Rossini: Petite Messe Solennelle - Regula Mühlemann, Anke Vondung, Eric Cutler, Michael Volle, Chor des Bayerischen Rundfunks, Tal & Groethuysen, Max. Check out Rossini: Petite Messe Solennelle by Tal & Groethuysen on Amazon Music. Stream ad-free or purchase CD's and MP3s now on tmbulgaria.com Petite Messe Solennelle. von Gioachino Rossini. Arrangement für Kammerorchester von Alexander Krampe. Orchester der Kammeroper München Vocalconsort.
Petite Messe solennelleDie Petite Messe solennelle von ist neben dem Stabat Mater Rossinis zweite umfangreiche sakrale - Geistliche & weltliche Chormusik bei Carus. Rossini: Petite Messe Solennelle - Regula Mühlemann, Anke Vondung, Eric Cutler, Michael Volle, Chor des Bayerischen Rundfunks, Tal & Groethuysen, Max. Die "Petite Messe solennelle" von ist neben dem "Stabat Mater" Rossinis zweite umfangreiche sak - Geistliche & weltliche Chormusik bei Carus.
Rossini Petite Messe Course Director Video2020 - Patrícia Janečková c.s. - 4. O Salutaris Hostia, Petite Messe Solennelle (Rossini)
Music director :. Kenneth Montgomery. Wexford Factory Ensemble. France Ireland. You may also like. ARTE Opera Season The European opera season.
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Mozart at the Hotel Sully Paris With the Paris Chamber Orchestra 86 min. As a statement of faith, it is unswervingly optimistic, though the work has its origins in personal sadness.
Ottavio Dantone has long been a champion of the work, which he conducted in a notably grand performance in Liverpool in Participation in the choir for a Concert Premiere performance.
A bespoke collage featuring the whole choir and musicians. Please note: The Self-Isolation Choir has been careful to ensure there are minimal rehearsal clashes in , however rehearsal and course times are subject to change.
Rossini - Petite Messe Solennelle. Plate n. This file is part of the Sibley Mirroring Project. Arranger Michel Rondeau. Arranger Matthew Hughes.
Editor Raffaele Diodati. Unidentified Publisher , n. New York: Dover Publications , Arranger Thomas Schenke. Arranger Alexander Sokolov.
The final movement of the Gloria is a chorus on the words "Cum Sancto Spiritu in Gloria Dei Patris. They are presented first as in the beginning of the Gloria, returning to the initial key.
Different from the Gloria, the text of the Creed is mostly in the same character, interrupted only for a short soprano solo "Crucifixus" Crucified and an episode "Et resurrexit" And risen , concluded by another fugue.
The resurrection is announced by the sopranos, first alone, then by a strong chord in the instruments which changes the E-flat they sing to D-sharp of a B major chord, in which the other voices join.
And the life of a world to come. For the liturgical offertory , Rossini inserted an instrumental piece he had composed before, a combination of prelude and fugue.
The solemn rhythmic style.. Rossini indicates that the fugue without the postlude explicitly written for piano may be played equally on piano or harmonium.
Rossini proves both his inventiveness particularly at the level of management of the tonality, which frequently evolves into distant keys and his impressive capacity for mastering the contradictions.
The structure begins classically with a fugue with the exposition of the subject successively in the three voices at a piano dynamic.
The melodic line proceeds to the dominant to accompany the exposition of the subject in the second voice, with a series of eighth notes arranged in a constant interval of a third or a sixth with the subject.
A long episode of 29 measures follows, where the modulations are legion. For example, a sequence based on the three first notes of the turn theme is repeated eight times in a row starting in measure Numerous dynamics are marked in the score: piano , forte , crescendo and decrescendo.
The same 29 episodic measures as before are heard, but transposed, then extended by 26 measures of new development, always using numerous sequences.
Rossini wrote a brief instrumental passage, probably to establish the key of C major and the mood for the following Sanctus.
The acclamation "Sanctus" Holy appears three times, sung by the choir, each time more intense than before. The movement culminates in a strong eight-part affirmation of "in excelsis".
This movement was not part of Rossini's original version for two pianos and harmonium, but he inserted it in his version for orchestra. It became customary to include it even in performances and editions with piano s.
Thomas Aquinas 's hymn "O salutaris hostia" has been used in mass settings close to the Agnus Dei from the Renaissance. The melodic line of the soprano soloist begins with an upward broken seventh chord.
To finish this section, the theme arpeggiates a dominant seventh. This section ends with a chromatic descent in the accompaniment at quadruple piano dynamic, up to a dominant seventh of G major, to prepare the return of the second section A in the original key.
A reprise of the first measures of the introduction uses only the text "Bella premunt" "The armies pursue us".
While the piano repeats the introduction identically, the soprano doubles it several times for one or two measures interspersed with silences.
The rest section A' is largely in the form of sequences. Section B' uses the most static part of theme B in another sequence.
The final movement of the mass begins with an introduction that is similar to that to the "Crucifixus".