This book is devoted to Arthur Oldham, one of the greatest English chorus masters in the second half of the twentieth century. It is written from the point of view of a chorister who had the privilege of singing symphonic choral music under Oldham's direction, first as a member of the LSO Chorus from 1969 to 1974 and then the Edinburgh Festival Chorus from 1974 to 1977. The book describes how Arthur Oldham became a chorus master, and examines his approach and methods with regard to choral training. It looks at the origins ...
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This book is devoted to Arthur Oldham, one of the greatest English chorus masters in the second half of the twentieth century. It is written from the point of view of a chorister who had the privilege of singing symphonic choral music under Oldham's direction, first as a member of the LSO Chorus from 1969 to 1974 and then the Edinburgh Festival Chorus from 1974 to 1977. The book describes how Arthur Oldham became a chorus master, and examines his approach and methods with regard to choral training. It looks at the origins and development of the Edinburgh Festival Chorus and Oldham's work with the LSO Chorus. Pre-eminent among the conductors he worked with are Carlo Maria Giulini and Colin Davis and the book examines his relationship with both. The list of legendary conductors he also worked with includes Bernstein, Stokowski, Kertesz, Previn, Abbado and Barenboim. To that list two composer-conductors, Britten and Tippett need to be added, and particularly the former as Arthur was Britten's only composition pupil. The book looks at and compares the differing interpretative approaches to the choral masterworks of these conductors and reviews the critical reaction to the resulting concerts and recordings. It also chronicles the stresses and satisfactions of an amateur chorister who has to hold down a demanding job while singing symphonic choral music at the highest level with major orchestras under the leading maestros of the day.
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