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Cantate Domine - Canto de Entrada

Música polifônica, de autoria de Ana Carolina C. Ferreira, executada pelo Coral da Comunidade São Francisco de AssisCanto de Entrada da Missa de 06/09/2008 - 2º dia da Novena em honra da Padroeira Nossa Senhora da Piedade.Celebrante: Padre ReinaldoParóquia Nossa Senhora da Piedade - Itapeva - SP

Author: evertoon2040
Keywords: Igreja Coral São Francisco Nossa Senhora Piedade Padre Plifônico Itapeva SP Missa Católica Apostólica Romana
Added: September 7, 2008

Astronomy Domine (with lyrics) - David Gilmour

Live performance of Astronomy Domine by David Gilmour, Live In Gdansk.

Author: bonscott93
Keywords: david gilmour music videos live in gdansk astronomy domine video pink floyd bonscott93
Added: September 7, 2008

Presidio rossi contro Cuore Nero

Compagni fanno finta di scontrarsi con la poliziaFonte: www.youreporter.it

Author: NonNobisDomine
Keywords: presidio antifa cuore nero scontri polizia compagni riot nazi fascisti torchiera molinaro
Added: September 7, 2008

Rossini's "Agnus Dei" from "Petite Messe Solennelle"

"Dear God: here it is finished, this poor little Mass... I was born for opera buffa, you know it well! A little science, some heart, that's all..."- composer's envoi to "Petite Messe Solennelle".The "Little Solemn Mass" strikingly stands out from among the works of the late years of Rossini's life. Rossini called his little composition the "last mortal sin of my old age", emphasizing that eye-winking, completely ironic distance that speaks out of the postscript addressed to the Almighty, with which the last page of the score closes: "Good God, behold completed this poor little Mass... Is it indeed music for the blest ("musique sacrée") that I have just written or just some blessed music ("sacrée musique")?" The play of these lines on the suggestive double meaning of the word "sacré", give eloquent testimony to the ambivalence that Rossini saw even in the style of writing of his church music. The title is also contradictory: the Mass is at the same time "petite" (because of its chamber music format) and "solennelle" (in view of its length and entirely weighty bearing). The music itself seems completely unmannered in style, more classicist than belcanto, though admirers of Rossini's art are bound to single out some operatic pieces. Surprisingly, there is a sense in which Rossini's continuously extraordinary musical facility is one of his weaknesses. He once remarked: "Show me a laundry list and I will set it to music!". To some extent, this is what he has done in the "Messe". Of course, there are many sections which beautifully reflect the words, but in other places one feels that Rossini has paid little regard to the essential meaning and form of the text. Yet at no point in the work does the music become remotely dull or routine. Such was Rossini's genius that even when the spirit of the music seems to depart from the spirit of the text one can't help but be captivated by the beautiful melodies and sheer joie-de-vivre of the piece. As he himself said: "delight must be the basis and aim of this art" - and that is what he has achieved: a work not of profound religious insight, but one that is a delightful, life-enhancing musical experience. Rossini originally specified twelve singers in all, with the soloists doubling the SATB chorus, and scored it for two pianos and harmonium. This version is considered by most the authentic and the only true one. The singular scoring for soloists, choir and yet quite compelling accompaniment by two pianos and harmonium is partially due to the occasion for which the piece was composed. Its first performance was at the dedication (16 March 1864) of the private chapel in the hôtel of Louise, Comtesse de Pillet-Will, to whom Rossini dedicated this refined and elegant piece which avoids the sentimental opulence of most contemporary liturgical works, such as those by Charles Gounod.And yet, in 1867, Rossini himself revised the work for orchestra and chorus, for fear that someone else might accomplish the task if he did not. The performance of this version took place only on the 28th of February, 1869, at the Theatre-Italien of Paris, after the composer's death. I'm going with the latter version for many reasons, chief amongst them being my preference of a full orchestra and chorus over a piano accompaniment.As in the previous pieces, I'm providing the whole structure of the piece, while only noting the sections I'm posting. Also I have to mention that I'm using (both in the above and following texts) sections from John Bawden's, the musical director for Fareham Philaharmonic Choir, excellent notes on the work for a scholar overview of the work.Nuccia Focile - soprano,Susanne Mentzer - contralto,Raul Gimenez - tenor,Simone Alaimo - bass.Kyrie.1. Kyrie (the whole section is scored for chorus).2. Christe.3. Kyrie.Gloria.4. Gloria in excelsis Deo (chorus & quartettino for all soloists).5. Gratias (terzettino for the same).6. Domine Deus (aria for tenor).7. Qui tollis (duet for soprano and contralto).8. Quoniam (aria for bass; in all three posted masses this movement is given to a bass soloist).9. Cum sancto spiritu (chorus).Credo.10. Credo (chorus & quartettino for all soloists).11. Crucifixus (aria for soprano).12. Et resurrexit (chorus & quartettino for all soloists).13. Il preludio religioso.14. Sanctus - Benedictus (chorus with soloists' interjections).15. O salutatis (aria for soprano).16. Agnus Dei (aria for contralto with extensive choral interjections). The section can be considered the highpoint of musical urgency. The alto thrice-voiced entreaty for peace, steadily intensifying in expression, is answered by unaccompanied choir in the straightforward four-part texture of its Dona nobis pacem. Only at the very end of the movement is the anxious tension of this "dialogue" resolved in the surprisingly introduced E major of the shared closing prayer.

Author: LindoroRossini
Keywords: Rossini Petite Messe Solennelle Raul Gimenez Nuccia Focile Susanne Mentzer Simone Alaimo belcanto coloratura classical
Added: September 7, 2008

Rossini's "Agnus Dei" from "Petite Messe Solennelle"

"Dear God: here it is finished, this poor little Mass... I was born for opera buffa, you know it well! A little science, some heart, that's all..."- composer's envoi to "Petite Messe Solennelle".The "Little Solemn Mass" strikingly stands out from among the works of the late years of Rossini's life. Rossini called his little composition the "last mortal sin of my old age", emphasizing that eye-winking, completely ironic distance that speaks out of the postscript addressed to the Almighty, with which the last page of the score closes: "Good God, behold completed this poor little Mass... Is it indeed music for the blest ("musique sacrée") that I have just written or just some blessed music ("sacrée musique")?" The play of these lines on the suggestive double meaning of the word "sacré", give eloquent testimony to the ambivalence that Rossini saw even in the style of writing of his church music. The title is also contradictory: the Mass is at the same time "petite" (because of its chamber music format) and "solennelle" (in view of its length and entirely weighty bearing). The music itself seems completely unmannered in style, more classicist than belcanto, though admirers of Rossini's art are bound to single out some operatic pieces. Surprisingly, there is a sense in which Rossini's continuously extraordinary musical facility is one of his weaknesses. He once remarked: "Show me a laundry list and I will set it to music!". To some extent, this is what he has done in the "Messe". Of course, there are many sections which beautifully reflect the words, but in other places one feels that Rossini has paid little regard to the essential meaning and form of the text. Yet at no point in the work does the music become remotely dull or routine. Such was Rossini's genius that even when the spirit of the music seems to depart from the spirit of the text one can't help but be captivated by the beautiful melodies and sheer joie-de-vivre of the piece. As he himself said: "delight must be the basis and aim of this art" - and that is what he has achieved: a work not of profound religious insight, but one that is a delightful, life-enhancing musical experience. Rossini originally specified twelve singers in all, with the soloists doubling the SATB chorus, and scored it for two pianos and harmonium. This version is considered by most the authentic and the only true one. The singular scoring for soloists, choir and yet quite compelling accompaniment by two pianos and harmonium is partially due to the occasion for which the piece was composed. Its first performance was at the dedication (16 March 1864) of the private chapel in the hôtel of Louise, Comtesse de Pillet-Will, to whom Rossini dedicated this refined and elegant piece which avoids the sentimental opulence of most contemporary liturgical works, such as those by Charles Gounod.And yet, in 1867, Rossini himself revised the work for orchestra and chorus, for fear that someone else might accomplish the task if he did not. The performance of this version took place only on the 28th of February, 1869, at the Theatre-Italien of Paris, after the composer's death. I'm going with the latter version for many reasons, chief amongst them being my preference of a full orchestra and chorus over a piano accompaniment.As in the previous pieces, I'm providing the whole structure of the piece, while only noting the sections I'm posting. Also I have to mention that I'm using (both in the above and following texts) sections from John Bawden's, the musical director for Fareham Philaharmonic Choir, excellent notes on the work for a scholar overview of the work.Nuccia Focile - soprano,Susanne Mentzer - contralto,Raul Gimenez - tenor,Simone Alaimo - bass.Kyrie.1. Kyrie (the whole section is scored for chorus).2. Christe.3. Kyrie.Gloria.4. Gloria in excelsis Deo (chorus & quartettino for all soloists).5. Gratias (terzettino for the same).6. Domine Deus (aria for tenor).7. Qui tollis (duet for soprano and contralto).8. Quoniam (aria for bass; in all three posted masses this movement is given to a bass soloist).9. Cum sancto spiritu (chorus).Credo.10. Credo (chorus & quartettino for all soloists).11. Crucifixus (aria for soprano).12. Et resurrexit (chorus & quartettino for all soloists).13. Il preludio religioso.14. Sanctus - Benedictus (chorus with soloists' interjections).15. O salutatis (aria for soprano).16. Agnus Dei (aria for contralto with extensive choral interjections). The section can be considered the highpoint of musical urgency. The alto thrice-voiced entreaty for peace, steadily intensifying in expression, is answered by unaccompanied choir in the straightforward four-part texture of its Dona nobis pacem. Only at the very end of the movement is the anxious tension of this "dialogue" resolved in the surprisingly introduced E major of the shared closing prayer.

Author: LindoroRossini
Keywords: Rossini Petite Messe Solennelle Raul Gimenez Nuccia Focile Susanne Mentzer Simone Alaimo belcanto coloratura classical
Added: September 7, 2008

Rossini's "Agnus Dei" from "Petite Messe Solennelle"

"Dear God: here it is finished, this poor little Mass... I was born for opera buffa, you know it well! A little science, some heart, that's all..."- composer's envoi to "Petite Messe Solennelle".The "Little Solemn Mass" strikingly stands out from among the works of the late years of Rossini's life. Rossini called his little composition the "last mortal sin of my old age", emphasizing that eye-winking, completely ironic distance that speaks out of the postscript addressed to the Almighty, with which the last page of the score closes: "Good God, behold completed this poor little Mass... Is it indeed music for the blest ("musique sacrée") that I have just written or just some blessed music ("sacrée musique")?" The play of these lines on the suggestive double meaning of the word "sacré", give eloquent testimony to the ambivalence that Rossini saw even in the style of writing of his church music. The title is also contradictory: the Mass is at the same time "petite" (because of its chamber music format) and "solennelle" (in view of its length and entirely weighty bearing). The music itself seems completely unmannered in style, more classicist than belcanto, though admirers of Rossini's art are bound to single out some operatic pieces. Surprisingly, there is a sense in which Rossini's continuously extraordinary musical facility is one of his weaknesses. He once remarked: "Show me a laundry list and I will set it to music!". To some extent, this is what he has done in the "Messe". Of course, there are many sections which beautifully reflect the words, but in other places one feels that Rossini has paid little regard to the essential meaning and form of the text. Yet at no point in the work does the music become remotely dull or routine. Such was Rossini's genius that even when the spirit of the music seems to depart from the spirit of the text one can't help but be captivated by the beautiful melodies and sheer joie-de-vivre of the piece. As he himself said: "delight must be the basis and aim of this art" - and that is what he has achieved: a work not of profound religious insight, but one that is a delightful, life-enhancing musical experience. Rossini originally specified twelve singers in all, with the soloists doubling the SATB chorus, and scored it for two pianos and harmonium. This version is considered by most the authentic and the only true one. The singular scoring for soloists, choir and yet quite compelling accompaniment by two pianos and harmonium is partially due to the occasion for which the piece was composed. Its first performance was at the dedication (16 March 1864) of the private chapel in the hôtel of Louise, Comtesse de Pillet-Will, to whom Rossini dedicated this refined and elegant piece which avoids the sentimental opulence of most contemporary liturgical works, such as those by Charles Gounod.And yet, in 1867, Rossini himself revised the work for orchestra and chorus, for fear that someone else might accomplish the task if he did not. The performance of this version took place only on the 28th of February, 1869, at the Theatre-Italien of Paris, after the composer's death. I'm going with the latter version for many reasons, chief amongst them being my preference of a full orchestra and chorus over a piano accompaniment.As in the previous pieces, I'm providing the whole structure of the piece, while only noting the sections I'm posting. Also I have to mention that I'm using (both in the above and following texts) sections from John Bawden's, the musical director for Fareham Philaharmonic Choir, excellent notes on the work for a scholar overview of the work.Nuccia Focile - soprano,Susanne Mentzer - contralto,Raul Gimenez - tenor,Simone Alaimo - bass.Kyrie.1. Kyrie (the whole section is scored for chorus).2. Christe.3. Kyrie.Gloria.4. Gloria in excelsis Deo (chorus & quartettino for all soloists).5. Gratias (terzettino for the same).6. Domine Deus (aria for tenor).7. Qui tollis (duet for soprano and contralto).8. Quoniam (aria for bass; in all three posted masses this movement is given to a bass soloist).9. Cum sancto spiritu (chorus).Credo.10. Credo (chorus & quartettino for all soloists).11. Crucifixus (aria for soprano).12. Et resurrexit (chorus & quartettino for all soloists).13. Il preludio religioso.14. Sanctus - Benedictus (chorus with soloists' interjections).15. O salutatis (aria for soprano).16. Agnus Dei (aria for contralto with extensive choral interjections). The section can be considered the highpoint of musical urgency. The alto thrice-voiced entreaty for peace, steadily intensifying in expression, is answered by unaccompanied choir in the straightforward four-part texture of its Dona nobis pacem. Only at the very end of the movement is the anxious tension of this "dialogue" resolved in the surprisingly introduced E major of the shared closing prayer.

Author: LindoroRossini
Keywords: Rossini Petite Messe Solennelle Raul Gimenez Nuccia Focile Susanne Mentzer Simone Alaimo belcanto coloratura classical
Added: September 7, 2008

Rossini's "Agnus Dei" from "Petite Messe Solennelle"

"Dear God: here it is finished, this poor little Mass... I was born for opera buffa, you know it well! A little science, some heart, that's all..."- composer's envoi to "Petite Messe Solennelle".The "Little Solemn Mass" strikingly stands out from among the works of the late years of Rossini's life. Rossini called his little composition the "last mortal sin of my old age", emphasizing that eye-winking, completely ironic distance that speaks out of the postscript addressed to the Almighty, with which the last page of the score closes: "Good God, behold completed this poor little Mass... Is it indeed music for the blest ("musique sacrée") that I have just written or just some blessed music ("sacrée musique")?" The play of these lines on the suggestive double meaning of the word "sacré", give eloquent testimony to the ambivalence that Rossini saw even in the style of writing of his church music. The title is also contradictory: the Mass is at the same time "petite" (because of its chamber music format) and "solennelle" (in view of its length and entirely weighty bearing). The music itself seems completely unmannered in style, more classicist than belcanto, though admirers of Rossini's art are bound to single out some operatic pieces. Surprisingly, there is a sense in which Rossini's continuously extraordinary musical facility is one of his weaknesses. He once remarked: "Show me a laundry list and I will set it to music!". To some extent, this is what he has done in the "Messe". Of course, there are many sections which beautifully reflect the words, but in other places one feels that Rossini has paid little regard to the essential meaning and form of the text. Yet at no point in the work does the music become remotely dull or routine. Such was Rossini's genius that even when the spirit of the music seems to depart from the spirit of the text one can't help but be captivated by the beautiful melodies and sheer joie-de-vivre of the piece. As he himself said: "delight must be the basis and aim of this art" - and that is what he has achieved: a work not of profound religious insight, but one that is a delightful, life-enhancing musical experience. Rossini originally specified twelve singers in all, with the soloists doubling the SATB chorus, and scored it for two pianos and harmonium. This version is considered by most the authentic and the only true one. The singular scoring for soloists, choir and yet quite compelling accompaniment by two pianos and harmonium is partially due to the occasion for which the piece was composed. Its first performance was at the dedication (16 March 1864) of the private chapel in the hôtel of Louise, Comtesse de Pillet-Will, to whom Rossini dedicated this refined and elegant piece which avoids the sentimental opulence of most contemporary liturgical works, such as those by Charles Gounod.And yet, in 1867, Rossini himself revised the work for orchestra and chorus, for fear that someone else might accomplish the task if he did not. The performance of this version took place only on the 28th of February, 1869, at the Theatre-Italien of Paris, after the composer's death. I'm going with the latter version for many reasons, chief amongst them being my preference of a full orchestra and chorus over a piano accompaniment.As in the previous pieces, I'm providing the whole structure of the piece, while only noting the sections I'm posting. Also I have to mention that I'm using (both in the above and following texts) sections from John Bawden's, the musical director for Fareham Philaharmonic Choir, excellent notes on the work for a scholar overview of the work.Nuccia Focile - soprano,Susanne Mentzer - contralto,Raul Gimenez - tenor,Simone Alaimo - bass.Kyrie.1. Kyrie (the whole section is scored for chorus).2. Christe.3. Kyrie.Gloria.4. Gloria in excelsis Deo (chorus & quartettino for all soloists).5. Gratias (terzettino for the same).6. Domine Deus (aria for tenor).7. Qui tollis (duet for soprano and contralto).8. Quoniam (aria for bass; in all three posted masses this movement is given to a bass soloist).9. Cum sancto spiritu (chorus).Credo.10. Credo (chorus & quartettino for all soloists).11. Crucifixus (aria for soprano).12. Et resurrexit (chorus & quartettino for all soloists).13. Il preludio religioso.14. Sanctus - Benedictus (chorus with soloists' interjections).15. O salutatis (aria for soprano).16. Agnus Dei (aria for contralto with extensive choral interjections). The section can be considered the highpoint of musical urgency. The alto thrice-voiced entreaty for peace, steadily intensifying in expression, is answered by unaccompanied choir in the straightforward four-part texture of its Dona nobis pacem. Only at the very end of the movement is the anxious tension of this "dialogue" resolved in the surprisingly introduced E major of the shared closing prayer.

Author: LindoroRossini
Keywords: Rossini Petite Messe Solennelle Raul Gimenez Nuccia Focile Susanne Mentzer Simone Alaimo belcanto coloratura classical
Added: September 7, 2008

Awesome Squidoo Resources
This website contains squidoo resources that will help you make money online with squidoo lens, and dominate your niches with the squidoo techniques
http://digg.com/software/Awesome_Squidoo_Resources

Top Diggers Dominating Front Page More And More...
Now in chart form!
http://digg.com/comedy/Top_Diggers_Dominating_Front_Page_More_And_More

Media Not Fooling the Public
This is what happens when advocacy journalism dominates the mainstream media. According to Rasmussen, fully 68% of voters believe that “most reporters try to help the candidate they want to win.” And — no surprise — 49% of those surveyed...
http://digg.com/politics/Media_Not_Fooling_the_Public

Honda announces new CBR600RR and CBR1000RR Fireblade
When it was introduced in 2008, the brand-new Honda CBR1000RR, known as Fireblade across the pond, won accolades from the the press and regular riders alike. Considering its market domination over the last year, we wouldn’t be surprised if Honda simply left things pretty much alone for ‘09.
http://digg.com/autos/Honda_announces_new_CBR600RR_and_CBR1000RR_Fireblade

What should be in the new Apple Tablet?
Top Ten features needed for a dominate Apple Tablet, learning from the Asus EEE, MacBook Air and IPhone.
http://digg.com/apple/What_should_be_in_the_new_Apple_Tablet

Alexandre Herchcovitch Spring 2009 Mercedes Benz New York Fa
It wasn’t hard to guess the inspiration behind Alexandre Herchcovitch’s spring 2009 collection. Titled “Army of Love,” the dominant theme was that of a strongly militaristic look punctuated by a few frilly patterns and ruffled outfits.
http://digg.com/arts_culture/Alexandre_Herchcovitch_Spring_2009_Mercedes_Benz_New_York_Fa

Dominic Cheek Sets Official Visits
The #19 Player in the Class of 2009 notes his list of schools for Official Visits. Villanova, Kansas, and Wake Forest lead the way...
http://digg.com/basketball/Dominic_Cheek_Sets_Official_Visits

FABIO CAPELLO`s promise : England will dominate against Croa
England were booed after a goalless first half against minnows Andorra in Barcelona's Olympic Stadium.Capello hops that in Zagreb ( Wednesday night) will have everything under control and only good things will dominate.
http://digg.com/soccer/FABIO_CAPELLO_s_promise_England_will_dominate_against_Croa

Honda Dominent in World Supersport round 10 at Donington
Honda's rock Donington
http://digg.com/motorsport/Honda_Dominent_in_World_Supersport_round_10_at_Donington

itunes
danny rhymez and matty b dominate music industry
http://digg.com/music/itunes_8