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German Requiem (Brahms)
''A German Requiem, to Words of the Holy Scriptures'', Op. 45 (german: Ein deutsches Requiem, nach Worten der heiligen Schrift, links=no) by Johannes Brahms, is a large-scale work for chorus, orchestra, a soprano and a baritone soloist, composed between 1865 and 1868. It comprises seven movements, which together last 65 to 80 minutes, making this work Brahms's longest composition. ''A German Requiem'' is sacred but non-liturgical, and unlike a long tradition of the Latin Requiem, ''A German Requiem'', as its title states, is a ''Requiem'' in the German language. History Brahms's mother died in February 1865, a loss that caused him much grief and may well have inspired ''Ein deutsches Requiem''. Brahms's lingering feelings over Robert Schumann's death in July 1856 may also have been a motivation, though his reticence about such matters makes this uncertain. His original conception was for a work of six movements; according to their eventual places in the final version, these w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Choral Composition
A choir ( ; also known as a chorale or chorus) is a musical ensemble of singers. Choral music, in turn, is the music written specifically for such an ensemble to perform. Choirs may perform music from the classical music repertoire, which spans from the medieval era to the present, or popular music repertoire. Most choirs are led by a conductor, who leads the performances with arm, hand, and facial gestures. The term ''choir'' is very often applied to groups affiliated with a church (whether or not they actually occupy the quire), whereas a ''chorus'' performs in theatres or concert halls, but this distinction is not rigid. Choirs may sing without instruments, or accompanied by a piano, pipe organ, a small ensemble, or an orchestra. A choir can be a subset of an ensemble; thus one speaks of the "woodwind choir" of an orchestra, or different "choirs" of voices or instruments in a polychoral composition. In typical 18th century to 21st century oratorios and masses, 'choru ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Friedrich Hegar
Friedrich Hegar (11 October 1841 – 2 June 1927) was a Swiss composer, conductor, and founding conductor of Tonhalle-Orchester Zürich The Tonhalle-Orchester Zürich is a Swiss symphony orchestra based in Zürich. Its principal residence is the Tonhalle concert hall. Early history prior to the orchestra Precursor music ensembles in Zürich have included the music societies .... References Bibliography * External links * 1841 births 1927 deaths 19th-century classical composers 19th-century male musicians 20th-century classical composers 20th-century conductors (music) 20th-century male musicians Male classical violinists Male conductors (music) Musicians from Basel-Stadt Romantic composers Swiss classical composers Swiss classical violinists Swiss conductors (music) Swiss male classical composers 20th-century Swiss composers {{Switzerland-conductor-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Contrabassoon
The contrabassoon, also known as the double bassoon, is a larger version of the bassoon, sounding an octave lower. Its technique is similar to its smaller cousin, with a few notable differences. Differences from the bassoon The reed is considerably larger than the bassoon's, at in total length (and in width) compared with for most bassoon reeds. The large blades allow ample vibration that produces the low register of the instrument. The contrabassoon reed is similar to an average bassoon's in that scraping the reed affects both the intonation and response of the instrument. Contrabassoons feature a slightly simplified version of bassoon keywork, though all open toneholes on bassoon have necessarily been replaced with keys and pads due to the physical distances. In the lower register, its fingerings are nearly identical to bassoon. However, the octave mechanism used to play in the middle register works differently than on bassoon, and the upper register fingerings are of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Piccolo
The piccolo ( ; Italian for 'small') is a half-size flute and a member of the woodwind family of musical instruments. Sometimes referred to as a "baby flute" the modern piccolo has similar fingerings as the standard transverse flute, but the sound it produces is an octave higher. This has given rise to the name ottavino (), by which the instrument is called in Italian and thus also in scores of Italian composers. Piccolos are often orchestrated to double the violins or the flutes, adding sparkle and brilliance to the overall sound because of the aforementioned one-octave transposition upwards. The piccolo is a standard member in orchestras, marching bands, and wind ensembles. History Since the Middle Ages, evidence indicates the use of octave transverse flutes as military instruments, as their penetrating sound was audible above battles. In cultured music, however, the first piccolos were used in some of Jean Philippe Rameau's works in the first half of the 18th century. Sti ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Messiah (Handel)
''Messiah'' (HWV 56) is an English-language oratorio composed in 1741 by George Frideric Handel. The text was compiled from the King James Bible and the Coverdale Bible, Coverdale Psalter by Charles Jennens. It was first performed in Dublin on 13 April 1742 and received its London premiere nearly a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western culture#Music, Western music. Handel's reputation in England, where he had lived since 1712, had been established through his compositions of Italian opera. He turned to English oratorio in the 1730s in response to changes in public taste; ''Messiah'' was his sixth work in this genre. Although its Structure of Handel's Messiah, structure resembles that of Opera#The Baroque era, opera, it is not in dramatic form; there are no impersonations of characters and no direct speech. Instead, Jennens's text ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
George Frideric Handel
George Frideric (or Frederick) Handel (; baptised , ; 23 February 1685 – 14 April 1759) was a German-British Baroque music, Baroque composer well known for his opera#Baroque era, operas, oratorios, anthems, concerto grosso, concerti grossi, and organ concertos. Handel received his training in Halle (Saale), Halle and worked as a composer in Hamburg and Italy before settling in London in 1712, where he spent the bulk of his career and Handel's Naturalisation Act 1727, became a naturalised British subject in 1727. He was strongly influenced both by the middle-German polyphony, polyphonic choral tradition and by composers of the Italian Baroque. In turn, Handel's music forms one of the peaks of the "high baroque" style, bringing Italian opera to its highest development, creating the genres of English oratorio and organ concerto, and introducing a new style into English church music. He is consistently recognized as one of the greatest composers of his age. Handel started three c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Messiah Part III
''Messiah'' ( HWV 56), the English-language oratorio composed by George Frideric Handel in 1741, is structured in three parts. This listing covers Part III in a table and comments on individual movements, reflecting the relation of the musical setting to the text. Part I begins with the prophecy of the Messiah and his birth, shows the annunciation to the shepherds as a scene from the Gospel of Luke, and reflects the Messiah's deeds on Earth. Part II covers the Passion, death, resurrection, ascension, and the later spreading of the Gospel. Part III concentrates on Paul's teaching of the resurrection of the dead and Christ's glorification in heaven. Messiah, the oratorio The libretto by Charles Jennens is entirely drawn from the Bible, mostly from the King James Bible, whereas several psalms are taken from the Book of Common Prayer. The librettist commented: "... the Subject excells every other Subject. The Subject is Messiah ...". ''Messiah'' differs from Handel's other or ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Beatitudes
The Beatitudes are sayings attributed to Jesus, and in particular eight blessings recounted by Jesus in the Sermon on the Mount in the Gospel of Matthew, and four in the Sermon on the Plain in the Gospel of Luke, followed by four woes which mirror the blessings. Each is a proverb-like proclamation, without narrative. In the Latin Vulgate, each of these blessings begins with the word '' beātī'', which translates to "happy", "rich", or "blessed" (plural adjective). The corresponding word in the original Greek is μακάριοι (), with the same meanings. Thus "Blessed are the poor in spirit" appears in Latin as ''beātī pauperēs spīritū''. The Latin noun ''beātitūdō'' was coined by Cicero to describe a state of blessedness and was later incorporated within the chapter headings written for Matthew 5 in various printed versions of the Vulgate. Subsequently, the word was anglicized to in the Great Bible of 1540, and has, over time, taken on a preferred spelling of ''bea ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carl Martin Reinthaler
Carl Martin Reinthaler (13 October 1822 – 13 February 1896) was a German organist, conductor and composer. Alternative spellings include Karl Martin Reinthaler and Carl Martin Rheinthaler. Biography Reinthaler was born in Erfurt. He received his first music education from August Gottfried Ritter, an organist at Magdeburg Cathedral. He studied theology, and then music with Adolf Bernhard Marx, studying from 1849 to 1852 in Paris and Rome with a royal scholarship. He was associated with the Bremen Cathedral, of which he was director, chorus master of the Singakademie Bremen, and cathedral organist since 1857. A friend of Johannes Brahms, with whom he corresponded, he was responsible for the Bremen performance of '' A German Requiem''. Reinthaler also conducted the premiere of the revised version of Max Bruch's first violin concerto in January 1868. In later years, Reinthaler required a wheel chair, which limited his appearances in public musical scenes. He died in Bremen. W ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Latin
Latin (, or , ) is a classical language belonging to the Italic branch of the Indo-European languages. Latin was originally a dialect spoken in the lower Tiber area (then known as Latium) around present-day Rome, but through the power of the Roman Republic it became the dominant language in the Italian region and subsequently throughout the Roman Empire. Even after the fall of Western Rome, Latin remained the common language of international communication, science, scholarship and academia in Europe until well into the 18th century, when other regional vernaculars (including its own descendants, the Romance languages) supplanted it in common academic and political usage, and it eventually became a dead language in the modern linguistic definition. Latin is a highly inflected language, with three distinct genders (masculine, feminine, and neuter), six or seven noun cases (nominative, accusative, genitive, dative, ablative, and vocative), five declensions, four verb conjuga ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Requiem Mass
A Requiem or Requiem Mass, also known as Mass for the dead ( la, Missa pro defunctis) or Mass of the dead ( la, Missa defunctorum), is a Mass of the Catholic Church offered for the repose of the soul or souls of one or more deceased persons, using a particular form of the Roman Missal. It is usually celebrated in the context of a funeral (where in some countries it is often called a Funeral Mass). Musical settings of the propers of the Requiem Mass are also called Requiems, and the term has subsequently been applied to other musical compositions associated with death, dying, and mourning, even when they lack religious or liturgical relevance. The term is also used for similar ceremonies outside the Roman Catholic Church, especially in Western Rite Orthodox Christianity, the Anglo-Catholic tradition of Anglicanism, and in certain Lutheran churches. A comparable service, with a wholly different ritual form and texts, exists in the Eastern Orthodox and Eastern Catholic church ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Franz Krückl
Franz Xaver Krückl, occasionally also Franz Krückel or Franz Krükl, (10 November 1841, Nový Šaldorf-Sedlešovice – 12 January 1899, Strasbourg) was an Austrian operatic baritone, stage actor, composer and music educator of Moravian origin. Life Krückl was born in Nový Šaldorf-Sedlešovice, South Moravian Region. Already as a child, Krückl sang in the church choir of his home town. On the recommendation of his town priest, he came to Vienna in 1851 to apply to the Wiener Hofmusikkapelle, Hofkapelle. But only after two refusals he was appointed by decree of August 1855 as ''k.k. österreichischer Hofkapell-Sängerknaben''. Parallel to the usual lessons at the , he learned to play the piano and violin and had singing lessons. He was also taught composition together with basso continuo and counterpoint. Krückl's first attempts at theatre also date from this time at the grammar school; first in purely school events, later he also took on smaller extra roles in "real" prod ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
