Heinrich Schütz O bone, o dulcis, o benigne Jesu, Op. 4 n.° 1 Vídeos
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Ricercar Consort Franz Tunder Dietrich Buxtehude Heinrich Schütz Seele Johann Philipp Krieger Krieger Johann Rudolf Ahle Henri Ledroit 1722
Franz Tunder - Salve mi Jesu - 00:00 Dietrich Buxtehude - Wenn ich, Herr Jesu, habe dich - 5:21 Buxtehude - Jesu, meine Freud und Lust - 10:25 Heinrich Schütz - Erbarm dich mein, o Herre Gott - 17:22 Christoph Bernhard - Was betrübst du dich, meine Seele - 21:39 Johann Philipp Krieger - O Jesu, du mein Leben - 25:58 Johann Rudolf Ahle - Jesu dulcis memoria - 34:39 Ahle - Gehe aus auf die Landstraßen - 40:48 Emperor Leopold I - Regina Coeli - 44:38 Performed on period instruments by Ricercar Consort, with Henri Ledroit, countertenor. Buy it here: (http•••)
Heinrich Schütz Gabrieli Paul McCreesh Heiden Daniels 1585 1664 1672 1998 1999
Faces of Classical Music (http•••) • More information: (http•••) Heinrich Schütz +••.••(...)) ♪ Christmas Day Vespers at the Dresden Court Chapel, c. 1664 1. Prelude: La piva [00:00] 2. Chant: Deus in adjutorium [01:51] 3. Warum toben die Heiden, SWV 23 [02:52] 4. Hymn: Christum wir sollen toben schon [06:46] 5. Historia der Geburt Jesu Christi, SWV 435 [13:37] 6. Magnificat, SWV 468 [48:50] 7. O bone Jesu, fili Mariae, SWV 471 [1:04:42] 8. Hymn: Gelobet seist du, Jesu Christ [1:11:29] 9. Collect and Blessing [1:16:04] 10. Postlude: Benedicamus Domino à 6 [1:17:39] Charles Daniels (Evangelist, SWV 435) Boys' Choir and Congregational Choir of Roskilde Cathedral Gabrieli Consort & Players Paul McCreesh, conductor Recording: Roskilde Cathedral, Denmark, 12/1998 & 5/1999 Recording Producer: Arend Prohmann Archiv Production 1999 (HD 1080p – Audio video) More information: (http•••) • Faces of Classical Music (http•••)
Dietrich Buxtehude Matić Holstein Franz Tunder Johann Sebastian Bach Handel Mattheson Johann Christian Schieferdecker Freer Heinrich Schütz Marienkirche 1637 1657 1658 1660 1668 1671 1703 1707 2010
Buxtehude Membra Jesu Nostri "Ad Manus" Croatian Television Choir - Tonči Bilić - Zbor HRT - Mimara Museum - Zagreb - Croatia - 16-3-2010 - Monika Cerovčec, Ivana Garaj Korpar . Sopranos - Martina Gojčeta Silić, mezzo - Dejan Vrbančić. tenor - Goran Jurić, basso - Martina Matić Borse, mezzo - Marko Pletikosa, tenor - Miroslav Živković, baritone (http•••) . Ad Pedes. "Ecce super montes pedes evangelizantis et annunciantis pacem." Salve mundi salutare, salve Jesu care! Cruci tuae me aptare vellem vere, tu scis quare, da mihi tui copiam. Clavos pedum, plagas duras, et tam graves impressuras circumplector cum affectu, tuo pavens in aspectu, tuorum memor vulnerum. Dulcis Jesu, pie deus, Ad te clamo licet reus, praebe mihi te benignum, ne repellas me indignum de tuis sanctis pedibus. "Ecce super montes pedes evangelizantis et annunciantis pacem." Biography: Dietrich Buxtehude, who identified himself as Danish, was seemingly born in Oldesloe about the year 1637, the son of an organist and schoolmaster. His father moved briefly from Oldesloe, in the Duchy of Holstein, to Helsingborg as organist at the Mariekirke there and soon after to the Danish city of Helsingør, Hamlet's Elsinore, as organist at the St Olai Kirke, a position he held for some thirty years, until his retirement in 1671. Buxtehude was taught by his father and from 1657 or 1658 until 1660 was organist at the Mariekirke in Helsingborg, a city separated from Helsingør by a narrow stretch of water. His next appointment was at the Mariekirke in the latter city. In 1668 he was elected organist at the Marienkirche in Lübeck, where he succeeded Franz Tunder, who had died the previous year, following custom by marrying Tunder's younger daughter. Tunder's elder daughter's security had already been assured by her marriage to Samuel Franck, Cantor of the Marienkirche and the Catherineum Lateinschule, the choir-school that provided singers for the services of the Marienkirche. At the Marienkirche in Lübeck Buxtehude made some changes in the musical traditions of the church, establishing a series of Abendmusik concerts given now on five Sunday afternoons in the year, events that attracted wide interest. As an organist Buxtehude represented the height of North German keyboard traditions, exercising a decisive influence over the following generation, notably on Johann Sebastian Bach, who undertook the long journey from Arnstadt to Lübeck to hear him play, outstaying his leave, to the dissatisfaction of his employers. Handel too visited Lübeck in 1703, with his Hamburg friend and colleague Mattheson. By this time there was a question of appointing a successor to Buxtehude, who was nearly seventy and had spent over thirty years at the Marienkirche. The condition of marriage to his predecessor's daughter that Buxtehude had faithfully fulfilled proved unattractive, however, to the young musicians of the newer generation and the succession eventually passed to Johann Christian Schieferdecker, who married Buxtehude's surviving daughter, predeceased by four others, three months after Buxtehude's death in 1707. For a long time knowledge of Buxtehude's works was limited to the organ works and his major sacred choral works. Along with other Baroque composers, Buxtehude was "rediscovered" in the mid-nineteenth century, and his organ works were republished as an example of the style current before J.S. Bach. Interest in his chamber music works, however, has only gathered momentum in recent years. In these Buxtehude frolics with great imagination between learned contrapuntal traditions and a freer, more fanciful style. On the whole. Buxtehude's imagination is amazing, and gives his works a lively, improvisational feel. With our present-day fully-rounded picture of Buxtehude's works we can unhesitatingly count him as the greatest composer of the northern European Baroque in the period between Heinrich Schütz and J.S. Bach.
Christoph Willibald Gluck Wolfgang Amadeus Mozart Giuseppe Verdi Jacopo Peri Heinrich Schütz Lully Henry Purcell George Frideric Handel Gioachino Rossini Gaetano Donizetti Vincenzo Bellini Meyerbeer Richard Wagner Giacomo Puccini Richard Strauss Arnold Schoenberg Alban Berg Igor Stravinsky Philip Glass John Adams Opéra Comique 1598
This is an audio version of the Wikipedia Article: Opera 00:03:36 1 Operatic terminology 00:05:45 2 History 00:05:53 2.1 Origins 00:07:43 2.2 Italian opera 00:07:52 2.2.1 Baroque era 00:11:01 2.2.2 Reform: Gluck, the attack on the Metastasian ideal, and Mozart 00:12:59 2.2.3 Bel canto, Verdi and verismo 00:16:20 2.3 German-language opera 00:20:53 2.4 French opera 00:25:21 2.5 English-language opera 00:32:16 2.6 Russian opera 00:34:27 2.7 Other national operas 00:38:39 2.8 Contemporary, recent, and modernist trends 00:38:49 2.8.1 Modernism 00:42:36 2.8.2 Other trends 00:45:06 2.8.3 From musicals back towards opera 00:46:21 2.9 Acoustic enhancement in opera 00:47:11 3 Operatic voices 00:47:34 3.1 Vocal classifications 00:49:24 3.2 Historical use of voice parts 00:52:09 3.3 Famous singers 00:54:02 4 Changing role of the orchestra 00:59:24 5 Language and translation issues 01:01:55 6 Funding 01:03:46 7 Television, cinema and the Internet Listening is a more natural way of learning, when compared to reading. Written language only began at around 3200 BC, but spoken language has existed long ago. Learning by listening is a great way to: - increases imagination and understanding - improves your listening skills - improves your own spoken accent - learn while on the move - reduce eye strain Now learn the vast amount of general knowledge available on Wikipedia through audio (audio article). You could even learn subconsciously by playing the audio while you are sleeping! If you are planning to listen a lot, you could try using a bone conduction headphone, or a standard speaker instead of an earphone. You can find other Wikipedia audio articles too at: (http•••) You can upload your own Wikipedia articles through: (http•••) "The only true wisdom is in knowing you know nothing." - Socrates SUMMARY / Opera (Italian: [ˈɔːpera]; English plural: operas; Italian plural: opere [ˈɔːpere]) is a form of theatre in which music has a leading role and the parts are taken by singers. Such a "work" (the literal translation of "opera") is typically a collaboration between a composer and a librettist and incorporates a number of the performing arts, such as acting, scenery, costume, and sometimes dance or ballet. The performance is typically given in an opera house, accompanied by an orchestra or smaller musical ensemble, which since the early 19th century has been led by a conductor. Opera is a key part of the Western classical music tradition. Originally understood as an entirely sung piece, in contrast to a play with songs, opera has come to include numerous genres, including some that include spoken dialogue such as musical theater, Singspiel and Opéra comique. In traditional number opera, singers employ two styles of singing: recitative, a speech-inflected style and self-contained arias. The 19th century saw the rise of the continuous music drama. Opera originated in Italy at the end of the 16th century (with Jacopo Peri's mostly lost Dafne, produced in Florence in 1598) and soon spread through the rest of Europe: Heinrich Schütz in Germany, Jean-Baptiste Lully in France, and Henry Purcell in England all helped to establish their national traditions in the 17th century. In the 18th century, Italian opera continued to dominate most of Europe (except France), attracting foreign composers such as George Frideric Handel. Opera seria was the most prestigious form of Italian opera, until Christoph Willibald Gluck reacted against its artificiality with his "reform" operas in the 1760s. The most renowned figure of late 18th-century opera is Wolfgang Amadeus Mozart, who began with opera seria but is most famous for his Italian comic operas, especially The Marriage of Figaro (Le nozze di Figaro), Don Giovanni, and Così fan tutte, as well as Die Entführung aus dem Serail (The Abduction from the Seraglio), and The Magic Flute (Die Zauberflöte), landmarks in the German tradition. The first third of the 19th century saw the high point of the bel canto style, with Gioachino Rossini, Gaetano Donizetti and Vincenzo Bellini all creating works that are still performed. It also saw the advent of Grand Opera typified by the works of Auber and Meyerbeer. The mid-to-late 19th century was a golden age of opera, led and dominated by Giuseppe Verdi in Italy and Richard Wagner in Germany. The popularity of opera continued through the verismo era in Italy and contemporary French opera through to Giacomo Puccini and Richard Strauss in the early 20th century. During the 19th century, parallel operatic traditions emerged in central and eastern Europe, particularly in Russia and Bohemia. The 20th century saw many experiments with modern styles, such as atonality and serialism (Arnold Schoenberg and Alban Berg), Neoclassicism (Igor Stravinsky), and Minimalism (Philip Glass and John Adams). With the rise of recording tec ...
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