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Agnus Dei (Lamb of God) is a choral composition in one movement by Samuel Barber, his own arrangement of his Adagio for Strings (1936). In 1967, he set the Latin words of the liturgical Agnus Dei , a part of the Mass , for mixed chorus with optional organ or piano accompaniment.
Agnus Dei (1981) Polish Requiem (1980–84, revised and expanded 1993, expanded 2005 after Pope John Paul II's death) Song of the Cherubim (1986) Veni creator (1987) Benedicamus Domino (1992) Benedictus (1993) Agnus Dei (1995, for the Requiem of Reconciliation) De Profundis (1996) Hymne an den heiligen Daniel (1997) Hymne an den heiligen ...
"Agnus Dei" / "King of Kings" (with Passion, Chidima, Jenn Johnson and Brooke Ligertwood) 50 — — — — At Easter (EP) References This page was last edited on 20 ...
The whole is repeated with the addition of pianissimo cymbal and bass drum to the "Sanctus" and a much expanded "Hosanna" fugue. Berlioz suggested that the solo part could be sung by ten tenors. The final movement, containing the "Agnus Dei" and Communion sections of the Mass, features long held chords by the woodwinds and strings.
Agnus Dei is the Latin name under which the "Lamb of God" is honoured within Christian liturgies descending from the historic Latin liturgical tradition, including those of Roman Catholicism, Lutheranism and Anglicanism. It is the name given to a specific prayer that occurs in these liturgies, and is the name given to the music pieces that ...
Kansas City Chiefs quarterback Patrick Mahomes has been diagnosed with a "mild" high ankle sprain, according to NFL Network's Ian Rapoport.. Mahomes was thought to have sustained some kind of ...
The Gloria, Credo and Agnus Dei all begin with a two-part semichoir section, a standard feature of early Tudor Mass cycles. The three clauses of the Agnus Dei are set respectively in two, three and four parts. The Kyrie, as the movement least indebted to English models, has no reduced scoring and employs dense imitation in Continental style.
The Agnus Dei returns to the imitative polyphony of the Kyrie (the opening of Agnus Dei I repeats that of the Kyrie). As was frequently done in the 16th century, Palestrina adds an extra voice in Agnus Dei II, making seven for this movement, in which is embedded a three-part canon that begins with the head-motive.