Vores kunder ligger øverst på Google

Missa pro defunctis (Requiem)

The best-known setting of the Requiem Mass before Mozart’s unfinished work is by the celebrated opera composer Niccolò Jommelli. The Missa pro defunctis was composed in 1756, during Jommelli’s time as Kapellmeister at the court of the Württemberg Duke Carl Eugen, on the occasion of the death of the Dowager Duchess Maria Augusta. The work went on to enjoy wide circulation and numerous further performances. Jommelli composed it in the Neapolitan style, with orchestral forces of just strings and basso continuo. The simple but effective choral movements are partly contrapuntal in the stile antico, and partly with solo/tutti alternation and numerous suspended dissonances, whilst in thesolo parts the opera composer can be recognized. This beautiful sounding Missa pro defunctis is now published for the first time in a critical edition. Where sections are missing in Jommelli’s composition, the Appendix contains settings by another composer from his circle, Nicola Sala. • The best-known setting of the Requiem Mass before Mozart • First critical edition • Effective choral movements with numerous suspended dissonances and solo/tutti alternation • Scored for small instrumental forces of strings and organ

Missa pro defunctis (Requiem)

The best-known setting of the Requiem Mass before Mozart’s unfinished work is by the celebrated opera composer Niccolò Jommelli. The Missa pro defunctis was composed in 1756, during Jommelli’s time as Kapellmeister at the court of the Württemberg Duke Carl Eugen, on the occasion of the death of the Dowager Duchess Maria Augusta. The work went on to enjoy wide circulation and numerous further performances. Jommelli composed it in the Neapolitan style, with orchestral forces of just strings and basso continuo. The simple but effective choral movements are partly contrapuntal in the stile antico, and partly with solo/tutti alternation and numerous suspended dissonances, whilst in thesolo parts the opera composer can be recognized. This beautiful sounding Missa pro defunctis is now published for the first time in a critical edition. Where sections are missing in Jommelli’s composition, the Appendix contains settings by another composer from his circle, Nicola Sala. • The best-known setting of the Requiem Mass before Mozart • First critical edition • Effective choral movements with numerous suspended dissonances and solo/tutti alternation • Scored for small instrumental forces of strings and organ

Missa pro defunctis (Requiem)

The best-known setting of the Requiem Mass before Mozart’s unfinished work is by the celebrated opera composer Niccolò Jommelli. The Missa pro defunctis was composed in 1756, during Jommelli’s time as Kapellmeister at the court of the Württemberg Duke Carl Eugen, on the occasion of the death of the Dowager Duchess Maria Augusta. The work went on to enjoy wide circulation and numerous further performances. Jommelli composed it in the Neapolitan style, with orchestral forces of just strings and basso continuo. The simple but effective choral movements are partly contrapuntal in the stile antico, and partly with solo/tutti alternation and numerous suspended dissonances, whilst in thesolo parts the opera composer can be recognized. This beautiful sounding Missa pro defunctis is now published for the first time in a critical edition. Where sections are missing in Jommelli’s composition, the Appendix contains settings by another composer from his circle, Nicola Sala. • The best-known setting of the Requiem Mass before Mozart • First critical edition • Effective choral movements with numerous suspended dissonances and solo/tutti alternation • Scored for small instrumental forces of strings and organ

Missa pro defunctis (Requiem)

The best-known setting of the Requiem Mass before Mozart’s unfinished work is by the celebrated opera composer Niccolò Jommelli. The Missa pro defunctis was composed in 1756, during Jommelli’s time as Kapellmeister at the court of the Württemberg Duke Carl Eugen, on the occasion of the death of the Dowager Duchess Maria Augusta. The work went on to enjoy wide circulation and numerous further performances. Jommelli composed it in the Neapolitan style, with orchestral forces of just strings and basso continuo. The simple but effective choral movements are partly contrapuntal in the stile antico, and partly with solo/tutti alternation and numerous suspended dissonances, whilst in thesolo parts the opera composer can be recognized. This beautiful sounding Missa pro defunctis is now published for the first time in a critical edition. Where sections are missing in Jommelli’s composition, the Appendix contains settings by another composer from his circle, Nicola Sala. • The best-known setting of the Requiem Mass before Mozart • First critical edition • Effective choral movements with numerous suspended dissonances and solo/tutti alternation • Scored for small instrumental forces of strings and organ

Missa pro defunctis (Requiem)

The best-known setting of the Requiem Mass before Mozart’s unfinished work is by the celebrated opera composer Niccolò Jommelli. The Missa pro defunctis was composed in 1756, during Jommelli’s time as Kapellmeister at the court of the Württemberg Duke Carl Eugen, on the occasion of the death of the Dowager Duchess Maria Augusta. The work went on to enjoy wide circulation and numerous further performances. Jommelli composed it in the Neapolitan style, with orchestral forces of just strings and basso continuo. The simple but effective choral movements are partly contrapuntal in the stile antico, and partly with solo/tutti alternation and numerous suspended dissonances, whilst in thesolo parts the opera composer can be recognized. This beautiful sounding Missa pro defunctis is now published for the first time in a critical edition. Where sections are missing in Jommelli’s composition, the Appendix contains settings by another composer from his circle, Nicola Sala. • The best-known setting of the Requiem Mass before Mozart • First critical edition • Effective choral movements with numerous suspended dissonances and solo/tutti alternation • Scored for small instrumental forces of strings and organ

Missa Pro Defunctis

Missa Pro Defunctis

Missa Pro Defunctis

Missa Pro Defunctis

Missa Pro Defunctis

Keller: Organa pro Organo

Missa Pro Defunctis : Op. 83

Du sonnige wonnige Welt. Gesänge für Männerstimmen

The Singphoniker are among the finest vocal ensembles worldwide. On their new CD "Du sonnige wonnige Welt" the six singers present Rheinberger's humorous and witty works for men's voices. The soloistic performance creates an immediacy and purity of sound which makes the well-crafted detail of their musical setting clearly audible a performance practice which might well have pleased the composer and is suited to presenting these works in their best light. A lot of these compositions are recorded here for the first time, including "Der Jonas kehrt im Walfisch ein", "Jagdmorgen" or "Vollmondzauber".

Mendelssohn: Vier Quartette für Männerchor [Faks]

In 2009 the Staatsbibilothek zu Berlin succeeded in obtaining an important autograph of Felix Mendelssohn Bartholdy from a private owner. In the spring of 1837 he composed his four Quartets for Men's choir a cappella, whose texts were written by Goethe and Heine. In the autograph the lied "Dreistigkeit" is in a version unknown until now. It is published here for the first time. The present edition, published in cooperation with the Staatsbibliothek, presents all four of the pieces in high quality color facsimiles, as well as in a modern engraved edition.

Missa Pro Defunctis : First Critical Edition - Op. 83

Missa Pro Defunctis : First Critical Edition - Op. 83