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

Red, white and blues : Dutch new blues pieces, for piano, 1996-2006, Volume 2

Genre: Chamber music
Subgenre: Piano
Scoring: pf

The food of love : for mezzo-soprano, tenor and chamber orchestra, opus 43, 1997 / Peter Schat

Genre: Vocal music
Subgenre: Vocal Ensemble (2-12) and orchestra
Scoring: sopr-m ten 2222 2100 hp perc str

Canzoni amorose del duecento : per soprano, baritono, pianoforte ed orchestra, (1972-'73) / Hans Henkemans

Genre: Vocal music
Subgenre: Vocal Ensemble (2-12) and orchestra
Scoring: sopr bar 3333 4000 timp perc hp pf str(18.18.14.10.6.)

Sous le pont Mirabeau : pour soprano, contr'alto, flûte, harpe et quatuor à cordes (ou orchestre à cordes), 1936 (nouvelle revision 1944) / musique de Daniël Ruyneman, paroles de Guillaume Apollinaire

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
Scoring: sopr alt / VK2 fl hp 2vl vla vc / 1000 0000 hp str(vl vla vc)

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