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American Victorian Choral Music

  • Series: American Music  Publisher: A-R Editions, American Musicological Society
Dudley Buck
American Victorian Choral Music
Edited by N. Lee Orr
MU14/A053
American Victorian Choral Music
Full Score (2005)
978-0-89579-573-1
9x12, xlvi + 302 pp.

Availability: In stock

$195.00
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Performance Parts

Availability: In stock

MU14P1/A053P1
Keyboard-Vocal Score (2013)
Piano-vocal score
ii + 85 pp.
$50.00

MU14P2/A053P2
Keyboard-Vocal Score (2013)
Piano-vocal score
$18.00

MU14R1/A053R1
Rental Parts (2014)
Set of 50 parts; 2222 2230 timp. 88664 errata

MU14R2/A053R2
Rental Parts (2014)
Set of 58 parts: 2222 picc., e.h. 4331 timp., perc. 88664 errata
This MUSA volume makes an important contribution to American music studies by presenting a scholarly edition of selected choral works by Dudley Buck (1839–1909). Buck was arguably the finest composer of choral music among the group of musicians who had come of age by the end of the Civil War. The works chosen for this volume, some of which became icons of American Victorian culture, represent the three most popular choral genres during the Gilded Age: the anthem, the partsong, and the sacred and secular cantata. All of the works included here found immediate publication and stayed in print well into the twentieth century. Buck’s works became the standards, not only by their intrinsic merit, but owing to their widespread performance throughout the country. His services, canticles, anthems, and hymns—musically engaging, well-crafted, and often genuinely moving—were considerably more professional than the home-grown music in use when he began his work. Included here are three of these works, a hymn anthem ("Rock of Ages," op. 65, no. 3), a liturgical text (Festival Te Deum in E-flat Major, op. 63, no. 1), and a late, through-composed work (Grant to Us Thy Grace). Buck’s partsongs along with his sacred and secular cantatas also enjoyed widespread success among the growing number of church choirs and community choral groups. The two partsongs included here come from his earliest and latest periods. "In Absence" represents the early Victorian partsong, and "The Signal Resounds from Afar" is both Buck’s longest partsong and the one showing the greatest contrapuntal complexity. Finally, The Forty-sixth Psalm, op. 57, from 1872, and The Centennial Meditation of Columbia, written for the 1876 Centennial Exhibition in Philadelphia, are both large-scale works for voices and full orchestra, typifying some of the finest cantata writing in Victorian America.
The Forty-sixth Psalm, Op. 57
  No. 1. God is our Refuge and Strength
  No. 2. There is a river
  No. 3. The heathen raged
  No. 4. The Lord of Hosts is with us
  No. 5. O come hither
  No. 6. Be still, then, and know that He is God
  No. 7. FINALE: The Lord of Hosts is with us
The Centennial Meditation of Columbia
Festival Te Deum in E-flat Major, op. 63, no. 1
Rock of Ages, op. 65, no. 3
Grant to Us Thy Grace
"In Absence"
"The Signal Resounds from Afar"
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