Église De La Sainte Trinité Vidéos
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2024-04-30
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MartÃn Palmeri Zanetti Dugan New Amsterdam Singers 2019
"Credo" from MartÃn Palmeri's Misatango. Performed by the New Amsterdam Singers on May 19, 2019 at The Church of The Holy Trinity. New Amsterdam Singers Clara Longstreth, Music Director Rodolfo Zanetti, Bandoneon Kara Dugan, Mezzo-Soprano
Olivier Messiaen Église Sainte Trinité 1931 1984 1985 1986
Livre du Saint-Sacrement ("The Book of the Blessed Sacrament") is a collection of pieces for organ on the subject of the Eucharist by the French composer Olivier Messiaen. It was composed from 1984-1985 and first performed in 1986. Le livre du Saint-Sacrement was commissioned by Ray Ferguson and the Detroit, Michigan chapter of the American Guild of Organists, and was intended to be premiered at an AGO national conference. Messiaen had been the organist at the Église de la Sainte-Trinité, Paris since 1931, and by his own account he brought to summation his years of experience improvising music for the liturgy in the composition of the Livre. This midi was made by LeftRight, please visit his MuseScore profile for many amazing midis like this one: (http•••)
Franz Peter Schubert Beethoven Bach Haydn Franz Liszt Robert Schumann Johannes Brahms Felix Mendelssohn Church Holy Trinity 1828 1865
Mass no. 6, D. 950 Mass no. 6 in Eb, D 950, is a mass composed by Franz Schubert in 1828, commissioned by Michael Leitermayer, choirmaster of the Church of the Holy Trinity in Vienna. The premire, however, only came after Schubert's death, under the baton of his own brother Ferdinand. The work has been defined as Beethovenian in its architecture, and it is only ogical that Schubert was profundly influenced by Beethoven's death. It also displays references to Bach, Mozart, and Haydn. Another interesting aspect of the work is the consistent omission of certain passages from the text, a practice that Schubert had already introduced in order to deepen the expression or enhance on a particular aspect of meaning. The first edition of the piano score was published in 1865. The work consists of six movements, takes an hour to performer, and is scored for two tenor soloists, soprano, alto and bass soloists, SATB choir with divisi, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, violin I and II, viola, cello, and double bass. Franz Peter Schubert was an Austrian composer. Although he died at an early age, Schubert was tremendously prolific. He wrote some 600 Lieder, nine symphonies (including the famous "Unfinished Symphony"), liturgical music, operas, some incidental music, and a large body of chamber and solo piano music. Appreciation of his music during his lifetime was limited, but interest in Schubert's work increased dramatically in the decades following his death at the age of 31. Franz Liszt, Robert Schumann, Johannes Brahms and Felix Mendelssohn, among others, discovered and championed his works in the 19th Century. Today, Schubert is admired as one of the leading exponents of the early Romantic era in music and he remains one of the most frequently performed composers.
Franz Schubert - Mass in E flat major D 950 Mass No. 6 in E-flat major, D 950, is a mass composed by Franz Schubert. It is scored for two tenor soloists, soprano, alto and bass soloists, SATB choir with divisi, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, violin I and II, viola, cello, and double bass. It was Schubert's final setting of the order of Mass, and is classified as a missa solemnis. The first date to appear on the score is June 1828, although evidence exists that Schubert had begun to sketch it earlier than this. It was completed by July. It was composed in response to a commission or request from Michael Leitermayer, choirmaster of the Church of the Holy Trinity (Alserkirche) in Alsergrund, Vienna. The mass was not performed until after Schubert's death, with a premiere in the Alserkirche on October 4, 1829. Ferdinand Schubert conducted the premiere, as well as a second performance in the Church of Maria Trost on November 15, 1829. The influence of Beethoven is felt in the mass, particularly in the "ambitious Beethovenian architecture". Schubert had been a torchbearer at Beethoven's funeral, which had been held in the Alserkirche. References to Bach's fugues are present in the Gloria and Agnus Dei, as well as Mozart's Requiem and Haydn's Heiligmesse. This setting and the earlier Mass in A-flat major are regarded as Schubert's "late masses". These are distinguished from his four early masses by their "musically interpretive stance to the words"; Schubert began to take advantage of an overall maturation in his technical capabilities and knowledge of harmony, coupled with his experience in composing both sacred and secular music, to add further meaning to the standard text. Already known for consistently omitting certain passages from the text, Schubert took even greater freedoms in the late masses, adding and removing text in a bid to "deepen expression or enhance a particular aspect of meaning". The Schubert scholar Brian Newbould opined that the late masses were the composer's "two finest and most substantial settings",calling the Mass in E-flat "the triumph and swansong of [Schubert's] career (as far as the composition of masses is concerned)", although he also admits that it has "unevenness". Schubert's biographer Kreissle von Hellborn wrote that the Mass in E-flat "takes rank with the foremost compositions of the kind written at the time". The late masses may have influenced the composition of Bruckner's Mass in F minor. For more: (http•••) #MusicHistory #ClassicalMusic #Schubert
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