Verdi Requiem
- Classical music composed by Giuseppe Verdi UC Davis Symphony Orchestra and University Chorus Jeffrey Thomas, conducting, with Arianna Zukerman, soprano; Judith Malafronte, mezzo-soprano; Steven Tharp, tenor; David Arnold, baritone, and alumni chorus. Verdi: Requiem. Series: "Mondavi Center Presents" [6/2004] [Arts and Music] [Show ID: 8630]
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Veronique Gens is amazing! Lamento Di Arianna by Monteverdi
www.sublime-classical.com/forum Veronique Gens(soprano) Claudio Monteverdi Lamento di Arianna Emmanuelle Haim (conductor) Le Concert d'Astree (L'Arianna-1608) Lasciatemi morire! E chi volete voi che mi conforte in così dura sorte, in così gran martire? Lasciatemi morire! O Teseo, o Teseo mio, sì che mio ti vo dir, chè mio pur sei, benché tinvoli, ahi crudo! a gli occhi miei. Volgiti, Teseo mio, volgiti, Teseo, o Dio! Volgiti indietro a rimirar colei che lasciato ha per te la patria e il regno, en queste arene ancora, cibo di fere dispietate e crude, lascierà lossa ignude. O Teseo, o Teseo mio, se tu sapessi, o Dio! Se tu sapessi, ohimè!, come saffanna la povera Arianna, forsi forsi pentito rivolgeresti ancor la prora al lito. Ma, con laure serene tu te ne vai felice, et io qui piango. A te prepara Atene liete pompe superbe, et io rimango cibo di fere in solitarie arene. Te luno e laltro tuo vecchio parente stringeran lieti, et io più non vedrovi, o madre, o padre mio! Dove, dove è la fede, che tanto mi giuravi? Così ne lalta sede tu mi ripon de gli avi? Son queste le corone onde madorni il crine? Questi gli scettri sono, queste le gemme e glori? Lasciarmi in abbondono a fera che mi strazi e mi divori? Ah Teseo, a Teseo mio, lascierai tu morire, in van piangendo, in van gridando aita, la misera Arianna che a te fidossi e ti diè gloria e vita? Ahi, che non pur risponde! Ahi, che più daspe è sordo amiei lamenti! O nembi, o turbi, o venti, sommergetelo voi dentra quellonde <b>...</b>
www.sublime-classical.com/forum Veronique Gens(soprano) Claudio Monteverdi Lamento di Arianna Emmanuelle Haim (conductor) Le Concert d'Astree (L'Arianna-1608) Lasciatemi morire! E chi volete voi che mi conforte in così dura sorte, in così gran martire? Lasciatemi morire! O Teseo, o Teseo mio, sì che mio ti vo dir, chè mio pur sei, benché tinvoli, ahi crudo! a gli occhi miei. Volgiti, Teseo mio, volgiti, Teseo, o Dio! Volgiti indietro a rimirar colei che lasciato ha per te la patria e il regno, en queste arene ancora, cibo di fere dispietate e crude, lascierà lossa ignude. O Teseo, o Teseo mio, se tu sapessi, o Dio! Se tu sapessi, ohimè!, come saffanna la povera Arianna, forsi forsi pentito rivolgeresti ancor la prora al lito. Ma, con laure serene tu te ne vai felice, et io qui piango. A te prepara Atene liete pompe superbe, et io rimango cibo di fere in solitarie arene. Te luno e laltro tuo vecchio parente stringeran lieti, et io più non vedrovi, o madre, o padre mio! Dove, dove è la fede, che tanto mi giuravi? Così ne lalta sede tu mi ripon de gli avi? Son queste le corone onde madorni il crine? Questi gli scettri sono, queste le gemme e glori? Lasciarmi in abbondono a fera che mi strazi e mi divori? Ah Teseo, a Teseo mio, lascierai tu morire, in van piangendo, in van gridando aita, la misera Arianna che a te fidossi e ti diè gloria e vita? Ahi, che non pur risponde! Ahi, che più daspe è sordo amiei lamenti! O nembi, o turbi, o venti, sommergetelo voi dentra quellonde <b>...</b>
The Notorious B.I.G. (ft. Verdi/Liszt's ...
free mp3 → http://soundcloud.com/forjerz/verdilisztbiggie/download<br /><br />Pianist: Dan Kreiger (aka For Jerz) || Rigoletto by Giuseppe Verdi || Concert-Paraphrase about the quartet by Franz Liszt || "Think Big'" by Christopher Wallace (aka The Notorious B.I.G.) || Produced and Arranged by Dan Kreiger (aka For Jerz) || derivative work
free mp3 → http://soundcloud.com/forjerz/verdilisztbiggie/download<br /><br />Pianist: Dan Kreiger (aka For Jerz) || Rigoletto by Giuseppe Verdi || Concert-Paraphrase about the quartet by Franz Liszt || "Think Big'" by Christopher Wallace (aka The Notorious B.I.G.) || Produced and Arranged by Dan Kreiger (aka For Jerz) || derivative work
Mozart Requiem
My Mozart Requiem can still be heard at http://www.facebook.com/pages/SmallStudio/145838032109343
A few days ago I received the message shown below in reference to the video on this page:
"Your video, Mozart Requiem , may include content that is owned or administered by these entities:
Entity: Music Publishing Rights Collecting Society Content Type: Musical Composition
What should I do?
No action is required on your part. Your video is still available worldwide. In some cases ads may appear next to your video."
Put simply, adverts will now be shown on this page and produce revenue for a third party that has claimed my work as their own. Every aspect, apart from the composition which resides in the public domain, was my own work. Under these circumstances I have removed the audio from YouTube.
Sorry for the inconvenience. The full version can still be heard on my artists page http://www.facebook.com/pages/SmallStudio/145838032109343
My Mozart Requiem can still be heard at http://www.facebook.com/pages/SmallStudio/145838032109343A few days ago I received the message shown below in reference to the video on this page:
"Your video, Mozart Requiem , may include content that is owned or administered by these entities:
Entity: Music Publishing Rights Collecting Society Content Type: Musical Composition
What should I do?
No action is required on your part. Your video is still available worldwide. In some cases ads may appear next to your video."
Put simply, adverts will now be shown on this page and produce revenue for a third party that has claimed my work as their own. Every aspect, apart from the composition which resides in the public domain, was my own work. Under these circumstances I have removed the audio from YouTube.
Sorry for the inconvenience. The full version can still be heard on my artists page http://www.facebook.com/pages/SmallStudio/145838032109343
Requiem for a Dream
Here is another video by Alex ! This time, it is the soundtrack of the film Requiem for a Dream. Entirely done by ear, enjoy it !
See also Rachmaninov Prelude Opus 23 No 5 http://youtube.com/watch?v=S8_8YUH7JBM and Chopin Etude revolutionnaire http://youtube.com/watch?v=eX3L-z25N-U by Alex !
Here is another video by Alex ! This time, it is the soundtrack of the film Requiem for a Dream. Entirely done by ear, enjoy it !See also Rachmaninov Prelude Opus 23 No 5 http://youtube.com/watch?v=S8_8YUH7JBM and Chopin Etude revolutionnaire http://youtube.com/watch?v=eX3L-z25N-U by Alex !
Wolfgang Amadeus Mozart- Requiem in D minor, K626 (FULL PERFORMANCE)
WA Mozart's Requiem Mass, full and uncut. Completed by Franz Xaver Sussmayer. __ Mozart's Requiem Mass (Mass #19, K626) in D Minor, written in 1791. 14 Movements. Approx 55 minutes typically. Scored for: SATB Choir SATB Soloists 2 Fagoti 2 Basset Horns 2 Trumpets in D 3 Trombones (ATB) Timpani Strings (2 Violin, Viola, Cello) Baso Continuo and Organo Movements: Introitus Kyrie Dies Irae Tuba Mirum Rex Tremendae Recordare Confutatis Maledictis Lacrimosa Domine Iesu Christe Hostias Sanctus Benedictus Agnus Dei Lux Aeterna Possibly the most mysterious classical work ever writ, this mass is not truly of Mozart by himself, but a collaboration between four composers: Sussmayer, Eybler, Freystadler, and Mozart himself. After falling ill, Mozart passed away during the writing of the Requiem- his final pieces written were bars 1-8 of the "Lacrimosa" (26:29). From there, Freystadler placed in a ninth and tenth measure, while Eybler worked on the Offertorium movements (Domine Iesu, Hostias). Soon after, the two composers abandoned the Requiem, leaving it to Sussmayer, a close friend and former pupil of the Court Composer, Antonio Salieri, to see to the completion of the mass. He removed the "Freystadler Measures" from the lacrimose, and completed the mass, claiming the Agnus Dei and Sanctus to his own hand. The rest is believed to be completed using "Scraps of Paper" left by Mozart, which had sketches for the remaining movements. Mozart's cause of death is still unknown. Since <b>...</b>
WA Mozart's Requiem Mass, full and uncut. Completed by Franz Xaver Sussmayer. __ Mozart's Requiem Mass (Mass #19, K626) in D Minor, written in 1791. 14 Movements. Approx 55 minutes typically. Scored for: SATB Choir SATB Soloists 2 Fagoti 2 Basset Horns 2 Trumpets in D 3 Trombones (ATB) Timpani Strings (2 Violin, Viola, Cello) Baso Continuo and Organo Movements: Introitus Kyrie Dies Irae Tuba Mirum Rex Tremendae Recordare Confutatis Maledictis Lacrimosa Domine Iesu Christe Hostias Sanctus Benedictus Agnus Dei Lux Aeterna Possibly the most mysterious classical work ever writ, this mass is not truly of Mozart by himself, but a collaboration between four composers: Sussmayer, Eybler, Freystadler, and Mozart himself. After falling ill, Mozart passed away during the writing of the Requiem- his final pieces written were bars 1-8 of the "Lacrimosa" (26:29). From there, Freystadler placed in a ninth and tenth measure, while Eybler worked on the Offertorium movements (Domine Iesu, Hostias). Soon after, the two composers abandoned the Requiem, leaving it to Sussmayer, a close friend and former pupil of the Court Composer, Antonio Salieri, to see to the completion of the mass. He removed the "Freystadler Measures" from the lacrimose, and completed the mass, claiming the Agnus Dei and Sanctus to his own hand. The rest is believed to be completed using "Scraps of Paper" left by Mozart, which had sketches for the remaining movements. Mozart's cause of death is still unknown. Since <b>...</b>
Fauré - Requiem (Op. 48) - Pie Jesu
Gabriel Urbain Fauré (12 May 1845 4 November 1924) was a French composer, organist, pianist, and teacher. He was the foremost French composer of his generation, and his musical style influenced many 20th century composers. His harmonic and melodic language affected how harmony was later taught. Gabriel Fauré is regarded as the master of the French art song, or mélodie. His works ranged from an early romantic style, when in his early years he emulated the style of Mendelssohn and others, to late 19th century Romantic, and finally to a 20th century aesthetic. His work was based on a strong understanding of harmonic structures which he received at the École Niedermeyer from his harmony teacher Gustave Lefèvre, who wrote the book Traité d'harmonie (Paris, 1889), in which Lefèvre sets forth a harmonic theory which differs significantly from the classical theory of Jean-Philippe Rameau in that seventh and ninth chords are no longer considered dissonant, and the mediant can be altered without changing the mode. In addition, Fauré's understanding of the church modes can be seen in various modal passages in his works, especially in his melodies. In contrast with his harmonic and melodic style, which pushed the bounds for his time, Fauré's rhythmic motives tended to be subtle and repetitive, with little to break the flow of the line, although he did utilize subtle large scale syncopations, similar to those found in Brahms's works. Aaron Copland referred to him as the 'French Brahms <b>...</b>
Gabriel Urbain Fauré (12 May 1845 4 November 1924) was a French composer, organist, pianist, and teacher. He was the foremost French composer of his generation, and his musical style influenced many 20th century composers. His harmonic and melodic language affected how harmony was later taught. Gabriel Fauré is regarded as the master of the French art song, or mélodie. His works ranged from an early romantic style, when in his early years he emulated the style of Mendelssohn and others, to late 19th century Romantic, and finally to a 20th century aesthetic. His work was based on a strong understanding of harmonic structures which he received at the École Niedermeyer from his harmony teacher Gustave Lefèvre, who wrote the book Traité d'harmonie (Paris, 1889), in which Lefèvre sets forth a harmonic theory which differs significantly from the classical theory of Jean-Philippe Rameau in that seventh and ninth chords are no longer considered dissonant, and the mediant can be altered without changing the mode. In addition, Fauré's understanding of the church modes can be seen in various modal passages in his works, especially in his melodies. In contrast with his harmonic and melodic style, which pushed the bounds for his time, Fauré's rhythmic motives tended to be subtle and repetitive, with little to break the flow of the line, although he did utilize subtle large scale syncopations, similar to those found in Brahms's works. Aaron Copland referred to him as the 'French Brahms <b>...</b>
