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Kyrie und Gloria
Partitions à imprimer
44 partitions trouvées
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Kyrie und Gloria
Chorale 3 parties
3-4 part mixed choir, whale voices and playback tape - easy - Digital Download Compos…
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3-4 part mixed choir, whale voices and playback tape - easy - Digital Download Composed by Enjott Schneider. This edition: choral score. Schott Choral Music. Downloadable. Duration 10 minutes. Schott Music - Digital #Q19819. Published by Schott Music - Digital
Latin.<br> <br> Kyrie und Gloria sind zwei jeweils funfminutige Chorwerke, in denen die Menschenstimmen mit den Gesangen ozeanischer Wale dialogisieren: der Walgesang scheint einmal ein fast menschenahnliches Kyrie und dann Gloria zu sprechen, was jeweils in derselben Tonart aufgegriffen und dann als Antiphon dem Chor zugeteilt wurde. Mit einem schlichten Chorpart und den zugespielten Gesangen der Wale entsteht ein emotionales Loben und Verbundensein mit Natur und Schopfung.<br> Fur die Auffuhrung wird ein Playback mit den atmospharische Wassergerausche, perkussive Stutzen und Intonationshilfen benotigt, das per Webcode auf www.schott-music.com/web-codes kostenlos erhaltlich ist. Den entsprechenden Code finden Sie in der Ausgabe.<br> Eine CD-Einspielung "Enjott Schneider, Totentanz" mit dem Kammerchor der Hochschule fur Kirchenmusik Regensburg ist bei ambiente audio erschienen (Sacred Music Series Volume 1, Nr. ACD 3004).
$4.99
4.57 €
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Chorale 3 parties
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Enjott Schneider
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Kyrie und Gloria
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Schott Music - Digital
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SheetMusicPlus
Missa secunda a 3 (Asola) - SAT, SAB, STT, STB, AAT, AAB, ATT, or ATB
Chorale 3 parties
Choral Choir (SAB) - Level 3 - Digital Download SKU: A0.1003395 Composed by Giovann…
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Choral Choir (SAB) - Level 3 - Digital Download SKU: A0.1003395 Composed by Giovanni Matteo Asola. Arranged by Aristotle A. Esguerra. Christian,Classical,Renaissance,Sacred,World. Octavo. 13 pages. CantemusDomino.Net #3541715. Published by CantemusDomino.Net (A0.1003395). A polyphonic mass for three-voice choir by Giovanni Matteo Asola (c.1532–1609), consisting of the following movements:1. Kyrie (~2:15);2. Gloria (~3:15 plus chanted Gloria incipit [not included in score]);3. Credo (~5:45 plus chanted Credo incipit [not included in score]);4. Sanctus (~1:30);5. Benedictus (~1:00);6. Agnus Dei (~1:15 per invocation).A transposition is available for equal-voice choirs (SSA or TTB).Total length: ~17:30 (all movements); ~11:45 (without Credo); ~8:30 (without Gloria and Credo)Key: D DorianRange requirements (middle C = C4):· Cantus [Soprano or Alto]: C4–C5 (Agnus Dei calls for one A3)· Tenor [Alto or Tenor]: A3–G4 (Gloria calls for one A4; Credo calls for two A4)· Bassus [Tenor or Baritone]: C3–D4 (Gloria calls for one E4; Credo calls for one F4 and two E4)
$4.50
4.12 €
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Chorale 3 parties
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Giovanni Matteo Asola
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Aristotle A
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~11:45 (without Credo)
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Missa secunda a 3
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CantemusDomino.Net
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SheetMusicPlus
Missa secunda a 3 (Asola) - SSA or TTB
Chorale 3 parties
Choral Choir (SSA) - Level 3 - Digital Download SKU: A0.1003396 Composed by Giovann…
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Choral Choir (SSA) - Level 3 - Digital Download SKU: A0.1003396 Composed by Giovanni Matteo Asola. Arranged by Aristotle A. Esguerra. Christian,Classical,Renaissance,Sacred,World. Octavo. 13 pages. CantemusDomino.Net #3541717. Published by CantemusDomino.Net (A0.1003396). A polyphonic mass for three-voice choir by Giovanni Matteo Asola (c.1532–1609), consisting of the following movements:1. Kyrie (~2:15);2. Gloria (~3:15 plus chanted Gloria incipit [not included in score]);3. Credo (~5:45 plus chanted Credo incipit [not included in score]);4. Sanctus (~1:30);5. Benedictus (~1:00);6. Agnus Dei (~1:15 per invocation).A transposition is available for equal-voice choirs (SSA or TTB).Total length: ~17:30 (all movements); ~11:45 (without Credo); ~8:30 (without Gloria and Credo)Key: G DorianRange requirements (middle C = C4):· Cantus [Soprano I/Tenor I]: D4–F5 / D3–F4· Tenor [Soprano II/Tenor II]: D4–D5 / D3–D4· Bassus [Alto/Bass]: F3–Bâ™4 / F2–Bâ™3
$4.50
4.12 €
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Chorale 3 parties
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Giovanni Matteo Asola
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Aristotle A
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~11:45 (without Credo)
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Missa secunda a 3
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CantemusDomino.Net
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SheetMusicPlus
Missa di Sant' Anna
Girls' choir, congregation ad libitum, wind instruments ad libitum and organ - Digital Dow…
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Girls' choir, congregation ad libitum, wind instruments ad libitum and organ - Digital Download 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
10.07 €
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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
Missa di Sant´ Anna
Orgue
2x Trompete I / 2x Trompete II / 2x Posaune I / 2x Posaune II girls' choir, congregation a…
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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 - Digital Download 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
18.31 €
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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
Machaut: Le Messe de Nostre Dame for 2 Horns & 2 Trombones - Score Only
Quatuor de Cuivres : 2 trompettes, trombone, tuba
Brass Quartet - Level 2 - Digital Download SKU: A0.1258043 Composed by Guillaume de…
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Brass Quartet - Level 2 - Digital Download SKU: A0.1258043 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Medieval. 38 pages. Jmsgu3 #851281. Published by jmsgu3 (A0.1258043). 1. Kyrie2. Gloria3. Credo4. Sanctus5. Agnus dei6. Ite missa estGuillaume 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, a permanent clergy member. According to a rubric found at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Guillaume de 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 that 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 quite lengthy, and 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, both 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 the sake of 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. The Gloria and Credo have no apparent chant basis, although they are stylistically related to one another. The mass is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. 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 an important part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval music and of all religious music.
$49.95
45.76 €
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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Guillaume de Machaut, 1300-1377
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James M
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Machaut: Le Messe de Nostre Dame for 2 Horns & 2 Trombones - Score Only
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jmsgu3
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SheetMusicPlus
Machaut: La Messe de Nostre Dame for 2 English Horns & 2 Bassoons - Score Only
Flûte, Hautbois, Clarinette, Basson
Woodwind Ensemble,Woodwind Quartet - Level 2 - Digital Download SKU: A0.1258034 Com…
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Woodwind Ensemble,Woodwind Quartet - Level 2 - Digital Download SKU: A0.1258034 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Medieval. 38 pages. Jmsgu3 #851272. Published by jmsgu3 (A0.1258034). Instrumentation: English Horn Duo & Bassoon Duo.1. Kyrie2. Gloria3. Credo4. Sanctus5. Agnus dei6. Ite missa estGuillaume 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, a permanent clergy member. According to a rubric found at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Guillaume de 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 that 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 quite lengthy, and 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, both 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 the sake of 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. The Gloria and Credo have no apparent chant basis, although they are stylistically related to one another. The mass is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. 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 an important part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval music and of all religious music.
$49.95
45.76 €
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Flûte, Hautbois, Clarinette, Basson
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Guillaume de Machaut, 1300-1377
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James M
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Bassoon Duo
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Machaut: La Messe de Nostre Dame for 2 English Horns & 2 Bassoons - Score Only
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jmsgu3
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SheetMusicPlus
Machaut: La Messe de Nostre Dame for Double Reed Quartet
Woodwind Ensemble,Woodwind Quartet Bassoon,English Horn - Level 2 - Digital Download SK…
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Woodwind Ensemble,Woodwind Quartet Bassoon,English Horn - Level 2 - Digital Download SKU: A0.1258422 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Medieval. 84 pages. Jmsgu3 #851675. Published by jmsgu3 (A0.1258422). INSTRUMENTATION: 2 ENGLISH HORNS and 2 BASSOONS1. Kyrie2. Gloria3. Credo4. Sanctus5. Agnus dei6. Ite missa estGuillaume 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, a permanent clergy member. According to a rubric found at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Guillaume de Machaut's Messe de Nostre Dame is significant in the history of music for several reasons:1. It is the first complete setting of the Ordinary of the Mass by a single composer that has survived.2. It is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor.3. It was composed in four voices, which was unusual at the time.4. The texts of both Gloria and Credo are quite lengthy, and 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, both 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 the sake of 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. The Gloria and Credo have no apparent chant basis, although they are stylistically related to one another. The mass is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. 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 an important part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval music and of all religious music.
$74.95
68.67 €
#
Guillaume de Machaut, 1300-1377
#
James M
#
Machaut: La Messe de Nostre Dame for Double Reed Quartet
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jmsgu3
#
SheetMusicPlus
Machaut: La Messe de Nostre Dame for 2 Horns & 2 Trombones
Brass Quartet Horn,Trombone - Level 2 - Digital Download SKU: A0.1258806 Composed b…
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Brass Quartet Horn,Trombone - Level 2 - Digital Download SKU: A0.1258806 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Medieval. 84 pages. Jmsgu3 #852054. Published by jmsgu3 (A0.1258806). INSTRUMENTATION: 2 Horns in F, 2 Tenor Trombones.1. Kyrie2. Gloria3. Credo4. Sanctus5. Agnus dei6. Ite missa estGuillaume 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, a permanent clergy member. According to a rubric found at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Guillaume de Machaut's Messe de Nostre Dame is significant in the history of music for several reasons:1. It is the first complete setting of the Ordinary of the Mass by a single composer that has survived.2. It is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor.3. It was composed in four voices, which was unusual at the time.4. The texts of both Gloria and Credo are quite lengthy, and 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, both 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 the sake of 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. The Gloria and Credo have no apparent chant basis, although they are stylistically related to one another. The mass is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. 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 an important part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval music and of all religious music.
$74.95
68.67 €
#
Guillaume de Machaut, 1300-1377
#
James M
#
Machaut: La Messe de Nostre Dame for 2 Horns & 2 Trombones
#
jmsgu3
#
SheetMusicPlus
Machaut: La Messe de Nostre Dame for Flute Quartet - Score Only
Quatuor de Flûtes : 4 flûtes
Woodwind Ensemble,Woodwind Quartet - Level 2 - Digital Download SKU: A0.1259387 Com…
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Woodwind Ensemble,Woodwind Quartet - Level 2 - Digital Download SKU: A0.1259387 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Medieval. 38 pages. Jmsgu3 #852663. Published by jmsgu3 (A0.1259387). INSTRUMENTATION: 2 Alto flutes, 2 Bass Flutes1. Kyrie2. Gloria3. Credo4. Sanctus5. Agnus dei6. Ite missa estGuillaume 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, a permanent clergy member. According to a rubric found at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Guillaume de Machaut's Messe de Nostre Dame is significant in the history of music for several reasons:1. It is the first complete setting of the Ordinary of the Mass by a single composer that has survived.2. It is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor.3. It was composed in four voices, which was unusual at the time.4. The texts of both Gloria and Credo are quite lengthy, and 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, both 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 the sake of 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. The Gloria and Credo have no apparent chant basis, although they are stylistically related to one another. The mass is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. 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 an important part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval music and of all religious music.
$49.95
45.76 €
#
Quatuor de Flûtes : 4 flûtes
#
Guillaume de Machaut, 1300-1377
#
James M
#
Machaut: La Messe de Nostre Dame for Flute Quartet - Score Only
#
jmsgu3
#
SheetMusicPlus
Machaut: La Messe de Nostre Dame for Clarinet Quartet - Score Only
Quatuor de Clarinettes: 4 clarinettes
Woodwind Ensemble,Woodwind Quartet - Level 2 - Digital Download SKU: A0.1259372 Com…
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Woodwind Ensemble,Woodwind Quartet - Level 2 - Digital Download SKU: A0.1259372 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Medieval. 38 pages. Jmsgu3 #852647. Published by jmsgu3 (A0.1259372). INSTRUMENTATION: 2 Clarinets in Bb, 1 Alto Clarinet, 1 Bass Clarinet1. Kyrie2. Gloria3. Credo4. Sanctus5. Agnus dei6. Ite missa estGuillaume 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, a permanent clergy member. According to a rubric found at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Guillaume de Machaut's Messe de Nostre Dame is significant in the history of music for several reasons:1. It is the first complete setting of the Ordinary of the Mass by a single composer that has survived.2. It is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor.3. It was composed in four voices, which was unusual at the time.4. The texts of both Gloria and Credo are quite lengthy, and 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, both 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 the sake of 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. The Gloria and Credo have no apparent chant basis, although they are stylistically related to one another. The mass is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. 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 an important part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval music and of all religious music.
$49.95
45.76 €
#
Quatuor de Clarinettes: 4 clarinettes
#
Guillaume de Machaut, 1300-1377
#
James M
#
Machaut: La Messe de Nostre Dame for Clarinet Quartet - Score Only
#
jmsgu3
#
SheetMusicPlus
Machaut: Le Messe de Nostre Dame for Clarinet Quartet
Quatuor de Clarinettes: 4 clarinettes
Woodwind Ensemble,Woodwind Quartet Bass Clarinet,E-Flat Clarinet - Level 2 - Digital Downl…
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Woodwind Ensemble,Woodwind Quartet Bass Clarinet,E-Flat Clarinet - Level 2 - Digital Download SKU: A0.1260025 Composed by Guillame de Machaut, 1300-1377. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Medieval. 86 pages. Jmsgu3 #853210. Published by jmsgu3 (A0.1260025). INSTRUMENTATION: 2 Clarinets in Bb, 1 Alto Calrinet, 1 Bass Clarinet1. Kyrie2. Gloria3. Credo4. Sanctus5. Agnus dei6. Ite missa estGuillaume 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, a permanent clergy member. According to a rubric found at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Guillaume de Machaut's Messe de Nostre Dame is significant in the history of music for several reasons:1. It is the first complete setting of the Ordinary of the Mass by a single composer that has survived.2. It is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor.3. It was composed in four voices, which was unusual at the time.4. The texts of both Gloria and Credo are quite lengthy, and 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, both 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 the sake of 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. The Gloria and Credo have no apparent chant basis, although they are stylistically related to one another. The mass is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. 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 an important part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval music and of all religious music.
$74.95
68.67 €
#
Quatuor de Clarinettes: 4 clarinettes
#
Guillame de Machaut, 1300-1377
#
James M
#
Machaut: Le Messe de Nostre Dame for Clarinet Quartet
#
jmsgu3
#
SheetMusicPlus
Machaut: La Messe de Nostre Dame for Flute Quartet
Quatuor de Flûtes : 4 flûtes
Woodwind Ensemble,Woodwind Quartet Alto Flute,Bass Flute - Level 2 - Digital Download S…
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Woodwind Ensemble,Woodwind Quartet Alto Flute,Bass Flute - Level 2 - Digital Download SKU: A0.1260536 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Medieval. 86 pages. Jmsgu3 #853678. Published by jmsgu3 (A0.1260536). INSTRUMENTATION: 2 ALTO FLUTES, 2 BASS FLUTES1. Kyrie2. Gloria3. Credo4. Sanctus5. Agnus dei6. Ite missa estGuillaume 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, a permanent clergy member. According to a rubric found at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Guillaume de Machaut's Messe de Nostre Dame is significant in the history of music for several reasons:1. It is the first complete setting of the Ordinary of the Mass by a single composer that has survived.2. It is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor.3. It was composed in four voices, which was unusual at the time.4. The texts of both Gloria and Credo are quite lengthy, and 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, both 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 the sake of 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. The Gloria and Credo have no apparent chant basis, although they are stylistically related to one another. The mass is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. 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 an important part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval music and of all religious music.
$74.95
68.67 €
#
Quatuor de Flûtes : 4 flûtes
#
Guillaume de Machaut, 1300-1377
#
James M
#
Machaut: La Messe de Nostre Dame for Flute Quartet
#
jmsgu3
#
SheetMusicPlus
Machaut: La Messe de Nostre Dame for Saxophone Quartet
Quatuor de Saxophones: 4 saxophones
Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Tenor Saxophone - Le…
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Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Tenor Saxophone - Level 2 - Digital Download SKU: A0.1257962 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Medieval. 85 pages. Jmsgu3 #851199. Published by jmsgu3 (A0.1257962). 1. Kyrie2. Gloria3. Credo4. Sanctus5. Agnus dei6. Ite missa estGuillaume 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, a permanent clergy member. According to a rubric found at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Guillaume de 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 that 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 quite lengthy, and 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, both 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 the sake of 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. The Gloria and Credo have no apparent chant basis, although they are stylistically related to one another. The mass is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. 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 an important part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval music and of all religious music.
$74.95
68.67 €
#
Quatuor de Saxophones: 4 saxophones
#
Guillaume de Machaut, 1300-1377
#
James M
#
Machaut: La Messe de Nostre Dame for Saxophone Quartet
#
jmsgu3
#
SheetMusicPlus
Machaut: La Messe de Nostre Dame for String Quartet - Score Only
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet String Quartet - Level 2 - Digital Download SKU: A0.1257044 Composed…
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String Quartet String Quartet - Level 2 - Digital Download SKU: A0.1257044 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Medieval. 38 pages. Jmsgu3 #850380. Published by jmsgu3 (A0.1257044). 1. Kyrie2. Gloria3. Credo4. Sanctus5. Agnus dei6. Ite missa estGuillaume 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, a permanent clergy member. According to a rubric found at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Guillaume de 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 that 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 quite lengthy, and 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, both 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 the sake of 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. The Gloria and Credo have no apparent chant basis, although they are stylistically related to one another. The mass is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. 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 an important part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval music and of all religious music.
$49.95
45.76 €
#
Quatuor à cordes: 2 violons, alto, violoncelle
#
Guillaume de Machaut, 1300-1377
#
James M
#
Machaut: La Messe de Nostre Dame for String Quartet - Score Only
#
jmsgu3
#
SheetMusicPlus
Machaut: La Messe de Nostre Dame for String Quartet
Quatuor à cordes: 2 violons, alto, violoncelle
String Quartet Cello,String Quartet,Viola,Violin - Level 2 - Digital Download SKU: A0.1…
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String Quartet Cello,String Quartet,Viola,Violin - Level 2 - Digital Download SKU: A0.1257127 Composed by Guillaume de Machaut, 1300-1377. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Medieval. 84 pages. Jmsgu3 #850426. Published by jmsgu3 (A0.1257127). 1. Kyrie2. Gloria3. Credo4. Sanctus5. Agnus dei6. Ite missa estGuillaume 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, a permanent clergy member. According to a rubric found at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Guillaume de 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 that 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 quite lengthy, and 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, both 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 the sake of 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. The Gloria and Credo have no apparent chant basis, although they are stylistically related to one another. The mass is a unified mass, meaning that the composer selected relevant chants for each section as the borrowed tenor. 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 an important part of the liturgical practices of the time, and it is still regarded as a masterpiece of medieval music and of all religious music.
$74.95
68.67 €
#
Quatuor à cordes: 2 violons, alto, violoncelle
#
Guillaume de Machaut, 1300-1377
#
James M
#
Machaut: La Messe de Nostre Dame for String Quartet
#
jmsgu3
#
SheetMusicPlus
We Come To Your Table
Chorale SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1029495 Composed by Mark D…
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1029495 Composed by Mark Daniel Merritt. Christian,Sacred. Octavo. 6 pages. Mark Merritt #4993807. Published by Mark Merritt (A0.1029495). This communion anthem by Mark Daniel Merritt is perfect for World Communion Sunday. It features an interesting communion prayer by Ellen Douglas Merritt, interspersed with portions of traditional texts, Kyrie, Sanctus, Gloria and Agnus Dei. .
$2.29
2.1 €
#
Chorale SATB
#
Mark Daniel Merritt
#
We Come To Your Table
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Mark Merritt
#
SheetMusicPlus
The Contemporary Eucharist of The Episcopal Church with Hymns of Worship and Praise
Small Ensemble - Digital Download SKU: A0.996056 Composed by John E Dosher. Christi…
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Small Ensemble - Digital Download SKU: A0.996056 Composed by John E Dosher. Christian,Praise & Worship,Sacred. Score and parts. 30 pages. John E Dosher #4791575. Published by John E Dosher (A0.996056). A contemporary mass setting for Rite 2 of The Episcopal Church. This publication includes service music for The Kyrie, The Gloria, The Sersum Corda, The Sanctus, The Lord's Prayer and The Agnus Dei. It also includes hymns that can be used in other parts of the service such as entrance hymn, offertory, communion hymns or closing hymn. All music is published in lead sheet form and the individual pieces may all be found on Youtube.
$9.99
9.15 €
#
John E Dosher
#
The Contemporary Eucharist of The Episcopal Church with Hymns of Worship and Praise
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John E Dosher
#
SheetMusicPlus
Missa Brevis (Downloadable)
Chorale SATB
SATB choir, organ - Moderately Difficult - Digital Download SKU: MQ.8067-E Composed…
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SATB choir, organ - Moderately Difficult - Digital Download SKU: MQ.8067-E Composed by David Conte. 23 pages. E. C. Schirmer Music Company - Digital #8067-E. Published by E. C. Schirmer Music Company - Digital (MQ.8067-E). Latin.This is the third work David Conte has composed for them; the others are Elegy for Matthew in memory of Matthew Shepard (2000), and September Sun in memory of 9/11/2001 (2002). Missa Brevis was composed for both liturgical and concert use. The Kyrie is slow, solemn, and chromatic. The Gloria provides a marked contrast with its fast and lively music with many changing meters and syncopations. The Sanctus is broad and expressive, followed by the faster Hosanna in compound meter. The Benedictus is built over a ground bass and features canonic duets among the four voices. The Agnus Dei returns to the more solemn and chromatic mood of the Kyrie, and ends with an exact recapitulation of the Kyrie music.
$2.90
2.66 €
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Chorale SATB
#
David Conte
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Missa Brevis
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E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
Missa Solemnis, op. 27 (vocal score)
Chorale SATB
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1277132 Composed by Adrian…
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adrian Gagiu #868444. Published by Adrian Gagiu (A0.1277132). Missa Solemnis in B major, op. 27, vocal score and piano part (for rehearsal purposes only). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „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
80.61 €
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Chorale SATB
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Adrian Gagiu
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Missa Solemnis, op. 27
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Adrian Gagiu
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SheetMusicPlus
Missa Solemnis, op. 27 - Score Only
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagi…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published by Adrian Gagiu (A0.1277133). Missa Solemnis in B major, op. 27 (conductor's score). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „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
91.62 €
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Orchestre
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Adrian Gagiu
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Missa Solemnis, op. 27 - Score Only
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Adrian Gagiu
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SheetMusicPlus
Byzantine Mass, Op. 22
Chorale SATB
Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.904588 Composed by David C…
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Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.904588 Composed by David Cundy. A Cappella,Sacred. Octavo. 33 pages. David Cundy #5732493. Published by David Cundy (A0.904588). Byzantine Mass, Op. 22 complete for SATCantusB. Kyrie, Credo Sanctus, Benedictus, Agnus Dei, Gloria. Sung in the tradition of the Byzantine choirs with the Cantus singing one note throughout with the choir parts harmonising with that note. A capella.
$8.99
8.24 €
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Chorale SATB
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David Cundy
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A capella.
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Byzantine Mass, Op. 22
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David Cundy
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SheetMusicPlus
Missa brevis
Choir a cappella (SATB) - advanced - Digital Download SKU: S9.Q41798 Composed by Wi…
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Choir a cappella (SATB) - advanced - Digital Download SKU: S9.Q41798 Composed by Wilhelm Killmayer. This edition: choral score. Schott Chamber Choir. Downloadable, Choral score. Duration 12 minutes. Schott Music - Digital #Q41798. Published by Schott Music - Digital (S9.Q41798). Latin.Die kurze Messe aus dem Jahr 1954 für gemischten, achtstimmigen Chor a cappella besteht aus den Teilen Kyrie, Gloria und Agnus Dei; sie enthält kleine solistische Einschübe, die aus dem Chor besetzt werden können.
$11.99
10.98 €
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Wilhelm Killmayer
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Missa brevis
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Schott Music - Digital
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SheetMusicPlus
Symphony No. 4 ... War and Peace (2001) for soprano and orchestra
Large Ensemble Voice - Level 4 - Digital Download SKU: A0.869357 Composed by Thomas…
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Large Ensemble Voice - Level 4 - Digital Download SKU: A0.869357 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 95 pages. Thomas Oboe Lee #15877. Published by Thomas Oboe Lee (A0.869357). Instrumentation: 2222-4231-timp-2perc-hp-pf-strings. Program note: First of all, a huge embrace for Max Hobart who has been so very supportive by promoting and premiering new works for the orchestra. Since 1991, I have written three works for Max and the Civic Symphony Orchestra of Boston. Symphony No. 4 ... War and Peace is my fourth contribution and this work is dedicated to Max. A year ago, John Finney and the University Chorale of Boston College premiered my Mass for the Holy Year 2000. It was a millennial commission by the Jesuit Institution for the community of Boston College. For that occasion I had originally planned to write a Mass whose texts would include both the Latin from the Ordinary of the Mass - Kyrie, Gloria, Credo, Sanctus & Agnus Dei - and poems concerning the atrocities and senseless killing in warfare during the last century.However, as it turned out, the poems I chose ended up reflecting the Latin text, which is all about faith and redemption. But I still wanted to write an anti-war symphony. When I approached Max with this idea, he was very excited. Initially he was a little concerned that I might want to use the Tolstoy novel as my inspiration. I assured him that it would not be a four-hour symphony. In order to convey a political message through a symphonic work, texts set as songs are the most direct way. For this symphony, I have narrowed my focus to poems written by veterans of the First World War - some euphemistically call it the Great War. The first poem by Rupert Brooke, The Soldier, has an uneasy, patriotic cheerfulness to its message. The second poem by Wilfred Owen, Dulce et decorum est, is a more realistic view of warfare. Dying for one's own country is not so cool when the dead and the dying are staring at your face!!! The third and last poem by Ivor Gurney, To his love, reflects on the aftermath of war: peace, but at what cost!!! Rupert Brooke (1887 - 1915) died on a naval expedition near the Greek island of Gallipoli. He died of blood poisoning. Wilfred Owen (1893 - 1918) was wounded three times in France in the spring of 1917 and was sent back to England to recuperate. He returned to the Front, and was killed on November 4, 1918, just a few days before the Armistice was signed. Ivor Gurney (1890 - 1937), a composer as well, was acutely sensitive to the horrors of the war and, after being wounded and gassed in 1917, he was sent back home to a mental hospital. He died twenty years later without ever recovering from the traumas of war.Audio link: https://thomasoboelee.bandcamp.com/album/symphony-no-4-war-and-peace-2001
$9.99
9.15 €
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Thomas Oboe Lee
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Symphony No. 4 ... War and Peace
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Thomas Oboe Lee
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SheetMusicPlus
Mass for choir and orchestra (Score and parts)
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.576914 Composed by David Warin …
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Full Orchestra - Level 4 - Digital Download SKU: A0.576914 Composed by David Warin Solomons. 20th Century,Christian,Contemporary,Sacred. Score and parts. 70 pages. David Warin Solomons #519335. Published by David Warin Solomons (A0.576914). Setting of the Kyrie, Gloria, Sanctus, Benedictus and Agnus Dei for SATB choir and full orchestra based on my mass for men's voices and organ (which can be found on: http://www.dwsolo.com/serif/massformensvoices.html ) The style is lyrical and neo-classical with a few hints of oriental modes (full of Eastern promise as a member of the congregation said when the original version was performed in Manchester). The sound sample is an electronic preview but a professional live recording is expected soon. The pdf file contains score and parts (with the Choir part as a complete SATB score). The score on its own is also available on this site. The optional orchestral finale Ite Missa Est and the original versions for men's voices and organ and for sopranos, altos, men's voices and organ are also available on this site.
$25.00
22.9 €
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Orchestre
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David Warin Solomons
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Mass for choir and orchestra
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David Warin Solomons
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SheetMusicPlus
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