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Agnus Dei is the Latin name under which the "Lamb of God" is honoured within Christian liturgies descending from the historic Latin liturgical tradition, including those of Roman Catholicism, Lutheranism and Anglicanism. It is the name given to a specific prayer that occurs in these liturgies, and is the name given to the music pieces that ...
Agnus Dei (Lamb of God) is a choral composition in one movement by Samuel Barber, his own arrangement of his Adagio for Strings (1936). In 1967, he set the Latin words of the liturgical Agnus Dei , a part of the Mass , for mixed chorus with optional organ or piano accompaniment.
Agnus Dei "Agnus Dei", in many settings of Mass and Requiem set with dark expression, begins in F major with a fluent expansive melody in the orchestra. After six measures, the tenors sing a melody to it that gently rises and falls, and repeats it almost the same way.
"Christe, du Lamm Gottes" (lit. "Christ, you Lamb of God") is a Lutheran hymn, often referred to as the German Agnus Dei. Martin Luther wrote the words of the hymn as a translation of the Latin Agnus Dei from the liturgy of the mass.
Agnus Dei, qui tollis peccata mundi: dona eis requiem sempiternam. Lamb of God, Who takest away the sins of the world, grant them rest. Lamb of God, Who takest away ...
The music is the setting for Barber's 1967 choral arrangement of Agnus Dei. It has been called "America's semi-official music for mourning." Adagio for Strings has been featured in many TV and movie soundtracks.
The text of "Dona nobis pacem" is a short prayer for peace from the Agnus Dei of the Latin mass. [1] [2] [3] In the round for three parts, it is sung twice in every line. [4] The melody has been passed orally. [4] It has traditionally been attributed to Mozart but without evidence. [1] English-language hymnals usually mark it "Traditional". [5]
Dona nobis pacem (Latin for "Grant us peace") is a phrase in the Agnus Dei section of the mass. The phrase, in isolation, has been appropriated for a number of musical works, which include: The phrase, in isolation, has been appropriated for a number of musical works, which include: