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Johann Ernst Eberlin
Johann Ernst Eberlin (27 March 1702 – 19 June 1762) was a German composer and organist whose works bridge the baroque and classical eras. He was a composer of church organ and choral music. Marpurg claims he wrote as much and as rapidly as Alessandro Scarlatti and Georg Philipp Telemann, a claim also repeated by Leopold Mozart - though Eberlin did not live nearly as long as either of those two composers. Biography Eberlin's first musical training began in 1712 at the Jesuit Gymnasium of St. Salvator in Augsburg. His teachers there were Georg Egger and Balthasar Siberer, who taught him how to play the organ. He began his university education in 1721 at the Benedictine University in Salzburg where he studied law, but from 1723 turned to music. His first breakthrough was in 1727 when he became the organist for Count Leopold von Firmian (then Archbishop of Salzburg). He reached the peak of his career when he was the organist for Archbishop Andreas Jakob von Dietrichstein ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Michael Haydn
Johann Michael Haydn (; 14 September 1737 – 10 August 1806) was an Austrian composer of the Classical period (music), Classical period, the younger brother of Joseph Haydn. Life Michael Haydn was born in 1737 in the Austrian village of Rohrau, Austria, Rohrau, near the Hungarian border. His father was Mathias Haydn, a wheelwright who also served as "Marktrichter", an office akin to village mayor. Haydn's mother Maria, Koller, had previously worked as a cook in the palace of Friedrich August von Harrach-Rohrau, Count Harrach, the presiding aristocrat of Rohrau. Mathias was an enthusiastic folk musician, who during the journeyman period of his career had taught himself to play the harp, and he also made sure that his children learned to sing. Michael went to Vienna at the age of eight, his early professional career path being paved by his older brother Joseph Haydn, Joseph, whose skillful singing had landed him a position as a boy soprano in the St. Stephen's Cathedral, Vienna ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Libretto
A libretto (From the Italian word , ) is the text used in, or intended for, an extended musical work such as an opera, operetta, masque, oratorio, cantata or Musical theatre, musical. The term ''libretto'' is also sometimes used to refer to the text of major liturgical works, such as the Mass (liturgy), Mass, requiem and sacred cantata, or the story line of a ballet. The Italian language, Italian word (, ) is the diminutive of the word ''wiktionary:libro#Italian, libro'' ("book"). Sometimes other-language cognates, equivalents are used for libretti in that language, ''livret'' for French works, ''Textbuch'' for German and ''libreto'' for Spanish. A libretto is distinct from a synopsis or scenario of the plot, in that the libretto contains all the words and stage directions, while a synopsis summarizes the plot. Some ballet historians also use the word ''libretto'' to refer to the 15- to 40-page books which were on sale to 19th century ballet audiences in Paris and contained ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Oratorio
An oratorio () is a musical composition with dramatic or narrative text for choir, soloists and orchestra or other ensemble. Similar to opera, an oratorio includes the use of a choir, soloists, an instrumental ensemble, various distinguishable characters (e.g. soloists), and arias. However, opera is musical theatre, and typically involves significant theatrical spectacle, including sets, props, and costuming, as well as staged interactions between characters. In oratorio, there is generally minimal staging, with the chorus often assuming a more central dramatic role, and the work is typically presented as a concert piece – though oratorios are sometimes staged as operas, and operas are not infrequently presented in concert form. A particularly important difference between opera and oratorio is in the typical subject matter of the text. An opera libretto may deal with any conceivable dramatic subject (e.g. history, mythology, Richard Nixon, Anna Nicole Smith an ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Psalm
The Book of Psalms ( , ; ; ; ; , in Islam also called Zabur, ), also known as the Psalter, is the first book of the third section of the Tanakh (Hebrew Bible) called ('Writings'), and a book of the Old Testament. The book is an anthology of Hebrew religious hymns. In the Jewish and Western Christian traditions, there are 150 psalms, and several more in the Eastern Christian churches. The book is divided into five sections, each ending with a doxology, a hymn of praise. There are several types of psalms, including hymns or songs of praise, communal and individual laments, royal psalms, imprecation, and individual thanksgivings. The book also includes psalms of communal thanksgiving, wisdom, pilgrimage and other categories. Many of the psalms contain attributions to the name of King David and other Biblical figures including Asaph, the sons of Korah, Moses and Solomon. Davidic authorship of the Psalms is not accepted as historical fact by modern scholars, who view it as ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cantata
A cantata (; ; literally "sung", past participle feminine singular of the Italian language, Italian verb ''cantare'', "to sing") is a vocal music, vocal Musical composition, composition with an musical instrument, instrumental accompaniment, typically in several movement (music), movements, often involving a choir. The meaning of the term changed over time, from the simple single-voice Madrigal (music), madrigal of the early 17th century, to the multi-voice "cantata da camera" and the "cantata da chiesa" of the later part of that century, from the more substantial dramatic forms of the 18th century to the usually sacred-texted 19th-century cantata, which was effectively a type of short oratorio. Cantatas for use in the liturgy of church services are called church cantata or sacred cantatas; other cantatas can be indicated as secular cantatas. Several cantatas were, and still are, written for special occasions, such as Christmas cantatas. Christoph Graupner, Georg Philipp Teleman ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Missa Secundi Toni (Eberlin)
The (Mass in the second tone) is a mass by Johann Ernst Eberlin. He wrote it for the Salzburg Cathedral, and scored it for four soloists, a four-part choir, two violins and continuo. The mass is structured in nine movements. The following table is based on the vocal score by Coppenrath, listing tempo markings (showing those added by the publisher in brackets) and time signature. Eberlin uses mostly the choir. ''Christe'' is a duet for soprano and alto, ''Benedictus'' a duet for tenor and bass, otherwise the soloists have only short passages within the texture. ''Kyrie'', choral throughout, is repeated after ''Christe''. In the ''Gloria'', the soprano soloists begins "Gratias agimus tibi", later the alto soloist enters with "Dominus Rex", later the tenor "Deus fili", finally the bass "Domine Deus". The choir sings twice "Qui tollis", continued first by the soprano solo "miserere nobis", then by the lower voices in succession, singing "suscipe". The concluding Amen begins with th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mass (music)
The Mass () is a form of sacred musical composition that sets the invariable portions of the Christian Eucharistic liturgy (principally that of the Catholic Church, the Anglican Communion, and Lutheranism), known as the Mass. Most Masses are settings of the liturgy in Latin, the sacred language of the Catholic Church's Roman Rite, but there are a significant number written in the languages of non-Catholic countries where vernacular worship has long been the norm. For example, there have been many Masses written in English for a United States context since the Second Vatican Council, and others (often called "communion services") for the Church of England. Masses can be ''a cappella'', that is, without an independent accompaniment, or they can be accompanied by instrumental '' obbligatos'' up to and including a full orchestra. Many masses, especially later ones, were never intended to be performed during the celebration of an actual mass. History Middle Ages The earliest ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fugue (music)
In classical music, a fugue (, from Latin ''fuga'', meaning "flight" or "escape""Fugue, ''n''." ''The Concise Oxford English Dictionary'', eleventh edition, revised, ed. Catherine Soanes and Angus Stevenson (Oxford and New York: Oxford University Press, 2006). ) is a Counterpoint, contrapuntal, Polyphony, polyphonic Musical composition, compositional technique in two or more voice (music), voices, built on a Subject (music), subject (a musical theme) that is introduced at the beginning in imitation (music), imitation (repetition at different pitches), which recurs frequently throughout the course of the composition. It is not to be confused with a ''fuguing tune'', which is a style of song popularized by and mostly limited to Music history of the United States, early American (i.e. shape note or "Sacred Harp") music and West gallery music, West Gallery music. A fugue usually has three main sections: an exposition (music), exposition, a development (music), development, and a final ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Toccata
Toccata (from Italian ''toccare'', literally, "to touch", with "toccata" being the action of touching) is a virtuoso piece of music typically for a keyboard or plucked string instrument featuring fast-moving, lightly fingered or otherwise virtuosic passages or sections, with or without imitative or fugal interludes, generally emphasizing the dexterity of the performer's fingers. Less frequently, the name is applied to works for multiple instruments (the opening of Claudio Monteverdi's opera ''L'Orfeo'' being a notable example). History Renaissance Little is known about the origination of the toccata other than that it was likely adapted from music for festive functions that was written for trumpet and timpani and latter transcribed for the organ or other keyboard instruments. The form first appeared in the late Renaissance period. It originated in northern Italy. Several publications of the 1590s include toccatas, by composers such as Claudio Merulo, Andrea and Giovanni Gab ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anton Cajetan Adlgasser
Anton Cajetan Adlgasser (sometimes Anton Cajetan Adelgasser; 1 October 1729 – 23 December 1777) was a German organist and composer at Salzburg Cathedral. He composed a good deal of liturgical music that included eight masses and two requiems, as well as oratorios and orchestral and keyboard works. Born in Inzell, Bavaria, he moved to Salzburg where he studied under Johann Ernst Eberlin. In 1750 he became the organist at the Salzburg Cathedral where he remained for the rest of his life. After a visit to Italy in 1764 – 1765, he set Metastasio's only opera ''La Nitteti''. It was performed in Salzburg in 1767. Also in 1767, he collaborated with Mozart and Michael Haydn on the oratorio ''Die Schuldigkeit des ersten Gebots''. Adlgasser's first marriage, in 1752, was to Maria Josepha, the daughter of his predecessor, J.E. Eberlin, at Salzburg Cathedral. Four years later he married Maria Barbara Schwab, and in 1769 the court singer Maria Anna Fesemayer (1743 – 1782), who sang in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Prima Pratica
''Stile antico'' (literally "ancient style", ), is a term describing a manner of musical composition from the sixteenth century onwards that was historically conscious, as opposed to '' stile moderno'', which adhered to more modern trends. ''Prima pratica'' (Italian, 'first practice') refers to early Baroque music which looks more to the style of Palestrina, or the style codified by Gioseffo Zarlino, than to more "modern" styles. It is contrasted with '' seconda pratica'' music. These terms are synonymous to ''stile antico'' and ''stile moderno'', respectively. History ''Stile antico'' has been associated with composers of the high Baroque and early Classical periods of music, in which composers used controlled dissonance and modal effects and avoided overtly instrumental textures and lavish ornamentation, to imitate the compositional style of the late Renaissance. ''Stile antico'' was deemed appropriate in the conservative confines of church music, or as a compositional exerc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
