Ibolya Verebics Video
Ultimo aggiornamento
2024-05-11
Aggiorna
Bach Helmuth Rilling Ibolya Verebics Andrea Rost Wolfgang Amadeus Mozart Constanze Weber Weber Bach Collegium Stuttgart Gächinger Kantorei Stuttgart 1782 1783 1988
Rendition of Mozart’s Mass in c minor, KV 427 by the Gächinger Kantorei Stuttgart, Bach-Collegium Stuttgart and conductor Helmuth Rilling is recorded at the Knights Hall in Schloss Wolfegg in 1988. Follow us on Facebook: (http•••) Subscribe to EuroArts: (http•••) Ibolya Verebics - soprano Andrea Rost - soprano Uwe Heilmann - tenor Daniel Lichti - bass Gächinger Kantorei Stuttgart Bach Collegium Stuttgart Helmuth Rilling - conductor Wolfgang Amadeus Mozart - Great Mass in C minor K. 427 I. Kyrie (Andante moderato: Chorus and soprano) II. Gloria Gloria in excelsis Deo (Allegro vivace: Chorus) Laudamus te (Allegro aperto: Soprano II) Gratias agimus tibi (Adagio: Chorus) Domine Deus (Allegro moderato: Sopranos I and II) Qui tollis (Largo: Double choir) Quoniam tu solus (Allegro: Sopranos I and II, tenor) Jesu Christe (Adagio: Chorus) Cum Sancto Spiritu (Chorus) III. Credo Credo in unum Deum (Allegro maestoso: Chorus) Et incarnatus est (Andante: Soprano I) IV. Sanctus (Largo: Double choir) Sanctus Dominus Hosanna in excelsis V. Benedictus Benedictus qui venit (Allegro comodo: Quartet and double chorus) After Wolfgang Amadeus Mozart had married Constanze Weber on the 4th of August 1782, he promised to compose a mass in her honour. He intended for the mass to be performed during the newlyweds’ visit to Mozart’s father in Salzburg. In January 1783 Mozart wrote to his father that his Mass in C minor ‘Grosse Messe’ was halfway finished, but when he arrived in Salzburg in July of the same year the mass was still incomplete. He would never finish the mass. The parts of the mass that Mozart did manage to compose (the Kyrie and Gloria) had their opening on the 26th of October 1783 in Salzburg, with Constanze as solo soprano.
Michael Haydn Haydn Ibolya Verebics Németh Martin Klietmann József Liszt Ferenc Helmuth Rilling Sequentia 1771
Michael Haydn Work: Missa pro defuncto Archiepiscopo Sigismondo (1771) Introitus et Kyrie 00:00 Sequentia (Dies irae) 06:14 Offertorium (Domine Jesu) 13:32 Hostias 17:13 Sanctus 19:42 Benedictus 20:53 Agnus Dei et Communio 23:16 Soprano: Ibolya Verebics Contralto: Judit Németh Tenor: Martin Klietmann Baritone: József Moldvay Chorus: Hungarian Radio and Television Chorus Orchestra: Liszt Ferenc Chamber Orchestra, Budapest Conductor: Helmuth Rilling
Johann Christoph Friedrich Bach Bach Helmuth Rilling Ibolya Verebics Borchers Labia Bach Collegium Stuttgart Gächinger Kantorei Stuttgart 1770 1975 1987 1988
From the Rittersaal (Knight's Hall) in Wolfegg, Germany in 1988 Bach Collegium Stuttgart & Gächinger Kantorei Stuttgart Helmuth Rilling - conductor Ibolya Verebics - soprano Christel Borchers - alto Uwe Heilmann - tenor Daniel Lichti - bass Johann Christoph Friedrich Bach - Miserere Mei Deus The 12 parts: 1:48 1. Choir "Miserere mei Deus" 4:32 2. Aria (Soprano) "Amplius lava me" 9:30 3. Duet (Tenor, Bass) "Tibi soli peccavi" 12:54 4. Choir "Ecce enim" 15:37 5. Aria (Alto) "Asperges me" 19:48 6. Aria (Tenor) "Averte faciem tuam" 24:19 7. Choir "Redde mihi laetitiam" 26:16 8. Duet (Soprano, Alto) "Libera me" 31:00 9. Aria (Bass) "Domine labia mea aperies" 33:35 10. Aria (Alto) "Sacrificium Dea" 37:44 11. Terzetto (Soprano, Alto, Tenor) "Benigne fac Domine" 40:14 12. Choir "Tunc acceptabis" On a manuscript auction in December 1975 the autographical score of a to that date totally unknown composition of Johann Christoph Friedrich Bach, the second youngest son of Bach, called the "Bückenburger", was sold: a MISERERE for solo-part, 4 voiced mixed choir and a string orchestra with Basso Continuo. In 1987 the composer and musicologist Wolfgang Wiemer succeeded to find the new owner of the manuscript in America and to convince him to make it accessible to the public by the first performance by Helmuth Rilling and the choir of Gächingen and the Bach-Collegium. The composition is based on the whole Latin text of the 50th Psalm (the 51st Psalm according to the counting of the Protestant-Lutheran Psalter), an atonement psalm containing many well-known passages. The opus consists of 12 compositional parts: 4 parts for choir, the rest for the solo-voices Soprano, Alto, Tenor and Bass, partially together in duets and terzettos. The date of origin is 1770, the year which was found on the front page of the contemporary score-copy, which was detected as the only additional source in the National Library of Paris. For its volume and its extraordinary expressiveness this Psalm composition will be considered as one of the most important works not only of the "Bückenburger" master, but also of the ecclesiastical music of the Early Classical Period.
o
- cronologia: Cantanti lirici (Europa).
- Indici (per ordine alfabetico): V...