral compositions, including pieces that were left incomplete, were set down merely as preliminary sketches, or have been lost. They fall into two general classes: those composed for symphony orchestra and a more numerous group written for chamber orchestra. The former category includes six symphonies (those numbered 1 through 4,

REVIEWS OF RECORDS

REVIEWS OF RECORDS Get access SCHUMANN. Faust. Dietrich Fischer-Dieskau, Elizabeth Harwood, John Shirley Quirk, Peter Pears, Jennifer Vyvyan, Felicity Palmer, Meriel Dickinson, Pauline Stevens, Robert LIoyd, Alfreda Hodgson, Aldeburgh Festival Singers; Wandsworth School Choir, director Russell Burgess, English Chamber Orchestra, cond. Benjamin Britten London OSA 12100. LINDA SIEGEL LINDA SIEGEL Search for other works by this author on: Oxford Academic Google Scholar The Musical Quarterly, Volume LX, Issue 4, October 1974, Pages 681–685, https://doi.org/10.1093/mq/LX.4.681 Published: 01 October 1974

REVIEWS OF RECORDS

REVIEWS OF RECORDS Get access PURCELL: Ceremonial Music. (Te Deum Laudamus, Jubilate Deo in D, Complete Funeral Music). James Bowman, Charles Brett, countertenors; Ian Partridge, tenor; Forbes Robinson, bass; Stephen Cleobury, organ; English Chamber Orchestra, director Jose Luis Garcia, Jane Ryan. Vol, Consort of Sackbuts from Symphoniac Sacrae; Malcolm Greese, Simon Keenlyside, Robert King, Robert Smith, Paul Williams, treble soloists; Choir of St. John's College, Cambridge, cond. George Guest. Argo ZRG 724. HENRY LELAND CLARKE HENRY LELAND CLARKE Search for other works by this author on: Oxford Academic Google Scholar The Musical Quarterly, Volume LX, Issue 1, January 1974, Pages 151–153, https://doi.org/10.1093/mq/LX.1.151 Published: 01 January 1974

The Instrumental Music of Nicholas Maw: Questions of Tonality

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.

Scherzi Musicali, for chamber orchestra

Scherzi Musicali, for chamber orchestra

Review of 1972/02/12 Concert at Carr's Lane Church Centre. The New Music Chamber Orchestra conducted by Paul Venn

Review of 1972/02/12 Concert at Carr's Lane Church Centre. The New Music Chamber Orchestra conducted by Paul Venn

ORCHESTRA

ORCHESTRA Get access Ole Buck, Punctuations. Score. ( Hansen, Copenhagen, 1969, £3.10.) Pelle Gudmundsen-Holmgreen, Piece by Piece, for chamber orchestra. Score. ( Hansen, Copenhagen, 1970, £3.40.) Per Norgard, Iris. Score (23 ½ “x9”).Luna. Score (23 ½“x17”). Voyage into the Golden Screen. Score.( Hansen, Copenhagen, 1969& 1970, £1.90, £3.00 & £3.80.) J. A. W. J. A. W. Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume LIII, Issue 1, January 1972, Pages 108–109, https://doi.org/10.1093/ml/LIII.1.108 Published: 01 January 1972

1964: Abraham and Isaac

Stravinsky's ‘Sacred Ballad for Baritone and Chamber Orchestra’ is his only setting of Hebrew, his only work for solo voice on a religious text, and, indeed, his only ‘ballad’. Completed in 1963 and dedicated to the people of the State of Israel, it is the fifth in the late series of major religious works which began with the Canticum Sacrum of 1956. Its other predecessors are Threni (1958), A Sermon, A Narrative and A Prayer (1961), and The Flood (1962); its solitary successor is the Requiem Canticles of 1966.

Concerto for Harp and Chamber Orchestra (1967)

Concerto for Harp and Chamber Orchestra (1967)