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Magnificat (Bruckner)
The Magnificat, WAB 24 is a setting of the Magnificat for choir and soloists, orchestra and organ composed by Anton Bruckner in 1852. History Bruckner composed the work for the Vesper service of the feast of the Assumption of Mary.J. Williamson, pp. 43–45 He dedicated the work to Ignaz Traumihler, the choirmaster of the St. Florian Abbey. The work was premiered on 15 August 1852 in St. Florian. Despite the fact that Traumihler was a fervent adept of the Cecilian Movement,U. Harten, p. 267 the work remained in the repertoire of the monastery.C. van Zwol, p. 697 Other performances occurred on 25 December 1852, 15 May 1854, 25 December 1854 and 27 May 1855. The work, the manuscript of which is stored in the archive of the St. Florian Abbey, was first publish in volume II/2, pp. 99–110 of the Göllerich/Auer biography. It was critically edited by Paul Hawkshaw in 1996 in volume XX/3 of the '. On 25 June 2017 a new edition of the score by Cohrs, prepared for the ', ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anton Bruckner
Josef Anton Bruckner (; 4 September 182411 October 1896) was an Austrian composer, organist, and music theorist best known for his symphonies, masses, Te Deum and motets. The first are considered emblematic of the final stage of Austro-German Romanticism because of their rich harmonic language, strongly polyphonic character, and considerable length. Bruckner's compositions helped to define contemporary musical radicalism, owing to their dissonances, unprepared modulations, and roving harmonies. Unlike other musical radicals such as Richard Wagner and Hugo Wolf, Bruckner showed extreme humility before other musicians, Wagner in particular. This apparent dichotomy between Bruckner the man and Bruckner the composer hampers efforts to describe his life in a way that gives a straightforward context for his music. Hans von Bülow described him as "half genius, half simpleton". Bruckner was critical of his own work and often reworked his compositions. There are several version ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Akademie Für Alte Musik Berlin
Akademie für Alte Musik Berlin (Academy for Early Music Berlin, short name: Akamus) is a German chamber orchestra founded in East Berlin in 1982. Each year Akamus gives approximately 100 concerts, ranging from small chamber works to large-scale symphonic pieces in Europe's musical centers as well as on tours in Asia, North America and South America. About 30 musicians form the core of the orchestra. They perform under the leadership of their four concertmasters Midori Seiler, Stephan Mai, Bernhard Forck and Georg Kallweit or guest conductors like René Jacobs, Marcus Creed, Daniel Reuss, Peter Dijkstra and Hans-Christoph Rademann. Recording exclusively for harmonia mundi France since 1994, the ensemble’s CDs have earned many international prizes, including the Grammy Award, the Diapason d'Or, the Cannes Classical Award, the Gramophone Award and the Edison Award. In 2011 the recording of Mozarts ''Magic Flute'' was honoured with the German Record Critics' Award. In 2006 the Rec ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jürgen Jürgens
Jürgen Jürgens (5 October 1925 – 4 August 1994) was a German choral conductor and academic teacher. He founded and directed the Monteverdi-Chor Hamburg, a pioneering ensemble for Monteverdi's music. Biography Born in Frankfurt am Main, Jürgens received his musical training at the Musisches Gymnasium Frankfurt with Kurt Thomas. Jürgens studied singing and choir direction with at the Musikhochschule Freiburg. In 1955, he founded the award-winning Monteverdi-Chor Hamburg. They recorded for Archiv Produktion, focussing on works of Claudio Monteverdi. Later the choir became involved in the Telefunken/Teldec Bach cantatas project with the Leonhardt-Consort. From 1961 to 1993, Jürgens was University Music Director of the Choir and Orchestra at the University of Hamburg. and was appointed professor at the University of Hamburg in 1973. He died in Hamburg and was buried at the Ohlsdorf Cemetery. Awards * 1985 Biermann Ratjen Medal * 1991 Johannes Brahms Medal Discography ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wolfgang Amadeus Mozart
Wolfgang Amadeus Mozart (27 January 17565 December 1791), baptised as Joannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical period. Despite his short life, his rapid pace of composition resulted in more than 800 works of virtually every genre of his time. Many of these compositions are acknowledged as pinnacles of the symphonic, concertante, chamber, operatic, and choral repertoire. Mozart is widely regarded as among the greatest composers in the history of Western music, with his music admired for its "melodic beauty, its formal elegance and its richness of harmony and texture". Born in Salzburg, in the Holy Roman Empire, Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. His father took him on a grand tour of Europe and then three trips to Italy. At 17, he was a musician at the Salzburg court b ... [...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] |
Unison
In music, unison is two or more musical parts that sound either the same pitch or pitches separated by intervals of one or more octaves, usually at the same time. ''Rhythmic unison'' is another term for homorhythm. Definition Unison or perfect unison (also called a prime, or perfect prime)Benward & Saker (2003), p. 53. may refer to the (pseudo-) interval formed by a tone and its duplication (in German, ''Unisono'', ''Einklang'', or ''Prime''), for example C–C, as differentiated from the second, C–D, etc. In the unison the two pitches have the ratio of 1:1 or 0 half steps and zero cents. Although two tones in unison are considered to be the same pitch, they are still perceivable as coming from separate sources, whether played on instruments of a different type: ; or of the same type: . This is because a pair of tones in unison come from different locations or can have different "colors" (timbres), i.e. come from different musical instruments or human voices. Voices wit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gloria Patri
The Gloria Patri, also known as the Glory Be to the Father or, colloquially, the Glory Be, is a doxology, a short hymn of praise to God in various Christian liturgies. It is also referred to as the Minor Doxology ''(Doxologia Minor)'' or Lesser Doxology, to distinguish it from the Greater Doxology, the Gloria in Excelsis Deo. The earliest Christian doxologies are addressed to the Father "through" (διὰ) the Son, or to the Father and the Holy Spirit with (μετά) the Son, or to the Son with (σύν) the Father and the Holy Spirit. The Trinitarian doxology addressed in parallel fashion to all three Divine Persons of the Trinity, joined by ''and'' (καί), as in the form of baptism, Matthew 28:19, became universal in Nicaean Christianity, which was established as the official faith of the Church with the Edict of Thessalonica in 380. Greek version The Greek wording is as follows: :, : Glory be to the Father :Glory to the Father, and to the Son, and to the Holy Spirit, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Doxology
A doxology (Ancient Greek: ''doxologia'', from , ''doxa'' 'glory' and -, -''logia'' 'saying') is a short hymn of praises to God in various forms of Christian worship, often added to the end of canticles, psalms, and hymns. The tradition derives from a similar practice in the Jewish synagogue, where some version of the Kaddish serves to terminate each section of the service. Trinitarian doxology Among Christian traditions a doxology is typically an expression of praise sung to the Holy Trinity: the Father, the Son, and the Holy Spirit. It is common in high hymns for the final stanza to take the form of a doxology. Doxologies occur in the Eucharistic prayers, the Liturgy of the Hours, hymns, and various Catholic devotions such as novenas and the Rosary. ''Gloria in excelsis Deo'' The Gloria in excelsis Deo, also called the Greater Doxology, is a hymn beginning with the words that the angels sang when the birth of Christ was announced to shepherds in . Other verses were added v ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arioso
In classical music, arioso (also aria parlante ) is a category of solo vocal piece, usually occurring in an opera or oratorio, falling somewhere between recitative and aria in style. Literally, arioso means ''airy''. The term arose in the 16th century along with the aforementioned styles and monody. It is commonly confused with recitativo accompagnato. Arioso is similar to recitative due to its unrestrained structure and inflexions, close to those of speech. It differs, however, in its rhythm. Arioso is similar to aria in its melodic form, both being closer to singing than recitative; however, they differ in form, arioso generally not resorting to the process of repetition. Well-known examples At the start of the finale in the first act of Mozart's ''The Magic Flute'', the andante of the priest (''Sprecher'') "''Sobald dich führt der Freundschaft Hand ins Heiligtum zum ew'gen Band''" is an example of arioso. "''Amor ti vieta''", sung by Loris at Giordano's ''Fedora'' could be a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Figured Bass
Figured bass is musical notation in which numerals and symbols appear above or below (or next to) a bass note. The numerals and symbols (often accidentals) indicate intervals, chords, and non-chord tones that a musician playing piano, harpsichord, organ, or lute (or other instruments capable of playing chords) should play in relation to the bass note. Figured bass is closely associated with basso continuo: a historically improvised accompaniment used in almost all genres of music in the Baroque period of Classical music ( 1600–1750), though rarely in modern music. Figured bass is also known as thoroughbass. Other systems for denoting or representing chords include plain staff notation, used in classical music; Roman numerals, commonly used in harmonic analysis; chord letters, sometimes used in modern musicology; the Nashville Number System; and various chord names and symbols used in jazz and popular music (e.g., C Major or simply C; D minor, Dm, or D−; G ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Viola
The viola ( , also , ) is a string instrument that is bow (music), bowed, plucked, or played with varying techniques. Slightly larger than a violin, it has a lower and deeper sound. Since the 18th century, it has been the middle or alto voice of the violin family, between the violin (which is tuned a perfect fifth above) and the cello (which is tuned an octave below). The strings from low to high are typically tuned to scientific pitch notation, C3, G3, D4, and A4. In the past, the viola varied in size and style, as did its names. The word viola originates from the Italian language. The Italians often used the term viola da braccio meaning literally: 'of the arm'. "Brazzo" was another Italian word for the viola, which the Germans adopted as ''Bratsche''. The French had their own names: ''cinquiesme'' was a small viola, ''haute contre'' was a large viola, and ''taile'' was a tenor. Today, the French use the term ''alto'', a reference to its range. The viola was popular in the heyd ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
