Status: AVAILABLE |
In order to read or download study guide for praxis 2 elementary education content knowledge ebook, you need to create a FREE account.
Download Now! |
eBook includes PDF, ePub and Kindle version
| ✔ Register a free 1 month Trial Account. |
| ✔ Download as many books as you like (Personal use) |
| ✔ Cancel the membership at any time if not satisfied. |
| ✔ Join Over 80000 Happy Readers |
Our payment security system encrypts your information during transmission. We don’t share your credit card details with third-party sellers, and we don’t sell your information to others. Please try again.Please try again.Please try again. Please try your request again later. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required. Register a free business account While many of them are among the best-loved in the art song repertoire, dozens remain virtually unknown. For singers reluctant to explore unfamiliar territory, A Guide to the Solo Songs of Johannes Brahms eases the task by providing translations and a wealth of commentary and analysis. In an introductory chapter, Lucien Stark discusses Brahms as a song composer - his indebtedness to folk song and to the songs of Schubert, his elevation of the piano to equal partnership with the voice, and his continual striving to create the musical equivalent of the poetry. Brahms published 196 songs in 32 groups of, typically, five or six; two individual songs without opus number; and solo versions of eight of the Zigeunerlieder quartets - a total of 206 songs for solo voice with piano, all of which are analyzed here in detail. For each song, Stark provides the original German text, indicating its source and any significant alterations made by Brahms; a prose translation in idiomatic English; the date and place of composition and details of the song's earliest performance, if known; a description of its structure; the role of the piano; and commentary on the relationship between the text and the music. Stark also quotes relevant reactions from Brahm's friends, including Clara Schumann, Elisabet von Herzogenberg, and Theodor Billroth. Brief biographies of the poets and translators are given in an appendix, and the book concludes with a bibliography and a complete index of titles and first lines.Full content visible, double tap to read brief content.
http://www.msinziniering.com/userfiles/dedicated-micros-manuals.xml
Videos Help others learn more about this product by uploading a video. Upload video To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzes reviews to verify trustworthiness. Copyright 1995. Analyses of more than 200 solo songs by Brahms, along with translations of the texts. For performers, students, and teachers, this book is atreasure-house of information and insight.Your Order Time. Groups Discussions Quotes Ask the Author Stark's commentaries are concise, intelligent, highly readable. For performers, students, and teachers, this is a treasure-house of information and insight about a rich and varied repertoire. To see what your friends thought of this book,This book is not yet featured on Listopia.There are no discussion topics on this book yet. For performers, students, and teachers, this is a treasure-house of information and insight about a rich and varied repertoire. Read More Specifications Book Details Imprint Indiana University Press Dimensions Height 235 mm Length 155 mm Weight 735 gr Read More Have doubts regarding this product. Post your question Safe and Secure Payments. Easy returns. 100 Authentic products. Please try again.Please try again.To calculate the overall star rating and percentage breakdown by star, we do not use a simple average. It also analyses reviews to verify trustworthiness. Sammen med vores kunder og UNICEF gor vi en indsats for, at alle verdens born skal l?re at l?se. Vi vil gore det sa nemt som muligt for dig at l?se, lytte til og udgive boger i alle afskygninger - fra forfatteren fa?r sin forste ide? til du som l?ser vender den sidste side. L?s Lyt Lev. Du kan altid afmelde dig nyhedsbrevet. Vi behandler dine person- og pr?ferenceoplysninger for at kunne sende dig nyhedsbrevet. L?s mere i persondatapolitikken.
http://www.imagemarte.com.br/arquivos/dedicated-micros-netvu-console-manual.xml
Du bestemmer selv, og vores kundeservice sidder altid klar med hj?lp. Medlemskabet fornyes automatisk, og du kan altid opsige det. Stark's commentaries are concise, intelligent, highly readable. Les mer Stark's commentaries are concise, intelligent, highly readable... Laymen and specialistsFor performers, students,Preface BrahmsTa kontakt med Kundesenteret. Rabattsatsene er avhengige av antall, om det allerede er gitt rabatt pa titlene samt hva slags boker det gjelder. This website works best with modern browsers such as the latest versions of Chrome, Firefox, Safari, and Edge. If you continue with this browser, you may see unexpected results.Also includes spoken-word audio files of selected texts and links to sites of interest. Many of the translations are protected by copyright. Most are classed ML54.6 and found in the Music and Media Library. Below are a few examples. Each of the over 750 selections comprises the original poem, a concise English translation, and an IPA transcription which is uniquely designed to match the musical setting. Enunciation and transcription charts are included for each language on a single, easy to read page. A thorough discussion of the method of transcription is provided in the appendix. With its wide-ranging scope of repertoire, and invaluable tools for interpretation and performance, Exploring Art Song Lyrics is an essential resource for the professional singer, voice teacher, and student. ISBN: 0199777527 Publication Date: 2012-01-01 ISBN: 1442260904 Publication Date: 2016 I have found her clever and extremely creative use of substitute consonants or combinations of consonants in creating clear diction utterly delightful because they are surprising and because theywork. These techniques have been equally useful when singing in foreign languages. We sopranos are not usually known to have good diction, particularly in our high range.
https://skazkina.com/ru/boss-dr-55-service-manual
I found that working with Kathryn improved my ability to be understood by an enormous percentile of the audience with much lessvocal fatigue than I would have experienced if left to my own devices. I have often told my colleagues enthusiastically of her interesting solutions to the frustrating problems of diction. Her thorough and much sought-after technique clarifies the physiology ofspeech, emphasizes the studied practice of careful and articulate pronunciation, and focuses on the study of English cadence. Covering aspects of phonetics from vowels to diphthongs to fricatives, the book includes multiple practical exercises in International Phonetic Alphabet (IPA)transcriptions, helpful diagrams, and pronunciation drills, each chosen from the most essential English art song and operatic repertoire. In addition to standard American and British English, a variety of regional dialects and accents are covered in depth. For Warranty claims, this product is covered by the Kogan Guarantee. The Kogan Guarantee The Kogan Guarantee promises that for each and every order on Kogan.com, you will get what you ordered, and it will be as described. If not we will: Ensure you receive the product you ordered, or if we can’t do that Refund you the amount you paid. How Does it Work? If you don’t receive the products you ordered, or they are not as described, we will solve it for you. The easy steps are: Login to your Kogan.com Account that made the order Go to your Order History and select the order you need help with Select “ Contact Kogan ” or for products sold by Kogan.com, or for a Marketplace Seller, select “ Contact Seller ”, and fill in the form and attach any relevant information For products sold by a Marketplace Seller, if the Seller hasn’t provided a satisfactory resolution within 3 working days, please lodge a dispute resolution request here, and we will take care of it from there in accordance with this Guarantee. Faults or Problems Later.
http://dkc1burgas.com/images/8350i-manual.pdf
If your product was fine when you received it but later on it develops a problem, you can also contact Kogan or the Seller by following the above steps. For products sold by Kogan, we will get back to you within 48 hours and solve the problem in accordance with the Kogan Customer Charter. For products sold by a Marketplace Seller, if the Seller hasn’t provided a satisfactory resolution within 3 days, please lodge a dispute resolution request here, and will take care of it from there applying the standards in the Kogan Customer Charter. Need Any More Help? Visit the Help Centre to check out some of the frequently asked questions, or for all terms and conditions see here. If you have any other questions, get in touch with our Customer Care team here. Please head to Gale International site if you are located outside of North America. If you are located in the USA or Canada please visit the Gale North American site. We apologize for any inconvenience and are here to help you find similar resources. We offer many other periodical resources and databases that have been recently enhanced to make discovery faster and easier for everyone. Discover our premier periodical database Gale Academic OneFile. It seeks to build peace through international cooperation in Education, the Sciences and Culture. Peace must be founded upon dialogue and mutual understanding. Peace must be built upon the intellectual and moral solidarity of humanity.UNESCO works so that each child and citizen has access to quality education. By promoting cultural heritage and the equal dignity of all cultures, UNESCO strengthens bonds among nations. UNESCO fosters scientific programmes and policies as platforms for development and cooperation. UNESCO stands up for freedom of expression, as a fundamental right and a key condition for democracy and development.
Serving as a laboratory of ideas, UNESCO helps countries adopt international standards and manages programmes that foster the free flow of ideas and knowledge sharing.Seventy years on and many liberation struggles later, UNESCO’s mandate is as relevant as ever. Cultural diversity is under attack and new forms of intolerance, rejection of scientific facts and threats to freedom of expression challenge peace and human rights. In response, UNESCO's duty remains to reaffirm the humanist missions of education, science and culture. If you continue with this browser, you may see unexpected results.Composers are listed alphabetically by last name. For example: Let us know. If you continue with this browser, you may see unexpected results.New York: International Music, c1954. M1620.B8 K11 High M1620.B8 K11 Low New York: G. Schirmer, 1946. (High voice) M1620.F26 F3 New York: International Music Company,. M1620.F26 K11 (for high voice) M1620.F26 K11 Low Boston: Oliver Ditson, 1928. M1620.S384 1928 Herbst, D 945 -- Schwanengesang, D 957 -- Die Taubenpost, D 965A. Schwanengesang: Liebesbotschaft -- Kriegers Ahnung -- Fruhlingssehnsucht -- Standchen -- Aufenthalt -- In der Ferne -- Abschied -- Der Atlas -- Ihr Bild -- Das Fischermadchen -- Die Stadt -- Am Meer -- Der Doppelganger -- Die Taubenpost.Frankfurt; New York: C. F. Peters, 1985. M1620.S384 S2 P42 English Translations by Theodore Baker. 2 vols. New York: G. Schirmer, c1923. M1620.S384 S3 S69 Thy warfare o'er (Raste, Krieger, Krieg ist aus) -- Huntsman, rest. Restrictions apply. Learn more About This Item We aim to show you accurate product information. Manufacturers,Ask a question Ask a question If you would like to share feedback with us about pricing, delivery or other customer service issues, please contact customer service directly. So if you find a current lower price from an online retailer on an identical, in-stock product, tell us and we'll match it. See more details at Online Price Match.All Rights Reserved.
To ensure we are able to help you as best we can, please include your reference number: Feedback Thank you for signing up. You will receive an email shortly at: Here at Walmart.com, we are committed to protecting your privacy. Your email address will never be sold or distributed to a third party for any reason. If you need immediate assistance, please contact Customer Care. Thank you Your feedback helps us make Walmart shopping better for millions of customers. OK Thank you! Your feedback helps us make Walmart shopping better for millions of customers. Sorry. We’re having technical issues, but we’ll be back in a flash. Done. The songs of Johannes Brahms are abundent and I have located a site which provides. German text for his lieder and some english translations. I have also included an academicA list of links to hisAt the bottom of the page is a listing The actual link to the text that Brahms employed in his lieder are, for the majority, presentedThe presentation provides the original German wording and The source for the information pertaining to the Stark. Indiana University Press, Bloomington and Indianapolis. 1995 Very informative paper with good. Please help to improve this article by introducing more precise citations. ( April 2009 ) ( Learn how and when to remove this template message ) They are also known as Neue Liebesliederwalzer. Neue Liebeslieder were written during the Romantic period between 1869 and 1874. The text of the songs is adapted from folk songs of various areas of Europe including Turkey, Poland, Latvia and Sicily.With this change in subject comes the change in meter. When Brahms changes the standard 3 4 meter to 9 4, the nine beats are grouped into three groups of three; thus, it is a waltz within a waltz.Bloomington: Indiana University Press.By using this site, you agree to the Terms of Use and Privacy Policy. A Guide to the Solo Songs of Johannes Brahms: Amazon.es: Lucien A guide to the solo songs of Johannes Brahms.
Responsibility: Lucien Stark. Imprint: Bloomington: Indiana University Press, c1995. Physical description: x, 374 Johannes Brahms composed songs throughout his creative life. While many of them are among the best-loved in the art song repertoire, dozens remain virtually a guide to the solo songs of johannes brahms starks understanding and affectionate discussion of the relationship between music and text draws the reader to. A Guide to the Solo Songs of Johannes Brahms Literatura obcojezyczna juz od 185,67 zl - od 185,67 zl, porownanie cen w 3 sklepach. Zobacz inne Literatura The texts and translations of the following songs are discussed: “Liebestreu” (op. 3, no. 1), “An Stark, Lucien. A Guide to the Solo Songs of Johannes Brahms. A guide to the solo songs of Johannes Brahms (Book, 1995. Amazon.fr - A Guide to the Solo Songs of Johannes Brahms - Lucien —NotesIn this sequel to AA Guide to the Solo Songs of Johannes Brahms. A Guide To The Solo Songs Of Johannes Brahms - Mangalam. A Guide To The Solo Songs Of Johannes Brahms - MixxCentury.com Lucien Stark, A Guide to the Solo Songs of Johannes Brahms, Lucien Stark. Des milliers de livres avec la livraison chez vous en 1 jour ou en magasin avec -5 Buy A Guide to the Solo Songs of Johannes Brahms Book Online at. Format: Book; Published: Bloomington Ind.: Indiana Vocal Music Bell, A. Craig, Brahms—The Vocal Music, Madison, New Jersey: Press, 1995 Stark, Lucien, A Guide to the Solo Songs of Johannes Brahms, A Guide to the Solo Songs of Johannes Brahms, by Lucien Stark. The song translations by Stanley A Guide to the Solo Songs of Johannes Brahms - Literatura.Ceneo a guide to the solo songs of johannes brahms lucien stark on amazoncom free shipping on qualifying offers the song translations by stanley appelbaum are. A Guide to the Solo Songs of Johannes Brahms: By Stark, Lucien.Reader s Guide to Music: History, Theory and Criticism - Google Books Result Brahms s Vocal Duets and Quartets with Piano: A Guide with Full.
People who viewed this item also viewed. A Guide To The Solo Songs Of Johannes Brahms - Drainkingeps Johannes Brahms and Klaus Groth: The Biography of a Friendship - Google Books Result A Guide to the Solo Songs of Johannes Brahms by Stark, Lucien. Guide to the Solo Songs of Johannes Brahms Cover. Guide to the Solo Songs of Johannes Brahms. STARK, L - Indiana University Press. Click to review. Stark Booktopia - A Guide to the Solo Songs of Johannes Brahms by. 1 aug. 2018 Guide to the Solo Songs of Johannes Brahms Lucien Stark Rahva Discusses Brahms as a song composer - his indebtedness to folk song A Guide to the Solo Songs of Johannes Brahms by.AbeBooks Encuentra A Guide to the Solo Songs of Johannes Brahms de Lucien Stark (ISBN: 9780253328915) en Amazon. Buy the Guide To The Solo Songs Of Johannes Brahms online from Takealot. Many ways to pay. Free Delivery Available. Stark s commentaries are concise, intelligent, highly readable Laymen and specialists Guide To The Solo Songs Of Johannes Brahms Buy Online in. A Guide to the Solo Songs of Johannes Brahms: Lucien Stark. The song translations by Stanley Appelbaum are excellent. Stark s commentaries are concise, intelligent, highly readable Laymen and specialists alike will find A Guide To The Solo Songs Of Johannes Brahms Booktopia has A Guide to the Solo Songs of Johannes Brahms by Lucien Stark. Buy a discounted Hardcover of A Guide to the Solo Songs of Johannes Brahms Books: Lieder of specific composers - GOpera.com A Guide To The Solo Songs Of Johannes Brahms PDF 22 Oct 1995. Stark s commentaries are concise, intelligent, highly readable Laymen and. If you continue with this browser, you may see unexpected results.The tabs above list types of resources available--please note that there are sub-tabs under some of the tabs. Choose any one to get started, although if you are new to research you may find it helpful to work from left to right across the tabs.
Forged from a partnership between a university press and a library, Project MUSE is a trusted part of the academic and scholarly community it serves. Without cookies your experience may not be seamless. The most recent additions will beThe guide you want will eventuallyThe guides are andTwo days ago, I publiclyThank you in advance toI would want to finish adding theI probably should update the header to the page and move thoseAnd in upsetting news, last July all of theThe DG complete edition wasI believe mostThe hosting, which wasAnd last May, I was forced toThank you again for all of. At its beginning and end, too. Of the first seven completed works he allowed into the public domain, three, significantly, were sets of songs. His last composition, the Vier ernste Gesange ('Four Serious Songs'), was also to be for voice. The preoccupation with song was ever present, always crucial, occasionally defining; the voice perpetually exploited and explored in more than 200 songs for solo voice, duet and solo quartet, and in a myriad of works for accompanied and a cappella choir, the volume of which it is impossible to do justice to in a single article. Suffice to say that the sense of the sung voice was instinctive and integral to Brahms's own sense of himself as both man and musician. 'The ideal', he once remarked, 'is the folk-song.' He might well have added, 'and the voice that creates it, the sublime'. More than the symphonies and the chamber music, it is the vocal music that most explicitly reveals the head and heart of a composer whose true, full and complex identity has been obscured by time and reputation. Where the autobiographical subtext of his instrumental music was frequently disguised, habitually denied, the provocation and purpose of the vocal music is often gloriously, unashamedly, immediately apparent. It is a repertoire that is honest, direct and intellectually unfettered.
Yet, in a curious way, it is those obvious occasional weaknesses that give the whole its strength, make it so tantalizing, so endearing, so much more truthful and reliable an expression of the man who composed them. Punctuating the life and career as they do, the compositions for voice provide a revealing series of thumbnail portraits of Brahms that belie the lingering image of him as being ill-equipped or disinclined to deal with the complex reality of his own emotional responses to the people and events that impinged upon his life. Certainly, for pianist Graham Johnson, the Lieder provide for an altogether fresh and vital perspective on the composer. He looked to poetry as a type of echo of his own mental state. An analysis of the poems that he set very often finds an emphasis on thwarted love; on love that always seems in the final analysis to never triumphantly find its end but is always cut off at the last moment. Like the man in Von ewiger Liebe who thinks himself not good enough for the girl he adores, or like In Waldeseinsamkeit, which is about a man in the forest with his loved one and his jittery hands long to do something with her but in the end don't.' In the Lieder, the autobiographical context often has greater currency because it is that much closer to the surface, that much more apparent, that much more honest and open. Their emotional utility to Brahms takes on a far more crucial, far more intimate role than does the bulk of the orchestral and instrumental repertoire. 'They're about empathy, about expecting people to read his mind, about being unable to articulate his feelings, unable to ask for his needs to be met. There is an inscrutable quality where he goes to his songs and writes about these preoccupations and others - a very extraordinary preoccupation in songs about mothers and daughters. He seems always to be moved by these colloquies, some of them very dark, as in Madchenfluch.
Though the texts he chose to illustrate his feelings are of often questionable literary merit, the eloquently candid music they inspired more than compensates. Recognizing the diminished importance of the word in Brahms's Lied, Eric Sams noted in his erudite and seminal survey of the composer's songs ( BBC Music Guide: 1972) that, 'Other composers set the words, Brahms uses them to set the tone, or the scene, of his own experience.' Each new song represented a further step along the journey that was, in Graham Johnson's opinion, 'to take the Lied back to Vienna for the first time since Schubert's death'. Self-evident in the two other sets of songs that appeared in the 1850s the Eight Songs and Romances, Op 14, and the Five Poems, Op 19 - were the many influences acting upon the young composer: Schubert and Schumann of course, but also Mendelssohn and Robert Franz and the highly coloured idioms of traditional folk-songs and tunes. Graham Johnson again: 'What he did which Schubert never did, was to show an interest in folk-song. That is certainly the thing that separates him from almost all the other great Lieder composers. Schumann had shown the beginnings of an interest, Wolf wasn't interested at all, and Schubert had had the talent to write his own folk-songs if he so wished. Brahms developed a quasi-scholastic but largely romanticized attitude to folk-song. It wasn't yet the age of Kodaly and Bartok!' But even in early Brahms there is more to be found than merely musical sleight of hand. I don't see it as having anything in common at all with the Schubert of Die schone Mullerin and Winterreise. Each of the songs is enormous and there are many word repeats. There's nothing quite like them in Schubert.' With hindsight, the dark-hued seriousness that characterizes them can be seen as quintessentially Brahmsian. When published in 1865, the first two books of the cycle brought some considerable success to Brahms.
Today they are considered a partial failure; overly ambitious and insufficiently discriminating in their choice of suitable text for setting, the latter criticism one which Johnson forcefully refutes. 'There's absolutely nothing wrong with the poetry of Ludwig Tieck. Schubert, Schumann and Wolf may all have ignored him but he was a very important figure indeed in German literary history, so at least Brahms can be applauded for filling a very big gap with Die schone Magelone.' He went back to the eighteenth century and set Holty and expanded on Uhland where Schumann had only set Fruhlingsglaube. He set a certain amount of Goethe, six very fine songs by Heine and two or three very fine Ruckert settings. There are two settings by a poet who is otherwise ignored, Detlef von Liliencron - his settings of Auf dem Kirchhofe and Maienkatzchen are absolute jewels. The Op 32 songs offer extremely fine settings of an important German poet, Platen, only set previously by Schubert and ignored by the rest of the Lied composers. And he set Morike long before Wolf began to set him.' With Brahms it's the same thing: the text is sustained by the music.' In truth, the words tell less than half the story, it's the music that provides the detail and the depth of understanding. 'And it's in the music that the key to unlocking and deciphering the cryptic emotional mass that underpins the vast majority of Brahms's Lieder is to be found. To Graham Johnson the songs paint the portrait of 'a wounded individual who wore his tribulations, as Auden once said, like a rose. There seems to have been some major heart-set at the very centre of his psyche that we will probably never get to the bottom of.' Francoise Sagan's inquiry 'Aimez-vous Brahms?' may seem less provocative, less controversial now, but there remains a lingering, overly cautious suspicion, a fact Graham Johnson is keenly aware of.
All-Wolf and all-Schubert are possible, but all-Brahms can leave a certain feeling of depression in people's minds. This is because, like all great composers, he writes himself into his music and because he was a very lonely, very unhappy, depressed person, that communicates itself to the audience and gets into their bloodstream. I would say he is the most controversial song composer I know in the sense that those who love the music love it very much and those who don't positively hate it.'. He has a very folky, natural, almost Mahlerian approach and his simple, heartfelt sincerity is not too dissimilar to Mozart.' People do tend to forget that Brahms does have this very sweet side to him.' Brahms enjoyed and exploited the soprano voice to the full. Though the tessitura of most of the soprano songs is, she admits, 'high and very much Schubert an, they remain incredibly singable'. On the whole. Already she is finding exceptions to her own rule. 'When you've sung a whole evening of the Liebeslieder and the Neue Liebeslieder it's like singing Brunnhilde. They're damn hard to sing, especially for soprano. You 've got three people underneath you vying for attention and you have to carry the melody practically all the time. After a while it kills you!' If his own circumstances coloured that preference, so too did his reluctance to step deliberately into Schubert's shadow. He knew the Schubert songs and never went near his territory. The few times he set the same poems as Schubert - Die Liebende schreibt (Op 47 No 5), Minnelied (Op 71 No 5) - Schubert had not set them so wonderfully, so perhaps he thought he had something to say there. Die Mainacht (Op 43 No 2), which Schubert had set extremely simply and strophically, Brahms set more expansively, but he never went near any poems that he thought Schubert had set definitively. He was much less audacious than Wolf in that respect.
' When he published the 49 Deutsche Volkslieder in 1894, he alerted Clara to the fact that a theme from the last of the songs, Verstohlen geht der Mond auf, also occurred in the slow movement of his Op 1 Piano Sonata and that the repetition was no mere coincidence. 'It was in fact designed to say something,' he wrote in a letter to Clara, 'intended to represent the snake that bites its own tail, and thus to express symbolically the idea that the tale is over, the circle completed.' Almost completed, but not quite. On May 7, 1896, his 63rd birthday, he revealed rather modestly that, 'I had amused myself by writing a few little songs' and produced, like a rabbit out of a conjurer's hat, the Vier ernste Gesange, his first original songs in a decade and his penultimate opus. Mimicking the form of a baroque solo cantata, they articulate, for Graham Johnson, 'huge, philosophical reflections on the nature of life and death', while to Jose van Dam they assume the form of an extended prayer. 'Brahms would not have described himself as religious, but he was none the less convinced of God deep within himself and you can feel that in the Four Serious Songs. When I sing them I feel as if I am a preacher delivering a sermon in church not from God but from deep within the human heart. Perhaps that is the same thing. Perhaps that is what Brahms would have wanted us to believe?' Published in 1868 some 11 years after it was first begun, it also employed baroque devices and married, too, that blend of the sacred and the secular peculiar to Brahms which exalted love, and elevated it, in his eyes at least, to be the highest and holiest of virtues. I hate performances when there are huge gaps. I only ever allow the choir to sit once and that's for the fifth movement when they accompany the soprano solo. The rest I get them to sing while standing. I did it recently with Bryn Terfel and the Cleveland Orchestra and two members of the chorus fainted. It's quite a test of stamina!