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As with other choral pieces the composer, Vivaldi, wrote many introduzioni (introductory motets) that were to be performed before the Gloria itself. Four introduzioni exist for these Glorias: Cur Sagittas (RV 637), Jubilate, o amoeni cori (RV 639) (the last movement of which is compositionally tied with the first movement of RV 588), Longe Mala, Umbrae, Terrores (RV 640), and Ostro Picta (RV 642).
Deo gratias has been set to music by several composers. Guillaume de Machaut's Messe de Nostre Dame (mid 1300s) is a complete setting of the Ordinary and thus ends with Ite, missa est. / Deo gratias, both sung in the same setting. Johannes Ockeghem wrote a setting for 36 voices (mid 1400s).
Gratias agimus tibi (Adagio: Chorus) Domine Deus (Allegro moderato: Sopranos I and II) Qui tollis (Largo: Double choir) Quoniam tu solus (Allegro: Sopranos I and II, tenor) Jesu Christe (Adagio: Chorus) Cum Sancto Spiritu (Chorus) Credo Credo in unum Deum (Allegro maestoso: Chorus) Et incarnatus est (Andante: Soprano I) Sanctus (Largo: Double ...
Gratias tibi ago, Domine Jesu Christe, de omnibus beneficiis quae mihi praestitisti; pro poenis et opprobriis, quae pro me pertulisti; propter quae planctus ille lamentabilis vere tibi competebat. Non est dolor similis sicut dolor meus. [26] [27] The statue of St Richard near the west door of Chichester Cathedral.
Laudamus te, benedicimus te, adoramus te, glorificamus te, gratias agimus tibi propter magnam gloriam tuam, Domine Deus, Rex caelestis, Deus Pater omnipotens. Domine Fili unigenite, Iesu Christe, Domine Deus, Agnus Dei, Filius Patris, qui tollis peccata mundi, miserere nobis; qui tollis peccata mundi, suscipe deprecationem nostram.
The Missa solemnis in C major, K. 66, is a mass composed by Wolfgang Amadeus Mozart in 1769. [1] It is scored for SATB soloists and choir, violins I and II, viola, 2 oboes, 2 horns, 2 clarini (high trumpets), 2 trumpets and basso continuo.
Short title: Gratias agimus tibi: Author: Ferenc Fricsay, Berlin Radio Symphony Orchestra, Chor der St. Hedwigs-Kathedrale Berlin, Maria Stader, Hertha Töpper, Ernst Haefliger, Ivan Sardi
As the Gratias agimus tibi, the movement is based on the first choral movement of Wir danken dir, Gott, wir danken dir, BWV 29, [9] with minor alterations because of the different text. The text appears on both the theme and the countersubject, here stressing "pacem" (peace) at the beginning of the line. [ 18 ]