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TRI ET FILTRES

Tri et filtres :

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Non classifié 30

PIANO & CLAVIERS

Piano seul 13 2 Pianos, 4 mains 7 Piano, Voix 3 Orgue 3 1 Piano, 4 mains 1

Piano, Voix et Guitare 1

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GUITARES

Guitare 5 Guitare notes et tablatures 1

VOIX

Chorale SATB 4

VENTS

Quatuor de Saxophones: 4 saxophones 2 3 Saxophones (trio) 1 Quatuor de Clarinettes: 4 clarinettes 1 Ensemble de Clarinettes 1

CUIVRES

Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 3 Tuba 1 2 Trombones (duo) 1 Ensemble de Trombones 1 Trombone 1

CORDES

Violon 7 Quatuor à cordes: 2 violons, alto, violoncelle 3 Violoncelle 2 Violon, Violoncelle (duo) 2 Trio à Cordes: 2 violons, violoncelle 1

2 Altos (duo) 1 Violon et Piano 1 Alto et Harpe 1

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PERCUSSIONS & ORCHESTRES

Orchestre d'harmonie 7 Orchestre à Cordes 6 Ensemble d'École 5 Ensemble de Percussions 2 Cloches 2 Orchestre 2

Xylophone 1 Orchestre de chambre 1 Ensemble de cuivres 1

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AUTRES

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Missa Solemnis, op. 27 - Score Only

Orchestre

Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagi…(+)

Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published by Adrian Gagiu (A0.1277133). Missa Solemnis in B major, op. 27 (conductor's score). 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 â€žFilioqueâ€ (which would still fit the rhythm of the repeated â€žqui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a â€žliturgical oratorio for all nationsâ€, more appropriate in the concert hall.Â The work has had a long gestation: imagined in 1984 after the composerâ€™s first contact with Beethovenâ€™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 Â King of Kings), â€žrex caelestisâ€ and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the â€žanabasisâ€ gesture at â€žGloria in excelsis Deoâ€, â€žet ascendit in caelisâ€, â€žin remissionem peccatorumâ€ and the resurrection, a flute trill standing for the Holy Spirit who has come â€™like a doveâ€™ at â€žet incarnatus estâ€, a cross-shaped texture at â€žcrucifixusâ€, and some word-painting (hushed sonorities at â€žet invisibiliumâ€, anticipations between orchestra and chorus at â€žet exspectoâ€ 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).Â â€žKyrieâ€ is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrinaâ€™s serene modality and counterpoint. â€žGloriaâ€ 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. â€žCredoâ€ has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn â€žPange linguaâ€, made famous by Mozartâ€™s last symphony and by other Classical composers. Both â€žGloriaâ€ and â€žCredoâ€ end with extended, powerful and elaborate fugues (â€žin gloria Dei Patrisâ€ and â€žet vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the wordsâ€™ accents, a la Stravinsky. The same sections plus â€žAgnus Deiâ€ end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of â€žSanctusâ€). â€žJudicareâ€ quotes the beginning of the well-known â€žDies iraeâ€ plainchant tune, and the Consecration between the â€žSanctusâ€ and â€žBenedictusâ€ 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 â€žAgnus Deiâ€, which includes another quotation (the famous â€™Dresden Amenâ€™ at â€žqui tollis peccata mundiâ€ and â€ždona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the â€žKyrie eleisonâ€ theme is briefly remembered, then it ends softly and peacefully.Â Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.

$100.00 91.72 € #Orchestre #Adrian Gagiu #Missa Solemnis, op. 27 - Score Only #Adrian Gagiu #SheetMusicPlus

Aires Nacionales Mexicanos, Op. 558 (Potpourri) - 8-1/2"x11" ORCHESTRAL PARTS ONLY

Orchestre

Full Orchestra - Level 4 - Digital Download SKU: A0.723069 Composed by Miguel Rios …(+)

Full Orchestra - Level 4 - Digital Download SKU: A0.723069 Composed by Miguel Rios Toledano. Arranged by Joel Jacklich (ASCAP). Folk,Latin,Romantic Period,World. Score and parts. 230 pages. Joel Jacklich #2075457. Published by Joel Jacklich (A0.723069). ORCHESTRAL PARTS ONLY. (Large format score published separately) Aires Nacionales Mexicanos, Op. 558, is a potpourri by the nineteenth-century Mexican bandmaster and composer Miguel Rios Toledano. It was written sometime during the presidency of Porfirio Diaz (r. 1876-1911) to whom the work was dedicated. The introduction to the twenty-five minute work (which features more than forty traditional regional songs and dances from Mexico) begins with the Himno Nacional in an instrumental version (Chorus, Stanza, Chorus). By Mexican law and custom (although this law is not applicable in the rest of the world where the Himno Nacional is considered in the public domain), in order to perform the Himno Nacional (even in this case as part of a larger orchestral work), permission must be obtained. In the second chapter of the Mexican Law on the National Arms, Flag, and Anthem (Ley sobre el Escudo, la Bandera y los Himnos Nacionales), it states that if the anthem is played outside of Mexico, Article 48 requires that the Secretary of External Relations (SecretarÃa de Relaciones Exteriores), through proper channels, must grant permission for the national anthem to be played and will also ensure that the anthem is performed with dignity and is not sung for commercial purposes. In the spirit of this law, and for good international relations, it is recommended that when performing the entire work, it would be good form to contact the nearest Mexican Consulate to see about obtaining permission. Should permission not be received, a cut has been indicated in the music from the first beat of measure 2 to the second beat of measure 42 to eliminate the Himno Nacional portion from the performance. At the time the work was written, the Himno Nacional was not quite so closely monitored, hence its inclusion in this work and its common accepted performance a century ago. This arrangement for full orchestra was made from an original piano version by Miguel Rios Toldano. The orchestration was made for a concert in celebration of Cinco de Mayo by the Imperial Valley Symphony on May 5, 2012. The parts are in standard letter page format (8-1/2x11) The score (found published separatetely at SheetMusicPlus) is formatted for 11x17 paper.

$65.00 59.62 € #Orchestre #Mexican law and custom #Miguel Rios Toledano #Joel Jacklich (ASCAP) #Aires Nacionales Mexicanos, Op. 558 #Joel Jacklich #SheetMusicPlus