Lacrimosa (III. Sequentia) from Mozart's Requiem with Latin lyrics and English translation and my drawing. Slovak philharmonic orchestra and choir The translations are not mine, they come from CD booklet + some translations found on the internet.
I Introtus Requiem aeternam II Kyrie III Dies Irae Tuba Mirum Rex Tremendae Recordare Confutatis Lacrimosa IV Offertorium Domine Deus Hostias V Sanctus VI Agnus Dei
Please avoid posting comments about Samuel Barber's sexuality and enjoy the music! Any hateful comments will be removed. Composer: Samuel Barber (1910-1981) Performed here by: The Dale Warland Singers _________________ About this song: Samuel Barber rejected many arrangements, of Adagio for Strings, published by G. Schirmer, such as the organ arrangement by William Strickland. However he did transcribe the piece in 1967 for eight-part choir, as a setting of the Agnus Dei ("Lamb of God"). Adagio for Strings (the string version of this piece) can be heard on many film, TV, and video game soundtracks, including Oliver Stone's Oscar-winning film "Platoon", David Lynch's 1980 Oscar-nominated film "The Elephant Man", Michael Moore's documentary "Sicko", "Swimming Upstream", "Lorenzo's Oil", "A Very Natural Thing", "Reconstruction", and Jean-Pierre Jeunet's Oscar-nominated 2001 film "Amélie". It has been heard in episodes of The Simpsons, Big Brother 2010 (UK), That Mitchell and Webb Look, The Boondocks, South Park, How I Met Your Mother, Seinfeld, ER (TV series), Red Dwarf, Big Love, and Mystery Science Theater 3000. A recorded performance by the London Symphony Orchestra was, for a time, the highest selling classical piece on iTunes. This choral version, Agnus Dei, can be heard in the soundtrack to the PC video game Homeworld (released in 1999, awarded with the Game of the Year accolade from the PC Gamer magazine). The work is extremely popular in the electronic dance music genre, notably in trance. Artists who have covered it include Armin van Buuren, William Orbit, Ferry Corsten, and Tiësto. eRa included this song in their new album Classics. Adagio is the final song on the final collaborative Peter, Paul and Mary album "Peter Paul and Mary, With Symphony Orchestra". Mary Travers had requested that Adagio be played at her memorial service. It was also played at the Royal Albert Concert Hall on the 15th September 2001 in memorial of the attacks on America that shook the world four days beforehand. About the photograph: Saint Paul's Cathedral, London, during the Blitz. This cathedral has survived despite being targeted during the Blitz - it was struck by bombs on 10 October 1940 and 17 April 1941. On 12 September 1940 a time-delayed bomb that had struck the cathedral was successfully defused and removed by a bomb disposal detachment of Royal Engineers under the command of Temporary Lieutenant Robert Davies. Had this bomb detonated, it would have totally destroyed the cathedral, as it left a 100-foot (30 m) crater when it was later remotely detonated in a secure location. As a result of this action, Davies was awarded the George Cross, along with Sapper George Cameron Wylie. On 29 December 1940, the cathedral had another close call when an incendiary bomb became lodged in the lead shell of the dome but fell outwards onto the Stone Gallery and was put out before it could ignite the dome timbers. One of the most iconic images of London during the war was a photograph of St Paul's taken the same day by photographer Herbert Mason (in this video), from the roof of the Daily Mail in Tudor Street showing the cathedral shrouded in smoke. Lisa Jardine of Queen Mary, University of London has written: Wreathed in billowing smoke, amidst the chaos and destruction of war, the pale dome stands proud and glorious - indomitable. At the height of that air-raid, Sir Winston Churchill telephoned the Guildhall to insist that all fire-fighting resources be directed at St Paul's. The cathedral must be saved, he said, damage to the fabric would sap the morale of the country. FACEBOOK: http://www.facebook.com/TheJazzRoomMusic TWITTER: http://twitter.com/JazzRoomMusic YOUTUBE: http://www.youtube.com/TheJazzRoom
The most iconic pieces of classical music you definitely have to know. The greatest instrumental songs that everyone knows, but no one knows the name of, even though almost everyday we hear them on TV shows or in commercials. Mozart, Chopin, Beethoven, Tchaikovsky and much more. This is real classic! Almost all of these classical music masterpieces (and some extra ones) you can find in full length in my new video, which gives you over 3,5 hours of wonderful music: https://www.youtube.com/watch?v=-7jjo8UICjQ I hope you'll enjoy it. Rate, comment and subscribe for more music compilations. Every composition from this video exists as a public domain or creative common content. The fragment of Debussy's "Suite bergamasque" performed by Laurens Goedhart. Dvorak's "Serenade for Strings" performed by the Virtual Philharmonic Orchestra (Reinhold Behringer) with digital samples. Liszt's "Liebesträume" performed by Martha Goldstein. Piano version of Mozart's "Requiem in D minor" performed by Markus Staab. Satie's "Gnossiennes" performed by La Pianista. Richard Wagner's "Also Sprach Zarathustra" performed by Kevin MacLeod. The fragments of Vivaldi's "Spring", "Summer" and "Autumn" performed by John Harrison. More public domain or creative commons content you can find at https://musopen.org
Violin Sonata in G minor: 1. Larghetto affettuoso 2. Allegro moderato 3. Andante 3. Allegro assai-Andante-Allegro assai
W. A. Mozart - Requiem (fantastic performance) [Arsys Bourgogne] [HD] 01:00 - Introitus 05:56 - Kyrie 08:19 - Dies irae 10:17 - Tuba mirum 14:05 - Rex tremendae 16:01 - Recordare 21:20 - Confutatis 23:56 - Lacrimosa 27:48 - Domine Jesu Christe 31:10 - Hostias 34:50 - Sanctus 36:36 - Benedictus 42:12 - Agnus Dei 46:21 - Lux aeterna
The magnificent "Miserere mei, Deus" composed by Allegri and here brilliantly performed by the Choir of New College, Oxford. Please help the New College Choir fund future recordings, performances and tours by buying the album directly from their website at http://www.newcollegechoir.com/agnus-dei-recordings.html Thank you.
Beethoven - Moonlight Sonata (FULL) - Piano Sonata No. 14 http://www.facebook.com/9Beethoven https://twitter.com/YtAndrearomano6 The Piano Sonata No. 14 in C♯ minor "Quasi una fantasia", op. 27, No. 2, by Ludwig van Beethoven The sonata has three movements: 1 mvt: Adagio sostenuto. 2 mvt: Allegretto (click to go at 6:00 min). 3 mvt: Presto agitato (click to go at 8:05 min). Adagio sostenuto The first movement, in C♯ minor, is written in an approximate truncated sonata form. The movement opens with an octave in the left hand and a triplet figuration in the right. A melody that Hector Berlioz called a "lamentation", mostly by the right hand, is played against an accompanying ostinato triplet rhythm, simultaneously played by the right hand. The movement is played pianissimo or "very quietly", and the loudest it gets is mezzo forte or "moderately loud". The adagio sostenuto has made a powerful impression on many listeners; for instance, Berlioz said of it that it "is one of those poems that human language does not know how to qualify. The work was very popular in Beethoven's day, to the point of exasperating the composer himself, who remarked to Carl Czerny, "Surely I've written better things. Allegretto The second movement is a relatively conventional scherzo and trio, a moment of relative calm written in D-flat major, the enharmonic equivalent of C♯ major, the more easily-notated parallel major of C♯ minor. Franz Liszt described the second movement as "a flower between two chasms." The slight majority of the movement is in piano, but a handful of sforzandos and forte-pianos helps to maintain the movement's cheerful disposition. Presto agitato The stormy final movement (C♯ minor), in sonata form, is the weightiest of the three, reflecting an experiment of Beethoven's (also carried out in the companion sonata, Opus 27, No. 1 and later on in Opus 101) placement of the most important movement of the sonata last. The writing has many fast arpeggios and strongly accented notes, and an effective performance demands lively and skillful playing. It is thought that the C-sharp minor sonata, particularly the third movement, was the inspiration for Frédéric Chopin's Fantaisie-Impromptu, which manifests the key relationships of the sonata's three movements. Of the final movement, Charles Rosen has written "it is the most unbridled in its representation of emotion. Even today, two hundred years later, its ferocity is astonishing. Beethoven's heavy use of sforzando notes, together with just a few strategically located fortissimo passages, creates the sense of a very powerful sound in spite of the predominance of piano markings throughout. Within this turbulent sonata-allegro, there are two main themes, with a variety of variation techniques utilized. Beethoven's pedal mark See also: Piano history and musical performance, Mute (music), and Piano pedals#Beethoven and pedals At the opening of the work, Beethoven included a written direction that the sustain pedal should be depressed for the entire duration of the first movement. The Italian reads: "Si deve suonare tutto questo pezzo delicatissimamente e senza sordino". ("One must play this whole piece [meaning "movement"] very delicately and without dampers.") The modern piano has a much longer sustain time than the instruments of Beethoven's day, leaving for a rather blurry and dissonant tone. One option for dealing with this problem is to perform the work on a restored or replicated piano of the kind Beethoven knew. Proponents of historically informed performance using such pianos have found it feasible to perform the work respecting Beethoven's original direction.
Pianist Nobuyuki Tsujii bursts into tears when he plays at Carnegie Hall his own composition "Elegy for the Victims of the Tsunami of March 11, 2011 in Japan".