By David Daniels
Also on hand: Orchestral tune Online
This fourth variation of the hugely acclaimed, vintage sourcebook for making plans orchestral courses and organizing rehearsals has been improved and revised to add forty two% extra compositions over the 3rd version, with clearer entries and a extra invaluable procedure of appendixes. Compositions disguise the traditional repertoire for American orchestra. beneficial properties from the former variation that experience replaced and new additions include:
· higher actual layout (8.5 x eleven vs. 5.5 x 8.5)
· increased to 6400 entries and virtually 900 composers (only 4200 in third Ed.)
· Merged with the yankee Symphony Orchestra League's OLIS (Orchestra Library info Service)
· more desirable particular details on woodwind & brass doublings
· Lists of required percussion gear for plenty of works
· New, extra intuitive structure for instrumentation
· extra contents notes and periods of person movements
· Composers' citizenship, beginning and demise dates and locations, built-in into the listings
· Listings of beneficial web content for orchestra execs
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Extra info for Orchestral music : a handbook
Sample text
Marshall Burlingame, now principal librarian of the Boston Symphony Orchestra, did the research work, devoting much of his winter season activity for three years to this important task. At first it was in an index card format, but it soon became computerized. Alas, in the late 1990s, OLIS began to suffer from lack of maintenance and updating. At this point, Kazue McGregor, librarian of the Los Angeles Philharmonic, had the happy idea of combining OLIS and “Daniels” into one über-database that would capitalize on the best features of each.
Smith’s Composition Tan—On Taoism Heitzeg—On the Day You Were Born; Voice of the Everglades Roter—TR: A “Bully” Portrait Richman—I Remember a Lullaby [2 actors] Puts—John Brown’s Body Territo—John Henry vs. the Machine 21’-30’ Saint-Saëns—Carnaval des animaux Stravinsky—Flood [narrator, 4 actors] Prokofiev—Peter and the Wolf Rogers—Musicians of Bremen Bacon—Fables; USania Harsányi—Histoire du petite tailleur Poulenc—Histoire de Babar Gould—Jogger and the Dinosaur [1 or 2 narrators/actors] Pinkham—Signs of the Zodiac Laderman—Magic Prison [2 narrators, 1 female, 1 male] Duffy—Time for Remembrance Nelson, Ron—This is the Orchestra Shchedrin—Anna Karenina: Romantic Music Zaninelli—Beginnings; Lexicon of Beasties; Steadfast Tin Soldier Harmon—Earth Day Portrait [1-4 narrators] Schickele—Chenoo Who Stayed to Dinner Monroe—Amazing Symphony Orchestra Schwantner—New Morning for the World Bond—What’s the Point of Counterpoint?
Probably the cymbals weren’t added indiscriminately to every single note, but were applied with a certain amount of taste and discretion—a vague and not terribly helpful recipe. A related question is whether two players are required in these cases, or whether mounting one cymbal on the bass drum and clashing it with the other is acceptable. Some say that attaching one cymbal spoils its tone; others that having a single musician play both instruments has compensating virtues. I have switched from the former to the latter position, after hearing Jeffrey Fischer, a Boston percussionist, play with exquisite delicacy the two instruments at once.
