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Virga Jesse (Bruckner)
''Virga Jesse'' (The branch from Jesse), Werkverzeichnis Anton Bruckners, WAB 52, is a Motets (Bruckner), motet by the Austrian composer Anton Bruckner. It sets the gradual Virga Jesse floruit for unaccompanied mixed choir. History The work was completed on 3 September 1885 and may have been intended for the celebration of the one-hundredth anniversary of the Linz diocese; however, like the ''Ecce sacerdos magnus (Bruckner), Ecce sacerdos magnus'' that Bruckner composed Ad maiorem Dei gloriam, A.M.D.G. for that event, it was not performed there. It was performed on 8 December 1885 in the Wiener Hofmusikkapelle for the Feast of the Immaculate Conception. The original manuscript is archived at the ''Österreichische Nationalbibliothek'', and transcriptions of it at the ''Hofmusikkapelle'' and the Abbey of Kremsmünster. The motet was edited together with three other graduals (''Locus iste (Bruckner), Locus iste'' WAB 23, ''Christus factus est, WAB 11 (Bruckner), Christus factus ... [...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] |
Österreichische Nationalbibliothek
The Austrian National Library (german: Österreichische Nationalbibliothek) is the largest library in Austria, with more than 12 million items in its various collections. The library is located in the Neue Burg Wing of the Hofburg in center of Vienna. Since 2005, some of the collections have been relocated within the Baroque structure of the Palais Mollard-Clary. Founded by the Habsburgs, the library was originally called the Imperial Court Library (german: Kaiserliche Hofbibliothek); the change to the current name occurred in 1920, following the end of the Habsburg Monarchy and the proclamation of the Austrian Republic. The library complex includes four museums, as well as multiple special collections and archives. Middle Ages The institution has its origin in the imperial library of the Middle Ages. During the Medieval period, the Austrian Duke Albert III (1349–1395) moved the books of the Viennese vaults into a library. Albert also arranged for important works from Latin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pedal Point
In music, a pedal point (also pedal note, organ point, pedal tone, or pedal) is a sustained tone, typically in the bass, during which at least one foreign (i.e. dissonant) harmony is sounded in the other parts. A pedal point sometimes functions as a "non-chord tone", placing it in the categories alongside suspensions, retardations, and passing tones. However, the pedal point is unique among non-chord tones, "in that it begins on a consonance, sustains (or repeats) through another chord as a dissonance until the harmony", not the non-chord tone, "resolves back to a consonance".Frank, Robert J. (2000)"Non-Chord Tones" , ''Theory on the Web'', Southern Methodist University. Pedal points "have a strong tonal effect, 'pulling' the harmony back to its root". Pedal points can also build drama or intensity and expectation. When a pedal point occurs in a voice other than the bass, it is usually referred to as an inverted pedal pointBenward & Saker (2003). ''Music: In Theory and Prac ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Improvisation
Musical improvisation (also known as musical extemporization) is the creative activity of immediate ("in the moment") musical composition, which combines performance with communication of emotions and instrumental technique as well as spontaneous response to other musicians. Sometimes musical ideas in improvisation are spontaneous, but may be based on chord changes in classical music and many other kinds of music. One definition is a "performance given extempore without planning or preparation". Another definition is to "play or sing (music) extemporaneously, by inventing Variation (music), variations on a melody or creating new melodies, rhythms and harmonies". ''Encyclopædia Britannica'' defines it as "the extemporaneous composition or free performance of a musical passage, usually in a manner conforming to certain stylistic norms but unfettered by the prescriptive features of a specific musical text." Improvisation is often done within (or based on) a pre-existing harmonic frame ... [...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 II
''Messiah'' ( HWV 56), the English-language oratorio composed by George Frideric Handel in 1741, is structured in three parts. This listing covers Part II 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 and reflects the Messiah's deeds on earth. Part II covers the Passion in nine movements including the oratorio's longest movement, an air for alto ''He was despised'', then mentions death, resurrection, ascension, and reflects the spreading of the Gospel and its rejection. The part is concluded by a scene called "God's Triumph" that culminates in the ''Hallelujah'' chorus. Part III of the oratorio 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 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hallelujah
''Hallelujah'' ( ; he, ''haləlū-Yāh'', meaning "praise Yah") is an interjection used as an expression of gratitude to God. The term is used 24 times in the Hebrew Bible (in the book of Psalms), twice in deuterocanonical books, and four times in the Christian Book of Revelation. The phrase is used in Judaism as part of the Hallel prayers, and in Christian prayer, where since the earliest times it is used in various ways in liturgies, especially those of the Catholic Church, the Lutheran Churches and the Eastern Orthodox Church, the three of which use the Latin form "alleluia" which is based on the alternative Greek transliteration. Etymology Hallelujah is a transliteration of he, הַלְלוּ יָהּ (), which means "praise ye Jah!" (from , "praise ye!" Page H. Kelley, ''Biblical Hebrew, an Introductory Grammar'', page 169. Ethics & Public Policy Center, 1959. . and , "Jah".) [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Inveni David, WAB 19
' (I have found David), WAB 19, is a sacred motet composed by Anton Bruckner in 1868. History Bruckner composed the motet on 21 April 1868 at the end of his stay in Linz. He wrote it for the 24th anniversary of the '. The first performance occurred on 10 May 1868 as offertory of a mass of Antonio Lotti.C. van Zwol, p. 705 The manuscript is archived at the ''Linzer Singakademie'' (''Frohsinn''-archive). The motet was first published in band III/2, pp. 239–244 of the Göllerich/Auer biography. It is put in Band XXI/23 of the '. Music The text is taken from Psalm 89 (). : The work is a setting of 46 bars in F minor for choir and 4 trombones. The last 16 bars consist of an '' Alleluja'', for which Bruckner drew his inspiration from the ''Hallelujah'' of Händel's ''Messiah'', on which he often improvised on the organ. Discography The first recording occurred in 1959: * Martin Koekelkoren, Mastreechter Staar, ''Royal Male Choir Mastreechter Staar'' – 45 rpm: Phi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bar (music)
In musical notation, a bar (or measure) is a segment of time corresponding to a specific number of beats in which each beat is represented by a particular note value and the boundaries of the bar are indicated by vertical bar lines. Dividing music into bars provides regular reference points to pinpoint locations within a musical composition. It also makes written music easier to follow, since each bar of staff symbols can be read and played as a batch. Typically, a piece consists of several bars of the same length, and in modern musical notation the number of beats in each bar is specified at the beginning of the score by the time signature. In simple time, (such as ), the top figure indicates the number of beats per bar, while the bottom number indicates the note value of the beat (the beat has a quarter note value in the example). The word ''bar'' is more common in British English, and the word ''measure'' is more common in American English, although musicians generally u ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Os Justi (Bruckner)
('The mouth of the righteous'), WAB 30, is a sacred motet composed by Anton Bruckner in 1879. is a Gregorian chant used as gradual of the , and as introit I and gradual II of the . History Bruckner composed this gradual on 18 July 1879 and dedicated it to Ignaz Traumihler, choirmaster of St. Florian Abbey.van Zwol, pp. 706-707 When Traumihler saw the manuscript, he asked: "" (Is this the whole text?) Therefore, Bruckner added on 28 July 1879 a verse ''Inveni David'' in a Gregorian mode followed by a repeat of the ''Alleluja''.van Zwol, pp. 237-238 While the first performance was expected on Traumihler's name-day (31 July 1879), it finally occurred four weeks later on 28 August 1879 on the feast of Saint Augustinus. Traumihler conducted while Bruckner played the organ. The work was first edited by Theodor Rättig, Vienna in 1886, together with three other graduals: ''Locus iste'', '' Christus factus est'' and '' Virga Jesse''. In this first edition, something went wrong: t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
