related works

Gabriël : for trumpet solo and orchestra, 2002 / Ron Ford

Genre: Orchestra
Subgenre: Trumpet and orchestra
Scoring: fl(pic fl-a) fl 2ob 2cl 2fg 2h 2trb perc pf str trp-solo

Een Amsterdamsch lied : cantate voor sopraan- en bariton-solo, fluit, klarinet, twee violen, altviool, violoncel, contrabas en piano, op. 40, 1951 / tekst: Jan Campert, muziek: Marius Flothuis

Genre: Vocal music
Subgenre: Vocal ensemble (2-12) and instrument(s); Vocal ensemble (2-12) and orchestra
Scoring: sopr bar fl cl pf 2vl vla vc cb / sopr bar 1010 0000 pf str

Doppelgesang : für Tenor und Bariton mit Begleitung von Streichern, nach Paul Celans "Engführung", 1976/1977 / Jacques G. Goosen

Genre: Vocal music
Subgenre: Vocal ensemble (2-12) and orchestra
Scoring: ten bar str(8.7.7.5.3.)

Symphony of Dialogue : for soprano, tenor, baritone and orchestra / Evrim Demirel

Genre: Vocal music
Subgenre: Vocal ensemble (2-12) and orchestra
Scoring: 3331 4331 timp 3 perc hrp pno sopr ten bar str

composition

Londonsong : for soprano, baritone and orchestra, 1997 / on English traditional rhymes, Ron Ford

Other authors:
Ford, Ron (Composer)
Contains:
Knightsbridge
Peckham rye
King's cross
Cornhill
Hammersmith
Shepherd's bush
The Welsh harp
The angel
Description:
Program note (English): Londonsong can be characterized as a collection of eight short - sometimes very short - songs that are joined into one continuous chain. The text come from the collection Nursery Rhymes of London Town by Eleanor Farjon from 1916 although these are not children's poems in the strict sense. In form, they exhibit the short phrases and images characteristic of children's poetry, but the texts themselves go beyond that of a simple children's poem. They describe playful and fantasy-like images of different locations in London. The quickly changing emotions and clear-cut formal structure of the texts made a setting for two singers necassary, wherein they sing together sometimes, other as a monologue, and sometimes together in dialogue. But Londonsong should be seen as more than just a set of songs, it is rather a chain of glimpses, wherein themes appear and vanish, only tp reappear later under a different guise. The use of the orchestra is very diverse, sometimes vertically harmonic,
sometimes no more than a shadow of the voice line, and sometimes almost percussive, all of which results in an undercurrent of image and meaning, an extra voice. - RON FORD