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Gloria, SSA and Organ
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Gloria, SSA and Organ
Partitions à imprimer
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Saint-Saëns: Oratorio de Noël, 5 soli, SSAA choir, harp, organ and strings - Score Only
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Chorale SSAA
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INTERMÉDIAIRE
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Classique
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Camille Saint-Saens
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Roar Kvam
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Saint-Saëns: Oratorio de Noë
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KVAMusic Edition
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SheetMusicPlus
Level 3 - SKU: A0.1401939 Composed by Camille Saint-Saens. Arranged by Roar Kvam. 19th Century,Christmas,Latin,Praise and Worship,Romantic Period. 64 pa...
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Level 3 - SKU: A0.1401939 Composed by Camille Saint-Saens. Arranged by Roar Kvam. 19th Century,Christmas,Latin,Praise and Worship,Romantic Period. 64 pages. KVAMusic Edition #985137. Published by KVAMusic Edition (A0.1401939). Charles-Camille Saint-SaeÌ?ns (9 October 1835-16 December 1921) was a French composer, organist, conductor and pianist.He was a musical prodigy and made his concert debut at the age of ten. After studying at the Paris Conservatoire he followed a conventional career as a church organist, first at Saint-Merri, Paris and, from 1858, La Madeleine, the ocial church of the French Empire. After leaving the post twenty years later, he was a successful freelance pianist and composer, in demand in Europe and the Americas. As a young man, Saint-SaeÌ?ns was enthusiastic for the most modern music of the day, particularly that of Schumann, Liszt and Wagner, although his own compositions were generally within a conventional classical tradition. He was a scholar of musical history, and remained committed to the structures worked out by earlier French composers.This brought him into conflict in his later years with composers of the impressionist and dodecaphonic schools of music; although there were neoclassical elements in his music, foreshadowing works by Stravinsky and Les Six, he was often regarded as a reactionary in the decades around the time of his death. He wrote the Oratorio de NoeÌ?l (Christmas Oratorio) at the end of the 1850s and completed it in 1860.The first performanse was at the church La Madeleine in Paris December 1869.The work is dedicated to A Madame la Vicomtesse de Grandval.The work is originally scored for five soloists, soprano, mezzo-soprano, alto, tenor and baritone, mixed choir (except no. 4 which is for SSAA), harp, organ and strings (in this edition the choir has been transcribed for a SSAA choir). Texts in the Oratorio de NoeÌ?l is drawn from the Old and New Testaments: (1. Instrumental).2. Luke 2,8-14. 3. Psalm 39,1. 4. John 11.27. 5. Psalm 117, 26-28. 6. Psalm 2,1 and Gloria Patri. 7. Psalm 109,3 and Graduale. 8. Isaiah 49,13. 9. Lamentations 2,19, Mica 4.13, Zachary 9,9, Isaiah 62,1. 10. Psalm 95,8-9, 11,13.
$20.00
Christmas Treasures for SSA, SSAA and SAB chorus
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Chorale SSAA
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FACILE
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Various
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Ivana Tuskan
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Christmas Treasures for SSA, S
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Ivana Tuskan
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SheetMusicPlus
Choral Choir (SSAA) - Level 2 - SKU: A0.793991 Composed by Various. Arranged by Ivana Tuskan. A Cappella,Baroque,Celtic,Christmas,Classical,Irish,Renais...
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Choral Choir (SSAA) - Level 2 - SKU: A0.793991 Composed by Various. Arranged by Ivana Tuskan. A Cappella,Baroque,Celtic,Christmas,Classical,Irish,Renaissance. Octavo. 48 pages. Ivana Tuskan #6516919. Published by Ivana Tuskan (A0.793991). A collection of 7 choral authorial and traditional pieces (from renaissance to romantic period) arranged for SSA, SSAA and SAB chorus a cappella and with accompaniment, with soloists, too. Pieces are originally written for SATB ensemble or solo voices. Includes (with a partial electronic preview of each song): Michael Praetorius: Psallite Unigenito for SSAA Benedetto Marcello: I cieli immensi narrano for SSAA and organ Giovanni Battista Pergolesi: Gloria from Mass in D Major, P.46 for two Soprano solo, SAA choir and organ Johann Sebastian Bach: Zion hört die Wächter singen (Zion hears her watchmen's voices) from Cantata BWV 140, for SAB Oj Detešce moje drago, Croatian carol for SAA and piano The Wexford Carol, Irish Christmas Carol from County Wexford for SSA a cappella Gaudete! Christus est natus!, from Piae Cantiones for SSAA Scores are available separately on the my profile, too
$2.20
Gloria, SSA and Organ
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Chorale 3 parties
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INTERMÉDIAIRE
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Christian contemporain
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Musique Sacrée
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Douglas Pew
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Gloria, SSA and Organ
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Blue Shore Music
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SheetMusicPlus
Choral Choir (SSA) - Level 3 - SKU: A0.938567 Composed by Douglas Pew. Contemporary,Sacred. Octavo. 7 pages. Blue Shore Music #13011. Published by Blue ...
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Choral Choir (SSA) - Level 3 - SKU: A0.938567 Composed by Douglas Pew. Contemporary,Sacred. Octavo. 7 pages. Blue Shore Music #13011. Published by Blue Shore Music (A0.938567). Duration: 3:00. This setting of the traditional Gloria text is full of excited high emotions. Immediately accessible and moving, this work will be a sure congregation or audience favorite! For more information, please visit douglaspew.com.
$1.99
Regina Coeli (from Cavalleria rusticana) SSAA, soprano solo, piano/organ reduced version
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Chorale SSAA
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FACILE
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Pietro Mascagni
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Ivana Tuškan
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Regina Coeli
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Ivana Tuskan
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SheetMusicPlus
Choral Choir (SSAA) - Level 2 - SKU: A0.793809 Composed by Pietro Mascagni. Arranged by Ivana Tuškan. 20th Century,Easter,Opera,Standards. Octavo. 12...
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Choral Choir (SSAA) - Level 2 - SKU: A0.793809 Composed by Pietro Mascagni. Arranged by Ivana Tuškan. 20th Century,Easter,Opera,Standards. Octavo. 12 pages. Ivana Tuskan #3590725. Published by Ivana Tuskan (A0.793809). One of the most beautiful opera chorus, Regina Coeli is a scene from Cavelleria Rusticana by Pietro Mascagni (1863-1945) set in a church service on Easter morning. Originally is written for 2 mixed chorus, soprano solo and orchestra (G-major key). This arrangement is for 4-part female ensemble/chorus (SSAA) and soprano solo, with piano or organ as accompanying instrument. Some choral and instrumental parts are simplefied and reduced. The key is F-major. Duration: ca. 4:00. Pages: 12 Lyrics: latin and italian Regina Coeli laetare Quia, quem me ruisti portare, Resurrexit, sicut dixit. Inneggiamo,il Signor non è morto! Ei fulgente ha dischiuso l’avel, Inneggiamo al Signore risorto, oggi asceso alla gloria del Ciel!
$1.99
Saint-Saëns: Oratorio de Noël (Christmas Oratorio) 5 soli, SSAA choir, harp, organ and strings. Vo
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Chorale 3 parties
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Camille Saint-Saens
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Roar Kvam
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Saint-Saëns: Oratorio de
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KVAMusic Edition
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SheetMusicPlus
Choral Choir (SSA) - Level 4 - SKU: A0.768518 Composed by Camille Saint-Saens. Arranged by Roar Kvam. Christmas,Romantic Period. Octavo. 80 pages. KVAMu...
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Choral Choir (SSA) - Level 4 - SKU: A0.768518 Composed by Camille Saint-Saens. Arranged by Roar Kvam. Christmas,Romantic Period. Octavo. 80 pages. KVAMusic Edition #6078597. Published by KVAMusic Edition (A0.768518). Charles-Camille Saint-Saëns (9 October 1835-16 December 1921) was a French composer, organist, conductor and pianist. He was a musical prodigy and made his concert debut at the age of ten. After studying at the Paris Conservatoire he followed a conventional career as a church organist, first at Saint-Merri, Paris and, from 1858, La Madeleine, the official church of the French Empire. After leaving the post twenty years later, he was a successful freelance pianist and composer, in demand in Europe and the Americas. As a young man, Saint-Saëns was enthusiastic for the most modern music of the day, particularly that of Schumann, Liszt and Wagner, although his own compositions were generally within a conventional classical tradition. He was a scholar of musical history, and remained committed to the structures worked out by earlier French composers. This brought him into conflict in his later years with composers of the impressionist and dodecaphonic schools of music; although there were neoclassical elements in his music, foreshadowing works by Stravinsky and Les Six, he was often regarded as a reactionary in the decades around the time of his death. He wrote the Oratorio de Noël (Christmas Oratorio) at the end of the 1850s and completed it in 1860. The first performanse was at the church La Madeleine in Paris December 1869. The work is dedicated to A Madame la Vicomtesse de Grandval. The work is originally scored for five soloists, soprano, mezzo-soprano, alto, tenor and baritone, mixed choir (except no. 4 which is for SSAA), harp, organ and strings (in this edition the choir has been transcribed for a SSAA choir). Texts in the Oratorio de Noël is drawn from the Old and New Testaments: (1. Instrumental). 2. Luke 2,8-14. 3. Psalm 39,1. 4. John 11.27. 5. Psalm 117, 26-28. 6. Psalm 2,1 and Gloria Patri. 7. Psalm 109,3 and Graduale. 8. Isaiah 49,13. 9. Lamentations 2,19, Mica 4.13, Zachary 9,9, Isaiah 62,1. 10. Psalm 95,8-9, 11,13.
$10.00
Saint-Saëns: Oratorio de Noël (Christmas Oratorio) 5 soli, SSAA choir, harp, organ and strings
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Chorale 3 parties
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Camille Saint-Saens
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Roar Kvam
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Saint-Saëns: Oratorio de
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KVAMusic Edition
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SheetMusicPlus
Choral Choir (SSA) - Level 4 - SKU: A0.768516 Composed by Camille Saint-Saens. Arranged by Roar Kvam. Christian,Christmas,Romantic Period. Octavo. 144 p...
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Choral Choir (SSA) - Level 4 - SKU: A0.768516 Composed by Camille Saint-Saens. Arranged by Roar Kvam. Christian,Christmas,Romantic Period. Octavo. 144 pages. KVAMusic Edition #6078593. Published by KVAMusic Edition (A0.768516). Charles-Camille Saint-Saëns (9 October 1835-16 December 1921) was a French composer, organist, conductor and pianist. He was a musical prodigy and made his concert debut at the age of ten. After studying at the Paris Conservatoire he followed a conventional career as a church organist, first at Saint-Merri, Paris and, from 1858, La Madeleine, the official church of the French Empire. After leaving the post twenty years later, he was a successful freelance pianist and composer, in demand in Europe and the Americas. As a young man, Saint-Saëns was enthusiastic for the most modern music of the day, particularly that of Schumann, Liszt and Wagner, although his own compositions were generally within a conventional classical tradition. He was a scholar of musical history, and remained committed to the structures worked out by earlier French composers. This brought him into conflict in his later years with composers of the impressionist and dodecaphonic schools of music; although there were neoclassical elements in his music, foreshadowing works by Stravinsky and Les Six, he was often regarded as a reactionary in the decades around the time of his death. He wrote the Oratorio de Noël (Christmas Oratorio) at the end of the 1850s and completed it in 1860. The first performanse was at the church La Madeleine in Paris December 1869. The work is dedicated to A Madame la Vicomtesse de Grandval. The work is originally scored for five soloists, soprano, mezzo-soprano, alto, tenor and baritone, mixed choir (except no. 4 which is for SSAA), harp, organ and strings (in this edition the choir has been transcribed for a SSAA choir). Texts in the Oratorio de Noël is drawn from the Old and New Testaments: (1. Instrumental). 2. Luke 2,8-14. 3. Psalm 39,1. 4. John 11.27. 5. Psalm 117, 26-28. 6. Psalm 2,1 and Gloria Patri. 7. Psalm 109,3 and Graduale. 8. Isaiah 49,13. 9. Lamentations 2,19, Mica 4.13, Zachary 9,9, Isaiah 62,1. 10. Psalm 95,8-9, 11,13.
$52.00
Purgatorio 12 composizioni organistiche ispirata alla Divina Commedia di dante
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Orgue
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INTERMÉDIAIRE
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Leonardo Antonio Di Chiara
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Leonardo Antonio Di Chiara
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Purgatorio 12 composizioni org
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LEONARDO ANTONIO DI CHIARA
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SheetMusicPlus
Instrumental Solo,Pipe Organ - Level 3 - SKU: A0.1125454 By Leonardo Antonio Di Chiara. By Leonardo Antonio Di Chiara. Arranged by Leonardo Antonio Di C...
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Instrumental Solo,Pipe Organ - Level 3 - SKU: A0.1125454 By Leonardo Antonio Di Chiara. By Leonardo Antonio Di Chiara. Arranged by Leonardo Antonio Di Chiara. 20th Century,Contemporary,Instructional,New Age,Religious. Individual part. 39 pages. LEONARDO ANTONIO DI CHIARA #726218. Published by LEONARDO ANTONIO DI CHIARA (A0.1125454). Nel comporre la musica ho tenuto conto della suddivisione data da Dante alla Cantica, pertanto è presente l’Antipurgatorio, il Purgatorio con le sette cornici ed il Paradiso terrestre. Rispetto alla prima Cantica, il Purgatorio presenta un'atmosfera decisamente meno cupa, più rilassata e serena che si manifesta fin dal primo Canto, all'arrivo di Dante e Virgilio sulla spiaggia nei minuti che precedono l'alba, la mattina della domenica di Pasqua. Se nel comporre la musica dell'Inferno lo stile era spesso aspro e duro, adeguato alla rappresentazione del regno del dolore, quello della seconda Cantica è di tono più leggero ed elegiaco, ovviamente questa leggerezza non è sinonimo di facilità di linguaggio o di esecuzione. Nella terza, quarta, quinta e sesta cornice ho usato gli stessi temi dell’Inferno riferiti alle omologhe pene, ma rielaborandoli con armonie e strutture diverse rendendoli meno scuri e più rasserenanti. Mentre per le restanti parti lo sviluppo tematico è stato concepito completamente con idee nuove. Unica eccezione riguarda l’ultimo brano, il Paradiso terrestre, dove oltre al tema concepito, verso la conclusione del brano e precisamente nelle ultime cinque battute, ho introdotto il tema di un noto corale protestante utilizzato anche dalla chiesa latina dal titolo: “Noi canteremo Gloria a Teâ€. Nella partitura ho indicato anche la scelta dei registri e la dinamica la quale indicazione o suggerimento non risulta vincolante. Pertanto ciò non vieta che l’esecutore attraverso il suo buon gusto possa apportare delle modifiche nella scelta dei registri in considerazione anche dell’organo dove andrà ad eseguire la composizione. La gestazione dell’intera Cantica è durata all’incirca 7 mesi. Le prime battute le ho scritte il 13 marzo del 2022 mentre la fine della composizione ha visto la luce il 22 novembre dello stesso anno. Il Purgatorio chiude il ciclo compositivo organistico dedicato alla Divina Commedia dantesca, iniziato nel 2020 con il Paradiso per poi proseguire nel 2021 con la stesura dell’Inferno. Tre anni di intenso lavoro cercando di poter far “parlare†i brani all’ascoltatore in maniera diretta, curandone il suono che anteponendosi alla tecnica alimentano l’anima. Si tratta di musica autenticamente semplice, ma non banale, in quanto penso che la comunicazione diretta con l’ascoltatore si ottiene solo con la semplicità che è molto più “spinosa†del tecnicamente difficile e veloce. Ma soprattutto, in questa semplicità “spinosa†io ci metto il cuore e la mia mente.
$5.00
Missa di Sant´ Anna
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Orgue
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Raimund Wippermann
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Missa di Sant´ Anna
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Schott Music - Digital
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SheetMusicPlus
2x Trompete I / 2x Trompete II / 2x Posaune I / 2x Posaune II girls' choir, congregation ad libitum, wind instruments ad libitum and organ - SKU: S9.Q19075
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2x Trompete I / 2x Trompete II / 2x Posaune I / 2x Posaune II girls' choir, congregation ad libitum, wind instruments ad libitum and organ - SKU: S9.Q19075 Composed by Raimund Wippermann. This edition: set of parts in groups. Downloadable, Set of parts. Schott Music - Digital #Q19075. Published by Schott Music - Digital (S9.Q19075). Latin.Die Sätze dieser Missa entstanden im Verlauf mehrerer Jahre und wurden für den Mädchenchor am Essener Dom komponiert. Ihren Titel bezieht die Messe von der Widmung des Agnus Dei „dem Gedenken der unschuldigen Opfer in Sant Anna di Stazzema im Kriegsjahre 1944 (einem Dorf i. d. Toscana) und der Idee und dem Geist des dortigen Friedenszentrums.Kyrie und Agnus Dei sind a cappella gehalten, während Gloria und Sanctus von Chor und Gemeinde gemeinsam gestaltet werden. Dieses außerordentlich interessante Werk ist mit Orgelbegleitung oder mit Orgel- und Bläserbegleitung aufführbar.
$19.99
Gloria (from Mass in D Major) for 2 Sopranos, SSA and organ
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Chorale 3 parties
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FACILE
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Musique Sacrée
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Giovanni Battista Pergolesi
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Ivana Tuskan
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Gloria
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Ivana Tuskan
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SheetMusicPlus
Composed by Giovanni Battista Pergolesi. Arranged by Ivana Tuskan. Baroque,Christmas,Sacred,Stand ards. Octavo. 9 pages. Ivana Tuskan #6480331. Publish...
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Composed by Giovanni Battista Pergolesi. Arranged by Ivana Tuskan. Baroque,Christmas,Sacred,Stand ards. Octavo. 9 pages. Ivana Tuskan #6480331. Published by Ivana Tuskan
$1.99
Missa Mariae
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Chorale 3 parties
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Contemporain
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Cecilia McDowall
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Missa Mariae
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Oxford University Press Digital
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SheetMusicPlus
SSA choir and organ - Digital Download Composed by Cecilia McDowall. Sheet music. New Horizons. Octavo. 23 pages. Oxford University Press Digital #97...
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SSA choir and organ - Digital Download Composed by Cecilia McDowall. Sheet music. New Horizons. Octavo. 23 pages. Oxford University Press Digital #9780193537200. Published by Oxford University Press Digital
ISBN 9780193537200.
For SSA choir and organ The organ part is supportive, but full of interest and not merely accompanimental. Particularly memorable are the jaunty Gloria, with its constantly shifting time-signatures, and the haunting Agnus Dei.
$5.25
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
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
Missa Solemnis for mixed choir, soloist voices and organ - Full
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Chorale SATB
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AVANCÉ
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Musique Sacrée
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Santino Cara
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Missa Solemnis for mixed choir
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Santino Cara
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SheetMusicPlus
Choral Choir (SATB divisi) - Level 5 - SKU: A0.516511 Composed by Santino Cara. Sacred. Octavo. 90 pages. Santino Cara #13549. Published by Santino Cara...
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Choral Choir (SATB divisi) - Level 5 - SKU: A0.516511 Composed by Santino Cara. Sacred. Octavo. 90 pages. Santino Cara #13549. Published by Santino Cara (A0.516511). The Solemn Mass CS524 for chorus of mixed voices, soloist voices and organ, was composed in Rome by Santino Cara at the end of 1999, and published in 2001. This Mass retraces the six classical canons Latin of the Roman Missal: Kyrie, Gloria, Credo, Sanctus-Benedictus and Agnus Dei. In addition to the complete score of the entire Mass, within the pdf file, are also included the separate part for choir and soloists voice. Movements and voices: 1. Kyrie - Choir SATB 2. Gloria - SATB choir and soloist voices (soprano, alto, tenor, and bass) 3. Credo - SSAATTBB choir and soloist voices (soprano, tenor and bass) 4. Sanctus - Choir SABrB and Variation on the Sanctus for solo voices 5. Benedictus - Choir SABrB 6. Agnus Dei - Choir SATB.
$20.20
Missa di Sant' Anna
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Raimund Wippermann
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Missa di Sant' Anna
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Schott Music - Digital
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SheetMusicPlus
Girls' choir, congregation ad libitum, wind instruments ad libitum and organ - SKU: S9.Q19079 Composed by Raimund Wippermann. This edition: choral score...
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Girls' choir, congregation ad libitum, wind instruments ad libitum and organ - SKU: S9.Q19079 Composed by Raimund Wippermann. This edition: choral score. Downloadable, Choral score. Schott Music - Digital #Q19079. Published by Schott Music - Digital (S9.Q19079). Latin.Die Sätze dieser Missa entstanden im Verlauf mehrerer Jahre und wurden für den Mädchenchor am Essener Dom komponiert. Ihren Titel bezieht die Messe von der Widmung des Agnus Dei „dem Gedenken der unschuldigen Opfer in Sant Anna di Stazzema im Kriegsjahre 1944 (einem Dorf i. d. Toscana) und der Idee und dem Geist des dortigen Friedenszentrums.Kyrie und Agnus Dei sind a cappella gehalten, während Gloria und Sanctus von Chor und Gemeinde gemeinsam gestaltet werden. Dieses außerordentlich interessante Werk ist mit Orgelbegleitung oder mit Orgel- und Bläserbegleitung aufführbar.
$10.99
Johann Georg Albrechtsberger - Messa a 4 voci e strumenti 2. Gloria
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Johann Georg Albrechtsberger
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Guido Menestrina
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Johann Georg Albrechtsberger -
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Guido Menestrina
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.828712 Composed by Johann Georg Albrechtsberger. Arranged by Guido Menestrina. Baroque,Sacred. Octavo. 23 pages....
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Choral Choir (SATB) - Level 4 - SKU: A0.828712 Composed by Johann Georg Albrechtsberger. Arranged by Guido Menestrina. Baroque,Sacred. Octavo. 23 pages. Guido Menestrina #443117. Published by Guido Menestrina (A0.828712). Trascrizione a cura di Guido Menestrina Johann Georg Albrechtsberger (Klosterneuburg, 3 febbraio 1736 – Vienna, 7 marzo 1809) è stato un compositore austriaco. Johann Georg Albrechtsberger studiò musica presso l'Abbazia di Melk e filosofia al Seminario dei Gesuiti a Vienna e divenne uno dei più importanti e noti maestri di contrappunto della sua epoca. La sua grande fama di teorico gli procurò numerosi allievi che giunsero a Vienna per seguire le sue lezioni, fra essi vi furono Johann Nepomuk Hummel, Ignaz Moscheles, Joseph Weigl e Ludwig van Beethoven. Inoltre scrisse due trattati teorici e un metodo per pianoforte. Fu amico di Franz Joseph Haydn e Wolfgang Amadeus Mozart. Follow the score on youtube: https://www.youtube.com/watch?v=pfVI-p4AhUk or listen to it on soundcloud: https://soundcloud.com/guido-menestrina/johann-georg-albrechtsberger-messa-a-4-voci-e-strumenti-2-gloria Buying this score entitles you to ask for its version in modern keys (SAT, timpani, viola and organ converted to their contemporary keys) for free. Score includes: full score and single parts; organ part contains figured bass. Info: info@guidomenestrina.it.
$11.99
Missa di Sant´ Anna
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Raimund Wippermann
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Missa di Sant´ Anna
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Schott Music - Digital
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SheetMusicPlus
Girls' choir, congregation ad libitum, wind instruments ad libitum and organ - SKU: S9.Q19078 Composed by Raimund Wippermann. This edition: score. Downl...
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Girls' choir, congregation ad libitum, wind instruments ad libitum and organ - SKU: S9.Q19078 Composed by Raimund Wippermann. This edition: score. Downloadable, Score. Schott Music - Digital #Q19078. Published by Schott Music - Digital (S9.Q19078). Latin.The movements of “Missa di Sant’ Anna†were composed over the course of several years, each one for the “Mädchenchor am Essener Dom†(girls' choir of the Cathedral of Essen). The title of the Mass is related to the dedication of the “Agnus Deiâ€, commemorating the innocent victims of the massacre in the Tuscany village of S. Anna di Stazzema in the year of war 1944 and appreciating the idea and spirit of the peace centre there. “Kyrie†and “Agnus Dei†are sung solely by the choir a cappella, whereas “Gloria†and “Sanctus†are jointly sung by choir and congregation. This exciting piece of music can be performed either with organ accompaniment or with additional brass instruments.
$29.99
Meditations on Five Chants - Missa Orbis factor
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Flûte traversière et Piano
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INTERMÉDIAIRE
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Nicholas Palmer
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Meditations on Five Chants - M
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Nicholas D Palmer
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SheetMusicPlus
Flute,Piano - Level 3 - SKU: A0.1111166 Composed by Nicholas Palmer. 20th Century,Christian,Classical,Religious,Wedding. Score and part. 15 pages. Nicho...
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Flute,Piano - Level 3 - SKU: A0.1111166 Composed by Nicholas Palmer. 20th Century,Christian,Classical,Religious,Wedding. Score and part. 15 pages. Nicholas D Palmer #713442. Published by Nicholas D Palmer (A0.1111166). Missa Orbis Factor is a set of Gregorian Mass chants sung for hundreds of years. These beautiful melodies are here set for flute and piano, mostly in a contemplative mood. The Gloria is a livelier setting and also somewhat more difficult. These pieces can be used in Mass, as quiet prelude music for weddings or funerals, as part of sacred concerts, and as teaching repertoire for the flutist. These settings will work with organ with some minor adaptations of the piano accompaniment. The solo part can be shared among other C instruments, adjusting octaves as necessary.
$15.00
"Gloria" for SATB choir, solo voices and organ - From Missa Solemnis
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Chorale SATB
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AVANCÉ
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Musique Sacrée
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Santino Cara
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"Gloria" for SATB ch
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Santino Cara
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.516507 Composed by Santino Cara. Sacred. Octavo. 23 pages. Santino Cara #13541. Published by Santino Cara (A0.51...
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Choral Choir (SATB) - Level 5 - SKU: A0.516507 Composed by Santino Cara. Sacred. Octavo. 23 pages. Santino Cara #13541. Published by Santino Cara (A0.516507). The Gloria for SATB choir, solo voices and organ, is the second part of the Missa Solemnis, composed in Rome in 1999 by Santino Cara and published in 2001 In the full score of the Gloria is inserted also the separate part for choir and soloist voices.
$9.50
Mass for the Holy Year 2000, pt. 1 (2000) for SATB soloists, chorus and orchestra
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Mass for the Holy Year 2000, p
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Thomas Oboe Lee
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.869362 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 109...
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Full Orchestra - Level 4 - 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
Mass for the Holy Year 2000, pt. 2 (2000) for SATB soloists, chorus and orchestra
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Mass for the Holy Year 2000, p
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Thomas Oboe Lee
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.869364 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 104...
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Full Orchestra - Level 4 - 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
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
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
Missa Pentatonica - melody line (for congregational use)
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Chorale Unison
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FACILE
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David Banney
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Missa Pentatonica - melody lin
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David Banney
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SheetMusicPlus
Choral Choir (Unison) - Level 2 - SKU: A0.878889 Composed by David Banney. Christian,Contemporary,Sacred,Standards. Octavo. 2 pages. David Banney #67120...
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Choral Choir (Unison) - Level 2 - SKU: A0.878889 Composed by David Banney. Christian,Contemporary,Sacred,Standards. Octavo. 2 pages. David Banney #6712017. Published by David Banney (A0.878889). The Missa Pentatonica is a setting of the Latin text of the Mass for unison voices and organ, excluding the Gloria, which makes it ideal for Lent and Advent. .
$6.99
Gloria from Missa Aedis Christi (Downloadable)
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Chorale SATB
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AVANCÉ
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Howard Goodall
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Gloria from Missa Aedis Christ
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
SATB choir divisi and organ - Difficult - SKU: MQ.56-0073-E Composed by Howard Goodall. Instrument parts. 22 pages. Duration 5 minutes, 30 seconds. Morn...
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SATB choir divisi and organ - Difficult - SKU: MQ.56-0073-E Composed by Howard Goodall. Instrument parts. 22 pages. Duration 5 minutes, 30 seconds. MorningStar Music Publishers - Digital Sheet Music #56-0073-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.56-0073-E). Latin.This mass setting was commissioned by the Friends of Christ Church Cathedral, Oxford and first performed on Ascension Sunday, 1994. Suitable for both church and concert use, the music is both lyrical and dramatic. The “Gloria†is set for SATB divisi (all parts divide) in a quick and rhythmic mixed meter. The movement begins with a sort of call and response where Choir 1 states a motif and Choir 2 responds with the same motif (sometimes at a different pitch level.) A soloist begins the middle section, Piu Allegro (“Qui tollisâ€) and the first material returns, but in unison this time, at “Jesu Christe.†Duration 5:30.
$3.70
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Gloria, SSA and Organ
