František Ignác Antonín Tůma (1704-1774): Messa della morte in C Minor Manuscript copy {Score video}

#TheOneAndOnlyZeno #ZelenkaGeru #score #video #Tůma #Requiem František Ignác Antonín Tůma (1704-1774): Messa della morte in C Minor Manuscript copy {Score video} I. Requiem aeternam I - 00:00 II.Te decet hymnus - 3:22 III. Requiem aeternam II - 5:49 IV. Kyrie eleison I - 9:05 V. Christe eleison - 10:25 VI. Kyrie eleison II - 11:36 VII. Dies irae - 13:07 VIII. Tuba mirum - 14:50 IX. Iudex ergo - 19:20 X. Rex tremende maiestatis - 20:41 XI. Recordare, Jesu pie - 21:23 XII. Iuste iudex - 23:08 XIII. Huic ergo parce, Deus - 27:08 XIV. Domine Jesu Christe - 28:43 XV. Quam olim Abrahae - 30:37 XVI. Sanctus - 33:09 XVII. Benedictus - 34:00 XVIII. Osanna in excelsis - 35:47 XIX. Agnus Dei - 36:12 XX. Cum sanctis tuis - 38:22 Performers/Recording:    • Requiem. Missa della morte in c - Requiem ...   Written approx 1742, music historians note that it is generally credited as the first Requiem to pair a solo trombone with a solo voice in an obbligato (essential and independent) role for the Tuba mirum section of the Dies irae sequence - pairing an alto trombone with an alto solo voice. For Czech/Moravian trombones are an integral part of sacred works, and hold a profoundly sacred status in the history of Czech and Moravian church music. The trombone carries immense theological symbolism, and is explicitly associated with the "Last Judgment. Unlike in some Western European traditions where the trombone was viewed primarily as a secular or military instrument, the lands of Bohemia and Moravia treated the trombone - often alongside the organ and cornett - as a divine extension of the human voice. Because the trombone's tone closely mimics the human voice, it was believed to amplify the holy text without distracting from the words. Score video provided by TheOneAndOnlyZeno/ZelenkaGeru "All good things must come to and end" - Geoffrey Chaucer