there was one nearer my god to thee on one of the older titanic movies this is the music but there were words singing it it was so faint but yet so beautiful

This is the most Beautiful thing i have ever heard in my life￼

All the people, musicians, who sank, along with Titanic R.I.P. 🙏🏽✝️☦️ ❣️

I love you Titanic and Titanic is greatest ship ever and when I heard this song called Nearer My God To Thee I was crying the whole time 😰😭

André Rieu - Nearer My God To Thee (Näher Mein Gott Zu Dir) - Zauber Der Musik HD

Jimmy Swaggart - Jesus Just The Mention Of Your Name

The Serenade No. 13 for strings in G major, K. 525 was written by Wolfgang Amadeus Mozart in 1787. The work is more commonly known by the title Eine kleine Nachtmusik. The German title means "a little serenade", though it is often rendered more literally but less accurately as "a little night music". The work is written for a chamber ensemble of two violins, viola, and cello with optional double bass, but is often performed by string orchestras.

Mozart - Eine kleine Nachtmusik

Beethoven: Piano concerto No. 5 in EB Major “Emperor”, Op. 73

Beethoven: Piano concerto No. 5 in EB Major “Emperor”, Op. 73 – II. Adagio un poco mosso

Andre Rieu - Silent Night, Holy Night (Christmas Instrumental)

carmen overture - georges bizet

Jean Sibelius, Finlandia

UNI Orchester der Bergischen Universität Wuppertal
Das Russische Staatsorchester Kaliningrad
Leitung: Christoph Spengler
Live-Aufnahme vom Konzert am 21.5.2015 in der Christuskirche Wuppertal

Jean Sibelius, Finlandia

An Analysis of "Domine Deus" in Bach's Mass in B Minor

Johann Sebastian Bach’s Mass in B Minor, BWV 232, stands as a monumental achievement, compiled over 25 years and weaving together musical complexity and profound theology. Within its Gloria, movement 9, "Domine Deus," emerges as a duet for soprano I and tenor, accompanied by an obbligato flute. This essay explores the musical structure, theological significance, and historical context of "Domine Deus," revealing its role as a highlight of Bach’s genius.

The musical structure of "Domine Deus" showcases Bach’s contrapuntal mastery. The duet features soprano I and tenor in canon and parallel motion, creating a unified dialogue reminiscent of the "Christe eleison." The obbligato flute introduces melodic ideas that the voices later echo, lending a refined, airy texture to the movement. Likely cast in da capo form, it modulates to related keys, balancing clarity with sophistication. Supported by continuo, the interplay between flute and voices forms a cohesive sound, amplifying the emotional weight of the text. This structure, as noted in studies of the Mass, reflects Bach’s ability to merge simplicity with intricate craftsmanship, making "Domine Deus" both accessible and profound.

Theologically, "Domine Deus" carries deep significance, aligning with the Lutheran "theologia crucis" or theology of the cross. The text begins with "Domine Deus, Rex coelestis" (Lord God, Heavenly King), invoking divine majesty, but shifts to "Domine Deus, Agnus Dei" (Lord God, Lamb of God), emphasizing Christ’s sacrifice. The music’s gentle character, marked by the duet’s intimacy and the flute’s delicate lines, suits the "Agnus Dei" rather than the grandeur of "Rex coelestis." This choice underscores the Lutheran view of divine power revealed through vulnerability, positioning "Domine Deus" as a pivotal moment in the Gloria. By highlighting redemption over sovereignty, Bach uses music to convey a core theological idea, making the movement a spiritual focal point.

Historically, "Domine Deus" likely draws from Bach’s 1729 cantata Ihr Häuser des Himmels, BWV 193a, a duet addressing Jesus. Scholars, including Christoph Wolff, suggest this parody reflects Bach’s common practice of repurposing compositions to fit new contexts. The Mass’s symmetrical design places "Domine Deus" centrally in the Gloria, enhancing its doctrinal weight amidst choral and solo sections. Stylistic parallels with the cantata, though not conclusively proven, reveal Bach’s creative ingenuity, adapting a love-duet into a sacred expression of faith. This historical layering adds depth, showing how Bach transformed existing material to serve the Mass’s grand vision.

Performance practices further illuminate the movement’s character. Ensembles like American Bach Soloists emphasize historically informed approaches, highlighting the flute’s nuanced obbligato and the duet’s emotive clarity. The canonic voices demand precise coordination, heightening the section’s expressive power. Such performances underscore the movement’s ability to convey both technical precision and spiritual resonance, inviting listeners into its theological narrative.

In conclusion, "Domine Deus" exemplifies Bach’s ability to blend musical artistry with profound meaning. Its canonic duet, obbligato flute, and potential cantata origins showcase his compositional skill, while its alignment with the "theologia crucis" anchors it in Lutheran theology. As a central movement in the Gloria, it invites listeners to reflect on redemption and sacrifice, making it a cornerstone of the Mass in B Minor. This analysis, rooted in recent scholarship, affirms "Domine Deus" as a testament to Bach’s enduring legacy, worthy of continued exploration.

JS Bach Mass B Minor BWV 232 (1749) 7[a]. Domine Deus (Baroque Flute, Soprano, Tenor)

BIZET: Habanera from "Carmen" (Instrumental)

youtube.com/watch?v=v1mQT1u_45I

André Rieu - Nearer, My God, to Thee (live in Amsterdam)

Look With Your Heart from Love Never Dies. I have suffered from a semi-relapse into this music since it is all that we listened to at my friend's birthday (she got the DVD).
In any case, I got in the mood to record something right before a cold attacks because I'm special like that. I know this isn't the best and I plan on re-recording this. Someday.
Well, please forgive that email sound in the end. There's nothing I could have done to cut it.
All in all, I am pleased with how this sounds. Enjoy!

André Rieu - Nearer My God To Thee (Näher Mein Gott Zu Dir) - Zauber Der Musik HD

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