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The "Requiem in E flat" is an example of Rheinberger's type of commercial music, which achieves a maximum of effect with masterful craftsmanship and modest means, without making too high demands in te...
The "Requiem in E flat" is an example of Rheinberger's type of commercial music, which achieves a maximum of effect with masterful craftsmanship and modest means, without making too high demands in te...
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In preparation for his final examinations at the Conservatory in Munich in the summer of 1854, the 15-year-old Rheinberger turned his focus on composing in the old a cappella style in various scorings...
In preparation for his final examinations at the Conservatory in Munich in the summer of 1854, the 15-year-old Rheinberger turned his focus on composing in the old a cappella style in various scorings...
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In preparation for his final examinations at the Conservatory in Munich in the summer of 1854, the 15-year-old Rheinberger turned his focus on composing in the old a cappella style in various scorings...
In preparation for his final examinations at the Conservatory in Munich in the summer of 1854, the 15-year-old Rheinberger turned his focus on composing in the old a cappella style in various scorings...
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At the age of 15, on New Year’s Day 1855, Rheinberger composed the Graduale Cantate Domino laeta, pueri, cantica JWV 32. He chose a text of which only one other setting – by Michael Haydn – is known....
At the age of 15, on New Year’s Day 1855, Rheinberger composed the Graduale Cantate Domino laeta, pueri, cantica JWV 32. He chose a text of which only one other setting – by Michael Haydn – is known....
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Rheinberger’s first mass setting for choir a cappella, the Mass in E flat major JWV 57, exists in two different versions: the first version of 1856 and the revised version of 1858/59. The present edit...
Rheinberger’s first mass setting for choir a cappella, the Mass in E flat major JWV 57, exists in two different versions: the first version of 1856 and the revised version of 1858/59. The present edit...
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A motet for the 1st Advent, which Rheinberger composed in September 1856 during a vacation in his home town of Vaduz in September 1856. Separate edition from: Supplementary Volume 4 of the Rheinberger...
A motet for the 1st Advent, which Rheinberger composed in September 1856 during a vacation in his home town of Vaduz in September 1856. Separate edition from: Supplementary Volume 4 of the Rheinberger...
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In this setting of the penitential psalm Miserere mei, Deus for mixed choir and organ ad libitum, the psalm verses are performed alternately by a four-part choir with organ (ab lib.) and a monophonic...
In this setting of the penitential psalm Miserere mei, Deus for mixed choir and organ ad libitum, the psalm verses are performed alternately by a four-part choir with organ (ab lib.) and a monophonic...
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Rheinberger's harmonically and melodically beautiful setting of the Marian antiphon Salve Regina from 1873 fell into oblivion and first appeared in print in the supplementary volume 4 of the Rheinberg...
Rheinberger's harmonically and melodically beautiful setting of the Marian antiphon Salve Regina from 1873 fell into oblivion and first appeared in print in the supplementary volume 4 of the Rheinberg...
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A gradual setting based on Psalm 76 for Quinquagesima, the Sunday before Ash Wednesday, also known as Shrove Sunday. However, the text is also suitable for many other occasions. Separate edition from:...
A gradual setting based on Psalm 76 for Quinquagesima, the Sunday before Ash Wednesday, also known as Shrove Sunday. However, the text is also suitable for many other occasions. Separate edition from:...
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Rheinberger composed two short antiphons for the pilgrimage site of Loreto in Italy in 1893, which can generally be sung on Marian feasts. Separate edition from: Supplementary Volume 4 of the Rheinber...
Rheinberger composed two short antiphons for the pilgrimage site of Loreto in Italy in 1893, which can generally be sung on Marian feasts. Separate edition from: Supplementary Volume 4 of the Rheinber...
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The 6-part chorale setting on the introit of the Mass for the Dead was composed during Rheinberger's teaching activities at the Royal School of Music in Munich. Together with his composition students,...
The 6-part chorale setting on the introit of the Mass for the Dead was composed during Rheinberger's teaching activities at the Royal School of Music in Munich. Together with his composition students,...
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The Benedictus and the Agnus Dei are part of the first version of Rheinberger’s first mass setting for choir a cappella, the Mass in E flat JWV 57. The Mass exists in two different versions: the first...
The Benedictus and the Agnus Dei are part of the first version of Rheinberger’s first mass setting for choir a cappella, the Mass in E flat JWV 57. The Mass exists in two different versions: the first...
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Das Gedicht von John Berryman behandelt Gott als den 'alleinigen Wächter der Sterne', der helfen soll, Demut zu lernen. Die Vertonung für Doppelchor spielt mit dem Raum und soll das Gedicht aus zweier...
Das Gedicht von John Berryman behandelt Gott als den 'alleinigen Wächter der Sterne', der helfen soll, Demut zu lernen. Die Vertonung für Doppelchor spielt mit dem Raum und soll das Gedicht aus zweier...
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John Donne was one of the most famous English poets around 1600. The first song is a bitter lament about the infidelity of women. The second, Sweetest Love, is more complex and somewhat more enigmatic...
John Donne was one of the most famous English poets around 1600. The first song is a bitter lament about the infidelity of women. The second, Sweetest Love, is more complex and somewhat more enigmatic...
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Bring a touch of the Nutcracker to your next holiday concert with this classy bit of humor. Much of Tchaikovsky's original material is used in this a cappella setting.
Bring a touch of the Nutcracker to your next holiday concert with this classy bit of humor. Much of Tchaikovsky's original material is used in this a cappella setting.
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