Podcasts about dixit dominus

durée : 00:17:00 - Le Disque classique du jour du lundi 14 avril 2025 - Leonardo Garcia Alarcon met en regard deux œuvres monumentales : une Messa Concertata du maître de chapelle de la Basilique San Petronio de Bologne et le célèbre Dixit Dominus que George Friedrich Haendel composa lors de son séjour à Rome en 1707.

durée : 01:27:21 - En pistes ! du lundi 14 avril 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Mais aussi : un album autour des 24 Caprices de Paganini, une intégrale chronologique des œuvres pour piano de Debussy, une viole et un violon dans l'Angleterre du XVIIème siècle, les Nouveaux Mondes de Dvorak et Avner Dorman...

durée : 00:17:00 - Le Disque classique du jour du lundi 14 avril 2025 - Leonardo Garcia Alarcon met en regard deux œuvres monumentales : une Messa Concertata du maître de chapelle de la Basilique San Petronio de Bologne et le célèbre Dixit Dominus que George Friedrich Haendel composa lors de son séjour à Rome en 1707.

durée : 01:27:21 - En pistes ! du lundi 14 avril 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Mais aussi : un album autour des 24 Caprices de Paganini, une intégrale chronologique des œuvres pour piano de Debussy, une viole et un violon dans l'Angleterre du XVIIème siècle, les Nouveaux Mondes de Dvorak et Avner Dorman...

Georg Friedrich Händel (1685-1759) - Dixit Dominus, HWV 232 1.       Dixit Dominus Domino Meo 0:002.       Virgam Virtutis Tuae (Countertenor) 5:183.       Tecum Principium In Die Virtutis Tuae (Soprano) 7:564.       Juravit Dominus (Chorus) 11:075.       Secundum Ordinem Melchisedech (Chorus) 13:07 6.       Dominus A Dextris Tuis (Quintet, Chorus)  14:387.       De Torrente In Via Bibet (Sopranos, Chorus) 21:128.       Gloria Patri Et Filio (Chorus) 24:35 Natalie DessayKarine Deshayes Philippe JarousskyToby SpenceLaurent Naouri Le Concert d'Astrée Emmanuelle Haïm, conductor

Baldassarre Galuppi (1706 - 1785) - Dixit Dominus [Psalm 110] in sol minore Per soprano, alto, coro, archi e basso continuo 1.       Dixit - coro (00:00)2.       Juravit Dominus - contralto (03:05)3.       Judicabit In Nationibus - coro (08:11)4.       De Torrente - soprano (10:54)5.       Gloria Patri - coro (15:11) Roberta Invernizzi, sopranoRomina Basso, contralto Coro e Orchestra Ghislieri Giulio Prandi, conductor

2025. gads visā pasaulē iezīmēsies kā Arvo Perta deviņdesmitās jubilejas gads. Un arī Latvijas klausītāji varēs piedalīties Arvo Perta jubilejas gada ieskaņas koncertā, baudot vispasaules slavu iemantojušā igauņu komponista mūziku – mūziku, kura personiski uzrunā visu paaudžu klausītājus ar tās pārpasaulīgumu un vienlaikus cilvēcību, ar savu mieru un reizē dramatismu. Sestdien, 8. februārī, Rīgā, Lutera (Torņkalna) baznīcā skanēs Arvo Perta "Te Deum" un Georga Fridriha Hendeļa "Dixit Dominus", ko izpildīs Latvijas Radio koris un kamerorķestris "Sinfonietta Rīga". Pie diriģenta pults – Kaspars Putniņš, ar kuru tiekamies arī uz sarunu "Klasikas" viļņos. "Ar Perta mūziku jūtu visnotaļ ciešu un ilgstošu saikni. Tas varētu būt 1986. gada ziemā, kad es Mūzikas akadēmijas basketbola komandas sastāvā biju Tallinā," stāsta diriģents. "Tā kā sākās pārmaiņu laiki Padomju savienībā, tad tieši 86./87. gada ziemā bija pirmais Arvo Perta autorkoncerts Padomju Igaunijā pēc viņa emigrēšanas uz rietumiem. Viņš pats šajā pasākumā nepiedalījās, bet Estonijas koncertzāle bija stāvgrūdām pilna, un kādā dīvainā, nesaprotamā kārtā, neskatoties uz to, ka tur bija vispārēja sajūsma, kāpnes bija pilnas ar cilvēkiem (mūsdienās to neviens nepieļautu ugunsdrošības noteikumu neievērošanas dēļ!), bet mūsu draugi mūs tur iedabūja iekšā. Es nekad tādu mūziku savā dzīvē agrāk nebiju dzirdējis, un tas bija pilnīgs kultūršoks. Turklāt vēl biju tikko atnācis no armijas, biju ilgāku laiku nodzīvojis tādā informācijas un mūzikas vakuumā. Tūlīt pēc tam sāku intensīvi meklēt iespējas šo mūziku iepazīt tuvāk un ar to nodarboties, un Sigvarda [Kļavas] organizētajā festivālā "Satikšanās mūzikā" Universitātes aulā, tas varēja būt astoņdesmito gadu beigās, iespējams, ka mēs ar Rīgas vokālo grupu toreiz ka tik nebijām pirmie, kas Arvo Perta mūziku pēc viņa emigrācijas, došanās trimdā atskaņoja Rīgā. Kamēr viņš bija Igaunijā, Perta mūzika šad un tad tika atskaņota arī pie mums. Tā ka attiecības ir senas un man personīgi ļoti, ļoti svarīgas."

durée : 00:15:54 - Le Disque classique du jour du lundi 18 novembre 2024 - Bien que régulièrement interprété, peu de choses nous sont parvenues au sujet du Dixit Dominus de Händel. Oeuvre d'un compositeur de 22 ans, celle-ci reflète, par son impressionnante virtuosité, l'état d'esprit du Händel d'alors : fougueux, audacieux et sensible.

durée : 00:15:54 - Le Disque classique du jour du lundi 18 novembre 2024 - Bien que régulièrement interprété, peu de choses nous sont parvenues au sujet du Dixit Dominus de Händel. Oeuvre d'un compositeur de 22 ans, celle-ci reflète, par son impressionnante virtuosité, l'état d'esprit du Händel d'alors : fougueux, audacieux et sensible.

Musica sacra del Settecento: B. Galuppi e G. B. SammartiniBaldassarre Galuppi (1706–1785)Dixit Dominus per soprano, alto, coro, archi e basso continuo in sol minore1.       Dixit - coro                                     [00:04]2.       Juravit Dominus - contralto        [03:10]3.       Judicabit In Nationibus - coro    [08:16]4.       De Torrente - soprano                 [11:00]5.       Gloria Patri – coro                         [15:16] Roberta Invernizzi, sopranoRomina Basso, contraltoGiulio Prandi, direttoreGhislieri Choir & Consort ************ Giovanni Battista Sammartini (c.1700-1775)Beatus Vir mottetto per solisti coro e orchestra in do maggiore [17:34]SoIists and Choir RadioteIevisione svizzeral BarocchіstіDіego FasoIіs, conductor

Avui hem sentit: Quartet en sol major, op.44 n

Orazio Benevolo - Dixit DominusConcert Spirituel Chorus Herve Niquet, conductorMore info about today's track: Naxos 8.553636Courtesy of Naxos of America Inc. SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Georg Friedrich Händel (1685 - 1759) - Dixìt Dominus Domino meo, HWV 232Concerto sacro per soli, coro, archi e basso continuoTesto: Salmo 109 Dixit Dominus, Domino meo (sol minore) Coro, 2 violini, 2 viole, e basso continuoVirgam virtutis tuae (si bemolle maggiore) Aria per contralto e basso continuoTecum principium (la bemolle maggiore) Aria per soprano, 2 violini, 2 viole e basso continuoJuravit Dominus - Grave (la bemolle maggiore) Coro, 2 violini, 2 viole e basso continuoSecundum ordinem Melchisedech (si bemolle maggiore) Coro, 2 violini, 2 viole e basso continuoDominus a dextris tuis - Allegro (re minore) Coro, 2 violini, 2 viole e basso continuoDe torrente ini via bibet (do minore) Coro, 2 violini, 2 viole, violoncello e basso continuoGloria Patri et Filio (sol minore) Coro, 2 violini, 2 viole e basso continuoMonteverdi ChoirEnglish Baroque Soloists Sir John Eliot Gardiner, conductor  About Dixìt Dominus Domino meo, HWV 232

durée : 01:27:08 - En pistes ! du mardi 25 juin 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au menu du jour : Triple Concerto de Beethoven, le Dixit Dominus de Haendel, La Danza (d'après Rossini) de Liszt, également au programme les œuvres de Ruggero Leoncavallo, Ernesto de Curtis, John Cage et Giulio Caccini. En pistes !

durée : 01:27:55 - En pistes ! du vendredi 05 avril 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme de ce vendredi matin : L'Enlèvement au sérail de Mozart, la Symphonie n° 5 de Sibelius, la Sicilienne de Chausson, mais également le Sonate pour violon de Lekeu, le Dixit Dominus de Monteverdi, la Sonate n° 2 pour violon d'Ysaÿe, et les légendaires Indes galantes de Rameau. En pistes !

durée : 01:27:35 - En pistes ! du vendredi 15 mars 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme de ce vendredi matin, le Dixit Dominus de Haendel, la Symphonie n°9 de Chostakovitch, les Fantasiestücke de Schumann, mais également l'Impromptu n°2 de Schubert, la Symphonie n° 13 de Philip Glass et le Stabat Mater de Scarlatti. En pistes !

durée : 00:16:07 - Handel: Dixit Dominus,Laudate pueri,Nisi Dominus RIAS Kammerchor, Akademie für Alte Musik Berlin, Justin Doyle - L'Akademie für Alte Musik Berlin et le RIAS Kammerchor, dirigés par Justin Doyle, nous livrent une lecture vive et colorée de trois éblouissantes œuvres sacrées de Haendel

This week Tayla is joined by Tia Pinney and Scott McCue from MetroWest Mass Audubon to talk about Massachusetts official groundhog, Ms. G. They discuss how Ms. G became Mass's official groundhog and their upcoming groundhog's day festivities. They also discuss King Philip's War and the value of making music. During The Last Chapter they discuss: How do you organize your bookshelves at home? Podcast disclaimer Like what you hear? Rate and review Down Time on Apple Podcasts or your podcast player of choice! If you'd like to submit a topic for The Last Chapter you can send your suggestions to downtime@cranstonlibrary.org. Our theme music is Day Trips by Ketsa and our ad music is Happy Ukulele by Scott Holmes. Thanks for listening! Books Braiding Sweetgrass by Robin Wall Kimmerer The Name of War by Jill Lepore Remarkably Bright Creatures by Shelby Van Pelt The Woman In the Library by Sulari Gentill AV Life On Our Planet (2023- )  Great British Baking Show (2010- ) Poirot (1989-2013) Dixit Dominus by George Handel (YouTube) Groundhog Day (1993) Other Mass Audubon Metro West Region Ms. G: Massachusetts State Groundhog Rare Books at the Boston Public Library First Day Hikes - American Hiking Society

Lex Bohlmeijer bespreekt nieuwe releases met een panel van deskundigen en liefhebbers van klassieke muziek. Nieuwe opnamen van middeleeuws tot minimal, en natuurlijk ook 'De Vergelijking', waarin een nieuwe uitvoering de strijd aangaat met twee ‘concurrenten'.

Als Margarita Cozzolani 13 Jahre alt war, schlossen sich die Tore des inzwischen zerstörten Klosters St. Radegonda hinter ihr, von dem man im nahegelegenen Mailand lange erzählte, dass der Kreuzgang regelmäßig vom umherspukenden Geist eines lebendig begrabenen Mädchens heimgesucht werde. Ob Chiara Margarita dem Geist je begegnet ist, ist nicht überliefert. Allerdings wurde St. Radegonda auch durch sie später in einem sehr viel schöneren Sinn überregional bekannt.

Avui hem sentit: Dixit Dominus; Salve regina;

Musica sacra del Settecento: B. Galuppi e G. B. SammartiniBaldassarre Galuppi (1706–1785)Dixit Dominus per soprano, alto, coro, archi e basso continuo in sol minore1.       Dixit - coro                                    [00:04]2.       Juravit Dominus - contralto        [03:10]3.       Judicabit In Nationibus - coro    [08:16]4.       De Torrente - soprano                 [11:00]5.       Gloria Patri – coro                        [15:16] Roberta Invernizzi, sopranoRomina Basso, contraltoGiulio Prandi, direttoreGhislieri Choir & Consort ************ Giovanni Battista Sammartini (c.1700-1775)Beatus Vir mottetto per solisti coro e orchestra in do maggiore [17:34]SoIists and Choir RadioteIevisione svizzeral BarocchіstіDіego FasoIіs, conductor

*EVANGELHO DO COLETIVO GIRASSÓIS — ESPÍRITAS PELO BEM COMUM* Sexta-feira, 09/12/2022 *“ESTUDO ESPECIAL DE FIM DE ANO DE ‘O EVANGELHO SEGUNDO O ESPIRITISMO‛”* Capítulo XXIV: *Não coloqueis a candeia sob o alqueire* 13 a 16: *Coragem da fé* Trilha sonora: G.F. Handel, "De torrente in via bibet" ("Dixit Dominus", HWV 232) — Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner (Conductor). ►Em todos os momentos destas leituras e destas reflexões, pedimos que vibremos, de todo o coração, pelos enfermos da alma e do corpo e pela Paz na Terra, a partir de nós próprios. . Vibremos também, especialmente hoje, pelo aniversário de 4 anos do Coletivo Girassóis, Espíritas pelo Bem comum!◄

Oudemuziekkenner Kees Koudstaal schotelt u de mooiste en recentste CD’s met oude en klassieke muziek voor. Dit keer viel zijn keuze op de nieuwe albums van Accademia d'Arcadia en UtFaSol Ensemble, Ensemble Masques, La Gioia Armonica, William Carter en Orchestre de l'Opéra Royal.    1. Alessandro Grandi (1590-1630) – ‘Dixit Dominus' Uitvoerenden: Accademia d'Arcadia en […]

Today on In Unison, we're heading across the pond to chat with Robert Hollingworth, the director of https://www.ifagiolini.com/about.html (I Fagiolini), a solo-voice ensemble based in the UK. Robert also co-hosts a very choir-nerdy podcast called Choral Chihuahua, and his passion for bringing choral music to the masses definitely helped to inspire the In Unison podcast. Music excerpts “https://music.apple.com/us/album/draw-on-sweet-night/1609110915?i=1609110916 (Draw on, sweet night)” by John Wilbye, performed by I Fagiolini, featured on the album https://music.apple.com/us/album/john-wilbye-draw-on-sweet-night/1609110915 (Draw On Sweet Night) “https://music.apple.com/us/album/dixit-dominus-sv-264/1452302594?i=1452303408 (Dixit Dominus),” by Claudio Monteverdi, performed by I Fagiolini and the http://www.ecse.co.uk/ (English Cornett and Sackbut Ensemble), featured on the album https://music.apple.com/us/album/monteverdi-the-other-vespers/1452302594 (Monteverdi: the Other Vespers)  “https://music.apple.com/us/album/le-cantique-des-cantiques-v-le-jardin-clos/1452624688?i=1452624965 (Le jardin clos),” from Le Cantique des cantiques, by Jean-Yve Daniel-Lesur, performed by I Fagiolini, featured on the album https://music.apple.com/us/album/amuse-bouche/1452624688 (Amuse-Bouche) Episode references I Fagiolini https://www.ifagiolini.com/ (Website) | https://www.instagram.com/i_fagiolini/ (Instagram) | https://www.facebook.com/ifagiolini (Facebook) | https://www.youtube.com/ifagiolini (YouTube) https://www.youtube.com/playlist?list=PLsdmpGkkaBlCmyiEyHtUjBAEIjbb4bVXp (Sing the Score) on YouTube https://music.apple.com/us/album/john-wilbye-draw-on-sweet-night/1609110915 (Draw On Sweet Night) album pre-sale https://podcasts.apple.com/us/podcast/choral-chihuahua/id1511594965 (Choral Chihuahua Podcast) Theme Song: https://music.apple.com/us/album/mr-puffy/1457011536?i=1457011549 (Mr. Puffy) by Avi Bortnik, arr. by Paul Kim. Performed by http://www.dynamicjazz.dk/ (Dynamic)

Musica sacra del Settecento: B. Galuppi e G. B. SammartiniBaldassarre Galuppi (1706–1785)Dixit Dominus per soprano, alto, coro, archi e basso continuo in sol minore1.Dixit - coro [00:04]2.Juravit Dominus - contralto [03:10]3.Judicabit In Nationibus - coro [08:16]4.De Torrente - soprano [11:00]5.Gloria Patri – coro [15:16]Roberta Invernizzi, sopranoRomina Basso, contraltoGiulio Prandi, direttoreGhislieri Choir & Consort************Giovanni Battista Sammartini (c.1700-1775)Beatus Vir mottetto per solisti coro e orchestra in do maggiore 1.Beatus Vir [17:34]2.Exortum est in tenebris[23:31]3.In memoria aeterna [30:54]4.Gloria Patri [34:40]5.Sicut erat [37:12]SoIists and Choir RadioteIevisione svizzeral BarocchіstіDіego FasoIіs, conductor

17 October 2021 | St. Ignatius of Antioch | Santa Rosa, Calif. This week, we get a new perspective on the beginning of the Hobbit, as well as on one of Shakespeare's greatest plays! Just what was Gandalf doing to prepare that fateful meeting behind Bilbo Baggins and Thorin Oakenshield? And could Lear and Cordelia be an allegory for Reformation England and the Catholic Church? Also in this episode: we commemorate one of our earliest and greatest martyrs, the God-bearing bishop of Antioch, with the account of his trial and readings from his letter to the Romans. [Apologies for the audio issues in the Tolkien segment!] Opening music: “Dixit Dominus, Domino meo,” from Carmelite Vespers (HWV 232: No. 1, Chorus), composed by G.W.F. Handel, performed by the Taverner Choir and Players, dir. Andrew Parrott, 1989. All rights reserved. --- Send in a voice message: https://anchor.fm/in-your-embrace/message

Adrian Willaert, Dixit Dominus e Laudate pueri Domino con Giovanni Bietti

Dixit Dominus and Magnificat, K. 193 Missa brevis in D, K. 194 Purchase the music (without talk) for only $2.99 at: http://www.classicalsavings.com/store/p446/Mozart_-_If_at_First_You_Don%27t_Succeed.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

durée : 00:58:28 - Disques de légende du lundi 15 juin 2020 - L'un des premiers grands disques de John Eliot Gardiner ! Le chef d'orchestre britannique enregistre en 1978 pour le label Erato le "Dixit Dominus" de Haendel, avec le Monteverdi Choir et le Monteverdi Orchestra, ancêtre des English Baroque Soloists. Une belle version, dynamique et épurée.

Christine Pedotti, écrivain et journaliste. Ses ouvrages : Encyclopédie « Théo » et « Jésus, l’encyclopédie » (Albin Michel 2017) « Jésus l’homme qui préférait les femmes » (Albin Michel) et « Qu’avez-vous fait de Jésus ? » (Albin Michel). Pauses musicales : Dixit Dominus de Haendel Prélude 24 de Bach par Zhu Xiao-Mei      

Donald Macleod explores the life and music of Antonio Vivaldi. As a virtuoso violinist, as a teacher, as a priest and as a prolific composer, Antonio Vivaldi was a key figure in Baroque Italy and remains one of the most famous names in classical music today. In this episode, Donald begins by exploring Vivaldi’s intrinsic link with his birth city, Venice, through a series of images. Next, he examines the depth of Vivaldi’s faith – as an ordained priest who didn’t say mass, there have been many questions asked about his piety. We’ll also hear about the composer’s many female muses, his rapid fall from grace to anonymity and the posthumous rediscovery of his music after a long period in the musical wilderness. Music featured: Violin Concerto in E flat major “La Tempesta di Mare”, RV 253 Armida, RV 699 Violin Concerto in F minor “L’inverno”, RV297 Judita Triumphans, RV644 Concerto for two horns, RV 538 Laetatus sum (psalm 121), RV 607 Concerto in G minor, Op 3 No 2, RV 578 Stabat Mater dolorosa, RV 621 Gloria, RV 589 Griselda, RV 718 Il Teuzzone RV 736 Dorilla In Tempe, RV 709 Concerto for Viola d’Amore in A minor, RV397 Orlando furioso, RV 728 Nulla in mundo pax sincera, RV 630 Atenaide, RV 702 Il Farnace, RV 711 Concerto per S.A.S.I.S.P.G.M.D.G.S.M.B., RV 574 Violin Concerto in E major “la primavera”, RV 269 La Senna Festeggiante, RV 693 Violin Concerto No 12 in B Minor “La Cetra”, RV 391 Agrippo, RV697 Il Bajazet, RV 703 Nisi Dominus, RV 608 Salve Regina, RV 616 Bach: Concerto for Four Keyboards in A minor (after Vivaldi), BWV 1065 L’Olimpiade, RV 725 Violin Concerto in G Minor “L'estate", RV 315 Dixit Dominus, RV 594 Presented by Donald Macleod Produced by Sam Phillips for BBC Wales For full tracklistings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Antonio Vivaldi https://www.bbc.co.uk/programmes/m0006zh2 And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

08 19 2018 - Virgam Virtutis from Dixit Dominus by Snowmass Chapel

I programmet diskuteras Dixit Dominus x 3, tre pianokonserter med Danny Driver som solist, tre okända verk av Vaughan Williams och fyra kammarkonserter av Weinberg. Magnus väljer Prokofjev-baletter. I panelen Evabritt Selén, Sara Norling och Tony Lundman som tillsammans med vikarierande programledaren Magnus Lindman betygsätter följande skivor:  RALPH VAUGHAN WILLIAMS The Lark ascending, Sex korta stycken, The Solent, Fantasia för piano och orkester Jennifer Pike, violin, Sina Kloke, piano New Yorks kammarorkester Salvatore Di Vittorio, dirigent Naxos 8.573530 BEACH CHAMINADE HOWELL Pianokonserter Concertstück ciss-moll Danny Driver, piano BBCs skotska symfoniorkester Rebecca Miller, dirigent Hyperion CDA 68130 DIXIT DOMINUS Musik av Vivaldi, Mozart och Händel Anthony Roth Costanzo, Makoto Sakurada m.fl solister La Capella Reial de Catalunya Le Concert des Nations Jordi Savall, dirigent Alia Vox AVSA 9918 MIECZYSLAV WEINBERG Kammarsymfonier nr 1 4, Pianokvintett op 18 Yulianna Avdeeva, piano, Andrei Pushkarev m.fl. Kremerata Baltica Gidon Kremer, violin, m.fl. ECM 2538-39  Referensen Magnus jämför med och refererar till en inspelning av Vaughan Williams The Lark ascending med violinisten Hugh Bean som spelar tillsammans med New Philharmonia Orchestra, allt under ledning av Adrian Boult. Inspelningen gjordes 1968 på EMI.  Magnus val Magnus väljer och spelar valda delar ur en box betitlad Ballets Prokofiev, 125th Anniversary Edition, innehållande balettmusik av Prokofjev, där dirigenten Gennadij Rozjdestvenskij leder Moskva-radions symfoniorkester, Sovjetiska kulturministeriets orkester och Bolshoj-teaterns orkester i inspelningar gjorda mellan 1959 och 1990. Boxen rymmer 8 CD och en i bonus; en unik inspelning där tonsättaren själv dirigerar bl.a. Romeo och Julia. Skivmärket är Melodija. Andra i programmet nämnda eller rekommenderade inspelningar: Amy Beachs Pianokonsert i Naxos serie American Classics, med solisten Alan Feinberg i sällskap med Nashvilles symfoniorkester och ledda av Kenneth Schermerhorn. Violinisten Jennifer Pikes inspelningar på Chandos. Vaughan Williams The Lark ascending med Tasmin Little och BBCs filharmoniker under ledning av Andrew Davis på Chandos. Weinbergs kammarsymfonier med Helsingborgs symfoniorkester under ledning av Tord Svedlund på Chandos. Weinbergs opera The Passenger   Inget svep denna vecka

Welcome to Secrets of Organ Playing Podcast #80! http://www.organduo.lt/podcast Today's guest is an organist and singer from Canada, Thomas Leslie. He is the Executive Director of the Canadian International Organ Competition, a member of the Board of Directors of Casavant Frères, and holds a Colleague Diploma from the Royal Canadian College of Organists. ​Thomas is a graduate of Wilfrid Laurer and McGill Universities, where he studied both voice and organ. He recently completed an executive MBA program at the Université Paris-Dauphine, one of France's most prestigious research and higher education institutions. Originally from Halifax, Nova Scotia, Thomas has a beautiful tenor voice and maintains an active career as a singer performing throughout Canada and the United States. ​ Recent performance highlights include Handel's Messiah and the Magic Flute with the Orchestre symphonique de Longueuil, Handel's Dixit Dominus, Mozart's Credomesse and Haydn's Lord Nelson Mass with the St. Lambert Choral Society, Mendelssohn's Elijah with the Berkshire Choral Festival, music of Nico Muhly at the River-to-River Festival in New York City, J.S. Bach's Cantata Ein feste Burg ist unser Gott in Kitchener, Ontario and Mozart's Requiem with the Orchestre symphonique de L'Estuaire. ​ Other operatic performances include Benjamin Britten's A Midsummer Night's Dream, Harry Somers' Louis Riel, Strauss' Die Fledermaus and Bernstein's Candide. Thomas has been heard as a panelist on CBC Radio's Opera Quiz and was featured on the Bravo Network documentary series The Classical Now. In this conversation Thomas and I talk about the Canadian International Organ Competition (CIOC) which is an organization devoted to the promotion of organ music in Quebec and Canada through discovery activities for the general public, concerts, and an annual festival in Montréal in October. Its Competition, directed by the eminent Canadian organist John Grew every three years, ranks among the most prestigious competitions in the world, with prizes totaling over $100,000. Past Laureates are David Baskeyfield (UK, 2014), Christian Lane (USA, 2011) and Frédéric Champion (France, 2008). ​Enjoy and share your comments below. ​ And don't forget to help spread the word about the SOP Podcast by sharing it with your organist friends. Thanks for caring. Related link: http://​www.ciocm.org ​

Georg Friedrich Händel: "Salve Regina" | Arien aus "Resurrezione", "Rodrigo", "Dixit Dominus", "Agrippina", "Trionfo" und "Dafne " | Julia Lezhneva (Sopran) | Il Giardino Armonico | Leitung: Giovanni Antonini

George Frideric HANDEL 1685-1759Our version ofAllemande in Am (HWV 478)George Frideric HANDEL 1685-1759© 2012 Shiloh Worship Music COPY FREELY;This Recording is copyrighted to prevent misuse, however,permission is granted for non-commercial copying-Radio play permitted. Www.ShilohWorshipMusic.com Georg Friedrich Händel (1685-1759)George Frideric Handel(from Wikipedia) George Frideric Handel, born in the same year as Johann Sebastian Bach and Domenico Scarlatti. By Thomas Hudson (1749)George Frideric Handel SignatureGeorge Frideric Handel (German: Georg Friedrich Händel; pronounced [ˈhɛndəl]) (23 February 1685 – 14 April 1759) was a German-British Baroque composer, famous for his operas, oratorios, anthems and organ concertos. Handel was born in 1685, in a family indifferent to music. He received critical musical training in Halle, Hamburg and Italy before settling in London (1712) and becoming a naturalised British subject in 1727.[1] By then he was strongly influenced by the great composers of the Italian Baroque and the middle-German polyphonic choral tradition.Within fifteen years, Handel, a dramatic genius, started three commercial opera companies to supply the English nobility with Italian opera, but the public came to hear the vocal bravura of the soloists rather than the music. In 1737 he had a physical breakdown, changed direction creatively and addressed the middle class. As Alexander's Feast (1736) was well received, Handel made a transition to English choral works. After his success with Messiah (1742) he never performed an Italian opera again. Handel was only partly successful with his performances of English Oratorio on mythical and biblical themes, but when he arranged a performance of Messiah to benefit the Foundling Hospital (1750) the critique ended. The pathos of Handel's oratorios is an ethical one. They are hallowed not by liturgical dignity but by the moral ideals of humanity.[2] Almost blind, and having lived in England for almost fifty years, he died a respected and rich man.Handel is regarded as one of the greatest composers of all time, with works such as Water Music, Music for the Royal Fireworks and Messiah remaining popular. Handel composed more than forty operas in over thirty years, and since the late 1960s, with the revival of baroque music and original instrumentation, interest in Handel's operas has grown. His operas contain remarkable human characterisation—especially for a composer not known for his love affairs.Early yearsHandel's baptismal registration (Marienbibliothek in Halle)Handel was born in 1685 in Halle, Duchy of Magdeburg, to Georg Händel and Dorothea Taust.[3] His father, 63 when his son was born, was an eminent barber-surgeon who served to the court of Saxe-Weissenfels and the Margraviate of Brandenburg.[4] According to Handel's first biographer, John Mainwaring, he "had discovered such a strong propensity to Music, that his father who always intended him for the study of the Civil Law, had reason to be alarmed. He strictly forbade him to meddle with any musical instrument but Handel found means to get a little clavichord privately convey'd to a room at the top of the house. To this room he constantly stole when the family was asleep".[5] At an early age Handel became a skillful performer on the harpsichord and pipe organ.[6]Händel-Haus (2009) – birthplace of George Frideric HandelEntrance of Teatro del Cocomero in FlorenceHandel and his father travelled to Weissenfels to visit either Handel's half-brother, Carl, or nephew, Georg Christian,[7] who was serving as valet to Duke Johann Adolf I.[8] Handel and the duke convinced his father to allow him to take lessons in musical composition and keyboard technique from Friedrich Wilhelm Zachow, the organist of the Lutheran Marienkirche. He learned about harmony and contemporary styles, analysed sheet music scores, learned to work fugue subjects, and to copy music. In 1698 Handel played for Frederick I of Prussia and met Giovanni Battista Bononcini in Berlin.From Halle to ItalyThe Hamburg Opera am Gänsemarkt in 1726In 1702, following his father's wishes, Handel started studying law under Christian Thomasius at the University of Halle;[9] and also earned an appointment for one year as the organist in the former cathedral, by then an evangelical reformed church. Handel seems to have been unsatisfied and in 1703, he accepted a position as violinist and harpsichordist in the orchestra of the Hamburg Oper am Gänsemarkt.[10] There he met the composers Johann Mattheson, Christoph Graupner and Reinhard Keiser. His first two operas, Almira and Nero, were produced in 1705.[11] He produced two other operas, Daphne and Florindo, in 1708. It is unclear whether Handel directed these performances.According to Mainwaring, in 1706 Handel travelled to Italy at the invitation of Ferdinando de' Medici, but Mainwaring must have been confused. It was Gian Gastone de' Medici, whom Handel had met in 1703–1704 in Hamburg.[12] Ferdinando tried to make Florence Italy's musical capital, attracting the leading talents of his day. He had a keen interest in opera. In Italy Handel met librettist Antonio Salvi, with whom he later collaborated. Handel left for Rome and, since opera was (temporarily) banned in the Papal States, composed sacred music for the Roman clergy. His famous Dixit Dominus (1707) is from this era. He also composed cantatas in pastoral style for musical gatherings in the palaces of cardinals Pietro Ottoboni, Benedetto Pamphili and Carlo Colonna. Two oratorios, La Resurrezione and Il Trionfo del Tempo, were produced in a private setting for Ruspoli and Ottoboni in 1709 and 1710, respectively. Rodrigo, his first all-Italian opera, was produced in the Cocomero theatre in Florence in 1707.[13] Agrippina was first produced in 1709 at Teatro San Giovanni Grisostomo, the prettiest theatre at Venice, owned by the Grimanis. The opera, with a libretto by cardinal Vincenzo Grimani, and according to Mainwaring it ran for 27 nights successively. The audience, thunderstruck with the grandeur and sublimity of his style,[14] applauded for Il caro Sassone.Move to LondonGeorge Frideric Handel (left) and King George I on the River Thames, 17 July 1717, by Edouard Jean Conrad Hamman (1819–88).In 1710, Handel became Kapellmeister to German prince George, Elector of Hanover, who in 1714 would become King George I of Great Britain.[15] He visited Anna Maria Luisa de' Medici and her husband in Düsseldorf on his way to London in 1710. With his opera Rinaldo, based on La Gerusalemme Liberata by the Italian poet Torquato Tasso, Handel enjoyed great success, although it was composed quickly, with many borrowings from his older Italian works.[16] This work contains one of Handel's favourite arias, Cara sposa, amante cara, and the famous Lascia ch'io pianga.In 1712, Handel decided to settle permanently in England. He received a yearly income of £200 from Queen Anne after composing for her the Utrecht Te Deum and Jubilate, first performed in 1713.[17][18]One of his most important patrons was the young and wealthy Richard Boyle, 3rd Earl of Burlington.[19] For him Handel wrote Amadigi di Gaula, a magical opera, about a damsel in distress, based on the tragedy by Antoine Houdar de la Motte.The conception of an opera as a coherent structure was slow to capture Handel's imagination[20] and he renounced it for five years. In July 1717 Handel's Water Music was performed more than three times on the Thames for the King and his guests. It is said the compositions spurred reconciliation between the King and Handel.[21]Cannons (1717–18)Main article: Handel at CannonsThe Chandos portrait. The 1st Duke of Chandos was an important patron for Handel.In 1717 Handel became house composer at Cannons in Middlesex, where he laid the cornerstone for his future choral compositions in the twelve Chandos Anthems.[22] Romain Rolland stated that these anthems were as important for his oratorios as the cantatas were for his operas.[23] Another work he wrote for the Duke of Chandos, the owner of Cannons, was Acis and Galatea: during Handel's lifetime it was his most performed work. Winton Dean wrote, "the music catches breath and disturbs the memory".[24]In 1719 the Duke of Chandos became one of the main subscribers to Handel's new opera company, the Royal Academy of Music, but his patronage of music declined after he lost money in the South Sea bubble, which burst in 1720 in one of history's greatest financial cataclysms. Handel himself invested in South Sea stock in 1716, when prices were low[25] and sold before 1720.[26]Royal Academy of Music (1719–34)Main article: Royal Academy of Music (company)Handel House at 25 Brook Street, Mayfair, LondonIn May 1719 Lord Chamberlain Thomas Holles, the Duke of Newcastle ordered Handel to look for new singers.[27] Handel travelled to Dresden to attend the newly built opera. He saw Teofane by Antonio Lotti, and engaged the cast for the Royal Academy of Music, founded by a group of aristocrats to assure themselves a constant supply of baroque opera or opera seria. Handel may have invited John Smith, his fellow student in Halle, and his son Johann Christoph Schmidt, to become his secretary and amanuensis.[28] By 1723 he had moved into a Georgian house at 25 Brook Street, which he rented for the rest of his life.[29] This house, where he rehearsed, copied music and sold tickets, is now the Handel House Museum.[30] During twelve months between 1724 and 1725, Handel wrote three outstanding and successful operas, Giulio Cesare, Tamerlano and Rodelinda. Handel's operas are filled with da capo arias, such as Svegliatevi nel core. After composing Silete venti, he concentrated on opera and stopped writing cantatas. Scipio, from which the regimental slow march of the British Grenadier Guards is derived,[31] was performed as a stopgap, waiting for the arrival of Faustina Bordoni.In 1727 Handel was commissioned to write four anthems for the coronation ceremony of King George II. One of these, Zadok the Priest, has been played at every British coronation ceremony since.[32] In 1728 John Gay's The Beggar's Opera premiered at Lincoln's Inn Fields Theatre and ran for 62 consecutive performances, the longest run in theatre history up to that time.[citation needed] After nine years Handel's contract was ended but he soon started a new company.The Queen's Theatre at the Haymarket (now Her Majesty's Theatre), established in 1705 by architect and playwright John Vanbrugh, quickly became an opera house.[33] Between 1711 and 1739, more than 25 of Handel's operas premièred there.[34] In 1729 Handel became joint manager of the Theatre with John James Heidegger.A musical portrait of Frederick, Prince of Wales and his sisters by Philip Mercier, dated 1733, using Kew Palace as its plein-air backdropThe Queen's Theatre in the Haymarket in London by William CaponHandel travelled to Italy to engage seven new singers. He composed seven more operas, but the public came to hear the singers rather than the music.[35] After two commercially successful English oratorios Esther and Deborah, he was able to invest again in the South Sea Company. Handel reworked his Acis and Galatea which then became his most successful work ever. Handel failed to compete with the Opera of the Nobility, who engaged musicians such as Johann Adolf Hasse, Nicolo Porpora and the famous castrato Farinelli. The strong support by Frederick, Prince of Wales caused conflicts in the royal family. In March 1734 Handel directed a wedding anthem This is the day which the Lord hath made, and a serenata Parnasso in Festa for Anne of Hanover.[36]Opera at Covent Garden (1734–41)In 1733 the Earl of Essex received a letter with the following sentence: "Handel became so arbitrary a prince, that the Town murmurs". The board of chief investors expected Handel to retire when his contract ended, but Handel immediately looked for another theatre. In cooperation with John Rich he started his third company at Covent Garden Theatre. Rich was renowned for his spectacular productions. He suggested Handel use his small chorus and introduce the dancing of Marie Sallé, for whom Handel composed Terpsichore. In 1735 he introduced organ concertos between the acts. For the first time Handel allowed Gioacchino Conti, who had no time to learn his part, to substitute arias.[37] Financially, Ariodante was a failure, although he introduced ballet suites at the end of each act.[38] Alcina, his last opera with a magic content, and Alexander's Feast or the Power of Music based on John Dryden's Alexander's Feast starred Anna Maria Strada del Pò and John Beard.In April 1737, at age 52, Handel apparently suffered a stroke which disabled the use of four fingers on his right hand, preventing him from performing.[39] In summer the disorder seemed at times to affect his understanding. Nobody expected that Handel would ever be able to perform again. But whether the affliction was rheumatism, a stroke or a nervous breakdown, he recovered remarkably quickly .[40] To aid his recovery, Handel had travelled to Aachen, a spa in Germany. During six weeks he took long hot baths, and ended up playing the organ for a surprised audience.[41]Deidamia, his last and only baroque opera without an accompagnato, was performed three times in 1741. Handel gave up the opera business, while he enjoyed more success with his English oratorios.[citation needed]OratorioFurther information: List of Handel's OratoriosHandel by Philip MercierIl Trionfo del Tempo e del Disinganno, an allegory, Handel's first oratorio[42] was composed in Italy in 1707, followed by La Resurrezione in 1708 which uses material from the Bible. The circumstances of Esther and its first performance, possibly in 1718, are obscure.[43] Another 12 years had passed when an act of piracy caused him to take up Esther once again.[44] Three earlier performances aroused such interest that they naturally prompted the idea of introducing it to a larger public. Next came Deborah, strongly coloured by the Anthems[45] and Athaliah, his first English Oratorio.[46] In these three oratorios Handel laid foundation for the traditional use of the chorus which marks his later oratorios.[47] Handel became sure of himself, broader in his presentation, and more diverse in his composition.[48]It is evident how much he learnt from Arcangelo Corelli about writing for instruments, and from Alessandro Scarlatti about writing for the solo voice; but there is no single composer who taught him how to write for chorus.[49] Handel tended more and more to replace Italian soloists by English ones. The most significant reason for this change was the dwindling financial returns from his operas.[50] Thus a tradition was created for oratorios which was to govern their future performance. The performances were given without costumes and action; the performers appeared in a black suit.[51]Caricature of Handel by Joseph Goupy (1754)In 1736 Handel produced Alexander's Feast. John Beard appeared for the first time as one of Handel's principal singers and became Handel's permanent tenor soloist for the rest of Handel's life.[52] The piece was a great success and it encouraged Handel to make the transition from writing Italian operas to English choral works. In Saul, Handel was collaborating with Charles Jennens and experimenting with three trombones, a carillon and extra-large military kettledrums (from the Tower of London), to be sure "...it will be most excessive noisy".[53] Saul and Israel in Egypt both from 1739 head the list of great, mature oratorios, in which the da capo and dal segno aria became the exception and not the rule.[54] Israel in Egypt consists of little else but choruses, borrowing from the Funeral Anthem for Queen Caroline. In his next works Handel changed his course. In these works he laid greater stress on the effects of orchestra and soloists; the chorus retired into the background.[55] L'Allegro, il Penseroso ed il Moderato has a rather diverting character; the work is light and fresh.During the summer of 1741, the 3rd Duke of Devonshire invited Handel to Dublin to give concerts for the benefit of local hospitals.[56] His Messiah was first performed at the New Music Hall in Fishamble Street, on 13 April 1742, with 26 boys and five men from the combined choirs of St Patrick's and Christ Church cathedrals participating.[57] Handel secured a balance between soloists and chorus which he never surpassed.The use of English soloists reached its height at the first performance of Samson. The work is highly theatrical. The role of the chorus became increasingly import in his later oratorios. Jephtha was first performed on 26 February 1752; even though it was his last oratorio, it was no less a masterpiece than his earlier works.[58]Later yearsGeorge Frideric Handel in 1733, by Balthasar Denner (1685–1749)In 1749 Handel composed Music for the Royal Fireworks; 12,000 people attended the first performance.[59] In 1750 he arranged a performance of Messiah to benefit the Foundling Hospital. The performance was considered a great success and was followed by annual concerts that continued throughout his life. In recognition of his patronage, Handel was made a governor of the Hospital the day after his initial concert. He bequeathed a copy of Messiah to the institution upon his death.[60] His involvement with the Foundling Hospital is today commemorated with a permanent exhibition in London's Foundling Museum, which also holds the Gerald Coke Handel Collection. In addition to the Foundling Hospital, Handel also gave to a charity that assisted impoverished musicians and their families.In August 1750, on a journey back from Germany to London, Handel was seriously injured in a carriage accident between The Hague and Haarlem in the Netherlands.[61] In 1751 one eye started to fail. The cause was a cataract which was operated on by the great charlatan Chevalier Taylor. This led to uveitis and subsequent loss of vision. He died eight years later in 1759 at home in Brook Street, at age 74. The last performance he attended was of Messiah. Handel was buried in Westminster Abbey.[62] More than three thousand mourners attended his funeral, which was given full state honours.Handel never married, and kept his personal life private. His initial will bequeathed the bulk of his estate to his niece Johanna. However four codicils distributed much of his estate to other relations, servants, friends and charities.[63]Handel owned an art collection that was auctioned posthumously in 1760.[64] The auction catalogue listed approximately seventy paintings and ten prints (other paintings were bequeathed).[64]WorksSenesino, the famous castrato from SienaMain articles: List of compositions by George Frideric Handel and List of operas by Handel.Handel's compositions include 42 operas, 29 oratorios, more than 120 cantatas, trios and duets, numerous arias, chamber music, a large number of ecumenical pieces, odes and serenatas, and 16 organ concerti. His most famous work, the oratorio Messiah with its "Hallelujah" chorus, is among the most popular works in choral music and has become the centrepiece of the Christmas season. Among the works with opus numbers published and popularised in his lifetime are the Organ Concertos Op.4 and Op.7, together with the Opus 3 and Opus 6 concerti grossi; the latter incorporate an earlier organ concerto The Cuckoo and the Nightingale in which birdsong is imitated in the upper registers of the organ. Also notable are his sixteen keyboard suites, especially The Harmonious Blacksmith.Handel introduced previously uncommon musical instruments in his works: the viola d'amore and violetta marina (Orlando), the lute (Ode for St. Cecilia's Day), three trombones (Saul), clarinets or small high cornetts (Tamerlano), theorbo, horn (Water Music), lyrichord, double bassoon, viola da gamba, bell chimes, positive organ, and harp (Giulio Cesare, Alexander's Feast).[65]Handel's works have been catalogued in the Händel-Werke-Verzeichnis and are commonly referred to by an HWV number. For example, Messiah is catalogued as HWV 56.LegacyA Masquerade at the King's Theatre, Haymarket (c. 1724)Handel's works were collected and preserved by two men in particular: Sir Samuel Hellier, a country squire whose musical acquisitions form the nucleus of the Shaw-Hellier Collection,[66] and abolitionist Granville Sharp. The catalogue accompanying the National Portrait Gallery exhibition marking the tercentenary of the composer's birth calls them two men of the late eighteenth century "who have left us solid evidence of the means by which they indulged their enthusiasm".[67]After his death, Handel's Italian operas fell into obscurity, except for selections such as the aria from Serse, "Ombra mai fù". The oratorios continued to be performed but not long after Handel's death they were thought to need some modernisation, and Mozart orchestrated a German version of Messiah and other works. Throughout the 19th century and first half of the 20th century, particularly in the Anglophone countries, his reputation rested primarily on his English oratorios, which were customarily performed by enormous choruses of amateur singers on solemn occasions.Since the Early Music Revival many of the forty-two operas he wrote have been performed in opera houses and concert halls.Handel's music was studied by composers such as Haydn, Mozart and BeethovenRecent decades have revived his secular cantatas and what one might call 'secular oratorios' or 'concert operas'. Of the former, Ode for St. Cecilia's Day (1739) (set to texts by John Dryden) and Ode for the Birthday of Queen Anne (1713) are noteworthy. For his secular oratorios, Handel turned to classical mythology for subjects, producing such works as Acis and Galatea (1719), Hercules (1745) and Semele (1744). These works have a close kinship with the sacred oratorios, particularly in the vocal writing for the English-language texts. They also share the lyrical and dramatic qualities of Handel's Italian operas. As such, they are sometimes performed onstage by small chamber ensembles. With the rediscovery of his theatrical works, Handel, in addition to his renown as instrumentalist, orchestral writer, and melodist, is now perceived as being one of opera's great musical dramatists.A carved marble statue of Handel, created for the Vauxhall Gardens in 1738 by Louis-François Roubiliac, and now preserved in the Victoria & Albert Museum.Handel's work was edited by Samuel Arnold (40 vols., London, 1787–1797), and by Friedrich Chrysander, for the German Händel-Gesellschaft (105 vols., Leipzig, 1858–1902).Handel adopted the spelling "George Frideric Handel" on his naturalisation as a British subject, and this spelling is generally used in English-speaking countries. The original form of his name, Georg Friedrich Händel, is generally used in Germany and elsewhere, but he is known as "Haendel" in France. Another composer with a similar name, Handl or Händl, was an Austrian from Carniola and is more commonly known as Jacobus Gallus.Musician's musicianHandel has generally been accorded high esteem by fellow composers, both in his own time and since.[68] Bach attempted, unsuccessfully, to meet with Handel while he was visiting Halle.[69] Mozart is reputed to have said of him, "Handel understands affect better than any of us. When he chooses, he strikes like a thunder bolt."[70] To Beethoven he was "the master of us all... the greatest composer that ever lived. I would uncover my head and kneel before his tomb".[70] Beethoven emphasised above all the simplicity and popular appeal of Handel's music when he said, "Go to him to learn how to achieve great effects, by such simple means".HomagesHandel Commemoration in Westminster Abbey, 1784After Handel's death, many composers wrote works based on or inspired by his music. The first movement from Louis Spohr's Symphony No. 6, Op. 116, "The Age of Bach and Handel", resembles two melodies from Handel's Messiah. In 1797 Ludwig van Beethoven published the 12 Variations in G major on ‘See the conqu’ring hero comes’ from Judas Maccabaeus by Handel, for cello and piano. Guitar virtuoso Mauro Giuliani composed his Variations on a Theme by Handel, Op. 107 for guitar, based on Handel's Suite No. 5 in E major, HWV 430, for harpsichord. In 1861, using a theme from the second of Handel's harpsichord suites, Johannes Brahms wrote the Variations and Fugue on a Theme by Handel, Op. 24, one of his most successful works (praised by Richard Wagner). Several works by the French composer Félix-Alexandre Guilmant use Handel's themes, for example his March on a Theme by Handel uses a theme from Messiah. French composer and flautist Philippe Gaubert wrote his Petite marche for flute and piano based on the fourth movement of Handel's Trio Sonata, Op. 5, No. 2, HWV 397. Argentine composer Luis Gianneo composed his Variations on a Theme by Handel for piano. In 1911, Australian-born composer and pianist Percy Grainger based one of his most famous works on the final movement of Handel's Suite No. 5 in E major (just like Giuliani). He first wrote some variations on the theme, which he titled Variations on Handel's ‘The Harmonious Blacksmith’ . Then he used the first sixteen bars of his set of variations to create Handel in the Strand, one of his most beloved pieces, of which he made several versions (for example, the piano solo version from 1930). Arnold Schoenberg's Concerto for String Quartet and Orchestra in B flat major (1933) was composed after Handel's Concerto Grosso, Op. 6/7.VenerationHandel is honored together with Johann Sebastian Bach and Henry Purcell with a feast day on the liturgical calendar of the Episcopal Church (USA) on 28 July.He is commemorated as a musician in the Calendar of Saints of the Lutheran Church on 28 July, with Johann Sebastian Bach and Heinrich Schütz.He is commemorated as a musician along with Johann Sebastian Bach on 28 July by The Order of Saint Luke in their calendar of saints prepared for the use of The United Methodist Church.EditionsBetween 1787 and 1797 Samuel Arnold compiled a 180-volume collection of Handel's works—however it was far from complete.[72] Also incomplete was the collection produced between 1843 and 1858 by the English Handel Society (found by Sir George Macfarren).[73]The 105-volume Händel-Gesellschaft edition was published in the mid 19th century and was mainly edited by Friedrich Chrysander (often working alone in his home). For modern performance, the realisation of the basso continuo reflects 19th century practice. Vocal scores drawn from the edition were published by Novello in London, but some scores, such as the vocal score to Samson are incomplete.The still-incomplete Hallische Händel-Ausgabe started to appear in 1956 (named for Halle in Saxony-Anhalt Eastern Germany, not the Netherlands). It did not start as a critical edition, but after heavy criticism of the first volumes, which were performing editions without a critical apparatus (for example, the opera Serse was published with the title character recast as a tenor reflecting pre-war German practice), it repositioned itself as a critical edition. Influenced in part by cold-war realities, editorial work was inconsistent: misprints are found in abundance and editors failed to consult important sources. In 1985 a committee was formed to establish better standards for the edition.From Wikipedia, the free encyclopedia