What would it sound like if J.S. Bach was a Mormon? Now we might have some idea! This is a fugue I wrote on the opening theme from the musical The Book Of Mormon, just for funsies.
Now, before all you theory nerds (and I’m one myself) start pointing out the various issues there might be with this piece, I just want to say that this piece was made solely for entertainment purposes; it’s not an academic project and therefore I did not stricly adhere to the rules of 18th century counterpoint.
Also, I DO NOT own the copyright to the tune, and this video in no way intends to infringe on the copyright holders; it’s just my little tribute to the show.
I know it’s another musical theatre clip, but this musical needs to be broadcasted everywhere! The music is fantastic. It opened in the West End and is opening on Broadway in April! Just listen to it. VERY well written, and I cannot wait to see this show!!!
The Original Cast Recording in London’s West End. Now being performed at the Piccadilly Theatre
My solo in 25th Annual Putnam County Spelling Bee. THIS IS NOT ME! I wish haha.
This is from the Original Broadway Cast.
Sorry it’s been a while! I’ll try to be better! Here is a song from the musical we are currently doing! I’m Chip Tolentino in The 25th Annual Putnam County Spelling Bee! Phenominal musical! This is my favorite song, I’ll also post my solo because I’m sure it will make you laugh.
From the 2005 Original Broadway Cast Recording. Featuring Derrick Baskin, Lisa Howard and Celia Keenan-Bolger. Music and Lyrics by William Finn.
Opened: May 2, 2005 Closed: Jan 20, 2008 Total Performances: 1136
Queen of the Night Aria from Mozart’s the Magic Flute!!! enjoy this vocal olympic event!
Wolfgang Amadeus Mozart, “The Magic Flute” - Royal Opera House production
Diana Damrau as Queen of Night Dorothea Röschmann as Pamina
conducted by Colin Davis
Title : Johann Sebastian Bach, Double Violin Concerto in D minor (2nd movement, Largo Ma Non Tanto (BWV 1043) From Wikipedia , The Concerto for Two Violins in D minor (BWV 1043) is perhaps one of the most famous works by J. S. Bach and considered among the best examples of the work of the late Baroque period. Bach wrote it in Leipzig sometime between 1730 and 1731, most likely for the Leipzig Collegium Musicum, of which he was the director. It also exists in an arrangement for two harpsichords, transposed into C minor (BWV 1062). In addition to the two soloists, the concerto is scored for strings and basso continuo.
The concerto is characterized by the subtle yet expressive relationship between the violins throughout the work. The musical structure of this piece uses fugal imitation and much counterpoint.
The concerto comprises three movements: Vivace Largo ma non tanto Allegro
Madama Butterfly - Puccini
Butterfly, a young geisha, gets married to P.F Pinkerton, a U.S Navy Captain, out of love. But Pinkerton doesn’t intend on stayin in Japan. After the marriage he swoons young Butterfly into the bedroom, and leaves shortly afterwards. She is left there with Suzuki for 5 years and has Pinkerton’s child. This aria, sung by Butterfly, is speaking of how she can see the ships over the horizon coming with her true love, and when he see’s his child he will stay!
(spoiler alert) sadly when Pinkerton comes back to Japan he is re-married to a beautiful American woman. Butterfly finds out and sings a beautiful aria that ends her life.
Choralkantate “Was mein Gott will, dass gescheh allzeit”; Gott ist mein Trost, mein’ Zuversicht” von Sebastian Knüpfer (1633- 1676).
Sebastian Knüpfer (6 September 1633 – 10 October 1676) was a German composer. He was the cantor of the Thomanerchor in Leipzig from 1657 to 1676, and director of the city’s music.
Most of the biographical data about Sebastian Knüpfer come from a published obituary. He was born in Asch, Bavaria (now Aš, Czech Republic), and was first taught music by his father, a Kantor and organist. He also studied regularly with an unidentified tutor living near Asch, from whom he gained a solid grounding in, and lasting love for, a number of scholastic disciplines. At the age of 13 he entered the Gymnasium Poeticum at Regensburg and remained there for eight years. During this unusually long period he became well versed in the city’s musical traditions (such as the works of Andreas Raselius), studied the organ, perhaps with Augustin Gradenthaler, and mastered a number of humanistic subjects, especially the poetic arts and philology. His gifts as a student were supported by scholarships from the city of Regensburg, and he was commended by influential members of the staff of the Gymnasium and the city council, some of the latter providing him with favourable testimonials when he moved to Leipzig in 1654. It is not known why he went there, but in view of his lifelong desire to improve his mind, it was possibly because he planned to enter the university. He did not, however, do so.
During his first few years in Leipzig, Sebastian Knüpfer gave music lessons and sang as a bass in church choirs, displaying enough talent to take solo parts. He applied for the post of Thomaskantor when Tobias Michael died on June 26, 1657, and he was appointed on July 17; the four other candidates to whom he was preferred included Adam Krieger. In Knüpfer the Thomaskirche found a Kantor and the city of Leipzig a director of music who came close to the musical and intellectual calibre of Sethus Calvisius and Johann Hermann Schein, his two predecessors. During his 19-year tenure Leipzig once again became the leading musical city in central Germany following the sharp decline resulting from the Thirty Years War, the long Swedish occupation of the city and his protracted illness. Knüpfer thus initiated a final period of musical excellence in Leipzig that culminated in the careers of his three successors, Johann Schelle, Johann Kuhnau and Johann Sebastian Bach. Although never a student at the university, he continued the study of philosophy and philology with members of the faculty and was thought of as a member of the academic community. He was praised for his command of classical sources concerning music, which he mastered from Meibom’s editions published in 1652; he studied the treatises of, among others, Guido of Arezzo, Boethius, Berno of Reichenau and Kircher. In addition to his productive career as Kantor he is known to have travelled to Halle to direct his own music for the dedication of new organs, for the Marktkirche on February 15, 1664 and the Ulrichskirche on November 16, 1675; also he directed a programme of music for the centenary of the Halle Gymnasium on August 17, 1665. His circle of musical colleagues included many men important in 17th-century German music, such as Pezel, Johann Rosenmüller and Johann Kaspar Horn, and he may well have known Heinrich Schütz. He died in Leipzig, Germany. That he was regarded as one of Leipzig’s leading intellectual figures is indicated by the unusual honour of his being accorded an academic funeral at the university even though he had never been officially connected with it.
TSHOTSHOLOZA! ~Jeffery Ames
Eastern Oregon University Chamber Choir singing Tshotsholoza arranged by Jeffery Ames
I had the wonder pleasure of working with Dr. Ames on this piece and his piece “Rejoice” in Spivey Hall this past weeked in the ACDA Multicultural Honors Choir! This song was just amazing! It had the crowd dancing with smiles on their face.
This is known as the “unofficial anthem” of South Africa. It’s about rising out of the dust and making something of yourself, much like South Africa has. It was a mining song, but can be related to many issues in life.