composer

Ford, Ron

Ronald Ford was born September 29, 1959 in Kansas City, U.S.A. He moved to Amsterdam, the Netherlands, in 1983. Education: Ford studied composition, piano and computer engineering at the Duke University ...

related works

Comment qu'a moy lonteinne soies : for 4 male voices (baritones), 2 saxophones, 2 trombones and 2 double-basses, 1987 / Ronald Ford

Genre: Vocal music
Subgenre: Vocal Ensemble (2-12) and instrument(s)
Scoring: 4bar 2sax-t 2trb 2cb

Cinq mélodies : pour chant et orchestre, poésie dePaul Verlaine, Ecoutez la chanson bien douce, 3., pour soprane / composées par Alphons Diepenbrock

Genre: Vocal music
Subgenre: Voice and orchestra
Scoring: sopr/sopr-m 2222 0000 str(vl vla vc)

Bez solnca : = (Without sun), for voice and orchestra, 1874 / 1989 / orchestration Theo Verbey, poems by A.A. Goleshtchev-Kutusov, Modest Moussorgsky

Genre: Vocal music
Subgenre: Voice and orchestra
Scoring: low 2fl 2cl 2ob 2h str(6.6.4.4.2.)

Lilywhite : voor mezzo-sopraan, koperblazers, slagwerk, harp en strijkorkest, 1994 / Hans Koolmees

Genre: Vocal music
Subgenre: Voice and orchestra
Scoring: sopr-m 0000 0220 2perc hp str(10.8.6.8.4.)

 

composition

Song and dance : for soprano and orchestra, 1990 / text: Ottavio Rinuccini, Ronald Ford

Publisher: Amsterdam: Donemus, 1998
Publisher's number: 06075
Genre: Vocal music
Subgenre: Voice and orchestra
Scoring: sopr 2fl 2ob 2cl 2fg 2h 2trp perc hp pf str
Remarks: Tekst in vert. van R. Ford apart afgedrukt. - In opdracht van het Fonds voor de Scheppende Toonkunst en de Stichting Gaudeamus. - Opgedragen aan Gale Law en Melinda McKenna. - Cop. 1990. - Tijdsduur: ca. 15'
Duration: 15'00"
Year of composition: 1990
Status: not yet digitized (expected delivery time 14 days)

Other authors:
Ford, Ron (librettist)
Rinuccini, Ottavio (librettist)
Description:
Program note (English): Songs and Dance uses the text 'Piangono al Pianger mio' by the renaissance librettist/poet Ottavio Rinuccini in an English translation. The textual images of weeping beasts and sighing stones formed the initial inspiration for the orchestral part. Slowly, tentatively, the orchestra moves forward, feeling its way into new territory. This very gradual development is contrasted by the active rhythmic sense, resulting in a music which is both slow and fast at the same time. At a certain point the soprano begins telling us the text that we have already been hearing in the orchestra, singing as a sort of cantus firmus from within the orchestra. - RON FORD

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