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    Warum ist das Licht gegeben, Op 74 No 1 (Johannes Brahms)

    Your recently viewed items and featured recommendations. View or edit your browsing history. Get to Know Us. English Choose a language for shopping. Amazon Music Stream millions of songs. Amazon Drive Cloud storage from Amazon.

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    Alexa Actionable Analytics for the Web. AmazonGlobal Ship Orders Internationally. Amazon Inspire Digital Educational Resources. Amazon Rapids Fun stories for kids on the go. Amazon Restaurants Food delivery from local restaurants. How it achieves its effect, neither performers nor listeners can hope to explain. But we all—performers and listeners alike—know it when we hear it. When not in the throes of composition, Brahms derived much of his income from choral conducting in Hamburg and Vienna. During his day and long afterwards, Germany and Austria were choir-obsessed.

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    Even the smallest town in those countries could usually boast a choir that performed at a solid artistic level, so choral conductors were then assured of ample employment. Part of Warum recycles a Missa Canonica that Brahms had written during his early twenties but had then suppressed.

    The motet, Warum, casts the necessary shadow on the serene symphony and perhaps accounts for those timpani and trombones.

    • La brièveté télévisuelle: Le cas des émissions sur les arts plastiques (Communication et Civilisation) (French Edition).
    • 2 Motets, Op.74 (Brahms, Johannes).
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    • Motet Translations;
    • Warum ist das Licht gegeben den Mühseligen?, motet for chorus, Op. 74/1.
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    Theorist Giovanni Maria Artusi twice in and denounced this music for its novel harmonies, its apparent contempt for the rules of traditional counterpoint. Artusi singled out the eccentric progressions in Crudi Amarilli—nearly all of which occur during the first bars—for particular censure.

    2 Motets, Op. 74: No. 1, Warum ist das Licht gegeben dem Mühseligen

    He had expanded the form as far as he or anyone could, made it as much like a miniature opera as was possible. If the music of Cruda Amarilli was radical the choice of words was not: Monteverdi took his text from the once-celebrated fifteenth-century poet Giovanni Battista Guarini. None of these alleged faults will cause any twenty-first century listener the slightest unease. At this stage Barber had lately undergone the greatest professional disappointment of his life: This humiliation plunged him into a state of despair and alcoholism from which, in his remaining fourteen years, he seldom emerged.

    But no hint of fatigue or of artery-hardening marks this piece. In young Barber completed what would become far and away his most famous work: In recent years Alan Holley has been a featured composer at numerous music festivals and received composer profile concerts in Croatia, Serbia, Albania and Australia. To be in that space where, for me and many composers, the greatest of all musical thinkers wrote some of the most amazing music in the European canon was a special time.

    On leaving the concert I knew that I was to be a composer. That I reached the age not far from the one when Bach died without writing a choral work now looks surprising. Lack of opportunity, busy with instrumental, orchestral and solo vocal works notwithstanding, it seems odd that the music that made me want to be a composer, choral music by Bach, did not lead me to write works in that genre before my composition And The Rain.

    Maybe I needed that experience in the Thomaskirche to start the whole process of wanting to write a work for choir and to find exactly the right text for my music.

    Concerts - Pablo Heras-Casado - Spanish conductor

    Selecting words to set to music is always difficult but I remembered reading the deeply touching and lyrical work of Mark Tredinnick when he won the Montreal Poetry Prize in On re-reading his work two sections from his Thirteen Winds flew to me as if the music was already in the air and all I had to do was write the notes down. When, therefore, did Nimrod become so death-haunted? We cannot, with any confidence, say.