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ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
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BASSE
BASSON
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BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
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OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
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SAXOPHONE
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
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
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
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FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
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JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
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METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
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POLKA
POP ROCK - POP MUSIC
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1169
PIANO & CLAVIERS
Piano seul
525
Instruments en Do
217
Piano, Voix
215
Piano Facile
114
Orgue
58
2 Pianos, 4 mains
32
Orgue, Piano (duo)
20
Orgue, Trompette (duo)
11
Clavecin
10
1 Piano, 4 mains
7
Piano, Voix et Guitare
5
Piano Trio: piano, violon, violoncelle
3
Piano Quintette: piano, 2 violons, alto, violoncelle
1
Accompagnement Piano
1
Piano grosses notes
1
Piano Quatuor: piano, violon, alto, violoncelle
1
Instrument seul et Orgue
1
Instrumentations suivantes
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GUITARES
Guitare
91
Guitare notes et tablatures
61
2 Guitares (duo)
20
Ukulele
18
Basse electrique
8
4 Guitares (Quatuor)
7
Ligne De Mélodie, (Paroles) et Accords
4
Mandoline
4
Mandoline, Guitare (duo)
4
3 Guitares (trio)
3
Piano, Guitare (duo)
3
Banjo
2
2 Ukuleles
1
Ensemble de guitares
1
Instrumentations suivantes
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VOIX
Chorale SATB
69
Chorale 3 parties
20
Voix seule
14
Voix duo, Piano
13
Chorale 2 parties
10
Chorale TTBB
8
Voix haute
7
Chorale SSAA
5
Voix Soprano, Piano
4
Chorale Unison
4
Voix basse, Piano
2
Voix Baryton, Piano
1
Chorale SSAB, Piano
1
Voix Alto, Piano
1
Voix moyenne, Piano
1
Voix, Guitare
1
Instrumentations suivantes
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VENTS
Flûte, Hautbois, Clarinette, Basson
82
2 Flûtes traversières (duo)
77
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
75
Quintette de Saxophone: 5 saxophones
62
Quatuor de Saxophones: 4 saxophones
61
2 Saxophones (duo)
59
Quatuor de Clarinettes: 4 clarinettes
56
Flûte traversière et Piano
41
2 Clarinettes (duo)
40
Flûte et Guitare
27
Ensemble de Clarinettes
27
2 Hautbois (duo)
27
Flûte à Bec
27
Ensemble de saxophones
26
Flûte traversière
25
Clarinette et Piano
18
Quatuor de Flûtes : 4 flûtes
18
3 Clarinettes (trio)
15
Ensemble de Flûtes
14
Clarinette
13
Quatuor de Flûtes à bec
13
Flûte, Clarinette (duo)
12
Saxophone Soprano et Piano
12
Saxophone Alto et Piano
12
Quintette de Flûte : 5 flûtes
12
Saxophone Alto
12
Hautbois, Piano (duo)
12
Trio de Flûtes: 3 flûtes
12
Saxophone (partie séparée)
11
Flûte, Violoncelle
11
Saxophone Tenor et Piano
10
Hautbois, Basson (duo)
10
Flûte, Alto (duo)
9
Saxophone Baryton, Piano
9
Saxophone Tenor
9
Flûte, Clarinette et Basson
7
Clarinette Basse, Piano
6
Quintette de Clarinettes: 5 clarinettes
6
2 Cors Anglais Et Pianoforte
6
3 Saxophones (trio)
6
Clarinette et Alto
5
3 Flûtes à bec (trio)
5
Ensemble De Flûte à bec
5
Hautbois (partie séparée)
5
Cor anglais, Piano
5
Hautbois, Clarinette, Basson (trio d'anches)
4
Flûte, Hautbois, Clarinette (trio)
4
2 Flûte à bec (duo)
4
Flûte à bec Alto
4
Clarinette, Guitare (duo)
4
Flûte, Violon
3
5 Flûtes à bec
3
Cor anglais, Guitare (duo)
3
Clarinette, Harpe (duo)
3
Flûte, Violon et Violoncelle
3
Clarinette, Trombone (duo)
2
Clarinette, Violon (duo)
2
Flûte, Trombone (duo)
2
Flûte, Alto et Violoncelle
2
Saxophone et Guitare
2
Instruments en Mib
2
2 Flûtes traversières, Piano
2
Hautbois, Harpe
2
Flûte, Hautbois, Basson
2
Clarinette, Basson (duo)
2
Flûte à bec Soprano, Piano
2
Hautbois, Clarinette (duo)
1
Clarinette Basse
1
Cor anglais et Harpe (duo)
1
2 Clarinettes, Piano
1
Flûte à bec Soprano
1
Flûte, Tuba (duo)
1
Clarinette, Violoncelle (duo)
1
Piccolo, Piano
1
Hautbois
1
4 Hautbois
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Saxophone, Violon (duo)
1
Flûte à bec Tenor
1
Flûte, Violoncelle, Guitare
1
Hautbois, Guitare (duo)
1
2 Hautbois, Piano
1
Flute (partie séparée)
1
Instrumentations suivantes
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
85
Ensemble de Trompettes
70
Quatuor de Cuivres : 2 trompettes, trombone, tuba
52
Ensemble de Trombones
31
2 Cors (duo)
27
2 Trompettes (duo)
22
Quatuor de cuivres: 4 trombones
21
2 Trombones (duo)
21
Trompette
16
Trombone
15
2 Euphoniums (duo)
15
Trompette, Piano
14
Trombone et Piano
11
Euphonium, Piano (duo)
9
Cor et Piano
8
Tuba
7
2 Tubas (duo)
7
Quatuor de Cuivres
6
2 Cors Anglais Et Pianoforte
6
Cor
6
Trompette, Trombone (duo)
6
Cor anglais, Piano
5
Quatuor de cuivres: 4 trompettes
4
Quatuor de Cuivres: 2 trompettes, Cor, trombone
4
Quatuor de cuivres: 4 cors
4
Trombone, Tuba (duo)
3
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
3
Cor anglais, Guitare (duo)
3
3 Trompettes (trio)
2
Instruments en Sib
2
Euphonium, Tuba (duo)
2
Tuba et Piano
2
Ensemble de Cors
2
Bass Clef Instruments
2
4 Euphoniums
1
Cor anglais et Harpe (duo)
1
3 Trombones (trio)
1
2 Cors, Piano
1
Cor et Orgue
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
Trompette, Saxophone (duo)
1
Trompette, Violoncelle (duo)
1
Trompette (partie séparée)
1
Trompette, violon (duo)
1
Instrumentations suivantes
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
203
Violon
63
Violon et Piano
61
2 Violoncelles (duo)
59
Trio à Cordes: violon, alto, violoncelle
59
Violoncelle
51
Violon, Violoncelle (duo)
49
2 Violons (duo)
43
2 Altos (duo)
32
Violon, Alto (duo)
32
Violoncelle, Piano
28
2 Harpes (duo)
25
Alto, Piano
22
Trio à Cordes: 2 violons, violoncelle
18
Ensemble d'Altos
13
Harpe
12
Quintette à cordes: 2 violons, alto, violoncelle, basse
12
Violon, Guitare (duo)
12
Ensemble de Violons
12
Alto seul
12
Alto (partie séparée)
10
Violoncelle , Guitare (duo)
9
4 Violoncelles
9
2 Contrebasses (duo)
9
Alto, Violoncelle (duo)
9
Quatuor à cordes: 4 violons
8
Violoncelle, Contrebasse (duo)
6
4 Contrebasses
6
Contre Basse
6
Flûte, Contrebasse (duo)
5
Violon (partie séparée)
4
Contrebasse, Piano (duo)
4
Trio à Cordes: 2 violons, alto
3
Trio à cordes: 3 altos
3
Violoncelle, Orchestre
3
Alto, Guitare (duo)
3
Quatuor à cordes : 4 altos
3
Harpe, Flûte (duo)
2
Harpe, Violoncelle (duo)
2
Ensemble de Violoncelles
2
Trio à cordes: 3 violins
2
Trio à Cordes: 3 violoncelles
2
2 Altos, Piano
2
Harpe, Violon (duo)
2
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
Violon, Tuba (duo)
1
2 Violons, Piano
1
Violoncelle, Orgue
1
Piano Trio: Violon, Alto, Piano
1
Trio à cordes
1
Violon, Basson (duo)
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre à Cordes
150
Ensemble de cuivres
93
Orchestre de chambre
58
Orchestre
34
Orchestre d'harmonie
22
Ensemble de Percussions
3
Ensemble Jazz
2
Marimba
2
Quintette à Vent
1
Xylophone
1
Piano et Orchestre
1
Cloches
1
2 Xylophones
1
Xylophone, Piano
1
Instrumentations suivantes
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Chorale SATB
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When I Survey the Wondrous Cross
Chorale SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.886923 Composed by Isaac W…
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.886923 Composed by Isaac Watts. Arranged by Justin M. Ryan. Baroque,Contemporary,Easter,Sacred. Octavo. 8 pages. Justin M. Ryan #3049153. Published by Justin M. Ryan (A0.886923). The hymn, When I Survey the Wondrous Cross, was written by Isaac Watts, and published in Hymns and Spiritual Songs in 1707. It is significant for being an innovative departure from the early English hymn style of only using paraphrased biblical texts, although the first two lines of the second verse do paraphrase St Paul at Galatians 6:14. The poetry of When I survey... may be seen as English literary baroque.[1] The hymn's fourth verse (His dying crimson...) is commonly omitted in printed versions, a practice that began with George Whitefield in 1757.[2]This arrangement is for SATB Choir and is performed at a Moderate tempo. It is broken up into 4 verses plus please watch verse 3. The Soprano melody has been slightly adjusted but still follows the same harmonic movement as in Vs. 1 and 2. Enjoy this wonderful Lenten Classic.Tune Information Composer: Lowell Mason (1824) Meter: 8.8.8.8 Incipit: 11232 34323 33343 Key: F Major or modal Source: Adapted from a Gregorian Chant
$2.99
2.68 €
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Chorale SATB
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Isaac Watts
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Justin M
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When I Survey the Wondrous Cross
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Justin M. Ryan
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SheetMusicPlus
Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga
Chorale SATB
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.535388 Composed by Carson …
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Choral Choir (SATB) - Level 5 - Digital Download 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
23.26 €
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Chorale SATB
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Carson Cooman
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Carson Cooman: Ascensions
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Musik Fabrik Music Publishing
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SheetMusicPlus
Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga
Chorale SATB
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.535387 Composed by Carson …
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Choral Choir (SATB) - Level 5 - Digital Download 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
17.88 €
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Chorale SATB
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Carson Cooman
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Carson Cooman: Ascensions
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Musik Fabrik Music Publishing
#
SheetMusicPlus
Lux Aeterna I, II, III, IV & V (2000-2010) for SATB a cappella chorus, full score
Chorale SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.869152 Composed by Thomas …
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.869152 Composed by Thomas Oboe Lee. 20th Century,A Cappella,Baroque,Classical,Contemporary,Romantic Period. Octavo. With Cum Sanctis tuis in aeternum,. 21 pages. Thomas Oboe Lee #3881. Published by Thomas Oboe Lee (A0.869152). Lux aeterna I, II, III, IV & V ... In memoriam: Jane Marrinan, 1959-2000 Lux aeterna I: May 29, 2000* Lux aeterna II: August 8, 2000* Lux aeterna III: November 12, 2001* Lux aeterna IV: November 19, 2001* Lux aeterna V: May 5, 2002* Lux 1, 2 & 3: Lux aeterna luceat eae, Domine. Cum Sanctis tuis in aeternum, quia pius es. Requiem aeternam dona eae, Domine, et lux perpetua luceat eae. Amen. Lux 4 & 5: Lux aeterna luceat eae, Domine. Cum Sanctis tuis in aeternum, quia pius es. Requiem aeternam dona eae, Domine, et lux perpetua luceat eae. Cum Sanctis tuis in aeternum, quia pius es. Requiescat in pace, Amen. *NB: Extensively revised, April 15 – May 27, 2010. Audio link. Copy and paste the URL link into your browser.https://thomasoboelee.bandcamp.com/album/lux-aeterna-i-ii-iii-iv-v-2000-rev-2010Video link: https://youtu.be/C9HJre9ZgqUVideo link: https://youtu.be/_fJjD7PK5M0Video link: https://youtu.be/MfzTpxGLbRkVideo link: https://youtu.be/qafAQfEU98gVideo link: https://youtu.be/tMI_v2u9qGg
$9.99
8.95 €
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Chorale SATB
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Thomas Oboe Lee
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V
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Lux Aeterna I, II, III, IV & V
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Thomas Oboe Lee
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SheetMusicPlus
I Have Got a Mighty Love (mixed choir)
Chorale SATB
Choral Choir (SATB) - Level 1 - Digital Download SKU: A0.938156 Composed by Pierre …
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Choral Choir (SATB) - Level 1 - Digital Download SKU: A0.938156 Composed by Pierre Martin. 20th Century,Baroque,Classical,Sacred,Spiritual. Octavo. 3 pages. Pierre Martin #4978109. Published by Pierre Martin (A0.938156). Lyrics (extract)I have got a mighty love which I want to share with you.
$2.50
2.24 €
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Chorale SATB
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Pierre Martin
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I Have Got a Mighty Love
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Pierre Martin
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SheetMusicPlus
Leopold I (1640-1705) - Heu! Heu! Heu! Peccatores!
Chorale SATB
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.828764 Composed by Leopold…
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.828764 Composed by Leopold I. Arranged by Guido Menestrina. Baroque,Sacred. Octavo. 21 pages. Guido Menestrina #3245607. Published by Guido Menestrina (A0.828764). Mottetto a 4 di Sua Maestà Cesarea Leopoldo I d'Asburgo (1640-1705) per 4 voci con accompagnamento di 3 viole da gamba e violone, tiorba e organo al basso; con ripieni (coro, viole, basso di viola, cornetto, tromboni, fagotto).
$16.99
15.23 €
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Chorale SATB
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Leopold I
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Guido Menestrina
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Leopold I
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Guido Menestrina
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SheetMusicPlus
I attempt from loves sickness to fly
Chorale SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.793331 Composed by Henry P…
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.793331 Composed by Henry Purcell. Arranged by Stephen Sharpe. Baroque. Octavo. 3 pages. Stephen Sharpe #6669537. Published by Stephen Sharpe (A0.793331). This is an unaccompanied four-part SATB arrangement of Henry Purcell's song I attempt from Love's sickness to Fly .
$4.50
4.03 €
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Chorale SATB
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Henry Purcell
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Stephen Sharpe
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I attempt from loves sickness to fly
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Stephen Sharpe
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SheetMusicPlus
Lux Aeterna I (2000-2010) for SATB a cappella chorus
Chorale SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.869198 Composed by Thomas …
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.869198 Composed by Thomas Oboe Lee. 20th Century,A Cappella,Baroque,Classical,Contemporary,Romantic Period. Octavo. With (May light eternal shine upon her, O Lord.) Cum Sanctis tuis in aeternum,. 3 pages. Thomas Oboe Lee #50925. Published by Thomas Oboe Lee (A0.869198). In memoriam: Jane Marrinan, 1959-2000 ... Lux aeterna luceat eae, Domine. (May light eternal shine upon her, O Lord.) Cum Sanctis tuis in aeternum, (With Thy Saints for ever,) quia pius es. (For Thou art merciful.) Requiem aeternam dona eae, Domine, (Eternal rest grant unto her, O Lord.) et lux perpetua luceat eae. (And let perpetual light shine upon her.) Amen. Audio link. Copy and paste the URL link into your browser.https://thomasoboelee.bandcamp.com/album/lux-aeterna-i-ii-iii-iv-v-2000-rev-2010Video link: https://youtu.be/C9HJre9ZgqU
$9.99
8.95 €
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Chorale SATB
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Thomas Oboe Lee
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Lux Aeterna I
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Thomas Oboe Lee
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SheetMusicPlus
I Have Lifted a Veil (mixed choir)
Chorale SATB
Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.938160 Composed by Pierre …
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Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.938160 Composed by Pierre Martin. 20th Century,Baroque,Classical,Spiritual. Octavo. 2 pages. Pierre Martin #4986819. Published by Pierre Martin (A0.938160).
$1.99
1.78 €
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Chorale SATB
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Pierre Martin
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I Have Lifted a Veil
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Pierre Martin
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SheetMusicPlus
KYRIE I - From Missa in B minor - Bwv 232 - Arr. SSATB Choir and organ
Chorale SATB
Choral Choir (SATB divisi) - Digital Download SKU: A0.724802 Composed by Johann Seb…
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Choral Choir (SATB divisi) - Digital Download SKU: A0.724802 Composed by Johann Sebastian Bach. Arranged by Renato Tagliabue. Baroque,Sacred. Octavo. 14 pages. Renato Tagliabue #5317215. Published by Renato Tagliabue (A0.724802).
$2.19
1.96 €
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Chorale SATB
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Johann Sebastian Bach
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Renato Tagliabue
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KYRIE I - From Missa in B minor - Bwv 232 - Arr. SSATB Choir and organ
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Renato Tagliabue
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SheetMusicPlus
Psalm 18 (19) - I CIELI IMMENSI NARRANO - For Choir SATB and Organ
Chorale SATB
Choral Choir (SATB) - Digital Download SKU: A0.723645 Composed by B. Marcello. Arra…
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Choral Choir (SATB) - Digital Download SKU: A0.723645 Composed by B. Marcello. Arranged by Renato Tagliabue. Baroque,Christian,Sacred. Octavo. 6 pages. Renato Tagliabue #2926711. Published by Renato Tagliabue (A0.723645). Arrangement For Choir SATB and OrganHere: Part for SATB Choir and part of Organ----
$2.20
1.97 €
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Chorale SATB
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B
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Renato Tagliabue
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Psalm 18
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Renato Tagliabue
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SheetMusicPlus
KYRIE I - From Missa in B minor - Bwv 232 - Arr. SSATB Choir and organ
Chorale SATB
Choral Choir (SATB divisi) - Digital Download SKU: A0.726275 Composed by Johann Seb…
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Choral Choir (SATB divisi) - Digital Download SKU: A0.726275 Composed by Johann Sebastian Bach. Arranged by Renato Tagliabue. Baroque,Christian,Spiritual. Octavo. 14 pages. Renato Tagliabue #5316871. Published by Renato Tagliabue (A0.726275).
$12.50
11.2 €
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Chorale SATB
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Johann Sebastian Bach
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Renato Tagliabue
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KYRIE I - From Missa in B minor - Bwv 232 - Arr. SSATB Choir and organ
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Renato Tagliabue
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SheetMusicPlus
Out of the Depths I Cry to Thee (SATB)
Chorale SATB
Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.719681 Composed by Hans Le…
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Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.719681 Composed by Hans Leo Hassler, Johann Sebastian Bach, Johann Walther, and Martin Luther. Arranged by Curtis Hanson. Easter,Sacred. Octavo. 5 pages. Curtis Hanson #2857833. Published by Curtis Hanson (A0.719681). The chorale in this set of variations is part of a project celebrating the 500th anniversary of the Reformation. The German chorale has a heritage which forms the basis of many of the hymns associated with the Protestant church, many of which have a close association with Martin Luther either in melody or in text. These chorales have been set by many composers in the late Renaissance and Baroque periods in various harmonizations and vocal/instrumental genres, culminating in the grandeur of those by J. S. Bach. This set of variations celebrates the German Lutheran chorale in the Luther-Bach lineage.
$2.00
1.79 €
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Chorale SATB
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Hans Leo Hassler, Johann Sebastian Bach, Johann Walther, and Martin Luther
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Curtis Hanson
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Out of the Depths I Cry to Thee
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Curtis Hanson
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SheetMusicPlus
I AM THE RESURRECTION AND LIFE - MORLEY - SATB Choir
Chorale SATB
Choral Choir (SATB) - Digital Download SKU: A0.724291 Composed by Thomas Morley. Ar…
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Choral Choir (SATB) - Digital Download SKU: A0.724291 Composed by Thomas Morley. Arranged by Renato Tagliabue. Baroque,Christian,Sacred,Spiritual. Octavo. 5 pages. Renato Tagliabue #3587427. Published by Renato Tagliabue (A0.724291). Transposed one tone up.
$2.20
1.97 €
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Chorale SATB
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Thomas Morley
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Renato Tagliabue
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I AM THE RESURRECTION AND LIFE - MORLEY - SATB Choir
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Renato Tagliabue
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SheetMusicPlus
I CIELI IMMENSI NARRANO - Mp3
Chorale SATB
Composed by Benedetto Marcello (1686-1739). Baroque Period, Christian. Performance. Publis…
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Composed by Benedetto Marcello (1686-1739). Baroque Period, Christian. Performance. Published by Renato Tagliabue (S0.166435). - Performance - Baroque Period,Christian - Renato Tagliabue
$6.50
5.83 €
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Chorale SATB
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Benedetto Marcello
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I CIELI IMMENSI NARRANO - Mp3
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Renato Tagliabue
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SheetMusicPlus
O Praise the Lord
Chorale SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.930752 Composed by Andrew …
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.930752 Composed by Andrew Schneider. Baroque,Christian,Classical,Contemporary,Sacred. Octavo. 18 pages. Andrew Schneider #3584607. Published by Andrew Schneider (A0.930752). This is a choral anthem setting of Psalm 117 designed for either church or concert use. In its effortless use of various elements of Baroque practice, I have written a piece which will hopefully be useful for high schools and community colleges with smaller choirs to get students to sing works which can prep them for repertoire. Churches will also find this a work appropriate for any festive occasion and also useful in telling people that composers actually exist today who like the bygone way of doing things. And also with a rather exciting piano part! I certainly enjoy raising the bar.To that end, the A section can be sung on its own as a separate piece, as it is deliberately easier than the B section, which has more chromatic and polyphonic passages. This is the perfect piece to convey to high school students the impression that Baroque music can be exciting, spontaneous, and not old-fashioned, and in a matter which will be immediately perceived to be authentic.The ad libitum trumpet parts are available directly from the composer. Though they are not strictly necessary for a successful performance, they do give a special spice and festive aura that can only be beneficial.
$2.99
2.68 €
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Chorale SATB
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Andrew Schneider
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O Praise the Lord
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Andrew Schneider
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SheetMusicPlus
Magnificat in D
Chorale SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.480850 Composed by Giacomo…
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.480850 Composed by Giacomo Antonio Perti 1661-1756. Arranged by Edited by Lacy Minton. Baroque,Classical,Contest,Festival,Sacred. Octavo. 15 pages. Larry Minton’s Choral Music I #100120. Published by Larry Minton’s Choral Music I (A0.480850). Vocal score of a late Baroque sacred work for SATB choir' strings and continuo.
$1.99
1.78 €
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Chorale SATB
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Giacomo Antonio Perti 1661-1756
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Edited by Lacy Minton
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Magnificat in D
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Larry Minton’s Choral Music I
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SheetMusicPlus
God Divine
Chorale SATB
Choral Choir (SATB) - Level 1 - Digital Download SKU: A0.529408 By GbÄ“rÄ“ Do…
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Choral Choir (SATB) - Level 1 - Digital Download SKU: A0.529408 By Gbērē Dodoh. By Holyone Tombari Dodoh. Baroque,Children,Classical,Sacred,Spiritual. Octavo. 1 pages. Holyone Tombari Dodoh #139790. Published by Holyone Tombari Dodoh (A0.529408). Choral Score for SATB and Organ Lyrics 1. God divine attend my cause. On thy fit I lay my fears. I am meek and mild within. God of Love be Thou with me. 2. King of Kings be there for me. In your power I stand secured. I am weak and soft within. God of Love come Thou with me. 3. Father see me with thine eyes. On thy lens I lie freely. I am eek and choked within. God of Love lie Thou with me. 4. Lord of lords I see You come. In my heart I trusted You. I am geek and aye within. God of Love stay Thou with me.
$1.99
1.78 €
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Chorale SATB
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Gbērē Dodoh
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God Divine
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Holyone Tombari Dodoh
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SheetMusicPlus
Giovanni Bononcini - Anthem (for the Funeral of John Duke of Marlborough)
Chorale SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.828704 Composed by Giovann…
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.828704 Composed by Giovanni Bononcini, Giovanni Battista Bononcini. Arranged by Guido Menestrina. Baroque,Contemporary,Sacred. Octavo. 44 pages. Guido Menestrina #368381. Published by Guido Menestrina (A0.828704). Anthem which was performed in King Henry the Seventh's Chappel at the Funeral of the most Noble & Victorious Prince John Duke of Marlborough By Giovanni Bononcini (1670-1747) transcribed by Guido Menestrina Il padre, Giovanni Maria Bononcini (Buononcini) (1642-1678), era stato violinista e compositore: attivo alla corte di Modena, aveva scritto un trattato, Musico prattico, pubblicato nel 1673. Il fratello minore di Giovanni, Antonio Maria, fu anch'egli musicista. Proprio dal padre Giovanni ricevette la prima educazione musicale; quando questi morì, nel 1678, divenne studente di Giovanni Paolo Colonna a Bologna, dove vennero eseguiti i suoi primi lavori. Proprio grazie al Colonna entrò a far parte dell'Accademia dei Filarmonici in veste di compositore. Nel 1685 aveva già preparato e pubblicato le sue prime opere. Ottenne nel 1688 il posto di musicista presso la basilica di San Petronio, e più tardi divenne maestro di cappella nella chiesa di San Giovanni in Monte. Sempre a Bologna fece la conoscenza del librettista Silvio Stampiglia, assieme al quale, tra il 1692 e il 1696, produrrà cinque opere. A partire dal 1692 si recò a Milano, Roma (dove fu apprezzato e sostenuto da Filippo II Colonna e dalla sua consorte Olimpia Pamphilj) e Venezia; infine, dal 1698 al 1711 si stabilì a Vienna, dove godette i favori degli imperatori Leopoldo I e Giuseppe I. Di passaggio a Berlino nel 1702, incontrò Georg Friedrich Händel, di quindici anni più giovane di lui, di cui riconobbe il talento precoce: lo avrebbe rincontrato alcuni anni più tardi. Dal 1714 al 1719 fu di nuovo a Roma, al servizio di Johann Wenzel, Conte di Gallas, Ambasciatore dell'Imperatore d'Austria a Roma, molto noto per il suo amore per la musica. Al Conte di Gallas, Bononcini dedicò la Favola Pastorale Erminia, rappresentata al Teatro della Pace nella Stagione del Carnevale del 1719. Il dramma musicale ebbe grandissimo successo sia per la musica, sia per gli interpreti, fra cui si segnalarono Domenico Gizzi (1687-1758), Musico Soprano della Real Cappella di Napoli ed il celebre contralto napoletano Francesco Vitale. Sempre nella Stagione del Carnevale 1719 al Teatro della Pace, Bononcini rappresentò il dramma per musica L'Etearco, dal librettista Silvio Stampiglia dedicato alla Contessa Ernestina di Gallas, moglie dell'Ambasciatore austriaco. Anche in questo dramma per musica Domenico Gizzi e Francesco Vitale fecero apprezzare tutte le spezie più ricercate del virtuosismo canoro. Poi, dal 1720 si stabilì a Londra, sotto la protezione del John Churchill, I duca di Marlborough. Qui si esibì anche al violoncello in numerosi concerti, molto apprezzati dall'aristocrazia inglese. Divenne membro della prestigiosa Royal Academy of Music.[senza fonte] Il pubblico londinese era, all'epoca, totalmente ignorante dell'opera italiana, e Händel stava muovendo i primi passi della sua prestigiosa carriera. Fra i due compositori si accese un forte spirito di competizione, sia che collaborassero alla realizzazione della medesima impresa (i tre atti dell'opera Muzio Scevola furono composti il primo da Filippo Amadi, il secondo da Bononcini, il terzo da Händel, al fine di soddisfare tutti e tre gli artisti), sia che, più spesso, si impegnassero in produzioni rivali. Le opere di maggior successo di Bononcini in quegli anni furono Astarto (1720), Crispo (1722), Griselda (1722), che si rivelò un vero e proprio trionfo, Erminia (1723), Calfurnia (1724). A favore dell'italiano era anche una certa ostilità verso Händel dovuta alle sue origini tedesche e alla contemporanea presenza sul trono inglese della poco amata dinastia di Hannover. Ma nel 1727-1728 scoppiò uno scandalo che compromise il successo di Bononcini e lo costrinse a lasciare Londra: il compositore Antonio Lotti accusò il madrigale di Bononcini In una siepe ombrosa di essere un plagio di un brano dei suoi Duetti, terzetti e madrigali. Fuggito a Parigi nel 1733, a causa di speculazion.
$9.99
8.95 €
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Chorale SATB
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Giovanni Bononcini
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Giovanni Bononcini, Giovanni Battista Bononcini
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Guido Menestrina
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Giovanni Bononcini - Anthem
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Guido Menestrina
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SheetMusicPlus
Leonardo Leo - Dixit Dominus a 2 cori, 1741, Secondo movimento
Chorale SATB
Choral Choir (SATB) - Digital Download SKU: A0.828714 Composed by Leonardo Leo. Arr…
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Choral Choir (SATB) - Digital Download SKU: A0.828714 Composed by Leonardo Leo. Arranged by Guido Menestrina. A Cappella,Baroque,Sacred. Octavo. 23 pages. Guido Menestrina #481065. Published by Guido Menestrina (A0.828714). Leonardo Leo - Dixit Dominus a 2 cori, 1741, Secondo movimento Transcribed by Guido Menestrina Celebre compositore e capostipite della bella scuola napoletana del XVIII secolo, nacque a San Vito degli Schiavoni, presso Brindisi, in provincia di Terra d'Otranto. De Leo avrebbe compiuto i suoi studi musicali al conservatorio della Pietà dei Turchini, sotto la direzione di Nicola Fago, soprannominato il tarentino[1]. Girolamo Chigi, maestro di Cappella di San Giovanni in Laterano, allievo e amico di Pitoni, dice che de Leo si recò a Roma e che vi studiò il contrappunto sotto la guida di questo sapiente maestro. Di ritorno a Napoli, de Leo ottenne il posto di secondo maestro al conservatorio della Pietà . Nel 1716 fu nominato organista della cappella reale e l'anno successivo venne designato per occupare il posto di maestro di cappella della chiesa di Santa Maria della Solitaria, per la quale scrisse molta musica. Nel 1719 fece rappresentare la Sofonisba, sua prima opera seria che fu ben accolta e in cui il carattere espressivo del suo talento si faceva già notare. I biografi che sostengono abbia insegnato al conservatorio di Loreto s'ingannano, fu infatti prima al conservatorio della Pietà , poi a quello di Sant'Onofrio, dove ebbe per allievi alcuni dei compositori più illustri del XVIII secolo, come Jommelli e Piccinni. Non morì nel 1743, come dice lo stesso Piccinni, in una breve notizia biografica sul suo maestro, né nel 1742 come afferma Burney, ma nel 1744. Il marchese di Villarosa, riferisce che de Leo sarebbe stato colpito da apoplessia, mentre era intento a scrivere un'aria buffa de La finta frascatana che comincia con queste parole: Voi par che gite/di palo in frasca. Lo si trovò con la testa appoggiata sul suo clavicembalo e si credette, in un primo momento che dormisse, ma in realtà aveva già cessato di vivere. Leo era di taglia media, colorito bruno, occhio vivo e temperamento ardente. Sebbene fosse abitualmente piuttosto serioso, non mancava di urbanità e gentilezza. Infaticabile nella professione, passava spesso la maggior parte delle notti a comporre e si trovava sempre in vena- Amava le sue opere, ma rendeva giustizia al merito dei suoi rivali quando occorreva. Morì rimpianto da tutti, lasciando a lungo il ricordo di sé e delle sue opere, nonché della scuola di cui fu uno dei fondatori. Considerazioni sull'artista Leo condivide col suo predecessore Alessandro Scarlatti e i contemporanei Nicola Porpora, Francesco Durante e Francesco Feo, la gloria di aver fondato la scuola di Napoli, da cui sono usciti, durante tutto un secolo, una moltitudine di compositori drammatici di prim'ordine. Egli stesso fu non soltanto un grande professore, ma un artista dei più dotati. La sua musica da chiesa non ha meno maestà di quella di Durante, tocca il cuore e fa nascere degli slanci di tenera devozione. Il suo Miserere a due cori è una composizione tanto notevole per l'elevatezza dei sentimenti che l'hanno dettata, quanto per la purezza di stile in cui si riconoscono le tracce della scuola cantoria romana in cui studiò. Nella sua musica sacra nello stile accompagnato e concertato, de Leo conserva la semplicità e si fa ammirare per la bellezza dell'espressione, come l'Ave Maris Stella per voce di soprano e orchestra o il Credo a quattro. Egualmente notevole nel genere teatrale, de Leo è sempre nobile, spesso patetico e appassionato ed è con questi mezzi, molto semplici, che perviene a grandi effetti. Piccinni fa i più grandi elogi alle sue opere, e cita in particolare l'aria Misero pargoletto da Demoofonte come modello di espressione drammatica, quest'aria è, in effetti, della più grande bellezza, anche Arteaga è prodigo di elogi verso questo musicista Segui lo spartito qui/Follow the score here: https://www.youtube.com/watch?v=vqOa9skJg5o.
$13.99
12.54 €
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Chorale SATB
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Leonardo Leo
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Guido Menestrina
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Leonardo Leo - Dixit Dominus a 2 cori, 1741, Secondo movimento
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Guido Menestrina
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SheetMusicPlus
Stabat Mater (2002) for SATB chorus and organ
Chorale SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.869218 Composed by Thomas …
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.869218 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Romantic Period,Sacred. Octavo. 69 pages. Thomas Oboe Lee #31009. Published by Thomas Oboe Lee (A0.869218). Program note.The greatest challenge of the Stabat Mater text is to figure out how to set twenty stanzas of pain and suffering without making it all sound too depressing. So, before I began composing, I looked at a number of scores and recordings of Stabat Mater by various composers: DesPrez, Palestrina, Pergolesi, Boccherini, Vivaldi, Haydn, Dvorak, Rossini, Poulenc, Szymanowski, Penderecki, et al. It was fascinating to see what each composer did with regard to text setting: the variety of musical textures from movement to movement, different approaches to the use of fast or allegro music to offset the mood of the text, solo versus choral sections, etc. Each composer took a very personal and creative approach to the task. It was a fascinating study! After weeks of listening and scrutinizing, I decided to divide the twenty-stanza text into six sections. It is my hope that the end result is formally coherent and emotionally affecting.I. Lento Stabat Mater dolorosa â?¦II. Allegro Cuius animam gementem â?¦ O quam tristis et afflicta â?¦ Quae moerebat et dolebat â?¦III. Recitativo Quis est homo qui non fleret â?¦ Quis non posset contristari â?¦ Pro peccatis suae gentis â?¦ Vidit suum dulcem natum â?¦IV. ModeratoEia Mater, fons amoris â?¦ Fac, ut ardeat cor meum â?¦ Sancta Mater, istud agas â?¦ Tui nati vulnerati â?¦ Fac me vere tecum flere â?¦ Iuxta cruce tecum stare â?¦ Virgo virginum praeclara â?¦ Fac, ut portem Christi mortem â?¦V. Prestissimo Fac me plagis vulnerari â?¦ Inflammatus et accensus â?¦ Fac me cruce custodiri â?¦VI. Moderato Quando corpus morietur â?¦ Amen.Audio link. Copy and paste the URL link into your browser.https://thomasoboelee.bandcamp.com/album/stabat-mater-2002Video link: https://youtu.be/_ApUlmSb4Ho
$9.99
8.95 €
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Chorale SATB
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Thomas Oboe Lee
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Stabat Mater
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Thomas Oboe Lee
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SheetMusicPlus
Leonardo Leo - Dixit Dominus a 2 cori, 1741, Primo movimento
Chorale SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.828703 Composed by Leonard…
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.828703 Composed by Leonardo Leo. Arranged by Guido Menestrina. A Cappella,Baroque,Sacred. Octavo. 15 pages. Guido Menestrina #238145. Published by Guido Menestrina (A0.828703). Leonardo Leo - Dixit Dominus a 2 cori, 1741, Primo movimentoEdit Published by Guido Menestrina Celebre compositore e capostipite della bella scuola napoletana del XVIII secolo, nacque a San Vito degli Schiavoni, presso Brindisi, in provincia di Terra d'Otranto. De Leo avrebbe compiuto i suoi studi musicali al conservatorio della Pietà dei Turchini, sotto la direzione di Nicola Fago, soprannominato il tarentino[1]. Girolamo Chigi, maestro di Cappella di San Giovanni in Laterano, allievo e amico di Pitoni, dice che de Leo si recò a Roma e che vi studiò il contrappunto sotto la guida di questo sapiente maestro. Di ritorno a Napoli, de Leo ottenne il posto di secondo maestro al conservatorio della Pietà . Nel 1716 fu nominato organista della cappella reale e l'anno successivo venne designato per occupare il posto di maestro di cappella della chiesa di Santa Maria della Solitaria, per la quale scrisse molta musica. Nel 1719 fece rappresentare la Sofonisba, sua prima opera seria che fu ben accolta e in cui il carattere espressivo del suo talento si faceva già notare. I biografi che sostengono abbia insegnato al conservatorio di Loreto s'ingannano, fu infatti prima al conservatorio della Pietà , poi a quello di Sant'Onofrio, dove ebbe per allievi alcuni dei compositori più illustri del XVIII secolo, come Jommelli e Piccinni. Non morì nel 1743, come dice lo stesso Piccinni, in una breve notizia biografica sul suo maestro, né nel 1742 come afferma Burney, ma nel 1744. Il marchese di Villarosa, riferisce che de Leo sarebbe stato colpito da apoplessia, mentre era intento a scrivere un'aria buffa de La finta frascatana che comincia con queste parole: Voi par che gite/di palo in frasca. Lo si trovò con la testa appoggiata sul suo clavicembalo e si credette, in un primo momento che dormisse, ma in realtà aveva già cessato di vivere. Leo era di taglia media, colorito bruno, occhio vivo e temperamento ardente. Sebbene fosse abitualmente piuttosto serioso, non mancava di urbanità e gentilezza. Infaticabile nella professione, passava spesso la maggior parte delle notti a comporre e si trovava sempre in vena- Amava le sue opere, ma rendeva giustizia al merito dei suoi rivali quando occorreva. Morì rimpianto da tutti, lasciando a lungo il ricordo di sé e delle sue opere, nonché della scuola di cui fu uno dei fondatori. Considerazioni sull'artista Leo condivide col suo predecessore Alessandro Scarlatti e i contemporanei Nicola Porpora, Francesco Durante e Francesco Feo, la gloria di aver fondato la scuola di Napoli, da cui sono usciti, durante tutto un secolo, una moltitudine di compositori drammatici di prim'ordine. Egli stesso fu non soltanto un grande professore, ma un artista dei più dotati. La sua musica da chiesa non ha meno maestà di quella di Durante, tocca il cuore e fa nascere degli slanci di tenera devozione. Il suo Miserere a due cori è una composizione tanto notevole per l'elevatezza dei sentimenti che l'hanno dettata, quanto per la purezza di stile in cui si riconoscono le tracce della scuola cantoria romana in cui studiò. Nella sua musica sacra nello stile accompagnato e concertato, de Leo conserva la semplicità e si fa ammirare per la bellezza dell'espressione, come l'Ave Maris Stella per voce di soprano e orchestra o il Credo a quattro. Egualmente notevole nel genere teatrale, de Leo è sempre nobile, spesso patetico e appassionato ed è con questi mezzi, molto semplici, che perviene a grandi effetti. Piccinni fa i più grandi elogi alle sue opere, e cita in particolare l'aria Misero pargoletto da Demoofonte come modello di espressione drammatica, quest'aria è, in effetti, della più grande bellezza, anche Arteaga è prodigo di elogi verso questo musicista Segui lo spartito qui/Follow the score here: http://youtu.be/q3iMskZjm1Y.
$17.99
16.12 €
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Chorale SATB
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Leonardo Leo
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Guido Menestrina
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Leonardo Leo - Dixit Dominus a 2 cori, 1741, Primo movimento
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Guido Menestrina
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SheetMusicPlus
Bach Little Fugue in G Minor for Double Reed Choir BWV 578
Chorale SATB
Choral Choir (Mixed) - Level 5 - Digital Download SKU: A0.796870 Composed by Johann…
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Choral Choir (Mixed) - Level 5 - Digital Download 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
16.12 €
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Chorale SATB
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Johann Sebastian Bach
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Stephanie Daige
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Bach Little Fugue in G Minor for Double Reed Choir BWV 578
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Stephanie Daige
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SheetMusicPlus
Missa Pro Defunctis (2018) piano-vocal score
Chorale SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.869579 Composed by Thomas …
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.869579 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Octavo. 1 pages. Thomas Oboe Lee #3582755. Published by Thomas Oboe Lee (A0.869579). The inspiration for my Missa Pro Defunctis (2018) was Fauré's Requiem in which he ignored the fire and brimstone text of the Dies irae and Tuba mirum in the Sequence of the Requiem Mass. And consequently he created a work that is peaceful, tranquil and uplifting. I'd like to think of death in that way.So, I proceeded by taking the exact text that Fauré used in his work, and instead of a large chorus and full orchestra I decided to do a chamber version. It is scored for SATB (single voices), flute, clarinet, string quartet, double bass and harp.The movements, as in the Fauré, are:1. Introit and Requiem2. Offertory3. Santus 4. Pie Jesu5. Agnus Dei6. Libera me7. In paradisumThe entire work has a duration of ca. 29 minutes.Missa Pro Defunctis (2018) is dedicated to the residents in the Protestant Cemetery in Rome.
$1.99
1.78 €
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Chorale SATB
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Thomas Oboe Lee
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Missa Pro Defunctis
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Thomas Oboe Lee
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SheetMusicPlus
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