Vida De Anton Bruckner
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Cantate Concert Program May-June 2014 "Choir + Brass"
About Cantate Founded in 1997, Cantate is a mixed chamber choir comprised of professional and avocational singers whose goal is to explore mainly a cappella music from all time periods, cultures, and lands. Previous appearances include services and concerts at various Chicago-area houses of worship, the Chicago Botanic Garden’s “Celebrations” series and at Evanston’s First Night. antate Cantate has also appeared at the Chicago History Museum and the Chicago Cultural Center. For more information, visit our website: cantatechicago.org Music for Cantate Choir + Br ass Peter Aarestad Dianne Fox Alan Miller Ed Bee Laura Fox Lillian Murphy Director Benjamin D. Rivera Daniella Binzak Jackie Gredell Tracy O’Dowd Saturday, May 31, 2014 7:00 pm Sunday, June 1, 2014 7:00 pm John Binzak Dr. Anne Heider Leslie Patt Terry Booth Dennis Kalup Candace Peters Saint Luke Lutheran Church First United Methodist Church Sarah Boruta Warren Kammerer Ellen Pullin 1500 W Belmont, Chicago 516 Church Street, Evanston Gregory Braid Volker Kleinschmidt Timothy Quistorff Katie Bush Rose Kory Amanda Holm Rosengren Progr am Kyle Bush Leona Krompart Jack Taipala Joan Daugherty Elena Kurth Dirk Walvoord Canzon septimi toni #2 (1597) ....................Giovanni Gabrieli (1554–1612) Joanna Flagler Elise LaBarge Piet Walvoord Surrexit Christus hodie (1650) .......................... Samuel Scheidt (1587–1654) Canzon per sonare #1 (1608) ..............................................................Gabrieli Thou Hast Loved Righteousness (1964) .........Daniel Pinkham (1923–2006) About Our Director Sonata pian’ e forte (1597) ...................................................................Gabrieli Benjamin Rivera has been artistic director of Cantate since 2000. He has prepared and conducted choruses at all levels, from elementary Psalm 114 [116] (1852) ................................. Anton Bruckner (1824–1896) school through adult in repertoire from gospel, pop, and folk to sacred polyphony, choral/orchestral masterworks, and contemporary pieces. -
Brahms Ruckner
brahms motets ruckner NIGEL SHORT [1] Signum_Booklet.indd 1 24/09/2015 15:50 brahms FOREWORD motets ruckner 1. Anton Bruckner Aequalis No.1 01:41 Spending time with artists and groups on sessions is one of opportunity to play a number of their symphonies. Aside from 2. Anton Bruckner Virga Jesse 03:58 the great pleasures of being a recording engineer, a natural their rivalry as symphonists, both composers wrote extensively 3. Anton Bruckner Ecce sacerdos 06:33 offshoot of which is that inevitably you start to wonder what for choirs throughout their life and I wanted to discover what 4. Anton Bruckner Christus factus est 05:55 certain repertoire might sound like in their hands. Having Tenebrae would bring to this music. That this exploration could 5. Anton Bruckner Locus iste 03:30 been fortunate enough to work with Tenebrae for a number be done to jointly support and promote a charity like Macmillan Johannes Brahms Fest- und Gedenksprüche, Op.109 of years, I have had plenty of opportunities to dream up Cancer Support, and the artistry of Tenebrae, has been a 6. i Unsere Väter hofften auf dich 02:07 potential programmes. But it wasn’t until two tragic events wonderful experience, and one which I hope to replicate in the occurred in quick succession – the loss of my father to cancer future with other artists and good causes. 7. ii Wenn ein starker Gewappneter 02:58 in 2009 and then, the following year, the death of Barbara A number of people have given freely of their time and 8. -
Salvum Fac Populum Tuum a Bruckner Wab 40 Arr for Satb Choir Sheet Music
Salvum Fac Populum Tuum A Bruckner Wab 40 Arr For Satb Choir Sheet Music Download salvum fac populum tuum a bruckner wab 40 arr for satb choir sheet music pdf now available in our library. We give you 2 pages partial preview of salvum fac populum tuum a bruckner wab 40 arr for satb choir sheet music that you can try for free. This music notes has been read 2586 times and last read at 2021-09-29 08:46:47. In order to continue read the entire sheet music of salvum fac populum tuum a bruckner wab 40 arr for satb choir you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Choir Ensemble: 4 Part, Mixed Choir, Satb Level: Intermediate [ READ SHEET MUSIC ] Other Sheet Music Tantum Ergo C Major Anton Bruckner For Satb Choir Tantum Ergo C Major Anton Bruckner For Satb Choir sheet music has been read 4291 times. Tantum ergo c major anton bruckner for satb choir arrangement is for Intermediate level. The music notes has 2 preview and last read at 2021-09-29 03:26:22. [ Read More ] Pange Lingua Tantum Ergo C Major Anton Bruckner For Satb Choir Pange Lingua Tantum Ergo C Major Anton Bruckner For Satb Choir sheet music has been read 3312 times. Pange lingua tantum ergo c major anton bruckner for satb choir arrangement is for Intermediate level. The music notes has 2 preview and last read at 2021-09-28 04:25:13. [ Read More ] Der Abendhimmel The Evening Sky 1st Version Wab 55 Bruckner Arr For Satb Choir Der Abendhimmel The Evening Sky 1st Version Wab 55 Bruckner Arr For Satb Choir sheet music has been read 1189 times. -
Bach: Magnificat & Christmas Cantata
DUNEDIN CONSORT JOHN BUTT CHRISTMAS CANTATA 63 Reconstruction of Bach’s first Christmas Vespers in Leipzig in E flat major, BWV 243a and Cantata, BWV 63, within a reconstruction of J.S. Bach’s first Christmas in Leipzig: Vespers in the Nikolaikirche, 25 December 1723 Dunedin Consort John Butt Julia Doyle soprano Joanne Lunn soprano Clare Wilkinson mezzo-soprano Nicholas Mulroy tenor Matthew Brook bass-baritone For the full liturgy of the reconstruction of J.S. Bach’s first Christmas in Leipzig, please see pages 12–13. Additional content is available for download from www.linnrecords.com/recording-bach-magnificat.aspx for free. 2 Giovanni Gabrieli Magnificat in E flat major, BWV 243a q Motet: Hodie Christus natus f Magnificat .................................... 2:55 2:54 est a8 ............................................ g Et exsultavit ................................ 2:24 h Vom Himmel hoch .................... 1:30 Johann Sebastian Bach j Quia respexit .............................. 2:35 w Organ Prelude: Gott, durch k Omnes generationes ................. 1:21 deine Güte, BWV 600 ............. 1:00 l Quia fecit ...................................... 1:43 ; Freut euch und jubiliert .......... 1:20 Cantata: Christen, ätzet diesen Tag, 2) Et misericordia .......................... 3:30 BWV 63 2! Fecit potentiam ......................... 1:56 e Chorus: Christen, ätzet 2@ Gloria in excelsis Deo! ............. 1:06 diesen Tag .................................... 5:21 2# Deposuit potentes .................... 2:01 r Recit: O selger Tag! .................. 2:57 2$ Esurientes implevit bonis ....... 3:18 t Aria: Gott, du hast es wohl 2% Virga Jesse ................................ 2:58 gefüget ......................................... 7:26 2^ Suscepit Israel ........................... 2:03 y Recit: So kehret sich 2& Sicut locutus est ........................ 1:24 nun heut ...................................... 0:49 2* Gloria ............................................. 2:16 u Aria: Ruft und fleht den Himmel an .................................. -
Catholic Choirmaster V04n01 1
- º Uº. º º - The society of St. Gregory of America ºn tº º lº Cº. º sº º ºs º º tº º º º º lººd - ºutlier. Sº Mr. Jam ºil ºn º, º A. sº Sº Gº || ºn lit ºn tº ºle º tº ºver tº º tº 0 ºn ºn tº º ºr sº tº ºn ºn |º º I ºu º nº ºn tº º º - - º º ºn tº º - Úhe Cathulir Chairmaster Vol. IV. JANUARY, 1918 No. 1. CONTENTS Page Church music in its relation to School Music . 2 False quantities in Plain Chant . 9 Papal Letter to the Cardinal Vicar of Rome . 11 Editorial . 14 Notes and gleanings … - - - - - - - 15 Reviews . 16 Questions and Answers . .. 18 Programmes . 19 List of Approved Music — Harrisburg Diocese . 21 Musical Supplement:– Secundae Vesperae in Nativitate Domini – Rev. Leo P. Manzetti. - 2 THE CATHOLIC CHOIRMASTER §rhuul ſilitair in its ſkelafinit fu (Iluurrb ſituair by Justine Ward INCE the publication of the Motu being the alpha and omega of the Proprio so much emphasis has Holy Father's desires, it is in reality been laid on the reform of choirs and but a temporary measure. The ideal the efforts of choirmasters, that we are held up to us as final is not that of almost led to assume that the choir a priest answered by a small group is the sole vehicle of reform contempla of highly trained singers, while the ted by the Pope, and the choirmaster people listen, but of a three cornered the sole official charged with carrying performance between a priest, a group out his decrees. -
Bruckner Mass in E Minor Motets
The Choir of King’s College, Cambridge Final Logo Brand Extension Logo 06.27.12 BRUCKNER MASS IN E MINOR MOTETS Academy of St Martin in the Fields Sir Stephen Cleobury THE CHOIR OF KING’S COLLEGE, CAMBRIDGE For more than half a millennium, King’s College Chapel has been the home to one of the world’s most loved and renowned choirs. Since its foundation in 1441 by the 19-year-old King Henry VI, choral services in the Chapel, sung by this choir, have been a fundamental part of life in the College. Through the centuries, people from across Cambridge, the UK and, more recently, the world have listened to the Choir at these services. Today, even people who aren’t able to attend services in the Chapel have heard King’s Choir, thanks to its many recordings and broadcasts, and the tours that have taken it to leading international concert venues around the world. Despite its deep roots in musical history, the Choir has always been at the forefront of technological innovation, and records exclusively on its ‘impeccable’ own label. 2 BRUCKNER MASS IN E MINOR MOTETS The Choir of King’s College, Cambridge Academy of St Martin in the Fields Henry Websdale & Dónal McCann Organ Scholars Sir Stephen Cleobury conductor 3 CD 57:06 ANTON BRUCKNER (1824–1896) 1 ECCE SACERDOS MAGNUS | WAB 13 (1885) 6:04 MASS NO. 2 IN E MINOR | WAB 27 (1882) 2 I Kyrie 5:43 3 II Gloria 6:50 4 III Credo 7:58 5 IV Sanctus 2:42 6 V Benedictus 4:48 7 VI Agnus Dei 3:55 8 TOTA PULCHRA ES | WAB 46 (1878) 4:48 9 VIRGA JESSE | WAB 52 (1885) 3:17 10 LOCUS ISTE | WAB 23 (1869) 2:38 11 AVE MARIA | WAB 6 (1861) 3:05 12 CHRISTUS FACTUS EST | WAB 11 (1884) 5:18 4 SHADES OF THE PAST IN played out against a revival of interest in early music. -
Too Many Cookes…? in This Issue: in a Review of the 2011 BBC Prom Performance of Bruckner’S
ISSN 1759-1201 www.brucknerjournal.co.uk Issued three times a year and sold by subscription FOUNDING EDITOR: Peter Palmer (1997-2004) Editor : Ken Ward [email protected] 23 Mornington Grove, London E3 4NS Subscriptions and Mailing: Raymond Cox [email protected] 4 Lulworth Close, Halesowen, B63 2UJ 01384 566383 VOLUME FIFTEEN, NUMBER THREE, NOVEMBER 2011 Associate Editor: Crawford Howie Too many Cookes…? In this issue: IN A review of the 2011 BBC Prom performance of Bruckner’s Concert Reviews Page 4 Eighth Symphony on the web-site Seenandheard- International.com, Geoff Diggines referred to the view of New Recordings Page 13 Deryck Cooke on the first printed editions of Bruckner symphonies - “abominable bowdlerisations”. Those of us who Book Review: Constantin Floros discovered Bruckner in the third quarter of the 20th century Anton Bruckner. The Man and the Work reviewed by Crawford learnt much of what we thought we knew about Bruckner and Howie and Malcolm Hatfield Page 14 the editions of his music from Cooke’s writings, and indeed, we have much to be grateful for. He wrote well, he was Bruckner’s Sonata Form Terminology devoted to the music and took it seriously, and said much that in Sketches for the Finale of the Eighth Symphony facilitated our understanding and love for this music. And in by Paul Hawkshaw Page 19 taking on board his view of versions and editions, one felt one was joining a community dedicated to the defence of Bruckner Constructing the “Bruckner Problem” against those who would impose inauthentic and vulgar by Benjamin Korstvedt Page 23 alterations upon his works. -
Vienna « Singakademie » – Concerts Including Choral Works of Anton Bruckner (1888-2015)
Vienna « Singakademie » – Concerts including choral works of Anton Bruckner (1888-2015) Source : https://www.wienersingakademie.at/de/konzertarchiv/?archiv=composer&id=93 10 December 1888 « Großer-Musikvereins-Saal » , Vienna : Max von Weinzierl conducts the Vienna « Singakademie » Mixed-Choir. Soloists : Caroline Wogrincz (Soprano) , Josef Lamberg (Piano) . Johannes Brahms : « Fragen. Sehr lebhaft und rasch » (Asking) , Song in C major for women's choir, Opus 44, No. 4 (1859-1860) . Johannes Brahms : « Minnelied » (Song of Love) , Song in E major for women's choir, Opus 44, No. 1 (1859-1860) . Wilhelm Friedemann Bach : Chorus « Lasset uns ablegen die Werke der Finsternis » (F. 80) . Anton Bruckner : « Ave Maria » No. 2 ; Marian hymn in F major for 7-voice mixed unaccompanied choir (SAATTBB) (WAB 6) (1861) . Laurentius Lemlin : « Der Gutzgauch auf dem Zaune saß » , Folk-song for unaccompanied voices (1540) . Giovanni Pierluigi da Palestrina : « Missa Tu es Petrus » , Parody Mass for 6 mixed-voices (SSATBB) (IGP 110) . Carl Wilhelm Schauseil : « Mir ist ein schön’s braun’s Mägdelein » , folk-song. Franz Schubert : « Mirjams Siegesgesang » , Opus 136 (D. 942) . 13 May 1891 « Minoriten-Kirche » , Vienna. Max von Weinzierl conducts the Vienna « Singakademie » Mixed-Choir. Soloists : Sofie Chotek (Soprano) , Carl Führich (Organ) . Johann Sebastian Bach : « Welt, ade ! ich bin dein müde » (World, farewell ! I am weary of thee) , Chorale in B-flat major for 5-part mixed-choir (SSATB) and orchestra (BWV 27/6) (1726) . Anton Bruckner : « Ave Maria » No. 2 ; Marian hymn in F major for 7-voice mixed unaccompanied choir (SAATTBB) (WAB 6) (1861) . Hermannus Contractus (Herman the Cripple or Herman of Reichenau) : « Salve Regina » harmonized by Professor Franz Krenn. -
Bruckner Latin Motets
BRUCKNER LATIN MOTETS LATVIAN RADIO CHOIR SIGVARDS KL‚ AVA ANTON BRUCKNER 2 ANTON BRUCKNER (1824–1896) 1 Os Justi (WAB 30) 4:10 2 Christus factus est (WAB 11) 5:28 3 Locus iste (WAB 23) 3:13 4 Ave Maria (WAB 6) 4:05 5 Libera me (F minor) (WAB 21) 2:18 Kronstorfer Messe (Messe in D, ohne Gloria & Credo) (WAB 146) 6 I. Kyrie 1:39 7 II. Sanctus 1:35 8 III. Benedictus 1:06 9 IV. Agnus Dei 2:22 10 Tantum Ergo (WAB 32) 3:07 11 Tantum Ergo (WAB 41) 2:19 12 Tantum Ergo (WAB 42) 2:42 13 Tantum Ergo (WAB 43) 1:35 14 Virga Jesse (WAB 52) 3:51 15 Pange lingua et Tantum ergo (WAB 33) 5:30 16 Salvum fac populum tuum (WAB 40) 3:23 17 Tota pulchra es Maria (WAB 46) 5:20 (Tenor: Jānis Kurševs) 18 Vexilla Regis (WAB 51) 4:55 KRISTĪNE ADAMAITE, organ (5, 12, 13 & 17) LATVIAN RADIO CHOIR SIGVARDS KĻAVA, conductor 3 horal music formed an important part of the output of Anton Bruckner (1824–1896) C throughout his career, yet it was in a way doubly disadvantaged. Firstly, Bruckner’s status as a composer in Vienna in his lifetime was eclipsed by the near-worshipful adulation afforded to Johannes Brahms (1833–1897). Secondly, choral music as a genre was underappreciated. In a stark contrast to the golden age of Renaissance choral polyphony, the 19th century preferred symphonic music (genres such as the suite, overture, fantasy, solo concerto and of course the symphony itself), chamber music was thriving in music-making in bourgeois homes, salons of the nobility and concert halls, and opera and ballet were hugely popular. -
“Complete” Cycles
ISSN 1759-1201 www.brucknerjournal.com Issued three times per year and sold by subscription Editor: Michael Cucka Retired Editor: Ken Ward (2004-2016) Founding Editor: Peter Palmer (1997-2004) Associate Editors: Dr. Crawford Howie, Dr. Dermot Gault, & Raymond Cox VOLUME TWENTY-THREE, NUMBER THREE, NOVEMBER 2019 “Complete” Cycles In this issue: During the recent BrucknerTage at St. Florian, I was engaged in an Wagner and the Early History Page 3 interesting conversation with other attendees about just what was of the Seventh Symphony necessary for a set of recordings to be considered a “complete” Paul Hawkshaw cycle. Rémy Ballot has skillfully conducted and recorded many of Beethoven, Bruckner and his Page 14 the symphonies at this annual event, including the Second this year, “Finale” Problem the Fourth next year, and 3 & 5-9 in previous years. Released on Malcom Hatfield Gramola, interest in completing the cycle for an entire cycle “box set” generated anticipation. Bruckner, The Teacher Page 24 David Singerman However, as is often the case with Bruckner, a disagreement arose Conduct Like Celibidache? Page 28 about just how complete the recordings needed to be to be Thng Yi Ren considered “complete”. Bruckner Thoughts Page 36 Tom Empson Certainly, there was general agreement that all the numbered symphonies must be included (and to the best of my knowledge, 2019 BrucknerTage: Reports Page 37 that is the intention of the Gramola team with Ballot and St. Ken Ward & Michael Cucka Florian). But, must the cycle also include the D Minor “Die Nullte” Concert Reviews Page 43 No. 0 – the F Minor “Study” No. -
Brahms Ruckner
brahms motets ruckner NIGEL SHORT [1] brahms FOrewORD motets ruckner 1. Anton Bruckner Aequalis No.1 01:41 Spending time with artists and groups on sessions is one of opportunity to play a number of their symphonies. Aside from 2. Anton Bruckner Virga Jesse 03:58 the great pleasures of being a recording engineer, a natural their rivalry as symphonists, both composers wrote extensively 3. Anton Bruckner Ecce sacerdos 06:33 offshoot of which is that inevitably you start to wonder what for choirs throughout their life and I wanted to discover what 4. Anton Bruckner Christus factus est 05:55 certain repertoire might sound like in their hands. Having Tenebrae would bring to this music. That this exploration could 5. Anton Bruckner Locus iste 03:30 been fortunate enough to work with Tenebrae for a number be done to jointly support and promote a charity like Macmillan Johannes Brahms Fest- und Gedenksprüche, Op.109 of years, I have had plenty of opportunities to dream up Cancer Support, and the artistry of Tenebrae, has been a 6. i Unsere Väter hofften auf dich 02:07 potential programmes. But it wasn’t until two tragic events wonderful experience, and one which I hope to replicate in the occurred in quick succession – the loss of my father to cancer future with other artists and good causes. 7. ii Wenn ein starker Gewappneter 02:58 in 2009 and then, the following year, the death of Barbara A number of people have given freely of their time and 8. iii Wo ist ein so herrlich Volk 04:59 Pollock, one of Tenebrae’s founders, similarly after a period energy for this project, for which I’m extremely grateful. -
Anton Bruckner, 1824-1896, Divided His Compositional Skills Equally Between the Symphony and Works for the Church
Director Roderick Earle choral works by Rachmaninoff,Ceremonial Tchaikovsky, Music for ChoirGrieg andand BrassStravinsky by Gabrieli,performed Schütz, by Purcell candlelight and Bruckner SaturdaySunday 15th 3rd january july 2011 2011 at 6.30pmat 7.30pm st teresa’sSt. John’s church, Catholic 16 Clairmont Cathedral Road, EarlhamColchester Road, CO3 Norwich 9BE programmeprogramme £1 £1 Colchester Chamber Choir Colchester Chamber Choir performed its inaugural concert in January 2010. The group comprises around twenty eight auditioned, mixed voices. The choir performs challenging works suitable for the smaller choir, particularly from the pre-baroque era and the 19th and 20th centuries. Lesser known works in their original language are given special attention. Musical Director Michael Roderick Earle studied as a Choral Scholar in the renowned St. John’s College Choir, Cambridge. He was a principal baritone with the Royal Opera House, Covent Garden for twenty-one years singing over sixty solo roles and has sung in opera and concerts all over the world. In autumn 2010 Roderick created the role of King Lear in Alexander Goehr's Promised End at the Royal Opera House and in spring 2011 at the Teatro Colon in Buenos Aires he sang Nekrotzar in Ligeti's Grand Macabre. He is also a part-time singing professor at The Royal College of Music, London. The choir is delighted to have the services of Peter Humphrey as rehearsal pianist. We would also like to acknowledge the expert advice of Peter Holman and Crispian Steele-Perkins in preparing the music for