|
Der Tod Jesu
''Der Tod Jesu'' (''The Death of Jesus'') is an oratorio libretto by Karl Wilhelm Ramler. In its setting by Carl Heinrich Graun in 1755, it was the most often performed Passion of the 18th century in Germany. The poem is part of the '' Empfindsamkeit'' movement of the 1750s. It is the middle of three oratorio texts by Ramler – ''Die Hirten bei der Krippe zu Bethlehem'', ''Der Tod Jesu'', and ''Die Auferstehung und Himmelfahrt'' – which may have been viewed by Ramler as a libretto cycle, though they were never set as a cycle by any composer. The libretto was intended for Graun but a copy of Ramler's text was somehow received by Telemann who produced his own setting of the oratorio (TWV 5:6) in Hamburg before Graun could perform the premiere in Berlin. Ramler revised his text in 1760. The text is not a full retelling of the Passion of Christ and it does not quote Bible texts. Instead, it presents emotively various aspects of the Passion. Settings * Georg Philipp Telemann, Ha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Der Tod Jesu Textdruck 1755 Titelseite
Der or DER may refer to: Places * Darkənd, Azerbaijan * Dearborn (Amtrak station) (station code), in Michigan, US * Der (Sumer), an ancient city located in modern-day Iraq * d'Entrecasteaux Ridge, an oceanic ridge in the south-west Pacific Ocean Science and technology * Derivative chromosome, a structurally rearranged chromosome * Distinguished Encoding Rules, a method for encoding a data object, including public key infrastructure certificates and keys * Distributed Energy Resources * ∂, the partial derivative symbol *Deep energy retrofit, an energy conservation measure Organizations * Digital Education Revolution, former Australian Government-funded educational reform program * DER rental (Domestic Electric Rentals Ltd), a UK television rentals company * Documentary Educational Resources, a non-profit film producer and distributor Other uses *Defence (Emergency) Regulations The Defence (Emergency) Regulations are an expansive set of regulations first promulgated by the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anna Amalia, Abbess Of Quedlinburg
Princess Anna ''Amalia'' of Prussia (9 November 1723 – 30 March 1787) was an early modern German composer and music curator who served as princess-abbess of Quedlinburg. She was a princess of Prussia as the daughter of Frederick William I of Prussia and the sister of Frederick the Great. Early life (1723–1755) Princess Anna ''Amalia'' of Prussia was born on 9 November 1723 in Berlin, Kingdom of Prussia as the 12th child and 7th daughter of King Frederick William I (1688–1740) and his wife, born Princess Sophia Dorothea of Hanover (1687–1757). She had 13 siblings, 10 of whom survived infancy, including the future Frederick the Great (1712–1786). The Prussian royal children were raised in Berlin, where they lived in the Royal Palace (''Königliches Schloss''; today Berlin Palace/''Berliner Schloss''), but they also regularly spent time in the king's favourite residence, a ''jagdschloss'' ("hunting lodge") in Königs Wusterhausen. Amalia was musically inclined, jus ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Da Capo Aria
The da capo aria () is a musical form for arias that was prevalent in the Baroque era. It is sung by a soloist with the accompaniment of instruments, often a small orchestra. The da capo aria is very common in the musical genres of opera and oratorio. According to Randel, a number of Baroque composers (he lists Scarlatti, Hasse, Handel, Porpora, Leo, and Vinci) composed more than a thousand da capo arias during their careers.Randel (2003:54) Form A da capo aria is in ternary form, meaning it is composed of three sections. The first section is a complete song with accompaniment, ending in the tonic key, and could in principle be sung by itself. The second section contrasts with the first in its musical key, texture, mood, and sometimes also tempo. The third section was usually not written out by the composer, who would instead simply note the instruction "da capo" (Italian for "from the head") - meaning from the beginning, i.e., the first section is to be repeated. The text for ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aria
In music, an aria (Italian: ; plural: ''arie'' , or ''arias'' in common usage, diminutive form arietta , plural ariette, or in English simply air) is a self-contained piece for one voice, with or without instrumental or orchestral accompaniment, normally part of a larger work. The typical context for arias is opera, but vocal arias also feature in oratorios and cantatas, or they can be stand-alone concert arias. The term was originally used to refer to any expressive melody, usually, but not always, performed by a singer. Etymology The Italian term ''aria'', which derives from the Greek ἀήρ and Latin ''aer'' (air), first appeared in relation to music in the 14th century when it simply signified a manner or style of singing or playing. By the end of the 16th century, the term 'aria' refers to an instrumental form (cf. Santino Garsi da Parma lute works, 'Aria del Gran Duca'). By the early 16th century it was in common use as meaning a simple setting of strophic poetry; me ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fugue
In music, a fugue () is a contrapuntal compositional technique in two or more voices, built on a subject (a musical theme) that is introduced at the beginning in imitation (repetition at different pitches) and which recurs frequently in the course of the composition. It is not to be confused with a ''fuguing tune'', which is a style of song popularized by and mostly limited to early American (i.e. shape note or "Sacred Harp") music and West Gallery music. A fugue usually has three main sections: an exposition, a development and a final entry that contains the return of the subject in the fugue's tonic key. Some fugues have a recapitulation. In the Middle Ages, the term was widely used to denote any works in canonic style; by the Renaissance, it had come to denote specifically imitative works. Since the 17th century, the term ''fugue'' has described what is commonly regarded as the most fully developed procedure of imitative counterpoint. Most fugues open with a short ma ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Duet
A duet is a musical composition for two performers in which the performers have equal importance to the piece, often a composition involving two singers or two pianists. It differs from a harmony, as the performers take turns performing a solo section rather than performing simultaneously. A piece performed by two pianists performing together on the same piano is a "piano duet" or " piano four hands". A piece for two pianists performing together on separate pianos is a " piano duo". The term ''duet'' is also used as a verb for the act of performing a musical duet, or colloquially as a noun to refer to the performers of a duet. A musical ensemble with more than two solo instruments or voices is called trio, quartet, quintet, sextet, septet, octet, etc. History When Mozart was young, he and his sister Marianne played a duet of his composition at a London concert in 1765. The four-hand, described as a duet, was in many of his compositions which included five sonatas; a set o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Galant Music
In music, galant refers to the style which was fashionable from the 1720s to the 1770s. This movement featured a return to simplicity and immediacy of appeal after the complexity of the late Baroque era. This meant simpler, more song-like melodies, decreased use of polyphony, short, periodic phrases, a reduced harmonic vocabulary emphasizing tonic and dominant, and a clear distinction between soloist and accompaniment. C. P. E. Bach and Daniel Gottlob Türk, who were among the most significant theorists of the late 18th century, contrasted the galant with the "learned" or "strict" styles.) The German '' empfindsamer Stil'', which seeks to express personal emotions and sensitivity, can be seen either as a closely related North-German dialect of the international galant style, or as contrasted with it, as between the music of Carl Philipp Emanuel Bach, a founder of both styles, and that of Johann Christian Bach, who carried the galant style further and was closer to classical. Thi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vox Christi
Vox (Latin for 'voice') may refer to: Arts, entertainment and media Fictional characters * Vox (DC Universe character), Mal Duncan * Vox, several characters in the anime series '' Lagrange: The Flower of Rin-ne'' * Gleeman Vox, from the ''Ratchet & Clank'' video game series * Vox, a character in the animated web series ''Hazbin Hotel''; see List of Hazbin Hotel and Helluva Boss characters Literature * ''Vox'' (Nicholson Baker novel), 1992 * ''Vox'' (Stewart and Riddell novel), 2003 Music * "Vox" (song), by Sarah McLachlan, 1988 * Vox Records (Germany), a German record label * Vox Records, an American record label Television and radio * VOX (Norwegian TV channel) * VOX (German TV channel) * MAtv, formerly Vox, a Canadian TV channel * Vox, a former satellite radio channel * Radio Vox T, a Romanian radio station * WVOX, a radio station licensed to New Rochelle, New York, U.S. Other uses in arts, entertainment and media * Vox Media, an American digital media company ** ''Vox ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Evangelist (Bach)
The Evangelist in the music of Johann Sebastian Bach is the tenor part in his oratorios and Passions who narrates the exact words of the Bible, translated by Martin Luther, in recitative secco. The part appears in the works ''St John Passion'', ''St Matthew Passion'', and the ''Christmas Oratorio'', as well as the '' St Mark Passion'' and the ''Ascension Oratorio Lobet Gott in seinen Reichen, BWV 11''. Some cantatas also contain recitatives of Bible quotations, assigned to the tenor voice. Bach followed a tradition using the tenor for the narrator of a gospel. It exists (and is also often called ''the Evangelist'') in earlier works setting biblical narration, for example by Heinrich Schütz ('' Weinachtshistorie'', ''Matthäuspassion'', ''Lukaspassion'', ''Johannespassion''). In contrast, the vox Christi, voice of Christ, is always the bass in Bach's works, including several cantatas. Music and sources The Evangelist reports in secco recitatives accompanied by basso continuo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Passions (Bach)
As Thomaskantor, Johann Sebastian Bach provided Passion music for Good Friday services in Leipzig. The extant ''St Matthew Passion'' and ''St John Passion'' are Passion oratorios composed by Bach. Passions composed and/or staged by Bach According to his "", the 1754 obituary written by Johann Friedrich Agricola and the composer's son Carl Philipp Emanuel, Bach wrote "five Passions, of which one is for double chorus". The double chorus one is easily identified as the ''St Matthew Passion''. The ''St John Passion'' is the only extant other one that is certainly composed by Bach. The libretto of the '' St Mark Passion'' was published in Bach's time, allowing reconstruction based on the pieces Bach is known to have parodied for its composition, while the extant '' St Luke Passion'' likely contains little or no music composed by Bach. Which Bach compositions, apart from the known ones, may have been meant in the obituary remains uncertain. The ''St John Passion'' is shorter and has ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
