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Vous avez sélectionné:
I'm Like Him
Chorale SATB
Partitions à imprimer
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FOR IF WE DIED WITH HIM (SATB) w/Rehearsal Piano – 2 Timothy 2:11-13
Chorale SATB
Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.926665 Composed by Michael…
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Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.926665 Composed by Michael A. Morizio. A Cappella,Christian,Sacred. Octavo. 13 pages. M.A. Morizio #3588435. Published by M.A. Morizio (A0.926665). In the first chapter of Paul’s second letter to Timothy, verses 1-10, we observe the intimate relationship that exists, between a spiritual father and his son… I remember you constantly in my prayers night and day. As I remember your tears, I long to see you, that I may be filled with joy. In Chapter two we also witness Paul’s commissioning Timothy to entrust to faithful men all that he was taught by the Apostle, that they then may be able to teach others in the same way also. While the elder Paul is now in prison and bound in chains, he is nonetheless empowered by the Holy Spirit to encourage and exhort Timothy to share in suffering as a good soldier of Christ, for the sake of the Gospel. Though Paul is bound in chains, he declares to Timothy the word of God is not bound! Endurance for Paul serves only one purpose, the salvation that is in Christ Jesus with eternal glory.In verse 11, Paul supports his statements by inserting another known 1st century Hymn to Christ, which brings us to our fifth anthem, For If We Died with Him. The text-or lyrics-of this hymn are even bracketed (or indented) in the NKJV Bible, suggesting the hymnic setting. The proposition of the text is quite clear; if we died with Christ, then we shall also live eternally with Christ. If we endure in the faith, then we shall also reign eternally with Christ. However, there is an insertion of 'Law' here, with a dire warning that the opposite is also true: If we deny Christ, resist, and refuse His beckoning and free invitation to salvation, then He will also deny us. Not everyone who says to me ‘Lord, Lord,’ will enter the kingdom of heaven… I will declare to them, ‘I never knew you; depart from me, you workers of lawlessness.’ (Matthew 7:31-23). Thus, the stage has been set for the fifth anthem. The piece is composed for SATB a cappella. The key is F Major. The opening phrase, This is a trustworthy saying, is in ¾ time, where a series of triplets are sung three times each (the Trinitarian opening motif). The meter then shifts to 2/4 with a lovely, distinctive unison melody for the opening phrase, For if we died with Him, we shall also live with Him. Soon after, when the lyrics shift to the words, If we deny Him, He will also deny us, the song drops into the relative minor key (F minor). The melody in this passage is haunting, and sends a clear warning signal to the listener to pay heed to what is being sung. When the text then transitions from if we are faithless, He remains faithful, however, the key shifts back to F Major in a new (dance-like) rhythm for the final verse, He remains faithful, for He cannot deny Himself. A coda is inserted in the final phrase where the triplet pattern is recapitulated (This is a trustworthy saying) and the sopranos ascend to a high F singing the lyrics, we shall live, for He remains faithful! to triumphantly end the piece.
$1.99
1.83 €
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Chorale SATB
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Michael A
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FOR IF WE DIED WITH HIM
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M.A. Morizio
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SheetMusicPlus
Love Like a Flame, a sacred hymn
Chorale SATB
Choral Choir,Choral,SATB Chorus - Level 4 - Digital Download SKU: A0.1431955 Compos…
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Choral Choir,Choral,SATB Chorus - Level 4 - Digital Download SKU: A0.1431955 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Praise & Worship,Religious,Sacred,Spiritual. 2 pages. Kevin G. Pace #1012431. Published by Kevin G. Pace (A0.1431955). A beautiful, sacred hymn celebrating the visitation of the Savior to the Kirtland Temple, in Kirtland, Ohio in 1836 (see Doctrine and Covenants, section 110). Music by Kevin G. Pace. Text by Mary Ann W. Snowball.Text:When stood our true Lord on the pulpit of God,Under his feet was pure gold.The hair of his head was white like the snow,Showing the glory He owned.His countenance glowed as beyond brilliant sun;Like rushing waters He spoke.His voice was then heard, proclaiming his worth.With Him I’m anchored and yoked.And then my still gaze rested into his eyes,Feeling his love like a flame.Sure warmth as a fire went straight to my heart,Knowing for me He was slain.His eyes, oh his eyes, could show only pure love,No matter what I had done.I wept as I peered with love of my own,Reveling in God’s own Son.
$1.99
1.83 €
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Chorale SATB
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Kevin G
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Love Like a Flame, a sacred hymn
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Kevin G. Pace
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SheetMusicPlus
To See His Face, Sacred Christmas music for SATB Choir
Chorale SATB
Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1391989 Composed by…
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Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1391989 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Christmas,Praise & Worship,Religious,Sacred. 8 pages. Kevin G. Pace #975476. Published by Kevin G. Pace (A0.1391989). An intensely beautiful, sacred, Christmas composition for SATB choir.  A choral psalm for Christmas.  Music by Kevin G. Pace.  Text by Mary Ann W. Snowball.Text:To see his face, this newborn infant Son,is to look upon pure brilliance like the sun.To see his form, with glory in a stall,hints for me to kneel and touch his swaddling shawl.To see his face, to gaze upon his eyes,is to know his strength which someday will supplythe greatest gift mankind will ever know . . .He will give his life, his perfect love to show.To hear his cries, I weep with gratitudecelebrating love, his sacrifice and wounds.I bow my head in reverence for his Name.He will take my sins, releasing me from shame.To see his face, the very Son of God,is to look upon perfection never flawed.I speak his Name, this newborn heavn’ly Child,and I know, from Him, to God I’m reconciled.I lift my voice in songs of heartfelt praise.On this Christmas morn to Him my eyes will stay.I feel his love; I sense his warm embraceas I look upon his ever-faithful face.
$1.99
1.83 €
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Chorale SATB
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Kevin G
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To See His Face, Sacred Christmas music for SATB Choir
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Kevin G. Pace
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SheetMusicPlus
To See His Face, a sacred Christmas hymn
Chorale SATB
Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1374312 Composed by…
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Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1374312 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Christmas,Praise & Worship,Religious,Sacred. 3 pages. Kevin G. Pace #958916. Published by Kevin G. Pace (A0.1374312). An intensely beautiful Christmas hymn with music by Kevin G. Pace and text by Mary Ann W. Snowball.Text:To see his face, this newborn infant Son,is to look upon pure brilliance like the sun.To see his form, with glory in a stall,hints for me to kneel and touch his swaddling shawl.To see his face, to gaze upon his eyes,is to know his strength which someday will supplythe greatest gift mankind will ever know . . .He will give his life, his perfect love to show.To hear his cries, I weep with gratitudecelebrating love, his sacrifice and wounds.I bow my head in reverence for his Name.He will take my sins, releasing me from shame.To see his face, the very Son of God,is to look upon perfection never flawed.I speak his Name, this newborn heavn’ly Child,and I know, from Him, to God I’m reconciled.I lift my voice in songs of heartfelt praise.On this Christmas morn to Him my eyes will stay.I feel his love; I sense his warm embraceas I look upon his ever-faithful face.
$1.99
1.83 €
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Chorale SATB
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Kevin G
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To See His Face, a sacred Christmas hymn
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Kevin G. Pace
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SheetMusicPlus
The City In the Sea: Choral Tone Poem
Chorale SATB
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1074352 Composed by Stanle…
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1074352 Composed by Stanley M Hoffman. Classical,Contemporary. Octavo. 32 pages. Stanleymhoffman.com #678653. Published by stanleymhoffman.com (A0.1074352). PROGRAM NOTES As of the present writing, this choral tone poem had been gestating for over thirty years, and the concept and harmonies for it for over forty years. In the 1980s I began to work with the latter two in my brief orchestral piece Little Sea Nocturne. When reading the poetry of Edgar Allan Poe (1809–1849), I am most struck by how musical they are. When recited aloud they exhibit their own rhythmic sense. I was eager to incorporate those rhythms into my music. I had long been familiar with his poem The City In the Sea and began to sketch choral passages for the present choral tone poem in the 1990s. It took me until 2022 to complete it because I required many more years of experience at my craft to do so to lead into out of the choruses. In 2012 I completed a seven-minute unaccompanied version of the choruses with music unique to and unifying it simply called The City In the Sea. In composing The City In the Sea - Choral Tone Poem, my goal was to write a piece that, while steeped in tradition, sounds unlike anything in the literature that had come before it. The result is an original hybrid work that successfully and memorably combines salient aspects of the tonal, atonal, and modal musical languages into an organic whole. George Perle coined the term “twelve-tone tonality†to describe the music of Alban Berg and composers influenced by him such as Luigi Dallapiccola. The last title of which I am aware that accomplishes anything remotely related to what I am trying to accomplish musically in this choral tone poem is the piece Paradiso Choruses by Donald Martino (1974). However, I take twelve-tone tonality in entirely other directions in my work. That the duration of The City In the Sea - Choral Tone Poem came out to be thirteen minutes seems appropriate for piece about a sunken city. Rather than write program notes that narrate how the music unfolds I will simply shout out the most memorable aspects of what careful listeners will discern: a recurring heartbeat motif; shifting polychordal harmonies; echo technique; rhythmic diminutions and augmentations; an a cappella chorus featuring those harmonies with a surprisingly memorable recuring theme on top; sensuous flute duets; string section underpinnings by way of either sustained passages or wave-like gestures; tritone-related melodies, harmonies, and tone centers; several strategically placed grand pauses; tritone-related modal-sounding passages; melodic and chord clusters, especially the two climactic ones. INSTRUMENTATION 2 Flutes (2. doubles on Piccolo) 2 Oboes (2. doubles on English Horn) 2 Bb Clarinets 2 Bassoons 2 F Horns 2 C Trumpets 2 Trombones Tuba Timpani Percussion (Gong, Bass Drum, Chimes, Glockenspiel) Harp Strings DURATION 13:00 Stanley M. Hoffman (b. 1959) For biographical information visit: www.stanleymhoffman.com.
$5.60
5.16 €
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Chorale SATB
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Stanley M Hoffman
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The City In the Sea: Choral Tone Poem
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stanleymhoffman.com
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SheetMusicPlus
Five Lyrics of Robert Herrick - Roger Quilter
Chorale SATB
Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.1171401 Composed by Roger …
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Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.1171401 Composed by Roger Quilter. 20th Century,Classical. Octavo. 24 pages. Forsyth Brothers Ltd #771738. Published by Forsyth Brothers Ltd (A0.1171401). A delightful early opus from one of the most individual English songwriters of the Twentieth Century, Roger Quilter (1877-1953). The texts are taken from the works of Seventeenth Century English poet Robert Herrick (ca 1591-1674) whose lyrics Quilter also set to music in his Opus 8 song-cycle To Julia (1905). The Opus 7 settings are dedicated to Quilter's friend Percy Grainger.FIVE LYRICS OF ROBERT HERRICK (SATB & Piano): Cupid A Dirge Morning Song To Electra To Violets  CupidLove, like a beggar came to meWith hose and doublet torn;His shirt bedangling from his knee,With hat and shoes outworn. He asked an alms; I gave him bread,And meat too for his need,Of which, when he had fully fed,He wished me all good speed.Away he went, but as he turned,In faith I know not how,He touched me so, as that I burnedAnd am tormented now. Love’s silent flames and fires obscureThen crept into my heart;And though I saw no bow, I’m sureHis finger was the dart. A DirgeHere she lies, in bed of spice,Fair as Eve in ParadiseFor her beauty was suchPoets could not praise too much.Virgins come, and in a ringHer supremest requiem sing.Then depart but see ye treadLightly, lightly o’er the dead.Morning Song Let's now take our time,While we're in our prime,And old, old age is afar off:For the evil, evil daysWill come on apace,Before we can be aware of. To ElectraI dare not ask a kiss;I dare not beg a smile;Lest, having that or this,I might grow proud the while. No, no, the utmost shareOf my desire shall beOnly to kiss the airThat lately kissèd thee. To VioletsWelcome, maids of honour!You do bringIn the SpringAnd wait upon her She has virgins manyFresh and fair;Yet you areMore sweet than anyY'are the maiden posiesAnd so graced,To be placed'Fore damask roses.Yet though thus respectedBy and byYe do lie,Poor girls, neglected.
$9.99
9.2 €
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Chorale SATB
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and by
Ye do lie,
Poor girls, neglected
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Roger Quilter
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Five Lyrics of Robert Herrick - Roger Quilter
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Forsyth Brothers Ltd
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SheetMusicPlus
For Us the Living
Chorale SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1260120 Composed by Mark S…
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1260120 Composed by Mark S Grossman. 21st Century,Classical,Contemporary. Octavo. 13 pages. Mark S Grossman #853354. Published by Mark S Grossman (A0.1260120). A work for chorus (SATB) and piano. First performance March, 2023 by Schola Cantorum of Silicon Valley.One morning in early 2022, after having somewhat unexpectedly lost my two aunts and one of my best friends in the world over the previous year or so, I woke up and this piece, along with some tears, poured out in about 15 minutes. For Us the Living contains echoes of Brahms' German Requiem (Denn alles Fleisch ist wie Gras), Shawn Kirchner's Cornerstone, and Dolly Parton's Light of a Clear Blue Morning (another a song about loss). The words are partly based on a short poem I wrote after my father passed away. I ended to him, Go to sleep, rest a while. So, perhaps obviously, the piece is like a lullaby. What I'm saying is that the purpose of mourning is first to comfort the survivors, and a call to take care of each other -- but also to not just wait for salvation, but to use the memory of our loved ones, to be inspired to pick ourselves up and make ourselves useful while we're on this Earth.Â
$2.49
2.29 €
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Chorale SATB
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Mark S Grossman
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For Us the Living
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Mark S Grossman
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SheetMusicPlus
What Child is This?
Chorale SATB
Choral Choir (SATB) - Digital Download SKU: A0.1032581 Composed by Dominic M Wright…
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Choral Choir (SATB) - Digital Download SKU: A0.1032581 Composed by Dominic M Wright. Christian,Christmas. Octavo. 10 pages. Dominic M Wright #5009059. Published by Dominic M Wright (A0.1032581). An original setting of the lyrics to the well-known carol 'What Child is This?’ For SABT choir and piano accompaniment. Suitable for any Christmas service or concert. Composers Note This piece was originally composed during my recovery from CFS/ME. I was drawn to these particular words because, like me, William Dix suffered a serious illness which strengthened his faith and inspired him to write not just these lyrics, but many other well-known and beloved hymns and carols. The piece was premiered during the annual 'Carols by Candlelight' service at our local church of St Andrews, Kirk Ella in December 2017. The choir worked extremely hard to prepare for the performance and the piece was very well received by both choir and audience. I am sure that your choir and audience will enjoy this piece as much as I enjoyed working on it. Duration approximately 4 minutes. Words: William Chatterton Dix - Public DomainMusic: Original composition by Dominic M Wright - Copyright 2017 Dominic M Wright is an award winning composer based in East Yorkshire, England. He is an experienced singer having sung with the National Youth Choirs of Great Britain, Manchester Cathedral Voluntary Choir and the Hull Choral Union in venues such as the Royal Albert Hall, the Sage Gates-head, Durham Cathedral, Manchester Cathedral, Hull Minster and many more. His compositions have been performed across the region, always to audience acclaim.
$3.99
3.68 €
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Chorale SATB
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Dominic M Wright
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What Child is This?
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Dominic M Wright
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SheetMusicPlus
Lacrimosa
Chorale SATB
Choral Choir (SATB divisi) - Level 4 - Digital Download SKU: A0.1164617 By W. A Moz…
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Choral Choir (SATB divisi) - Level 4 - Digital Download SKU: A0.1164617 By W. A Mozart. By W. A Mozart. Arranged by G. M. Morley. A Cappella,Chamber,Classical,Historic,Religious. Octavo. 8 pages. G. M. Morley #764951. Published by G. M. Morley (A0.1164617). The chords begin piano on a rocking rhythm. The choir is forte by measure 8, at which point Mozart's contribution to the movement is interrupted by his death. It is suggested that Süssmayr used materials from Credo of one of Mozart's earlier masses (Mass in C major, K. 220 Sparrow) in completing this movement. This double choir a cappella arrangement of Lacrimosa from Mozart's Requiem KV626 is faithful but challenging. Soprano's are required to reach top b's for this arrangement to work well. Translation:Full of tears will be that dayWhen from the ashes shall arise The guilty man to be judged;Therefore spare him, O God,Merciful Lord Jesus,Grant them eternal rest. Amen. If you would like to contact me about this arrangement or would like to request something specific, please message me via my page:https://www.facebook.com/GMMorleyMusic/ If you perform this piece, I'd love to hear from
$5.00
4.61 €
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Chorale SATB
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W
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G
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Lacrimosa
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G. M. Morley
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SheetMusicPlus
Three Latin Elegies to Lesbia
Chorale SATB
Choir, SATB - Intermediate - Digital Download Composed by Mark D. Templeton. 21st Cen…
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Choir, SATB - Intermediate - Digital Download Composed by Mark D. Templeton. 21st Century, Contemporary Classical, Modern, Neo-Classical. Sheet Music Single. 20 pages. Published by Mark Templeton Choral Music
Three LatinElegies to Lesbiais a setting of three poems written by the ancient Roman poet, Gaius ValeriusCatullus (84-54 B.C.E.). His muse in these poems is understood to beLesbia, the name believed to have been given by Catullus to his mistress.Lesbia was really Clodia, the sexually promiscuous wife of proconsul QuintusCaecilius Metellus Celer. Clodia was said to have many lovers, and Catullus’torment and obsession for her is well documented in 13 of his poems where thename, Lesbia, is used. His first poem addressed to Lesbia (Catullus 51) is a freetranslation of a poem by the ancient Greek poet, Sappho. Scholars havesuggested that Catullus chose the name, Lesbia, because of his affinity forSappho, who it is believed was a lesbian.<br> <br> Odie et Amo (Catullus 85), one of the mostcelebrated elegiac couplets composed by Catullus, has inspired many composers withits duality of emotions. The most well-known setting is from Carl Orff’s Catulli Carmina, part of Trionfi, themusical triptych that also includes the Carmina Burana andTrionfo di Afrodite. Unlike Orff’s driving rhythms of outwardlyexpressive anguish, my setting is a more introspective interpretation. It is asif the music is surrendering to the mercurial personalities that Catullus andall humans possess, the tortured ability to hate and love at the same time.<br> <br> Lesbia mi dicit semper male (Catullus 92) consists of two elegiaccouplets. Catullus’ earlier poem, 83,brings some context to 92. In thefirst part of 83, Catullus says:<br> <br> Lesbia keeps insulting me in front of her husband:<br> <br> thisfills the fatuous idiot with delight.<br> <br> Mule, doyou perceive nothing? If she shut up and ignored me<br> <br> that’dshow healthy indifference;…<br> <br> In 92, Catullus expounds on the idea of whyLesbia insults him in front of her husband. Catullus reckons that he is alwayscursing her, and he loves her. She always curses him, so she must love him aswell. In his desperation, Catullus uses his wit and humor to reason that hisobsessive love for Lesbia is reciprocated. This setting of 92 uses incessant driving rhythms in the women’s voices to paint thewords, “Lesbia mi dicit semper male nec tacetumquam de me” (Lesbia always speaks ill of me, never shuts up about me). The repeating rhythmsreturn in the men’s voices when Catullus says he does the same, “quia sunt totidem mea: deprecor illamassidue” (…it’s the same with me: I’m continually complaining.) The piececomes to a final rest after Catullus realizes the he will always be cursed tolove her.<br> <br> Mea Lesbia (Catullus 87) also consists of twoelegiac couplets. Catullus was only one of Lesbia’s many lovers, and he oftenwrote of his jealousy and disdain for her unfaithful actions. This elegy waswritten at a time when Lesbia had been particularly cruel toward Catullus.Despite being broken hearted, his obsession with her never waned. In hisdespair and desperation, he basically says, “My love for you is so great thatno other woman could possibly even know what love is.” This setting of 87 returns to a more introspectivenature where Catullus surrenders his love forever to Lesbia.
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Chorale SATB
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Mark D
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Three Latin Elegies to Lesbia
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Mark Templeton Choral Music
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SheetMusicPlus
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