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(Meredith Music Resource). This book is a must-read for anyone interested in acquiring a "back-stage" tour of symphony life, not included in the price of a box-office ticket! Gain a behind-the-scenes look at the orchestra as a family; its discipline, artistry, and devotion, the overwhelming audition process, and the good and bad about the orchestra musicians' profession. Learn about the love-hate relationship between musicians and conductors as the author shares his experiences performing under conductors Josef Krips, Seiji Ozawa, Edo DeWaart, Herbert Blomsted, Michael Tilson Thomas, Eugene Ormandy, Igor Stravinsky, Arron Copland, and Arthur Fiedler. Discover conductors' dictatorial control, interpretative powers, and technical skills, as revealed through quotes from James Levine, John Barbariolli, Gustav Mahler, Daniel Barenboim, and Herbert von Karajan. Examine comments from Leonard Bernstein, Arturo Toscanini, Carl Nielsen, and Lou Harrison that bring a unique awareness to avante-garde music in the chapter titled Cruel and Unmusical. Understand the difference between conducting talent and composing talent and how rare it is to possess both.
Accessible Orchestral Repertoire is a reference volume for conductors who lead non-professional symphonic orchestras, offering practical and insightful commentary on music appropriate for intermediate and advanced youth, community, and collegiate orchestras. Modeled on and complimentary to Daniels’ Orchestral Music, it is a repertoire and programming resource for youth, academic, and community orchestras. The works included in this book are a combination of well-known warhorses and lesser known gems—clear favorites for young or amateur players and as well as more challenging pieces. Functioning like an annotated bibliography, entries on individual works include information about the composer, instrumentation, movement length, and publisher. Each entry also features notes regarding the particular pedagogical, stylistic, logistical, and technical strengths and challenges of the specific work. Accessible Orchestral Repertoire will help every conductor in the process of selecting repertoire that will both feature and enrich any individual non-professional ensemble for which thoughtful and strategic programming is required.
An excerpt from the GENERAL REMARKS. THE popularity of the community orchestra has reached a stage where it would seem that every small city and town laying claim to any musical talent whatsoever aspires to have one of these organizations of its own. The writer, for many years actively interested in amateur musical affairs, conducting and playing in various organizations, having been- the recipient of numerous inquiries from parties about to organize community orchestras aims in this article to anticipate similar questions. It is also written in response to and prompted by the remark made to us frequently by out-of-town parties: "We wish that we could have a community orchestra in our town but we have no one to organize or conduct it." Although many of these places have their town hand still they realize that an orchestra is an entirely different proposition requiring a treatment of another kind owing to the diverse elements that enter into its composition. For years we have endeavored to find a book that we could suggest which would answer inquiries on the subject of the organization and conducting of the amateur orchestra, but strange as it may seem, we have so far been unable to find such a one dealing with the subject in a manner that would be of any real service to the conductor of the community orchestra. True there are many most excellent books treating on special subjects in the line of orchestral work which, while they are of value to the advanced music student or for reference to the musician, would be of but limited use to the amateur in his step by step advancement in the formation of his orchestra. Therefore it is our aim to give in this article the essential information which the amateur conductor of the community orchestra needs to attain musical excellence which should be his ideal.
Excerpt from The Community Orchestra, Its Formation and Maintenance The popularity of the community orchestra has reached a stage where it would seem that every small city and town laying claim to any musical talent whatsoever aspires to have one of these organizations of its own. The writer, for many years actively interested in amateur musical affairs, conducting and playing in various organizations, having been- the recipient of numerous inquiries from parties about to organize community orchestras aims in this article to anticipate similar questions. It is also written in response to and prompted by the remark made to us frequently by out-of-town parties: "We wish that we could have a community orchestra in our town but we have no one to organize or conduct it" Although many of these places have their town band still they realize that an orchestra is an entirely different proposition requiring a treatment of another kind owing to the diverse elements that enter into its composition. For years we have endeavored to find a book that we could suggest which would answer inquiries on the subject of the organization and conducting of the amateur orchestra, but strange as it may seem, we have so far been unable to find such a one dealing with the subject in a manner that would be of any real service to the conductor of the community orchestra. True there are many most excellent books treating on special subjects in the line of orchestral work which, while they are of value to the advanced music student or for reference to the musician, would be of but limited use to the amateur in his step by step advancement in the formation of his orchestra. Therefore it is our aim to give in this article the essential information which the amateur conductor of the community orchestra needs to attain musical excellence which should be his ideal. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
The Book aims to be a guide through the little universe which is the working place of the man who writes music. As such it talks predominantly to the layman, although the expert composer may also find some stimulation in it... From the center of basic theory our discussion will spread out into all the realms of experience which border the technical aspect on composing, such as aesthetics, sociology, philosphy and so on... We must be grateful that with our art we have been placed halfway between science and religion, enjoying equally the advantages of exactitude in thinking... and of the unlimeted world of faith. Paul Hindemith, from the preface
School and Amateur Orchestras is devoted to a discussion of school and amateur orchestras and consideration of instruments that are normally associated with them. The book opens with a general discussion of students, teachers, music centers, and junior music schools. This is followed by separate chapters on the teaching of string, woodwind and brass, and percussion instruments. Subsequent chapters deal with the planning and direction of orchestras and the selection of instruments and music.