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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Can Medieval
Non classifié
136
Piano & claviers
Piano seul
47
Piano Facile
29
Orgue
9
Instruments en Do
4
Piano, Voix
2
Piano Trio: piano, violon, violoncelle
2
Piano Quintette: piano, 2 violons, alto, violoncelle
1
Piano, Voix et Guitare
1
+ 3 instrumentations
Retracter
Guitares
Paroles et Accords
5
Ukulele
4
Guitare
3
Guitare notes et tablatures
3
Ligne De Mélodie, (Paroles) et Accords
3
Mandoline, Guitare (duo)
2
Piano, Guitare (duo)
1
2 Guitares (duo)
1
+ 3 instrumentations
Retracter
Voix
Chorale SATB
27
Chorale 3 parties
15
Chorale Unison
6
Chorale SSAA
5
Chorale 2 parties
4
Chorale TTBB
3
Voix moyenne, Piano
1
Chorale SSATB
1
Voix haute
1
Voix Mezzo-Soprano, Piano
1
+ 5 instrumentations
Retracter
Vents
Flûte à bec Soprano
39
Quatuor de Flûtes à bec
10
Clarinette et Piano
8
Saxophone (partie séparée)
8
Flûte, Hautbois, Clarinette, Basson
8
2 Saxophones (duo)
7
Quatuor de Saxophones: 4 saxophones
7
2 Clarinettes (duo)
7
Hautbois, Piano (duo)
7
2 Flûtes traversières (duo)
7
Flûte traversière
6
Saxophone Tenor
6
Saxophone Tenor et Piano
6
Saxophone Alto et Piano
6
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
6
Flûte traversière et Piano
6
Hautbois (partie séparée)
6
Saxophone Soprano et Piano
5
Saxophone Alto
5
2 Flûte à bec (duo)
5
Clarinette
5
Saxophone Baryton, Piano
4
Quatuor de Flûtes : 4 flûtes
4
Quintette de Saxophone: 5 saxophones
4
Quatuor de Clarinettes: 4 clarinettes
4
2 Hautbois (duo)
4
3 Saxophones (trio)
3
Cor anglais, Piano
3
Cor Anglais
3
Flûte, Hautbois, Piano (trio)
2
Hautbois, Basson et Piano
2
Flûte, Clarinette (duo)
2
Flute (partie séparée)
2
Clarinette, Basson (duo)
2
Ensemble De Flûte à bec
2
2 Hautbois, Piano
1
Flûte irlandaise
1
5 Flûtes à bec
1
Flûte, Hautbois (duo)
1
Flûte et Guitare
1
3 Clarinettes (trio)
1
Clarinette, Trombone (duo)
1
2 Clarinettes, Piano
1
Ensemble de Flûtes
1
Cornemuse
1
Clarinette, Contrebasse (duo)
1
Hautbois, Basson (duo)
1
Hautbois, Clarinette et Piano (Trio)
1
Flûte à bec Soprano, Piano
1
Clarinette, Violon (duo)
1
Clarinette, Tuba
1
Flûte, Trombone (duo)
1
+ 47 instrumentations
Retracter
Cuivres
Quatuor de cuivres: 4 trombones
28
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
10
Trombone et Piano
8
Tuba et Piano
8
Trompette, Piano
7
Cor
7
2 Trombones (duo)
7
Cor et Piano
6
2 Trompettes (duo)
6
Trombone
6
Trompette
5
Quatuor de Cuivres: 2 trompettes, Cor, trombone
4
Cor anglais, Piano
3
Cor Anglais
3
Tuba
3
Quatuor de Cuivres : 2 trompettes, trombone, tuba
3
2 Cors (duo)
3
2 Tubas (duo)
2
Trompette (partie séparée)
2
Quatuor de Cuivres
2
Euphonium
1
3 Trombones (trio)
1
Quatuor de cuivres: 4 cors
1
+ 18 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
22
Violon
16
Violon et Piano
12
Violoncelle, Piano
10
Violoncelle
9
Harpe
9
Alto, Piano
8
Contrebasse, Piano (duo)
8
Contre Basse
7
2 Violons (duo)
6
Trio à Cordes: violon, alto, violoncelle
5
2 Violoncelles (duo)
5
Alto seul
5
Quintette à cordes: 2 violons, alto, violoncelle, basse
4
Alto (partie séparée)
4
2 Altos (duo)
4
2 Contrebasses (duo)
3
4 Violoncelles
3
Violon, Violoncelle (duo)
2
Trio à cordes: 3 violins
1
Violon, Alto (duo)
1
Trio à cordes: 3 altos
1
Quatuor à cordes : 4 altos
1
Violon, Basson (duo)
1
Trio à Cordes: 2 violons, violoncelle
1
2 Altos, Piano
1
Alto, Violoncelle (duo)
1
2 Violoncelles, Piano
1
Flûte, Contrebasse (duo)
1
Trio à Cordes: 3 violoncelles
1
+ 25 instrumentations
Retracter
Orchestre & Percussions
Orchestre
7
Orchestre d'harmonie
6
Orchestre de chambre
3
Ensemble de cuivres
2
Orchestre à Cordes
2
Cloches
1
Marimba
1
Ensemble de Percussions
1
Ensemble Jazz
1
+ 4 instrumentations
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
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CELTIQUE - IRISH - S…
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MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
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METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
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RAGTIME
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Vous avez sélectionné:
Can Medieval
Orgue
Partitions à imprimer
9 partitions trouvées
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1
Canon on a Theme from "Glorificamus" by John Redford (1486-1547) from the Medieval Wedding Collectio
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Orgue
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FACILE
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Angela Birkhead-Flight
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Canon on a Theme from "Gl
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Angela Birkhead-Flight
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SheetMusicPlus
Organ - Level 2 - SKU: A0.914928 Composed by Angela Birkhead-Flight. Sacred,Wedding. Score. 4 pages. Angela Birkhead-Flight #6198115. Published by Angel...
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Organ - Level 2 - SKU: A0.914928 Composed by Angela Birkhead-Flight. Sacred,Wedding. Score. 4 pages. Angela Birkhead-Flight #6198115. Published by Angela Birkhead-Flight (A0.914928). This stately canon is perfect for any festive occasion where there is a pipe organ, but it was specifically written as part of the Medieval Wedding Suite to dovetail with the Agincourt Hymn by Dunstable. Beginning with a simple statement of the original motive on which is was based, it crescendos to a cinematic full-chord ending. It would work well for both the wedding party and bride. Check my composer page for the other pieces to this Medieval-based set of works for weddings! I wrote them with the couple in mind who love everything fantasy, Renaissance Fair, or cosplay.
$4.99
Machaut: La Messe de Nostre Dame for Organ
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Orgue
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INTERMÉDIAIRE/AVANCÉ
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Guillaume de Machaut
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James M
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Machaut: La Messe de Nostre Da
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jmsgu3
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SheetMusicPlus
Instrumental Solo,Organ - Level 4 - SKU: A0.1471905 Composed by Guillaume de Machaut. Arranged by James M. Guthrie. Christian,Early Music,Historic,Medie...
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Instrumental Solo,Organ - Level 4 - SKU: A0.1471905 Composed by Guillaume de Machaut. Arranged by James M. Guthrie. Christian,Early Music,Historic,Medieval,Religious. Individual part. 23 pages. Jmsgu3 #1049538. Published by jmsgu3 (A0.1471905). 1. Kyrie 2. Gloria 3. Credo 4. Sanctus 5. Agnus dei 6. Ite missa est Guillaume de Machaut composed the Messe de Nostre Dame, also known as the Mass of Our Lady, in the early 1360s. He wrote the mass for the Cathedral at Reims, where he served as a canon and a permanent clergy member. According to a rubric at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Machaut's Messe de Nostre Dame is significant in the history of music for several reasons: It is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is a unified mass, meaning the composer selected relevant chants for each section as the borrowed tenor. It was composed in four voices, which was unusual at the time. The texts of both Gloria and Credo are pretty lengthy. Therefore, Machaut set these movements in a style reminiscent of the earlier discant style, having short phrases, similar rhythmic motion in all parts, and a low ratio of notes per syllable of text, ending with long, rhapsodic sections for the final word, Amen. Machaut's Messe de Nostre Dame is a landmark in musical history, but it is far from being avant-garde merely for its uniqueness. It is considered to be a culmination of the musical style of the Ars Nova period, which was characterized by complex polyphonic textures and rhythmic innovations. The mass is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, Machaut's Messe de Nostre Dame is a significant work that represents a culmination of the musical style of the Ars Nova period and reflects the changing attitudes towards religion and music during the 14th century. The mass consists of five movements: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei, followed by the dismissal Ite, missa est. The tenor of the Kyrie is based on Vatican Kyrie IV, the Sanctus, and Agnus correspond to Vatican Mass XVII, and the Ite is on Sanctus VIII. Although the Gloria and Credo have no apparent chant basis, they are stylistically related. The mass is unified, meaning the composer selected relevant chants as the borrowed tenor for each section. The Messe de Nostre Dame is significant in the history of music because it is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, the Messe de Nostre Dame was a vital part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval and religious music.
$39.95
Machaut: La Messe de Nostre Dame for Organ - Performance Edition
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Orgue
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INTERMÉDIAIRE/AVANCÉ
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Guillaume de Machaut
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James M
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Machaut: La Messe de Nostre Da
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jmsgu3
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SheetMusicPlus
Instrumental Solo,Organ - Level 4 - SKU: A0.1472149 Composed by Guillaume de Machaut. Arranged by James M. Guthrie. Christian,Early Music,Historic,Medie...
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Instrumental Solo,Organ - Level 4 - SKU: A0.1472149 Composed by Guillaume de Machaut. Arranged by James M. Guthrie. Christian,Early Music,Historic,Medieval,Sacred. Individual part. 24 pages. Jmsgu3 #1049849. Published by jmsgu3 (A0.1472149). While the study score edition preserves the cross-voicing of the original four-voice score, the performance edition streamlines the cross-voicing to produce a far more accessible version for the organ. 1. Kyrie 2. Gloria 3. Credo 4. Sanctus 5. Agnus dei 6. Ite missa est Guillaume de Machaut composed the Messe de Nostre Dame, also known as the Mass of Our Lady, in the early 1360s. He wrote the mass for the Cathedral at Reims, where he served as a canon and a permanent clergy member. According to a rubric at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Machaut's Messe de Nostre Dame is significant in the history of music for several reasons: It is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is a unified mass, meaning the composer selected relevant chants for each section as the borrowed tenor. It was composed in four voices, which was unusual at the time. The texts of both Gloria and Credo are pretty lengthy. Therefore, Machaut set these movements in a style reminiscent of the earlier discant style, having short phrases, similar rhythmic motion in all parts, and a low ratio of notes per syllable of text, ending with long, rhapsodic sections for the final word, Amen. Machaut's Messe de Nostre Dame is a landmark in musical history, but it is far from being avant-garde merely for its uniqueness. It is considered to be a culmination of the musical style of the Ars Nova period, which was characterized by complex polyphonic textures and rhythmic innovations. The mass is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, Machaut's Messe de Nostre Dame is a significant work that represents a culmination of the musical style of the Ars Nova period and reflects the changing attitudes towards religion and music during the 14th century. The mass consists of five movements: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei, followed by the dismissal Ite, missa est. The tenor of the Kyrie is based on Vatican Kyrie IV, the Sanctus, and Agnus correspond to Vatican Mass XVII, and the Ite is on Sanctus VIII. Although the Gloria and Credo have no apparent chant basis, they are stylistically related. The mass is unified, meaning the composer selected relevant chants as the borrowed tenor for each section. The Messe de Nostre Dame is significant in the history of music because it is the first complete setting of the Ordinary of the Mass by a single composer that has survived. It is also significant because it was composed during a time of great political and social upheaval in Europe, and it reflects the changing attitudes towards religion and music during this period. Overall, the Messe de Nostre Dame was a vital part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval and religious music.
$49.95
Guthrie: Organ Prelude on In Nomine
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Orgue
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INTERMÉDIAIRE/AVANCÉ
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James M
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Guthrie: Organ Prelude on In N
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jmsgu3
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SheetMusicPlus
Organ - Level 4 - SKU: A0.549915 Composed by James M. Guthrie. Contemporary,Instructional. Score. 3 pages. Jmsgu3 #3911787. Published by jmsgu3 (A0.5499...
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Organ - Level 4 - SKU: A0.549915 Composed by James M. Guthrie. Contemporary,Instructional. Score. 3 pages. Jmsgu3 #3911787. Published by jmsgu3 (A0.549915). In Nomine: A prelude to the St Luke Organ Book (by Daniel Pinkham) for one single organ manual. Subtitled The Little Time Machine, the composition features one iteration of the In Nomine cantus firmus. As the piece progresses, the cantus is treated in medieval, Renaissance, Baroque, classical, romantic, and modern styles. I performed this piece just before the world premiere of Daniel Pinkham's St. Luke Organ Book in 2006.The history of In Nomine is rooted in its origin as a type of contrapuntal instrumental composition by 16th-century English composers, usually for a consort of viols, lute, or keyboard, based on a version of a piece of plainchant. The name In Nomine was adopted for this type of piece after the English composer John Taverner composed an instrumental piece based on the plainchant Gloria Tibi Trinitas to which he set the words In nomine Domini in his Gloria Tibi Trinitas six-voice Mass. Over the next 150 years, English composers worked this melody into In Nomine pieces of ever more fantastic stylistic range. This set a fashion, and several 20th-century composers, such as Peter Maxwell Davies and Roger Smalley, have quoted In Nomines in their works. The In Nomine played a significant role in developing English polyphony. It is a title given to many pieces of English polyphonic, predominantly instrumental music, first composed during the 16th century. The In Nomine was the chief means by which the grand tradition of vocal polyphony was brought to bear on the evolution of instrumental music in England. The In Nomine is considered the most conspicuous single form in the early development of English consort music and is significant in the genesis of chamber music in England. It marked the first time a specific instrumental style was formed, and it influenced the development of English polyphony by bringing the tradition of vocal polyphony into the realm of instrumental music.Despite various attempts by scholars to elucidate its almost legendary origin, the mystery of the origin of the In Nomine remains unsolved.
$34.95
Chorale Prelude on Personent Hodie - Organ
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Orgue
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INTERMÉDIAIRE
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Noël
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Richard E Brown
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Chorale Prelude on Personent H
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Dacker Music
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SheetMusicPlus
Organ - Level 3 - SKU: A0.1364221 Composed by Richard E Brown. Christmas,Sacred. Score. 9 pages. Dacker Music #948521. Published by Dacker Music (A0.136...
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Organ - Level 3 - SKU: A0.1364221 Composed by Richard E Brown. Christmas,Sacred. Score. 9 pages. Dacker Music #948521. Published by Dacker Music (A0.1364221). This spirited composition for organ is based on a medieval Christmas hymn that dates from the late 14th Century and probably had its origins in Germany. Personent Hodie was first published in the Finnish songbook Piae Cantiones in 1582. The Latin text has had many English translations over the centuries, but the one most commonly heard today is On This Day Earth Shall Ring by Jane M. Joseph (1894–1929). Also available scored for brass quintet or septet. Level M – Duration 2:50.
$5.00
Orgelsinfonie No. 16
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Orgue
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AVANCÉ
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Enjott Schneider
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Orgelsinfonie No. 16
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Schott Music - Digital
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SheetMusicPlus
Organ - advanced - SKU: S9.Q45183 Martin Luther. Composed by Enjott Schneider. This edition: Sheet music. Downloadable. Duration 24 minutes. Scho...
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Organ - advanced - SKU: S9.Q45183 Martin Luther. Composed by Enjott Schneider. This edition: Sheet music. Downloadable. Duration 24 minutes. Schott Music - Digital #Q45183. Published by Schott Music - Digital (S9.Q45183). On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther. The composer describes the five movements of the symphony as follows: '1st movement: Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of faith ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people. 2nd movement: In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the Luther rose which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, white is the colour of angels and ghosts, black stands for the pain of crucification: The just shall live by faith, but by faith in the Crucified. But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time. 3rd movement: The omnipresence of death and dying – from the plague and war to the never-ending dangers of daily life – was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The Danse macabre was a popular motif in those years. Luther's chorale Mitten wir im Leben sind / mit dem Tod umfangen from 1524 (Enchiridion from Erfurt) is based on the Gregorian chant Media vita in morte sumus created in France around 750 and, with its idea of transience, inspired a simplistic air. 4th movement: The famous confession delivered at the Diet of Worms in 1521, I stand here and can say no more. God help me. Amen, are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a perpetuum mobile, i.e. a dogged, ostinato and never-ending musical air. 5th movement: The Mighty Fortress, on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the Marseille anthem of the Reformation, Friedrich Engels the Marseillaise of the Peasants' Wars. This disputability is not thought through to the end but rather interrupted: With a jubilant birdcall version of the melody, the finale shows a rather chamber-music-like side of the ideals of freedom of Christians.'.
$21.99
Ave Eva
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Orgue
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INTERMÉDIAIRE
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Lewis A
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Ave Eva
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Lewis A. Kocher
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SheetMusicPlus
Organ - Level 3 - SKU: A0.943029 Composed by Lewis A. Kocher. Christian,Christmas,Contemporary,Holiday,Sacred. Score. 8 pages. Lewis A. Kocher #4613703....
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Organ - Level 3 - SKU: A0.943029 Composed by Lewis A. Kocher. Christian,Christmas,Contemporary,Holiday,Sacred. Score. 8 pages. Lewis A. Kocher #4613703. Published by Lewis A. Kocher (A0.943029). Services: Christmas, Annunciation, Marian; Prelude, Processional, Special MusicTime 2:39The title of this piece, which is a palindrome, has an interesting history. In medieval times much was made of things like numerology and words, and one day it was discovered that Ave (Hail) spelled backwards was Eva (an archaic spelling of Eve). Thus Ave Eva was Hail, Eve! and Mary was seen as a type of Eve. In other words, Ave Eva read the same forwards and backwards, giving us Hail Mary in both directions. This was seen as a miraculous sign and songs and poems were written about it. The piece given here is my original work for pipe organ, and following the lead of the title and history, it gives the descending figure F-E-D to provide the thematic material, developing into a canon-like style, then reverses the figure later to an ascending D-E-F, eventually playfully mixing both versions of the theme before exploding into an exciting end. The work itself is relatively easy to perform, with perhaps the exception of the duple-over-triplets passage near the end which may require a little more attention than the rest of the piece. For clarity of the lines I have suggested a Principal Chorus, with some contrast provided by passages using Flutes and soft Strings. Thank you for performing this work, and God bless!
$5.95
Planctus IV
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Orgue
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Christian contemporain
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Musique Sacrée
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Carson Cooman
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Planctus IV
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Carson Cooman
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SheetMusicPlus
Organ - SKU: A0.962067 Composed by Carson Cooman. Contemporary,Sacred. Score. 4 pages. Carson Cooman #6702557. Published by Carson Cooman (A0.962067).
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Organ - SKU: A0.962067 Composed by Carson Cooman. Contemporary,Sacred. Score. 4 pages. Carson Cooman #6702557. Published by Carson Cooman (A0.962067). Planctus IV (2014) was composed in memory of American composer Elodie Lauten (1950–2014). Planctus refers to a medieval style of song and poetry of a lamenting character.
$4.99
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