Works for Choir a Cappella Vol. 6

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Works for Choir a Cappella Vol. 6

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dc.contributor.other Johannes Brahms es
dc.contributor.other Chamber Choir of Europe es
dc.contributor.other Jens Wollenschläger es
dc.contributor.other Nicol Matt es
dc.coverage.spatial Germany es
dc.date.accessioned 2012-07-28T02:43:19Z
dc.date.available 2012-07-28T02:43:19Z
dc.date.issued 2012-07-27
dc.identifier.uri http://hdl.handle.net/123456789/347
dc.description.abstract The stature of Johannes Brahms among classical composers is well illustrated by his inclusion among the "Three Bs" triumvirate of Bach, Beethoven, and Brahms. Of all the major composers of the late Romantic era, Brahms was the one most attached to the Classical ideal as manifested in the music of Haydn, Mozart, and especially Beethoven; indeed, Hans von Bülow once characterized Brahms' Symphony No. 1 (1855-1876) as "Beethoven's Tenth." As a youth, Brahms was championed by Robert Schumann as music's greatest hope for the future; as a mature composer, Brahms became for conservative musical journalists the most potent symbol of musical tradition, a stalwart against the "degeneration" represented by the music of Wagner and his school. Brahms' symphonies, choral and vocal works, chamber music, and piano pieces are imbued with strong emotional feeling, yet take shape according to a thoroughly considered structural plan. The son of a double bassist in the Hamburg Philharmonic Society, Brahms demonstrated great promise from the beginning. He began his musical career as a pianist, contributing to the family coffers as a teenager by playing in restaurants, taverns, and even brothels. Though by his early twenties he enjoyed associations with luminaries like violinists Eduard Reményi and Joseph Joachim, the friend and mentor who was most instrumental in advancing his career was Schumann, who all but adopted him and became his most ardent partisan, and their esteem was mutual. Following Schumann's death in 1856, Brahms became the closest confidant and lifelong friend of the composer's widow, pianist and composer Clara Wieck Schumann. After a life of spectacular musical triumphs and failed loves (the composer was involved in several romantic entanglements but never wed), Brahms died of liver cancer on April 3, 1897. In every genre in which he composed, Brahms produced works that have become staples of the repertory. His most ambitious work, the German Requiem (1863-1867), is the composer's singular reinterpretation of an age-old form. The four symphonies—lushly scored, grand in scope, and deeply expressive—are cornerstones of the symphonic literature. Brahms' concertos are, similarly, in a monumental, quasi-symphonic vein: the two piano concertos (1856-1859 and 1881) and the Violin Concerto (1878) call for soloists with both considerable technical skill and stamina. His chamber music is among the most sophisticated and exquisitely crafted of the Romantic era; for but a single example, his works that incorporate the clarinet (e.g., the Trio in A minor, Op. 114 and the two Sonatas, Op. 120), an instrument largely overlooked by his contemporaries, remain unsurpassed. Though the piano sonata never held for Brahms the same appeal it had for Beethoven (Brahms wrote three to Beethoven's 32), he produced a voluminous body of music for the piano. He showed a particular affinity for variations—notably, on themes of Schumann (1854), Handel (1861), and Paganini (1862-1863)—and likewise produced a passel of national dances and character pieces such as ballades, intermezzi, and rhapsodies. Collectively, these constitute one of the essential bodies of work in the realm of nineteenth century keyboard music. © AMG, All Music Guide es
dc.description.tableofcontents Zwei Motetten Two Motets Op. 29 ; I Es ist das Heil uns Kommen her, II Schaffe in mir Gott-- Geistliches Lied Op. 30-- Zwei Motetten Two Motets Op. 74 ; I Warum ist das Lich gegeben, II O Heiland reiß die Himmel auf-- Drei Motetten Three Motets Op. 110 ; I Ich aber bin elend, II Ach arme Welt du trügest mich, III Wenn wir in höchsten Nöten sein-- Missa canonica WoO 18 ; I Kyrie, II Sanctus, III Benedictus, IV Agnus Dei-- es
dc.format.medium 1 CD-Rom (57 min., 47 seg.) : Stereo ; 4 3/4 plg es
dc.language.iso en_US es
dc.rights Uninorte F.M. Estéreo es
dc.subject.lcc 5028421935546 es
dc.subject.lcsh Choruses, Sacred (Mixed voices), with organ, unaccompanied, Masses, Motets es
dc.title Works for Choir a Cappella Vol. 6 es
dc.title.alternative Obras para Coro a Capella. Vol. 6 es
dc.title.alternative Complete Works es
dc.language.rfc3066 eng es
dc.identifier.classification 5028421554426 es
dc.subject.cdu Bra.27 es


Files in this item

Files Length Size Format View Description
1. Zwei Motette ... as Heil uns Kommen her.mp3 5:01 6.892Mb Unknown mp3
2. Zwei Motette ... II Schaffe in mir Gott.mp3 6:18 8.645Mb Unknown mp3
3. Geistliches Lied Op. 30.wav 5:03 50.93Mb WAV audio wav
4. Zwei Motette ... m ist das Lich gegeben.mp3 10:05 13.82Mb Unknown mp3
5. Zwei Motette ... nd reiß die Himmel auf.mp3 5:40 7.787Mb Unknown mp3
6. Drei Motette ... - I Ich aber bin elend.mp3 2:57 4.046Mb Unknown mp3
7. Drei Motette ... e Welt du trügest mich.mp3 1:55 2.639Mb Unknown mp3
8. Drei Motette ... in höchsten Nöten sein.mp3 3:02 4.158Mb Unknown mp3
9. Missa canonica WoO 18 - I Kyrie.mp3 6:16 8.599Mb Unknown mp3
10. Missa canonica WoO 18 - II Sanctus.mp3 3:21 4.596Mb Unknown mp3
11. Missa canonica WoO 18 - III Benedictus.mp3 2:38 3.606Mb Unknown mp3
12. Missa canonica WoO 18 - IV Agnus Dei.mp3 4:31 6.206Mb Unknown mp3
Zwei Motetten Op. 74 - Completo.wav 15:43 158.5Mb WAV audio wav
Zwei Motetten Op. 29 - Completo.wav 11:16 113.7Mb WAV audio wav
Drei Motetten Op. 110 - Completo.wav 7:47 78.57Mb WAV audio wav
Missa canonica WoO 18 - Completo.wav 16:37 167.7Mb WAV audio wav

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