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Overture from Messiah by Handel for Organ - Pur...
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Overture from Messiah by Handel for Organ - Pure Sheet Music By Lars Christian Lundholm ab 3.99 € als epub eBook: . Aus dem Bereich: eBooks,

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Overture from Messiah by Handel for Harpsichord...
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Overture from Messiah by Handel for Harpsichord - Pure Sheet Music By Lars Christian Lundholm ab 3.99 € als epub eBook: . Aus dem Bereich: eBooks,

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Overture from Messiah by Handel for Piano - Pur...
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Overture from Messiah by Handel for Piano - Pure Sheet Music By Lars Christian Lundholm ab 3.99 € als epub eBook: . Aus dem Bereich: eBooks,

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Messiah
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Messiah ab 8.49 € als epub eBook: Love Music and Malice at a Time of Handel. Aus dem Bereich: eBooks, Kunst, Musik & Design,

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Messiah
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Messiah ab 23.99 € als Taschenbuch: Fifty Expository Discourses on the Series of Scriptural Passages Which Form the Subject of the Celebrated Oratorio of Handel. Aus dem Bereich: Bücher, Taschenbücher, Geist & Wissen,

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Georg Häendel [George Frideric Handel]: El gran...
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Gracias a su valor pudo ser uno de los primeros músicos de su tiempo, pues su padre odiaba la música y se opuso rotundamente a la vocación de su hijo, quien la estudió en secreto, profundizando en ella hasta hacer de su música la síntesis de los diferentes estilos de la época barroca. Aunque se formó en Halle, su ciudad natal, trabajó en distintas capitales: Hamburgo, Roma, Hannover y Londres, aprendiendo de sus distintas escuelas y estilos. Probablemente debido a la temprana influencia paterna tenía un carácter impulsivo y marcadamente autoritario. En su trato personal era imperioso, arbitrario, ceñudo, brusco y dado a accesos de violencia, mención aparte de sus modales ordinarios, pues era muy glotón y se dice que comía de una manera repulsiva. Georg Friedrich Haendel fue uno de los grandes maestros de la música barroca. Su prolífica obra está muy influida por los países y músicos que conoció a lo largo de una vida marcada por el cosmopolitismo y la riqueza. Su profundo conocimiento de la mente humana, plasmado en la psicología de los personajes de sus obras dramáticas y la riqueza de las imágenes que sus composiciones provocan, presagian los caminos y los estilos de la música posterior. Son célebres sus oratorios, entre los que se incluyen famosos nombres como El Mesías, Sansón, Salomón y Música acuática, aunque en la actualidad cada vez más se intenta mostrar el resto de sus composiciones, especialmente las óperas. Unas y otras - que llegarían a sumar un total de 1.300 obras - influirían sobremanera en estudiosos y admiradores suyos de la altura de Mozart, Rossini, Mendelssohn, Beethoven o Haydn, quien diría de él: "Es el padre de todos nosotros". Please note: This audiobook is in Spanish. 1. Spanish. uncredited. http://samples.audible.de/bk/olst/000466/bk_olst_000466_sample.mp3.

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A Child of Our Time
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The oratorio 'A Child of Our Time' was Tippett’s artistic and emotional response to the events that led to the 'Kristallnacht' pogrom of November 1938. For his oratorio Tippett used as his formal and historical models the Bach Passions and Handel’s Messiah which share with this contemporary morality the subject of the death of an individual set against the universal background of human suffering. Tippett’s use of the spiritual as a contemporary equivalent for the Lutheran chorale of the Bach settings draws his audience more closely into the drama through the spirituals’ ‘unique verbal and musical metaphor’. By 1941, when Tippett had completed the composition of his oratorio, the practicalities of staging a performance during wartime were difficult to say the least. It was, however, through the direct agency of his lifelong friends and professional colleagues, Benjamin Britten and Peter Pears, that the work was first performed in London on 19 March 1944 under the direction of the former Schoenberg pupil Walter Goehr, and with Pears himself as the tenor soloist. Instrumentation: mixed choir (SATB/SATB), soloists (SATB) and orchestra

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'true to life' - Händel, der Klassiker
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Zwischen 1738 und 1742 erfindet Händel das moderne Oratorium. Dieses „Urbild“ der Gattung bildet den Schnittpunkt zwischen dem herkömmlichen epischen Oratorium und der affektgeladenen und handlungsreichen lyrisch-dramatischen Oper. Dank virtuoser und einprägsamer Instrumentaleinlagen ermöglicht es „die dreifache Verbindung von Oper, Kirche und Konzert“. Händels „englische“ Oratorien ebnen den Weg zu aufgeklärter Humanität; sie sind „true to life“: „lebenswahr“. Neu beleuchtet, problematisiert und diskutiert werden Werke mit direkter, kraftvoller Charakterzeichnung: Saul, das kontrastive Chororatorium Israel in Ägypten, das lyrisch-allegorische Spiel Frohsinn, Schwermut und Mässigung und die „Sternstunde der Menschheit“: der Messias. – Rezeptionsästhetische Fragen schliessen sich an. *** Between 1738 and 1742 Handel invented the modern (English) oratorio. This ‘archetype’ of the genre marks the intersection of the traditional epic oratorio and the affect-laden and action-filled lyric-dramatic opera; virtuoso and memorable instrumental passages create ‘the triple bond of opera, church and concert’. His ideal method of presentation is ‘true to life’, and with this Handel smooths the path towards enlightenment and a new humanity. This book discusses and sheds new light on works of this period with their direct and powerful depictions of character: Saul, the choral oratorio Israel in Egypt, the melancholy three-part oratorio L'Allegro, il Pensiero ed il Moderato and that ‘stellar moment’ The Messiah.

Anbieter: Orell Fuessli CH
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Choral Monuments
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Choral Monuments provides extensive material about eleven epoch-making choral masterworks that span the history of Western culture. Included are: Missa Pange lingua (Josquin Desprez); Missa Papae Marcelli (G. P. da Palestrina); B Minor Mass (J. S. Bach); Messiah (G. F. Handel); The Creation (Joseph Haydn); Symphony #9 (Ludwig van Beethoven); St. Paul (Felix Mendelssohn); Ein deutsches Requiem (Johannes Brahms); Messa da Requiem (Giuseppe Verdi); Mass (Igor Stravinsky); and War Requiem (Benjamin Britten). The works are presented in separate chapters, with each chapter divided into three basic sections-history, analysis, and performance practice. Discussions of history are focused on relevancies-the genesis of the designated work in reference to the composer's total choral output, the work's place within the musical environment and social climate of its time, and essential features of the work that make it noteworthy. In addition, the compositional history addresses three other factors: the work's public reception and critical response, both at the time of its composition and in ensuing years; the history of score publications, detailing the various differences between editions; and the texts of the composition. The material regarding textual treatment, which often includes the complete texts of the works being discussed, concentrates on primary concerns of the text's usage; also included in the discussion are noteworthy aspects of texts separate from the music as well as biographical details of librettists and poets, if appropriate. The analysis section of each chapter outlines and describes musical forms and other types of compositional organization, including parody technique, mirror structures, and motto repetitions, as well as salient compositional characteristics that directly relate and contribute to the work's artistic stature. Numerous charts and musical examples illustrate the discussions. The discussion of performance practices includes primary source quotations about a wide range of topics, from performing forces, tempo, and phrasing of each work to specific issues such as tactus, text underlay, musica ficta, metric accentuation, and ornamentation.

Anbieter: Orell Fuessli CH
Stand: 12.12.2019
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