composer
General: 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 ...
related works
Red, white and blues : Dutch new blues pieces, for piano, 1996-2006, Volume 2
Genre:
Chamber music
Subgenre:
Piano
Instruments:
pf
Musique pour l'homme : 1968 / Joep Straesser
Genre:
Vocal music
Subgenre:
Vocal Ensemble (2-12) and orchestra
Instruments:
sopr alt ten bas 4444 4441 5perc str(12.12.9.9.6.)
Genre:
Vocal music
Subgenre:
Vocal Ensemble (2-12) and instrument(s); Vocal Ensemble (2-12) and orchestra; Women and instrument(s); Female choir and orchestra
Instruments:
sopr alt / VK2 fl hp 2vl vla vc / 1000 0000 hp str(vl vla vc)
Henric van Veldeke : voor orkest, zang en declamatie / Herman Strategier
Genre:
Vocal music
Subgenre:
Vocal Ensemble (2-12) and orchestra; Speak Voice and orchestra
Instruments:
bar(recit) 2recit 2222 4330 timp perc cel hp str
composition
Londonsong : for soprano, baritone and orchestra, 1997 / on English traditional rhymes, Ron Ford
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