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Credo (Penderecki)
Credo is a large-scale sacred composition for soloists, children's choir, mixed choir and orchestra by Krzysztof Penderecki, completed in 1998. It was commissioned by Helmuth Rilling for the Oregon Bach Festival, where it was first performed on 11 July 1998. Penderecki expanded the liturgical text by hymns and Bible verses in Latin, Polish and German. A recording won the 2000 Grammy Award for best choral performance. History In 1996, Penderecki was commissioned by the choral conductor Helmuth Rilling to compose a mass, planned for performances at the Internationale Bachakademie Stuttgart and the Oregon Bach Festival. Penderecki began with writing the Credo which is central to the text, working from 1997 to 1998. It turned so large that it defied the original liturgical use, and became an independent work. Rilling conducted the first performance on 11 July 1998 in Eugene at the Oregon Bach Festival, with soloists Juliane Banse, Milagro Vargas, Marietta Simpson, Thomas Rand ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Krzysztof Penderecki
Krzysztof Eugeniusz Penderecki (; 23 November 1933 – 29 March 2020) was a Polish composer and conductor. His best-known works include '' Threnody to the Victims of Hiroshima'', Symphony No. 3, his '' St Luke Passion'', '' Polish Requiem'', '' Anaklasis'' and '' Utrenja''. His ''oeuvre'' includes five operas, eight symphonies and other orchestral pieces, a variety of instrumental concertos, choral settings of mainly religious texts, as well as chamber and instrumental works. Born in Dębica, Penderecki studied music at Jagiellonian University and the Academy of Music in Kraków. After graduating from the academy, he became a teacher there and began his career as a composer in 1959 during the Warsaw Autumn festival. His ''Threnody to the Victims of Hiroshima'' for string orchestra and the choral work ''St. Luke Passion'' have received popular acclaim. His first opera, '' The Devils of Loudun'', was not immediately successful. In the mid-1970s, Penderecki became a professor a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nicene Creed
The Nicene Creed, also called the Creed of Constantinople, is the defining statement of belief of Nicene Christianity and in those Christian denominations that adhere to it. The original Nicene Creed was first adopted at the First Council of Nicaea in 325. According to the traditional view, forwarded by the Council of Chalcedon of 451, the Creed was amended in 381 by the First Council of Constantinople as "consonant to the holy and great Synod of Nice." However, many scholars comment on these ancient Councils saying "there is a failure of evidence" for this position since no one between the years of 381–451 thought of it in this light. Further, a creed "almost identical in form" was used as early as 374 by St. Epiphanius of Salamis. Nonetheless, the amended form is presently referred to as the Nicene Creed or the Niceno-Constantinopolitan Creed. J.N.D. Kelly, who stands among historians as an authority on creedal statements, disagrees with the aforementioned assessment. H ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Warsaw Philharmonic Orchestra
The Warsaw Philharmonic (full Polish name: ''Orkiestra Filharmonii Narodowej w Warszawie'', "National Philharmonic Orchestra in Warsaw"), as it is legally set up, is a Polish orchestra based in Warsaw. Founded in 1901, its home is the Warsaw Philharmonic Hall. History The orchestra was conceived on initiative of an assembly of Polish aristocrats and financiers, as well as musicians. Between 1901 and the outbreak of World War II in 1939, several virtuoso- and conductor-composers regularly performed their works with the orchestra, including Edvard Grieg, Arthur Honegger, Ruggiero Leoncavallo, Sergei Prokofiev, Sergei Rachmaninoff, Maurice Ravel, Camille Saint-Saëns, Richard Strauss, and Igor Stravinsky. Among the other musicians who played with the Philharmonic were pianists Ignacy Jan Paderewski, Arthur Rubinstein, Vladimir Horowitz and Claudio Arrau, violinists Jascha Heifetz and Pablo de Sarasate, and cellist Pablo Casals. The Philharmonic has played host to the Chopin I ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
SATB
In music, SATB is a scoring of compositions for choirs or consorts of instruments consisting of four voice types: soprano, alto, tenor and bass. Choral music Four-part harmony using soprano, alto, tenor and bass is a common scoring in classical music, including chorales and most Bach cantatas.Shrock, DennisChoral Repertoire''Oxford University Press'', 2009, p. 298, The letters of the abbreviation are also used by publishers to describe different scorings for soloists and choirs other than four-part harmony. For example, the listing "STB solos, SATB choir" of Bach's ''Wachet auf, ruft uns die Stimme'', BWV 140, indicates that a performance needs three soloists: soprano, tenor and bass, and a four-part choir. "SATB/SATB" is used when a double choir is required, as in Penderecki's '' Polish Requiem''. or SSATB, with divided sopranos, is a typical scoring in English church music. A listing for Bach's '' Mass in B minor'' includes the maximum of SSATB soloists and SSAATTBB eight ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Children's Choir
A choir ( ), also known as a chorale or chorus (from Latin ''chorus'', meaning 'a dance in a circle') is a musical ensemble of singers. Choral music, in turn, is the music written specifically for such an ensemble to perform or in other words is the music performed by the ensemble. Choirs may perform music from the classical music repertoire, which spans from the Medieval music, medieval era to the present, or popular music repertoire. Most choirs are led by a conducting, 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 Choir (architecture), 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, accordion, pipe organ, a small ensemble, or an orchestra. A choir can be a subset of an ensemble; thus one speaks of the "woodwind c ... [...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). 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'' (comical bass), or the dramatic ''basso profondo'' (deep 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 classifications tend to describe roles rather than singers: it is rare for ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tenor
A tenor is a type of male singing voice whose vocal range lies between the countertenor and baritone voice types. It is the highest male chest voice type. Composers typically write music for this voice in the range from the second B below middle C to the G above middle C (i.e. B2 to G4) in choral music, and from the second B flat below middle C to the C above middle C (B2 to C5) in operatic music, but the range can extend at either end. Subtypes of tenor include the ''leggero'' tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, and tenor buffo or . History The name "tenor" derives from the Latin word '' tenere'', which means "to hold". As noted in the "Tenor" article at ''Grove Music Online'': In polyphony between about 1250 and 1500, the enor was thestructurally fundamental (or 'holding') voice, vocal or instrumental; by the 15th century it came to signify the male voice that sang such parts. All other voices were normally calculated in relation to the ten ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alto
The musical term alto, meaning "high" in Italian (Latin: '' altus''), historically refers to the contrapuntal part higher than the tenor and its associated vocal range. In four-part voice leading alto is the second-highest part, sung in choruses by either low women's or high men's voices. In vocal classification these are usually called contralto and male alto or countertenor. Etymology In choral music for mixed voices, "alto" describes the lowest part commonly sung by women. The explanation for the anomaly of this name is to be found not in the use of adult falsettists in choirs of men and boys but further back in innovations in composition during the mid-15th century. Before this time it was usual to write a melodic ''cantus'' or '' superius'' against a tenor (from Latin ''tenere'', to hold) or 'held' part, to which might be added a contratenor, which was in counterpoint with (in other words, against = contra) the tenor. The composers of Ockeghem's generation wrot ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mezzo-soprano
A mezzo-soprano (, ), or mezzo ( ), is a type of classical music, classical female singing human voice, voice whose vocal range lies between the soprano and the contralto voice types. The mezzo-soprano's vocal range usually extends from the A below middle C to the A two octaves above (i.e. A3–A5 in scientific pitch notation, where middle C = C4; 220–880 Hz). In the lower and upper extremes, some mezzo-sopranos may extend down to the F below middle C (F3, 175 Hz) and as high as "high C" (C6, 1047 Hz). The mezzo-soprano voice type is generally divided into the coloratura, lyric, and dramatic. History While mezzo-sopranos typically sing secondary roles in operas, notable exceptions include the title role in Georges Bizet, Bizet's ''Carmen'', Angelina (Cinderella) in Gioachino Rossini, Rossini's ''La Cenerentola'', and Rosina in Rossini's ''The Barber of Seville, Barber of Seville'' (all of which are also sung by sopranos and contraltos). Many 19th-century French- ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Soprano
A soprano () is a type of classical singing voice and has the highest vocal range of all voice types. The soprano's vocal range (using scientific pitch notation) is from approximately middle C (C4) = 261 Hertz, Hz to A5 in Choir, choral music, or to soprano C (C6) or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which often encompasses the melody. The soprano voice type is generally divided into the coloratura soprano, coloratura, soubrette, lyric soprano, lyric, spinto soprano, spinto, and dramatic soprano, dramatic soprano. Etymology The word "soprano" comes from the Italian word ''wikt:sopra, sopra'' (above, over, on top of),"Soprano" ''Encyclopædia Britannica'' as the soprano is the highest pitch human voice, often given to the leading female roles in operas. "Soprano" refers ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Psalm 118
Psalm 118 is the 118th psalm of the Book of Psalms, beginning in the English of the King James Version: "O give thanks unto the LORD; for he is good: because his mercy endureth for ever." The Book of Psalms is part of the third section of the Tanakh, Hebrew Bible, and a book of the Christianity, Christian Old Testament. In the slightly different numbering system used in the Greek Septuagint and Latin Vulgate translations of the Bible, this psalm is Psalm 117. In Latin, it is known as "Confitemini Domino". Its themes are thanksgiving to God and reliance on God rather than on human strength. The psalm forms a regular part of Jewish history, Jewish, Catholic Church, Catholic, Eastern Orthodox Church, Eastern Orthodox, Lutheranism, Lutheran, Anglicanism, Anglican and other Protestant liturgies. Theme and structure This psalm is centered on God, in a movement that expresses gratitude, admiration, joy and praise. In the King James Version, the Lord is mentioned in almost every verse ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Psalm 130
Psalm 130 is the 130th psalm of the Book of Psalms, one of the penitential psalms and one of 15 psalms that begin with the words "A song of ascents" (Shir Hama'alot). The first verse is a call to God in deep sorrow, from "out of the depths" or "out of the deep", as it is translated in the King James Version of the Bible and the Coverdale translation (used in the Book of Common Prayer), respectively. In Latin, it is known as De profundis. In the slightly different numbering system used in the Greek Septuagint version of the Bible, and in the Latin Vulgate, this psalm is Psalm 129. The New American Bible Revised Edition (2010) divides the psalm into two parts: verses 1-4 are a cry for mercy; verses 5-8 are a model expression of trust in God. The psalm forms a regular part of Jewish, Catholic, Lutheran, Anglican and other Protestant liturgies. It is paraphrased in hymns such as Martin Luther's " Aus tiefer Not schrei ich zu dir" in German. The psalm has often been set to musi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
