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--INSTRUMENTS--
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ALTO
AUTOHARPE
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CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
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CORNET
DEEJAY
DIDGERIDOO
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EUPHONIUM
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87
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188
Piano, Voix
7
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7
2 Pianos, 4 mains
6
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3
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3
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2
Piano Quintette: piano, 2 violons, alto, violoncelle
1
Piano Quatuor: piano, violon, alto, violoncelle
1
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1
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1
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8
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6
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4
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2
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4
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3
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2
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32
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17
Ensemble de Clarinettes
15
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11
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10
Clarinette
9
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8
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8
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8
Hautbois
7
2 Clarinettes (duo)
6
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6
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6
Clarinette et Piano
6
Hautbois, Piano (duo)
5
Saxophone Alto et Piano
4
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4
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4
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3
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3
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3
Saxophone
2
Clarinette, Violon (duo)
2
Saxophone (partie séparée)
2
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2
2 Hautbois (duo)
1
Flûte, Clarinette (duo)
1
3 Clarinettes (trio)
1
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1
Flûte à bec Soprano
1
Hautbois (partie séparée)
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Saxophone Alto
1
Saxophone Tenor
1
Flûte, Clarinette et Basson
1
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1
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1
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1
Ensemble de Flûtes
1
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15
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15
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8
Quatuor de Cuivres : 2 trompettes, trombone, tuba
6
Cor et Piano
6
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5
Trompette, Piano
5
Quatuor de cuivres: 4 trombones
5
Ensemble de Trombones
4
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4
Quatuor de cuivres: 4 cors
4
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3
Trombone et Piano
3
Quatuor de Cuivres
3
Tuba
2
2 Trompettes (duo)
1
3 Trombones (trio)
1
2 Trombones (duo)
1
2 Cors (duo)
1
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1
2 Tubas (duo)
1
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1
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1
Euphonium
1
Quatuor de cuivres: 4 trompettes
1
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27
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26
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10
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8
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8
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6
Violoncelle, Piano
4
Alto, Piano
4
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3
Contre Basse
3
2 Altos (duo)
2
Violon, Alto (duo)
2
2 Violons (duo)
2
Contrebasse, Piano (duo)
2
Harpe, Flûte (duo)
2
4 Contrebasses
2
2 Violoncelles (duo)
2
Piano Trio: Violon, Alto, Piano
1
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1
Trio à Cordes: violon, alto, violoncelle
1
Alto (partie séparée)
1
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29
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25
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16
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12
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12
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1
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1
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Chorale SATB
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Lacrimosa
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Chorale SATB
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AVANCÉ
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Mindaugas Urbaitis
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Lacrimosa
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Mindaugas Urbaitis
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.992292 Composed by Mindaugas Urbaitis. A Cappella,Christian,Contemporary. Octavo. 11 pages. Mindaugas Urbaitis #...
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Choral Choir (SATB) - Level 5 - SKU: A0.992292 Composed by Mindaugas Urbaitis. A Cappella,Christian,Contemporary. Octavo. 11 pages. Mindaugas Urbaitis #3455817. Published by Mindaugas Urbaitis (A0.992292). Lacrimosa (1991-1994) is scored for eight voices mixed choir (2 S, 2 A, 2 T, 2 B) a cappella. The compositional technique is analogical as in my other choral works of recent years: small motifs and scale-like patterns developed by means of repetition, gradual sequences - and all kept in a diatonic mode. As the music develops in its melody and harmony, it comes closer and closer to W.A.Mozart's Lacrimosa and at the end it becomes a quotation of the latter, ending at the same place, where death stopped W.A.Mozart's hand. Lacrimosa is dedicated to those who died for the freedom of Lithuania. At the same the work is Hommage à W.A.Mozart.
$2.95
Missa Solemnis, op. 27 (vocal score)
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Chorale SATB
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AVANCÉ
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Adrian Gagiu
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Missa Solemnis, op. 27
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Adrian Gagiu
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adrian Gagiu #86844...
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Choral Choir (SATB) - Level 5 - SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adrian Gagiu #868444. Published by Adrian Gagiu (A0.1277132). Missa Solemnis in B major, op. 27, vocal score and piano part (for rehearsal purposes only). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$87.99
Overture
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Chorale SATB
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AVANCÉ
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Albert Lortzing and Wolfgang A
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Juergen Juergens
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Overture
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Schott Music - Digital
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SheetMusicPlus
Mixed choir (SATB) - advanced to difficult - SKU: S9.Q9010 Aus der Oper Die Zauberflöte. Composed by Albert Lortzing and Wolfgang Amadeus Moza...
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Mixed choir (SATB) - advanced to difficult - SKU: S9.Q9010 Aus der Oper Die Zauberflöte. Composed by Albert Lortzing and Wolfgang Amadeus Mozart. Arranged by Juergen Juergens. This edition: choral score. Schott Choral Music. Downloadable, Choral score. Duration 8 minutes. Schott Music - Digital #Q9010. Published by Schott Music - Digital (S9.Q9010). German.
$5.99
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