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symphony and not an opera. Second, since duets of this nature have been handled vocally a thousand times by the greatest masters, it was wise as well as unusual to attempt another means of expression. It is also because the very sublimity of this love made its depiction so dangerous for the musician that he had to give his imagination a latitude that the positive sense of the sung words would not have given him, resorting instead to instrumental language, which is richer, more varied, less precise, and by its very indefiniteness incomparably more powerful in such a case.
29:
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896:"the most important alike in technical experiment and in inspiration", was written for a choir of at least 200, the composer specifying "'not less than 10 voices for each part,'" a work with 20 separate vocal parts. Using these forces, Bantock formed groups "of different weights and colors to get something of the varied play of tints and perspective ". In addition, the choir is generally divided into three sections, approximating the timbres of woodwinds, brass and strings. Within these divisions, Antcliffe writes,
1125:, which he wanted to emulate in this work. While the Ninth Psalm's theme conveyed Shostakovich's outrage over Stalin's oppression, a public performance of a work with such a text would have been impossible before the German invasion. Hitler's aggression made the performance of such a work feasible, at least in theory; the reference to "blood" could then be associated at least officially with Hitler. With Stalin appealing to the Soviets' patriotic and religious sentiments, the authorities were no longer suppressing
988:", is written in 12 movements to fulfill its programmatic intent. Glass writes, "My plan has been for the symphony to represent a broad spectrum of many of the world's great 'wisdom' traditions", synthesizing "a vocal text that begins before the world's creation, passes through earthly life and paradise, and closes with a future dedication". Glass writes that he considered the millennium at the beginning of the 21st century to be a symbolic bridge between past, present and spiritual rebirth.
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strictly, as in the case of
Rachmaninoff, Britten and Shostakovich, or whether they expand symphonic form, as in the case of Berlioz, Mahler and Havergal Brian. Sometimes the choice of text has led the composer to different symphonic structures, as with Szymanowski, Schnittke and, again, Havergal Brian. The composer can also choose to treat the text fluidly, in a manner more like music than narrative. Such was the case with Vaughan Williams, Mahler and Philip Glass.
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of important words and phrases, and the transposing, reordering or omission of passages of the set text. The text often determines the basic symphonic outline, while the orchestra's role in conveying the musical ideas is similar in importance to that of the chorus and soloists. Even with a symphonic emphasis, a choral symphony is often influenced in musical form and content by an external narrative, even in parts where there is no singing.
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224:, had shown "the limits of purely instrumental music" and marked "the end of the symphony as a vital genre". Others were not sure how to proceed—whether to emulate the Ninth by writing symphonies with choral finales, or to develop the symphony genre in a purely instrumental fashion. Eventually, musicologist Mark Evan Bonds writes, the symphony was seen "as an all-embracing, cosmic drama that transcended the realm of sound alone".
1037:. The tenor soloist, accompanied by the chorus, sings the last two lines of the text. "With the addition of the 'Chorus Mysticus' text", Shulstad writes, "the Gretchen theme has been transformed and she no longer appears as a masked Faust. With this direct association to the final scene of the drama we have escaped Faust's imaginings and are hearing another voice commenting on his striving and redemption".
1265:
733:—the four sections of the symphony represent, in its composer's words, "the progress of Winter to Spring and the reawakening of the earth and life which that means.... It is in the traditional four movement shape of a symphony, but with the movements divided into shorter sections bound together by a similar mood or point of view."
927:. The text is a combination of poems celebrating the Australian wilderness and visionary Christianity, its jagged lines and rhythms matched by the music. Mitchell writes, "Of all his choral works, with the possible exception of the Requiem for a Tribe Brother, the Symphony is the most Australian in feeling".
291:, which integrates text throughout the body of the work. After Mahler, the choral symphony became a more common genre, taking a number of compositional turns in the process. Some composers, such as Britten, Rachmaninoff, Shostakovich and Vaughan Williams, followed symphonic form strictly. Others, such as
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If, in the famous garden and cemetery scenes the dialogue of the two lovers, Juliet's asides, and Romeo's passionate outbursts are not sung, if the duets of love and despair are given to the orchestra, the reasons are numerous and easy to comprehend. First, and this alone would be sufficient, it is a
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Almost every possible means of vocal expression is employed separately or in combination with others. To hear the different parts of the choir describing in word and tone "laughter" and "tears" respectively at the same time is to realize how little the possibilities of choral singing have as yet been
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became appreciated at a time where fluidity of structure was becoming more attractive than traditional, metrical settings of text. This fluidity helped facilitate the non-narrative, symphonic treatment of text that
Vaughan Williams had in mind. In the third movement in particular, the text is loosely
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discusses how the text was to be treated as music. The composer writes, "The plan of the work is symphonic rather than narrative or dramatic, and this may be held to justify the frequent repetition of important words and phrases which occur in the poem. The words as well as the music are thus treated
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Even though voices are often used, it is neither a concert opera nor a cantata, but a choral symphony. If there is singing, almost from the beginning, it is to prepare the listener's mind for the dramatic scenes whose feelings and passions are to be expressed by the orchestra. It is also to introduce
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had established itself by the end of the 18th century as the most prestigious of instrumental genres. While the genre had been developed with considerable intensity throughout that century and appeared in a wide range of occasions, it was generally used as an opening or closing work; in between would
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and makes it complete, another Liszt expert, Reeves
Shulstad, suggests that Liszt changed the work's dramatic focus to the point of meriting a different interpretation of the work itself. According to Shulstad, "Liszt's original version of 1854 ended with a last fleeting reference to Gretchen and an
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prison camp, the seven crosses symbolizing the seven death sentences; the ordeal of the one prisoner who makes it to freedom becomes the crux of the text. Penderecki's
Seventh Symphony of 1996, subtitled "Seven Gates of Jerusalem" and originally conceived as an oratorio, is not only written in seven
645:. They would sound very different when heard separately, yet harmonious when heard together. To facilitate maximum clarity in this interplay of voices, Stravinsky used "a choral and instrumental ensemble in which the two elements should be on an equal footing, neither of them outweighing the other".
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a fresh approach to the epic nature of the symphony as he used voices to blend music and narrative but saved crucial moments of that narrative for the orchestra alone. In doing so, Bonds writes, Berlioz illustrates for subsequent composers "new approaches for addressing the metaphysical in the realm
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sacred trinity. Glass wrote about the work's respective movement headings and their relation to the overall structure of the symphony, "'The Corn' represents a direct link between Mother Earth and the well-being of human beings.... 'The Sacred Root' is found in the high deserts of north and central
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choir split into eight parts. Harris focused on harmony, rhythm and dynamics, allowing the text by Walt
Whitman to dictate the choral writing. "In a real sense, the human strivings so vividly portrayed in Whitman's poetry find a musical analog to the trials to which the singers are subjected", John
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In other cases, the choice of text has led the composer to different symphonic structures. Havergal Brian allowed the form of his Fourth
Symphony, subtitled "Das Siegeslied" (Psalm of Victory), to be dictated by the three-part structure of his text, Psalm 68; the setting of Verses 13–18 for soprano
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The term "choral symphony" indicates the composer's intention that the work be symphonic, even with its fusion of narrative or dramatic elements that stems from the inclusion of words. To this end, the words are often treated symphonically to pursue non-narrative ends, by use of frequent repetition
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Mahler's intent in writing his Eighth
Symphony for exceptionally large forces was a similar balance between vocal and instrumental forces. It was not simply an attempt at grandiose effect, though the composer's use of such forces earned the work the subtitle "Symphony of a Thousand" from his press
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and finale, or as with many instrumental symphonies, it may use a different structure of movements. The written text in a choral symphony shares equal standing with the music, as in an oratorio, and the chorus and soloists share equality with the instruments. Over time the use of text allowed the
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be works that included vocal and instrumental soloists. Because of its lack of written text for focus, it was seen as a vehicle for entertainment rather than for social, moral or intellectual ideas. As the symphony grew in size and artistic significance, thanks in part to efforts in the form by
1033:, based on the most majestic of themes from the opening movement. One might say that this conclusion remains within the persona of Faust and his imagination". When Liszt rethought the piece three years later, he added a "Chorus mysticus", the male chorus singing the final words from Goethe's
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As in an oratorio, the written text in a choral symphony can be as important as the music, and the chorus and soloists can participate equally with the instruments in the exposition and development of musical ideas. The text can also help determine whether the composer follows symphonic form
1199:, the orchestra provides an extended running commentary that can continue much longer than the section of the mass being performed. Sometimes the commentary follows a particular chorale but more often is freer and wider ranging in style. Despite the resulting stylistic disparity, biographer
1180:, Berlioz created a model for how a dramatic text could guide the structure of a choral symphony without circumventing that work from being recognizably a symphony. In this sense, musicologist Mark Evans Bonds writes, the symphonies of Liszt and Mahler owe a debt of influence to Berlioz.
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Mexico, and is understood to be the doorway to the world of the Spirit. 'The Blue Deer' is considered the holder of the Book of
Knowledge. Any man or woman who aspires to be a 'Person of Knowledge' will, through arduous training and effort, have to encounter the Blue Deer...."
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Vaughan
Williams was not the only composer following a non-narrative approach to his text. Mahler took a similar, perhaps even more radical approach in his Eighth Symphony, presenting many lines of the first part, "Veni, Creator Spiritus", in what music writer and critic
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and sections for chorus; this made the vocal part longer than the three purely orchestral sections that preceded it. Liszt wrote two choral symphonies, following in these multi-movement forms the same compositional practices and programmatic goals he had established in
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movements but, musicologist
Richard Whitehouse writes, is "pervaded by the number 'seven' at various levels." An extensive system of seven-note phrases binds the work together, as well as the frequent use of seven notes repeated at a single pitch. Seven chords played
1214:, reflecting the composer's own religious dilemma at the time it was written, is more complex in execution, with the majority of it expressed wordlessly. In the 22 variations that make up the symphony's single movement, Schnittke enacts the 15 traditional
771:. 'A Career' is an attack on bureaucrats and a tribute to genuine creativity". Music historian Boris Schwarz adds that the poems, in the order Shostakovich places them, form a strongly dramatic opening movement, a scherzo, two slow movements and a finale.
814:. This piece is actually in seven movements, and calls for an intermission after the fourth movement – the "Queen Mab Scherzo" – to remove the harps from the stage and bring on the chorus of Capulets for the funeral march that follows. Berlioz biographer
1218:, which highlight important moments in the life of Christ. As he did in the Second Symphony, Schnittke simultaneously gives a detailed musical commentary on what is being portrayed. Schnittke does this while using church music from the Catholic,
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in Russian or Latin. The programmatic intent of using these different types of music, Ivashkin writes, is an insistence by the composer "on the idea ... of the unity of humanity, a synthesis and harmony among various manifestations of belief".
1119:. Shostakovich reportedly intended to set a text for the Seventh from the Ninth Psalm, on the theme of vengeance for the shedding of innocent blood. In doing this he was influenced by Stravinsky; he had been deeply impressed with the latter's
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writes that as Berlioz kept the idea of symphonic construction closely in mind, he allowed the orchestra to express the majority of the drama in instrumental music and set expository and narrative sections in words. Fellow musicologist
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referred to as "an incredibly dense growth of repetitions, combinations, inversions, transpositions and conflations". He does the same with Goethe's text in Part Two of the symphony, making two substantial cuts and other changes.
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agent (a name still applied to the symphony). Like Stravinsky, Mahler makes extensive and extended use of counterpoint, especially in the first part, "Veni Creator Spiritus". Throughout this section, according to music writer
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theme of Jewish suffering with Yevtushenko's verses about other Soviet abuses: "'At the Store' is a tribute to the women who have to stand in line for hours to buy the most basic foods,... 'Fears' evokes the terror under
838:, the "Resurrection", the vocal fourth movement, "Urlicht", bridging the childlike faith of the third movement with the ideological tension Mahler seeks to resolve in the finale. He then abandoned this pattern for his
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choral symphony to evolve from an instrumental symphony with a choral finale, as in the Beethoven's Ninth, to a composition that can use voices and instruments throughout the entire composition, as in Stravinsky's
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themes or images. Nevertheless, Shostakovich eventually realized that the work encompassed far more than this symbology. He expanded the symphony to the traditional four movements and made it purely instrumental.
431:, a choral symphony is a musical work for orchestra, choir and (often) solo voices, although a few have been written for unaccompanied voices. Berlioz, who in 1858 first coined the term when describing his work
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and Gothic cathedral architecture. The Brian First is in two parts. The first consists of three instrumental movements; the second, also in three movements and over an hour in length, is a Latin setting of the
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After Liszt, Mahler took on the legacy of Beethoven in his early symphonies, in what Bonds terms "their striving for a utopian finale". Towards this end Mahler used a chorus and soloists in the finale of his
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Conversely, a text can also spark the birth of a choral symphony, only for that work to become a purely instrumental one when the programmatic focus of the work changes. Shostakovich originally planned his
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observed that, "as Berlioz saw it, the work is simply Beethovenian in design, with the narrative elements overlain. Its core approaches a five-movement symphony with the choral finale and, as in the
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The actual number of variations in the Schnittke Fourth Symphony is "a subtle non-synchronicity" of the piece, considering the "3 by 5 scheme" of the Rosary these variations are reportedly based on.
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descriptive and can be "pushed about by the music", some lines being repeated, some not consecutive in the written text immediately following one another in the music, and some left out entirely.
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it also amassed greater prestige. A concurrent change in attitude toward instrumental music in general also took place, and the lack of text, once seen as a handicap, became considered a virtue.
1095:. However, Liszt's son-in-law Richard Wagner persuaded him that no earthly composer could faithfully express the joys of Paradise. Liszt dropped the third movement but added a choral element, a
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More recently, Alfred Schnittke allowed the programmatic aspects of his texts to dictate the course of both his choral symphonies even when no words were being sung. Schnittke's six-movement
1203:
comments, "musically almost all these sections blend the choral tune and subsequent extensive orchestral 'commentary.'" The work becomes what Schnittke called an "Invisible Mass", and
806:
A composer may also respond to a text by expanding a choral symphony beyond the normal bounds of the symphonic genre. This is evident in the unusual orchestration and stage directions
664:, writing in his program note for the work, "It is also noticeable that the orchestra has an equal share with the chorus and soloists in carrying out the musical ideas". Music critic
674:, concurred with the composer, writing, "It is the nearest approach we have to a real choral symphony, one in which the voices are used throughout just as freely as the orchestra."
102:, with text sung by soloists and chorus in the last movement. It is the first example of a major composer's use of the human voice on the same level as instruments in a symphony.
762:) prompted him to proceed to a full-length choral symphony, with "A Career" as the closing movement. Musicologist Francis Maes comments that Shostakovich did so by complementing
586:, the text contains no actual words; the composer states that it is instead formed "from loose syllables that add to the evocative context of the overall orchestral texture".
220:
by introducing text and voice into a previously instrumental genre. His doing so sparked a debate on the future of the symphony itself. Beethoven's use of words, according to
1099:, at the end of the second. This action, Searle claims, effectively destroyed the work's formal balance and left the listener, like Dante, to gaze upward at the heights of
498:, yet stay within the basic structural or aesthetic intent of symphonic form. It can also influence the musical content in parts where there is no singing, as in
754:
almost immediately upon reading it, initially considering it a single-movement composition. Discovering three other Yevtushenko poems in the poet's collection
133:, among others. The final years of the 20th century and the opening of the 21st century have seen several new works in this genre, among them compositions by
1103:
and hear its music from afar. Shulstad suggests that the choral finale actually helps complete the work's programmatic trajectory from struggle to paradise.
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grasped by the ordinary conductor and composer. Such combinations are extremely effective when properly achieved, but they are very difficult to achieve.
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As a manifesto, this paragraph became significant for the amalgamation of symphonic and dramatic elements in the same musical composition. Musicologist
1310:
also uses a concluding chorus. Written in 1814, it predates Beethoven's Ninth by a decade. However, as an occasional work written in one movement, the
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and to guide its content, he also showed how an orchestra could supplant such a text wordlessly to further illustrate it. He wrote in his preface to
3820:, baritone; Warsaw National Philharmonic Choir and Warsaw National Philharmonic Orchestra conducted by Antoni Wit. (Hong Kong: Naxos Records, 2008.)
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Sometimes the text can give a basic outline that correlates to the four-movement scheme of a symphony. For instance, the four-part structure of
842:, as two movements for voices and orchestra follow three purely instrumental ones before the finale returns to instruments alone. Like Mahler,
380:
923:. Lewis Mitchell writes that the work is not a symphony in any true sense, but rather a four-movement work preceded by an invocation for solo
1195:, works programmatically on two levels simultaneously. While soloists and chorus briefly perform the mass, set to chorales taken from the
440:
the choral masses gradually into the musical development, when their too sudden appearance would have damaged the compositions's unity....
942:
in Jerusalem. Penderecki's Seventh Symphony, subtitled "Seven Gates of Jerusalem", is "pervaded by the number 'seven' at various levels".
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494:. The text can encourage a composer to expand a choral symphony past the normal bounds of the symphonic genre, as with Berlioz for his
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also sing wordlessly at two points in the symphony. The composition saves words for a finale that uses all four types of church music
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A few composers have written symphonies for unaccompanied chorus, in which the choir performs both vocal and instrumental functions.
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Throughout the history of the choral symphony, works have been composed for special occasions. One of the earliest was Mendelssohn's
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reflected the four-part progression from youth to marriage, maturity, and death in Poe's poem. Britten reversed the pattern for his
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symphonies were conceived as purely instrumental works and only later became choral symphonies. However, while Liszt authority
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martial ones set for massive choral and orchestral forces. Likewise, Szymanowski allowed the text by 13th-century Persian poet
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Other works take the use of text as music still further. Vaughan Williams uses a chorus of women's voices wordlessly in his
578:, to help set the bleakness of the overall atmosphere. While a chorus is used in the second and third movements of Glass's
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Some efforts from the end of the twentieth century paid less attention to symphonic form and more to programmatic intent.
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calls the "single tripartite movement" and "overall arch structure" of his Third Symphony, subtitled "Song of the Night".
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113:, followed Beethoven in producing choral symphonic works. Notable works in the genre were produced in the 20th century by
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Addition of a text can effectively change the programmatic intent of a composition, as with the two choral symphonies of
3058:(notes). Kathryn Cook, alto; Joyful Company of Singers conducted by Peter Broadbent. Hong Kong: Naxos Records. 8.557783.
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faiths, the orchestral texture becoming extremely dense from the many musical strands progressing at the same time. A
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expanded the Beethovenian model, but on a much larger scale and with far larger orchestral and choral forces, in his
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changed both the structural and programmatic intent of the work. Liszt's intent was to follow the structure of the
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In the final years of the 20th century and the early years of the 21st, more such choral symphonies were written.
3152:(notes). Roberts Wesleyan College Chorale conducted by Robert Shewan. Albany, New York: Albany Records. TROY 164.
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2775:(notes). Marina Katsman, contralto; Yaroslav Zdorov, countertenor; Oleg Dorgov, tenor; Sergei Veprintsev, bass;
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Todd, R. Larry (2001). "Mendelssohn(-Bartholdy), (Jacob Ludwig) Felix". In Stanley Sadie; John Tyrrell (eds.).
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Symphonies as purely instrumental works, Mahler returned to the vein of "festival-symphonic ceremonial" in his
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Shostakovich and Stalin: The Extraordinary Relationship Between the Great Composer and the Brutal Dictator
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More recently, Glass based the philosophical and musical structure for his Seventh Symphony (2005) on the
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as such in his five-paragraph introduction to that work. The direct antecedent for the choral symphony is
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482:, a progression from youth to marriage, maturity, and death, naturally suggested the four movements of a
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Some composers both emulated and expanded upon Beethoven's model. Berlioz showed in his choral symphony
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1365:"Avant-Propos de l'auteur", Reiter-Biedermann's vocal score (Winterthur, 1858), p. 1. As quoted in
534:'s use of free verse became appreciated by composers seeking a more fluid approach to setting text.
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Profitt writes both of the music's difficulty for performers and of its highly evocative quality.
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vocalists that, in its internal workings and overall musical architecture, adheres broadly to
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that I am symphonizing". This decision was as much musical as it was textual. Stravinsky's
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While Berlioz allowed the programmatic aspects of his text to shape the symphonic form of
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wrote his Symphony for Voices between 1960 and 1962, setting texts by Australian poet
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as one of several pieces commissioned to celebrate the beginning of the 21st century.
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expanded the Beethovenian model for programmatic as well as symphonic reasons in his
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3013:; Erica Pomerans. Berkeley, Los Angeles and London: University of California Press.
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Antcliffe, Herbert (1918). "A Brief Survey of the Works of Granville Bantock".
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was the first to use the term "choral symphony" for a musical composition—his
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3435:(1980). "Symphony: II. 19th century". In Stanley Sadie; John Tyrrell (eds.).
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while balancing the contributions of a narrator, a chorus and an orchestra.
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as a work for chorus, soloists and orchestra. Labeling the work a "symphony-
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3752:(Berkeley, Los Angeles and London: University of California Press, 2003).
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3296:. Cambridge and New York: Cambridge University Press. pp. 206–222.
379:'s Symphony No. 4: Of the Chorals Odes was for the 150th anniversary of
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3190:
2859:
1096:
1085:
939:
910:
905:
784:
660:
Vaughan Williams also insisted on a balance between words and music in
657:
adds that Mahler handles his huge forces "with extraordinary clarity".
550:
453:
445:
247:
95:
3286:
Shulstad, Reeves (2005). "Liszt's symphonic poems and symphonies". In
954:
in seven movements, basing the structure of the symphony on the novel
795:
775:
solo and orchestra forms a quiet interlude between two wilder, highly
1227:
1024:
asserts that Liszt's later inclusion of a chorus effectively sums up
924:
802:
first expanded the model set by Beethoven's Ninth, then abandoned it.
507:
392:
234:
206:
54:
3000:
conducted by Simon Joly. Albany, New York: Albany Records. TROY 180.
2867:
Larue, Jan; Wolf, Eugene K. (2001). "Symphony: I. 18th Century". In
1040:
184:
redefined the symphony genre by introducing words and voices in his
3635:(2nd ed.). Princeton, New Jersey: Princeton University Press.
3547:, piano; Evgeniya Khlynova, celesta; Elena Adamovich, harpsichord;
2565:, cello; Yip's Children's Choir; Imperial Bells Ensemble of China;
2562:
746:
483:
424:
193:
66:
1965:
549:'s poems inspired him to write the symphony, and Whitman's use of
456:
and choruses, a choral symphony is structured like a symphony, in
3685:, completely revised 2009 edition (London: Penguin Books, 2008).
2556:
1223:
1196:
992:
985:
977:
860:
642:
461:
396:
272:
239:
142:
28:
3239:
Schwarz, Boris (1980). "Shostakovich, Dmitry (Dmitryevich)". In
976:
Philip Glass's Fifth Symphony, completed in 1999 and subtitled "
1100:
709:
638:
634:
202:
2633:. Cambridge, London and New York: Cambridge University Press.
2229:
850:. Written between 1919 and 1927, the symphony was inspired by
3543:(notes). Iarslav Zdorov, countertenor; Dmitri Pianov, tenor;
3505:. Translated by Antonina W. Bouis. New York: The Free Press.
3105:. BBC Music Guides. Seattle: University of Washington Press.
3007:
A History of Russian Music: From 'Kamarinskaya' to 'Babi Yar'
2060:
1406:
1231:
981:
965:
428:
198:
58:
3564:. Berkeley and Los Angeles: University of California Press.
2241:
935:
685:
composed a symphonic "musical setting" in ten movements for
2408:
780:
449:
444:
Unlike oratorios or operas, which are generally structured
72:. The term "choral symphony" in this context was coined by
3583:(2nd ed.). Berkeley: University of California Press.
2597:
Bonds, Mark Evan (2001). "Symphony: II. 19th century". In
1530:
964:. The novel recounts the flight of seven fugitives from a
744:, was only slightly less straightforward. He set the poem
326:, subtitled "Copernican", was commissioned in 1973 by the
2369:
1938:
2132:
1686:
1674:
2306:
2294:
2282:
2253:
2217:
2120:
1761:
1518:
1314:"stands outside the generic tradition of the symphony".
216:
In 1824, Beethoven redefined the symphony genre in his
3662:(Oxford and New York: Oxford University Press, 2002).
2734:. Cambridge, Massachusetts: Harvard University Press.
2396:
2108:
2072:
2006:
1994:
1372:
1157:
but allowed the music to supplant the text wordlessly.
1060:
Likewise, Liszt's inclusion of a choral finale in his
867:
621:
to be sung. On the contrary, it is the singing of the
3035:. Vol. 11. London: Macmillan. pp. 505–529.
2527:
2515:
2486:
2096:
2084:
999:
334:
to celebrate the 500th anniversary of the astronomer
3524:. Translated by Antonina W. Bouis. New York: Knopf.
2973:(notes). Jana Valaskova, soprano; Slovak Choirs and
1553:
Britten, Benjamin, "A Note on the Spring Symphony",
1260:
617:
that "it is not a symphony in which I have included
2682:"Symphony No. 7 – A Toltec Symphony, program notes"
2018:
1637:
1635:
1111:as a single-movement choral symphony much like his
696:
3771:and Russian State Symphony Orchestra conducted by
3767:; Larissa Kostyuk, contralto; Oleg Dolgov, tenor;
3551:and Russian State Symphony Orchestra conducted by
3197:. White Plains, New York: Pro/Am Music Resources.
3150:I Hear America Singing! Choral Music of Roy Harris
1731:
1153:Berlioz allowed text to dictate symphonic form in
3701:Shostakovich: His Life and Music (Life and Times)
1662:
828:of subsections and the descriptive tomb scene ."
790:
368:, subtitled "Te Deum", to commemorate the end of
338:. In between these two works, in 1930, conductor
90:. Beethoven's Ninth incorporates part of the ode
3826:
3417:. Oxford and New York: Oxford University Press.
3398:. Oxford and New York: Oxford University Press.
3267:(1980). "Liszt, Franz". In Stanley Sadie (ed.).
3211:
2804:. Oxford and New York: Oxford University Press.
2235:
1880:
1878:
1876:
1831:
1829:
1827:
1632:
1463:
1461:
1207:termed "a symphony against a chorale backdrop".
1056:. Dante's hearing the music of Heaven from afar.
3784:The New Grove Dictionary of Music and Musicians
3765:Scriabin: Symphony No. 1; Rachmaninov: Choruses
3720:The New Grove Dictionary of Music and Musicians
3458:The New Grove Dictionary of Music and Musicians
3438:The New Grove Dictionary of Music and Musicians
3269:The New Grove Dictionary of Music and Musicians
3246:The New Grove Dictionary of Music and Musicians
3172:The New Grove Dictionary of Music and Musicians
3130:The New Grove Dictionary of Music and Musicians
3080:The New Grove Dictionary of Music and Musicians
3069:(2001). "Schnittke , Alfred (Garriyevich)". In
3033:The New Grove Dictionary of Music and Musicians
2941:The New Grove Dictionary of Music and Musicians
2906:The New Grove Dictionary of Music and Musicians
2878:The New Grove Dictionary of Music and Musicians
2795:. Oxford and New York: Oxford University Press.
2659:The New Grove Dictionary of Music and Musicians
2608:The New Grove Dictionary of Music and Musicians
2178:
2176:
3802:Whitehouse, Richard, notes to Naxos 8.570450,
3460:(29 vols.) (2nd ed.). London: Macmillan.
3441:(20 vols.) (2nd ed.). London: Macmillan.
3271:(20 vols.) (1st ed.). London: Macmillan.
3249:(20 vols.) (1st ed.). London: Macmillan.
3175:(29 vols.) (2nd ed.). London: Macmillan.
3083:(29 vols.) (2nd ed.). London: Macmillan.
2935:(2001). "Brian, Havergal". In Stanley Sadie;
2881:(29 vols.) (2nd ed.). London: Macmillan.
2505:
2503:
2501:
2476:
2474:
2472:
2470:
2272:
2270:
2268:
1133:
513:
3738:Short, Michael, Notes for Hyperion CDA66660,
3683:The Penguin Guide to Recorded Classical Music
3541:Schnittke: Symphony No. 4; Three Sacred Hymns
3480:Testimony: The Memoirs of Dmitri Shostakovich
3156:
2705:"Notes by Philip Glass on his Fifth Symphony"
2648:Franklin, Peter (2001). "Mahler, Gustav". In
1971:
1873:
1824:
1721:
1719:
1717:
1715:
1713:
1622:
1620:
1493:
1491:
1489:
1458:
668:, writing about the premiere of the work for
3740:Holst: Choral Fantasy; First Choral Symphony
3317:, 2 vols. New York: Drake Publishing, 1972.
2444:
2442:
2440:
2438:
2331:interview with Sofiya Khentova in Khentova,
2207:
2205:
2173:
1797:
1795:
1652:
1650:
1448:
1446:
1444:
1431:
1429:
1427:
1425:
1423:
1421:
1389:
1387:
712:(pictured) and other Soviet abuses inspired
589:
522:
391:was for the third millennium of the city of
3681:and Paul Czajkowski, edited by Ivan March,
2631:Gustav Mahler: An Introduction to His Music
2498:
2467:
2318:
2265:
1955:
1953:
1863:
1861:
1248:. The choir can choose whether to sing the
490:, which he followed in his choral symphony
16:Musical composition for orchestra and choir
3750:Late Beethoven—Music, Thought, Imagination
3597:
2386:
2384:
2359:
2357:
2193:
2191:
2050:
2048:
2046:
1928:
1926:
1895:
1893:
1848:
1846:
1844:
1814:
1812:
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1617:
1607:
1605:
1592:
1590:
1588:
1575:
1573:
1571:
1569:
1486:
1344:
1342:
1340:
908:wrote his Symphony for Voices in 1935 for
246:by including sections for vocal soloists,
3742:(London: Hyperion Records Limited, 1993).
3605:Symphony No. 7 "Seven Gates of Jerusalem"
3431:
3412:
3390:
2965:
2931:
2895:
2866:
2862:. Hong Kong: HNH International. 8.555375.
2573:
2435:
2414:
2390:
2342:
2202:
2182:
2138:
2078:
1932:
1884:
1835:
1792:
1782:
1752:
1750:
1748:
1746:
1680:
1647:
1626:
1579:
1467:
1441:
1418:
1384:
242:", he expanded the choral finale to nine
3763:Taylor, Philip, notes to Chandos 10311,
3538:
3366:
3285:
3049:
3027:
2856:Polish National Radio Symphony Orchestra
2773:Schnittke: Symphony No. 2, "St. Florian"
2770:
2748:
2647:
2533:
2521:
2509:
2492:
2480:
2461:
2448:
2425:
2423:
2300:
2288:
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2223:
2211:
2126:
2066:
1950:
1914:
1912:
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1867:
1858:
1656:
1536:
1361:
1359:
1357:
1148:
1039:
934:
794:
700:
633:to function simultaneously, independent
593:
526:
232:of the symphony". Mendelssohn wrote his
176:
27:
3238:
3147:
3097:
2985:
2949:10.1093/gmo/9781561592630.article.03970
2915:10.1093/gmo/9781561592630.article.51424
2818:
2799:
2787:
2726:
2402:
2381:
2354:
2197:
2188:
2167:
2151:
2114:
2043:
2037:
2012:
2000:
1944:
1923:
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1890:
1852:
1841:
1818:
1807:
1801:
1786:
1778:
1776:
1602:
1596:
1585:
1566:
1508:
1506:
1412:
1366:
1348:
1337:
611:Stravinsky said about the texts of his
3827:
3630:
3581:Stravinsky: The Composer and His Works
3519:
3500:
3474:
3320:
3263:
3189:
3119:
2899:(1980). "Berlioz, (Louis-)Hector". In
2559:: Symphony 1997 (Heaven Earth Mankind)
2375:
2363:
2348:
2336:
2324:
2312:
2259:
2102:
2090:
1743:
1692:
1641:
930:
405:transfer of sovereignty over Hong Kong
105:A few 19th-century composers, notably
3626:. Hong Kong: Naxos Records. 8.557766.
3578:
3562:Benjamin Britten: His Life and Operas
3559:
3065:
2699:
2676:
2625:
2596:
2549:
2429:
2420:
2024:
1988:
1959:
1918:
1905:
1767:
1756:
1737:
1560:
1549:
1547:
1545:
1524:
1497:
1480:
1452:
1435:
1378:
1354:
3791:(London: Macmillan, 1980), 20 vols.
3727:. 20 vols. London: Macmillan, 1980.
3555:. Colchester: Chandos Records. 9463.
3455:
3004:
2837:
2783:. Colchester: Chandos Records. 9519.
2054:
1773:
1668:
1512:
1503:
1077:in three movements—one each for the
3372:Volume 2: Mahler to the Present Day
3350:Volume 2: Mahler to the Present Day
3344:
2943:(2nd ed.). London: Macmillan.
2840:GĂłrecki: Symphony No. 2; Beatus Vir
2793:The Works of Ralph Vaughan Williams
2662:(2nd ed.). London: Macmillan.
2611:(2nd ed.). London: Macmillan.
2584:(2). Boston: G. Schirmer: 333–346.
1611:
868:Symphonies for unaccompanied chorus
538:Vaughan Williams' program note for
418:
401:Symphony 1997: Heaven Earth Mankind
13:
3651:
3503:St. Petersburg: A Cultural History
3348:(1972). "Ralph Vaughan Williams".
2335:(Moscow, 1996), 234, as quoted in
1542:
1000:Words changing programmatic intent
679:Leaves of Grass: A Choral Symphony
572:, based on his music for the film
14:
3851:
3703:(London: Haus Publishers, 2007).
601:used chorus and orchestra in his
271:a vocal finale is sung by a solo
3775:(London: Chandos Records, 2005).
3769:State Symphony Capella of Russia
3549:State Symphony Capella of Russia
3293:The Cambridge Companion to Liszt
2850:, baritone; Polish Radio Choir,
2777:State Symphony Capella of Russia
2567:Hong Kong Philharmonic Orchestra
1263:
736:The gestation of Shostakovich's
708:'s poems about the terror under
697:Words determining symphonic form
348:for the 50th anniversary of the
23:Choral symphony (disambiguation)
3633:Shostakovich: A Life Remembered
3133:(20 vols.). London: Macmillan.
2975:Slovak Radio Symphony Orchestra
2454:
2157:
2144:
2030:
1977:
1698:
1473:
1317:
1242:as a four-part choir sings the
723:Rachmaninoff's choral symphony
3486:. New York: Harper & Row.
3123:(1980). "Milhaud, Darius". In
3031:(1980). Sadie, Stanley (ed.).
2802:The Oxford Dictionary of Music
2236:SchlĂĽren & Treichel (1998)
1402:Milken Archive of Jewish Music
1297:
791:Words expanding symphonic form
342:asked Stravinsky to write the
1:
3660:The Oxford Companion to Music
1284:
1029:... orchestral peroration in
469:or Mahler's Eighth Symphony.
318:. More than a century later,
263:, the "Resurrection". In his
3598:Whitehouse, Richard (2006).
3579:White, Eric Walter (1979) .
2771:Ivashkin, Alexander (1997).
1559:, Spring 1950. As quoted in
1331:
7:
3631:Wilson, Elizabeth (2006) .
3560:White, Eric Walter (1970).
3413:Steinberg, Michael (2005).
3161:(2001). "Counterpoint". In
3103:Vaughan Williams Symphonies
2966:MacDonald, Malcolm (n.d.).
1256:
1210:The program in Schnittke's
1134:Supplanting text wordlessly
973:bring the work to a close.
848:Symphony No. 1 "The Gothic"
514:Relation of words and music
10:
3856:
3717:"Bantock, Sir Granville",
3370:(1972). "Havergal Brian".
2981:. Naxos Records. 8.570308.
2542:
876:composed three such works—
409:People's Republic of China
172:
20:
3787:, 1st edition, edited by
3723:, 1st edition, edited by
3539:Weitzman, Ronald (1996).
3327:Volume 1: Haydn to Dvořák
3234:. London: EMI. EMI 56513.
2819:Kennedy, Michael (1990).
2800:Kennedy, Michael (1985).
2756:. London: Phaidon Press.
2711:. 79618-2. Archived from
1972:Sachs & Dahlhaus 2001
1279:List of choral symphonies
892:, called by musicologist
629:required several musical
590:Music and words as equals
523:Musical treatment of text
350:Boston Symphony Orchestra
3520:Volkov, Solomon (2004).
3501:Volkov, Solomon (1995).
3195:The Music of Szymanowski
3050:Mitchell, Lewis (2006).
2858:(Katowice) conducted by
2838:Kosz, Stanislaw (2001).
2550:Anon. (n.d.), notes for
1289:
358:Radiodiffusion Française
3324:(1972). "Franz Liszt".
2994:: Two Choral Symphonies
2569:(conductor not listed).
2333:In Shostakovich's World
1468:Larue & Wolf (2001)
1216:Mysteries of the Rosary
886:A Pageant of Human Life
671:The Manchester Guardian
352:and, in 1946, composer
3658:Latham, Alison (ed.).
3415:The Choral Masterworks
3148:Profitt, John (1995).
3005:Maes, Francis (2002).
2823:. New York: Schirmer.
1271:Classical music portal
1165:
1158:
1057:
943:
903:
803:
720:
608:
607:"on an equal footing".
575:Scott of the Antarctic
535:
510:sections of the work.
442:
189:
123:Ralph Vaughan Williams
76:when he described his
42:
3214:Treichel, Hans-Ulrich
3212:SchlĂĽren, Christoph;
2971:: Symphonies 4 and 12
2909:. London: Macmillan.
2852:Silesian Philharmonic
2577:The Musical Quarterly
1193:Roman Catholic Church
1160:
1152:
1043:
938:
898:
798:
704:
641:, yet interdependent
597:
530:
437:
328:Kosciuszko Foundation
180:
31:
3805:Krzysztof Penderecki
3601:Krzysztof Penderecki
3157:Sachs, Kurt-JĂĽrgen;
2250:, pp. 217, 219.
1189:Ordinary of the Mass
385:Krzysztof Penderecki
381:University of Athens
275:. After writing his
182:Ludwig van Beethoven
155:Krzysztof Penderecki
139:Peter Maxwell Davies
84:Ludwig van Beethoven
21:For other uses, see
3835:Musical terminology
3433:Temperley, Nicholas
3228:Berlin Philharmonic
3121:Palmer, Christopher
2750:Ivashkin, Alexander
2590:10.1093/mq/IV.3.333
2378:, pp. 427–428.
1644:, pp. 122, 126
1394:"Robert Strassburg"
931:Programmatic intent
878:Atalanta in Calydon
752:Yevgeny Yevtushenko
738:Thirteenth Symphony
718:Thirteenth Symphony
488:Sergei Rachmaninoff
336:Nicolaus Copernicus
253:his symphonic poems
131:Dmitri Shostakovich
51:musical composition
3781:. "Ternary form",
3392:Steinberg, Michael
3053:Malcolm Williamson
3011:Arnold J. Pomerans
2933:MacDonald, Malcolm
2686:The Kennedy Center
2339:, pp. 171–172
1947:, pp. 50, 53.
1821:, pp. 262–263
1582:, pp. 241–242
1205:Alexander Ivashkin
1201:Alexander Ivashkin
1176:suggests that, in
1174:Nicholas Temperley
1159:
1122:Symphony of Psalms
1058:
1052:. Illustration by
944:
917:Malcolm Williamson
882:Vanity of Vanities
804:
760:A Wave of the Hand
721:
614:Symphony of Psalms
609:
604:Symphony of Psalms
569:Sinfonia Antartica
536:
467:Symphony of Psalms
345:Symphony of Psalms
340:Serge Koussevitzky
312:Johannes Gutenberg
190:
100:Friedrich Schiller
43:
3840:Choral symphonies
3779:Tilmouth, Michael
3675:Edward Greenfield
3484:Antonina W. Bouis
3042:978-0-333-23111-1
2992:Granville Bantock
1726:Whitehouse (2006)
1312:Schlacht-Sinfonie
1308:Schlacht-Sinfonie
957:The Seventh Cross
948:Hans Werner Henze
894:Herbert Antcliffe
874:Granville Bantock
812:Roméo et Juliette
810:prepared for his
683:Robert Strassburg
584:A Toltec Symphony
560:Michael Steinberg
500:Roméo et Juliette
496:Roméo et Juliette
433:Roméo et Juliette
411:. Philip Glass's
407:that year to the
403:commemorated the
377:Mikis Theodorakis
301:Karol Szymanowski
229:Roméo et Juliette
163:Robert Strassburg
151:Hans Werner Henze
135:Mikis Theodorakis
107:Felix Mendelssohn
79:Roméo et Juliette
38:Roméo et Juliette
3847:
3818:Wojtek Drabowicz
3773:Valery Polyansky
3746:Solomon, Maynard
3646:
3627:
3594:
3575:
3556:
3553:Valery Polyansky
3535:
3516:
3497:
3482:. Translated by
3471:
3452:
3428:
3409:
3385:
3368:Truscott, Harold
3363:
3341:
3322:Searle, Humphrey
3307:
3288:Kenneth Hamilton
3282:
3265:Searle, Humphrey
3260:
3235:
3208:
3186:
3153:
3144:
3116:
3094:
3060:
3046:
3029:Mitchell, Donald
3024:
3009:. Translated by
3001:
2982:
2962:
2928:
2892:
2863:
2844:Zofia Kilanowicz
2834:
2815:
2796:
2789:Kennedy, Michael
2784:
2781:Valery Polyansky
2767:
2754:Alfred Schnittke
2745:
2728:Holoman, D. Kern
2723:
2721:
2720:
2709:Nonesuch Records
2696:
2694:
2692:
2680:(January 2005).
2673:
2644:
2622:
2593:
2570:
2537:
2531:
2525:
2519:
2513:
2507:
2496:
2490:
2484:
2478:
2465:
2458:
2452:
2446:
2433:
2427:
2418:
2415:Temperley (1980)
2412:
2406:
2400:
2394:
2391:Steinberg (1995)
2388:
2379:
2373:
2367:
2361:
2352:
2346:
2340:
2322:
2316:
2310:
2304:
2298:
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2274:
2263:
2257:
2251:
2245:
2239:
2233:
2227:
2221:
2215:
2209:
2200:
2195:
2186:
2183:Antcliffe (1918)
2180:
2171:
2161:
2155:
2148:
2142:
2139:Antcliffe (1918)
2136:
2130:
2124:
2118:
2112:
2106:
2100:
2094:
2088:
2082:
2079:MacDonald (n.d.)
2076:
2070:
2064:
2058:
2052:
2041:
2034:
2028:
2022:
2016:
2010:
2004:
1998:
1992:
1981:
1975:
1969:
1963:
1957:
1948:
1942:
1936:
1933:Steinberg (1995)
1930:
1921:
1916:
1903:
1897:
1888:
1885:MacDonald (2001)
1882:
1871:
1865:
1856:
1850:
1839:
1836:Macdonald (1980)
1833:
1822:
1816:
1805:
1799:
1790:
1783:Steinberg (1995)
1780:
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1627:MacDonald (n.d.)
1624:
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1609:
1600:
1594:
1583:
1580:Steinberg (2005)
1577:
1564:
1551:
1540:
1534:
1528:
1522:
1516:
1510:
1501:
1495:
1484:
1477:
1471:
1465:
1456:
1450:
1439:
1433:
1416:
1410:
1404:
1391:
1382:
1376:
1370:
1363:
1352:
1346:
1324:
1321:
1315:
1304:Peter von Winter
1301:
1273:
1268:
1267:
1266:
1187:, following the
1117:Third Symphonies
1109:Seventh Symphony
783:to dictate what
582:, also known as
580:Seventh Symphony
545:symphonically."
492:of the same name
419:General features
389:Seventh Symphony
314:'s invention of
297:Alfred Schnittke
127:Benjamin Britten
61:, and sometimes
3855:
3854:
3850:
3849:
3848:
3846:
3845:
3844:
3825:
3824:
3823:
3715:Pirie, Peter J.
3654:
3652:Further reading
3649:
3643:
3591:
3572:
3532:
3513:
3494:
3476:Volkov, Solomon
3468:
3449:
3425:
3406:
3382:
3360:
3338:
3311:Simpson, Robert
3304:
3279:
3257:
3232:Ingo Metzmacher
3205:
3183:
3141:
3113:
3091:
3043:
3021:
2959:
2925:
2897:Macdonald, Hugh
2889:
2831:
2812:
2764:
2742:
2718:
2716:
2690:
2688:
2670:
2641:
2619:
2545:
2540:
2534:Weitzman (1996)
2532:
2528:
2522:Weitzman (1996)
2520:
2516:
2510:Ivashkin (1996)
2508:
2499:
2493:Weitzman (1996)
2491:
2487:
2481:Ivashkin (1996)
2479:
2468:
2462:Ivashkin (1997)
2459:
2455:
2449:Ivashkin (1997)
2447:
2436:
2428:
2421:
2413:
2409:
2401:
2397:
2389:
2382:
2374:
2370:
2362:
2355:
2347:
2343:
2327:, p. 184;
2323:
2319:
2311:
2307:
2301:Shulstad (2005)
2299:
2295:
2289:Shulstad (2005)
2287:
2283:
2277:Shulstad (2005)
2275:
2266:
2258:
2254:
2248:Shulstad (2005)
2246:
2242:
2234:
2230:
2226:, pp. 2–3.
2224:Mitchell (2006)
2222:
2218:
2212:Mitchell (2006)
2210:
2203:
2196:
2189:
2181:
2174:
2162:
2158:
2149:
2145:
2137:
2133:
2127:Mitchell (1980)
2125:
2121:
2113:
2109:
2101:
2097:
2089:
2085:
2077:
2073:
2067:Truscott (1972)
2065:
2061:
2053:
2044:
2035:
2031:
2023:
2019:
2011:
2007:
1999:
1995:
1982:
1978:
1970:
1966:
1958:
1951:
1943:
1939:
1931:
1924:
1917:
1906:
1898:
1891:
1883:
1874:
1868:Franklin (2001)
1866:
1859:
1851:
1842:
1834:
1825:
1817:
1808:
1800:
1793:
1785:, p. 268;
1781:
1774:
1766:
1762:
1755:
1744:
1736:
1732:
1724:
1711:
1703:
1699:
1691:
1687:
1679:
1675:
1667:
1663:
1657:Weitzman (1996)
1655:
1648:
1640:
1633:
1625:
1618:
1610:
1603:
1595:
1586:
1578:
1567:
1552:
1543:
1537:Franklin (2001)
1535:
1531:
1523:
1519:
1511:
1504:
1496:
1487:
1478:
1474:
1466:
1459:
1451:
1442:
1434:
1419:
1411:
1407:
1392:
1385:
1377:
1373:
1364:
1355:
1347:
1338:
1334:
1329:
1328:
1327:
1322:
1318:
1302:
1298:
1292:
1287:
1269:
1264:
1262:
1259:
1212:Fourth Symphony
1185:Second Symphony
1136:
1050:Dante Alighieri
1022:Humphrey Searle
1002:
950:wrote his 1997
933:
870:
836:Second Symphony
816:D. Kern Holoman
793:
730:Spring Symphony
699:
666:Samuel Langford
651:Michael Kennedy
599:Igor Stravinsky
592:
525:
516:
474:Edgar Allan Poe
446:dramaturgically
421:
360:, commissioned
356:, then head of
324:Second Symphony
289:Eighth Symphony
261:Second Symphony
175:
119:Igor Stravinsky
47:choral symphony
26:
17:
12:
11:
5:
3853:
3843:
3842:
3837:
3822:
3821:
3814:Michaela Kaune
3809:Symphony No. 8
3800:
3776:
3761:
3743:
3736:
3712:
3694:
3671:
3655:
3653:
3650:
3648:
3647:
3641:
3628:
3612:Olga Pasichnyk
3595:
3589:
3576:
3570:
3557:
3536:
3530:
3517:
3511:
3498:
3492:
3472:
3466:
3453:
3447:
3429:
3423:
3410:
3404:
3388:
3387:
3386:
3380:
3364:
3358:
3342:
3336:
3308:
3302:
3283:
3277:
3261:
3255:
3236:
3223:Symphony No. 9
3209:
3203:
3187:
3181:
3159:Dahlhaus, Carl
3154:
3145:
3139:
3117:
3111:
3095:
3089:
3063:
3055:: Choral Music
3047:
3041:
3025:
3019:
3002:
2987:McVeagh, Diana
2983:
2969:Havergal Brian
2963:
2957:
2929:
2923:
2893:
2887:
2864:
2848:Andrzej Dobber
2835:
2829:
2816:
2810:
2797:
2785:
2768:
2762:
2746:
2740:
2724:
2697:
2678:Freed, Richard
2674:
2668:
2645:
2639:
2623:
2617:
2594:
2571:
2552:Sony Classical
2546:
2544:
2541:
2539:
2538:
2526:
2514:
2497:
2485:
2466:
2453:
2434:
2419:
2407:
2405:, p. 261.
2403:Holoman (1989)
2395:
2380:
2368:
2353:
2341:
2317:
2305:
2303:, p. 220.
2293:
2291:, p. 219.
2281:
2264:
2252:
2240:
2228:
2216:
2201:
2198:Profitt (1995)
2187:
2172:
2168:McVeagh (1996)
2156:
2152:McVeagh (1996)
2143:
2141:, p. 337.
2131:
2129:, p. 515.
2119:
2117:, p. 263.
2115:Holoman (1989)
2107:
2105:, p. 126.
2095:
2093:, p. 122.
2083:
2071:
2059:
2042:
2038:Kennedy (1964)
2029:
2017:
2015:, p. 152.
2013:Kennedy (1990)
2005:
2003:, p. 100.
2001:Kennedy (1990)
1993:
1987:, as cited in
1976:
1964:
1949:
1945:Ottaway (1973)
1937:
1922:
1904:
1900:Ottaway (1973)
1889:
1872:
1857:
1853:Kennedy (1964)
1840:
1823:
1819:Holoman (1989)
1806:
1802:Kennedy (1990)
1791:
1787:Kennedy (1964)
1772:
1760:
1742:
1730:
1709:
1697:
1685:
1683:, p. 265.
1681:Steinberg 2005
1673:
1661:
1646:
1631:
1616:
1601:
1597:Schwarz (1980)
1584:
1565:
1541:
1529:
1517:
1502:
1485:
1472:
1457:
1440:
1417:
1413:Kennedy (1964)
1405:
1383:
1371:
1367:Holoman (1989)
1353:
1349:Kennedy (1985)
1335:
1333:
1330:
1326:
1325:
1316:
1295:
1294:
1293:
1291:
1288:
1286:
1283:
1282:
1281:
1275:
1274:
1258:
1255:
1240:contrapuntally
1169:Hugh Macdonald
1135:
1132:
1001:
998:
952:Ninth Symphony
932:
929:
869:
866:
844:Havergal Brian
840:Third Symphony
792:
789:
698:
695:
662:A Sea Symphony
591:
588:
541:A Sea Symphony
524:
521:
515:
512:
420:
417:
413:Fifth Symphony
366:Third Symphony
362:Darius Milhaud
320:Henryk GĂłrecki
293:Havergal Brian
222:Richard Wagner
186:Ninth Symphony
174:
171:
159:William Bolcom
98:"), a poem by
88:Ninth Symphony
74:Hector Berlioz
33:Hector Berlioz
15:
9:
6:
4:
3:
2:
3852:
3841:
3838:
3836:
3833:
3832:
3830:
3819:
3815:
3811:
3810:
3806:
3801:
3798:
3797:0-333-23111-2
3794:
3790:
3789:Stanley Sadie
3786:
3785:
3780:
3777:
3774:
3770:
3766:
3762:
3759:
3758:0-520-23746-3
3755:
3751:
3747:
3744:
3741:
3737:
3734:
3733:0-333-23111-2
3730:
3726:
3725:Stanley Sadie
3722:
3721:
3716:
3713:
3710:
3709:1-904950-50-7
3706:
3702:
3698:
3697:Morton, Brian
3695:
3692:
3691:0-14-103335-5
3688:
3684:
3680:
3679:Robert Layton
3676:
3673:March, Ivan,
3672:
3669:
3668:0-19-866212-2
3665:
3661:
3657:
3656:
3644:
3642:0-691-12886-3
3638:
3634:
3629:
3625:
3621:
3620:Boris Carmeli
3617:
3613:
3609:
3608:
3607:
3602:
3596:
3592:
3590:0-520-03983-1
3586:
3582:
3577:
3573:
3571:0-520-01679-3
3567:
3563:
3558:
3554:
3550:
3546:
3545:Igor Khudolei
3542:
3537:
3533:
3531:0-375-41082-1
3527:
3523:
3518:
3514:
3512:0-02-874052-1
3508:
3504:
3499:
3495:
3493:0-06-014476-9
3489:
3485:
3481:
3477:
3473:
3469:
3467:0-333-60800-3
3463:
3459:
3454:
3450:
3448:0-333-23111-2
3444:
3440:
3439:
3434:
3430:
3426:
3424:0-19-512644-0
3420:
3416:
3411:
3407:
3405:0-19-506177-2
3401:
3397:
3393:
3389:
3383:
3381:0-87749-245-X
3377:
3373:
3369:
3365:
3361:
3359:0-87749-245-X
3355:
3351:
3347:
3343:
3339:
3337:0-87749-244-1
3333:
3329:
3326:
3323:
3319:
3318:
3316:
3312:
3309:
3305:
3303:0-521-64462-3
3299:
3295:
3294:
3289:
3284:
3280:
3278:0-333-23111-2
3274:
3270:
3266:
3262:
3258:
3256:0-333-23111-2
3252:
3248:
3247:
3242:
3241:Stanley Sadie
3237:
3233:
3230:conducted by
3229:
3225:
3224:
3220:
3215:
3210:
3206:
3204:0-912483-34-2
3200:
3196:
3192:
3188:
3184:
3182:0-333-60800-3
3178:
3174:
3173:
3168:
3164:
3163:Stanley Sadie
3160:
3155:
3151:
3146:
3142:
3140:0-333-23111-2
3136:
3132:
3131:
3126:
3125:Stanley Sadie
3122:
3118:
3114:
3112:0-295-95233-4
3108:
3104:
3100:
3099:Ottaway, Hugh
3096:
3092:
3090:0-333-60800-3
3086:
3082:
3081:
3076:
3072:
3071:Stanley Sadie
3068:
3064:
3062:
3059:
3056:
3054:
3048:
3044:
3038:
3034:
3030:
3026:
3022:
3020:0-520-21815-9
3016:
3012:
3008:
3003:
2999:
2995:
2993:
2988:
2984:
2980:
2979:Adrian Leaper
2977:conducted by
2976:
2972:
2970:
2964:
2960:
2958:0-333-60800-3
2954:
2950:
2946:
2942:
2938:
2934:
2930:
2926:
2924:0-333-23111-2
2920:
2916:
2912:
2908:
2907:
2902:
2901:Stanley Sadie
2898:
2894:
2890:
2888:0-333-60800-3
2884:
2880:
2879:
2874:
2870:
2869:Stanley Sadie
2865:
2861:
2857:
2853:
2849:
2845:
2841:
2836:
2832:
2830:0-460-12598-2
2826:
2822:
2817:
2813:
2811:0-19-311333-3
2807:
2803:
2798:
2794:
2790:
2786:
2782:
2779:conducted by
2778:
2774:
2769:
2765:
2763:0-7148-3169-7
2759:
2755:
2751:
2747:
2743:
2741:0-674-06778-9
2737:
2733:
2729:
2725:
2715:on 2007-06-11
2714:
2710:
2706:
2702:
2701:Glass, Philip
2698:
2687:
2683:
2679:
2675:
2671:
2669:0-333-60800-3
2665:
2661:
2660:
2655:
2651:
2650:Stanley Sadie
2646:
2642:
2640:0-521-29847-4
2636:
2632:
2628:
2627:Cooke, Deryck
2624:
2620:
2618:0-333-60800-3
2614:
2610:
2609:
2604:
2600:
2599:Stanley Sadie
2595:
2591:
2587:
2583:
2579:
2578:
2572:
2568:
2564:
2560:
2558:
2553:
2548:
2547:
2535:
2530:
2523:
2518:
2512:, p. 165
2511:
2506:
2504:
2502:
2494:
2489:
2483:, p. 161
2482:
2477:
2475:
2473:
2471:
2463:
2457:
2450:
2445:
2443:
2441:
2439:
2431:
2426:
2424:
2416:
2411:
2404:
2399:
2393:, p. 557
2392:
2387:
2385:
2377:
2376:Volkov (1995)
2372:
2366:, p. 427
2365:
2360:
2358:
2351:, p. 175
2350:
2349:Volkov (2004)
2345:
2338:
2337:Wilson (2006)
2334:
2330:
2326:
2325:Volkov (1979)
2321:
2314:
2313:Searle (1980)
2309:
2302:
2297:
2290:
2285:
2279:, p. 217
2278:
2273:
2271:
2269:
2261:
2256:
2249:
2244:
2238:, p. 13.
2237:
2232:
2225:
2220:
2213:
2208:
2206:
2199:
2194:
2192:
2185:, p. 338
2184:
2179:
2177:
2169:
2165:
2164:Ernest Newman
2160:
2153:
2147:
2140:
2135:
2128:
2123:
2116:
2111:
2104:
2103:Samson (1990)
2099:
2092:
2091:Samson (1990)
2087:
2080:
2075:
2068:
2063:
2057:, p. 366
2056:
2051:
2049:
2047:
2039:
2033:
2027:, p. 93.
2026:
2021:
2014:
2009:
2002:
1997:
1991:, p. 321
1990:
1986:
1980:
1973:
1968:
1962:, p. 321
1961:
1956:
1954:
1946:
1941:
1935:, p. 335
1934:
1929:
1927:
1920:
1915:
1913:
1911:
1909:
1901:
1896:
1894:
1886:
1881:
1879:
1877:
1869:
1864:
1862:
1855:, p. 444
1854:
1849:
1847:
1845:
1837:
1832:
1830:
1828:
1820:
1815:
1813:
1811:
1804:, p. 151
1803:
1798:
1796:
1789:, p. 444
1788:
1784:
1779:
1777:
1769:
1764:
1758:
1753:
1751:
1749:
1747:
1739:
1734:
1727:
1722:
1720:
1718:
1716:
1714:
1706:
1701:
1694:
1693:Palmer (1980)
1689:
1682:
1677:
1670:
1665:
1658:
1653:
1651:
1643:
1642:Samson (1990)
1638:
1636:
1628:
1623:
1621:
1613:
1608:
1606:
1598:
1593:
1591:
1589:
1581:
1576:
1574:
1572:
1570:
1562:
1558:
1557:
1550:
1548:
1546:
1538:
1533:
1526:
1521:
1514:
1509:
1507:
1499:
1494:
1492:
1490:
1482:
1476:
1469:
1464:
1462:
1454:
1449:
1447:
1445:
1437:
1432:
1430:
1428:
1426:
1424:
1422:
1415:, p. 444
1414:
1409:
1403:
1399:
1398:Neil W. Levin
1395:
1390:
1388:
1380:
1375:
1369:, p. 262
1368:
1362:
1360:
1358:
1351:, p. 144
1350:
1345:
1343:
1341:
1336:
1320:
1313:
1309:
1305:
1300:
1296:
1280:
1277:
1276:
1272:
1261:
1254:
1251:
1247:
1246:
1241:
1237:
1233:
1229:
1225:
1221:
1217:
1213:
1208:
1206:
1202:
1198:
1194:
1190:
1186:
1181:
1179:
1175:
1170:
1164:
1156:
1151:
1147:
1145:
1141:
1131:
1128:
1124:
1123:
1118:
1114:
1110:
1104:
1102:
1098:
1094:
1093:
1088:
1087:
1082:
1081:
1076:
1072:
1071:
1070:Divine Comedy
1066:
1064:
1055:
1051:
1047:
1042:
1038:
1036:
1032:
1027:
1023:
1019:
1018:
1013:
1012:
1007:
997:
994:
989:
987:
983:
979:
974:
972:
967:
963:
959:
958:
953:
949:
941:
937:
928:
926:
922:
921:James McAuley
918:
913:
912:
907:
902:
897:
895:
891:
887:
883:
879:
875:
865:
863:
862:
856:
855:
849:
845:
841:
837:
833:
829:
827:
823:
822:
817:
813:
809:
801:
797:
788:
786:
782:
778:
772:
770:
765:
761:
757:
753:
749:
748:
743:
739:
734:
732:
731:
726:
719:
716:to write his
715:
711:
707:
703:
694:
692:
688:
684:
680:
675:
673:
672:
667:
663:
658:
656:
652:
646:
644:
640:
636:
632:
628:
624:
620:
616:
615:
606:
605:
600:
596:
587:
585:
581:
577:
576:
571:
570:
564:
561:
555:
552:
548:
543:
542:
533:
529:
520:
511:
509:
505:
501:
497:
493:
489:
485:
481:
480:
475:
470:
468:
463:
459:
455:
451:
447:
441:
436:
434:
430:
426:
416:
414:
410:
406:
402:
398:
394:
390:
386:
382:
378:
373:
371:
367:
364:to write his
363:
359:
355:
354:Henry Barraud
351:
347:
346:
341:
337:
333:
329:
325:
321:
317:
313:
309:
304:
302:
298:
294:
290:
286:
282:
278:
274:
270:
266:
262:
256:
254:
249:
245:
241:
237:
236:
230:
225:
223:
219:
214:
212:
208:
204:
200:
195:
187:
183:
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170:
166:
164:
160:
156:
152:
148:
144:
140:
136:
132:
128:
124:
120:
116:
115:Gustav Mahler
112:
108:
103:
101:
97:
93:
92:An die Freude
89:
85:
81:
80:
75:
71:
68:
64:
60:
56:
52:
48:
40:
39:
34:
30:
24:
19:
3803:
3782:
3764:
3749:
3739:
3718:
3700:
3682:
3659:
3632:
3606:
3599:
3580:
3561:
3540:
3521:
3502:
3479:
3457:
3436:
3414:
3396:The Symphony
3395:
3371:
3349:
3328:
3325:
3315:The Symphony
3314:
3291:
3268:
3244:
3217:
3194:
3170:
3167:John Tyrrell
3149:
3128:
3102:
3078:
3075:John Tyrrell
3061:
3057:
3051:
3032:
3006:
2990:
2967:
2940:
2937:John Tyrrell
2904:
2876:
2873:John Tyrrell
2839:
2820:
2801:
2792:
2772:
2753:
2731:
2717:. Retrieved
2713:the original
2689:. Retrieved
2657:
2654:John Tyrrell
2630:
2606:
2581:
2575:
2555:
2536:, p. 7.
2529:
2524:, p. 6.
2517:
2495:, p. 5.
2488:
2460:As cited in
2456:
2430:Moody (2001)
2410:
2398:
2371:
2344:
2332:
2320:
2308:
2296:
2284:
2255:
2243:
2231:
2219:
2159:
2146:
2134:
2122:
2110:
2098:
2086:
2081:, p. 3.
2074:
2069:, 2:143–144.
2062:
2040:, p. 99
2032:
2025:Cooke (1980)
2020:
2008:
1996:
1989:White (1979)
1984:
1983:Stravinsky,
1979:
1974:, 6:564–569.
1967:
1960:White (1979)
1940:
1919:Freed (2005)
1902:, p. 17
1768:Bonds (2001)
1763:
1757:Glass (1999)
1740:, p. 4.
1738:Anon. (n.d.)
1733:
1704:
1700:
1688:
1676:
1671:, p. 2.
1664:
1563:, p. 62
1561:White (1970)
1556:Music Survey
1554:
1532:
1525:Bonds (2001)
1520:
1498:Bonds (2001)
1481:Bonds (2001)
1479:As cited in
1475:
1453:Bonds (2001)
1436:Bonds (2001)
1408:
1379:Bonds (2001)
1374:
1319:
1311:
1307:
1299:
1249:
1243:
1236:countertenor
1209:
1182:
1177:
1166:
1161:
1154:
1143:
1139:
1137:
1120:
1105:
1090:
1084:
1078:
1074:
1073:and compose
1068:
1062:
1059:
1054:Gustave Doré
1048:Canto 31 by
1045:
1034:
1025:
1015:
1010:
1003:
990:
975:
970:
962:Anna Seghers
955:
945:
909:
904:
899:
889:
888:(1913). His
885:
881:
877:
871:
859:
853:
830:
825:
819:
811:
805:
773:
763:
759:
755:
745:
741:
735:
728:
724:
722:
714:Shostakovich
691:Walt Whitman
678:
676:
669:
661:
659:
655:Deryck Cooke
647:
643:harmonically
639:rhythmically
627:counterpoint
622:
618:
612:
610:
602:
583:
573:
567:
565:
556:
547:Walt Whitman
539:
537:
532:Walt Whitman
517:
499:
495:
477:
471:
466:
443:
438:
432:
422:
400:
374:
370:World War II
343:
316:movable type
307:
305:
257:
233:
228:
226:
215:
191:
167:
147:Philip Glass
104:
91:
77:
70:musical form
46:
44:
36:
18:
3816:, soprano;
3616:Aga Mikolaj
3614:, soprano;
3191:Samson, Jim
3067:Moody, Ivan
2998:BBC Singers
2846:, soprano;
2691:14 December
2603:John Tyrrel
2464:, p. 5
2451:, p. 5
2260:Searle 1972
2214:, p. 2
2170:, p. 6
2166:, cited in
2154:, p. 5
2055:Maes (2002)
1728:, p. 2
1669:Kosz (2001)
1659:, p. 5
1629:, p. 3
1513:Todd (2001)
1008:. Both the
1006:Franz Liszt
986:Nirmanakaya
884:(1913) and
821:Fantastique
756:Vzmakh ruki
706:Yevtushenko
635:melodically
454:recitatives
248:recitatives
111:Franz Liszt
3829:Categories
3624:Antoni Wit
3346:Cox, David
2860:Antoni Wit
2854:Choir and
2719:2009-04-05
2554:SK 63368,
2364:Volkov1995
1985:Chronicles
1612:Cox (1972)
1285:References
1220:Protestant
1097:Magnificat
1086:Purgatorio
971:fortissimo
940:Jaffa Gate
911:a cappella
906:Roy Harris
785:Jim Samson
764:Babi Yar's
687:the poetry
551:free verse
504:expository
96:Ode to Joy
3610:(notes).
3226:(notes).
2996:(notes).
2842:(notes).
2417:, 18:460.
2150:Cited in
2036:Cited in
1770:, 24:833.
1695:, 12:306.
1539:, 15:622.
1527:, 24:839.
1381:, 24:836.
1332:Citations
1250:Ave Maria
1245:Ave Maria
993:Wirrarika
925:contralto
852:Goethe's
826:potpourri
777:chromatic
725:The Bells
508:narrative
479:The Bells
458:movements
393:Jerusalem
308:Lobgesang
244:movements
235:Lobgesang
207:Beethoven
67:symphonic
55:orchestra
3478:(1979).
3394:(1995).
3216:(1998).
3193:(1990).
3169:(eds.).
3101:(1973).
3077:(eds.).
2989:(1996).
2939:(eds.).
2875:(eds.).
2791:(1964).
2752:(1996).
2730:(1989).
2703:(1999).
2656:(eds.).
2629:(1980).
2605:(eds.).
2563:Yo-Yo Ma
2432:, 22:566
2329:Arnshtam
2315:, 11:45.
2262:, 1:269.
1870:, 15:618
1599:, 17:270
1515:, 16:403
1500:, 24:838
1483:, 24:837
1470:, 24:812
1455:, 24:835
1438:, 24:837
1257:See also
1228:Orthodox
1127:Orthodox
1092:Paradiso
1065:Symphony
1046:Paradiso
890:Atalanta
880:(1911),
747:Babi Yar
742:Babi Yar
484:symphony
425:oratorio
423:Like an
332:New York
211:Schubert
194:symphony
3313:(ed.).
3290:(ed.).
3243:(ed.).
3127:(ed.).
2903:(ed.).
2732:Berlioz
2557:Tan Dun
2543:Sources
1887:, 4:341
1838:, 2:596
1705:Penguin
1614:, 2:115
1197:Gradual
1191:of the
1080:Inferno
1031:C major
978:Requiem
861:Te Deum
808:Berlioz
677:In his
462:scherzo
397:Tan Dun
285:Seventh
273:soprano
240:cantata
173:History
143:Tan Dun
3795:
3756:
3731:
3707:
3689:
3666:
3639:
3587:
3568:
3528:
3509:
3490:
3464:
3445:
3421:
3402:
3378:
3356:
3334:
3300:
3275:
3253:
3201:
3179:
3137:
3109:
3087:
3039:
3017:
2955:
2921:
2885:
2827:
2821:Mahler
2808:
2760:
2738:
2666:
2637:
2615:
1707:, 774.
1234:and a
1224:Jewish
1113:Second
1101:Heaven
832:Mahler
800:Mahler
769:Stalin
710:Stalin
631:voices
623:Psalms
619:Psalms
427:or an
269:Fourth
209:, and
203:Mozart
3219:Henze
1290:Notes
1232:tenor
1178:Roméo
1155:Roméo
1144:Roméo
1140:Roméo
1075:Dante
1063:Dante
1044:From
1035:Faust
1026:Faust
1017:Dante
1011:Faust
982:Bardo
854:Faust
450:arias
448:into
429:opera
281:Sixth
277:Fifth
265:Third
218:Ninth
199:Haydn
59:choir
49:is a
3793:ISBN
3754:ISBN
3729:ISBN
3705:ISBN
3687:ISBN
3664:ISBN
3637:ISBN
3585:ISBN
3566:ISBN
3526:ISBN
3507:ISBN
3488:ISBN
3462:ISBN
3443:ISBN
3419:ISBN
3400:ISBN
3376:ISBN
3354:ISBN
3332:ISBN
3298:ISBN
3273:ISBN
3251:ISBN
3199:ISBN
3177:ISBN
3135:ISBN
3107:ISBN
3085:ISBN
3037:ISBN
3015:ISBN
2953:ISBN
2919:ISBN
2883:ISBN
2825:ISBN
2806:ISBN
2758:ISBN
2736:ISBN
2693:2019
2664:ISBN
2635:ISBN
2613:ISBN
1226:and
1115:and
1089:and
1014:and
984:and
966:Nazi
781:Rumi
637:and
506:and
299:and
283:and
192:The
161:and
129:and
109:and
63:solo
53:for
2945:doi
2911:doi
2586:doi
1396:by
1306:'s
960:by
750:by
689:of
486:to
476:'s
399:'s
395:.
387:'s
330:in
322:'s
86:'s
3831::
3812:;
3807::
3748:.
3699:,
3677:,
3603::
3374:.
3352:.
3330:.
3221::
3165:;
3073:;
2951:.
2917:.
2871:;
2707:.
2684:.
2652:;
2601:;
2582:IV
2580:.
2561:;
2500:^
2469:^
2437:^
2422:^
2383:^
2356:^
2267:^
2204:^
2190:^
2175:^
2045:^
1952:^
1925:^
1907:^
1892:^
1875:^
1860:^
1843:^
1826:^
1809:^
1794:^
1775:^
1745:^
1712:^
1649:^
1634:^
1619:^
1604:^
1587:^
1568:^
1544:^
1505:^
1488:^
1460:^
1443:^
1420:^
1400:,
1386:^
1356:^
1339:^
1222:,
1146::
1083:,
980:,
864:.
740:,
681:,
452:,
383:.
372:.
295:,
279:,
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205:,
201:,
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157:,
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149:,
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141:,
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125:,
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117:,
94:("
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3799:.
3760:.
3735:.
3711:.
3693:.
3670:.
3645:.
3593:.
3574:.
3534:.
3515:.
3496:.
3470:.
3451:.
3427:.
3408:.
3384:.
3362:.
3340:.
3306:.
3281:.
3259:.
3207:.
3185:.
3143:.
3115:.
3093:.
3045:.
3023:.
2961:.
2947::
2927:.
2913::
2891:.
2833:.
2814:.
2766:.
2744:.
2722:.
2695:.
2672:.
2643:.
2621:.
2592:.
2588::
758:(
188:.
41:.
25:.
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