A German Requiem may refer to:
Johannes Brahms was a German composer, pianist, and conductor of the Romantic period. Born in Hamburg into a Lutheran family, he spent much of his professional life in Vienna. He is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the "Three Bs" of music, a comment originally made by the nineteenth-century conductor Hans von Bülow.
Robert Schumann was a German composer, pianist, and influential music critic. He is widely regarded as one of the greatest composers of the Romantic era. Schumann left the study of law, intending to pursue a career as a virtuoso pianist. His teacher, Friedrich Wieck, a German pianist, had assured him that he could become the finest pianist in Europe, but a hand injury ended this dream. Schumann then focused his musical energies on composing.
A Requiem or Requiem Mass, also known as Mass for the dead or Mass of the dead, is a Mass in the Catholic Church offered for the repose of the soul or souls of one or more deceased persons, using a particular form of the Roman Missal. It is usually, but not necessarily, celebrated in the context of a funeral.
Dietrich Fischer-Dieskau was a German lyric baritone and conductor of classical music, one of the most famous Lieder performers of the post-war period, best known as a singer of Franz Schubert's Lieder, particularly "Winterreise" of which his recordings with accompanists Gerald Moore and Jörg Demus are still critically acclaimed half a century after their release.
A German Requiem, to Words of the Holy Scriptures, Op. 45 by Johannes Brahms, is a large-scale work for chorus, orchestra, a soprano and a baritone soloist, composed between 1865 and 1868. It comprises seven movements, which together last 65 to 80 minutes, making this work Brahms's longest composition. A German Requiem is sacred but non-liturgical, and unlike a long tradition of the Latin Requiem, A German Requiem, as its title states, is a Requiem in the German language.
The Requiem is a Roman Catholic liturgical service.
Margaret Eleanor Hillis was an American conductor. She was the founder and first director of the Chicago Symphony Chorus.
The Schicksalslied, Op. 54, is an orchestrally accompanied choral setting of a poem written by Friedrich Hölderlin and is one of several major choral works written by Johannes Brahms. Brahms began the work in the summer of 1868 at Wilhelmshaven, but it was not completed until May 1871. The delay in completion was largely due to Brahms's indecision as to how the piece should conclude. Hesitant to make a decision, he began work on the Alto Rhapsody, Op. 53, which was completed in 1869 and first performed in 1870.
Rinaldo, Op. 50, is a cantata for tenor solo, four-part male chorus and orchestra by German composer Johannes Brahms. It was begun in 1863 as an entry for a choral competition announced in Aachen. He chose as his text the dramatic poem of the same name by Johann Wolfgang von Goethe, which presents an episode from the epic Jerusalem Delivered by Torquato Tasso in the form of a series of dialogues between the knight Rinaldo, who has been enchanted by the witch Armida, and his fellow knights, who are calling him back to the path of duty.
Doris Caroline Abrahams, commonly known by the pseudonym Caryl Brahms, was an English critic, novelist, and journalist specialising in the theatre and ballet. She also wrote film, radio and television scripts.
Nänie is a composition for SATB chorus and orchestra, Op. 82 by Johannes Brahms, which sets to music the poem "Nänie" by Friedrich Schiller. Brahms composed the piece in 1881, in memory of his deceased friend Anselm Feuerbach. Nänie is a lamentation on the inevitability of death; the first sentence, "Auch das Schöne muß sterben", translates to "Even the beautiful must die". Typical duration of a performance is approximately 15 minutes.
Battle Royale may refer to:
Other usually refers to:
Dies irae is a 13th-century Latin hymn.
A composite film is a feature film whose screenplay is composed of two or more distinct stories. More generally, composite structure refers to an aesthetic principle in which the narrative structure relies on contiguity and linking rather than linearity. In a composite text or film, individual pieces are complete within themselves, yet they form a whole work that is greater than the sum of its individual parts.
The history of the Chicago Symphony Chorus began on September 22, 19 57, when the Chicago Symphony Orchestra (CSO) announced that Margaret Hillis would organize and train a symphony chorus. Music Director Fritz Reiner’s original intent was to utilize the Chorus for the two weeks of subscription concerts that season, performing — George Frideric Handel’s Messiah in December and Giuseppe Verdi’s Requiem in April. When Bruno Walter informed the Orchestra’s management that his March 1958 appearances would be his last in Chicago the board president Eric Oldberg insisted that Walter conduct Wolfgang Amadeus Mozart’s Requiem utilizing the new Chorus. During that first season, it would have been logistically impossible for Hillis to audition and prepare a new Chorus for three major works within less than four months. As an interim fix the Apollo Chorus of Chicago was used for the Christmas Messiah concerts.
Max Reger's 1915 Requiem, Op. 144b, is a late Romantic setting of Friedrich Hebbel's poem "Requiem" for alto or baritone solo, chorus and orchestra. It is Reger's last completed work for chorus and orchestra, dedicated in the autograph as Dem Andenken der im Kriege 1914/15 gefallenen deutschen Helden.
Vier ernste Gesänge, Op. 121, is a cycle of four songs for bass and piano by Johannes Brahms. As in his Ein deutsches Requiem, the texts are compiled from the Luther Bible. Three songs deal with death and the transience of life, while the fourth has an outlook of faith, hope and charity. Brahms composed the work in Vienna in 1896 and dedicated it to Max Klinger. The songs were premiered there in the presence of the composer by baritone Anton Sistermans and pianist Coenraad V. Bos. They have been recorded often by both female and male singers.
Hanno Müller-Brachmann is a German bass-baritone who made an international career in both opera and concert. A member of the Berlin State Opera from 1998 to 2011, he first sang Mozart roles such as Papageno and Figaro, and created roles in premieres such as Mephistopheles in Dusapin's Faustus, the Last Night in 2006.
The Brahms House (Brahms-Haus), also known as Lichtental No. 8, is a biographical museum dedicated to Johannes Brahms in Baden-Baden, Germany. The museum is centered on the building's attic, where Brahms lived and worked on his music while in residence.