Johann Gottfried Schicht Vidéos
compositeur et chef d'orchestre allemand
- orgue
- musique classique
- royaume de Saxe
- compositeur ou compositrice, chef ou cheffe d'orchestre, chef ou cheffe de chœur
Dernière mise à jour
2024-06-03
Actualiser
Mozart Levin Carlos Kalmar Anett Fritsch Fritsch Clara Mouriz Paul Nilon Robert Holl Fasch Giovanni Punto Joseph Haydn Jan Ladislav Dussek Giovanni Paisiello Andreas Romberg Romberg Johann Gottfried Schicht Weber Beethoven Franz Schubert Alexandre Étienne Choron Ludwig Berger Berger Frédéric Chopin Luigi Lablache Gioacchino Rossini Hector Berlioz Charles Hallé Peter Cornelius Carl Wilhelm Müller Niemeyer Weld Westmorland Wiseman Liber Vix Sequentia Rtve Symphony Orchestra 1800 1801 1803 1805 1809 1810 1811 1812 1816 1817 1819 1821 1823 1826 1827 1828 1832 1834 1837 1838 1839 1840 1842 1849 1858 1860 1865 1867 1868 1869 1895
RTVE Symphony Orchestra. Carlos Kalmar, cnd. Anett Fritsch, Clara Mouriz, Paul Nilon and Robert Holl, soloists [Симфонический оркестр Испанского радио и телевидения] “Comment croire, après une pareille audition, que l'univers n'ait aucun sens?" [Emil CIORAN] 레퀴엠 D단조 (모차르트) (K.V. 626) “Un souffle de l'au-delà y plane. Comment croire, après une pareille audition, que l'univers n'ait aucun sens? Il faut qu'il en ait un. Que tant de sublime se résolve dans le néant, le coeur, aussi bien que l'entendement, refuse de l'admettre. Quelque chose doit exister quelque part, un brin de réalité doit être contenu dans ce monde. Ivresse du possible qui rachète la vie. Craignons le retombement et le retour du savoir amer...” ― Emil Cioran, Notebooks (Robert D. Levin rev. and compl.) / Use of the Requiem (wiki.) 19th-century musicians whose funerals or memorial services used Mozart's Requiem included Carl Fasch (1800); Giovanni Punto (1803); Joseph Haydn (1809); Jan Ladislav Dussek (1812); Giovanni Paisiello (1816); Andreas Romberg (1821); Johann Gottfried Schicht (1823); Carl Maria von Weber (1826); Ludwig van Beethoven (1827); Franz Schubert (1828); Alexandre-Étienne Choron (1834); Mme Blasis (1838); Ludwig Berger (1839); Frédéric Chopin (1849); Luigi Lablache (1858); Gioacchino Rossini (1868); Hector Berlioz (1869); and Charles Hallé (1895). 19th-century artists whose funerals or memorial services used Mozart's Requiem included Friedrich Schiller (1805); Heinrich Joseph von Collin (1811); Johann Franz Hieronymous Brockmann (1812); Johann Wolfgang von Goethe (1832); and Peter von Cornelius (1867). Among other 19th-century figures whose funerals or memorial services used Mozart's Requiem included Carl Wilhelm Müller (1801); Jean Lannes, 1st Duc de Montebello (1810); Princess Charlotte of Wales (1817); Maria Isabel of Portugal (1819); August Hermann Niemeyer (1828); Thomas Weld (1837); Napoleon (1840); John England (1842); John Fane, 11th Earl of Westmorland (1860); and Nicholas Wiseman (1865). / III. Sequence 2. Tuba mirum Tuba mirum spargens sonum per sepulcra 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. Quid sum miser tunc dicturus? quem patronum rogaturus, cum vix justus sit securus? /
Johann Gottfried Schicht 1753 1823
Johann Gottfried Schicht +••.••(...)): Andante F-Dur Organist: Thorsten Pirkl
Johann Sebastian Bach Wolfgang Amadeus Mozart Johann Friedrich Rochlitz Johann Friedrich Doles Breitkopf Johann Gottfried Schicht Coro Nacional España Thomanerchor 1530 1685 1727 1750 1789 1802 1803 1810 2016
25-12-2016 Capilla del Palacio Real en Madrid Al Ayre español Director - Órgano solista y continuo Eduardo López Banzo Violines primeros Violines segundos Violas Violonchelos Contrabajo Oboes Fagot Trompetas Timbales Coro Nacional de España Director Miguel Ángel García Cañamero / Singet dem Herrn ein neues Lied, BWV 225 From Wikipedia, the free encyclopedia Singet dem Herrn ein neues Lied (Sing unto the Lord a new song), BWV 225 is a motet by Johann Sebastian Bach. It was first performed in Leipzig around (probably) 1727. The text of the three-movement motet is in German: after Psalm 149:1–3 for its first movement, the third stanza of "Nun lob, mein Seel, den Herren" (a 1530 hymn after Psalm 103 by Johann Gramann) for the second movement, and after Psalm 150:2 and 6 for its third movement. The motet is described as being for double-choir (in other words eight voices divided into two four-part choirs). It may have been composed to provide choral exercises for Bach´s students at the Thomasschule. The motet's biblical text would have been suited to that purpose.[2] The final four-part fugue is titled "Alles was Odem hat" ("All that have voice, praise the Lord!"). Robert Marshall writes that it is "certain" that this motet was one heard by Wolfgang Amadeus Mozart when he visited Leipzig's Thomasschule in 1789. Johann Friedrich Rochlitz, who graduated from the Thomasschule and remained in Leipzig to study theology in 1789, reported ten years later that Johann Friedrich Doles (a student of Bach, who through 1789 was cantor of the Thomasschule and director of the Thomanerchor) "surprised Mozart with a performance of the double-choir motet Singet dem Herrn ein neues Lied by Sebastian Bach... he was told that the school possessed a complete collection of his motets and preserved them as a sort of sacred relic. 'That's the spirit! That's fine!' [Mozart] cried. 'Let's see them!' There was, however, no score... so he had the parts given to him, and ... sat himself down with the parts all around him." Rochlitz also reports that Mozart requested a copy, and "valued it very highly..." Alles was Odem hat The motet was included in the first edition of Bach motets, printed by Breitkopf & Härtel in two volumes in 1802/1803. The editor of both volumes is believed to have been Johann Gottfried Schicht, Thomaskantor from 1810. Johann Sebastian Bach[a] (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the Baroque period. He enriched established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor, two Passions, and over three hundred cantatas of which around two hundred survive.[3] His music is revered for its technical command, artistic beauty, and intellectual depth. Bach's abilities as an organist were highly respected during his lifetime, although he was not widely recognised as a great composer until a revival of interest in and performances of his music in the first half of the 19th century. He is now generally regarded as one of the greatest composers of all time.
Johann Gottfried Schicht 1771 1776 1819 1852 1858
Mađarski: Ó, nagy Isten, dicsérünk Téged; Felmagasztaljuk nagy Erősséged. Minden föld meghajlik Előtted, Így csodálja meg hatalmas műved. Mint idők előtt voltál, Mindörökre az maradsz már. Njemački: Großer Gott, wir loben dich; Herr, wir preisen deine Stärke. Vor dir neigt die Erde sich und bewundert deine Werke. Wie du warst vor aller Zeit, so bleibst du in Ewigkeit. Alles, was dich preisen kann, Cherubim und Seraphinen stimmen dir ein Loblied an; alle Engel, die dir dienen, rufen dir stets ohne Ruh „Heilig, heilig, heilig“ zu. Pjesmu je 1771. zapisao njemački katolički svećenik Ignaz Franz kao prepjev latinskog Te Deuma. Prvi put se našla u katoličkoj pjesmarici „Katholisches Gesangsbuch“ tiskanoj u Beču 1776., na zamolbu austrijske carice Marie Theresie von Habsburg-Lothringen. Današnju verzije(prerade) napisali su Johann Gottfried Schicht 1819. te Heinrich Bone 1852. U 19. stoljeću je postala prihvaćena u protestantskim denominacijama na inicijativu Johanna Gottfrieda Schichta. Na engleski ju je 1858. preveo katolički svećenik i misionar Clarence Augustus Walworth.
ou
- chronologie: Compositeurs (Europe). Chefs d’orchestre (Europe). Interprètes (Europe).
- Index (par ordre alphabétique): G...