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Hildegard von Bingen – The Origin of Fire

Hildegard von Bingen (1098-1179)

The Origin of Fire

01. Hymn: Veni creator spiritus
02. Sequence: Veni spiritus eternorum
03. Antiphon: O quam mirabilis est
04. Vision 1: The fire of creation I
05. Vision 1: The fire of creation II
06. Sequence: O ignis spiritus paracliti
07. Vision 2: Wisdom and her sisters I
08. Vision 2: Wisdom and her sisters II
09. Responsory: O felix anima
10. Vision 3: The fiery spirit I
11. Vision 3: The fiery spirit II
12. Hymn: O ignee spiritus
13. Vision 4: Love I
14. Vision 4: Love II
15. Antiphon: Caritas habundat in omnia
16. Antiphon: O eterne deus
17. Hymn: Beata nobis gaudia

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Alfred Schnittke – Symphony No. 2 "St. Florian"

Alfred Schnittke (1934 – 1998)
Symphony No. 2 St. Florian
[1979] I. Kyrie
II. Gloria
III. Credo
IV. Crucifixus
V. Sanctus – Benedictus
VI. Agnus Dei
Royal Stockholm Philharmonic Orchestra; Mikael Bellini (Countertenor); Torkel Borelius (Bass); Mikaeli Chamber Choir; Leif Segerstam (Conductor)
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Franz Liszt – "Le Forgeron" for Soloists, Male Chorus and Piano, S. 81

Franz Liszt (1811 – 1886)
Le Forgeron for Soloists, Male Chorus and Piano, S. 81
[1845] János Tóth (Baritone); Sándor Boros (Tenor); Honved Ensemble Male Choir; Gergely Bogányi (Piano); András Tóth (Conductor)
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Giuseppe Verdi – "La Traviata"

Giuseppe Verdi (1813 – 1901)
La Traviata
[1853] Libretto: Francesco Maria Piave
Violetta Valéry……….Joan Sutherland (Soprano)
Alfredo Germont……….Luciano Pavarotti (Tenor)
Giorgio Germont…….Matteo Manuguerra (Baritone)
Flora Bervoix……….Della Jones (Mezzo-soprano)
Annina………….Marjon Lambriks (Mezzo-soprano)
Gastone……………….Alexander Oliver (Tenor)
Barone Douphol………Jonathan Summers (Baritone)
Marchese d’Obigny…………John Tomlinson (Bass)
Dottore Grenvil……………Giorgio Tadeo (Bass)
Giuseppe………………..Ubaldo Gardini (Tenor)
Commissioner………William Elvin (Bass-baritone)
Flora’s servant….David Wilson-Johnson (Baritone)
National Philharmonic Orchestra; Richard Bonynge (Conductor)
Act 1
01. Prelude
02. Dell’ invito trascorso è già l’ora
03. Brindisi: Libiamo, ne’ lieti calici
04. Che è cio?
05. Un dì felice, eterea…Si ridesta in ciel l’aurora
06. E strano!Ah, fors’è lui
07. Follie! Delirio vano è questo!Sempre libera
Act 2
01. Lunge da lei
02. De’ miei bollenti spiriti…Annina, donde vieni?
03. O mio rimorso!…Alfredo?
04. Pura, siccome un angelo…Un dì, quando le veneri
05. Dite alla giovine…Non amarlo ditegli
06. Dammi tu forza, o ciel!…Ah, vive sol quel core
07. Di Provenza il mar…Né risponde d’un padre…
08. No, non udrai rimproveri
09. Avrem lieta di maschere la notte…Di Madridi
10. Alfredo! Voi!…Or tutti a me…Ogni suo aver
11. Di sprezzo degno…Alfredo, Alfredo, di questo core
Act 3
01. Prelude – Annina? Comandate?
02. Tenesta la promessa – Attendo, né a me giungon mai – Addio del passato
03. Baccanale: Largo a quadrupede
04. Signora… Che t’accade?
05. Parigi, o cara…Ah! Gran Dio!
06. Ah, Violetta!…Se una pudica vergine
Libretto (Deutsch – Français – Italiano – English)
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Alberto Ginastera – String Quartet No. 3 for Soprano and String Quartet, Op. 40

Alberto Ginastera (1916 – 1983)
String Quartet No. 3 for Soprano and String Quartet, Op. 40
[1973] I. Contemplativo (La música by Juan Ramón Jiménez)
II. Fantastico
III. Amoroso (Canción de Belisa by Federico García Lorca)
IV. Drammatico (Morir al sol by Rafael Alberti)
V. Di nuovo contemplativo (Ocaso by Juan Ramón Jiménez)
Claudia Montiel (Soprano); Cuarteto Latinoamericano
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Charles Ives – Symphony No. 4

Charles Ives (1874-1954)
Symphony No. 4
[1912–18 ; 1924–26] I. Prelude: Maestoso
II. Allegretto
III. Fugue: Andante moderato con moto
IV. Very slowly – Largo maestoso
Cleveland Orchestra; Cleveland Orchestra Chorus; Christoph von Dohnányi (Conductor)
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Karol Szymanowski – Symphony No. 3 for Tenor, Chorus and Orchestra "The Song of the Night", Op. 27 (M36)

Karol Szymanowski (1882-1937)

Symphony No. 3 for Tenor, Chorus and Orchestra The Song of the Night, Op. 27 (M36) [1914-16]

I. Moderato assai
II. Vivace scherzando
III. Largo
Jon Garrison (Tenor) City of Birmingham Symphony Orchestra CBSO Chorus Simon Rattle (Conductor)
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Hildegard von Bingen – Eine Feder auf dem Odem Gottes

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Hildegard von Bingen (1098-1179)

Eine Feder auf dem Odem Gottes

1. Columba aspexit (Sequentia de Sancto Maximino)
2. Ave generosa (Ymnus de Sancta Maria)
3. O ignis spiritus (Sequentia de Spiritu Sancto)
4. O Ierusalem (De sancto Ruperto)
5. O Euchari (De sancto Euchario Sequentia)
6. O viridissima virga (De sancta Maria)
7. O presul yere civitas (Sequentia de Sancto Dysibodo)
8. O Ecclesia (De Undecim Milibus Virginibus)

[tabby title=”Review”] “Columba aspexit presents a vision of Saint Maximinus as a celebrant at Mass. The Holy Ghost hovers (symbolised by the dove and the lattice. Hildegard explains the latter symbol in the Scivias as the window of God’s mercy through which shines the perfect revelation of the New Testament) as Maximinus celebrates; flooded with grace he is a building – Saint Paul’s edifice of the temple which is in the devout heart. God’s love, represented in biblical fashion by the heat of the sun, blazes in the dark sactuary. The ‘stone’ of Stanza 4 is the altar – these lines are rich in imagery drawn from the liturgy for consecrating and anointing an altar (lapis); as he moves to it in his celebration, Maximinus is like the hart of Psalm 41 (42 in the Authorised Version). Stanza 5 turns to be the clergy who surround Maximinus in the ceremony. The ‘perfume-makers’ (perfume is a metaphor of Devine Grace) are the clerics of Trier: Maximinus was the patron of the Benedictine abbey there and Hildegard probably wrote this sequence for them. The ‘holy sacrifice with the rams’ was required by God in the ordination of Aaron’s sons to the priesthood (Exodus 29), but the ‘rams’ may also be the choirboys at Trier (Scivias, 2:5:45).
Ave generosa is a testemony to Hildegard’s devotion to the Virgin. The imaginary is frequently erotic.
O ignis spiritus is Hildegard’s apostrophe to her Muse, the Pentecostal fire which settled upon her and imparted knowledge of the major biblical books.
O Ierusalem celebrates Saint Rupert. Hildegard re-founded his monastery in 1150 and moved there with her nuns. The original buildings were destroyed by the Normans (the ‘fools’ of the Sequence), providing Hildegard with a potent but implicit comparison between her monastery and Jerusalem, destroyed on Earth and re-built in Heaven (Revelations 21, whence some of the imagery of this sequence is derived
Hildegard von Bingen (1098-1179)
O Eucharie, like Columba aspexit, was almost certainly written for the clergy at Trier. Saint Eucharius was a third-century missionary who became the bishop of the city. Stanza 1 evokes his years as an itinerant preacher (during which he performed miracles). The ‘fellow-travellers’ of stanza 2 are presumably Valerius and Maternus, his companions in the missionary work. The ‘three shrines’ of stanza 5 (compare Matthew 17:4) represent the Trinity and perhaps, if we follow the Glossa Ordinaria, the triple piety of words, thoughts and deeds. The ‘old and the new wine’ of stanza 6 represent the Testaments: Ecclesia savours both, but the Synagogue, like the ‘old bottles’ of Christ’s parable, cannot sustain the New. Hildegard closes the sequence with a prayer that the people of Trier may never revert to the paganism in which Eucharius found them, but may always re-enact the redemptive sacrifice of Christ in the form of the Mass.
With superb control Hildegard in O viridissima virga elaborates the image of Mary as the branch of Jesse. Mary’s fertility endows the animal and vegetable kingdoms with new life and brings mankind to God through the sheer joy of contemplating the Devine agency.
O presul celebrates Saint Disibod, the patron of the monastery where Hildegard was raised. She composed this sequence in response to Abbot Cuno of Disibodenberg who wrote to her asking for a copy of anything “that God reveals to you about our patron”. She centainly sent him this poem; we do not know whether it was accompanied by the music. Hildegard evokes the itinerant hermit’s life that brought Disibod to the place later to be the site of the monastery, and emphasises his founder’s role by a stream of architectural, cloistral imagery.
O Ecclesia celebrates Saint Ursula who, according to legend, was martyred with eleven thousand virgins at Cologne. Ursula, a woman who had rejected an earthly marriage for a heavenly one, who had died in Cologne, and who led a company of Christian women, naturally occupied a special place in Hildegard’s devotion. There were relics of Ursula at Disibodenberg where Hildegard had been raised, and Elizabeth of Schonau (a mystic whom Hildegard knew) created a stir in 1156/1157 with her visions of Ursula and her companions. Hildegard does not appear to have been directly influenced by these visions, but this is her most sustained response to a legend that was clearly popular and much in the minds of clerics and laymen.”
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Emma Kirkby (Soprano) Gothic Voices Christopher Page (Conductor)
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Franz Schubert – "Winterreise", D. 911 (Op. 89)

Franz Schubert
Winterreise, D. 911 (Op. 89)
01. Gute Nacht
02. Die Wetterfahne
03. Gefrorne Tränen
04. Erstarrung
05. Der Lindenbaum
06. Wasserfluth
07. Auf dem Flusse
08. Rückblick
09. Irrlicht
10. Rast
11. Frühlingstraum
12. Einsamkeit
13. Die Post
14. Der greise Kopf
15. Die Krähe
16. Letzte Hoffnung
17. Im Dorfe
18. Der stürmische Morgen
19. Täuschung
20. Der Wegweiser
21. Das Wirtshaus
22. Mut!
23. Die Nebensonnen
24. Der Leiermann
Dietrich Fischer-Dieskau (Baritone); Jörg Demus (Piano); Wilhelm Müller (Poems)
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Wim Mertens – Platinum Collection

Wim Mertens
Platinum Collection
Disc 1
01. Close Cover
02. 4 Mains
03. Their Duet
04. Hufhuf
05. No Testament
06. Naviamente
07. Maximizing the Audience
08. Multiple 12
09. To Keep Them from Falling
10. A Sandy Shore
11. 2 and 3 Equals 1
12. In 3 or 4 Days
Disc 2
01. Wound to Wound
02. The Paths Not Taken
03. With All Its Might
04. Un Respiro
05. The Personell Changes
06. The Scene
07. Often a Bird
08. The Fosse
09. What that One Does
10. Not at Home
11. Gorf
12. Song 6
Disc 3
01. Struggle for Pleasure
02. Alef
03. Birds for the Mind
04. Humility
05. Yes, I Never Did
06. Passend (reprise)
07. Hors-nature
08. Zutzig
09. Al
10. La Fin de la Visite
11. Iris
12. MP4
Wim Mertens (Piano)
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