Übers Gebirg Maria Geht
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Übers Gebirg Maria Geht
' (Over the mountains Mary goes) is a sacred motet by the Renaissance composer and musician Johannes Eccard, who wrote it on a German text by Ludwig Helmbold in two stanzas. The first stanza is a rephrasing of the biblical story of the visit of Mary to Elisabeth, ending in Mary's song of praise known as the Magnificat. The second stanza speaks to present-day listeners, urging them to follow Mary's example and go over the mountains, be inspired, support each other, and sing the Magnificat. Thirty-three years after Eccard's death, the motet was included in the collection ', published in Berlin in 1644. Originally intended for the feast of the Visitation, it is now often performed during Advent. Background and text The author of the text was Ludwig Helmbold, who was a minister at the Marienkirche in Mühlhausen from 1571. Eccard, who was born in Mühlhausen and returned there during the winter of 1573–74 when he was twenty, became acquainted with Helmbold and set many of ...
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Motet
In Western classical music, a motet is mainly a vocal musical composition, of highly diverse form and style, from high medieval music to the present. The motet was one of the pre-eminent polyphonic forms of Renaissance music. According to Margaret Bent, "a piece of music in several parts with words" is as precise a definition of the motet as will serve from the 13th to the late 16th century and beyond.Margaret Bent,The Late-Medieval Motet in ''Companion to Medieval & Renaissance Music'', edited by Tess Knighton and David Fallows, 114–19 (Berkeley, California: University of California Press, 1992): 114. . The late 13th-century theorist Johannes de Grocheo believed that the motet was "not to be celebrated in the presence of common people, because they do not notice its subtlety, nor are they delighted in hearing it, but in the presence of the educated and of those who are seeking out subtleties in the arts". Etymology In the early 20th century, it was generally believed the name ...
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Gospel Of Luke
The Gospel of Luke), or simply Luke (which is also its most common form of abbreviation). tells of the origins, birth, ministry, death, resurrection, and ascension of Jesus Christ. Together with the Acts of the Apostles, it makes up a two-volume work which scholars call Luke–Acts, accounting for 27.5% of the New Testament. The combined work divides the history of first-century Christianity into three stages, with the gospel making up the first two of these – the life of Jesus the Messiah from his birth to the beginning of his mission in the meeting with John the Baptist, followed by his ministry with events such as the Sermon on the Plain and its Beatitudes, and his Passion, death, and resurrection. Most modern scholars agree that the main sources used for Luke were a), the Gospel of Mark, b), a hypothetical sayings collection called the Q source, and c), material found in no other gospels, often referred to as the L (for Luke) source. The author is anonymous; the tr ...
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AllMusic
AllMusic (previously known as All Music Guide and AMG) is an American online music database. It catalogs more than three million album entries and 30 million tracks, as well as information on musicians and bands. Initiated in 1991, the database was first made available on the Internet in 1994. AllMusic is owned by RhythmOne. History AllMusic was launched as ''All Music Guide'' by Michael Erlewine, a "compulsive archivist, noted astrologer, Buddhist scholar and musician". He became interested in using computers for his astrological work in the mid-1970s and founded a software company, Matrix, in 1977. In the early 1990s, as CDs replaced LPs as the dominant format for recorded music, Erlewine purchased what he thought was a CD of early recordings by Little Richard. After buying it he discovered it was a "flaccid latter-day rehash". Frustrated with the labeling, he researched using metadata to create a music guide. In 1990, in Big Rapids, Michigan, he founded ''All Music Guide' ...
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Carus-Verlag
Carus-Verlag is a German music publisher founded in 1972 and based in Stuttgart. Carus was founded by choral conductor Günter Graulich and his wife Waltraud with an emphasis on choral repertoire. The catalogue currently includes more than 26,000 works (January 2016). The company produces the standard editions of the complete works of Josef Rheinberger and Max Reger.''Harald Wanger, Rheinberger-Archivar, Organist, Pädagoge'' Harald Wanger, Franz-Georg Rössler, Robert Allgäuer - 2003 p. 48 Carus-Verlag, Musikalische Schätze abseits bekannter Pfade - Harald Wanger und der Carus-Verlag "Für den Carus-Verlag ist die Verbindung zu Harald Wanger und dem Josef Rheinberger-Archiv ein Glücksfall." Record label The company also produces CDs to accompany some of its printed editions. Currently the publishers are working on recordings accompanying the complete editions of Wilhelm Friedemann Bach. Opera rarities include Schubert's ''Sakuntala'' and Johann Rudolf Zumsteeg Johann Rudo ...
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Südwestrundfunk
Südwestrundfunk (SWR; ''Southwest Broadcasting'') is a regional public broadcasting corporation serving the southwest of Germany , specifically the federal states of Baden-Württemberg and Rhineland-Palatinate. The corporation has main offices in three cities: Stuttgart, Baden-Baden and Mainz, with the director's office being in Stuttgart. It is a part of the ARD consortium. It broadcasts on two television channels and six radio channels, with its main television and radio office in Baden-Baden and regional offices in Stuttgart and Mainz. It is (after WDR) the second largest broadcasting organization in Germany. SWR, with a coverage of 55,600 km2, and an audience reach estimated to be 14.7 million. SWR employs 3,700 people in its various offices and facilities. History SWR was established in 1998 through the merger of ''Süddeutscher Rundfunk'' (SDR, Southern German Broadcasting), formerly headquartered in Stuttgart, and ''Südwestfunk'' (SWF, South West Radio), former ...
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Homophony
In music, homophony (;, Greek: ὁμόφωνος, ''homóphōnos'', from ὁμός, ''homós'', "same" and φωνή, ''phōnē'', "sound, tone") is a texture in which a primary part is supported by one or more additional strands that flesh out the harmony. One melody predominates while the other parts play either single notes or an elaborate accompaniment. This differentiation of roles contrasts with equal-voice polyphony (in which similar lines move with rhythmic and melodic independence to form an even texture) and monophony (in which all parts move in unison or octaves). Historically, homophony and its differentiated roles for parts emerged in tandem with tonality, which gave distinct harmonic functions to the soprano, bass and inner voices. A homophonic texture may be homorhythmic, which means that all parts have the same rhythm. Chorale texture is another variant of homophony. The most common type of homophony is melody-dominated homophony, in which one voice, often the ...
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Bass (voice Type)
A bass is a type of classical male singing voice and has the lowest vocal range of all voice types. According to ''The New Grove Dictionary of Opera'', a bass is typically classified as having a vocal range extending from around the second E below middle C to the E above middle C (i.e., E2–E4).; ''The Oxford Dictionary of Music'' gives E2–E4/F4 Its tessitura, or comfortable range, is normally defined by the outermost lines of the bass clef. Categories of bass voices vary according to national style and classification system. Italians favour subdividing basses into the ''basso cantante'' (singing bass), ''basso buffo'' ("funny" bass), or the dramatic ''basso profondo'' (low bass). The American system identifies the bass-baritone, comic bass, lyric bass, and dramatic bass. The German ''Fach'' system offers further distinctions: Spielbass (Bassbuffo), Schwerer Spielbass (Schwerer Bassbuffo), Charakterbass (Bassbariton), and Seriöser Bass. These classification systems can ...
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Tenor
A tenor is a type of classical music, classical male singing human voice, voice whose vocal range lies between the countertenor and baritone voice types. It is the highest male chest voice type. The tenor's vocal range extends up to C5. The low extreme for tenors is widely defined to be B2, though some roles include an A2 (two As below middle C). At the highest extreme, some tenors can sing up to the second F above middle C (F5). The tenor voice type is generally divided into the ''leggero'' tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, and tenor buffo or . History The name "tenor" derives from the Latin word ''wikt:teneo#Latin, tenere'', which means "to hold". As Fallows, Jander, Forbes, Steane, Harris and Waldman note in the "Tenor" article at ''Grove Music Online'': In polyphony between about 1250 and 1500, the [tenor was the] structurally fundamental (or 'holding') voice, vocal or instrumental; by the 15th century it came to signify the male voice that ...
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Alto
The musical term alto, meaning "high" in Italian (Latin: ''altus''), historically refers to the contrapuntal part higher than the tenor and its associated vocal range. In 4-part voice leading alto is the second-highest part, sung in choruses by either low women's or high men's voices. In vocal classification these are usually called contralto and male alto or countertenor. Such confusion of "high" and "low" persists in instrumental terminology. Alto flute and alto trombone are respectively lower and higher than the standard instruments of the family (the standard instrument of the trombone family being the tenor trombone), though both play in ranges within the alto clef. Alto recorder, however, is an octave higher, and is defined by its relationship to tenor and soprano recorders; alto clarinet is a fifth lower than B-flat clarinet, already an 'alto' instrument. There is even a contra-alto clarinet, (an octave lower than the alto clarinet), with a range B♭0 – D4. Etymo ...
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Soprano
A soprano () is a type of classical female singing voice and has the highest vocal range of all voice types. The soprano's vocal range (using scientific pitch notation) is from approximately middle C (C4) = 261  Hz to "high A" (A5) = 880 Hz in choral music, or to "soprano C" (C6, two octaves above middle C) = 1046 Hz or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which often encompasses the melody. The soprano voice type is generally divided into the coloratura, soubrette, lyric, spinto, and dramatic soprano. Etymology The word "soprano" comes from the Italian word '' sopra'' (above, over, on top of),"Soprano"
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Johann Stobaeus
Johann, typically a male given name, is the German form of ''Iohannes'', which is the Latin form of the Greek name ''Iōánnēs'' (), itself derived from Hebrew name '' Yochanan'' () in turn from its extended form (), meaning " Yahweh is Gracious" or "Yahweh is Merciful". Its English language equivalent is John. It is uncommon as a surname. People People with the name Johann include: Mononym * Johann, Count of Cleves (died 1368), nobleman of the Holy Roman Empire * Johann, Count of Leiningen-Dagsburg-Falkenburg (1662–1698), German nobleman * Johann, Prince of Hohenzollern-Sigmaringen (1578–1638), German nobleman A–K * Johann Adam Hiller (1728–1804), German composer * Johann Adam Reincken (1643–1722), Dutch/German organist * Johann Adam Remele (died 1740), German court painter * Johann Adolf I, Duke of Saxe-Weissenfels (1649–1697) * Johann Adolph Hasse (1699-1783), German Composer * Johann Altfuldisch (1911—1947), German Nazi SS concentration camp officer ...
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Chorale Motet
The chorale motet was a type of musical composition in mostly Protestant parts of Europe, principally Germany, and mainly during the 16th century. It involved setting a chorale melody and text as a motet. Stylistically chorale motets were similar at first to motets composed in Catholic countries, and made use of the full range of techniques of Franco-Flemish polyphony. In the earlier period, the chorale was typically used as a cantus firmus, fairly easy to hear, with other lines either weaving in and out contrapuntally around it, or following along in the same rhythm in an entirely homophonic style. Later in the century, especially around 1600, the successive verses of the chorale were used to begin imitative sections in a fugal style. Shortly after 1600 the form began to disappear, overtaken by newer forms based on Italian (especially Venetian) models: the chorale concerto, and later the chorale cantata. The chorale cantata was to become the most substantial of the ...
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