Page d'accueil
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
set Baroque
Non classifié
55
Piano & claviers
Piano seul
15
Orgue
4
1 Piano, 4 mains
2
Orgue, Trompette (duo)
1
Piano Trio: piano, violon, violoncelle
1
Piano, Voix
1
2 Pianos, 4 mains
1
+ 2 instrumentations
Retracter
Guitares
Guitare
6
2 Guitares (duo)
2
Voix
Chorale SATB
7
Chorale SSAATTBB
1
Vents
Flûte à Bec
13
Quintette de Saxophone: 5 saxophones
10
Quatuor de Clarinettes: 4 clarinettes
8
Quatuor de Saxophones: 4 saxophones
7
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
5
Ensemble de Clarinettes
4
Ensemble de Flûtes
4
Flûte, Hautbois, Clarinette, Basson
4
Quatuor de Flûtes : 4 flûtes
3
Quintette de Clarinettes: 5 clarinettes
2
Flûte traversière
2
Flûte, Violoncelle, Guitare
2
Ensemble de saxophones
2
Quintette de Flûte : 5 flûtes
2
3 Clarinettes (trio)
2
Quatuor de Flûtes à bec
2
5 Flûtes à bec
1
Flûte, Violoncelle, Piano (trio)
1
2 Flûtes traversières (duo)
1
Trio de Flûtes: 3 flûtes
1
Flûte, Clarinette et Basson
1
+ 16 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
19
Ensemble de Trompettes
8
Ensemble de Trombones
6
2 Trompettes, Clavier (piano ou orgue)
5
Quatuor de Cuivres : 2 trompettes, trombone, tuba
4
Quatuor de cuivres: 4 trombones
3
Quatuor de Cuivres: 2 trompettes, Cor, trombone
1
Quatuor de cuivres: 4 cors
1
3 Trombones (trio)
1
Euphonium, Piano (duo)
1
2 Euphoniums et 2 Tubas
1
Trompette (partie séparée)
1
Trombone basse
1
Tuba
1
Euphonium
1
+ 10 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
15
Trio à Cordes: violon, alto, violoncelle
6
Violon
4
Violon et Piano
3
Ensemble d'Altos
2
Ensemble de Violons
1
Alto (partie séparée)
1
2 Altos (duo)
1
4 Violoncelles
1
Violoncelle
1
Contre Basse
1
Trio à Cordes: 3 violoncelles
1
Harpe
1
+ 8 instrumentations
Retracter
Orchestre & Percussions
Orchestre à Cordes
7
Ensemble de cuivres
6
Orchestre d'harmonie
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Orchestre
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Autres
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FLUTE A DIX…
FLUTE DE PA…
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HARMONICA
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HAUTBOIS
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LUTH, THEOR…
MANDOLINE
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PARTITIONS …
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PERCU. ORCH…
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SAXOPHONE
SYNTHE
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VIELLE A RO…
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VIOLON
VIOLONCELLE
XYLOPHONE
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▽ INSTRUMENTS
ACCORDEON
ALTO
AUTRES INSTRU…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHORA…
CHARANGO
CITHARE
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNET
DOBRO - GUIT.…
DULCIMER
EUPHONIUM
FANFARE - BAN…
FLUTE
FLUTE A BEC
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LIVRES
LUTH, THEORBE
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ORCHESTRE
ORGUE
PARTITIONS VI…
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Intermédiaire
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NOËL
|
Librairie Musicale
0
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|
NOUVEAUTÉS
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PIANO
|
Tout Piano
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Meilleures Ventes
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|
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|
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
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VIOLONCELLE
XYLOPHONE
style (tous)
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COMEDIES MUSICALES -…
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ENFANTS : EVEIL - IN…
FILM - TV
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FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
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Chorale SATB
Partitions à imprimer
7 partitions trouvées
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1
Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga
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Chorale SATB
#
AVANCÉ
#
Carson Cooman
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Carson Cooman: Ascensions
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Musik Fabrik Music Publishing
#
SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.535388 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 82 pages. Musik Fabrik Music Publishing #...
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Choral Choir (SATB) - Level 5 - SKU: A0.535388 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 82 pages. Musik Fabrik Music Publishing #3043975. Published by Musik Fabrik Music Publishing (A0.535388). I. SinfoniaII. To Mary on the vigil of her AssumptionIII. A Votive SongIV. The Heliotrope-the mind of man turned to GodAscensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and organ was commissioned by and isdedicated to the Cornell University Chamber Singers, Holland J. Jancaitis, director.The work is a cantata consisting of an instrumental sinfonia followed by choral settings of three poems by neo-Latin poetJakob Balde, S.J. (1604–68), hailed as the Horace of Germany and considered one of the greatest Latin poets of any era.In the case of the three poems selected, Balde’s vivid imagery and mastery of Latin poetics are put in service of religiousexpression. The poems are filled with countless allusions to the classical poetic tradition; notably, he creates a strongcorrelation between the Virgin Mary of his Christian tradition (Balde was a Jesuit priest) and the goddesses invoked inclassical Latin poetry. Thus, Balde uses the older forms to express something that was, for him, contemporary andrelevant. (An analogue to this use of language is the idea of creating new music to be played on period instruments.)The opening sinfonia begins with an ascending pattern of triads, which returns throughout the work. The forwardmomentum is interrupted several times before the movement settles tonally. The first choral movement employs abouncy momentum to set the celebratory poem on the Virgin’s assumption. The second movement is a prayerful song onthe acceptance of death; it is spare and meditative, unfolding as a series of sectional canons over several drones. The finalmovement returns to the celebratory spirit of the opening; this time, instead of the Virgin’s journey, the poem describesthe speaker’s journey and compares a purposeful sea voyage to a directed life.Balde’s poems are provided in their original Latin and in two translations. One is a free translation in rhyming poeticEnglish created by James J. Mertz, S.J., longtime professor at Loyola University. The other is a newly-created literaltranslation by Edward J. Vodoklys, S.J., Senior Lecturer in Classics at the College of the Holy Cross.Carson P. Cooman, January 2009, Cambridge, Massachusetts, USAPERFORMANCE NOTES: The composer prefers a classically-informed Italianate pronunciation of the Latin(church Latin is acceptable). (It is important that V always be pronounced as V, not as the W soundoften used by classical Latinists.)The work is conceived for a chamber choir, as a larger choir would not balance the timbres of the baroqueinstruments. It is suggested that 16–24 singers be employed (no fewer than 12).As with much early repertoire, dynamic and expressive markings are kept to a minimum. It is expected thatdirector and performers will inflect lines expressively and naturally. The organ part is notated for a small portatiforgan with pull-down pedal (with no independent pedal stops). If played on a larger instrument, this smallerregistration plan should be kept in mind so as to create balance with the instruments and choir.
$25.95
Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga
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Chorale SATB
#
AVANCÉ
#
Carson Cooman
#
Carson Cooman: Ascensions
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.535387 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 65 pages. Musik Fabrik Music Publishing #...
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Choral Choir (SATB) - Level 5 - SKU: A0.535387 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 65 pages. Musik Fabrik Music Publishing #3043973. Published by Musik Fabrik Music Publishing (A0.535387). I. SinfoniaII. To Mary on the vigil of her AssumptionIII. A Votive SongIV. The Heliotrope-the mind of man turned to GodAscensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and organ was commissioned by and isdedicated to the Cornell University Chamber Singers, Holland J. Jancaitis, director.The work is a cantata consisting of an instrumental sinfonia followed by choral settings of three poems by neo-Latin poetJakob Balde, S.J. (1604–68), hailed as the Horace of Germany and considered one of the greatest Latin poets of any era.In the case of the three poems selected, Balde’s vivid imagery and mastery of Latin poetics are put in service of religiousexpression. The poems are filled with countless allusions to the classical poetic tradition; notably, he creates a strongcorrelation between the Virgin Mary of his Christian tradition (Balde was a Jesuit priest) and the goddesses invoked inclassical Latin poetry. Thus, Balde uses the older forms to express something that was, for him, contemporary andrelevant. (An analogue to this use of language is the idea of creating new music to be played on period instruments.)The opening sinfonia begins with an ascending pattern of triads, which returns throughout the work. The forwardmomentum is interrupted several times before the movement settles tonally. The first choral movement employs abouncy momentum to set the celebratory poem on the Virgin’s assumption. The second movement is a prayerful song onthe acceptance of death; it is spare and meditative, unfolding as a series of sectional canons over several drones. The finalmovement returns to the celebratory spirit of the opening; this time, instead of the Virgin’s journey, the poem describesthe speaker’s journey and compares a purposeful sea voyage to a directed life.Balde’s poems are provided in their original Latin and in two translations. One is a free translation in rhyming poeticEnglish created by James J. Mertz, S.J., longtime professor at Loyola University. The other is a newly-created literaltranslation by Edward J. Vodoklys, S.J., Senior Lecturer in Classics at the College of the Holy Cross.Carson P. Cooman, January 2009, Cambridge, Massachusetts, USAPERFORMANCE NOTES: The composer prefers a classically-informed Italianate pronunciation of the Latin(church Latin is acceptable). (It is important that V always be pronounced as V, not as the W soundoften used by classical Latinists.)The work is conceived for a chamber choir, as a larger choir would not balance the timbres of the baroqueinstruments. It is suggested that 16–24 singers be employed (no fewer than 12).As with much early repertoire, dynamic and expressive markings are kept to a minimum. It is expected thatdirector and performers will inflect lines expressively and naturally. The organ part is notated for a small portatiforgan with pull-down pedal (with no independent pedal stops). If played on a larger instrument, this smallerregistration plan should be kept in mind so as to create balance with the instruments and choir
$19.95
Bach Little Fugue in G Minor for Double Reed Choir BWV 578
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Chorale SATB
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AVANCÉ
#
Classique
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Johann Sebastian Bach
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Stephanie Daige
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Bach Little Fugue in G Minor f
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Stephanie Daige
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SheetMusicPlus
Choral Choir (Mixed) - Level 5 - SKU: A0.796870 Composed by Johann Sebastian Bach. Arranged by Stephanie Daige. Baroque,Concert. Octavo. 29 pages. Steph...
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Choral Choir (Mixed) - Level 5 - SKU: A0.796870 Composed by Johann Sebastian Bach. Arranged by Stephanie Daige. Baroque,Concert. Octavo. 29 pages. Stephanie Daige #3377603. Published by Stephanie Daige (A0.796870). This little fugue is one of Bach's most famous and beloved organ works. Re-imagined for double reed choir, it is a challenging and fun setting for this fugue. The different instruments take turns entering with the subject of the fugue, and interplay back and forth with the other instruments. The timbres of the different instruments adds a whole new textural dimension to this already fascinating work by J.S. Bach. I considered the need to breathe for each of these wind instruments, which obviously wasn't an issue for the original version intended for organ. This piece would be appropriate for advanced high school students, college students, or professionals. It would do well in a chamber music concert, in a church, or between acts of a larger ensemble concert, perhaps in another location of the auditorium while a (quiet!) set change is taking place. It would also work well as prelude or lobby music. The duration is just over three minutes (or longer if you prefer to take it slower). Each measure is numbered individually for convenience during rehearsals. I hope you will enjoy performing this piece as much as I have enjoyed arranging it! There are also versions of this piece available for wind and brass quintets. Please check out my other arrangements at: http://www.sheetmusicplus.com/publishers/stephanie-daige/6875
$17.99
nicht Ichts – nicht Nichts
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Chorale SATB
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AVANCÉ
#
Heinz Holliger
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nicht Ichts – nicht Nich
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Schott Music - Digital
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SheetMusicPlus
4 voices (SATB) a cappella (4 soloists or à 8, à 12, à 16) - difficult - SKU: S9.Q20946 10 Monodisticha von Angelus Silesius. Composed by H...
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4 voices (SATB) a cappella (4 soloists or à 8, à 12, à 16) - difficult - SKU: S9.Q20946 10 Monodisticha von Angelus Silesius. Composed by Heinz Holliger. This edition: choral score. Schott Chamber Choir. Downloadable, Choral score. Duration 20 minutes. Schott Music - Digital #Q20946. Published by Schott Music - Digital (S9.Q20946). German.In nicht Ichts – nicht Nichts, Heinz Holliger has set the words of ten selected mystic epigrammes by the seventeenth century Baroque poet Angelus Silesius. The two-line sayings in rhyming Alexandrines undertake a profound exploration of metaphysical issues, posing questions such as What is life, eternity, space and time and the nature of God?
$10.99
St John's passion
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Chorale SATB
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AVANCÉ
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Classique
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Chidi Obijiaku
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St John's passion
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Obijiaku C.C
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SheetMusicPlus
Choral Choir (SATB divisi) - Level 5 - SKU: A0.1011020 Composed by Chidi Obijiaku. Baroque. Octavo. 116 pages. Obijiaku C.C #5726891. Published by Obiji...
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Choral Choir (SATB divisi) - Level 5 - SKU: A0.1011020 Composed by Chidi Obijiaku. Baroque. Octavo. 116 pages. Obijiaku C.C #5726891. Published by Obijiaku C.C (A0.1011020). The passion of Jesus Christ according to Saint John set for solos, duets, trios and choruses.
$25.05
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
Kyrie in G Minor
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Chorale SATB
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AVANCÉ
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Mitch Boucher
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Kyrie in G Minor
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Mitch Boucher
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.990430 Composed by Mitch Boucher. Baroque,Sacred. Octavo. 7 pages. Mitch Boucher #5751233. Published by Mitch Bo...
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Choral Choir (SATB) - Level 5 - SKU: A0.990430 Composed by Mitch Boucher. Baroque,Sacred. Octavo. 7 pages. Mitch Boucher #5751233. Published by Mitch Boucher (A0.990430). This is my first attempt at setting words of a traditional mass to music. Strings may accompany the voices if necessary.
$10.00
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