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Et incarnatus est
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Et incarnatus est
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Missa Solemnis, op. 27 - Score Only
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Orchestre
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AVANCÉ
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Adrian Gagiu
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Missa Solemnis, op. 27 - Score
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published ...
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Full Orchestra - Level 5 - 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.
$100.00
Et incarnatus est - Crucifixus - Et resurrexit
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Chorale SATB
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INTERMÉDIAIRE
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Ildar Khannanov
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Ildar Khannanov
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Et incarnatus est - Crucifixus
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MThRI
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.482270 By Ildar Khannanov. By Ildar Khannanov. Arranged by Ildar Khannanov. Baroque,Contemporary,Easter,Multicul...
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Choral Choir (SATB) - Level 3 - SKU: A0.482270 By Ildar Khannanov. By Ildar Khannanov. Arranged by Ildar Khannanov. Baroque,Contemporary,Easter,Multicultural,Sacred,World. Octavo. 14 pages. MThRI #102033. Published by MThRI (A0.482270). This triptych is the focal point of the mass. It is written as three numbers attaca. Et incarnatus est is a set of sequences in an invertible counterpoint that ends with the transition to Crucifixus. The Crucifixus is rendered as a continuous repetition of a single tone (the B) by the baritone solo (Christ) on the background of choral responses in the late-Romantic harmonic language (neo-Riemannian, equal-division of the octave, Yavorski's Tritonal equilibrium, etc.). The bariton part is given a note beyond the baritone range. Extended techniques are welcome here. The high sopranos continue the ostinati in the background of the low piano octaves. The Et resurrexit is written as a pure atmospheric phenomenon--disappearing in clouds. The triptych ends with a quotation from the Gospel of St. Luke read by the baritone. THese three numbers can be performed as an anthem during the weeks of Lent or Easter.
$2.99
et incarnatus est
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Classique
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Fredrik Schwenk
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et incarnatus est
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Fredrik Schwenk
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SheetMusicPlus
Small Ensemble Alto Saxophone,Clarinet,Piano,Violin - Level 3 - SKU: A0.1022040 Composed by Fredrik Schwenk. 20th Century,Contemporary. Score and parts....
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Small Ensemble Alto Saxophone,Clarinet,Piano,Violin - Level 3 - SKU: A0.1022040 Composed by Fredrik Schwenk. 20th Century,Contemporary. Score and parts. 17 pages. Fredrik Schwenk #6319847. Published by Fredrik Schwenk (A0.1022040). The present edition contains the quartet for clarinet in A, alto saxophone in E-flat, violin and piano et incarnatus est, which is based on the continuo of the movement of the same name from the B minor mass BWV 232 by Johann Sebastian Bach. The work was premiered in 2005 as part of a portrait concert of the composer in the Carl Orff Hall of the Munich Kulturzentrum am Gasteig. The piano part was played by Andreas Skouras.
$10.00
Et incarnatus est
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Voix haute
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Maurizio Chiavaroli
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Et incarnatus est
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Maurizio Chiavaroli
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SheetMusicPlus
High Voice,Vocal Solo - SKU: A0.790673 Composed by Maurizio Chiavaroli. Christian,Christmas,Sacred,Standards,Wedding. 3 pages. Maurizio Chiavaroli #4888...
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High Voice,Vocal Solo - SKU: A0.790673 Composed by Maurizio Chiavaroli. Christian,Christmas,Sacred,Standards,Wedding. 3 pages. Maurizio Chiavaroli #4888975. Published by Maurizio Chiavaroli (A0.790673). Composizione sacra originale per soprano e pianoforte estratta dall'opera sacra Messa dell'aurora di Maurizio ChiavaroliSacred original composition for soprano voice and piano extracted form the sacred opera Messa dell'aurora by Maurizio Chiavaroli.
$4.50
Organ: Et Incarnatus Est from Mass In B Minor (BWV 232, Credo – No. 16) - J.S. Bach
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Orgue
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INTERMÉDIAIRE
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Classique
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Johann Sebastian Bach
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Aubrey Tucker
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Organ: Et Incarnatus Est from
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Aubrey Tucker
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SheetMusicPlus
Organ - Intermediate - Composed by Johann Sebastian Bach (1685-1750). Arranged by Aubrey Tucker. Baroque Period, Christian, Sacred, Funeral, Recital...
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Organ - Intermediate - Composed by Johann Sebastian Bach (1685-1750). Arranged by Aubrey Tucker. Baroque Period, Christian, Sacred, Funeral, Recital. Score. 4 pages. Published by Aubrey Tucker
My arrangement for organ of the five-part chorus 'Et Incarnatus Est' from Bach's 'Mass In B Minor' (BWV 232, Credo ? No. 16). The included registration is only a suggestion and is left entirely to the organist?s discretion depending on the specification of the instrument. An mp3 file of the full score is available to listen to or watch via my YouTube Channel.
$5.95
Missa Solemnis, op. 27 (vocal score)
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Chorale SATB
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AVANCÉ
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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
Choral Choir (SATB) - Level 5 - SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adrian Gagiu #86844...
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Choral Choir (SATB) - Level 5 - 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 „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.
$87.99
ET INCARNATUS EST (15) - From Missa in B minor - BWV 232
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Chorale SATB
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INTERMÉDIAIRE
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Classique
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Renato Tagliabue
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Renato Tagliabue
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ET INCARNATUS EST
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Renato Tagliabue
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.1143624 By Renato Tagliabue. By Johann Sebastian Bach. Arranged by Renato Tagliabue. Baroque,Christian. Octavo. ...
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Choral Choir (SATB) - Level 3 - SKU: A0.1143624 By Renato Tagliabue. By Johann Sebastian Bach. Arranged by Renato Tagliabue. Baroque,Christian. Octavo. 6 pages. Renato Tagliabue #743942. Published by Renato Tagliabue (A0.1143624). .
$1.99
His Unresisting Love
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Chorale SATB
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AVANCÉ
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Nicholas White
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their sheep
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His Unresisting Love
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Nicholas White Music
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SheetMusicPlus
Choral Choir (SATB divisi) - Level 5 - SKU: A0.1253937 Composed by Nicholas White. 21st Century,Advent,Christmas,Classical,Sacred. Octavo. 12 pages. Nic...
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Choral Choir (SATB divisi) - Level 5 - SKU: A0.1253937 Composed by Nicholas White. 21st Century,Advent,Christmas,Classical,Sacred. Octavo. 12 pages. Nicholas White Music #847571. Published by Nicholas White Music (A0.1253937). A setting for unaccompanied voices of David Evett's poem.ET INCARNATUS EST That baby in the straw DE SPIRITU SANCTO drew first breath and took EX MARIA VIRGINE all in: ET HOMO FACTUS EST Â Â shepherds in their hills; their sheep; the old king, anxious on his throne; work-songs; the distant sea; the distant susurration of some war, some peace: Â and when He cried it was GLORIA IN EXCELSIS DEO a banner flung across the sky, ET IN TERRA PAX His force, His joy, His peace, HOMINIBUS BONAE VOLUNTATIS His unresisting love. Amen. Â Â Â David Evett Christmas 1978.
$2.00
Polyphonic Works
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Chorale SATB
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DÉBUTANT
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Mateus d'Aranda
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Luís Henriques
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Polyphonic Works
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Canto Mensurable editions
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SheetMusicPlus
Choral Choir,Choral,SATB Chorus - Level 1 - SKU: A0.1423507 Composed by Mateus d'Aranda. Arranged by Luís Henriques. A Cappella,Classical,Early Music,R...
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Choral Choir,Choral,SATB Chorus - Level 1 - SKU: A0.1423507 Composed by Mateus d'Aranda. Arranged by Luís Henriques. A Cappella,Classical,Early Music,Renaissance,Sacred. 10 pages. Canto Mensurable editions #1004748. Published by Canto Mensurable editions (A0.1423507). Polyphony from Évora Cathedral Series 1The motet Adjuva nos Deus, and the Credo sections Et incarnatus est, and Et vitam futuri saeculi, for four voices (SATB), by the Spanish composer active in Portugal Mateus d'Aranda (c.1495-1548).
$1.99
Mass in B Minor: II. Credo: 4. Et incarnatus est - 6 Prints by Johann Sebastian Bach - SSATB Choir + Piano
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Chorale SATB
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Johann Sebastian Bach
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Mass in B Minor: II. Credo: 4.
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Musicnotes
Johann Sebastian Bach - Mass in B Minor: II. Credo: 4. Et incarnatus est Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadab...
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Johann Sebastian Bach - Mass in B Minor: II. Credo: 4. Et incarnatus est Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyrics), scoring: SSATB Choir + Piano, instruments: SSATB Choir;Piano Accompaniment; 4 pages -- Baroque~~Classical~~Sacred~~Choral~~Church
$1.95
Mass No. 11 In D Minor "Nelson," No. 6 Et incarnatus est - 5 Prints by Franz Joseph Haydn - SATB Choir + Piano
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Chorale SATB
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Franz Joseph Haydn
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Mass No. 11 In D Minor "Nelson
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Musicnotes
Franz Joseph Haydn - Mass No. 11 In D Minor "Nelson," No. 6 Et incarnatus est Digital Sheetmusic - instantly downloadable sheet music plus an interact...
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Franz Joseph Haydn - Mass No. 11 In D Minor "Nelson," No. 6 Et incarnatus est Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyrics), scoring: SATB Choir + Piano;Singer Pro, instruments: Voice;SATB Choir;Piano Accompaniment; 6 pages -- Classical Period~~Classical~~Sacred~~Religious~~18th-Century~~Church
$2.25
Salve Regina (SSSATTBB)
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Dominic McGonigal
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Salve Regina
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C8 Music
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SheetMusicPlus
Choral Choir,Choral (SATB divisi) - Level 4 - SKU: A0.1348677 Composed by Dominic McGonigal. 21st Century,Christian,Classical,Contemporary,Religious. 5 ...
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Choral Choir,Choral (SATB divisi) - Level 4 - SKU: A0.1348677 Composed by Dominic McGonigal. 21st Century,Christian,Classical,Contemporary,Religious. 5 pages. C8 Music #933459. Published by C8 Music (A0.1348677). Written for the Choir of Holy Redeemer, Chelsea, this Salve Regina makes the most of the 8-part vocal texture with rich harmonies and different voice groupings. The fluid lines are reminiscent of Gregorian chant while the close canonical writing builds into rolling cluster chords. It ends with a beautiful harmonic resolution in the final cadence (similar to the ending of the Missa Et Incarnatus Est). Scored for SSSATTBB Choir a capella. 2'10. More at www.dominicmcgonigal.com.
$1.99
Et incarnatus est
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Flûte, Hautbois, Clarinette, Basson
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Classique
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Wolfgang Amadeus Mozart
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Stephen Benavente
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Et incarnatus est
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Stephen Benavente
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SheetMusicPlus
Composed by Wolfgang Amadeus Mozart (1756-1791). Arranged by Stephen Benavente. Classical Period, Recital. Individual Part, Score. 9 pages. Published by Stephen...
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Composed by Wolfgang Amadeus Mozart (1756-1791). Arranged by Stephen Benavente. Classical Period, Recital. Individual Part, Score. 9 pages. Published by Stephen Benavente (S0.194713). - Individual Part,Score - Classical Period,Recital - Stephen Benavente
$5.99
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Et incarnatus est
