Strawinsky - Messe; Motetten A Capella: Ave Maria ‧ Pater Noster ‧ Credo album download
|Messe Für Gemischten Chor Und Bläser|
|Motetten A Capella|
- Alto Vocals – Uta Nürnberg
- Bass Vocals – Hans-Martin Hackbarth
- Chorus – Chor Der Staatlichen Hochschule Für Musik, Freiburg I. Br.*
- Conductor – Herbert Froitzheim
- Cover ["Christus"] – Roland P. Litzenburger
- Ensemble – Mitglieder Des Südwestfunk-Orchesters, Baden-Baden*
- Liner Notes – Hans-Ludwig Schilling
- Soprano Vocals – Dorothea Ammann-Goesch
- Tenor Vocals – Theophil Maier
Notes10" Gatefold-LP with inside-sleeve.
Liner Notes printed inside, catalogue information on backside
"Look and Feel" like this was cutted and pressed by deutsche Grammophon between 1967-1970.
No printed spine.
No Copyright or release date.
Also as monophonic release: CLP 75 406
Barcode and Other Identifiers
- Rights Society: GEMA
- Matrix / Runout (On Label Side 1): 107 004 A
- Matrix / Runout (On Label Side 2): 107 004 B
- Matrix / Runout (Stamped Side 1): 107004 = 3 A
- Matrix / Runout (Stamped Side 2): 107004 = 3 B
|CLP 75 406||Strawinsky*||Messe; Motetten A Capella: Ave Maria ‧ Pater Noster ‧ Credo (10", Mono)||Christophorus||CLP 75 406||Germany||Unknown|
Album · 2016 · 19 Songs. All-Night Vigil, Op. 37 "Vespers": Ave Maria. By Sergei Rachmaninoff. 5. Christus factus est, WAB 11. By Anton Bruckner.
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Messe: Agnus Dei. Pater noster. Stravinsky Symphony In C. Orff: Carmina Burana/Stravinsky: Fireworks & Circus Polka. Stravinsky Conducts Stravinsky: Oedipus Rex and Monumentum pro Gesualdo di Venosa ad CD Annum.
Ave Maria, gratia plena, Dominus tecum, benedicta tu in mulieribus, et benedictus fructus ventris tui, Jesus. Sancta Maria, Mater Dei, ora pro nobis peccatoribus, nunc, et in hora mortis nostrae. Amen Pater noster, qui es in caelis Sanctificetur nomen tuum; Adveniat regnum tuum,fiat voluntas tua, Sicut in caelo et in terra Panem nostrum quotidianum da nobis hodie, et dimitte nobis debita nostra, sicut et nos dimittimus debitoribus nostris. Et ne nos inducas in tentationem sed libera nos a malo.
The Ave Maria of 1934 for a cappella mixed choir was Stravinsky's fourth setting of a sacred text. He chose to set the text in Slavonic instead of Latin of Russian for several reasons. First, he was a member of the Russian Orthodox Church, which proscribed Latin. His earlier settings of the Pater Noster (1926) was as simple, but his setting of the Credo (1932) was even more severe, being composed almost as plainchant with fauxbourdon. Because the chorus was accompanied, however, Stravinsky's setting of three psalms in his Symphony of Psalms of 1930 reverts to a more contrapuntal treatment of the voices. In March 1949, Stravinsky adapted the Ave Maria for a Latin setting which resulted in several changes. First, the work was substantially lengthened from 20 to 35 bars.
Pater noster, Ave Maria. Pater noster, Ave Maria.
Ave Maria, a setting of the Latin Ave Maria for four solo voices a cappella composed in 1889. Stabat Mater, a setting of the Latin Stabat Mater for chorus and orchestra composed in 1896 and 1897. Laudi alla Vergine Maria, a setting of a prayer in Canto XXXIII of Dante's Paradiso for four female voices a cappella composed between 1886 and 1888. Te Deum, a setting of the Latin Te Deum for double chorus and orchestra composed in 1895 and 1896. They were first performed together (without the Ave Maria) in a concert by the Paris Opera on April 7, 1898. After Verdi finished his opera Aida and in 1874 the Messa da Requiem, he retired from composing for years, writing only minor sacred compositions such as a Pater Noster and an Ave Maria in 1880. The earliest of the Quattro pezzi sacri in terms of its composition date is what came to be known as Laudi alla Vergine Maria (although Verdi himself.