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The Modern Orchestra and its Combination with the Singing Voice; Especially with Regard to Conductors and Composers
Published online by Cambridge University Press: 01 January 2020
Extract
The purpose of this paper is to discuss several different, but closely-connected problems which obtain under modern musical conditions. I have found it difficult to embrace them under one short title: so perhaps it would be well to summarize at the outset the detailed points which I propose to put forward for your consideration. They are: The composition and management of the modern orchestra; modern technique in choral writing; and the position of the composer and conductor with regard to these two factors.
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- Research Article
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- Copyright © Royal Musical Association, 1910
References
∗ Of course, I am now thinking of other orchestral organizations as well as the three chief professional London orchestras.Google Scholar
∗ The sarrusophone goes down to low B♭ effectively, thus having an advantage over the double-bassoon, which is really effective only to low D.Google Scholar
∗ See accompanying table (page 76), comparing the balance of the three principal London orchestras.Google Scholar
∗ May I be allowed to add here, in reference to a remark made by Dr. Rootham in reply, that I had not the slightest idea of starting the rather stale controversy as to whether Handel or Bach were the greater. In fact, they can hardly be compared at all; their genius, their aims, and their methods, were quite different. I merely said that Handel understood the voice better, which is I think self-evident; he wrote for voices in a purely vocal style, whereas Bach wrote for voices in the organ style, and therefore often wrote passages which are difficult of correct intonation by voices. Therefore, so far (only) as vocal music is concerned, Handel is a safer model.—H.H.S.Google Scholar