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Neue Rheingauer Kantorei
' (Rheingau chorale), now ', is a mixed choir of the region in Germany, performing mostly sacred music in services and concerts. Frank Stähle The choir was founded in 1977 by Frank Stähle as the choir of the ' (Protestant deanery Wiesbaden-Rheingau), merging two groups, the church choir of the Protestant parish in Geisenheim and singers from Wiesbaden. The purpose of the choir was to sing in church services of the region and to sing oratorios in concert. Main venues for the concerts were the and the ' in Geisenheim. The groups rehearsed separately in Geisenheim and performed the concerts together. In 1978, the choir performed Handel's ', in the and the Lutherkirche in Wiesbaden, and ' by Johannes Brahms, in Geisenheim and the . In 1979, Bach's '' St Matthew Passion'' was performed in St. Bonifatius, Wiesbaden and in Worms, in a collaboration with the ''Wormser Kurrende''. Mendelssohn's ''Elias'' was performed with the , in Geisenheim and the . Erich Wenk sang the t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rheingauer Dom
is the colloquial name for the Catholic parish church in Geisenheim, Germany. Officially (Holy Cross), the large church in the Rheingau region is called ''Dom'' although it was never a bishop's seat. The present building was begun in the 16th century, but major features such as an expansion of the nave from three to five vaults, the towers, the organ and several altars were added in the 19th century. The parish is part of the Diocese of Limburg. History The present building began as a late-Gothic hall church, built mostly from 1510 to 1518. It succeeded a Romanesque church first mentioned in 1146. In 1829, the west towers had to be demolished because they were unsafe. The architect Philipp Hoffmann, who was born in Geisenheim, proposed to expand the church and build a new facade and towers. Hoffmann, who later built landmarks in Wiesbaden such as St. Bonifatius and the Russian Church, expanded the nave by adding two more vaults similar to the three Gothic ones, and creat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Harmoniemesse
The ''Harmoniemesse'' in B-flat major by Joseph Haydn, Hob. XXII:14, Novello 6, was written in 1802. It was Haydn's last major work. It is because of the prominence of the winds in this mass and "the German terminology for a kind of wind ensemble, ''Harmonie''," that this mass setting is called "Harmoniemesse" or "Wind Band Mass". Besides flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns in B-flat, 2 trumpets in B-flat, the mass also calls for choir, timpani, strings, and organ, the latter supplying figured bass for most of the duration. The setting is divided into six movements. # Kyrie Poco Adagio, B-flat major, 3/4 # Gloria Vivace assai, B-flat major, common time #: "Gratias agimus" Allegretto, E-flat major, 3/8 #: "Quoniam tu solus sanctus" Allegro spiritoso, common time, B-flat major # Credo Vivace, B-flat major, common time #: "Et incarnatus est" Adagio, E-flat major, 3/4 #: "Et resurrexit" Vivace, B-flat major, common time #: "Et vitam venturi" Vivace, 6/8 # Sanctus ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Helmuth Rilling
Helmuth Rilling (born 29 May 1933) is a German choral conductor and an academic teacher. He is the founder of the Gächinger Kantorei (1954), the Bach-Collegium Stuttgart (1965), the Oregon Bach Festival (1970), the Internationale Bachakademie Stuttgart (1981) and other Bach Academies worldwide, as well as the "Festival Ensemble Stuttgart" (2001) and the "Junges Stuttgarter Bach Ensemble" (2011). He taught choral conducting at the Frankfurt Musikhochschule from 1965 to 1989 and led the Frankfurter Kantorei from 1969 to 1982. Education Rilling was born into a musical family. He received his early training at the Protestant Seminaries in Württemberg. From 1952 to 1955 he studied organ, composition, and choral conducting at the Stuttgart College of Music. He completed his studies with Fernando Germani in Rome and at the Accademia Musicale Chigiana in Siena. While still a student in 1954, he founded his first choir, the Gächinger Kantorei. Starting in 1957, he was organist and c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musikhochschule Frankfurt
The Frankfurt University of Music and Performing Arts (german: Hochschule für Musik und Darstellende Kunst Frankfurt am Main, italic=no, link=no, HfMDK) is a state Hochschule for music, theatre and dance in Frankfurt and is the only one of its kind in the Federal State of Hesse. It was founded in 1938. At present around 900 students are taught by about sixty-five professors and 320 other teaching staff. The study programs include performance in all instruments and voice, the teaching of music, composition, conducting and church music. There are also programs in musical theatre, drama and dance. The university offers doctoral studies in musicology and music education. History Frankfurt had an institute for the teaching of music since 1878. The Hoch Conservatory flourished and had a worldwide reputation in the late 19th and early 20th centuries. Through teachers like the pianist Clara Schumann and composers Joachim Raff, Bernhard Sekles and Engelbert Humperdinck, the Hoch Co ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Martin Lutz
Martin Lutz (born 19 May 1950) is a German musicologist, conductor and harpsichordist. He was the musical director of the concert choir Schiersteiner Kantorei in Wiesbaden from 1972 to 2017, and founded the biennial festival Wiesbadener Bachwochen in 1975. Biography Lutz studied church music and musicology at the Evangelisches Kirchenmusikalisches Institut Heidelberg, and art history and ancient history at the University of Mainz. He has been active since 1972 as a cantor of the Christophoruskirche (St. Christopher Church) in Wiesbaden-Schierstein. He has been the conductor of the Schiersteiner Kantorei, a choir of then about 40 singers, which he shaped to one of the largest concert choirs in Hesse. He is also the conductor of the chamber orchestra Bach-Ensemble Wiesbaden. He continued the series Schiersteiner Vespermusik at the Christophoruskirche, vespers music started by his predecessor, as a forum for early music in Wiesbaden. More than 400 concerts took place as of 2011. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wiesbadener Bachwochen
(Wiesbaden Bach Weeks) is a biennial festival of music around Johann Sebastian Bach in Wiesbaden, the state capital of Hesse, Germany. It was initiated and has been run by Martin Lutz. The city awards the Bachpreis der Landeshauptstadt Wiesbaden to an organist who wins the festival's international competition. History In 1975, Martin Lutz, a Wiesbaden church musician and conductor of the Schiersteiner Kantorei, founded the Wiesbadener Bachwochen as a festival with a focus on the music of Johann Sebastian Bach. He also founded a supporting organisation, the Johann-Sebastian-Bach-Gesellschaft. Lutz has described Bach's music as rapturous and moving ("mitreißende, bewegende Musik") with a transcendental dimension ("Dimension, die ins Transzendentale weise"), faith turned into music ("Musik gewordener Glaube"). Concerts have been performed by local groups and international guests. Beginning in 1977, an international competition for organists has been part of the festival, with the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mass In B Minor
The Mass in B minor (), BWV 232, is an extended setting of the Mass ordinary by Johann Sebastian Bach. The composition was completed in 1749, the year before the composer's death, and was to a large extent based on earlier work, such as a Sanctus Bach had composed in 1724. Sections that were specifically composed to complete the Mass in the late 1740s include the "Et incarnatus est" part of the Credo. As usual for its time, the composition is formatted as a Neapolitan mass, consisting of a succession of choral movements with a broad orchestral accompaniment, and sections in which a more limited group of instrumentalists accompanies one or more vocal soloists. Among the more unusual characteristics of the composition is its scale: a total performance time of around two hours, [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mass No
Mass is an intrinsic property of a body. It was traditionally believed to be related to the quantity of matter in a physical body, until the discovery of the atom and particle physics. It was found that different atoms and different elementary particles, theoretically with the same amount of matter, have nonetheless different masses. Mass in modern physics has multiple definitions which are conceptually distinct, but physically equivalent. Mass can be experimentally defined as a measure of the body's inertia, meaning the resistance to acceleration (change of velocity) when a net force is applied. The object's mass also determines the strength of its gravitational attraction to other bodies. The SI base unit of mass is the kilogram (kg). In physics, mass is not the same as weight, even though mass is often determined by measuring the object's weight using a spring scale, rather than balance scale comparing it directly with known masses. An object on the Moon would weigh less t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Missa Papae Marcelli
''Missa Papae Marcelli'', or ''Pope Marcellus Mass'', is a mass ''sine nomine'' by Giovanni Pierluigi da Palestrina. It is his best-known mass, and is regarded as an archetypal example of the complex polyphony championed by Palestrina. It was sung at the papal coronation Masses (the last being the coronation of Paul VI in 1963). Style The ''Missa Papae Marcelli'' consists, like most Renaissance masses, of a Kyrie, Gloria, Credo, Sanctus/Benedictus, and Agnus Dei, though the third part of the Agnus Dei is a separate movement (designated "Agnus II"). Taruskin, Richard. ''Music from the Earliest Notations to the Sixteenth Century''. The Oxford History of Western Music, Volume 1. New York: Oxford University Press, 2010. pp. 653–663 The mass is freely composed, not based upon a cantus firmus, paraphrase, or parody. Perhaps because of this, the mass is not as thematically consistent as Palestrina's masses based on models. It is primarily a six-voice mass, but voice combinations are va ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gerd Nienstedt
Gerd Nienstedt (10 July 1932 – 14 August 1993) was a German and Austrian opera singer, bass and bass-baritone. After an international career at major opera houses and the Bayreuth Festival, he was also a theatre director, stage director and academic voice teacher. Career Karl Gustav Gerhard Nienstedt was born in Hanover. He studied voice at the ''Opernschule'' there with Otto Köhler. His first engagement was in 1954 at the ', where he made his debut as the king in ''Lohengrin''. He sang in Gelsenkirchen from 1955 to 1959, with the ' to 1961, with the Cologne Opera from 1962 to 1972, and with the Frankfurt Opera. In 1965, he participated in the premiere of Bernd Alois Zimmermann's ' in Cologne, singing the part of Haudy. He performed also in the Frankfurt production of the opera. Nienstedt performed at the Bayreuth Festival every summer from 1962 to 1976, in 14 parts such as Klingsor in ''Parsifal'', Gunther in ''Götterdämmerung'', Donner in ', Hunding in ', Fafner (the dr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Witch Of Endor
The Witch of Endor ( he, ''baʿălaṯ-ʾōḇ bəʿĒyn Dōr'', "she who owns the ''ʾōḇ'' of Endor") is a woman who, according to the Hebrew Bible, was consulted by Saul to summon the spirit of the prophet Samuel. Saul wished to receive advice on defeating the Philistines in battle, after prior attempts to consult God through sacred lots and other means had failed. When summoned, however, the spirit of Samuel only delivers a prophecy of doom against Saul. This event occurs in the First Book of Samuel; it is also mentioned in the deuterocanonical Book of Sirach. Etymology The woman of the story is called in biblical Hebrew אֵשֶׁת בַּעֲלַת־אֹוב בְּעֵין דֹּור (''ʾēšeṯ baʿălaṯ-ʾōḇ bəʿĒyn Dōr''), "a woman, possessor of an ''’ōḇ'' at Endor". The word אֹ֖וב ''’ōḇ'' has been suggested by Harry Hoffner to refer to a ritual pit for summoning the dead from the netherworld, based on parallels in other Near Eastern and Medi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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