Category Archives: Dance/Electronica

Et Resurrexit - Wolfgang Amadeus Mozart - Requiem - Messe En Ut Mineur (CD)

Dominus a dextris tuis. Dixit Dominus in D major, RV 7. Iudicabit in nationibus. Dixit Dominus in D major, RV 8. De torrente. Dixit Dominus in D major, RV 9. Gloria Patri. Dixit Dominus in D major, RV Sicut erat in principio. Stabat Mater in F minor, RV 1.

Stabat Mater. Stabat Mater in F minor, RV 2. Cuius animam. Stabat Mater in F minor, RV 3. Wedding march Allegretto non troppo - Allegro molto vivace Scherzo- Allegro leggierissimo Allegro moderato, ma con fuoco Allegro molto moderato Allegro affettuoso Giazotto- Adagio Wagner- Adagio for clarinet and strings Cohen Bach- Sleepers Awake Hess Sax Munchinger Hogwood Bantock Leslie Pearson- Early One Morning Molto moderato Allegretto grazioso Molto maestoso Allegro con moto Un poco allegretto e grazioso Moderato, quasi marcia Finale allegro molto Tempo di valse Scherzo vivace Finale allegro vivace Poco adagio Walzer Op.

Il Lamento La Leggierezza Un Sospiro Allegro Maestoso Quasi Adagio, Allegro Marziale Animato Mephistopheles-Final Chorus Lento assai Andante assai Allegro Moderato Woge Du Welle Lausche Hieher! Sieh Auf Mich Holder Knabe! The Sea and Sindbad's Ship The Story of the Kalander Prince The Tsar's Departure and Farewell The Tsarina in a Barrel at Sea The Three Wonders Sergey Lyapunov Dance of the Maidens Dances with Chorus Rimsky-Korsakov Adagio - Allegro Militr Symphonie Adagio - Allegro The Miracle Adagio - Vivace assai mit dem Paukenschlag Andante 1 Finale Presto Finale- Allegro di molto Finale- Vivace Adagio -- Allegro Menuet- Allegro Tu tu Piccolo Iddio!

Adio fiorito asil Per l'ultima volta! Grazia, grazia! Graduel Requiem aeternam dona eis, Domine, Et lux perpetua luceat eis. In memoria aeterna erit justus, Ab auditione mala non timebit. Trait Absolve, Domine, animas omnium fidelium defunctorum ab omni vinculo delictorum. Et gratia tua illis succurrente, mereantur evadere judicium ultionis.

Et lucis aeternae beatitudine perfrui. Quantus tremor est futurus, Quando judex est venturus, Cuncta stricte discussurus! Tuba mirum spargens sonum Per sepulchra regionum, Coget omnes ante thronum. Mors stupebit et natura, Cum resurget creatura, Judicanti responsura.

Liber scriptus proferetur, In quo totum continetur, Unde mundus judicetur. Judex ergo cum sedebit, Quidquid latet apparebit: Nil inultum remanebit. Qui sum miser tunc dicturus? Quem patronum rogaturus?

Cum vix justus sit securus. Natali regis glorie Natali regis glorie letatur celi curia, dampnatur dux perfidie perit eius potencia. Tristatur hostis impius, gaudet genus mortalium, advenit dei filius carnis sumens hospicium. Sanavit quod perierat carnis indutus pallio, ponendo quod induerat nos traxit ab exilio. Nos traxit ab exilio nostri misertus hominis, crucis lavit suspendio humani labem criminis. Induta carne deitas hamus sub esca latuit, et cor hostis capacitas, hamus mordentem tenuit.

O quanta mirabilia, quam felix matrimonium, Christo nubit ecclesia, celebratur convivium. Celebratur convivium superni regis filio, hoc predixere gaudium prophete vaticinio. Novo cantemus homini novis induti vestibus, laudes canamus virgini fugatis procul sordsibus. Quis umquam vidit talia: deus creator omnium, o inenarrabilia, venit hoc in exilium.

Le prince du mal est damn, son pouvoir prit. Lennemi malin porte le deuil, le peuple des mortels se rjouit, le fils de Dieu est arriv et a pris demeure dans la chair. Habill du manteau de la chair, il a sauv ce qui tait perdu, et en tant ce qui lhabillait, il nous conduit hors de lexil.

Il nous conduit hors de lexil de notre misre humaine. Par la crucifixion il a effac la honte du pch humain. La dit se cache dans la chair comme lhameon dans lappt, et le cur est lespace de lennemi, mais lhameon arrte celui Et Resurrexit - Wolfgang Amadeus Mozart - Requiem - Messe En Ut Mineur (CD) mord. O quel grand miracle, quel heureux mariage, lEglise se marie au Christ, on fait une fte.

On fait une fte pour le fils du roi suprme, cette joie a t prvue Et Resurrexit - Wolfgang Amadeus Mozart - Requiem - Messe En Ut Mineur (CD) les prophtes. Chantons lhomme nouveau habills dhabits neufs. Chantons des louanges la Vierge, puisque la tristesse a t chasse. Qui a dj vu chose pareille: Dieu, le crateur de toutes les chosesque cest indescriptible Dieu entre dans cette misre! Et fais briller pour eux la lumire ternelle. En Sion, Seigneur, nous te chantons nos louanges ; Jerusalem, nous t'offrons nos sacrifices.

Donne-leur le repos jamais, Seigneur, Et fais briller pour eux la lumire ternelle. Le juste sera dans la mmoire ternelle, l'annonce de l'preuve il ne craindra pas.

Jour de colre, le jour qui rduira en cendres tout l'univers suivant l'oracle de David et de la Sibylle. Quel sera l'effroi des hommes quand le juge viendra discuter en dtail leur vie entire. Le son clatant de la trompette retentira parmi les tombeaux et rassemblera tous les hommes devant le trne de Dieu. La mort et la nature seront dans la stupeur quand la crature se lvera pour rpondre son Juge.

On ouvrira le livre o est crit tout ce qui doit servir juger le monde. Quand le Juge sera assis sur son trne, apparatra tout ce qui est cach : rien ne restera impuni. Que dirai-je alors, malheureux que je suis! Quel dfenseur pourrai-je implorer, alors qu' peine le juste sera sans crainte? Rex tremendae majestatis, Qui salvandos salvas gratis, Salva me, fons pietatis.

Recordare Jesu pie, Quod sum causa tuae viae: Ne me perdas illa die. Quaerens me, sedisti lassus: Redemisti crucem passus: Tantus labor non sit cassus. Juste judex ultionis, Donum fac remissionis, Ante diem rationis. Ingemisco, tamquam reus: Culpa rubet vultus meus: Supplicanti parce Deus. Qui Mariam absolvisti, Et latronem exaudisti, Mihi quoque spem dedisti. Preces meae non sunt dignae: Sed tu bonus fac benigne, Ne perenni cremere igne. Inter oves locum praesta, Et ab haedis me sequestra, Statuens in parte dextra.

Confutatis maledictis, Flammis acribus addictis, Voca me cum benedictis. Oro supplex et acclinis, Cor contritum quasi cinis: Gere curam mei finis. Lacrimosa dies illa, Qua resurget ex favilla Judicandus homo reus: Huic ergo parce Deus. Pie Jesu Domine, Dona eis requiem. Offertoire Domine Jesu Christe, Rex gloriae, libera animas omnium fidelium defunctorum de poenis inferni, et de profundo lacu: libera eas de ore leonis ne absorbeat eas tartarus, ne cadant in obscurum: sed signifer sanctus Michael repraesentet eas in lucem sanctam: Quam olim Abrahae promisisti, et semini ejus.

Hostias et preces tibi Domine laudis offerimus: tu suscipe pro animabus illis, quarum hodie memoriam facimus: fac eas, Domine, de morte transire ad vitam. Quam olim Jsus, plein de misricorde, souvenez-vous que je suis la cause de votre venue sur terre ; ne me perdez pas en ce jour. Vous vous tes lass me chercher, pour me racheter vous avez souffert le supplice de la croix : que tant de souffrances ne soient pas superflues.

Juge quitable de la vengeance, accordez-moi le pardon de mes fautes, avant le jour o je devrai en rendre compte. Je gmis comme un coupable : mes iniquits me font monter la rougeur au front ; pardonnez, mon Dieu, au pcheur suppliant. Vous qui avez pardonn Marie-Madeleine, qui avez exauc la prire du bon larron, vous me donnez aussi esprer.

Mes prires sont sans mrite : mais vous qui tes la bont mme, traitez-moi avec bont, et prservez-moi du feu ternel. Placez-moi parmi vos brebis, sparez-moi des boucs en me mettant votre droite. Quand vous confondrez les maudits en les livrant aux flammes dvorantes, appelez-moi avec les bnis de votre Pre. C'est en suppliant, humblement prostern devant vous, avec un cur contrit et le front dans la poussire, que je vous prie de prendre soin de moi l'heure de ma mort.

Seigneur Jsus plein de bont, donnez-leur le repos ternel. Seigneur Jsus-Christ, roi de gloire, prserve les mes des dfunts des souffrances de l'enfer et de la profondeur de l'abme.

Prserve-les de la gueule du lion afin que le gouffre horrible ne les anantisse pas. Mais que saint Michel les introduise dans la lumire sainte Et Resurrexit - Wolfgang Amadeus Mozart - Requiem - Messe En Ut Mineur (CD) tu promis Abraham et sa descendance.

Nous t'offrons le sacrifice et les prires de notre louange, Seigneur ; reois-les pour ces mes auxquelles nous rendons aujourd'hui mmoire. Fais-les passer de la mort la vie, Seigneur, qu'autrefois Sanctus Sanctus, sanctus, sanctus, Dominus Deus Sabaoth.

Pleni sunt coeli et terra gloria tua. Hosanna in excelsis. Benedictus qui venit in nomine Domini. Agnus Dei Agnus Dei, qui tollis peccata mundi: dona eis requiem. Agnus Dei, qui tollis peccata mundi: dona eis requiem. Agnus Dei, qui tollis peccata mundi: dona eis requiem sempiternam. Communion Lux aeterna luceat eis, Domine: Cum sanctis tuis in aeternum, quia pius es. Requiem aeternam dona eis Domine, et lux perpetua luceat eis. Cum sanctis tuis in aeternum, quia pius es.

Rpons Libera me, Domine, de morte aeterna, In die illa tremenda: Quando coeli movendi sunt et terra. Dum veneris judicare Saeculum per ignem. Tremens factus sum ego et timeo, Dum discussio venerit, Atque ventura ira. Quando coeli movendi sunt et terra. Dies illa, dies irae, Calamitatis et miseriae, Dies magna et amara valde. Requiem aeternam dona eis Domine, Et lux perpetua luceat eis. Antienne In paradisum deducant Angeli in tuo adventu, suscipiant te Martyres, et perducant te in civitatem sanctam Jerusalem.

Chorus Angelorum te suscipiat, et cum Lazaro quondam paupere aeternam habeas requiem. Le ciel et la terre sont remplis de ta gloire. Hosanna au plus haut des cieux. Agneau de Dieu qui enlves les pchs du monde, donne-leur le repos. Agneau de Dieu qui enlves les pchs du monde, donne-leur le repos ternel. Que la lumire luise jamais, Seigneur, avec tes saints, car tu es misricordieux.

Seigneur, donne-leur le repos ternel et que la lumire luise jamais our eux. Avec tes saints, jamais, car tu es misricordieux. Dlivre-moi de l'ternit de la mort, Seigneur, En ce jour de terreur : Quand le ciel et la terre seront anims Parce que tu viendras juger L'univers par le feu.

Je suis tremblant, j'ai peur Du jugement que tu proclameras Et de la colre qui clatera. Quand le ciel et la terre seront anims. Ce jour, jour de colre, De catastrophe et de misre, Ce grand jour de l'amertume. Parce que tu viendras juger L'univers par le feu.

Donner-leur le repos jamais, Seigneur, Et fais briller pour eux la lumire ternelle. Que le chur de Lazare te reoive, Et qu'avec lui, si pauvre autrefois, Tu connaisses le repos ternel.

Christ ternel et tout-puissant, sagesse de Dieu, aie piti de nous. Toi qui es et seras, lumire de la vraie lumire, aie piti de nous. Donne-nous les joies suprmes de la vie ternelle, aie piti de nous. Communion trope Ce corps que nous prenons prsent sur terre sige dj la droite du Pre dans le ciel, et pour cela, dune seule voix : chantez au Seigneur qui slve au plus haut des cieux lorient, allluia. Glorifiez notre Dieu, sa magnificence et sa force sont dans la nue Prose Allluia.

Celui que les armes clestes acclament, remplies de joie la vue de sa face ; dont tous sur terre attendent le signe, svre dans sa justice, clment dans sa puissance. Que ta misricorde nous sauve, Christ, nous pour qui tu souffris si cruellement; lve-nous vers les astres qui brillent dans le ciel, toi qui laves le monde de sa souillure.

Rpands ton salut, loigne de nous les prils, que tous les peuples soient purifis et pacifis afin que, sauvs par ta misricorde, nous accdions avec joie au royaume cleste o tu rgnes jamais. Agnus Dei : omnipotens eterne Agnus Dei, qui tollis peccata mundi, miserere nobis. Omnipotens eterne dei sapientia christe miserere nobis.

Verum subsistens, vero de lumine lumen miserere nobis Optima perpetue concede gaudia vite miserere nobis. Date gloriam deo nostro magnificentia et virtus ejus in nubibus.

Regnantem sempiterna per secla susceptura concio devote concrepa, divino sono factori reddendo debita. Quem jubilant agmina celica ejus vultu exhilarata; quem expectant omnia terrea ejus nutu examinanda, districtum ad judicia clementem in potentia. Tua nos salva, christe, clementia, propter quos passus es dira; ad poli astra subleva nitida qui sorde tergis secula.

Influa salus vera, effuga pericula; omnia ut sint munda tribue pacifica, ut, hic tua salvi misericordia, leti regna post adeamus supera, quo regnas secula per infinita. Regem Regum dominum Regem regum dominum venite adoremus: his sacris vigiliis beati iacobi. Gloria patri et filio et spiritui sancto. Iacobe servorum spes et medicina tuorum, alleluia, alleluia. Et enim sagitte tue, domine, transeunt; vox tonitrui in rota. Regem Regum dominum Venez et adorons le Seigneur, le roi des rois, lors de la sainte vigile de Jacques le bienheureux.

Du pape Calixte, sur les vangiles. Gloire au Pre, au Fils et lEsprit-Saint. Jacques, espoir et remde pour tes serviteurs, allluia, allluia. Et, en effet, Seigneur, tes flches volent, la voix du tonnerre retentit par toute la terre.

Ce qui signifie les fils du tonnere. Matines de la fte de Saint Bernard : 4e Rpons En craignant Dieu, le pre saint atteignit la glorification, il maintint sans cesse dans son esprit la pense de Dieu : Et toutes ses paroles illustrrent les prceptes du Trs-Haut. Verset Il devint le pasteur du peuple de Dieu dans la sagesse des paroles sacres. In timore Dei, patris sancti gloriatio, et in sensu eius cogitatus Dei: Et omnis narratio eius in preceptis altissimi.

Versus Pastor populi Dei factus est in sapientia sermonis sacris:. Et omnis narratio eius in preceptis Altissimi. Et toutes ses paroles illustrrent les prceptes du Trs-Haut. Gloire au Pre et au Fils et au Saint-Esprit. Testamentum eternum cum beato patre Bernardo constituit Dominus: Et iusticiam a iudicia sua ostendit illi.

Versus Magnalia honoris Dei vidit oculus eius:. Verset Ses yeux ont vu les merveilles de lhonneur de Dieu. Et il lui montra sa justice et ses jugements. Gloire au Pre et au Fils et au Saint Esprit. Patet via. Perfidia, superbia, potentia, hostis frangitur. Introitus est redditus. Rex genitus humanitus dat additus, et perditus, expositus, ad genitus, homo solvitur.

Novum regem laudet orbis terrarum cum novarum laude melodiarum. Qui nos trahit de lacu tenebrarum et cunctarum mole miseriarum. Adam, quem fregerat hostis deceperat, regnum perdiderat, quod Deus dederat et eius gratia et gratia.

Dat gaudia. La terre entire acclame le nouveau roi avec de nouveaux chants de louange. Il nous sauve du lac tnbreux et du poids de toutes nos peines. Et iusticiam ac iudicia sua ostendit illi. Dedit Dominus confessionem sancto suo et excelso in verbo glorie.

Ex omni corde laudavit Dominum: Et dilexit eum qui fecit illum. Versus Dedit decus in celebratione operis sancti et ornavit tempora sua usque in finem:. De tout son cur il loua le Seigneur : Et il aima celui qui le fit. Verset Il accorda la magnificence la clbration des uvres du saint et il embellit son temps jusqu son terme. Et il aima celui qui le fit. Adam, que lennemi vainquit et trompa, perdit le royaume que Dieu lui avait donn, et sa grce et la grce.

Il offre prsent saccomplissent les paroles des prophtes, car lenfant divin nous est n, le Fils de Dieu attest par les critures, qui sauve nos mes par leffusion de son sang.

Vierge digne entre toutes les vierges, viens notre secours et sauve-nous, louange et grce et la grce. Il offre Adam nous condamna tout dabord la mort, puis il nous rendit.

O quanta gaudia dant in ecclesia hec natalitia Christi presentia et eius gratia et gratia. Dat gaudia celestia. Sunt per via in patria. Natus est rex Un roi est n de la vierge Marie, salut du monde, chemin de la vie ternelle, quenfanta la mre pure et chaste.

Il offre les joies clestes. Il ouvre ainsi. Iam sunt dicta completa prophetarum, namque nobis propago divinarum deum natum testatur scripturarum, quod cum caede salus est animarum. Virgo virginibus dignior omnibus, subvenientibus salva nos precibus. Laus et gratia et gratia. Dat gaudia Primus Adam in morte nos prostravit. Secundus hic.

Carnem sumptam miro modo beavit, quam ad dextram summi patris locavit. Quod reddit aditum per gustum perditum, non fuit debitum vel nostrum meritum, sed sola gratia et gratia. Dat gaudia In natale In natale Salvatoris angelorum nostra choris succinat conditio; armonia diversorum sed in unum redactorum dulcis est connexio. Felix dies hodiernus, in quo Patri coeternus nascitur ex virgine; felix dies et iocundus!

Illustrari gaudet mundus veri solis lumine. Ne periret homo reus redemptorem misit Deus, Pater unigenitum; visitavit quos amavit nosque vite revocavit gratia non meritum. Infinitus et immensus, quem non capit ullus sensus nec locurum spacia; ex eterno temporalis, Et Resurrexit - Wolfgang Amadeus Mozart - Requiem - Messe En Ut Mineur (CD) immenso fit localis ut restauret omnia.

Non peccatum, sed peccati formam sumens, vetustati nostre se contemperat; immortalis se mortali, spiritalis corporali ut natura conferat. Sic concurrant in persone singularis unione. Celui qui sige la droite du Pre suprme a miraculeusement batifi la chair.

Car il rouvrit lentre du ciel, que la pomme nous fit perdre, non quil nous soit d ou que nous layons mrit, mais par sa seule grce et la grce. Il offre In natale la naissance du Sauveur, lange rpond au chant de notre chur, douce est lunion des diverses voix en une harmonie. Heureux le jour o, ternel comme le Pre, le Fils nat dune vierge, jour joyeux et heureux!

La joie envahit le monde quillumine la lumire du vrai soleil. Le pcheur ne mourra plus car Dieu a envoy le Rdempteur, le Fils unique du Pre ; il est venu parmi ceux quil aimait et il nous a rendus la vie, par sa grce et non pour nos mrites. Il est infini et immense celui que nul esprit ne peut concevoir et que nul espace ne peut contenir, ternel, il sest soumis au temps, il a quitt limmensit pour un lieu, afin de restaurer toutes choses. Prenant non pas le pch mais sa forme mme, il devint notre gal afin que sa naissance donne aux hommes une me immortelle.

Le verbe, la chair et lesprit sunissent ainsi. Tante rei sacramentum latet hostem fraudulentum, fallitur malicia; cecus hostis non presagit quod sub nube carnis agit Dei sapientia.

Huius nodum sacramenti non subtilis argumenti solvit inquisitio; modum nosse non est meum, scio tamen posse Deum quod non capit ratio. Quam subtile Dei consilium, quam sublime rei misterium! Virga florem vellus rorem, virgo profert filium. Hence, once he had finished writing one concerto, he began the next on the same or the following page if there was sufficient room. Quite the contrary: these are the first »serious« concerts held in Leipzig and thus mark the beginning of civic concert programs, which were soon continued with great success by the »Grand Concert« founded inthe predecessor of the Gewandhaus Concerts.

Picander, the author of the St. Matthew Passion and many other pieces whom Bach held in high estimation, artfully used this ambiguity to compare it to a flirt in the wedding verses he wrote in »He who would a-courting go Should hold, as we so often do, A musical Collegium.

When we step up to start conducting And see a part is lying there We quickly turn it round and round, And see if it is hard to play; Thus should one in general Sound out a maid quite thoroughly, And get to know her heart full well. To describe these similarities, he used the terms »transcription«, »adaptation«, »earlier reading« and »borrowings«.

Numerous corrections in the manuscript give evidence of this procedure. If we approach all seven concertos in the light of this question, then it would almost seem as if only the concertos in Et Resurrexit - Wolfgang Amadeus Mozart - Requiem - Messe En Ut Mineur (CD) minor and F major attain to that degree of accomplishment which does not make the clavier transcription show too sensibly the loss of the original idiom.

On these occasions, »dramme per musica«, serenades and other music for the Saxon court were usually heard. ENGLISH Discovering that Bach arranged his own works and performed them in other than their original form must have been shocking for an epoch which, like the nineteenth century, believed in the originality, uniqueness and authenticity of a work of musical art.

Certain pieces which were suspected of being second-hand music even seemed to fall under a sort of curse — such as the »Lutheran Masses« BWV — vol.

They were among the earliest works by Bach to be printed long before the Mass in B Minor or the passions! The fact that large portions of the Mass in B Minor and the Christmas Oratorio were not »original« music composed expressly for these works was deliberately overlooked. In the case of the Christmas Oratorio, reference was made to the fact that many pieces had been taken from »secular« cantatas, which were in turn discredited as being ephemeral, functional music composed merely for specific occasions.

The older work is here something completely different from, say, a sketch, draft, thematic diagram, skeleton, model, cartoon, embryo or whatever other technical terms may be employed. Even in its earlier form, it proves to be the consummate expression of a consummate Self, with organic vitality, with a marked character; the Whole is retained. The conversion manifests, rather in a theological sense, a reincarnation or resurrection in which we can identify the former self unimpaired, albeit transfigured and fulfilled.

A new spirit, new senses and organs have been added to it and its countenance recast to highest perfection«. BG 17, p. Incidentally, Johannes Brahms was also one of the subscribers to the BG. It would be interesting to know how he reacted to the publication of volume 17 of the BG in — particularly since Brahms himself had published his first concerto for piano but ten years previously, which was the result of a compositional process encompassing several stages, starting with a sonata for two pianos, running through orchestral sketches and finally leading up to the concerto itself!

In the critical report to the above-mentioned volume of the NBA, Wilfried Fischer shows that he is aware that reconstruction has its limits: »However, we must bear in mind that it is not possible even for a reconstruction which follows a fundamentally sound method to restore the original version note for note. The natural limits of the procedure lie in the possibility, which must always be kept in view, that Bach may have spontaneously deviated from the original in his arrangement without leaving evidence of this modification« p.

Performing the restored score presents even more questions. The performers on this recording, which is based on the NBA, again and again found their own solutions regarding the conduct of parts, phrasing and articulation. For a musical work is never felt to be finally complete and finished: it always harbors the possibility of a more striking form, more forceful shape and greater fulfillment.

And it is always, or at least usually, connected to a specific external occasion, circumstance or situation: when this changes, the music is adapted to the altered conditions and remains in this way assigned to a specific context in life« p. It would appear that not all these works are arrangements of each other, but derive from the original concerto for violin. Whether Bach was the author of this concerto is occasionally questioned.

In his edition of the harpsichord concerto Frankfurtp. It seems that Bach took the fast movements from it for the concerto for harpsichord BWV and transposed them one tone down to fit the range of the new instrument.

Here it is in F major, has fewer embellishments and represents the expressive introductory sinfonia, provided with a different turn of phrase at the end and with an oboe as the solo instrument.

The reconstruction of the original form of this concerto for the violin as solo instrument materially follows the concerto for harpsichord, in which Bach can be shown to have combined the two earlier movements with the cantata movement written fifteen years later. However, this is more than offset by the immense gain for musical practice. As described above, un- The authenticity of the original version of the harpsichord concerto was also frequently questioned, especially »the artistic structure of the theme, which recalls Vivaldi, and the numerous three- or even four-part sequences Sinfonia in D Major to an unknown church cantata BWV J ohann Sebastian Bach never called a cantata he composed for use in a church service »cantata« but instead, if he gave it any title at all, it was »motetto«, »dialogus« or »concerto«.

Thus we should not let the term applied to this piece, which has survived on its own, lead us astray: it is not, as the BG believed, a concerto movement which led it to be given a BWV number appropriate to a concerto. Although Bach entitled the movement »sinfonia« and »J. However, »sinfonia« refers to the introductory movement of the cantata called »concerto«.

It features the full range of festive instruments. The cantata itself has been lost; it cannot even be maintained with certainty that Bach finished composing the piece he had planned. Nor is anything known concerning the occasion for its composition or performance. In his preface to the edition of BWV R Kassel,Wilfried Fischer writes »The knowledge of how to differentiate original from modified readings gained from concertos whose original forms have survived at least allow us to identify chordal fill-in parts, for instance, or figurative counter voices in the harpsichord part as having been added for the adaptation«.

The original could thus have been a concerto for violin which, again, must not necessarily have been composed by Bach himself. In this recording some bars from the ritornello have been added as a da capo for the sake of musical unity.

In a word, this sinfonia is one of those mazes in which Bach research will seek for certainties with admirable, even criminological energy, while the performer and the audience will have no problem whatever enjoying great music, particularly since it was written by Johann Sebastian Bach.

Isabelle Faust is today considered to be one of the most fascinating artists of the younger generation in Europe. Her technical brilliance and the special sensitivity and maturity of her artistry have met with acclaim from audiences and reviewers alike. She began taking violin lessons at the age of five.

Soon she was already winning awards in »Jugend musiziert« a recurring German competition for young musicians and inat the tender age of fifteen, she won first prize in the Leopold Mozart Competition in Augsburg.

In she received the Premio Quadrivio, a cultural award conferred by the city of Rovigo for excellence in musicianship, and in she was the first Ger- man to win the Premio Paganini in Genoa. She has played in concert with many famous orchestras and conductors, such as the Hamburg Philharmonic under Sir Yehudi Menuhin, the radio symphony orchestras in Stuttgart, Cologne and Leipzig, the Munich and Stuttgart chamber orchestras and the German Chamber Philharmonic Orchestra in Bremen, as well as orchestras in England, the Netherlands and Italy.

In addition, concert tours have taken her to many European countries, Israel and Japan. Her U. She has performed chamber music at the most important festivals of our time, together with artists such as Bruno Canino, Natalia Gutman, Clemens Hagen, Eva Kupiec and Boris Pergamenshikov. Christoph Poppen has made a name for himself in the world of international music as conductor, soloist and chamber In his capacity as conductor, he took over the artistic direction of the Detmold Chamber Orchestra in before leaving to assume the same position with the Munich Chamber Orchestra.

In a very short time, he managed to give this renowned ensemble a new profile. Inthis violinist was prizewinner in the international competition »Marguerite Long — Jacques Thibaud« in Paris. Apart from regular solo performances, she primarily dedicates herself to chamber music. The Bach-Collegium Stuttgart The Bach-Collegium Stuttgart is a group of freelance musicians, including players from leading German and foreign orchestras and respected teachers, whose compositions varies according to the requirements of the programme.

To avoid being restricted to a particular style, the players use modern instruments, while taking account of what is known about period performance practice. They are thus equally at home in the baroque »sound world« as in the orchestral sonorities of the nineteenth century or in the soloistic scoring of composers of our own time.

For this artist, who was born in in Muenster, music is one of the most intense ways to experience life. He has won a great number of international violin competitions, and in founded the Cherubini Quartet, which he led to win the Grand Prix at the string quartet competition in Evian in Thereupon followed concerts on nearly all of the most important stages in the world, as well as recordings on CD, radio and television.

He has also appeared as soloist with renowned conductors and orchestras. From toChristoph Poppen was professor of violin chamber music at the music academy in Detmold before accepting a call to be professor of violin at the »Hanns Eisler« music academy in Berlin. Helmuth Rilling is widely considered the leading Bach specialist of our day. Il en est de plus le recteur depuis Del programa de los conciertos semanales »ordinarios« no se tiene casi la menor idea.

El todo permanece. Pero volvamos a los conciertos de Bach. El movimiento lento de la mitad del concierto para clave procede en cambio de la cantata BWV »Estoy con un pie en la tumba« vol. A este prestigioso conjunto fue capaz de imprimir muy pronto un nuevo perfil.

BWV a: 7. Recitativo A : Violoncello, Cembalo No. Recitativo S : Violoncello, Cembalo No. Recitativo T : Violoncello, Cembalo No. Recitativo B : Violoncello, Cembalo No. Aria A : Violoncello, Cembalo No. Chor 1. Chorus Angenehmes Wiederau, Freue dich in deinen Auen! O thou lovely Wiederau Rejoice in thy pleasant meadows! Nature now is meetly sowing New foundations for thy growing To build thee into an Eden. Recitativo 2. Thou shalt receive another name Hennicks-Ruhe shalt thou be called!

Schicksal Fate Nimm dieses Haupt, dem du nun untertan, Frohlockend also an: Accept this head to be thy lawful lord And be glad of the tidings: 3. Aria 3. Welcome in salvation, welcome in joy, We bless the arrival, we bless the house. Be always happy like our meadows, Our hearts submit themselves to thee While omnipotence spreads its wings. Tu nombre debe ser cambiado, Y debes llamarte ahora Sosiego de Hennick. Air 3.

Bienvenido en salud, bienvenido en gozo, Bendecimos la llegada, bendecimos la casa. Recitativo 4. Ich wanke nicht, ich weiche nicht, An deine Seite mich zu binden.

Du sollst mich allenthalben finden. Since today, highly praised Hennicke, Thy Wiedrau obligates itself to you, So do I too swear To be unchangingly True and faithful to thee. I will not waver nor digress From binding myself to thy side. Thou shouldst find me everywhere. Aria 5. Whatever can delight the soul, Whatever amuses and is highly esteemed, Should be thy hereditary fief.

My bounty shall spare naught And open up richly to you So that my whole store is thine. Recitativo 6. And like myself, bethought at all times With all care and power, Because thou art worth being protected, Supported and defended, come what may, So shall I furthermore not cease To watch over thee And make the honorable course of thy fame More sweeping and bring it to better blossom. Aria 7. Air 5. Air 7. And govern with thee As an eye is dearly held.

I have put thy upraising Thy welfare and well-being Upon pillars made of marble. Recitativo 8. And though else changeability Is my sister and relation, Yet I hereby make this promise: As often as the dawn brings day, As long as one day follows another, So long will I without doubt The welfare, dear Hennicke, Carry upon my wings afar.

Aria 9. Hurry, ye hours, as ye will, Exterminate and push back! Recitativo Recitative Elster Elster So recht! Air 9. Sois mis queridos invitados. And your substantial houses; Here you will want to stay forever, and should! Spare ye no exertions In pouring out your many gifts Bountifully on these meadowlands! Aria As I disburse droplets To make my Wiedrau green, So adjoin ye your blessing!

Therefore, lovely Wiederau, Should no lightning, nor jet of fire And no unhealthy dew, No bad harvest, no ruin fright thee! Your master, dearest Hennicke, I want to cover with fame and bliss.

And the delight of both, The sole and dearest lineage, August, I shall bear upon my bosom. Air Prenez grands soins des fruits et des semences, Montrez que le nom de Hennicke Est un joyau tout particulier!

Cuidad con esmero el fruto y la simiente. Demostrad que el nombre de Hennick Es para vosotros una alhaja muy especial. Aria Angenehmes Wiederau, Prange nun in deinen Auen! The splendor Et Resurrexit - Wolfgang Amadeus Mozart - Requiem - Messe En Ut Mineur (CD) thy growth, Thy self-satisfaction Should see no end while time goes on!

CD 1 13 BWV 36c 1. Go up now with great joy and reach up to the stars Ye wishes, until God sees you before His throne! Doch, haltet ein! Which gratitude and duty draws to its teacher. One heart, in tender affection, Awakened in him many thousand joys, Can hardly find its way in its delight, Since it discovers ever more hope. Agradable Wiederau, Resplandece pues en tus praderas. Elevaos vibrantes y alegres y penetrad hasta las estrellas, De negar a su maestro gratitud y reconocimiento. This will move with circumspection Since reverence keeps it within bounds.

It is thou, O highly deserving one, Who, in uninterrupted teaching, With highest honors, Can bear with pride the silver crown of age. Thanks, honor, reputation, Are all gathered here together; And because thou must be The light and guide to lead our breast, Thou wilt not condemn this display so full of joy. The day which erstwhile gave thee birth Seems to us as good a physic As that on which the Creator spake: Let there be light!

One thing only gives us care: This offering could be less than meet; Though if it should only find, Dear teacher, thy kind acceptance, Then its otherwise lowly worth Shall rise as high as our faithful intent. They resound from out the breast, Though no one can justly give Expression to such great delight. Resuene poderoso en el pecho, Como si no supiera expresar al completo El gozo percibido.

As the years renew themselves, So shall too thy fame! Deines Lebens Heiligtum Kann vollkommen uns erfreuen. Wie die Jahre sich verneuen, So verneue sich dein Ruhm! Tenor However, what we wish, Since this happens of itself, And since thine adulation, Which our Helicon best doth know, Is seen beyond its borders.

To rightly tell what thou deservest Would surpass our abilities. Bass Hence we hold our tongues And thereby show to thee That our thanks, though not from out our mouths, Speaks that much louder from our hearts. That which was holy in thy life Can give us the most perfect joy.

Soprano So our mouths open up in praise, For every member takes part in the joy; Our eyes overcome accustomed barriers And see thy future well-being and bliss. Ye see how the good fortune Of dearest Rivin by the accustomed looks In this most pleasant of times Is renewed to bless his house.

Blessing should surely crown his labors Which often have advantaged our Philuris, And may this blessing with its power great Drive need and hardship from his side away. Who hath proved in many trials That this good man hath praised him a thousand times. But yet! Should we also happy be, when he is full of joy? Thou good Rivin, please do not disdain The efforts that we make And now allow, in praise of thee, Our song to be heard. When thy noble house is supported by thy prudence, Which also helps those who are poor, Then we see all this with admiration, Because our humbleness dares not strive higher.

Yet what we hope for thee in bliss We wish thee ten times more. Tenor Tenor Ja wohl! Thou dost well deserve, That he who knows thy fame Should call thee scourge of wrong; Conversely shield and guard of all the just, Who defies need and affliction. CD 1 26 May disaster not torment thee, Nothing lack for thy well-being.

Wherein no fall disturbs its sweet repose. This great joy is more delight Than we could ever show. Soprano Hence shalt thou, great man, excuse us When we, true to our true teacher, Share our joy with him at thy feast; But neither that our duty Should speak of wishes newly made.

Te lo has ganado. Quien te conoce por tu fama, Te llama flagelo de la injusticia; Y a su vez el escudo protector del justo Ofrece resistencia a la miseria y a la desgracia.

Recitativo 1. Time, that which maketh days and years Hath oft brought Anhalt blessed hours, And now begins to shower grace anew. O noble time! Aria 2. May heaven with mercy now crown these great times, Arise, souls, ye must an offering prepare, To pay with thanksgiving your debt to the Lord! Recitativo 3. Bracht ich den teuren Leopold. As quick as stars are true to thee, O highest-praised principality!

I brought to you dear Leopold. Air 2. So must sagacious princes also flourish; So doth a land grow rich in blessings fair. O time, thou art appointed for this house By the Lord of times to add to its welfare.

Zeit Time Was mangelt mir an Gnadengaben? What do I lack in gifts of grace? Greater yet I have in store. Zeit Time Mein Ruhm ist itzt schon ungemein. Already is my fame uncommon. It shall be greater yet in praise of God. Aria 4. Dies liebliche Streiten beweget die Herzen, In giving their blessing to this most serene house. It is quite the same as praising the Lord. Mi fama es ya descomunal. Air 4. Recitativo 5. An Leopold hast du ein Gnadenpfand.

Komm, Anhalt, fleh um mehre Jahr und Zeiten! Consider but this, O happy land, How much I have given you in these fair times. Leopold is a pledge of my favor. If I should prepare your future well-being, Then bring down from the firmament With prayers the greatest good for thy prince! Come, Anhalt, pray for many years and epochs! Zeit Time Ach! For without God and them I would not for a moment Be happy now for you. Allegro vivo Virgo virginum praeclara. Andantino Fac ut portem Christi mortem.

Larghetto Fac me plagis vulnerari. Allegro commodo Quando corpus morietur. Largo Cujus animam gementem. Adagio O quam tristis. Andante Quis est homo. Largo Quis non posset. Adagio Pro peccatis suae gentis. Andante Eja mater, fons amoris. Largo Fac ut ardeat.

Lento Amen. Andante moderato. Allegretto maestoso. Cujus animam gementem T Quis est homo, qui non fleret S1, S2 Pro peccatis suae gentis B Coro e Recitativo. Andante mosso. Eja Mater, fons amoris B, Coro Allegretto moderato. Andante grazioso. Fac, ut portem Christi mortem S2 Aria e Coro. Andante maestoso. Inflammatus et accensus S1, Coro Quando corpus morietur Coro In sempiterna saecula.

Introitus Requiem aeternam. Adagio 2. Kyrie Allegro 3. Sequenz 1. Dies Irae. Allegro assai 4. Tuba mirum. Andante 5. Rex tremendae 6. Andante 8. Lacrimosa Larghetto 9. Offertorium 1. Domine Jesu. Andante con moto Sanctus Adagio. Benedictus Andante. Kyrie K. Pie Jesu soprano V. Libera me baryton VII. Domine Jesu Christe Pie Jesu Lux aeterna Libera me Psalm 2 op. Psalm 43 op. Psalm 22 op. Choralmotette op. Motette op. Ave Maria Christus factus est Os justi Locus iste Timor et tremor.

Vinea mea electa. Tristis est anima mea. O magnum mysterium. Quem vidistis pastores dicite. Videntes stellam. Hodie Christus natus est. Calme mais sans lenteur Agnus Dei. Devotions before Mass Hymn and Psalm: A simple song First Introit Rondo Prefatory Prayers Second Introit In nomine Patris Confession Confiteor Meditation No.

Gloria 1. Gloria tibi 2. Gloria in excelsis 3. Credo in unum Deum World Without End Dmitry Bortniansky Let my prayer arise No. Vassily Titov c. Nikolai Diletsky c. Artemy Vedel By the rivers of Babylon Na rekakh vavilonskikh Vespers Come, let us worship Praise the Lord, O my soul Blessed is the man O gentle light Lord, now lettest Thou Il confia au chanoine Alonso Ortiz la charge de reconstituer la liturgie.

Comment notamment, rythmer ce plain-chant chant plane? Nous ne la connaissons donc pas! Les compositeurs classent alors les intervalles par familles. Tinctoris explicite cette division ternaire en ajoutant au mot cantus les qualificatifs magnus, mediocris et parvus respectivement : grand, moyen et petit. Pour simplifier, les mouvements de la Messe sont de deux styles. La Missa Pange lingua de Josquin Desprez c. Quels sont les traits que Lully a retenus du style de Carissimi?

Tiburtio Massaino c. Certaines ritournelles instrumentales du Dixit, par exemple, sont optionnelles ad libitum. En contraste, la seconde partie est toute de violence. Scarlatti, A. Bononcini, A. Pergolesi fut-il incompris autrement que par Dent? Il comporte trois trombones. En cela, il rejoignait E. La Messe en ut mineur K.

La musique le souligne. Ce sont ainsi parmi les plus beaux. La musique souligne admirablement le texte dans ses quatre parties. Ces deux recueils sont capitaux. The liturgy, which punctuated the silence of the monasteries at regular intervals during the day, was first organised under St Benedict In his Rule, the eight Hours of prayer frame the Mass, which comprises the Proper specific to a single day in the year; this gave rise to the first polyphony and the Ordinary sung at every Mass; it came to constitute the essence of the polyphonic repertory from the time of Ars Nova onwards.

The earliest neumatic notations appeared only around the ninth century, which is to say when the greater part of the repertory was already fixed. Moreover, these notations, mere mnemonic devices without indications of interval, cannot be transcribed today.

Fortunately, comparison of this early notation with the later square notation enables us to reconstruct many of these early pieces, which are of extremely diverse geographical origin. Most of them belong to the type known as psalmody, in which a psalm is sung around one or two notes, known as reciting notes, with the aim of making the text easily comprehensible.

Latin progressively began to assert itself around the fourth century, when it was used conjointly with Greek. The latter is closely linked to what was to become Gregorian chant. He was acclaimed bishop of Milan, then the crossroads of languages and cultures, even before being baptised. Ambrose opposed this order and had the threatened churches occupied by crowds of the faithful. It was on this occasion, Augustine says, that they began to chant the hymns and psalms according to the custom of the Eastern regions in order to prevent the people from giving way to sadness and grief.

Not only did the practice endure beyond the great Gregorian reform, it even survived the Council of Trent. To be sure, it incorporated over the centuries certain elements and parts of the younger Gallican and Old Roman repertories, and in the pieces sung by the Ensemble Organum we find familiar melodic features that have survived down to our own day in the commonest liturgies.

Its distinctly Oriental character, which gives it the aspect of an ornamental cantillation, is by no means surprising when one remembers that at this period Italy was not only dependent on the Byzantine emperor, but was also a land of asylum for a large Greek colony which had sought refuge there. And the iconoclast quarrel was all the more reason for the monks to flee from the Orient and reassemble in the Italian peninsula. Between and nearly fifty thousand monks took refuge in southern Italy.

In this respect the question of performance is of crucial importance. For instance, the Greek alleluiatic verses preserved in the Old Roman manuscripts may be seen as direct evidence of the Alleluia as it was practised in Byzantium in the eighth century.

The fall of Constantinople did not bring about a break, contrary to what certain western European musicologists have thought. Quite the opposite is true: it becomes increasingly apparent that Turkish and Arab music inherited an enormous amount from the Byzantine aesthetic. The confrontation with Old Roman chant is illuminating on this point. Certain pieces in this repertory, which cannot be considered to have been subjected to any kind of Islamic influence, present constructions and formulas which are absolutely identical to pieces from the Byzantine repertory.

Moreover, they were less fortunate in their fate, because practically all the manuscripts were destroyed and the liturgy was proscribed by Stephen IX in However, one relatively rich source has survived in the manuscripts of the Cathedral of Benevento which contains the Mass for Easter; here, the Communion, Qui manducaverit, attains an altogether extraordinary degree of musical elaboration.

It is highly ornamental, often having several notes to a syllable. It is true that the Introit of the Mass for Easter Day seems to be based on the periodic repetition of a single melody. The music is not divided into modes, and it has not suffered the restructuring that results from the importation of the system of eight modes.

It is a music that transmits a particular cultural and aesthetic moment, and it has a value for us, not as archaic and outmoded music of little aesthetic interest, but as an example of stylistic purity and maturity from a culture of which it was the supreme artistic expression. Certain churches in Toledo never submitted to the liturgical reform imposed at the end of the eleventh century and maintained the tradition of Mozarabic chant.

Around this chant was written down, thanks to the farsightedness of Cardinal Cisneros, one of the great figures of the Reconquista. He reinstated the Mozarabic rite by setting aside a chapel in the Cathedral, that of Corpus Christi, for the preservation of these ancient traditions. He entrusted the task of the reconstitution of the liturgy to Canon Alonso Ortiz who might have modified certain chants, notably those of the schola choirbut given the present state of our knowledge, we cannot estimate the extent of these transformations.

They are conserved in the Mozarabic Chapel of Toledo Cathedral and we were permitted to consult them thanks to the courtesy of the choirmaster. The music is written in late fifteenth-century mensural notation and is therefore perfectly legible as regards the rhythm and the melody. In spite of the date of their publication, these pieces reflect an extremely ancient tradition, the chants of the celebrants generally having been transmitted with great consistency.

The dialogues between the celebrants and the schola are essential for grasping the rhythm and the spatial aspect of these liturgies, whose roots go down to Near Eastern and North African antiquity. His contribution was limited to organising the liturgy.

These legends were the work of the Carolingians, who wished to use chant as a means of unifying their empire. At the time there were numerous exchanges of cantors between Rome and Gaul to organise this reform, which soon spread throughout Western Christendom, with the exception of Rome which remained faithful to Old Roman chant until the thirteenth century.

From the late nineteenth century, the monks of Solesmes Abbey set out to rediscover them and to establish a reliable edition the Vatican Edition, followed by the Graduale Triplex. The Frankish kingdom and then the Carolingian Empire gave it the decisive political impulse that the Roman intentions lacked. Whatever the case may be, this restoration, continued and intensified after the accession of Charlemagnewho took it upon himself to impose it throughout his realms, consisting in the compiling of a fixed Roman liturgy based on the principal existing repertories essentially Roman and Gallicanwas started at Metz, the birthplace of the reformer appointed by Pope Stephen II.

This was how the canon of the Gregorian Antiphoner assumed its definitive form: whilst the organisation of the Office of the Hours the ordering of daily monastic prayer already fixed by Saint Benedict preserved a certain degree of flexibility, the form of the Mass was rigorously established, even though all of its components would not be finally assembled until the eleventh century, with the addition of the Credo.

The Kyrie, the Gloria, the Credo, the Sanctus and the Agnus Dei with the Ite missa est constituted the Ordinary of all Masses, while the pieces in the Proper varied according to the feast day.

The Mass of the Dead — or Requiem — was the only form of the Mass to contain both the Ordinary and the Proper, consisting of the chants presented almost in full on this recording.

Although the Church began to transform its spiritual authority into political power under the brilliant leadership of Pope Sylvester II, the fear and anticipation of the Last Judgment and end of the world influenced the late tenth-century Christian world view. Would an antichrist rise up, to be defeated in anticipation of the Last Judgment?

Who would be saved, who damned, and what horrors awaited the earth? What are the musical manuscripts that show traces of this fear of the year ? There is, notably, a number of manuscripts of c. The troped portions of the Aquitanian chants would almost certainly have been adorned with polyphony, created by the singers according to certain rules of improvisation that are preserved for us in theoretical treatises of the time.

The prose, or prose with sequence, its origins related to the practice of troping, was a relatively new addition to the medieval Mass, with Frankish composers of the ninth and tenth centuries adding great numbers of them for specific saints and feasts, large and small, to the liturgical stock. The hymn Cives celestis patrie, for example, describes and explains the mystical meaning of the jewels that constitute the foundations of the new Jerusalem — the perfect city that will replace the earth at the end of time.

How it found its way to Compostela is not known for certain, but it is undoubtedly a French product, probably compiled or written in Cluny around Most of it is specifically liturgical: hymns, antiphons, responsories, and versicles for the Divine Office and Mass propers and ordinaries. Many, if not most, of these were contrafacta i. Until recently it was thought that these attributions were fanciful, but research has verified many of them.

They therefore set out in quest of the original forms of monastic life, at the risk of calling into question usages that had been established for centuries. Their approach was one of simplification, a return to original purity, wholly comparable with the architectural precepts practised at Citeaux or Fontenay. Since both Rome and Italy were in the throes of violent political upheaval it was decided to dispatch missions of precentors to Metz, which was supposed to have been the capital of the Gregorian reform.

Within the mode each degree of the scale should maintain its position in the scalar hierarchy. We might expect to encounter the first stirrings of the first great medieval revolution, the birth of polyphony. But the two pieces presented here remain obstinately monophonic! All of the music from St Martial was anonymous, reflecting the self-effacing, collective spirit that was typical — and expected — of medieval monastic life.

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8 Responses to Et Resurrexit - Wolfgang Amadeus Mozart - Requiem - Messe En Ut Mineur (CD)

  1. Tugor says:

    View credits, reviews, tracks and shop for the CD release of "Requiem - Messe En Ut Mineur " on Discogs.

  2. Doura says:

    La messe en ut mineur [1], KV. / a, (en allemand Große Messe: «grand-messe») est une œuvre inachevée de Wolfgang Amadeus Mozart écrite en et considérée comme l'une de ses œuvres majeures. Mozart la composa à Vienne, alors qu'il allait se marier avec Constanze (en français: Constance) Weber et que sa carrière de compositeur de.

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    Album de Wolfgang Amadeus Mozart sorti le , la playlist de Requiem / Messe en Ut mineur est composée de 27 chansons en écoute gratuite et illimitébrandez.bized on:

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