DER MUSIKALISCHE SPRACHE DES KOMPONISTEN PIERRE VILLETTE IN DEN „A CAPPELLA MOTETTEN HYMNE A LA VIERGE (OP. 24) UND PANIS ANGELICUS (OP. 80)“ by Miklós FEKETE

“…Secondly, this writing focuses on the choral music of the composer, presenting the result of the analysis of the two chosen a cappella motets mentioned in the title (written by Villette in two different periods of his creation). …”
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Einen Anfang finden. György Ligetis Skizzen und Entwürfe zu den Drei Phantasien nach Friedrich Hölderlin für 16-stimmigen gemischten Chor a cappella by Vera Funk

“…Die Drei Phantasien nach Friedrich Hölderlin für 16-stimmigen gemischten Chor a cappella (1982/83) erklingen regelmäßig in Konzerten professioneller Chöre, die sich z.B. der Hölderlin-Rezeption der 1980er Jahre widmen. …”
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EDITORIAL EXPLOSION by Gabriela COCA

“…The last chapter analyses The Harmonically World of the Contem­poraneous Romanian Music, highlighting The Chamber Symphony of George Enescu, and the choral a cappella creation of the composer Sigismund Toduţă. …”
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Gender, Schaffensprozess und musikalische Analyse. Clara Schumanns Drei gemischte Chöre (1848) by Thomas Wozonig

“…Clara Schumann’s three a cappella part songs from 1848 (Drei gemischte Chöre) like few other of her compositions allow for substantial insight into the artistic dialogue of the Schumann couple: these songs were composed in the context of common activities in the Dresden Verein für Chorgesang and jointly revised after their first performance. …”
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From Trinidad to Cyberspace: Reconsidering Ernst Toch’s “Geographical Fugue” by Carmel Raz

“…Premiered in 1930 at a Berlin-based festival dedicated to the incorporation of technology in music, a few years later the piece was transformed into a humorous showpiece spoken live by a-cappella choirs. However, these renditions represent a substantial deviation from the composer’s intention. …”
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