 | Griesbacher, Peter - Missa "Rosa Mystica" for Oboe & Harp Opus 124 Oboe, harp |
Missa Rosa Mystica for Oboe & Harp
MP3 (11.32 Mo) : 
(by Magatagan, Michael)115x⬇ 173x
Missa Rosa Mystica for Oboe & Harp
MP3 (11.35 Mo) : (by Magatagan, Michael)193x⬇ 139x| Composer : | Griesbacher, Peter (1864 - 1933) | ||
| Instrumentation : | Oboe, harp | ||
| Style : | Classical | ||
| Arranger : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Publisher : | MAGATAGAN, MICHAEL | ||
| Copyright : | Public Domain | ||
| Added by magataganm, 17 Oct 2013 Peter Griesbacher (1864 – 1933) was a German classical composer, organist and bell expert. Griesbacher was born in Egglham. He studied in Passau and was ordained a priest in 1886. From 1894 to 1895 he was music prefect at the Studienseminar (study seminary) St. Emmeram in Regensburg. Due to his reputation as a church composer, he was appointed in 1911 a lecturer at the Kirchenmusikschule Regensburg (School of Church Music) of Regensburg, where he taught counterpoint, musical form and stylistic. Around the same time he was appointed Vicar and then canon at the Collegiate St. Johann in Regensburg. In 1930 the chapter elected him dean. He temporarily was director, until Carl Thiel succeeded Karl Weinberger. He died in Regensburg of gastrointestinal cancer. Griesbacher composed predominantly Catholic church music. Based on the a cappella of the Cecilian Movement, he wrote works accompanied by the organ. When orchestra was added, he did not do the instrumentation himself. He tried to combine the strict Cecelian style with late romantic harmonies. His later works are characterised by a rather complex musical language. Griesbacher played a role in the transition of Catholic church music from the 19th to the 20th century. He created about 250 works, including 49 masses. The Roman Catholic Mass takes its name from the words spoken in Latin at the end of the ceremony: Ite, missa est.(Go, it is the dismissal.) From the first millennium of the Common Era various texts from the Mass have been sung, first as plainchant (including Gregorian chant, Ambrosian chant, Mozarabic, and so on) and, beginning with the motets of Magister Leoninus and Perotinus, increasingly as homophonic music. It was soon recognised that certain texts were more suitable for setting to music, since they were frequently recited on numerous occasions in the Church calendar, or in virtually every ceremony; these texts became known as the Ordinary, differentiating them from the Propers, which were items specific to the season, hour or the day. It was in 1531 that the Mother of God appeared to Juan Diego in Tepeyac Hill in Mexico and performed "the miracle of the roses" as proof to Bishop Zumarraga of her presence. Roses never grew on that rocky terrain, and certainly not in December. Moreover, when, in their surprise, the bishop's attendants tried to pick and take some of them from his tilma, they could not do so because they became, as one author put it, "not roses that they touched, but as if they were painted or embroidered." Indeed, they were "mystical roses" from the hands of the Mystical Rose herself. Although this work was originally written for Voice (T) and Organ, I created this arrangement for Oboe & Concert (Pedal) Harp. | |||
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