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Gloria patri et filio
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
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Vous avez sélectionné:
Gloria patri et filio
SheetMusicPlus
Partitions à imprimer
10 partitions trouvées
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Gloria Patri et Filio (SSA/3-Part Treble Voices)
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Chorale 3 parties
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INTERMÉDIAIRE
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Traditional
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Carol Troutman Wiggins
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Gloria Patri et Filio
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Carol Troutman Wiggins
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SheetMusicPlus
Choral Choir (SSA) - Level 3 - SKU: A0.727525 Composed by Traditional. Arranged by Carol Troutman Wiggins. Christian,Classical,Latin,Religious,Sacred. O...
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Choral Choir (SSA) - Level 3 - SKU: A0.727525 Composed by Traditional. Arranged by Carol Troutman Wiggins. Christian,Classical,Latin,Religious,Sacred. Octavo. 8 pages. Carol Troutman Wiggins #4765217. Published by Carol Troutman Wiggins (A0.727525). Gloria Patri et FilioSSA/3-Part Treble Voices
$2.50
Gloria Patri et Filio (Piano Accompaniment Track)
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Musique Sacrée
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Traditional
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Carol Troutman Wiggins
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Gloria Patri et Filio
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Carol Troutman Wiggins
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SheetMusicPlus
Choir,Piano - SKU: A0.1065715 Composed by Traditional. Arranged by Carol Troutman Wiggins. Christian,Sacred. Accompaniment. Duration 148. Carol Troutman...
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Choir,Piano - SKU: A0.1065715 Composed by Traditional. Arranged by Carol Troutman Wiggins. Christian,Sacred. Accompaniment. Duration 148. Carol Troutman Wiggins #4765219. Published by Carol Troutman Wiggins (A0.1065715). Gloria Patri et Filio (Piano Track)SSA/3-Part Treble Voices
$3.99
Gloria Patri et Filio
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Classique
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Antonio Vivaldi
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Patrick M
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Gloria Patri et Filio
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Chorus - SKU: AX.00-PO-0006041 Composed by Antonio Vivaldi. Arranged by Patrick M. Liebergen. Secular Choral. 11 pages. Alfred Music - Digital Sheet Mus...
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Chorus - SKU: AX.00-PO-0006041 Composed by Antonio Vivaldi. Arranged by Patrick M. Liebergen. Secular Choral. 11 pages. Alfred Music - Digital Sheet Music #00-PO-0006041. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0006041). UPC: 038081543062.
$2.05
Gloria Patri et Filio
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Classique
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Antonio Vivaldi
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Patrick M
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Gloria Patri et Filio
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Chorus - SKU: AX.00-PO-0006042 Composed by Antonio Vivaldi. Arranged by Patrick M. Liebergen. Secular Choral. 11 pages. Alfred Music - Digital Sheet Mus...
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Chorus - SKU: AX.00-PO-0006042 Composed by Antonio Vivaldi. Arranged by Patrick M. Liebergen. Secular Choral. 11 pages. Alfred Music - Digital Sheet Music #00-PO-0006042. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0006042). UPC: 038081543079.
$2.05
Gloria Patri et Filio
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Classique
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Antonio Vivaldi
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Patrick M
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Gloria Patri et Filio
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Chorus - SKU: AX.00-PO-0006040 Composed by Antonio Vivaldi. Arranged by Patrick M. Liebergen. Secular Choral. 11 pages. Alfred Music - Digital Sheet Mus...
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Chorus - SKU: AX.00-PO-0006040 Composed by Antonio Vivaldi. Arranged by Patrick M. Liebergen. Secular Choral. 11 pages. Alfred Music - Digital Sheet Music #00-PO-0006040. Published by Alfred Music - Digital Sheet Music (AX.00-PO-0006040). UPC: 038081543055.
$2.05
Gloria patri et filio
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Voix seule
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Classique
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Giovanni Battista Agneletti
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Early Music Scores
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Gloria patri et filio
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Early Music Scores
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SheetMusicPlus
Vocal Solo,Voice - SKU: A0.791946 Composed by Giovanni Battista Agneletti. Arranged by Early Music Scores. Baroque,Classical. 4 pages. Early Music Score...
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Vocal Solo,Voice - SKU: A0.791946 Composed by Giovanni Battista Agneletti. Arranged by Early Music Scores. Baroque,Classical. 4 pages. Early Music Scores #6866361. Published by Early Music Scores (A0.791946). Voice and continuoComposed by Giovanni Battista Agneletti (c.1656-1673). From Sacri Canti et Hinni a voce sola, Venezia, 1673. Edited by Felipe Dias. 4 pages. .
$6.99
MAGNIFICAT. Mov. 11 "Gloria Patri". Soprano and Choir with piano accompaniment (orchestra reductio
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Chorale SATB
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Gabriel Ruiz-Bernal
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MAGNIFICAT. Mov. 11 "Glor
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Gabriel Ruiz-Bernal
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SheetMusicPlus
Choral Choir (SATB) - SKU: A0.893959 Composed by Gabriel Ruiz-Bernal. Christmas,Contemporary,Sacred. Octavo. 18 pages. Gabriel Ruiz-Bernal #6320937. Pub...
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Choral Choir (SATB) - SKU: A0.893959 Composed by Gabriel Ruiz-Bernal. Christmas,Contemporary,Sacred. Octavo. 18 pages. Gabriel Ruiz-Bernal #6320937. Published by Gabriel Ruiz-Bernal (A0.893959). Sicut Locutus is a highly rhythmic movement that blends into the final movement Gloria patri. Gloria filio, et spiritui sancto. Sicut erat in principio nunc et semper et in secula seculorum. Amen (Glory to the father, and to the son, and to the holy spirit, As it was in the beginning, both now, and always, and to ages of ages. Amen) which is created as a replica of the first movement Magnificat. This way the complete Magnificat closes a full circle using the thematic material presented in the first movement, returning to the familiar beginning as the lyrics sing as it was in the beginning, both now, and always, and to ages of ages. Amen (Sicut erat in principio nunc et semper et in secula seculorum. Amen).Demonstration recording available at:https://www.gabrielruizbernal.com/reference-recording.html
$3.00
Videntes stellam, for SATB & piano
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Ji Heng Lee
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Videntes stellam, for SATB &am
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Lee, Ji Heng
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.1027586 Composed by Ji Heng Lee. Christian,Christmas,Sacred,Spiritual. Octavo. 8 pages. Lee, Ji Heng #2099023. P...
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Choral Choir (SATB) - Level 4 - SKU: A0.1027586 Composed by Ji Heng Lee. Christian,Christmas,Sacred,Spiritual. Octavo. 8 pages. Lee, Ji Heng #2099023. Published by Lee, Ji Heng (A0.1027586). This SATB carol (with piano accompaniment) is a setting of the Latin text, Videntes stellam magi (Anon.), a responsory at Matins of Epiphany (in this setting the Versus is omitted). (Duration: c. 3'30) Text: Videntes stellam magi gavisi sunt gaudio magno: et intrantes domum, invenerunt puerum, cum Maria, matre eius, et procedentes adoraverunt eum. Et apertis thesauris suis, obtulerunt ei munera: aurum, thus et myrrham. Gloria Patri et Filio et Spiritui Sancto. Sicut erat in principio, et nunc et semper et in saecula saeculorum. Amen.
$3.00
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
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Gloria patri et filio
