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searching for One voice per part 46 found (51 total)

alternate case: one voice per part

Peter Harvey (baritone) (390 words) [view diff] exact match in snippet view article

commercial recording in 2014: it consists of Bach cantatas performed "one voice per part". Harvey has also collaborated with Harry Christophers and The Sixteen
Eric Milnes (422 words) [view diff] exact match in snippet view article find links to article
series of recordings of all Bach cantatas with singers performing one voice per part and the Montreal Baroque Orchestra. Born in Huntington, New York,
Andrew Parrott (305 words) [view diff] no match in snippet view article find links to article
Bach Choir, which was informed by his work with Joshua Rifkin on one-voice-per-part performance of Bach's vocal works. This approach significantly reduces
Mass in B minor discography (764 words) [view diff] exact match in snippet view article find links to article
only one singer for a vocal part in the choral movements, termed "one voice per part" (OVPP). On some of these recordings, the solo singer is reinforced
St John Passion discography (463 words) [view diff] exact match in snippet view article find links to article
only one singer for a vocal part in the choral movements, termed "one voice per part" (OVPP). On some of these recordings, the solo singer is reinforced
Choir (4,471 words) [view diff] exact match in snippet view article find links to article
documented as taking part in performances of his Magnificat with one voice per part. Independent instrumental accompaniment opened up new possibilities
TENET (ensemble) (799 words) [view diff] no match in snippet view article
York City. They perform on period instruments, and specialize in one-voice-per-part singing. Called “a major force in the New York early music world"
Christ lag in Todes Banden, BWV 4 discography (287 words) [view diff] exact match in snippet view article find links to article
recordings rely on choir without (or with few) solo voices. Choirs with one voice per part (OVPP) and orchestras playing on period instruments in historically
Bach Collegium Japan (922 words) [view diff] exact match in snippet view article find links to article
old-fashioned in this repertoire), and on the other hand that of purists with one voice per part. According to Ross, Suzuki's interpretations tend towards subtlety
Wie schön leuchtet der Morgenstern, BWV 1 discography (1,244 words) [view diff] exact match in snippet view article find links to article
cantatas with the ensemble La Petite Bande with vocalists singing one voice per part (OVPP). They recorded Wie schön leuchtet der Morgenstern in 2007.
St Matthew Passion discography (894 words) [view diff] exact match in snippet view article find links to article
only one singer for a vocal part in the choral movements, termed "one voice per part" (OVPP). On some of these recordings, the solo singer is reinforced
Sie werden euch in den Bann tun, BWV 183 (1,264 words) [view diff] exact match in snippet view article find links to article
taken from the listing on the Bach Cantatas Website. Choirs with one voice per part (OVPP) and orchestras playing period instruments in historically informed
Vespro della Beata Vergine discography (452 words) [view diff] exact match in snippet view article find links to article
in numerous versions. Some versions are choral-based, others use one voice per part (OVPP). Some versions use modern instruments, but since the first
Katharine Fuge (397 words) [view diff] exact match in snippet view article find links to article
recorded Bach's funeral music Trauerode and Missa in A, BWV 234, with one voice per part. She recorded the soprano solo of Ein deutsches Requiem by Brahms
Midori Suzuki (soprano) (464 words) [view diff] exact match in snippet view article
2000 she was one of the singers who also formed the choir (OVPP, one voice per part) in a recording of Bach's Mass in B minor with the ensemble La Petite
Wahrlich, wahrlich, ich sage euch, BWV 86 (1,243 words) [view diff] exact match in snippet view article find links to article
taken from the listing on the Bach Cantatas Website. Choirs with one voice per part (OVPP) and instrumental groups playing period instruments in historically
Dominik Wörner (494 words) [view diff] exact match in snippet view article find links to article
Year with the ensemble La Petite Bande on period instruments and one voice per part (OVPP). He recorded Bach's solo cantatas for bass such as Ich will
Wer Dank opfert, der preiset mich, BWV 17 (1,230 words) [view diff] exact match in snippet view article find links to article
follows the selection on the Bach Cantatas Website. Ensembles singing one voice per part (OVPP) and playing period instruments are marked by green background
Jan Kobow (857 words) [view diff] exact match in snippet view article find links to article
Pentecost of Gottfried Heinrich Stölzel, conducted by Ludger Rémy, with one voice per part, the four soloists forming the choir. In 2003 he recorded Bach cantatas
Christmas Oratorio discography (453 words) [view diff] exact match in snippet view article find links to article
as the oboe da caccia used by Harnoncourt's oboeists. Choirs with one voice per part (OVPP), used in some historically informed performances of Bach's
Halt im Gedächtnis Jesum Christ, BWV 67 (1,437 words) [view diff] exact match in snippet view article find links to article
selection on the Bach Cantatas Website. Performing groups singing one voice per part (OVPP) and instrumental groups playing period instruments in historically
Schwingt freudig euch empor, BWV 36 (1,728 words) [view diff] exact match in snippet view article find links to article
of recordings is provided by the Bach Cantatas Website. Choir with one voice per part (OVPP) and ensembles playing period instruments in historically informed
Es ist euch gut, daß ich hingehe, BWV 108 (1,493 words) [view diff] exact match in snippet view article find links to article
from the listing on the Bach Cantatas Website. Vocal ensembles with one voice per part (OVPP) and instrumental groups playing period instruments in historically
Nun komm, der Heiden Heiland, BWV 61 (1,877 words) [view diff] exact match in snippet view article find links to article
from the selection on the Bach Cantatas Website. Vocal groups with one voice per part (OVPP) and instrumental groups playing period instruments in historically
Gottes Zeit ist die allerbeste Zeit, BWV 106 (1,765 words) [view diff] exact match in snippet view article find links to article
taken from the listing on the Bach Cantatas Website. Choirs with one voice per part (OVPP) and instrumental groups playing period instruments in historically
Schmücke dich, o liebe Seele, BWV 180 (1,661 words) [view diff] exact match in snippet view article find links to article
are taken from the selection on Bach Cantatas Website. Groups with one voice per part (OVPP) and ensembles playing period instruments in historically informed
Sie werden aus Saba alle kommen, BWV 65 (1,942 words) [view diff] exact match in snippet view article find links to article
taken from the selection on the Bach Cantatas Website. Choirs with one voice per part (OVPP) and instrumental groups playing period instruments in historically
Bereitet die Wege, bereitet die Bahn, BWV 132 (1,556 words) [view diff] exact match in snippet view article find links to article
taken from the selection on the Bach Cantatas Website. Choirs with one voice per part (OVPP) and instrumental groups playing period instruments in historically
O Ewigkeit, du Donnerwort, BWV 20 (1,622 words) [view diff] exact match in snippet view article find links to article
period instruments in historically informed performance and a choir of one voice per part (OVPP) are marked by green background. Dellal 2017. Dürr & Jones 2006
Wachet auf, ruft uns die Stimme, BWV 140 (1,957 words) [view diff] exact match in snippet view article find links to article
the selection on the Bach Cantatas Website. Choirs singing OVPP (one voice per part) and instrumental groups playing period instruments in historically
Unser Mund sei voll Lachens, BWV 110 (1,928 words) [view diff] exact match in snippet view article find links to article
Cantata Pilgrimage, interprets it as Bach's vote against a strict one voice per part concept. He chose this cantata in one of three Christmas concerts
Aus der Tiefen rufe ich, Herr, zu dir, BWV 131 (1,849 words) [view diff] exact match in snippet view article find links to article
taken from the listing on the Bach Cantatas Website. Choirs with one voice per part (OVPP) and ensembles playing period instruments in historically informed
Gleichwie der Regen und Schnee vom Himmel fällt, BWV 18 (1,812 words) [view diff] exact match in snippet view article find links to article
taken from the listing of the Bach Cantatas Website. Choirs with one voice per part (OVPP) and ensembles playing period instruments in historically informed
Lobet Gott in seinen Reichen, BWV 11 (2,145 words) [view diff] exact match in snippet view article find links to article
period instruments in historically informed performance and choirs of one voice per part (OVPP) is marked by green background. "BWV" is Bach-Werke-Verzeichnis
Greta De Reyghere (765 words) [view diff] exact match in snippet view article find links to article
Consort conducted by Philippe Pierlot, performing choral music with one voice per part. They recorded several Bach cantatas, including in 1995 Christ lag
Frieder Bernius (1,317 words) [view diff] no match in snippet view article find links to article
Bach's music the several-voice-to-a-part approach, as opposed to the one-voice-per-part approach advocated by Andrew Parrott and Joshua Rifkin. The Historical
Komm, du süße Todesstunde, BWV 161 (3,105 words) [view diff] exact match in snippet view article find links to article
excerpted from the selection on the Bach-Cantatas website. Choirs with one voice per part (OVPP) and ensembles playing on period instruments in historically
Historically informed performance (5,104 words) [view diff] exact match in snippet view article find links to article
art Concert pitch Early music revival List of early music ensembles One voice per part String section Shakespeare in Original Pronunciation Lawson & Stowell
Ralf Otto (1,104 words) [view diff] exact match in snippet view article find links to article
Schumann's version in Mainz, and sang Bach's Mass in B minor with one voice per part. He has also conducted works by composers such as Luigi Dallapiccola
Glossary of music terminology (10,025 words) [view diff] no match in snippet view article find links to article
scale. ohne Dämpfer (Ger.) Without a mute omaggio Homage, celebration one-voice-per-part (OVPP) The practice of using solo voices on each musical line or part
Ich will den Kreuzstab gerne tragen, BWV 56 (4,547 words) [view diff] exact match in snippet view article find links to article
sei mit dir, BWV 158, related to peace. In the table, choirs with one voice per part (OVPP) and ensembles playing period instruments in historically informed
Mass in B minor (7,029 words) [view diff] no match in snippet view article find links to article
Bach choral recording. Joshua Rifkin's first recording using the one-voice-per-part vocal scoring he proposes was made in 1982, and won a 1983 Gramophone
Dunedin Consort (1,572 words) [view diff] no match in snippet view article find links to article
1742. It was the second commercial recording of the work to use the one-voice-per-part vocal scoring proposed by Joshua Rifkin. 2008: Handel’s Acis and Galatea
Christmas Oratorio (4,782 words) [view diff] case mismatch in snippet view article find links to article
Adherents of theories specifying small numbers of performers (even to 'One Voice Per Part') may however choose to use numbers approaching one instrument per
Jesu, meine Freude, BWV 227 (4,874 words) [view diff] exact match in snippet view article find links to article
performing the work was also discussed in reviews of Philippe Herreweghe's one voice per part recordings of 1985 and 2010. Jesu, meine Freude has been recorded
Bach cantata (5,551 words) [view diff] exact match in snippet view article find links to article
part. On the other hand, some modern performances and recordings use one voice per part. Joshua Rifkin is well known is an advocate of this approach, although