Dignus est Agnus (Christ the King, Introit) Performed by unknown (performance found on the site of Corpus Christi Watershed)IMPORTANT !!! : If you are the COPYRIGHT OWNER of the performances / images / music in this video, I kindly ask you to contact me requesting to delete the video BEFORE lodging a complaint with the Youtube administration. I WILL DELETE THE VIDEO IMMEDIATELY. I thank you.. + Informações

italian band songs in latin. by pablo from Chile. + Informações

Agnus Dei II - Missa "Aeterna Christi munera", Giovanni Pierluigi da Palestrina, edizione 1590-91 - studi vari, Giovanni Vianini, SCHOLA CANTORUM Milano, Basilica di San Marco, It. Per noi, è un buon punto di arrivo riuscire a leggerlo, studieremo ancora molto. Con vocali + chiuse, suono + leggero, intonazione migliore, + trasparenza..... The Missa Aeterna Christi munera has been a favourite of church choirs for good reasons: its classic simplicity, its brevity, its clear singability and its four voice parts (only the second Agnus Dei divides the tenors). It is based on three melodic strands taken from the tune which gives the Mass its title, the hymn for Matins of Apostles and Evangelists; the fourth line of the verses has a repeat of the first line's melody. Palestrina employs these themes in turn in the opening Kyrie-- Christe--Kyrie sections, passing them from voice to voice, transforming and elaborating them. He uses them in the wordy Gloria and Credo in a less complicated way, alluding to them mainly in the top voice. In the later movements, Palestrina gently plays his variations in the most serene way, until, finally, in his second Agnus Dei, he produces a passage of great tranquillity as he groups the voices in parallel at 'dona nobis pacem', a moment that has captivated generations of singers. To precede the Mass itself, we have given the complete Matins hymn in the version which Palestrina would surely have known at the Julian Chapel (he was there from 1571 .... + Informações

Laetitia Nova is a Japanese chorus group.. + Informações

Heinrich Ignaz Franz von Biber (1644 - 1704) The English Concert Andrew Manze, baroque violin & direction. + Informações

Johann Joseph Fux (1660 - 1741) David Cordier, Soprano Drew Minter, Alto Johannes Chum, Tenor Klaus Mertens, Bass Wiener Akademie - Martin Haselböck Vocal Ensemble Beat Duddeck, Ulli Groier - Soprano Peer Abilgaard, Henning Voss - Alto James Curry, Bernd Lambauer - Tenor Mario Eder, Colin Mason - Bass Leaders and Soloists Gunar Letzbor - violin, Mathias Thir, Vienna 18th century Tomas Bik - violin, H. Witting, Mittenwald 1780 Eva Posvanecz - viola, Carlo Tononi, Venezia 1734 Andreas Lackner - trumpet, Keavy Vanryne after JL Ehe. + Informações

The video begins with the second half of the Prayer of Humble Access (1928 Book of Common Prayer), and then... Agnus Dei, qui tollis peccata mundi, miserere nobis Agnus Dei, qui tollis peccata mundi, miserere nobis Agnus Dei, qui tollis peccata mundi, dona nobis pacem [O] Lamb of God, that takest away the sins of the world, have mercy upon us. [O] Lamb of God, that takest away the sins of the world, have mercy upon us. [O] Lamb of God, that takest away the sins of the world, grant us [thy] peace.. + Informações

Composer: Sergio Rendine (b 1954) Passio et Resurrectio VIII. Passio domini nostri Jesu Christi: Agnus Dei Conductor: Conti, Marzio Label: Naxos. + Informações

Fifth movement (Agnus Dei).. + Informações

The St. John's Quartet sings the Agnus Dei from Missa O quam gloriosum by Tomas Luis da Vittoria. + Informações

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Introitus "Dignus est Agnus" na ?wi?to Chrystusa Króla in festo Domini Nostri Jesu Christi Regis Introit for the Feast of Christ the King cf based on "Dum sanctificatus" from Einsiedeln 121 manuscript, p. 154. + Informações

Agnus Dei from "Missa Sanctae Marthae" by Rory Lucas. Christ the King 2010 at St Andrew's Roman Catholic Church Edinburgh Scotland. + Informações

2. Lieblich sind, o Herr, die Zeichen, die du liebend auserwählt; Brot und Wein, durch welche Gaben Gott des Leibes Kraft erhält. Doch die äusserliche Hülle schließet ein Geheimnis ein, lehrt, was dem Geist willst werden und wir selbst uns sollen sein. 4. Froher Jubel heut erschalle ihm, der uns erlöset hat! Lobet laut, ihr Völker alle, seines Herzens Wundertat! Preiset, Christen, seinen Namen, betet seine Liebe an, singet: Halleluja, Amen! Er hat allen wohlgetan.. + Informações

Sponsa Christi -10 Agnus Dei XV Dominator Deus - Monaci Benedettini di Norcia. + Informações

Corpus Christi 2009. Economic realities caused us to have a quartet instead of our full choir for our Solemn High Mass, but it provided an opportunity to offer William Byrd's Mass for four voices. www.stjohnsdetroit.org. + Informações

Fiesole (FI), luglio 2011. A conclusione del Seminario per Direttori di Coro a cura dei Maestri Michele Manganelli e Walter Marzilli (AISC Roma), la S.Messa in cattedrale, con le musiche dirette a turno dai corsisti. Il coro è composto dai corsisti e dalla Cappella Musicale di Fiesole. Audio e video ripresi da una FOTOCAMERA digitale a fuoco fisso; ne risente in particolare l'audio: a causa della vicinanza il suono (degli alti in particolare) ha saturato lo spettro e c'è stato poco da equalizzare. Spesso poi, purtroppo, è stato tagliato l'inizio delle registrazioni.. (e noi che volevamo vedere se eravamo bravi a dare il tactus giusto... :-( ) Brani registrati: 1. Introito gregoriano (domenica XVII to: Deus in loco sancto suo) 2. Palestrina - Kyrie (Aeterna Christi munera) 3. Palestrina - Gloria (Aeterna Christi munera) 4. Manganelli - Salmo (Quanto amo la tua legge Signore) 5. Manganelli - Alleluia 6. Palestrina - Sanctus Benedictus Hosanna (Aetera Christi munera) 7. Palestrina - Agnus Dei I (Aetera Christi munera) 8. Donella - Laudate Dominum Altri brani eseguiti ma non registrati: - Palestrina - Agnus Dei II (Aetera Christi munera) - Palestrina - Dextera Domini - Manganelli - Amen - Manganelli - Ave Verum - Bianchi - Adoro te Devote - Communio gregoriano (domenica XVII to: Simile est regnum caelorum). + Informações

James Wright (Director), Dex Curi (Producer), The Dialogue Score Released by Artshow Pictures and New Thought Pictures. + Informações

In this Mass each of the movements begins with the opening of his antiphon "Mater Christi sanctissima" (which I uploaded here www.youtube.com ). In the Credo and the Agnus Dei material from the antiphon is 'spliced' together. The tenor part is missing and has been reconstructed from the antiphon - where this is not possible Francis Steele provided the reconstruction.. + Informações

Agnus Dei - Canto de la eucaristía - La2 de tve en el programa Pueblo de Dios dominical - + cantos para la eucaristía en: www.padrenuestro.net. + Informações

Forthousands of free Gregorian Chant Mp3's and scores, visit: antoinedanielmass.org For free Gregorian Propers, Responsorial Psalms, Mass parts, polyphony, & more, visit: musicfortheliturgy.org MusicfortheLiturgy.org is made possible by Corpus Christi Watershed: ccwatershed.org. + Informações

Another of St. Thomas Aquinas' great hymns. O Salutaris Hostia (O Saving Host) is a beautiful hymn, written for the Feast of Corpus Christi. The hymn is also good for Eucharistic Adoration and Exposition. O salutaris Hostia, Quae caeli pandis ostium: Bella premunt hostilia, Da robur, fer auxilium. Uni trinoque Domino Sit sempiterna gloria, Qui vitam sine termino Nobis donet in patria. Amen.. + Informações

Matthaeus Pipelare (c. 1450 ? c. 1515) was a Flemish composer, choir director, and possibly wind instrument player of the Renaissance. He was from Louvain, and spent part of his early life in Antwerp. Unlike many of his contemporaries, many of whom traveled to Italy, Spain or elsewhere, he seems never to have left the Low Countries. In spring 1498 he became the choir director at the Illustrious Confraternity of Our Lady at 's-Hertogenbosch, a position he held until 1500. From his name it is presumed that either he or perhaps his father was a wind player, for example a town piper. Pipelare's style was wide-ranging; he wrote in almost all of the vocal forms current in his day: masses, motets, secular songs in all the local languages. No instrumental music has survived. In mood his music ranged from light secular songs to sombre motets related to those of Pierre de La Rue, an almost exact contemporary. He wrote 11 complete masses which have survived to modern times (although many of the manuscripts were destroyed in the Second World War), as well as 10 motets, and 8 chansons; the chansons are both in French and Dutch. One of the masses is a four-voice cantus firmus setting of L'homme armé, a style which was already old-fashioned by the time he was writing; the tune moves from voice to voice, but is usually in the tenor. His Missa Fors seulement is based on his own chanson, which he used as the cantus firmus. Memorare Mater Christi is a seven-part motet on the sorrows of the .... + Informações

Palestrina, his name derived from his probable place of birth, was one of the principal composers of the late 16th century, his style taken as a model by later generations. His musical language represents the climax of musical achievement of the period, above all in his mastery of earlier Franco-Flemish polyphonic techniques, now used with complete assurance, particularly in the provision of music for the Catholic liturgy both before and after the reforming Council of Trent. Palestrina's career was largely spent in Rome, at the basilica of Santa Maria Maggiore, the Cappella Giulia at St. Peter's and at St. John Lateran. Church Music Palestrina wrote a large number of settings of the ordinary of the Mass. Of these the Missa Papae Marcelli, popularly supposed to have been written to convince the authorities at the Council of Trent that there was still a place for polyphony in the musical performance of the Catholic liturgy, is among the best known. Missa Aeterna Christi munera, a Mass that makes use of the plainchant of the title as its basis, is a fine example of Palestrina's technical command, but a similar claim might be made for almost any other of the 100 or so surviving Mass settings. The very large number of surviving motets offers a similar embarrassment of choice. Palestrina's liturgical music also includes settings of the Lamentations for Holy Week, taken from the Book of Jeremiah, litanies, settings of the Magnificat and offertories. In addition to generally .... + Informações

01 - Fanfare No.4 a due (1676) 02 - Missa Christi Resurgentis - Sonata 03 - Missa Christi Resurgentis - Kyrie 04 - Missa Christi Resurgentis - Gloria 05 - Missa Christi Resurgentis - Sonata a 6 06 - Missa Christi Resurgentis - Credo 07 - Missa Christi Resurgentis - Sonata XII 08 - Missa Christi.... + Informações