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Que te perdone Dios... tells the story of Renata Flores del Ángel (Irán Castillo / Rebecca Jones), a beautiful young woman raised under the harshness of her father, Don Bruno (Don Éric del Castillo), an important exporter of grapes and wines from a town called Real de San Andrés. Don Bruno always wanted to have a son and for that reason he ...
Music for the Requiem Mass is any music that accompanies the Requiem, or Mass for the Dead, in the Catholic Church. This church service has inspired hundreds of compositions, including settings by Victoria , Mozart , Berlioz , Verdi , Fauré , Dvořák , Duruflé and Britten .
The settings of the Requiem Mass by Marc-Antoine Charpentier (H.234, H.263, H.269, H.427), Luigi Cherubini, Antonin Dvořák, Gabriel Fauré, Maurice Duruflé, John Rutter, Karl Jenkins, Kim André Arnesen and Fredrik Sixten include a "Pie Jesu" as an independent movement. Decidedly, the best known is the "Pie Jesu" from Fauré's Requiem.
The Messa da Requiem is a musical setting of the Catholic funeral mass for four soloists, double choir and orchestra by Giuseppe Verdi. It was composed in memory of Alessandro Manzoni , whom Verdi admired, and therefore also referred to as the Manzoni Requiem .
Mario Del Monaco, Tom Krause: Decca, CD: 409 932-2 DH2: Studio recording made 21–22 February at the Grand Théâtre, Geneva 1967: Orchestra and Chorus of La Scala, Milan, Herbert von Karajan: Leontyne Price, Fiorenza Cossotto, Luciano Pavarotti, Nicolai Ghiaurov: DGG, DVD: 073 4055GH [2] Telecast in January [22] 1967: Vienna Philharmonic ...
"Odio" (English: "Hate") is a song written and performed by American singer Romeo Santos featuring Canadian rapper Drake Released as the second single for his second studio album Formula, Vol. 2. [ 1 ]
Rosario Sansores Prén (25 August 1889 – 7 January 1972) was a Mexican poet and journalist, known for works such as "Cuando tú te hayas ido" ("When You Have Gone"), a poem that served as the basis for the pasillo-style song "Sombras" ("Shadows"), by Ecuadorian composer Carlos Brito.
Sherman recommends a tempo relation in which "in Agnus Dei et Communio, the of both Agnus Dei and Requiem aeternam equals of the fugue Cum sanctis tuis." [5] Sherman also recommends interpreting the Andante maestoso of the Dies Irae at "a pulse of = MM. 104."