WorldCat Identities

American Boychoir

Works: 147 works in 325 publications in 6 languages and 7,884 library holdings
Genres: Musical settings  Music  Requiems  Live sound recordings  Christmas music  Carols  Excerpts  Sacred music  Spirituals (Songs)  Songs 
Roles: Performer, Singer, Musician, Instrumentalist, Other
Classifications: M1520, 781.556
Publication Timeline
Most widely held works by American Boychoir
A Carnegie Hall Christmas concert by Kathleen Battle( )

10 editions published between 1991 and 2016 in 4 languages and held by 737 WorldCat member libraries worldwide

The Spielberg/Williams collaboration : John Williams conducts his classic scores for the films of Steven Spielberg by John Williams( Recording )

3 editions published in 1991 in Latin and English and held by 468 WorldCat member libraries worldwide

Fast cats and mysterious cows by Aaron Copland( )

11 editions published between 1998 and 2009 in 4 languages and held by 439 WorldCat member libraries worldwide

Christmastide by Jessye Norman( Recording )

16 editions published between 1986 and 1993 in 5 languages and held by 435 WorldCat member libraries worldwide

Carol by American Boychoir( )

4 editions published in 1996 in English and held by 432 WorldCat member libraries worldwide

The prayer cycle by Jonathan Elias( )

4 editions published between 1999 and 2000 in 3 languages and held by 370 WorldCat member libraries worldwide

Grace by Kathleen Battle( Recording )

8 editions published between 1997 and 2016 in 4 languages and held by 336 WorldCat member libraries worldwide

Sacred songs with varius accompaniments; in part excerpts from larger vocal works./ Compact disc./ Texts with english, French and German translations, and notes on the singer by William Livingston
In the spirit : sacred music for Christmas by Jessye Norman( )

5 editions published in 1996 in English and Multiple languages and held by 318 WorldCat member libraries worldwide

Mass & Vespers for the Feast of Holy Innocents by Michael Haydn( )

6 editions published in 2000 in Latin and No Linguistic content and held by 264 WorldCat member libraries worldwide

"This recording is a partial reconstruction of a mass and vespers for Holy Innocents Day as may have been sung in Salzburg during the early nineteenth century. In addition to the mass ordinary and vespers psalm settings by Michael Haydn, the mass includes the propers of the day sung to chant, and vespers includes the psalm and Magnificat chant antiphons and other liturgical chant. The mass Gradual is a 1783 setting of the proper Holy Innocents Day "Laudate Pueri" for boys voices and orchestra also by Michael Haydn. The Mozart church sonatas for strings and organ are included as instrumental substitutes for the propers, which was the late eighteenth century practice in Salzburg Cathedral"--Program notes, p. 9
Choirboys from Heaven( )

2 editions published in 2010 in Multiple languages and English and held by 257 WorldCat member libraries worldwide

Several of the world's most notable boys' choirs lend their voices to a wide range of works that include both the classic and contemporary.--Midwest Tape
Symphony no. 6 in A minor ; Symphony no. 3 in D minor by Gustav Mahler( )

2 editions published in 1994 in German and held by 249 WorldCat member libraries worldwide

Seiji Ozawa : best selection 2015( )

1 edition published in 2015 in French and held by 217 WorldCat member libraries worldwide

The nutcracker ; The sleeping beauty-suite ; Romeo & Juliet by Peter Ilich Tchaikovsky( )

1 edition published in 1992 in English and held by 216 WorldCat member libraries worldwide

The symphonies ; Kindertotenlieder by Gustav Mahler( )

2 editions published in 2002 in German and English and held by 214 WorldCat member libraries worldwide

War requiem by Benjamin Britten( Recording )

9 editions published in 1998 in 3 languages and held by 162 WorldCat member libraries worldwide

Public awareness of Benjamin Britten's person and works advanced dramatically -- even explosively -- twice during his lifetime. The first time was in 1945, when his opera Peter Grimes was produced for the postwar reopening of Sadler's Wells Theatre in London. The second time followed the premier at Coventry and the subsequent series of performances all across Europe and North America of the War Requiem. Except to those provincials who thought that milky pastoral was the only idiom appropriate for an Englishman and who also found the young Britten too clever by half, the triumph of Peter Grimes marked not just the confirmation of a prodigious talent; it represented a moment of hope that, for the first time since the death of Henry Purcell in 1695, England had produced a composer of international stature. The impact the War Requiem made 17 years later was wider and deeper by far. Britten, approaching 50, had become an artist whose every new utterance was awaited with the most lively interest and the highest expectations. The War Requiem, moreover, was tied to a pair of events that were heavily freighted with history and emotion: the destruction of Coventry Cathedral in an air raid during the night of November 14-15, 1940, and its reconsecration more than 21 years later. Its first performance was planned as an international event with respect both to participants and audience. Most importantly, the War Requiem was a weighty and poignant statement on the subject of piercingly urgent concern to much of humankind. In the War Requiem, Britten drew on forces larger and more complex than in any previous work of his. The basic division of the performers is into two groups, reflecting the dual source of the words; the libretto stands in a relation of text (the Latin Missa pro defunctis) and commentary (the nine Owen poems). The Latin text is essentially the province of the large mixed chorus, but from this there is spillover in two opposite directions: the solo soprano represents a heightening of the choral singing at its most emotional, while the boys' choir represents liturgy at its most distanced. The mixed chorus and solo soprano are accompanied by the full orchestra; the boys' choir, whose sound should be distant, is supported by an organ. All this constitutes one group. The other group consists of the tenor and baritone soloists, whose province is the series of Owen songs; they are accompanied by the chamber orchestra. - Program notes / Michael Steinberg
The journey of butterfly by Robert E Frye( Visual )

2 editions published between 1996 and 2002 in English and held by 152 WorldCat member libraries worldwide

Weaves together the music, art, poetry and history of the children imprisoned by the Nazis in the ghetto at Terezin in Czechoslovakia from 1941 to 1945. Features The American Boychoir performing in concert "I Never Saw Another Butterfly" with the Prague Symphony Orchestra
Hymn by American Boychoir( Recording )

4 editions published in 1995 in English and held by 143 WorldCat member libraries worldwide

The nutcracker : (highlights) by Peter Ilich Tchaikovsky( Recording )

10 editions published between 1992 and 2010 in 4 languages and held by 138 WorldCat member libraries worldwide

The story of the Nutcracker unfolds to the tune of Tchaikovsky's suite
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Audience Level
Audience Level
  Kids General Special  
Audience level: 0.34 (from 0.21 for The journe ... to 0.49 for Pique dame ...)

WorldCat IdentitiesRelated Identities
Alternative Names

controlled identityColumbus Boychoir

American boy choir

Columbus Boychoir