Benjamin Britten Sinfonia da Requiem, Op. 20 Vidéos
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2024-04-23
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Benjamin Britten Peter Pears Dietrich Fischer Dieskau Fischer London Symphony Chorus London Symphony Orchestra 1965
Provided to YouTube by Universal Music Group Britten: Cantata Misericordium, Op. 69 · Peter Pears · Dietrich Fischer-Dieskau · London Symphony Chorus · London Symphony Orchestra · Benjamin Britten Britten: Cello Symphony; Sinfonia da Requiem; Cantata Misericordium ℗ 1965 Decca Music Group Limited Released on: 1965-01-01 Studio Personnel, Recording Engineer: James Lock Producer: John Culshaw Studio Personnel, Balance Engineer: Kenneth Wilkinson Composer: Benjamin Britten Author: Patrick Wilkinson Auto-generated by YouTube.
Benjamin Britten Olivier Messiaen Machaut David Munrow Clement Janequin Conlon Nancarrow Anton Webern Ensemble Clement Janequin 1500 1750 1787 1932 1941 1945 1989 1990 1995 2001 2003 2004 2005 2006 2008 2012
Show notes and images of Swiss Roll: (http•••) Listen on iTunes: (http•••) Correction! At 1:10:35, Sam says “one third the speed” when he meant “one third the note-length” (i.e. three times the speed) Music discussed in this episode: Jay Foreman, Singing one syllable out-of-sync, (http•••) Jay Foreman, MORE singing one syllable out-of-sync, (http•••) The Music, “Freedom Fighters”. Track 2 from Welcome to the North. Virgin Records, 2004. (http•••) W.A. Mozart, Don Giovanni, Act I, Finale, 1787 Recording: Hungarian Radio Chorus, and Nicolaus Estherházy Sinfonia. Mozart: Don Giovanni. Naxos, 2001. (Disc 2, Track 11 from 1m30) (http•••) Benjamin Britten, Passacaglia Op. 33b (from Peter Grimes), 1945. Recording: New Zealand Symphony Orchestra, and Myer Fredman. Britten: Sinfonia Da Requiem, Op. 20 / 4 Sea Interludes. Naxos, 1995. (Track (http•••) Meshuggah, “Do Not Look Down”. Track 3 from Koloss. Nuclear Blast, 2012. (http•••) Olivier Messiaen, “Crystal liturgy” 1st movement of Quartet for the End of Time, 1941. Recording: Amici Ensemble. Messiaen: Quartet for the End of Time / Theme and Variations. Naxos, 2001. (Track 1) (http•••) Guillame de Machaut, Puis que la douce rousee/De bon espoir, 14th century. Recording: The Early Music Consort of London, and David Munrow. The Art of Courtly Love. Erato - Parlophone, 2005. (Track 13) (http•••) Tool, “Jambi”. Track 2 from 10,000 Days. Tool Dissectional & Volcano Entertainment, 2006. Pierre de La Rue, 2nd “Agnus dei” from Missa l’homme armé c.1500. Facsimile: (http•••) Recording: Ensemble Clement Janequin. Pierre de La Rue: Missa l’homme arme / Missa pro defunctis. Harmonia Mundi, 1989 (Track 5, from 1m47) (http•••) Conlon Nancarrow, Study No. 40a for Player Piano Recording: Studies for Player Piano (The Original 1750 Arch Recordings). Other Minds, 2008. (Disc 2, Track 11) (http•••) Additional excerpts from: Anton Webern, 1st movement from Quartet op. 22, 1932. Recording: Webern, A: Works with Opus Numbers (Complete). Sony Classical, 1990. (Disc 2, Track 33) (http•••) Funeral for a Friend, “Rookie of the Year”. Track 1 from Casually Dressed & Deep in Conversation. Atlantic Records, 2003. (http•••)
Britten Rudolf Kempe Sächsische Staatskapelle Dresden
Britten : Sinfonia da Requiem Rudolf Kempe Sächsische Staatskapelle Dresden 1: Lacrymosa (Andante ben misurato) 2: Dies Irae (Allegro con fuoco) 3: Requiem Aeternam (Andante molto tranquillo) No copyright infringement intended. The rights of this song go to their respective owners.
Gregorio Allegri Palestrina Liszt Bach Brahms Fauré Britten Weelkes Wolfgang Amadeus Mozart Satie Tchaikovsky Beethoven Chopin Haydn Ravel Debussy Verdi Vivaldi Handel Schubert Mendelssohn Rachmaninoff Wagner Choir Clare College Cambridge 1770
More Information: (http•••) Social media: Brilliant Classics Facebook: (http•••) Brilliant Classics Instagram: (http•••) Spotify Playlists: Brilliant Classics Spotify: (http•••) Classical Piano Music: (http•••) New Classical Releases: (http•••) The Best of Liszt: (http•••) The Best of Bach: (http•••) Most Popular Piano Music: (http•••) Beautiful Classical Music: (http•••) Classical Music For Dinnertime: (http•••) Composer: Giovanni Pierluigi Da Palestrina, Gregorio Allegri Artists: Choir of Clare College, Cambridge Timothy Brown (conductor) This recording brings together music composed in a variety of contrasting yet complemetary forms, from Gregorian chant to more elaborate, polyphonic music, set to words that explore the rawest human emotions, death, sin and repentance. The death of a loved one is a particularly distressing experience, and over the centuries composers have chanelled their grief into their most moving and emotional works. In the 1850s Brahms composed the German Requiem after he lost his mother, and Fauré’s Requiem was also composed after his mother died. Britten produced the imposingly bleak and Mahlerian Sinfonia da Requiem after the death of his parents. In this recording, the grief of Mary, the mother of Christ, is portrayed in Palestrina’s masterful setting of the Stabat Mater, composed for Pope Gregory XIV. Another moving portrayal of grief is Weelkes’s intimate depiction of the pain of David upon learning of his son Absalom’s death, When David heard. Allegri’s Miserere concerns the belief in a higher power and the submission to it. Set to Psalm 51, the work was recognised by its composer and the Vatican as being of such beauty that its publishing was forbidden. No score was to leave the Papal Chapel. But then there was Mozart.. The incredible story of how Mozart came to copy down Allegri’s Miserere, note for note, after hearing it just once in 1770. Once it’s heard though, never forgotten. That soaring high C, mortifying for the boy treble who has to reach it, makes it one of the most sublime pieces of choral music ever. But the piece was once closely guarded, only ever sung during the days of Easter within in the hallowed confines of St. Peter’s Rome – and never published for performance anywhere else. In 1770, who should arrive at the Vatican for Easter but 14-year old Wolfgang Amadeus Mozart? The city was captivating. He was overawed by St Peter’s, but perhaps unsurprisingly, the greatest impression was made on him by that piece of music. When he returned to his lodgings — where he had to share a bed with his dad and was getting no sleep at all – Mozart wrote the entire piece out from memory, perfectly. Here’s where some people begin to doubt the story – for how could a 14-year-old remember an entire choral composition, consisting of five voice parts, that he had only heard once that day? It does seem a little implausible. But let’s remember that Mozart wrote his first composition, a charming Minuet and Trio in G major, aged five. It is also said that after having transcribed the piece, the young Mozart went back to St Peter’s to hear the work again, probably the same week, to compare his own score with the sung version. Sit back, Enjoy and tell us what you think! Tracklist in comments Thanks for watching! Feel free to subscribe and visit our channel for the best classical music from the greatest composers like: Bach, Satie, Mozart, Tchaikovsky, Beethoven, Chopin, Haydn, Ravel, Debussy, Verdi, Vivaldi, Handel, Brahms, Liszt, Schubert, Mendelssohn, Rachmaninoff, Wagner, Strauss, Handel, Dvorak, Schubert and many more! We upload complete albums, music for relaxing, working, studying, meditating, concentrating, instrumental music, opera, violin, classical piano music, sonatas and more! #BrilliantClassics #Music #Composer #ClassicalMusic #GiovanniPierluigiDaPalestrina #GregorioAllegri #ChoirofClareCollege #CambridgeTimothyBrown #Conductor #HigherPower #Psalm51 #Mozart #Lamentations #Gregorian #Death #Sin #Repentance #HumanEmotions
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