Gloria. For Mixed Chorus, Brass Ensemble, Timpani, with Piano (Alternate acc.)

Notes ◽  
1965 ◽  
Vol 22 (2) ◽  
pp. 971
Author(s):  
F. Mark Siebert ◽  
Arnold Freed
Keyword(s):  
Brass Ensemble ◽  
Mixed Chorus

A Letter from Pete. Cantata for Mixed Chorus and Small or Large Orchestra (SATB and Soprano and Tenor Solos)

Notes ◽  
1953 ◽  
Vol 10 (4) ◽  
pp. 680
Author(s):  
Harold Shapero ◽  
Bernard Rogers
Keyword(s):  
Mixed Chorus

Sing We Merrily Unto God. Mixed Chorus with Organ, Organ and Strings, or Full Orchestra

Notes ◽  
1950 ◽  
Vol 7 (4) ◽  
pp. 634
Author(s):  
Paul Hume ◽  
Cecil Effinger
Keyword(s):  
Mixed Chorus

A German Requiem. Solo Voices, Mixed Chorus, Organ & Bass Viol

Notes ◽  
1959 ◽  
Vol 16 (4) ◽  
pp. 634
Author(s):  
Henry Leland Clarke ◽  
Heinrich Schutz ◽  
Arthur Mendel
Keyword(s):  
Mixed Chorus ◽  
Bass Viol

The Battle of the Bands

2019 ◽  
pp. 64-70
Author(s):  
Philip Gerard
Keyword(s):  
North Carolina ◽  
Sheet Music ◽  
Brass Ensemble ◽  
Confederate Army ◽  
Do So

Wanting neither to kill or be killed, Julius Leinbach of Salem enlists with his fellow Moravian musicians as a “Band Boy” for the 26th North Carolina. The small brass ensemble quickly gains fame as the most stirring band in the army and performs not just for parade and marching but also concerts-including for Gov. Vance’s inaugural. Like other bandsmen in both armies, they not only play music but also help carry off the battlefield wounded and assist the surgeons as orderlies. Music is a crucial aid to morale and order. Leinbach is captured but survives, the last of his bandmates to be liberated at war’s end. He brings home the band’s coveted, original, sheet music arrangements-the only band in the Confederate Army to do so.

In Certainty of Song. Cantata... for Mixed Chorus with Chamber Orchestra (SATB and Solo Voices)

Notes ◽  
1952 ◽  
Vol 9 (2) ◽  
pp. 325
Author(s):  
Irving Lowens ◽  
Wallingford Riegger
Keyword(s):  
Chamber Orchestra ◽  
Mixed Chorus

Johann Herbeck’s Edition of Choral Works by Franz Schubert: History and Analysis

2018 ◽  
Vol 16 (3) ◽  
pp. 349-382
Author(s):  
William E. Hettrick
Keyword(s):  
Choral Music ◽  
Performance Practice ◽  
Reception History ◽  
Franz Schubert ◽  
Choral Works ◽  
Mixed Chorus ◽  
History Of

Johann Herbeck (1831–1877) served in his native Vienna as conductor of the leading choral and instrumental organizations. He showed his devotion to the legacy of Franz Schubert in his performances and also in his edition, published by C.A. Spina and successors, of 51 selected works of the master for men’s, women’s and mixed chorus. Originally conceived as part-songs for ensembles of soloists, this repertoire had become choral music by Herbeck’s time. Included also are arrangements by Herbeck and others of pieces originally written for different performing media. Surviving copies of numbers in the edition, as well as two additional publications, reveal startling inconsistencies in editorial technique, ranging from a lack of intervention to a much freer approach, including liberal sprinkling of unauthentic markings and other deviations from the originals. In the latter category, the editor’s additions may be said to document the performance practice of these works during his time. His choice of sources was also inconsistent, in some cases resulting in faulty versions of the works presented. This study also documents the production and reception history of Herbeck’s edition.

Four Madrigals, for Mixed Chorus (SATB), a cappella

Notes ◽  
1948 ◽  
Vol 6 (1) ◽  
pp. 177
Author(s):  
Paul Hume ◽  
Ned Rorem
Keyword(s):  
A Cappella ◽  
Mixed Chorus
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