Choral TBB chorus

SKU: CF.CM9588

Composed by Tomas Luis de Victoria. Arranged by Jeb Mueller. Fold. Performance Score. 8 pages. Duration 1 minute, 59 seconds. Carl Fischer Music #CM9588. Published by Carl Fischer Music (CF.CM9588).

ISBN 9781491154106. UPC: 680160912605. 6.875 x 10.5 inches. Key: Eb major. Latin. Traditional Latin.

Tomas Luis de Victoria (15481611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victorias time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [v??bum k??? p?n?m v?rum] verbo carnem efficit: fitque sanguis Christi merum. [v??b? k??n?m ??fit?it fitkw? s??gwis k?isti m??um] Et si sensus deficit, ad firmandum cor sin cerum. [?t si s?nsus ?d?fit?it, ?d fi??m?ndum k?? sin t???um] Jeb Mueller.
TomA!s Luis de Victoria (1548a1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoriaas time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is ao,a which sounds similar to the English words bought and got. The letter ata should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of asa should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [vEE 3/4 bum kEE 3/4 E pEnEm vErum] verbo carnem efficit: fitque sanguis Christi merum. [vEE 3/4 bE kEE 3/4 nEm EEfitEit fitkwE sEAgwis kE 3/4 isti mEE 3/4 um] Et si sensus deficit, ad firmandum cor sin cerum. [Et si sEnsus EdEfitEit, Ed fiE 3/4 EmEndum kEE 3/4 sin tEEE 3/4 um] Jeb Mueller.
Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.
Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.
Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from Pange lingua more hisapano. The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.
Tomás Luis de Victoria (1548–1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from Pange lingua more hisapano.The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance.Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria’s time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity.PRONUNCIATION GUIDEVictoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is “o,” which sounds similar to the English words bought and got. The letter “t” should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of “s” should be soft and never hardened to [z], such as in praise.Verbum caro, panem verum,[vɛɾbum kɑɾɔ pɑnɛm vɛrum]verbo carnem efficit: fitque sanguis Christi merum.[vɛɾbɔ kɑɾnɛm ˈɛfitʃit fitkwɛ sɑŋgwis kɾisti mɛɾum]Et si sensus deficit, ad firmandum cor sin cerum.[ɛt si sɛnsus ˈdɛfitʃit, ɑd fiɾˈmɑndum kɔɾ sin tʃɛɾum]Jeb Mueller.

By Tomas Luis de Victoria. Arranged by Roper. For Brass Quintet. Published by BVD Press.

SATB, a cappella (Latin Language Edition). Composed by Tomas Luis de Victoria (da Vittoria). Choral (Sacred); Choral Worship Cantata; Larger Works; Masterworks; Performance Music Ensemble; Worship Resources. Kalmus Edition. Masterwork; Renaissance; Sacred. Book. 24 pages. Kalmus Classic Edition #00-K06496. Published by Kalmus Classic Edition

By Tomas Luis De Victoria (1548 - 1611). Arranged by Ken Bray. For Brass Quintet. New York Festival List. Renaissance. Level: Easy. Duration 00:03:40. Published by Eighth Note Publications.

2 Mixed choir-SATB Composed by Tomas Luis de Victoria (1548-1611). Edited by Wilhelm Horn. Stapled. Choral score. 40 pages. Duration 22 minutes. Suddeutscher Musikverlag #SM01670. Published by Suddeutscher Musikverlag

Composed by Tomas Luis de Victoria (0-1611). Edited by Wilhelm Horn. For double SATB choir. Stapled. Choral score. Published by Suddeutscher Musikverlag

SATB Choir (Organ)

SKU: HL.14021606

By Andrew Parker. By Tomas Luis de Victoria. Edited by Andrew Parker. Music Sales America. Motet. Book [Softcover]. 72 pages. Music Sales #NOV020691. Published by Music Sales (HL.14021606).

ISBN 9781846091841. UPC: 884088434793. 6.75x10.0x0.222 inches.

This beautifully presented edition from Novello offers a full Mass setting alongside a Motet, both for large mixed chorus, by Tomas Luis De Victoria. Regarded by many as one of the greatest composers of Spanish renaissance polyphony, this Mass setting is rich in his characteristic tonalities and the textures of the sacred choral tradition. Alongside this is the original Motet upon which the Mass setting is based. Both are transcribed and edited by Andrew Parker. The pairing of the two works offers an exciting and fascinating performance opportunity, with the devout grandeur of the Mass set against the modesty of the original Motet. Missa Dum Complerentur for SAATTB voices. Motet: Dum Complerentur Dies Pentecostes for SSATB voices.

Composed by Tomas Luis de Victoria (1548-1611). Edited by Andrea Angelini. Text: Hail Mary. Renaissance treasure. Marian. Octavo. Published by CanticaNOVA Publications (C5.7019).

By Tomas Luis de Victoria (0-1611). Arranged by David Marlatt. For Brass Quartet. Brass Ensemble - Quartet; Masterworks; Part(s); Quartet; Score. Eighth Note Publications. Masterwork Arrangement; Renaissance. 16 pages. Published by Eighth Note Publication

Choral (SATB) - intermediate

SKU: HL.14032506

Vol.3. Composed by Tomas Luis de Victoria. Music Sales America. Classical, Motet. Vocal Score. Music Sales #UMV99073. Published by Music Sales (HL.14032506).

Latin.

Tomas Luis de Victoria (1548-1611) was one of the last representatives of the 'prima prattica', the polyphonic style which was dominant in the period music history has labelled the 'renaissance'. Vol. 3 of these 52 motets for mixed voice choirs.

Trombone Quartet - Moderately Advanced

SKU: CY.CC2372

Composed by Tomas Luis de Victoria. Arranged by Andrew Converse. Renaissance. Full score & Parts. Published by Cherry Classics (CY.CC2372).

Tomas Luis de Victoria was the most famous composer of the 16th century in Spain, and one of the most important composers of the Counter-Reformation, along with Palestrina and Orlando di Lasso. Victoria was not only a composer, but also an accomplished organist and singer. However, he preferred the life of a composer to that of a performer. He is sometimes known as the Spanish Palestrina because he may have been taught by Palestrina.

O Magnum Mysterium is a 4 part a cappella motet written in Latin for the Catholic Church service and is performed mostly around the Christmas period as the text refers to the great mystery of the Virgin birth, animals and baby Jesus in the manger. This work was written during the composer's stay in Rome and has some of Palestrina's influence.

Dr. Converse has done a beautiful job of transcribing one of the most beautiful sacred choral works of the Renaissance period.

By Tomas Luis de Victoria (0-1611). For Choral (Vocal Score). Music Sales America. Religious. Music Sales #UMV99072. Published by Music Sales

Choral (Study Score)

SKU: HL.49009669

(Motet and Mass) for Choir. Composed by Tomas Luis de Victoria. Edited by Thomas Rive. This edition: Saddle stitching. Sheet music. Edition Schott. Sacred. Study Score. 32 pages. Eulenburg Edition #ETP1706. Published by Eulenburg Edition (HL.49009669).

ISBN 9790200211443. UPC: 073999354454. 5.25x7.5x0.118 inches. Latin.

With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.

Edited by Alice Parker, Robert Shaw, composed by Tomas Luis de Victoria. Octavo for SATB choir (a cappella). With translation. Series: Robert Shaw Choral Series. 12 pages. Published by G. Schirmer, Inc.

SATB Choir - intermediate-advanced

SKU: HL.14034928

Composed by Tomas Luis de Victoria. Music Sales America. Sacred. Choral Score. Composed 2002. 5 pages. Chester Music #CH58701. Published by Chester Music (HL.14034928).

Tenebrae Responsory for Good Friday. Edited by Bruno Turner.

SATB, a cappella (Latin Language Edition). Composed by Tomas Luis de Victoria (da Vittoria). Choral (Sacred); Choral Worship Cantata; Larger Works; Masterworks; Performance Music Ensemble; Worship Resources. Kalmus Edition. Masterwork; Renaissance; Sacred. Book. 24 pages. Kalmus Classic Edition #00-K06494. Published by Kalmus Classic Edition

By Tomas Luis de Victoria (0-1611). For SATB Choir (Mixed Voices). Holy Week, Lent. Lamentations 1:12. Choral. 8 pages. Published by E.C. Schirmer Publishing

Brass quartet - intermediate

SKU: CY.CC2894

Composed by Tomas Luis de Victoria. Arranged by Andrew Converse. Christmas Motet. Score and parts. Published by Cherry Classics (CY.CC2894).

Victoria's rich, mysterious and serene 4-part Renaissance Christmas motet, O Magnum Mysterium was written in 1572. The composer intended it to be sung at another service later in the year. It has become a Christmas tradition for many choirs.
Andrew Converse has arranged this beautiful 4-minute work of moderate difficulty for Brass Quartet of 2 Trumpets in B-flat and 2 Trombones. An additional Horn substitute for the Trombone I part has been included as well.

By Tomas Luis de Victoria (0-1611). Arranged by Russell L. Robinson. For SSA choir, Optional Keyboard. Octavo. 8 pages. Published by BriLee Music

Voice

SKU: HL.14034552

Composed by Tomas Luis de Victoria. Music Sales America. Motet. Book [Softcover]. Music Sales #UMV19178. Published by Music Sales (HL.14034552).

8.25x12.0x0.033 inches. English-Spanish.