Amen

Amen Magazine UK - December 2017  Magazines

Posted by Pulitzer at Dec. 4, 2017
Amen Magazine UK - December 2017

Amen Magazine UK - December 2017
English | 52 pages | True PDF | 13.4 MB

Amen Magazine - November 2017  Magazines

Posted by Pulitzer at Dec. 1, 2017
Amen Magazine - November 2017

Amen Magazine - November 2017
English | 52 pages | True PDF | 13.4 MB

Amen Magazine UK - November 2017  Magazines

Posted by Pulitzer at Nov. 30, 2017
Amen Magazine UK - November 2017

Amen Magazine UK - November 2017
English | 50 pages | True PDF | 12.8 MB

Amen - November 01, 2017  Magazines

Posted by Pulitzer at Nov. 27, 2017
Amen  - November 01, 2017

Amen - November 01, 2017
English | 30 pages | True PDF | 5.4 MB

Amen - October 01, 2017  Newspapers

Posted by Pulitzer at Oct. 23, 2017
Amen  - October 01, 2017

Amen - October 01, 2017
English | 50 pages | True PDF | 12.0 MB

Amen - August 01, 2017  Newspapers

Posted by Pulitzer at Oct. 23, 2017
Amen  - August 01, 2017

Amen - August 01, 2017
English | 40 pages | True PDF | 9.6 MB

Amen Magazine - October 2017  Magazines

Posted by Pulitzer at Oct. 7, 2017
Amen Magazine - October 2017

Amen Magazine - October 2017
English | 30 pages | True PDF | 5.4 MB

Amen Magazine - September 2017  Magazines

Posted by Pulitzer at Sept. 20, 2017
Amen Magazine - September 2017

Amen Magazine - September 2017
English | 50 pages | True PDF | 12.0 MB

Amen Magazine - August 2017  Magazines

Posted by Pulitzer at Sept. 6, 2017
Amen Magazine - August 2017

Amen Magazine - August 2017
English | 40 pages | True PDF | 9.7 MB
Robert Crowe & Il Furioso - Handel: The Complete "Amen, Alleluia" Arias (2017)

Robert Crowe & Il Furioso - Handel: The Complete "Amen, Alleluia" Arias
Classical, Baroque Sacred, Vocal | WEB FLAC (tracks) & d. booklet | 57:33 min | 246 MB
Label: Toccata Classics | Tracks: 22 | Rls.date: 2017

Over a period of some twenty years, from the late 1720s, Handel composed a series of virtuoso arias using only thewords Allelujah and Amen as his texts. They were probably for use in private worship, and take their place in the tradition of Divine Song established by Purcell and other composers. Here they receive their first recordings, set in a context of contemporary sacred song and instrumental music, with theaccompaniment provided by the beguiling sound of two theorbos and chamber organ. They are heard here in the extraordinarily dramatic timbres of a male-soprano voice perhaps as close as modern listeners can come to the vocal acrobatics of the castrati who so amazed their own audiences.