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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
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Trio à Cordes: 2 violons, violoncelle
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Vous avez sélectionné:
Contemplation on Passion Chorale
Partitions à imprimer
14 partitions trouvées
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Contemplation on Passion Chorale
Cloches
3, 4, or 5 octaves handbells - Level 3 - Digital Download SKU: C7.CGB1042 O Sacr…
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3, 4, or 5 octaves handbells - Level 3 - Digital Download SKU: C7.CGB1042 O Sacred Head, ,Now Wounded. Composed by Sondra K. Tucker. Arranged by Sondra K. Tucker. Lent, Holy Week. With 3 octaves handchimes. Score. 8 pages. Chorister's Guild - Digital #CGB1042. Published by Chorister's Guild - Digital (C7.CGB1042). UPC: 749193026823.Originally written for handbells and harp, this arrangement of the tune Ellacombe can be played by two handbell or handchime choirs, or one handbell or handchime choir with harp or piano. This piece is a duet between the two parts, with each part carrying the melody at different times. This would be a wonderful opportunity to get together with another handbell choir, or to have two choirs at one church play together, one choir playing bells and one choir playing chimes.
$4.95
4.62 €
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Cloches
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Sondra K
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Sondra K
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Contemplation on Passion Chorale
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Chorister's Guild - Digital
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SheetMusicPlus
Meditation on "O Sacred Head, Now Wounded", Op. 105 (Organ Solo) - Vidas Pinkevicius (2022)
Orgue
Organ - Level 1 - Digital Download SKU: A0.909358 Composed by Vidas Pinkevicius. Co…
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Organ - Level 1 - Digital Download SKU: A0.909358 Composed by Vidas Pinkevicius. Contemporary,Easter,Sacred. Score. 3 pages. Vidas Pinkevicius #6876291. Published by Vidas Pinkevicius (A0.909358). In this accessible yet effective meditation on the hymn tune O Sacred Head, Now Wounded (Passion Chorale) gentle refrain alternates with the colourful chorale phrases. This composition will supplement Lent, Good Friday liturgy and recital programs very well when one needs contemplative music.
$4.99
4.66 €
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Orgue
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Vidas Pinkevicius
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Meditation on "O Sacred Head, Now Wounded", Op. 105
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Vidas Pinkevicius
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SheetMusicPlus
The Palm and the Passion – Anthem for Palm Sunday
Chorale 3 parties
Choral Choir (SAB) - Digital Download SKU: A0.888275 Composed by Edward David Zelif…
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Choral Choir (SAB) - Digital Download SKU: A0.888275 Composed by Edward David Zeliff. Christian,Easter,Sacred. Octavo. 5 pages. Edward David Zeliff #4792403. Published by Edward David Zeliff (A0.888275). Palm Sunday is also known as Passion Sunday, and this piece was written as an opening to the service after the pastor read a Gospel account of Jesus' entry into Jerusalem. However, later in the service is the Passion Reading, and while I had music for that specifically, I felt compelled to acknowledge that after the celebratory acceptance by the populace on the day of His entry into the city, Christ in the garden prayed and contemplated the ordeal He was to endure the next day. This anthem, written for a small choir of SAB, captures the essence of both events and sets up the Passion which is to follow. The part writing varies between unison/octave strength, three part texture, and often moves smoothly from one sonority to another, allowing the voices to blend and the lines to converge into one.
$2.00
1.87 €
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Chorale 3 parties
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Edward David Zeliff
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The Palm and the Passion – Anthem for Palm Sunday
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Edward David Zeliff
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SheetMusicPlus
A Cross Against The Sky
Chorale SATB
Choral Choir (SATB) - Level 1 - Digital Download SKU: A0.1025082 Composed by Ray Ma…
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Choral Choir (SATB) - Level 1 - Digital Download SKU: A0.1025082 Composed by Ray Markham. Christian,Easter,Sacred. Octavo. 4 pages. Ray Markham #4280517. Published by Ray Markham (A0.1025082). Contemplate the Passion of Jesus with Ray Markhamâs A Cross Against The Sky. The words provide a vivid description of events from betrayal to crucifixion, focusing on their impact on Jesus and the price he paid to bring salvation to the world. The evocative music lifts and gives expression to the words in a powerful and engaging way. Ideal for your Easter service or concert.(For more easy-to-learn Easter pieces, see He Is Risen, Only Your Love and Resurrection Glorious by the same composer.)
$1.99
1.86 €
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Chorale SATB
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Ray Markham
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A Cross Against The Sky
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Ray Markham
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SheetMusicPlus
O Sacred Head, Now Wounded (for String Trio – 2 Violins and 1 Cello)
Trio à Cordes: 2 violons, violoncelle
String Ensemble,String Trio Cello,Violin - Level 2 - Digital Download SKU: A0.565646
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String Ensemble,String Trio Cello,Violin - Level 2 - Digital Download SKU: A0.565646 By Sharon Wilson. By Johann Sebastian Bach. Arranged by Sharon Wilson. Baroque,Classical,Easter,Praise & Worship,Sacred. Score and parts. 7 pages. Sharon Wilson #5041791. Published by Sharon Wilson (A0.565646). The ancient tune PASSION CHORALE which first appeared as a hymn in 1613 is presented here as a string trio arrangement (for 2 VIOLINS and 1 CELLO). The familiar lyrics we know as O Sacred Head, Now Wounded were added sometime around 1656. Though over 300 years old, this song continues to add inspiration and contemplation to worship services during the season of Lent and Easter. The melody is played by the VIOLIN 1 throughout. An optional repeat is provided in case a longer musical selection is needed. All notes for both VIOLIN parts and the CELLO are playable in the first position making this arrangement an excellent choice for early-intermediate string players. The purchase price includes a 3-page combined score with all three parts on each page plus separate 1-staff scores for the VIOLIN 1, VIOLIN 2, and CELLO (1 page each).This arrangement is one of the 10 songs in the collection titled Easy String Trios: Easter Hymns (A Collection of 10 Easy Trios for 2 Violins and 1 Cello). Visit Sharon Wilsonâs website: www.SharonWilsonMusic.comSubscribe to her YouTube Channel: www.youtube.com/user/SharonWilsonMusic
$5.99
5.59 €
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Trio à Cordes: 2 violons, violoncelle
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Sharon Wilson
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Sharon Wilson
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O Sacred Head, Now Wounded
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Sharon Wilson
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SheetMusicPlus
O Sacred Head, Now Wounded (for String Duet – Violin and Cello)
Violon, Violoncelle (duo)
Instrumental Duet Cello,Instrumental Duet,Violin - Level 2 - Digital Download SKU: A0.5…
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Instrumental Duet Cello,Instrumental Duet,Violin - Level 2 - Digital Download SKU: A0.565644 By Sharon Wilson. By Hans Leo Hassler. Arranged by Sharon Wilson. Baroque,Classical,Easter,Praise & Worship,Sacred. Score and parts. 5 pages. Sharon Wilson #5041777. Published by Sharon Wilson (A0.565644). The ancient tune PASSION CHORALE which first appeared as a hymn in 1613 is presented here as a string duet arrangement (for VIOLIN and CELLO). The familiar lyrics we know as O Sacred Head, Now Wounded were added sometime around 1656. Though over 300 years old, this song continues to add inspiration and contemplation to worship services during the season of Lent and Easter. The melody is played by the VIOLIN throughout. An optional repeat is provided in case a longer musical selection is needed. All notes for both the VIOLIN and CELLO are playable in the first position making this arrangement an excellent choice for early-intermediate string players. The purchase price includes a 2-page combined score with both parts on each page plus separate 1-staff scores for the VIOLIN and CELLO (1 page each).This arrangement is one of the 10 songs in the collection titled Easy String Duets: Easter Hymns (A Collection of 10 Easy Violin and Cello Duets). Visit Sharon Wilsonâs website: www.SharonWilsonMusic.comSubscribe to her YouTube Channel: www.youtube.com/user/SharonWilsonMusic
$4.99
4.66 €
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Violon, Violoncelle (duo)
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Sharon Wilson
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Sharon Wilson
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O Sacred Head, Now Wounded
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Sharon Wilson
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SheetMusicPlus
O Sacred Head, Now Wounded (for String Trio – Violin, Viola, and Cello)
Trio à Cordes: violon, alto, violoncelle
String Ensemble,String Trio Cello,Viola,Violin - Level 2 - Digital Download SKU: A0.565…
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String Ensemble,String Trio Cello,Viola,Violin - Level 2 - Digital Download SKU: A0.565645 By Sharon Wilson. By Johann Sebastian Bach. Arranged by Sharon Wilson. Baroque,Classical,Easter,Praise & Worship,Sacred. Score and parts. 7 pages. Sharon Wilson #5041787. Published by Sharon Wilson (A0.565645). The ancient tune PASSION CHORALE which first appeared as a hymn in 1613 is presented here as a string trio arrangement (for VIOLIN, VIOLA, and CELLO). The familiar lyrics we know as O Sacred Head, Now Wounded were added sometime around 1656. Though over 300 years old, this song continues to add inspiration and contemplation to worship services during the season of Lent and Easter. The melody is played by the VIOLIN throughout. An optional repeat is provided in case a longer musical selection is needed. All notes for each instrument (VIOLIN, VIOLA, and CELLO) are playable in the first position making this arrangement an excellent choice for early-intermediate string players. The purchase price includes a 3-page combined score with all three parts on each page plus separate 1-staff scores for the VIOLIN, VIOLA, and CELLO (1 page each).This arrangement is one of the 10 songs in the collection titled Easy String Trios: Easter Hymns (A Collection of 10 Easy Trios for Violin, Viola, and Cello). Visit Sharon Wilsonâs website: www.SharonWilsonMusic.comSubscribe to her YouTube Channel: www.youtube.com/user/SharonWilsonMusic
$5.99
5.59 €
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Trio à Cordes: violon, alto, violoncelle
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Sharon Wilson
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Sharon Wilson
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O Sacred Head, Now Wounded
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Sharon Wilson
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SheetMusicPlus
O Sacred Head, Now Wounded (for Violin Duet)
2 Violons (duo)
Violin Duet Violin - Level 2 - Digital Download SKU: A0.565665 By Sharon Wilson. By…
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Violin Duet Violin - Level 2 - Digital Download SKU: A0.565665 By Sharon Wilson. By Johann Sebastian Bach. Arranged by Sharon Wilson. Baroque,Classical,Easter,Praise & Worship,Sacred. 5 pages. Sharon Wilson #5199905. Published by Sharon Wilson (A0.565665). The ancient tune PASSION CHORALE which first appeared as a hymn in 1613 is presented here as a string duet arrangement (for 2 VIOLINS). The familiar lyrics we know as O Sacred Head, Now Wounded were added sometime around 1656. Though over 300 years old, this song continues to add inspiration and contemplation to worship services during the season of Lent and Easter. The melody is played by the VIOLIN 1 throughout. An optional repeat is provided in case a longer musical selection is needed. All notes for both VIOLIN parts are playable in the first position making this arrangement an excellent choice for early-intermediate string players. The purchase price includes a 2-page combined score with both parts on each page plus separate 1-staff scores for each VIOLIN (1 page each).This arrangement is one of the 10 songs in the collection titled Easy String Duets: Easter Hymns for 2 Violins (A Collection of 10 Violin Duets). Visit Sharon Wilsonâs website: www.SharonWilsonMusic.comSubscribe to her YouTube Channel: www.youtube.com/user/SharonWilsonMusic
$4.99
4.66 €
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2 Violons (duo)
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Sharon Wilson
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Sharon Wilson
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O Sacred Head, Now Wounded
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Sharon Wilson
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SheetMusicPlus
When I Survey the Wondrous Cross
Chorale SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.976711 Composed by Isaac W…
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.976711 Composed by Isaac Watts / Lowell Mason. Arranged by Robert Myers. Christian,Easter,Sacred. Octavo. 31 pages. WheatMyer Music #4775085. Published by WheatMyer Music (A0.976711). When I Survey the Wondrous Cross, written by the Father of English Hymnody, Isaac Watts, in 1707 and later matched with Lowell Masonâs 1824 tune, HAMBURG, has long stood at the forefront of English hymnody.This arrangement, taken from my Passion Week cantata, Wounded, Bleeding, Still Proceeding, allows the full talent-spectrum of the Body of Christ to contemplate His sacrifice and offer their devotion.The first two stanzas feature an alto/soprano duet, set in a minor key with frequent diminished and augmented chords to reflect the despair and loss of a witness to the crucifixion. The entire third stanza, set for SATB chorus, never really moves off the F minor tonic until the end. That, and the relentless pounding of the bass line, ponders the witnesses anguish and our vicarious experience of it through Scripture. So, sing these stanzas sadly â they are sad! When the choir enters, be sure to observe the swelling crescendos/diminuendos as the sorrow and love mingle together.The fourth stanza offers optional congregational participation and may be used to provide a responsorial to the Word of God or a preparation for the Table. The choir sings this stanza in four part harmony as the congregation joins on the melody. It stays in a major key and closely follows the traditional consonances used in Lowell Masonâs harmonization; thus, the choral parts will feel familiar and the congregational melody will flow naturally. Take the text literally (Love so amazing, so divine, demands my soul, my life, my all.) and sing it firmly, enthusiastically, passionately, but never triumphantly. Sing it as a song of personal devotion to commit all that you have, all that you are, and all that you will ever be, to the one who humbled Himself by becoming obedient to the point of death, even death on a cross (Phil 2:8b) so that we might become the righteousness of God in Him (2 Cor 5:21)The music is well within the grasp of any ensemble competent with traditional SATB anthems. The piano/organ accompaniments are straightforward yet very colorful. When I Survey the Wondrous Cross is an unapologetic Christian worship anthem suitable for sacred services, yet does not compromise on artistic expression.The parts provided in this version include a full score, a piano-vocal octavo (which may be performed alone), and organ and timpani/percussion parts. Neither organ or timpani are required but adding either or both provides a deep and rich experience. Parts for reduced orchestra (strings and single winds) are available separately.
$2.50
2.33 €
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Chorale SATB
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Isaac Watts / Lowell Mason
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Robert Myers
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When I Survey the Wondrous Cross
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WheatMyer Music
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SheetMusicPlus
Missa Solemnis, op. 27 (vocal score)
Chorale SATB
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1277132 Composed by Adrian…
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adrian Gagiu #868444. Published by Adrian Gagiu (A0.1277132). Missa Solemnis in B major, op. 27, vocal score and piano part (for rehearsal purposes only). 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 âFilioqueâ (which would still fit the rhythm of the repeated âqui ex Patreâ, should any Catholics ever wish to perform this as a mass) make it rather a âliturgical oratorio for all nationsâ, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composerâs first contact with Beethovenâs 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), ârex caelestisâ and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the âanabasisâ gesture at âGloria in excelsis Deoâ, âet ascendit in caelisâ, âin remissionem peccatorumâ and the resurrection, a flute trill standing for the Holy Spirit who has come âlike a doveâ at âet incarnatus estâ, a cross-shaped texture at âcrucifixusâ, and some word-painting (hushed sonorities at âet invisibiliumâ, anticipations between orchestra and chorus at âet 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). âKyrieâ is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrinaâs serene modality and counterpoint. âGloriaâ 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. âCredoâ has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn âPange linguaâ, made famous by Mozartâs last symphony and by other Classical composers. Both âGloriaâ and âCredoâ end with extended, powerful and elaborate fugues (âin gloria Dei Patrisâ and âet 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 âAgnus Deiâ end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of âSanctusâ). âJudicareâ quotes the beginning of the well-known âDies iraeâ plainchant tune, and the Consecration between the âSanctusâ and âBenedictusâ 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 âAgnus Deiâ, which includes another quotation (the famous âDresden Amenâ at âqui tollis peccata mundiâ and âdona nobis pacemâ). In the final section, with its refined simplicity, the choral voices enter in descending order, and the âKyrie eleisonâ theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$87.99
82.13 €
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Chorale SATB
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Adrian Gagiu
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Missa Solemnis, op. 27
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Adrian Gagiu
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SheetMusicPlus
Sorrow Like His
Chorale SATB
SATB choir, a cappella - Digital Download SKU: LX.10-4949L Composed by Larry Shackl…
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SATB choir, a cappella - Digital Download SKU: LX.10-4949L Composed by Larry Shackley. Sacred Anthem, Holy Week, Palm/Palm-Passion Sunday. Octavo. 8 pages. Lorenz Publishing - Digital Sheet Music #e10/4949L. Published by Lorenz Publishing - Digital Sheet Music (LX.10-4949L). ISBN 9780787758882.This powerful, soulful piece, based on the scripture verse âbehold, and see if there be any sorrow like unto my sorrow,â asks the listener to consider the events of Christâs betrayal, trial, and crucifixion. Set in the style of a spiritual, this a cappella anthem is ideal for contemplative Holy Week services.
$2.40
2.24 €
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Chorale SATB
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Larry Shackley
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Sorrow Like His
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Lorenz Publishing - Digital Sheet Music
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SheetMusicPlus
Bach: Aria 'Mache dich, mein Herze, rein' for Bass Solo and Chamber Baroque Orchestra
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1283479 By Johann Sebastian …
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1283479 By Johann Sebastian Bach and Netherlands Bach Society. By Johann Sebastian Bach. Arranged by Flavio Regis Cunha. Baroque,Contest,Easter,Festival,Instructional,Sacred. Score and Parts. 51 pages. Flavio Regis Cunha #874665. Published by Flavio Regis Cunha (A0.1283479). Bach: Aria 'Mache dich, mein Herze, rein' for Bass Solo and Chamber Baroque Orchestra from the St Matthew Passion (BWV 244).Discover timeless music with the Bach classic - 'Mache dich, mein Herze, Rein'! Enjoy the intricate and vibrant performance of the piece from the renowned Netherlands Bach Society. Perfect for both professional orchestras and soloists â as well for the joy of schools performing the revered composer's masterpiece. Get the perfect accompaniment for your performance with the authentic sheet music available now!The aria 'Mache dich, mein Herze, rein' from the St Matthew Passion (BWV 244), performed here by the Netherlands Bach Society and conducted by Jos van Veldhoven for All of Bach. The St Matthew Passion tells the story of the last days of Jesus. He is betrayed, tried, crucified and buried. The lyrics were compiled by Picander (the pseudonym of Christian Friedrich Henrici), probably in close consultation with Bach himself. For their theme, they took the story as told by St Matthew the Evangelist. As different groups or people have their say, the singers get different roles â Christ, Judas, Peter, a slave girl, the pupils, the high priests, the people and the soldiers, etc. At key moments in the story, Bach and Picander added chorales and arias as a reflection of the biblical story. The action is suspended and the events are placed in the theological context of Bachâs day. The chorale lyrics and melodies come from the Lutheran hymn book, and were well known to the congregation in Leipzig. Even though Bachâs harmonies were new, everyone would have recognised the melody and the words. The lyrics for the opening and closing choruses and the arias were brand new, however. Both the arias and the chorales often link up seamlessly with the evangelical words. Advanced IntermediateFormat: Concert, 9 x 12 inches51 pagesProgram NotesMache dich, mein Herze, rein is a deeply poignant and emotional piece from the renowned work by Johann Sebastian Bach, St Matthew Passion (BWV 244). Written as a part of the 16th passion oratorio as a love song sung by Jesus to his disciples, this piece brilliantly conveys the struggle of redemption and longing for peace.Accompanied by a chamber baroque orchestra, the stark vocal line is delivered with an intense intricacy by the bass solo. Each note is carefully laden with sincere emotion, imbuing within the words a sense of longing and deep sorrow. As the piece progresses, the reprise of the chorus adds a layer of reflection to the message, driving home the power of the connection between Christ and his disciples.Mache dich, mein Herze, rein is a highly moving and truly remarkable piece of music that has rightly earned a place amongst Bach's most renowned works. Mache dich, mein Herze, rein is one of the most stunningly tender and moving chorales from Johann Sebastian Bach's monumental oratorio the St Matthew Passion (BWV 244). Originally written with a full choral accompaniment for the Easter Week Vespers of 1729, Bach's skilful reworking of the melody for bass and chamber baroque orchestra in the St Matthew Passion gives the solo voice a unique poignancy and fragility. The Lutheran chorale on which Bach based his composition speaks of hearts needing to be cleansed of sin and sorrow as they prepare to meet the Savior - an idea timeless in its poignancy and universality. Bach's arrangement is akin to a prayer of reflection and contemplation, the music's restrained dynamics and sighing counterpoint creating an atmosphere of resignation and acceptance. Mache dich, mein Herze, rein is a sublime masterpiece of sacred music, truly embodying the spirit of Easter.
$18.99
17.72 €
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Orchestre de chambre
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Johann Sebastian Bach and Netherlands Bach Society
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Flavio Regis Cunha
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Bach: Aria 'Mache dich, mein Herze, rein' for Bass Solo and Chamber Baroque Orchestra
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Flavio Regis Cunha
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SheetMusicPlus
Missa Solemnis, op. 27 (parts)
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1277141 Composed by Adrian Gagi…
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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 âFilioqueâ (which would still fit the rhythm of the repeated âqui ex Patreâ, should any Catholics ever wish to perform this as a mass) make it rather a âliturgical oratorio for all nationsâ, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composerâs first contact with Beethovenâs 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), ârex caelestisâ and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the âanabasisâ gesture at âGloria in excelsis Deoâ, âet ascendit in caelisâ, âin remissionem peccatorumâ and the resurrection, a flute trill standing for the Holy Spirit who has come âlike a doveâ at âet incarnatus estâ, a cross-shaped texture at âcrucifixusâ, and some word-painting (hushed sonorities at âet invisibiliumâ, anticipations between orchestra and chorus at âet 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). âKyrieâ is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrinaâs serene modality and counterpoint. âGloriaâ 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. âCredoâ has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn âPange linguaâ, made famous by Mozartâs last symphony and by other Classical composers. Both âGloriaâ and âCredoâ end with extended, powerful and elaborate fugues (âin gloria Dei Patrisâ and âet 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 âAgnus Deiâ end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of âSanctusâ). âJudicareâ quotes the beginning of the well-known âDies iraeâ plainchant tune, and the Consecration between the âSanctusâ and âBenedictusâ 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 âAgnus Deiâ, which includes another quotation (the famous âDresden Amenâ at âqui tollis peccata mundiâ and âdona nobis pacemâ). In the final section, with its refined simplicity, the choral voices enter in descending order, and the âKyrie eleisonâ 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
149.34 €
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Orchestre
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Adrian Gagiu
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Missa Solemnis, op. 27
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Adrian Gagiu
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SheetMusicPlus
Missa Solemnis, op. 27 - Score Only
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagi…
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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 âFilioqueâ (which would still fit the rhythm of the repeated âqui ex Patreâ, should any Catholics ever wish to perform this as a mass) make it rather a âliturgical oratorio for all nationsâ, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composerâs first contact with Beethovenâs 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), ârex caelestisâ and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the âanabasisâ gesture at âGloria in excelsis Deoâ, âet ascendit in caelisâ, âin remissionem peccatorumâ and the resurrection, a flute trill standing for the Holy Spirit who has come âlike a doveâ at âet incarnatus estâ, a cross-shaped texture at âcrucifixusâ, and some word-painting (hushed sonorities at âet invisibiliumâ, anticipations between orchestra and chorus at âet 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). âKyrieâ is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrinaâs serene modality and counterpoint. âGloriaâ 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. âCredoâ has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn âPange linguaâ, made famous by Mozartâs last symphony and by other Classical composers. Both âGloriaâ and âCredoâ end with extended, powerful and elaborate fugues (âin gloria Dei Patrisâ and âet 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 âAgnus Deiâ end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of âSanctusâ). âJudicareâ quotes the beginning of the well-known âDies iraeâ plainchant tune, and the Consecration between the âSanctusâ and âBenedictusâ 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 âAgnus Deiâ, which includes another quotation (the famous âDresden Amenâ at âqui tollis peccata mundiâ and âdona nobis pacemâ). In the final section, with its refined simplicity, the choral voices enter in descending order, and the âKyrie eleisonâ 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
80.26 €
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Orchestre
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Adrian Gagiu
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Missa Solemnis, op. 27 - Score Only
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Adrian Gagiu
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SheetMusicPlus
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