Wolfgang Amadeus Mozart Messa n. 4 in Do minore, « Missa solemnis » Video
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Edward William Elgar Beethoven Brahms Royal Albert Hall Royal Choral Society 2008
Provided to YouTube by The Orchard Enterprises The Dream of the Gerontius: Kyrie Eleison · Sir Edward Elgar · Edward William Elgar · Royal Albert Hall Orchestra · Royal Choral Society Mozart/Beethoven/Brahms: „Requiem/Missa solemnis"A German -Vol.3 ℗ 2008 M.A.T. Music Theme Licensing Ltd. Released on: 2008-09-01 Auto-generated by YouTube.
Beethoven Gundula Janowitz Christa Ludwig Fritz Wunderlich Herbert Karajan Weber Schroeder Berliner Philharmoniker Wiener Singverein 1966 1996
Provided to YouTube by Universal Music Group Beethoven: Mass in D Major, Op. 123 "Missa Solemnis" - Kyrie: Kyrie eleison (I) · Gundula Janowitz · Christa Ludwig · Fritz Wunderlich · Berliner Philharmoniker · Herbert von Karajan · Wiener Singverein Beethoven: Missa Solemnis / Mozart: Coronation Mass ℗ 1966 Deutsche Grammophon GmbH, Berlin Released on: 1996-01-01 Producer: Otto Gerdes Producer, Recording Producer: Hans Weber Studio Personnel, Balance Engineer: Günter Hermanns Studio Personnel, Editor: Volker Martin Studio Personnel, Editor: Rolf Peter Schroeder Composer: Ludwig van Beethoven Author: Anonymous Auto-generated by YouTube.
Beethoven Cummings Scarlatti Schumann 1770 1820 1823 1827 1835
Ludwig van Beethoven (baptised 17 December 1770 – 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the classical and romantic eras in classical music, he remains one of the most recognized and influential musicians of this period, and is considered to be one of the greatest composers of all time. Please support my channel: (http•••) Uploaded with special permission by Producer/Editor Peter Watchorn (http•••) Sonata No. 30 in E major, Op. 109 (1820) Dedication: Maximiliane Brentano 1. Vivace ma non troppo, sempre legato - Adagio espressivo (0:00) 2. Prestissimo (3:53) 3. Gesangvoll, mit innigster Empfindung. Andante molto cantabile ed espressivo (6:20) Penelope Crawford, fortepiano Conrad Graf, Wien, 1835 Description by Robert Cummings [-] By the time Beethoven composed this work, his output had declined substantially, perhaps owing to his deafness and disappointments in life. The only complete works to emerge from the period of 1820-1823 were the last three piano sonatas, the Missa Solemnis and the Ninth Symphony. Even when compared to these imposing works, the E major Piano Sonata retains its status of a masterpiece. It is a remarkable work in several respects. The first movement has a nearly unique structure: it opens with theme marked Vivace ma non troppo that almost immediately slows to an Adagio espressivo. Thereafter, the two contrasting tempos and utterances alternate. Scarlatti and Mozart had used such a scheme before, but never in such a bold and innovative fashion. On the surface, this short movement has a serene, almost angelic quality, but, like many other works written during this period, the composition's surface is merely one dimension among many. Indeed, nothing about this sonata is one-dimensional. Thus, for example, the subdued, brightly lit realm suggested by the beginning of the works eventually leads the listener to sections where the narrative slows down, conjuring up dark shadows that intimate feelings of longing and doubt. The second movement, given its sonata form structure would be typical of a Beethoven first movement if it were not for its terse development and extreme brevity. There are two subject groups in this Prestissimo, with the first led by an assertive theme that more than vaguely suggests Schumann's piano style. More subdued at the outset, the second subject generates tension and energy as it progresses. Following a brief development, an interesting reprise leads to a concise coda. The finale is twice as long as the previous two movements put together. It is a theme-and-variations scheme, whose main theme is marked Andante molto cantabile ed espressivo. The melody is beautiful, in style looking toward the Romantic movement that was then in its infancy. It is tranquil yet melancholy, pleased but valedictory. Some of the six variations generate further variations either through development (the third variation), or as a result of a two-tiered layout (the second variation). While the finale contains many lively moments, it is predominantly slow-to-moderate in tempo and generally subdued, gaining in confidence as the narrative proceeds. This movement concludes with the main theme played slowly and serenely. While the ending suggests a certain peaceful resolution of life's struggles and conflicts, it also reveals a feeling of resignation which is free of conflict and fear.
Stern Guang Richards Haydn Beethoven Bruckner 1976 1990 1999 2009 2011
Mozart's Requiem comes veiled in mystery and evokes in the listener a sense of wonder at the brilliance of its creator. The Requiem combines the luminous beauty of his last opera, The Magic Flute, with the stern solemnity of the great Viennese church music tradition. No Judgment Day has ever evoked a greater sense of terror nor have the grieving been afforded such consolation. Mozart began the work as the greatest composer of his time and left it incomplete as an immortal. Headlining this celebration of Mozart's music are international soloists Susanna Risch, soprano from Germany and Lin Chung Guang, baritone from Taiwan. Joining them are Sarah Court and Kenneth Cornish, with Italian pianist Matteo Napoli and Emma Richards, horn. The Mozart Requiem holds a special place in Kenneth Cornish's heart. ((http•••) Kenneth will be the soloist in the forthcoming performance of Auckland Choral. He debuted as a New Zealand soloist singing the Mozart Requiem with our choir on 19 June 1976. On 9 July 2011 at Auckland Choral's next concert, this work will also be his last as a professional soloist. Kenneth has indicated that he is closing the curtain on his illustrious soloist career spanning thirty-six years. During the summer and after a day of cleaning out various shelves of books and Programmes from concerts and Broadway shows which I had collected since I was a child, I was most interested to find the Programme from the first Messiah Concert I attended back in 1990. (I would have been eleven years old!) I was delighted to discover that the tenor soloist was Kenneth. I would never have thought that many years later, I would be in the same choir, and also on the Management Committee with Kenneth. (Written by Roger, ACS Tenor). A few of the works Kenneth has performed with Uwe Grodd: - Mozart Requiem (2011) - Haydn The Creation (2009) - Mozart Requiem with the Dorian Choir - Beethoven Missa Solemnis (1999) - Bruckner Mass and numerous others works with the University of Auckland Choir and Orchestra. Should you wish to send a message to Kenneth, you may do so via the web site, ((http•••) Please also advise in your email if you are happy to have your message posted on our web site. Or if you have Facebook, use the Comment plug-in to leave your message. "Really great tenors don't grow on trees. But a great tenor who has the perfect colour and expression in his voice for oratorio is a truly rare find. That is Ken Cornish! It is my privilege to conduct such a fine voice and person at the end of a wonderful career. I was fortunate enough to be working with Ken on many great works such as the Mozart Requiem......I always loved his singing; Ken is one of a kind - don't miss this concert!" Uwe Grodd, Music Director Auckland Choral. Susanna Risch | Sarah Court | Kenneth Cornish | Lin Chung Guang Pipers Sinfonia Uwe Grodd, Conductor Saturday, 9 July 2011 Auckland Town Hall (http•••)
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