Choral music Books

Book SynopsisA fascinating look at the careers of some of Broadway''s greatest female performers in their own wordsIn Here''s to the Ladies, the follow-up to Nothing Like a Dame: Conversations with the Great Women of Musical Theater, theatre journalist Eddie Shapiro sits down for intimate, career-encompassing conversations with yet more of Broadway''s most prolific and fascinating leading women. Full of detailed stories and reflections, his conversations with such luminaries as Barbara Cook, Kelli O''Hara, Heather Headley, Faith Prince, Stephanie J. Block, Tonya Pinkins, and a host of others dig deep into each actor''s career -together, these chapters tell the story of what it means to be a leading lady on Broadway over the past fifty years. Alan Cumming described Nothing Like a Dame as an encyclopedia of modern musical theatre via a series of tender meetings between a diehard fan and his idols. Because of Eddie Shapiro''s utter guilelessness, these women open up and reveal more than they ever haveTrade ReviewEddie Shapiro has gathered the best in business for another fascinating collection of interviews. Reading his work is like sitting down with old friends, where the conversation is easy and the laughs are plenty. This backstage tour de force is one of my all-time favorites and a must-have for any theater loverâs library. * Susan Stroman, LGBTQ+ Studies *Table of Contents1. Barbara Cook 2. Tonya Pinkins 3. Faith Prince 4. Charlotte D'Amboise 5. Mary Beth Peil 6. Judy Kuhn 7. Beth Leavel 8. Carolee Carmello 9. Rachel York 10. Melissa Errico 11. Alice Ripley 12. Sherie Rene Scott 13. Kerry Butler 14. Heather Headley 15. Karen Olivo 16. Kelli O'Hara 17. Stephanie J. Block 18. Adrienne Warren 19. Jessie Mueller 20. Marin Mazzie

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Book SynopsisPaul Robeson''s Voices is a meditation on Robeson''s singing, a study of the artist''s life in song. Music historian Grant Olwage examines Robeson''s voice as it exists in two broad and intersecting domains: as sound object and sounding gesture, specifically how it was fashioned in the contexts of singing practices, in recital, concert, and recorded performance, and as subject of identification. Olwage asks: how does the voice encapsulate modes of subjectivity, of being?Combining deep archival research with musicological theory, this book is a study of voice as central to Robeson''s sense of self and his politics. Paul Robeson''s Voices charts the dialectal process of Robeson''s vocal and self-discovery, documenting some of the ways Robeson''s practice revised the traditions of concert singing in the first half of the twentieth century and how his voice manifested as resistance.Trade Review“The key to understanding Paul Robeson's global humanitarian legacy and cosmopolitan musical imagination, Grant Olwage proposes, can be found by listening to his vocal intelligence, technique, and music-historical awareness. Bold, clear, lyrical, deeply researched and including new archival material, Olwage's polyvocal narrative follows Robeson's 'voices' across continents.” - Nina Eidsheim, author of The Race of Sound: Listening, Timbre, and Vocality in African American MusicThe key to understanding Paul Robeson's global humanitarian legacy and cosmopolitan musical imagination, Grant Olwage proposes, can be found by listening to his vocal intelligence, technique, and music-historical awareness. Bold, clear, lyrical, deeply researched and including new archival material, Olwage's polyvocal narrative follows Robeson's 'voices' across continents. * Nina Eidsheim, Author of The Race of Sound: Listening, Timbre, and Vocality in African American Music. *Table of ContentsAcknowledgments About the Companion Website Introduction: Voice-Thinking 1. Becoming Paul Robeson's Voice 2.

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Book SynopsisChoral conductors and clinicians often focus on honing the technical and artistic elements of their choir''s performance, but what is the true purpose of choral singing? Choral performances sound beautiful, but they also tell stories, say something to someone, and create change in them. In that fundamental sense, they are always activist. In Transforming Choral Singing: An Activist''s Guide for Choir Directors, author Charles W. Beale draws from his nearly 20 years of leading major choirs in the LGBTQIA+ choral movement internationally as well as his long experience as a singer, organist, conductor, and educator to put forth a new vision for choral singing: to move audiences and change the world. Four main principles underpin this vision: connection, impact, social justice, and stylistic openness. Beale lays down a non-canonical and inclusive framework, grounded in critical musicology and pedagogy, for mission-driven and activist-oriented engagement with the choral arts, and provides p

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Book SynopsisA comprehensive guide to the genesis, transmission, structure, meaning and performance considerations of Bach's "St John Passion". One of Bach's most fascinating works, its text demonstrates a profound understanding of St John's Gospel.Trade ReviewDürr writes illuminatingly and perceptively on topics such as the theology of St John's Gospel and its relationship to Bach's setting, questions of overall design and tonal architecture * Early Music *Presents in convenient form many of the findings of Bach scholarship on the genesis and transmission of the work * Early Music *If it is reliable information on this remarkable work that you want, Dürr's study is the obvious place to start. Bach could have no more faithful servant * John Butt, Times Literary Supplement *Table of ContentsAPPENDICES: PROBLEMATICAL POINTS

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Book SynopsisA companion volume to Denis Shrock's Choral Repertoire (Oxford 2009), Choral Scores is an anthology of music exemplifying distinctive choral repertoire by the most noteworthy composers throughout the history of Western music.Trade Review"...a valuable resource and rich testament to the Western choral tradition. Conductors, choral scholars, instructors, and students alike will find this scholarly book informative and rewarding..." - The American OrganistTable of ContentsIntroduction ; Acknowledgments ; The Medieval Era ; 1. Gregorian chant - Salve regina ; 2. Hildegard von Bingen - O viridissima virga ; 3. Guillaume de Machaut - Messe de nostre dame (Kyrie) ; 4. Johannes Ciconia - Venecie, mundi splendor / Michael, qui Stena domus / Italie, mundicie ; 5. John Dunstable - Quam pulcra es ; The Renaissance Era ; France ; 6. Guillaume Dufay - Missa L'homme arme (Kyrie) ; 7. Josquin Desprez - Missa de beata virgine (Agnus Dei) ; 8. Clement Janequin - Au joli jeu ; 9. Claude Goudimel - Ainsi qu'on oit le cerf bruire ; 10. Claude Le Jeune - Amour cruel que pense tu ; 11. Jan Pieterszoon Sweelinck - Or sus, serviteurs du seigneur ; Italy ; 12. Philippe Verdelot - Italia mia ; 13. Jacques Arcadelt - Io dico che fra voi ; 14. Cipriano de Rore - Ancor che col partire ; 15. Giovanni Pierluigi da Palestrina - Tu es Petrus - Quodcumque ligaveris ; 16. Giovanni Pierluigi da Palestrina - Missa Tu es Petrus (Kyrie) ; 17. Orazio Vecchi - Fa una canzona ; 18. Luca Marenzio - Leggiadre ninfe ; 19. Giovanni Giacomo Gastoldi - Amor vittorioso ; 20. Giovanni Gabrieli - Hodie Christus natus est ; 21. Carlo Gesualdo - Resta di darmi noia ; Spain and the New World ; 22. Cristobal de Morales - Magnificat primi toni (Anima mea) ; 23. Francisco Guerrero - A un nino llorando ; 24. Tomas Luis de Victoria - Vere languores nostros ; Germany and Austria ; 25. Heinrich Isaac - Innsbruck, ich muss dich lassen ; 26. Orlando di Lasso - Musica Dei donum optimi ; 27. Orlando di Lasso - Tutto lo di ; 28. Jacob Handl - Pater noster ; 29. Hans Leo Hassler - Dixit Maria ; 30. Michael Praetorius - Es ist ein Ros entsprungen ; 31. Melchior Franck - Meine Schwester, liebe Braut ; England ; 32. Thomas Tallis - If ye love me ; 33. William Byrd - Ave verum corpus ; 34. Thomas Morley - My bonny lass she smileth ; 35. John Dowland - Now, O now, I needs must part ; 36. Thomas Tomkins - O pray for the peace of Jerusalem ; 37. John Wilbye - Flora gave me fairest flowers ; 38. Thomas Weelkes - When David heard that Absalom was slain ; 39. Orlando Gibbons - Almighty and everlasting God ; The Baroque Era ; Italy ; 40. Claudio Monteverdi - Confitebor secondo ; 41. Claudio Monteverdi - Sfogava con le stelle ; 42. Giacomo Carissimi - Jonas (Peccavimus Domine) ; 43. Alessandro Scarlatti - Messa di S Cecilia (Sanctus) ; 44. Antonio Lotti - Crucifixus ; 45. Antonio Vivaldi - Gloria RV589 (Et in terra pax) ; France ; 46. Marc-Antoine Charpentier - In nativitatem Domini canticum H314 ; 47. Michel-Richard de Lalande - Super flumina Babylonis ; (Hymnum cantate nobis) ; Germany ; 48. Heinrich Schutz - Musikalische Exequien ; (Herr, wenn ich nur dich habe) ; 49. Samuel Scheidt - Angelus ad pastores ait SSWV13 ; 50. Dietrich Buxtehude - Das neugebor'ne Kindelein BuxWV13 ; 51. Johann Ludwig Bach - Das ist meine Freude ; 52. Georg Philipp Telemann - Uns ist ein Kind geboren TVWV1:1451 (Movement 1) ; 53a. Johann Sebastian Bach - B Minor Mass (Et incarnatus est) ; 53b. Johann Sebastian Bach - B Minor Mass (Crucifixus) ; 53c. Johann Sebastian Bach - B Minor Mass (Et resurrexit) ; 54a. Johann Sebastian Bach - Passio secundum Johannen (Ruht wohl) ; 54b. Johann Sebastian Bach - Passio secundum Johannen ; (Ach Herr, lass dein lieb Engelein) ; England ; 55. John Blow - Salvator mundi ; 56. Henry Purcell - Remember not, Lord, our offences ; 57. George Frideric Handel - Saul (How excellent thy name, O Lord) ; 58. Maurice Greene - Lord, let me know mine end ; Spain and the New World ; 59. Juan Gutierrez de Padilla - Versa est in luctum ; 60. Ignacio Jerusalem - Responsorio sequndo de SS Jose ; The Classical Era ; Austria and Germany ; 61. Joseph Haydn - The Creation (Achieved is the glorious work) ; 62. Michael Haydn - Salve regina MH634 ; 63. Wolfgang Amadeus Mozart - Requiem (Lacrimosa) ; 64. Franz Schubert - Die Nacht ; Italy ; 65. Luigi Cherubini - Requiem in C Minor (Graduale) ; 66. Gioachino Rossini - Stabat mater (Introduzione) ; The United States ; 67. William Billings - Chester ; The Romantic Era ; France ; 68. Hector Berlioz - La damnation de Faust (Apotheose de Marguerite) ; 69. Camille Saint-Saens - Calme des nuits ; 70. Gabriel Faure - Requiem (Agnus Dei) ; Italy ; 71. Giuseppe Verdi - Messa da Requiem (Sanctus) ; Austria and Germany ; 72. Ludwig van Beethoven - Mass in C Major op.86 (Kyrie) ; 73. Felix Mendelssohn - Elias (Siehe, der Huter Israels) ; Elijah (He, watching over Israel) ; 74. Robert Schumann - Minnespiel op.101 (So wahr die Sonne scheinet) ; 75. Franz Liszt - Ave verum ; 76. Anton Bruckner - Os justi ; 77. Johannes Brahms - Ein deutsches Requiem (Selig sind, die da Leid tragen) ; 78. Johannes Brahms - Waldesnacht, du wunderkuhle ; 79. Joseph Rheinberger - Abendlied op.69 no.3 ; 80. Antonin Dvo?ak -V p?irod? (Napadly pisn? v dusi mou) ; Russia ; 81. Anton Arensky - Otche nash ; 82. Aleksandr Grechaninov - Svete tihiy ; 83. Pavel Chesnokov - Duh tvoy blagiy ; 84. Serge Rachmaninoff - Vsenoshchnoye bdeniye (Bogoroditse devo) ; England ; 85. Hubert Parry - Songs of Farewell (My soul, there is a country) ; 86. Charles Villiers Stanford - Beati quorum via ; 87. Edward Elgar - As torrents in summer ; The United States ; 88. Lowell Mason - Nearer, my God, to thee ; 89. Edward MacDowell - The brook ; 90. Amy Beach - Three Shakespeare Choruses ; (Through the house give glimmering light) ; The Modern Era ; France and Switzerland ; 91. Claude Debussy - Trois Chansons de Charles d'Orleans ; (Dieu! qu'il la fait bon regarder) ; 92. Maurice Ravel - Trois Chansons (Nicolette) ; 93. Frank Martin - Mass (Agnus Dei) ; 94. Arthur Honegger - Le roi David (La mort de David) ; 95. Lili Boulanger - Vieille Priere bouddhique ; 96. Francis Poulenc - Quatre motets pour le temps de Noel ; (Hodie Christus natus est) ; 97. Maurice Durufle - Requiem (In paradisum) ; Austria and Germany ; 98. Arnold Schoenberg - Vier Stucke op.27 (Unentrinnbar) ; 99. Anton Webern - Entflieht auf leichten Kahnen ; 100. Paul Hindemith - Six Chansons (La biche) ; 101. Hugo Distler - Lobe den Herren op.6, I, no.2 ; Italy and Spain ; 102. Pablo Casals - O vos omnes ; 103. Luigi Dallapiccola - Sei cori di Michelangelo Buonarroti il giovane ; (Il coro delle malmaritate) ; Hungary, Poland, and the Czech Republic ; 104. Bela Bartok - Styri slovenske piesne (Na holi) ; 105. Zoltan Kodaly - Missa brevis (Kyrie) ; 106. Krzysztof Penderecki - Passio et mors domini nostri Jesu Christi secundum Lucam (Final scene) ; Russia and Estonia ; 107. Igor Stravinsky - Mass (Gloria) ; 108. Sergey Prokofiev - Aleksandr Nevsky (Aleksandr's Entry in Pskov) ; 109. Veljo Tormis - Laulusild ; 110. Arvo Part - Berliner Messe (Kyrie) ; Sweden, Norway, Denmark, and Finland ; 111. Jean Sibelius - Finlandia ; 112. Einojuhani Rautavaara - Suite de Lorca (Cancion de jinete) ; 113. Per Norgard - I hear the rain ; England ; 114. Ralph Vaughan Williams - Five English Folk Songs (The dark-eyed sailor) ; 115. Gustav Holst - Lullay my liking ; 116. Herbert Howells - Like as the hart desireth the waterbrooks ; 117. William Walton - Set me as a seal upon thine heart ; 118. Michael Tippett - A Child of Our Time (Deep River) ; 119. Benjamin Britten - A Ceremony of Carols (Wolcum Yole) ; 120. Thea Musgrave - On the Underground Set 1 (Benediction) ; 121. John Tavener - Hymn to the Mother of God ; The United States ; 122. Charles Ives - Three Harvest Home Chorales (Harvest Home #1) ; 123. Randall Thompson - The Peaceable Kingdom ; (The paper reeds by the brooks) ; 124. Vincent Persichetti - Flower Songs (Spouting Violets) ; 125. Daniel Pinkham - Four Elegies (At the round earths imagin'd corners) ; 126. Ned Rorem - Four Madrigals (Love) ; 127. Dominick Argento - Peter Quince at the Clavier (Movement IV) ; 128. Morten Lauridsen - Madrigali (Amor, io sento l'alma) ; 129. Eric Whitacre - Water Night ; Notes and Translations ; Genres ; Sources and Permissions ; Composer Index

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Book SynopsisComprises what remains of a gigantic cathedral codex commissioned in Bruges about 1463 and containing English, Franco-Flemish, and Italian sacred music of the fifteenth century - including works by the celebrated composers Guillaume Du Fay and Henricus Isaac.

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Book SynopsisComprises Giuseppe Verdi's two surviving secular choral works: "Inno popolare", or "Hymn of the People", for unaccompanied male chorus, and "Inno delle nazioni", or "Hymn of the Nations", for tenor solo, chorus, and orchestra.

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Book SynopsisA first-of-its-kind history, The Mormon Tabernacle Choir tells the epic story of how an all-volunteer group founded by persecuted religious outcasts grew into a multimedia powerhouse synonymous with the mainstream and with Mormonism itself. Drawing on decades of work observing and researching the Mormon Tabernacle Choir, Michael Hicks examines the personalities, decisions, and controversies that shaped America''s choir. Here is the miraculous story behind the Tabernacle''s world-famous acoustics, the anti-Mormonism that greeted early tours, the clashes with Church leaders over repertoire and presentation, the radio-driven boom in popularity, the competing visions of rival conductors, and the Choir''s aspiration to be accepted within classical music even as Mormons sought acceptance within American culture at large. Everything from Billboard hits to TV appearances to White House performances paved the way for Mormonism''s crossover triumph. Yet, as Hicks shows, such success raised Trade ReviewFinalist, Utah Book Award for Nonfiction, Utah Center for the Book, 2016. Honorable Mention, Best Biography, Mormon History Association, 2016. “Mormon history written by Mormons can be pretty dry, but Mr. Hicks, a professor of music at Brigham Young University, is funkier than your average saint. . . .the anecdotes alone are worth the price of the book.”--The Wall Street Journal "Tracking the choir from its humble beginnings in 1836 to moves into radio, international touring, and TV and film appearances, the material is as expansive in scope as the choir's reach has become. . . . Intriguing."--Library Journal "A well-done biography that best highlights the historical aspects of the growth of the choir and the vision of its several directors."--Association for Mormon Letters "While the historical information is well presented and highly engaging, it is the story of the choir's intersection with American society and culture, and Hicks' ability to bring out these nuances, that make this book a brilliant read."--The Journal of the Association of Anglican Musicians“Hicks documents plenty of intrigue in the leadership, mission and repertoire of ‘America's choir,’ . . . . this history is more provocative than readers may suspect.”--Kirkus Reviews "The Mormon Tabernacle Choir: A Biography is the most accessible and authoritative history of this unique musical ensemble yet published. . . . Required reading not only for Mormons and musicians, but for anyone who wants to learn about the realities of world-class music making in a hierarchal religious community."--Mormon Studies Review "This fascinating, honest account should find many eager readers among the Mormon Tabernacle Choir's millions of fans. Michael Hicks combines the accuracy of a fine historian with the sensitivity of a judicious music critic." --Daniel Walker Howe, Pulitzer-Prize-winning author of What Hath God Wrought: The Transformation of America, 1815–1848 "An invaluable retelling of one of America's most vibrant and important musical institutions." --Eric Whitacre "A fascinating history of the wonderful Mormon Tabernacle Choir. Michael Hicks traces the story of this great ensemble from its early days to its current status as one of the world's great choirs. He highlights the remarkable dedication and musicianship of the choir members through the years, and the leadership and vision of the conductors." --David Hurley, member of The King's Singers

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Book SynopsisA first-of-its-kind history, The Mormon Tabernacle Choir tells the epic story of how an all-volunteer group founded by persecuted religious outcasts grew into a multimedia powerhouse synonymous with the mainstream and with Mormonism itself. Drawing on decades of work observing and researching the Mormon Tabernacle Choir, Michael Hicks examines the personalities, decisions, and controversies that shaped America''s choir. Here is the miraculous story behind the Tabernacle''s world-famous acoustics, the anti-Mormonism that greeted early tours, the clashes with Church leaders over repertoire and presentation, the radio-driven boom in popularity, the competing visions of rival conductors, and the Choir''s aspiration to be accepted within classical music even as Mormons sought acceptance within American culture at large. Everything from Billboard hits to TV appearances to White House performances paved the way for Mormonism''s crossover triumph. Yet, as Hicks shows, such success raised Trade ReviewFinalist, Utah Book Award for Nonfiction, Utah Center for the Book, 2016. Honorable Mention, Best Biography, Mormon History Association, 2016. “Mormon history written by Mormons can be pretty dry, but Mr. Hicks, a professor of music at Brigham Young University, is funkier than your average saint. . . .the anecdotes alone are worth the price of the book.”--The Wall Street Journal "Tracking the choir from its humble beginnings in 1836 to moves into radio, international touring, and TV and film appearances, the material is as expansive in scope as the choir's reach has become. . . . Intriguing."--Library Journal "A well-done biography that best highlights the historical aspects of the growth of the choir and the vision of its several directors."--Association for Mormon Letters "While the historical information is well presented and highly engaging, it is the story of the choir's intersection with American society and culture, and Hicks' ability to bring out these nuances, that make this book a brilliant read."--The Journal of the Association of Anglican Musicians“Hicks documents plenty of intrigue in the leadership, mission and repertoire of ‘America's choir,’ . . . . this history is more provocative than readers may suspect.”--Kirkus Reviews "The Mormon Tabernacle Choir: A Biography is the most accessible and authoritative history of this unique musical ensemble yet published. . . . Required reading not only for Mormons and musicians, but for anyone who wants to learn about the realities of world-class music making in a hierarchal religious community."--Mormon Studies Review "This fascinating, honest account should find many eager readers among the Mormon Tabernacle Choir's millions of fans. Michael Hicks combines the accuracy of a fine historian with the sensitivity of a judicious music critic." --Daniel Walker Howe, Pulitzer-Prize-winning author of What Hath God Wrought: The Transformation of America, 1815–1848 "An invaluable retelling of one of America's most vibrant and important musical institutions." --Eric Whitacre "A fascinating history of the wonderful Mormon Tabernacle Choir. Michael Hicks traces the story of this great ensemble from its early days to its current status as one of the world's great choirs. He highlights the remarkable dedication and musicianship of the choir members through the years, and the leadership and vision of the conductors." --David Hurley, member of The King's Singers

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Book SynopsisEmpowering Song: Music Education from the Margins weaves together subversive pedagogy and theories of resistance with community music education and choral music, inspiring professionals to revisit and reconsider their pedagogical practices and approaches. The authors' unique insight into some of the most marginalized and justice-deprived contexts in the world prisons, refugee shelters, detention facilities, and migrant encampments breeds evocative and compassionate enquiry, laying the theoretical groundwork for pedagogical practices while detailing the many facets of equity-centered, musical leadership. Presenting an orientation to healing informed by theory, Empowering Song explores the ways in which music education might take on the challenging questions of cultural responsiveness within the context of justice, seeking to change not only how choral music is led but also our conceptions of why it should matter to all.Table of ContentsForeword by Bryonn Bain / Preface / PART 1 / 1 Musicking People / 2 Disrupting Practice / 3 Empowering Song / PART 2 / 4 Sounding Bodies / 5 Narrating Selves / 6 Dancing Stories / 7 Painting Dreams / Afterword 1 by Wayland Coleman / Afterword 2 by Truth / Epilogue

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Book SynopsisCan you change the world through song? This appealing idea has long been the aim of singers who are part of the Gay and Lesbian Association of Choruses. By taking a close look at these choruses and their mission, Heather MacLachlan unpacks the fascinating historical and cultural dynamics behind groups that seek to change society for the better.

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Book SynopsisThe Sixteen have become a household name. They are the Voices of Classic FM, and stars of the BBC Four series Sacred Music, presented by Simon Russell Beale. Every year since the millennium, they have undertaken a Choral Pilgrimage, bringing a programme of a cappella vocal music to around thirty cathedrals the length and breadth of the country. They are prolific recording artists, and perform at festivals and venues all over the world.Harry Christophers is a unique figure in music. With The Sixteen, Christophers has succeeded in nurturing a choir of exceptional calibre, establishing a business model that includes a record label and extensive tours to capacity audiences, mining a rich variety of repertoire, and combining enormous popular appeal with the stamp of approval from experts. This book will be accessible to everyone, regardless of musical experience or knowledge. It will appeal to anyone interested in classical music, to those who sing in amateur or professional cho

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