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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
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Vous avez sélectionné:
GLORIA chorus
SheetMusicPlus
Partitions à imprimer
7 partitions trouvées
<
1
Away in a Manger (Gloria, Gloria All Be Blessed!) for Soloist, SATB Choir and Orchestra
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.730472 Composed by Traditional …
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Full Orchestra - Level 3 - Digital Download SKU: A0.730472 Composed by Traditional and James Nathaniel Holland. Arranged by James Nathaniel Holland. Children,Christmas,Contemporary,Sacred. Score and parts. 42 pages. James Nathaniel Holland #3886465. Published by James Nathaniel Holland (A0.730472). One of the most iconic hymns of Christmas arranged by American composer James Nathaniel Holland and expanded with an original new chorus with new text. This arrangement/new work contains both traditional melodies (Flow Gently and Away in a Manger). Here presented for soloist (or solo treble instrument in C) SATB choir and full orchestra. A meandering string counter-melody accompanies close choir harmonies and a simple beautiful traditional melody. Sentimental, quiet perfect for choir boy soloist or perhaps children's choir. Intermediate level. Full score in concert pitch and individual parts including vocal parts included. Versatile enough to be used with the other arrangements in this key.Instr: fl12, ob, eh, cl12, bsn12, hrn12, tpt12, trom 12, timp, perc. (glk, tri., hand cym.) harp and strings. Duration: 6 minutes and 49 seconds.Composers website: https://www.facebook.com/jamesnathanielholland/
$23.50
21.58 €
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Orchestre
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Traditional and James Nathaniel Holland
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James Nathaniel Holland
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Away in a Manger
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James Nathaniel Holland
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SheetMusicPlus
Angels We Have Heard on High (Gloria in Excelsis Deo)- Andrea Bocelli- Voice, Choir and Pops Orch
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.733964 By Andrea Bocelli. By Ja…
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Full Orchestra - Level 4 - Digital Download SKU: A0.733964 By Andrea Bocelli. By James Chadwick. Arranged by Daryl McKenzie. Christmas,Holiday,Praise & Worship,Sacred. 96 pages. Daryl McKenzie #3865165. Published by Daryl McKenzie (A0.733964). Angels We Have Heard on High (Gloria in Excelsis Deo) as recorded by Andrea Bocelli. Tenor Voice, Choir and Pops Orchestra (Fl1, Fl2/Picc, 2 Ob, 2Cl, BCl, 2Bsn, 4 F Horns, 3 Trumpets, 3 Trombones, Tuba, Guitar, Bass Guitar, Piano, 2nd Keyboard, Drums, Tympani, Percussion, Harp, Vln 1, Vln 2, Vla, Vcl, CB) or Big Band (Fl1, Fl2/Picc, 2Cl, BCl, 4 Trumpets, 4 Trombones, Guitar, Bass Guitar, Piano, 2nd Keyboard, Drums, Percussion) Can combine Big Band with any Orchestra instruments e.g.. Big Band and Strings. Start in Key of G then modulates to Eb (choir chorus) then B (solo voice and choir) to fine. Great arrangement for Christmas concerts.NOTE; Can also be sung by Female (see https://youtu.be/18Y1mzoV3dg)Same arrangement also available for Big Band , same arrangement for Orchestra a minor 3rd lower: Search here More arrangements by Daryl McKenzie: https://bit.ly/2VKpOXF Contact: www.mckenziemusicproductions.com Youtube Playlist: https://bit.ly/3m0oUkH Â
$99.99
91.82 €
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Orchestre
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Andrea Bocelli
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Daryl McKenzie
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Angels We Have Heard on High
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Daryl McKenzie
#
SheetMusicPlus
Angels We Have Heard on High (Gloria in Excelsis Deo)- Andrea Bocelli- Voice, Choir and Pops Orch
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1312685 By Andrea Bocelli. By J…
(+)
Full Orchestra - Level 4 - Digital Download SKU: A0.1312685 By Andrea Bocelli. By James Chadwick. Arranged by Daryl McKenzie. Christian,Christmas,Holiday,Praise & Worship,Religious. 108 pages. Daryl McKenzie #901533. Published by Daryl McKenzie (A0.1312685). Angels We Have Heard on High (Gloria in Excelsis Deo) as recorded by Andrea Bocelli. Tenor Voice, Choir and Pops Orchestra (Fl1, Fl2/Picc, 2 Ob, 2Cl, BCl, 2Bsn, 4 F Horns, 3 Trumpets, 3 Trombones, Tuba, Guitar, Bass Guitar, Piano, 2nd Keyboard, Drums, Tympani, Percussion, Harp, Vln 1, Vln 2, Vla, Vcl, CB) or Big Band (Fl1, Fl2/Picc, 2Cl, BCl, 4 Trumpets, 4 Trombones, Guitar, Bass Guitar, Piano, 2nd Keyboard, Drums, Percussion) Can combine Big Band with any Orchestra instruments e.g.. Big Band and Strings. Start in Key of E then modulates to C (choir chorus) then G# (solo voice and choir) to fine. Great arrangement for Christmas concerts.NOTE; Can also be sung by Female (see https://youtu.be/18Y1mzoV3dg)Same arrangement also available for Big Band , same arrangement for Orchestra a minor 3rd higher: Search hereMore arrangements by Daryl McKenzie: https://bit.ly/2VKpOXFContact: www.mckenziemusicproductions.comYoutube Playlist: https://bit.ly/3m0oUkH
$99.99
91.82 €
#
Orchestre
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Andrea Bocelli
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Daryl McKenzie
#
Angels We Have Heard on High
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Daryl McKenzie
#
SheetMusicPlus
Mass for the Holy Year 2000, pt. 1 (2000) for SATB soloists, chorus and orchestra
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.869362 Composed by Thomas Oboe …
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Full Orchestra - Level 4 - Digital Download SKU: A0.869362 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 109 pages. Thomas Oboe Lee #25513. Published by Thomas Oboe Lee (A0.869362). Instrumentation: SATB chorus and soloists plus orchestra 2222-2221-timp-perc-hp-org-strings. Mass for the Holy Year 2000 is in nine movements and scored for SATB chorus, chamber orchestra and organ. I set the entire Latin text from the Ordinary of the Mass: Kyrie, Gloria, Credo, Sanctus and Agnus Dei. In between these sections, I added four settings of contemporary poems written in English. Initially, I wanted to use poems that would bring to the listener's attention the serious humanitarian issues we face every day on earth as we enter a new millennium: religious and ethnic wars, poverty, genocide, AIDS, intolerance, social inequality and racial injustice. But as I began to slowly understand the text of the Mass, I decided that the contemporary poems I would use should reflect and amplify what is already in the Latin text. It is all about faith and redemption. Elizabeth Kirschner (b. 1955) is a poet who lives in Chestnut Hill, Massachusetts. Her poem is about the search for God. Claude McKay (1890-1948), a member of the Harlem Renaissance Poets, was originally from Jamaica. His poem asks for God's presence. Edith Stein (1891-1942) was a Carmelite nun who was killed by the Nazis during World War II because she was a Jew. Her poem celebrates God's presence. The final poem is by the Trappist monk, Thomas Merton (1915-1968). His poem, which was published posthumously, is about the assassination of the civil rights leader, Dr. Martin Luther King.
$9.99
9.17 €
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Orchestre
#
Thomas Oboe Lee
#
Mass for the Holy Year 2000, pt. 1
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Thomas Oboe Lee
#
SheetMusicPlus
Mass for the Holy Year 2000, pt. 2 (2000) for SATB soloists, chorus and orchestra
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.869364 Composed by Thomas Oboe …
(+)
Full Orchestra - Level 4 - Digital Download SKU: A0.869364 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 104 pages. Thomas Oboe Lee #25515. Published by Thomas Oboe Lee (A0.869364). Instrumentation: SATB chorus and soloists plus orchestra 2222-2221-timp-perc-hp-org-strings. Mass for the Holy Year 2000 is in nine movements and scored for SATB chorus, chamber orchestra and organ. I set the entire Latin text from the Ordinary of the Mass: Kyrie, Gloria, Credo, Sanctus and Agnus Dei. In between these sections, I added four settings of contemporary poems written in English. Initially, I wanted to use poems that would bring to the listener's attention the serious humanitarian issues we face every day on earth as we enter a new millennium: religious and ethnic wars, poverty, genocide, AIDS, intolerance, social inequality and racial injustice. But as I began to slowly understand the text of the Mass, I decided that the contemporary poems I would use should reflect and amplify what is already in the Latin text. It is all about faith and redemption. Elizabeth Kirschner (b. 1955) is a poet who lives in Chestnut Hill, Massachusetts. Her poem is about the search for God. Claude McKay (1890-1948), a member of the Harlem Renaissance Poets, was originally from Jamaica. His poem asks for God's presence. Edith Stein (1891-1942) was a Carmelite nun who was killed by the Nazis during World War II because she was a Jew. Her poem celebrates God's presence. The final poem is by the Trappist monk, Thomas Merton (1915-1968). His poem, which was published posthumously, is about the assassination of the civil rights leader, Dr. Martin Luther King.
$9.99
9.17 €
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Orchestre
#
Thomas Oboe Lee
#
Mass for the Holy Year 2000, pt. 2
#
Thomas Oboe Lee
#
SheetMusicPlus
Missa Solemnis, op. 27 (parts)
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1277141 Composed by Adrian Gagi…
(+)
Full Orchestra - Level 5 - Digital Download SKU: A0.1277141 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Score and Parts. 282 pages. Adrian Gagiu #868829. Published by Adrian Gagiu (A0.1277141). Missa Solemnis in B major, op. 27 (orchestral parts). 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.
$160.00
146.92 €
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Orchestre
#
Adrian Gagiu
#
Missa Solemnis, op. 27
#
Adrian Gagiu
#
SheetMusicPlus
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 „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.
$85.99
78.96 €
#
Orchestre
#
Adrian Gagiu
#
Missa Solemnis, op. 27 - Score Only
#
Adrian Gagiu
#
SheetMusicPlus
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