"the ""Choral Fantasy"" text – universal fraternity with the meeting of arts – evokes similar feelings as the ""Ode to Joy"" text. Beethoven himself acknowledged the kinship of the two works. In a letter of 1824, when he was writing the Ninth Symphony, he described his project as ""a setting of the words of Schiller's immortal ""Lied an die Freude"" in the same way as my pianoforte fantasia with chorus, but on a far grander scale."" The ""Choral Fantasy"" theme is itself taken from earlier work by Beethoven: it is a slightly modified version of the composer's ""Gegenliebe"", a lied"
"Choral symphony A choral symphony is a musical composition for orchestra, choir, and sometimes solo vocalists that, in its internal workings and overall musical architecture, adheres broadly to symphonic musical form. The term ""choral symphony"" in this context was coined by Hector Berlioz when he described his ""Roméo et Juliette"" as such in his five-paragraph introduction to that work. The direct antecedent for the choral symphony is Ludwig van Beethoven's Ninth Symphony. Beethoven's Ninth incorporates part of the ""Ode an die Freude"" (""Ode to Joy""), a poem by Friedrich Schiller, with text sung by soloists and chorus in the last"
"a symphony (thus making it a choral symphony). The words are sung during the final movement by four vocal soloists and a chorus. They were taken from the ""Ode to Joy"", a poem written by Friedrich Schiller in 1785 and revised in 1803, with text additions made by the composer. In 2001, Beethoven's original, hand-written manuscript of the score, held by the Berlin State Library, was added to the United Nations Memory of the World Programme Heritage list, becoming the first musical score so designated. The Philharmonic Society of London originally commissioned the symphony in 1817. The main composition work"
"The Bells (symphony) The Bells (, ""Kolokola""), Op. 35, is a choral symphony by Sergei Rachmaninoff, written in 1913. The words are from the poem ""The Bells"" by Edgar Allan Poe, very freely translated into Russian by the symbolist poet Konstantin Balmont. The traditional Gregorian melody ""Dies Irae"" is used frequently throughout the work. It was one of Rachmaninoff's two favorite compositions, along with his ""All-Night Vigil"", and is considered by some to be his secular choral masterpiece. Rachmaninoff called the work both a choral symphony and (unofficially) his Third Symphony shortly after writing it; however, he would later write"
"Most of Bach's four-part chorales, around 370 of them, were published for the first time between 1765 and 1787: it were the only works by the composer that were published between ""The Art of Fugue"" (1751) and the 50th anniversary of the composer's death in 1800. In the late 18th century symphonies could include a chorale movement: for instance the third movement of Joseph Martin Kraus's 1792 ""Symphonie funèbre"" is a chorale on (the Swedish version of) ""Nun lasst uns den Leib begraben"". Early in the 19th century Ludwig van Beethoven chose a chorale-like ending for his Sixth Symphony (1808)."
"second in G major, the third in E major, the fourth in F major, and the fifth in B major. The final variation is twice interrupted by episodes in which loud fanfares from the full orchestra are answered by octaves by the first violins. A prominent French horn solo is assigned to the fourth player. A typical performance lasts about 16 minutes. The famous choral finale is Beethoven's musical representation of universal brotherhood based on the 'Ode to Joy' theme and is in theme and variations form. \new Score { </score> The movement starts with an introduction in which musical"
"season, and it concluded with Beethoven's ""Choral"" Symphony. Amy Evans sang again in the Beethoven, but the baritone was Herbert Heyner. Its continental premiere was in Frankfurt, Germany just over six weeks later on 1 May 1922, in the composer's presence. The conductor was Oscar van Pander (1883–1968), a music critic and journalist. Its next performance was 28 years later, on 6 November 1950 in Carnegie Hall, New York City. The Collegiate Chorale and the National Orchestra Association were conducted by William Johnson, and the soloists were Inez Manier and Paul Ukena. In the same program was Schubert's ""Unfinished"" Symphony,"
"a letter to Marietta Shaginyan announcing the completion of the work. The Bells (symphony) The Bells (, ""Kolokola""), Op. 35, is a choral symphony by Sergei Rachmaninoff, written in 1913. The words are from the poem ""The Bells"" by Edgar Allan Poe, very freely translated into Russian by the symbolist poet Konstantin Balmont. The traditional Gregorian melody ""Dies Irae"" is used frequently throughout the work. It was one of Rachmaninoff's two favorite compositions, along with his ""All-Night Vigil"", and is considered by some to be his secular choral masterpiece. Rachmaninoff called the work both a choral symphony and (unofficially) his"
"Choral Symphony (Holst) The Choral Symphony is a work by Gustav Holst for soprano soloist, chorus, and orchestra in a setting of verses by John Keats. Written in 1923–24, it was premiered in Leeds Town Hall on October 7, 1925, conducted by Albert Coates with Dorothy Silk as soloist. The same performers gave the work's second performance three weeks later in Queen's Hall, London. The work is sometimes known as the First Choral Symphony, although a planned 'second Choral Symphony' never progressed beyond some uncompleted sketches. The symphony is written in a traditional four-movement structure; nevertheless, the setting of the"
"was done between autumn 1822 and the completion of the autograph in February 1824. The symphony emerged from other pieces by Beethoven that, while completed works in their own right, are also in some sense ""sketches"" (rough outlines) for the future symphony. The Choral Fantasy Opus. 80 (1808), basically a piano concerto movement, brings in a choir and vocal soloists near the end for the climax. The vocal forces sing a theme first played instrumentally, and this theme is reminiscent of the corresponding theme in the Ninth Symphony (for a detailed comparison, see Choral Fantasy). Going further back, an earlier"
"then culminates with the second chorale ""Lobe den Herren, den mächtigen König der Ehren"". The musicologist Christopher Anderson comments that ""the acceptance of divine will in the first is answered by praise of the omnipotent God in the second, a commentary on the sacrifice of war in a Job-like perspective."" No. 3, ""Weihnachten"", contains the Advent song ""Es kommt ein Schiff, geladen"", followed by Luther's Christmas carol ""Vom Himmel hoch, da komm ich her"" and then the carol ""Stille Nacht"". No. 4, ""Passion"", contains Paul Gerhardt's chorale ""Herzliebster Jesu, was hast du verbrochen"", which Bach used as the first choral"
"of the composer, with Rosanna Carteri as the soloist. Among later recordings of the music, the RCA Victor recording by the Robert Shaw Chorale in 1965 won a Grammy Award for the ""Best Choral Performance."" The work is divided into six movements as follows: The first movement opens with a great chordal motif from the brass instruments that very closely resembles the opening of Igor Stravinsky's ""Serenade in A for Piano"" (1925). The chorus then enters singing in an accented and declamatory manner. The introduction begins in G major and modulates to a G minor chord, after which the woodwinds"
"Astoria Symphony. Recent repertoire has included Beethoven’s Ninth Symphony, the Mozart Requiem, Rachmaninoff’s Vespers, the Fauré Requiem, Leonard Bernstein’s Chichester Psalms and Morten Lauridsen’s Lux Æterna, along with choral works by American composers including Aaron Copland, Samuel Barber and Randall Thompson, and spirituals by Moses Hogan. During the 2008–2009 season, the Chorale premiered a new American work for chorus, orchestra and narrator at Lincoln Center. ""The Journey"", composed by Aaron Fruchtman, tells the tale of pioneers moving west on the Oregon Trail. The performance was narrated by Academy Award nominee Bruce Dern. During the 2009 - 2010 season, the Chorale"
"choral symphony shares equal standing with the music, as in an oratorio, and the chorus and soloists share equality with the instruments. Over time the use of text allowed the choral symphony to evolve from an instrumental symphony with a choral finale, as in the Beethoven's Ninth, to a composition that can use voices and instruments throughout the entire composition, as in Stravinsky's ""Symphony of Psalms"" or Mahler's Eighth Symphony. Sometimes the text can give a basic outline that correlates to the four-movement scheme of a symphony. For instance, the four-part structure of Edgar Allan Poe's ""The Bells"", a progression"
"during his tenure in Leipzig, in 1742. Bach used the central movement as the basis for the first of his Schübler Chorales, BWV 645. As the text and its eschatological themes are also associated with Advent, the cantata is commonly performed during that season. Bach structured the cantata in seven movements. The text and tune of the hymn are kept in the outer choral movements and the central movement, set as two chorale fantasias and a four-part closing chorale, which frame two sequences of recitative and aria. Bach scored the work for three vocal soloists (soprano (S), tenor (T), bass"
"dark and serious chorale as opposed to the triumphal Old Hundredth. Bach wrote a chorale prelude ""Vor deinen Thron"" on his deathbed (BWV 668). It was published as an addendum to the unfinished Art of the Fugue, and in the collection known as the Leipzig Chorales. The opening theme of the finale was adopted by Brahms for the Scherzo of his Piano Sonata No. 3, Op. 5, and Brahms also used the opening of the first movement of this trio as the basis for the piano line in the finale of his Piano Quartet No. 3 in C minor, Op."
"choral works, though not as numerous as his works for other media, stand out as some of his greatest (such as the ""Great"" Mass in C minor and Requiem in D minor, the latter of which is often considered the greatest Requiem Mass of all time). Haydn became more interested in choral music near the end of his life following his visits to England in the 1790s, when he heard various Handel oratorios performed by large forces; he wrote a series of masses beginning in 1797 and his two great oratorios ""The Creation"" and ""The Seasons"". Beethoven wrote only two"
"Music Festival"" (2007) ASCAP Chorus America (2005) ""Alice Parker Award for Adventurous Programming"" Orange County Department of Education (2002) ""Outstanding Contributions to Education Award"" Chorus America (1993) ""Margaret Hills Achievement Award for Choral Excellence"" The Chorale has recorded a number of CDs including: ""The Radio Hour"" (2015) by Jake Heggie, conducted by John Alexander ""The Shore and Other Choral Works"" (2013) by Frank Ticheli, conducted by John Alexander ""Vespers"" (2010) by Sergei Rachmaninoff, conducted by John Alexander ""Christmas Time is Here"" (2005) with Pacific Symphony, conducted by John Alexander ""An American Requiem"", by Richard Danielpour (2002) with Pacific Symphony, conducted"
"chorale opposed to the free meter of many interspersed recitatives. A turning point from distress to trust is reached close to the end in the only aria of the cantata. Bach first performed the cantata on 5 September 1723. Bach used the only aria as a base for the of his Missa in G major. The cantata in seven movements is scored for soprano, alto, tenor and bass soloists, a four-part choir singing the chorale exclusively, and a Baroque instrumental ensemble of two oboes d'amore, two violins, viola, and basso continuo. Note: the numbering of the movements follows Alfred Dürr."
"Philharmonia Chorus The Philharmonia Chorus is an independent self-governing symphony chorus based in London, UK. The Acting Chorus Master is Gavin Carr. The Philharmonia Chorus was founded in 1957 by Walter Legge as a choral counterpart to the Philharmonia Orchestra which he had founded twelve years earlier. The Chorus’s first concert, a performance on 12 November 1957 of Beethoven's Ninth Symphony, completed a cycle of Beethoven symphonies in London’s Royal Festival Hall with the Philharmonia Orchestra conducted by Otto Klemperer and was recorded with the same performers. To create his chorus, Legge turned to Wilhelm Pitz, then chorus master of"
"An unknown poet paraphrased the other three stanzas of the chorale for movements 2 to 5. In a recitative which Bach set for soprano, the librettist added to Luther's text what Hofmann calls ""essentially a free extension of its ideological content"". Bach led the first performance of the cantata on 29 October 1724. Bach structured the cantata in six movements. The text and tune of the hymn are retained in the outer choral movements, a chorale fantasia and a four-part closing chorale, which frame two sets of recitative and aria. Bach scored the work for four vocal soloists (soprano, alto,"
"ending sequence. Symphony No. 6 (Beethoven) The Symphony No. 6 in F major, Op. 68, also known as the Pastoral Symphony (German: ""Pastorale""), is a symphony composed by Ludwig van Beethoven and completed in 1808. One of Beethoven's few works containing explicitly programmatic content, the symphony was first performed in the Theater an der Wien on 22 December 1808 in a four-hour concert. Beethoven was a lover of nature who spent a great deal of his time on walks in the country. He frequently left Vienna to work in rural locations. The composer said that the Sixth Symphony is ""more"
"Symphony No. 6 (Beethoven) The Symphony No. 6 in F major, Op. 68, also known as the Pastoral Symphony (German: ""Pastorale""), is a symphony composed by Ludwig van Beethoven and completed in 1808. One of Beethoven's few works containing explicitly programmatic content, the symphony was first performed in the Theater an der Wien on 22 December 1808 in a four-hour concert. Beethoven was a lover of nature who spent a great deal of his time on walks in the country. He frequently left Vienna to work in rural locations. The composer said that the Sixth Symphony is ""more the expression"
"the word may as well refer to Protestant congregational singing as to other forms of vocal (church) music, including Gregorian chant. The English word which derived from this German term, that is ""chorale"", however almost exclusively refers to the musical forms that originated in the German Reformation. The bulk of Lutheran hymn texts and chorale melodies was created before the end of the 17th century. Johann Pachelbel's ""Erster Theil etlicher Choräle"", a set of organ chorales, was published in the last decade of the 17th century. Johann Sebastian Bach's earliest extant compositions, works for organ which he possibly wrote before"
"Johann Sebastian Bach for the chorale movements (6 and 10) of his cantata ""Herz und Mund und Tat und Leben, BWV 147"". The sixth movement is ""Wohl mir, daß ich Jesum habe"", and the tenth movement is ""Jesu bleibet meine Freude"". Under the English title of ""Jesu, Joy of Man's Desiring"" Bach's chorale has been arranged for different instruments and has gained wide popularity. Johann Schop Johann Schop (ca. 1590 – 1667) was a German violinist and composer, much admired as a musician and a technician, who was a virtuoso and whose compositions for the violin set impressive technical demands"
"commissioned to commemorate the centenary of the outbreak of the First World War. Like an oratorio or an opera, a choral symphony is a musical work for orchestra, choir and (often) solo voices, although a few have been written for unaccompanied voices. Berlioz, who in 1858 first coined the term when describing his work ""Roméo et Juliette"", explained the distinctive relationship he envisaged between voice and orchestra: Even though voices are often used, it is neither a concert opera nor a cantata, but a choral symphony. If there is singing, almost from the beginning, it is to prepare the listener's"
"singer, regardless of previous experience. The Chorale performs three major concerts per year. In recent years, the Chorale has performed classical works including J.S. Bach’s Mass in B Minor, Beethoven’s Mass in C, Mozart’s Requiem, Durufle's Requiem, Schubert's Mass in G Major, and Mendelssohn's Elijah. As a holiday tradition, the Chorale traditionally performed Handel’s Messiah for its winter concert in December, until 2016. In 2017, the Camarata Music Company, featuring all choirs, introduced their new, yearly concert, ""Christmas with Camarata"". The event is a popular Seoul event, consistently attracting over 2,500 attendees. In 2010, the choir was led in performance"
"than to Arnold Schoenberg . Choral (Stockhausen) Choral (Chorale) is a short a cappella choral composition by Karlheinz Stockhausen, who wrote both the words and music in 1950. It was later given the number / in the composer's catalogue of works and lasts about four minutes in performance. The score is dedicated to the composer's first wife, Doris Stockhausen, née Andreae. During his third year of music-education studies at the Cologne Conservatory, free stylistic exercises in composition were part of the programme of training. His teacher was Professor Hermann Schroeder. Along with fugues, chorale preludes, sonatas, and song arrangements in"
"Bridal Chorus The ""Bridal Chorus"" () from the 1850 opera ""Lohengrin"" by German composer Richard Wagner – who also wrote the libretto – is a march played for the bride's entrance at many formal weddings throughout the Western world. In English-speaking countries it is generally known as ""Here Comes the Bride"" or ""Wedding March"", though ""wedding march"" refers to any piece in march tempo accompanying the entrance or exit of the bride, notably Felix Mendelssohn's ""Wedding March"". The piece was made popular when it was used as the processional at the wedding of Victoria the Princess Royal to Prince Frederick"
"in """" (1986–1988) and ""La ville d'en haut"" (1989), two late . Stand-alone orchestral chorales were adapted from works by Johann Sebastian Bach: for instance Leopold Stokowski orchestrated, among other similar pieces, the sacred song BWV 478 and the fourth movement of the cantata BWV 4 as chorales ""Komm, süsser Tod"" (recorded 1933) and ""Jesus Christus, Gottes Sohn"" (recorded 1937) respectively. Recordings of all of Bach's chorales—vocal as well as instrumental—appeared in the three complete works box sets that were issued around the 250th anniversary of the composer's death in 2000. Chorale melodies are often in Bar form, that is,"
"chorale. An unknown librettist paraphrased the inner stanzas as alternating arias and recitatives. Bach scored the cantata for four vocal soloists (soprano, alto, tenor, bass), a four-part choir and a Baroque instrumental ensemble of natural horn, enforcing the soprano in the hymn tune, two oboes d'amore, strings and basso continuo. Bach wrote the cantata in 1724 for the 25th Sunday after Trinity as part of his second annual cycle of mostly chorale cantatas. The prescribed readings for the Sunday were from the First Epistle to the Thessalonians, the coming of the Lord (), and from the Gospel of Matthew, the"
"Choirs are also featured at one of the Chorale’s major concerts during the year. The Camarata Orchestra is an ensemble of professional musicians from around the world. The Orchestra accompanies the Camarata Chorale during the regular Chorale concerts throughout the year, and also performs its own repertoire. Recent performances by the Camarata Orchestra include: Mozart's Piano Concerto No. 20 in D Minor, K. 466, Beethoven's Piano Concerto no. 1 in C Major, Lussier's Bacchanale, and Bach Suite No. 3 in D major, BWV 1068. Camarata also produces an annual orchestra-backed spring musical theater production. Recent productions have included Cinderella, The"
"chorale. They frame alternating recitatives and arias with the text arranged by the librettist. Bach scored the work for three vocal soloists (alto (A), tenor (T) and bass (B)), a four-part choir, and a Baroque instrumental ensemble: horn to support the chorale tune sung by the soprano in the outer movements, flauto traverso (Ft), oboe (Ob), oboe d'amore (Oa), two violins (Vl), viola (Va), and basso continuo (Bc). The title page of the original parts reads: ""Festo Purificat: Mari[ae] / Mit Fried und Freud ich fahr dahin etc. / â / 4 Voc: / Travers: / Hautbois d' Amour /"