By Richard Strauss, Opera and Choral Scores
Essentially the most frequently played of Strauss' musical works, this landmark of contemporary opera scandalized early 20th-century audiences with its startling dissonance and unconventional harmonics. this day, it really is well-liked for virtuosic invention of musical principles and using instrumental sonorities to represent either people and activities. Reprinted at once from the authoritative F?rstner variation.
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Additional resources for Elektra in Full Score
Developments and Trends 1 II. Survey of Works 14 Adler, Samuel (b. 1928) 14 The Binding (1967) 15 A Whole Bunch of Fun (1969) 17 Amram, David Werner (b. 1930) 19 A Year in Our Land (1964) 19 Barber, Samuel (1910-81) 21 The Lovers, op. 43 (1971) 23 Bernstein, Leonard (1918-1990) 25 Kaddish, Symphony No. 3 (1961-63) 27 Mass (1970-71) 30 Bliss, Sir Arthur (1891-1975) 34 Pastorale: Lie Strewn the White Flocks (1928-29) 35 Morning Heroes (1929-30) 36 Golden Cantata ("Music in the Golden Form") (1963) 39 Britten, (Edward) Benjamin (1913-76) 40 Saint Nicolas, op.
W. Wilson Company. Petersen, Barbara: "Amram, David," in The New Grove Dictionary of American Music, edited by H. Wiley Hitchock, i: 44-45. 4 volumes. London: Macmillan, 1986. A Year in Our Land (1964) Duration: ca. 25 minutes Text: The texts of this work reflect both the idealism and frustration of the American experience. 6 Performing Forces: voices: soprano, alto, tenor, and bass soloists; SATB choir; orchestra: 2 flutes, 2 oboes (oboe II doubling English horn), 2 clarinets (clarinet II doubling bass clarinet), 2 bassoons (bassoon II doubling contrabassoon), 2 horns, 2 trumpets, 2 trombones, timpani, percussion (3 players - snare drum, bass drum, bongos, tom toms, crash cymbals, suspended cymbal, Chinese gong, triangle, xylophone, Parsifal chime), piano, and strings.
Hoist suggests that the trombonist who begins the work should familiarize himself with the style and nuances of these chants disregarding the literalism of the notation. Anglican chant notation is used in one passage of Elgar's The Apostles. Narrator The role of a narrator has existed in choral-orchestral works for centuries, as in the Evangelists of baroque Passions. In this century, composers have introduced spoken narrations into many of these works. The spoken texts serve as literal narrations, introductions, or as a way to present text unhampered by a musical setting.