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Johann Adolf Hasse
1699 - 1783
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J.A. Hasse
Johann Adolf Hasse (25/03/1699 - 16/12/1783), a German composer and organist, born in Bergedorf. His great-grandfather, grandfather, father, and brother were musicians; active in Lübeck and Bergedorf. He studied voice in Hamburg from 1714 until joining the local opera as a tenor in 1718, moving to Braunschweig-Wolfenbüttel in 1721, where his first opera, Antioco, was performed. Traveled to Italy in 1722, spending time in a number of cities before settling in Naples, where he studied briefly with Porpora, then with Alessandro Scarlatti; during 1726-33 over twenty of his stage works were produced for the Neapolitan court.
Domine Jesu Christe
Musical form:fragment
Text/libretto:Latin mass
No details available.
Source:Dagny Wegner, Requiemvertonungen in Frankreich zwischen 1670 und 1850, Hamburg, 2005
Libera me, Domine
Musical form:motet
Text/libretto:Latin mass
No details available.
Source:Dagny Wegner, Requiemvertonungen in Frankreich zwischen 1670 und 1850, Hamburg, 2005
Requiem in C major
Composed in:1763
Musical form:mass
Text/libretto:Latin mass
In memory of:elector Augustus II
Label(s):Opus111 OPS30-80
Naive Records OP20004
This requiem is for SATB soli and SAT mixed choir and orchestra.
The requiem of Hasse is written for the funeral of elector August III Wettin (1696-1763), king of Polish-Lithuanian Commonwealth (1734-1763), and also elector of Saxony (1733-1763, as Friedrich August II). The treatment of the sequence is in keeping with Giuseppe Moneta's dramatic conception: this section comprises more than two-thirds of the score, and includes a 26-bar horn introduction to the "Tuba Mirum".
Author:James W. Pruett
Source:The new Grove dictionary of music and musicians
From the late 17th century onwards, mainly through the contributions of leading opera composers such as Feo, Galuppi, Hasse, Pergolesi, Jommelli, Gassmann, Cimarosa and Gossec, individual movements of the requiem became gradually larger, the orchestration richer and the solo vocal writing more elaborate. In some cases, single texts, usually the sequence and the responsory, were set separately, either as independent motets or as a means of providing vivid contrast within chanted forms of the funeral service.
Author:Steven Chang-Lin Yu
Gabarron: "I love good Baroque music! And one has to love a Requiem that starts off in a major chord. Albeit a Mass for the Dead, it soundspositively celebratory! This is one of two compositions I can think of right away that are in major chords. The other is by Jan Dismas Zelenka, and is in D major.
In comparison to most of the other requiems I have (not including the afore mentioned Zelenka), this is happy sounding, "would you care to dance", feel good baroque. It is well sung, with an outstanding tenor, and well written, with some beautiful melodies. The sopranos in the Hostias quite simply soar! It starts and ends with the same beautiful melody, horns over drums, and with chorus and soloists making counterpoint with each other. Vivaldi couldn't have done better, although I wish he would have tried...
Aside from it being a Requiem, there are not tremendous surprises here for the frequent listener of vocal Baroque church music. Most of the Masses and motets are similar in compositional style. So, were this not a Mass for the Dead it would not score as high with me as it does.
To me, there is something to be said for someone celebrating the passing of another to a new (after) life. They are free of the pain and prejudice of life. This music seems to say to me, 'Let us not reflect on our loss, but on the glory of the world to come, and that our lost one has gone to it!' "
Author:John J. Gabarron
Friedrich August II
Requiem in E flat major
Composed in:1764
Musical form:mass
Text/libretto:latin mass
Label(s):Carus 83.175
This Requiem in E flat contains:
1. Requiem Es-dur
2. Te Decet Hymnus, Exaudi (3:51)
3. Kyrie Eleison 1 (1:08)
4. Christe Eleison (2:53)
5. Kyrie Eleison 2 (0:52)
6. Dies Irae (4:40)
7. Recordare (3:12)
8. Ingemisco (0:48)
9. Qui Mariam Absolvisti (2:39)
10. Inter Oves (2:44)
11. Oro Supplex (0:42)
12. Lacrimosa (3:24)
13. Huic Ergo (0:25)
14. Dona Eis Requiem (2:16)
15. Sanctus - Osanna 1 (1:30)
16. Benedictus (1:53)
17. Osanna 2 (0:46)
18. Agnus Dei (3:25)
19. Lux Aeterna (0:34)
20. Requiem Aeternam (2:31)