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Organ: Ave Maris Stella
Partitions à imprimer
39 partitions trouvées
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Organ: Ave Maris Stella (Motet in G Major Op. 2, No. 3) - Edward Elgar
Orgue
Organ - Level 3 - Digital Download SKU: A0.1371681 Composed by Edward Elgar. Arrang…
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Organ - Level 3 - Digital Download SKU: A0.1371681 Composed by Edward Elgar. Arranged by Aubrey Tucker. 19th Century,20th Century,Christian,Classical,Sacred. Score. 4 pages. Aubrey Tucker #955936. Published by Aubrey Tucker (A0.1371681). My arrangement for organ of Elgar's choral Motet in G Major 'Ave Maris Stella' (Op. 2, No. 3). The included registration is only a suggestion and is left entirely to the organist’s discretion depending on the specification of the instrument. An mp3 file of the full score is available to listen to or watch via my YouTube Channel.
$5.95
5.49 €
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Orgue
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Edward Elgar
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Aubrey Tucker
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Organ: Ave Maris Stella
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Aubrey Tucker
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SheetMusicPlus
Postlude on "Ave Maris Stella"
Orgue
Organ - Level 3 - Digital Download SKU: A0.964558 Composed by Nancy DeVries. Arrang…
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Organ - Level 3 - Digital Download SKU: A0.964558 Composed by Nancy DeVries. Arranged by St Raphael's Psaltery. Christian,Concert,Sacred. Score. 5 pages. Nancy DeVries #6504993. Published by Nancy DeVries (A0.964558). Postlude on Ave Maris Stella is an organ work based on the beautiful Gregorian chant hymn of the same name -Hail, Star of the Sea. The piece tries to depict the beauty and mystery of this title of the Blessed Virgin Mary as well as the eloquence of the original Gregorian hymn in a modern context. The undulating motion of the 5/4 motive gives the impression of light upon water culminating in the brilliance of the key of B major. As a liturgical piece, this accessible and attractive sortie may be appreciated by busy organists since it is quite easy to learn, but may impress the listener with its charm and exuberance.
$3.99
3.68 €
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Orgue
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Nancy DeVries
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St Raphael's Psaltery
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Postlude on "Ave Maris Stella"
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Nancy DeVries
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SheetMusicPlus
St. Augustine's Organbook
Ten preludes for organ on Gregorian Chant melodies.Chants include: JESU, DULCI…
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Ten preludes for organ on Gregorian Chant melodies.Chants include: JESU, DULCIS MEMORIAADORO TE DEVOTE (ADORO TE / ADORO DEVOTE)AVE VERUM CORPUSREQUIEM AETERNAMIN PARADISUMAVE MARIAO SACRUM CONVIVIUMAVE, MARIS STELLAUBI CARITAS ET AMORAVE COLENDA TRINITAS
Song List: Adoro te devote (Adoro Devote/Adoro Te) Ave Maria Ave Maris Stella Ave Verum In Paradisum Jesu dulcis memoria O Sacrum Convivum Ubi caritas
$21.50
19.84 €
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St. Augustine's Organbook
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SheetMusicPlus
Fantasia on Ave Maris Stella, Op. 261 (Organ Solo) by Vidas Pinkevicius (2024)
Orgue
Organ - Level 3 - Digital Download SKU: A0.1451552 Composed by Vidas Pinkevicius. C…
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Organ - Level 3 - Digital Download SKU: A0.1451552 Composed by Vidas Pinkevicius. Christian,Classical,Contemporary,Religious,Sacred. Score. 5 pages. Secrets of Organ Playing #1030882. Published by Secrets of Organ Playing (A0.1451552). This fantasia is based on the Gregorian chant hymn Ave Maris Stella. It's a polyphonic piece where every line of the chant is treated in imitative counterpoint, like in a fugue. To create more colour, the keys change periodically and dynamic range expands from mezzo piano to fortissimo. This composition will be very effective in liturgical organ playing and concert programs when music to honor Virgin Mary is desired. Dedicated to James Flores.
$4.99
4.61 €
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Orgue
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Vidas Pinkevicius
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Fantasia on Ave Maris Stella, Op. 261
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Secrets of Organ Playing
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SheetMusicPlus
ANTHOLOGY OF ORGAN MASTERPIECES - 1st Volume (of 10) - look at the list of songs inside
Orgue
Organ - Intermediate - Digital Download Composed by Various. Arranged by Marcello Men…
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Organ - Intermediate - Digital Download Composed by Various. Arranged by Marcello Meneguzzo. Classical Period, Baroque Period, Renaissance. Score. 105 pages. Published by Renato Tagliabue
Index of the 1st Volume<br> ANONIMO ............................................................. Versi ..........................................................pag. 7<br> ANONIMO .............................................................. Sonata .......................................................... “ 73<br> ANONIMO ............................................................. Toccata ........................................................ “ 101<br> ANONIMO ............................................................. Toccata per l’Offertorio .............................. “ 104<br> ARRESTI Floriano Maria .................................. Ricercare ....................................................... “ 98<br> BANCHIERI Adriano ........................................... Suonata prima ............................................. “ 95<br> BERG George ........................................................ Cornet Voluntary ......................................... “ 70<br> BOËLY Alexandre ................................................ Preludio ........................................................ “ 96<br> BOËLY Alexandre ................................................ Preludio ........................................................ “ 97<br> CARISSIMI Giacomo ........................................... Versetti .......................................................... “ 20<br> CHARPENTIER Jean Jacques Beauvarlet ......... Kyrie ............................................................. “ 54<br> CHARPENTIER Jean Jacques Beauvarlet ......... O Filii ............................................................ “ 55<br> CHARPENTIER Jean Jacques Beauvarlet ......... Quartetto ....................................................... “ 60<br> CORDANS Bartolomeo ........................................ Pezzo fugato ................................................. “ 64<br> DIRUTA Girolamo ................................................ Ricercari ....................................................... “ 30<br> FISCHER Johann Caspar Ferdinand ............... Fuga .............................................................. “ 89<br> FRANCK César ..................................................... Chant de la Creuse ...................................... “ 14<br> FRANCK César .................................................... Andantino .................................................... “ 15<br> FRANCK César ..................................................... Andantino poco allegretto .......................... “ 16<br> FRANCK César ..................................................... Poco allegretto ............................................. “ 17<br> FRANCK César ..................................................... Prélude pour l’Ave Maris Stella ................. “ 18<br> FRANCK César ..................................................... Moderato con moto ..................................... “ 19<br> GALUPPI Baldassare ........................................... Andante ........................................................ “ 31<br> GALUPPI Baldassare ........................................... Allegro .......................................................... “ 32<br> GREENE Maurice ............................................... Voluntary ..................................................... “ 91<br> KAUFFMANN Georg Friedrich ........................ Herzlich lieb hab ich dich, o Herr .............. “ 52<br> LUCCHESI Andrea ............................................. Sonata seconda ............................................ “ 68<br> MARTINI Giambattista ....................................... Versetti .......................................................... “ 11<br> MARTINI Giambattista ....................................... Toccata prima .............................................. “ 12<br> MOZART W. Amadeus ...................................... Adagio ........................................................... “ 100<br> PACHELBEL Johann ......................................... Fuga .............................................................. “ 82<br> PACHELBEL Johann ......................................... Wo Gott zum Haus nicht gibt sein Gunst .. “ 83<br> PACHELBEL Johann ......................................... Herr Gott, dich loben alle wir ..................... “ 84<br> PACHELBEL Johann ......................................... Ach Herr, mich armen Sünder .................. “ 86<br> PACHELBEL Johann ......................................... Wenn wir in höchsten Nöten sein .............. “ 88<br> RHEINBERGER Joseph Gabriel ....................... Trio ............................................................... “ 80<br> RINCK Johann Christian ................................... Trii ................................................................ “ 76<br> RINCK Johann Christian ................................... Preludio ........................................................ “ 79<br> SANCTA MARIA Tomas de ............................. Fantasie ........................................................ “ 66<br> SCHEIDT Samuel ............................................... O lux beata Trinitas ..................................... “ 90<br> REMBT Johann Ernst ......................................... Fughetta ....................................................... “ 53<br> TELEMANN Georg Philipp ............................... Vater unser im Himmelreich (bicinium)...... “ 25<br> TELEMANN Georg Philipp ............................... Vater unser im Himmelreich ...................... “ 26<br> TELEMANN Georg Philipp ............................... Fughetta ....................................................... “ 28<br> TRAVERS John .................................................... Trumpet Voluntary ..................................... “ 34<br> TRAVERS John .................................................... Trumpet Voluntary ..................................... “ 36<br> ZIPOLI Domenico ................................................ Versetti .......................................................... “ 38<br> ZIPOLI Domenico ............................................... Canzona in re minore ................................. “ 43<br> ZIPOLI Domenico ............................................... All’Offertorio................................................. “ 46<br> ZIPOLI Domenico ............................................... All’Elevaziome ............................................. “ 48<br> ZIPOLI Domenico ............................................... Al Post Comunio ......................................... “ 50
$34.90
32.21 €
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Orgue
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Various
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ANTHOLOGY OF ORGAN MASTERPIECES - 1st Volume
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Renato Tagliabue
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SheetMusicPlus
Organ Symphony No. 2
Orgue
Organ - intermediate to advanced - Digital Download SKU: S9.Q6423 Die Marianisch…
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Organ - intermediate to advanced - Digital Download SKU: S9.Q6423 Die Marianische. Composed by Enjott Schneider. This edition: Sheet music. Downloadable. Duration 24 minutes. Schott Music - Digital #Q6423. Published by Schott Music - Digital (S9.Q6423). As a counterpart to the Organ Symphony No. 1 Pater Noster (ED 9937), the Organ Symphony No. 2 offers softer and more mysterious (Marian) sound worlds, sketching stages of Mary's life: an adoring Salve Regina grows from the mystic source, followed by Berceuse pour Marie as a lullaby of the Christmas events. The third movement Mater Dolorosa falls back on the well-known Gregorian sequence Stabat Mater, taking Mary's pain at the cross as its central theme. The finale treats the Ave Maris Stella in a crescendo from pp to ff in a positive and solemn manner, in memory of Mary's assumption. It is advisable to use an organ with at least three manuals.Als Gegenstück zur Orgelsinfonie Nr.1 Pater Noster bietet die 2. Orgelsymphonie weichere und geheimnisvollere (eben marianische) Klangwelten an und skizziert Stationen aus Marias Lebensweg. Als Instrument empfiehlt sich eine Orgel mit mindestens drei Manualen.
$18.99
17.53 €
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Orgue
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Enjott Schneider
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Organ Symphony No. 2
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Schott Music - Digital
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SheetMusicPlus
Jean-Thierry Boisseau: Incanations 1 on Ave Maris Stella for soprano, english horn in F and organ
Small Ensemble English Horn,High Voice,Organ - Level 3 - Digital Download SKU: A0.53472…
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Small Ensemble English Horn,High Voice,Organ - Level 3 - Digital Download SKU: A0.534726 Composed by Jean-Thierry Boisseau. 20th Century,Sacred. Score and parts. 19 pages. Musik Fabrik Music Publishing #6360481. Published by Musik Fabrik Music Publishing (A0.534726). A fantasy based on the Gregorian theme Ave Maris Stella by the noted French composer.
$19.95
18.41 €
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Jean-Thierry Boisseau
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Jean-Thierry Boisseau: Incanations 1 on Ave Maris Stella for soprano, english horn in F and organ
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Musik Fabrik Music Publishing
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SheetMusicPlus
Jean-Thierry Boisseau: Incanations 1 on Ave Maris Stella for soprano, alto saxophone and organ
Small Ensemble Alto Saxophone,High Voice,Organ - Level 4 - Digital Download SKU: A0.534…
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Small Ensemble Alto Saxophone,High Voice,Organ - Level 4 - Digital Download SKU: A0.534724 Composed by Jean-Thierry Boisseau. Sacred. Score and parts. 19 pages. Musik Fabrik Music Publishing #6360473. Published by Musik Fabrik Music Publishing (A0.534724). A fantasy based on the Gregorian theme Ave Maris Stella by the noted French composer.
$19.95
18.41 €
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Jean-Thierry Boisseau
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Jean-Thierry Boisseau: Incanations 1 on Ave Maris Stella for soprano, alto saxophone and organ
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Musik Fabrik Music Publishing
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SheetMusicPlus
Jean-Thierry Boisseau: Incanations 1 on Ave Maris Stella for soprano, Bb clarinet and organ
Instrumental Duet Clarinet,High Voice,Instrumental Duet - Level 4 - Digital Download SK…
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Instrumental Duet Clarinet,High Voice,Instrumental Duet - Level 4 - Digital Download SKU: A0.534725 Composed by Jean-Thierry Boisseau. 20th Century,Sacred. Score and parts. 19 pages. Musik Fabrik Music Publishing #6360477. Published by Musik Fabrik Music Publishing (A0.534725). A fantasy based on the Gregorian theme Ave Maris Stella by the noted French composer.
$19.95
18.41 €
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Jean-Thierry Boisseau
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Jean-Thierry Boisseau: Incanations 1 on Ave Maris Stella for soprano, Bb clarinet and organ
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Musik Fabrik Music Publishing
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SheetMusicPlus
Inviolata (from "Ave Maris Stella")
Chorale SATB
Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.1023482 Composed by Oliver…
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Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.1023482 Composed by Oliver Neil Rodriguez. A Cappella,Contemporary,Sacred. Octavo. 10 pages. Oliver Rodriguez #5820511. Published by Oliver Rodriguez (A0.1023482). Meditative and atmospheric, this SATB a cappella setting of Inviolata, from Ave Maris Stella, a choral meditation on Mary, Mother of Good Counsel, uses rather simple materials in a constant state of transformation. Supple, organic lines permeate the work, easily making it a concert program or prayer service favorite.
$2.15
1.98 €
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Chorale SATB
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Oliver Neil Rodriguez
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Inviolata
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Oliver Rodriguez
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SheetMusicPlus
Ave Maris Stella (AATTBB + Organ)
Chorale SATB
Choral Choir (Mixed) - Level 3 - Digital Download SKU: A0.771072 Composed by Stuart…
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Choral Choir (Mixed) - Level 3 - Digital Download SKU: A0.771072 Composed by Stuart McSweeney. Christian,Contemporary,Sacred. Octavo. 6 pages. Stuart McSweeney #2340893. Published by Stuart McSweeney (A0.771072). A short motet for choir with organ accompaniment.
$1.99
1.84 €
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Chorale SATB
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Stuart McSweeney
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Ave Maris Stella
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Stuart McSweeney
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SheetMusicPlus
Organ: Ave, Maris Stella (Hail, Star of the Sea) Vespers Hymn (EG 150) - Edvard Grieg
Orgue
Composed by Edvard Grieg (1843-1907). Arranged by Aubrey Tucker. 150, A Cappella, Cl…
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Composed by Edvard Grieg (1843-1907). Arranged by Aubrey Tucker. 150, A Cappella, Classical, Romantic Period, Sacred. Score. 3 pages. Aubrey Tucker #705503. Published by Aubrey Tucker
$4.95
4.57 €
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Orgue
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Edvard Grieg (1843-1907)
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Aubrey Tucker
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Organ: Ave, Maris Stella
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Aubrey Tucker
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SheetMusicPlus
Ave maris stella SATB a cappella E-major
Chorale SATB
Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.793808 Composed by Ivan pl…
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Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.793808 Composed by Ivan pl. Zajc. Arranged by Ivana Tuškan. A Cappella,Christian,Romantic Period,Sacred. Octavo. 5 pages. Ivana Tuskan #3591655. Published by Ivana Tuskan (A0.793808). Ivan pl. Zajc (1832 – 1914) was one of the most important Croatian romantic composers. He was an exceptionally profilic composer (he wrote mostly operas, operettas, musical comedies, cantatas, art songs and choral compositions), and is often called „the Croatian Verdi. Original Zajc's work is written for solo voice and organ, and this arrangement is it's adaptation for SATB quartet or mixed chorus (SATB voices) a cappella. The original key is F major (available in SATB and SSA version, too), and this arrangement is at E major. Duration: ca. 3:30.
$1.99
1.84 €
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Chorale SATB
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Ivan pl
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Ivana Tuškan
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Ave maris stella SATB a cappella E-major
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Ivana Tuskan
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SheetMusicPlus
Ave maris stella
Chorale TTBB
Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1204377 Composed by Ivan p…
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Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1204377 Composed by Ivan pl. Zajc. Arranged by Ivana Tuskan. 19th Century,A Cappella,Religious,Romantic Period,Sacred. Octavo. 6 pages. Ivana Tuskan #802856. Published by Ivana Tuskan (A0.1204377). Ivan Zajc (1832 – 1914) was one of the most important Croatian romantic composers. He was an exceptionally profilic composer (he wrote mostly operas, operettas, musical comedies, cantatas, art songs and choral compositions), and is often called „the Croatian Verdi. Original Zajc's work is written for solo voice and organ, and this arrangement is it's adaptation for four-part male ensemble (TTBB) a cappella. It's also available in two SATB (keys E and F-major) and SSA a cappella versions.
$1.99
1.84 €
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Chorale TTBB
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Ivan pl
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Ivana Tuskan
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Ave maris stella
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Ivana Tuskan
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SheetMusicPlus
Ave maris stella SATB a cappella F-major
Chorale SATB
Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.793810 Composed by Ivan pl…
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Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.793810 Composed by Ivan pl. Zajc. Arranged by Ivana Tuškan. A Cappella,Christian,Romantic Period,Sacred. Octavo. 5 pages. Ivana Tuskan #3591651. Published by Ivana Tuskan (A0.793810). Ivan pl. Zajc (1832 – 1914) was one of the most important Croatian romantic composers. He was an exceptionally profilic composer (he wrote mostly operas, operettas, musical comedies, cantatas, art songs and choral compositions), and is often called „the Croatian Verdi. Original Zajc's work is written for solo voice and organ, and this arrangement is it's adaptation for SATB quartet or mixed chorus (SATB voices) a cappella. I kept original key: F-major. Duration: ca. 3:30.It's also available in SATB a cappella E-major and SSA a cappella version.
$1.99
1.84 €
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Chorale SATB
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Ivan pl
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Ivana Tuškan
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Ave maris stella SATB a cappella F-major
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Ivana Tuskan
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SheetMusicPlus
Ave Maris Stella
Chorale SATB
Organ, Voice (SATB) - Digital Download Composed by Judith Weir (1954-). This edition:…
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Organ, Voice (SATB) - Digital Download Composed by Judith Weir (1954-). This edition: scorch. Concert. Octavo. 10 pages. Published by Hal Leonard
$2.50
2.31 €
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Chorale SATB
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Judith Weir (1954-)
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Ave Maris Stella
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Hal Leonard
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SheetMusicPlus
Three Motets for Brass Quartet and Organ
Brass Ensemble Organ,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.782464 C…
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Brass Ensemble Organ,Trombone,Trumpet - Level 3 - Digital Download SKU: A0.782464 Composed by Edward Elgar. Arranged by James Haynor. Romantic Period,Sacred. Score and parts. 33 pages. James Haynor #6675285. Published by James Haynor (A0.782464). Sir Edward William Elgar, 1st Baronet, OM, GCVO was an English composer, many of whose works have entered the British and international classical concert repertoire. Three Motets, scored here for brass quartet and organ is made up of three motets written originally for voices and organ. Ave Maria, Ave Verum and Ave Maris Stella make up a nice mini suite. Playable by Intermediate players. ( Duration 10:28 )
$10.00
9.23 €
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Edward Elgar
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James Haynor
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Three Motets for Brass Quartet and Organ
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James Haynor
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SheetMusicPlus
Ave Maris stella-Amen - Motet for Choir SATB and organ
By Santino Cara. For Voice, Organ, Choral, Choir SATB. Sacred, Christian, Baroque Period. …
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By Santino Cara. For Voice, Organ, Choral, Choir SATB. Sacred, Christian, Baroque Period. Intermediate. Sheet Music Single. Santino Cara #CS121 no.1. Published by Santino Cara
$5.10
4.71 €
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Santino Cara
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Ave Maris stella-Amen - Motet for Choir SATB and organ
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Santino Cara
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SheetMusicPlus
Leonardo Leo - Dixit Dominus a 2 cori, 1741, Secondo movimento
Chorale SATB
Choral Choir (SATB) - Digital Download SKU: A0.828714 Composed by Leonardo Leo. Arr…
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Choral Choir (SATB) - Digital Download SKU: A0.828714 Composed by Leonardo Leo. Arranged by Guido Menestrina. A Cappella,Baroque,Sacred. Octavo. 23 pages. Guido Menestrina #481065. Published by Guido Menestrina (A0.828714). Leonardo Leo - Dixit Dominus a 2 cori, 1741, Secondo movimento Transcribed by Guido Menestrina Celebre compositore e capostipite della bella scuola napoletana del XVIII secolo, nacque a San Vito degli Schiavoni, presso Brindisi, in provincia di Terra d'Otranto. De Leo avrebbe compiuto i suoi studi musicali al conservatorio della Pietà dei Turchini, sotto la direzione di Nicola Fago, soprannominato il tarentino[1]. Girolamo Chigi, maestro di Cappella di San Giovanni in Laterano, allievo e amico di Pitoni, dice che de Leo si recò a Roma e che vi studiò il contrappunto sotto la guida di questo sapiente maestro. Di ritorno a Napoli, de Leo ottenne il posto di secondo maestro al conservatorio della Pietà . Nel 1716 fu nominato organista della cappella reale e l'anno successivo venne designato per occupare il posto di maestro di cappella della chiesa di Santa Maria della Solitaria, per la quale scrisse molta musica. Nel 1719 fece rappresentare la Sofonisba, sua prima opera seria che fu ben accolta e in cui il carattere espressivo del suo talento si faceva già notare. I biografi che sostengono abbia insegnato al conservatorio di Loreto s'ingannano, fu infatti prima al conservatorio della Pietà , poi a quello di Sant'Onofrio, dove ebbe per allievi alcuni dei compositori più illustri del XVIII secolo, come Jommelli e Piccinni. Non morì nel 1743, come dice lo stesso Piccinni, in una breve notizia biografica sul suo maestro, né nel 1742 come afferma Burney, ma nel 1744. Il marchese di Villarosa, riferisce che de Leo sarebbe stato colpito da apoplessia, mentre era intento a scrivere un'aria buffa de La finta frascatana che comincia con queste parole: Voi par che gite/di palo in frasca. Lo si trovò con la testa appoggiata sul suo clavicembalo e si credette, in un primo momento che dormisse, ma in realtà aveva già cessato di vivere. Leo era di taglia media, colorito bruno, occhio vivo e temperamento ardente. Sebbene fosse abitualmente piuttosto serioso, non mancava di urbanità e gentilezza. Infaticabile nella professione, passava spesso la maggior parte delle notti a comporre e si trovava sempre in vena- Amava le sue opere, ma rendeva giustizia al merito dei suoi rivali quando occorreva. Morì rimpianto da tutti, lasciando a lungo il ricordo di sé e delle sue opere, nonché della scuola di cui fu uno dei fondatori. Considerazioni sull'artista Leo condivide col suo predecessore Alessandro Scarlatti e i contemporanei Nicola Porpora, Francesco Durante e Francesco Feo, la gloria di aver fondato la scuola di Napoli, da cui sono usciti, durante tutto un secolo, una moltitudine di compositori drammatici di prim'ordine. Egli stesso fu non soltanto un grande professore, ma un artista dei più dotati. La sua musica da chiesa non ha meno maestà di quella di Durante, tocca il cuore e fa nascere degli slanci di tenera devozione. Il suo Miserere a due cori è una composizione tanto notevole per l'elevatezza dei sentimenti che l'hanno dettata, quanto per la purezza di stile in cui si riconoscono le tracce della scuola cantoria romana in cui studiò. Nella sua musica sacra nello stile accompagnato e concertato, de Leo conserva la semplicità e si fa ammirare per la bellezza dell'espressione, come l'Ave Maris Stella per voce di soprano e orchestra o il Credo a quattro. Egualmente notevole nel genere teatrale, de Leo è sempre nobile, spesso patetico e appassionato ed è con questi mezzi, molto semplici, che perviene a grandi effetti. Piccinni fa i più grandi elogi alle sue opere, e cita in particolare l'aria Misero pargoletto da Demoofonte come modello di espressione drammatica, quest'aria è, in effetti, della più grande bellezza, anche Arteaga è prodigo di elogi verso questo musicista Segui lo spartito qui/Follow the score here: https://www.youtube.com/watch?v=vqOa9skJg5o.
$13.99
12.91 €
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Chorale SATB
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Leonardo Leo
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Guido Menestrina
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Leonardo Leo - Dixit Dominus a 2 cori, 1741, Secondo movimento
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Guido Menestrina
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SheetMusicPlus
Leonardo Leo - Dixit Dominus a 2 cori, 1741, Primo movimento
Chorale SATB
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.828703 Composed by Leonard…
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.828703 Composed by Leonardo Leo. Arranged by Guido Menestrina. A Cappella,Baroque,Sacred. Octavo. 15 pages. Guido Menestrina #238145. Published by Guido Menestrina (A0.828703). Leonardo Leo - Dixit Dominus a 2 cori, 1741, Primo movimentoEdit Published by Guido Menestrina Celebre compositore e capostipite della bella scuola napoletana del XVIII secolo, nacque a San Vito degli Schiavoni, presso Brindisi, in provincia di Terra d'Otranto. De Leo avrebbe compiuto i suoi studi musicali al conservatorio della Pietà dei Turchini, sotto la direzione di Nicola Fago, soprannominato il tarentino[1]. Girolamo Chigi, maestro di Cappella di San Giovanni in Laterano, allievo e amico di Pitoni, dice che de Leo si recò a Roma e che vi studiò il contrappunto sotto la guida di questo sapiente maestro. Di ritorno a Napoli, de Leo ottenne il posto di secondo maestro al conservatorio della Pietà . Nel 1716 fu nominato organista della cappella reale e l'anno successivo venne designato per occupare il posto di maestro di cappella della chiesa di Santa Maria della Solitaria, per la quale scrisse molta musica. Nel 1719 fece rappresentare la Sofonisba, sua prima opera seria che fu ben accolta e in cui il carattere espressivo del suo talento si faceva già notare. I biografi che sostengono abbia insegnato al conservatorio di Loreto s'ingannano, fu infatti prima al conservatorio della Pietà , poi a quello di Sant'Onofrio, dove ebbe per allievi alcuni dei compositori più illustri del XVIII secolo, come Jommelli e Piccinni. Non morì nel 1743, come dice lo stesso Piccinni, in una breve notizia biografica sul suo maestro, né nel 1742 come afferma Burney, ma nel 1744. Il marchese di Villarosa, riferisce che de Leo sarebbe stato colpito da apoplessia, mentre era intento a scrivere un'aria buffa de La finta frascatana che comincia con queste parole: Voi par che gite/di palo in frasca. Lo si trovò con la testa appoggiata sul suo clavicembalo e si credette, in un primo momento che dormisse, ma in realtà aveva già cessato di vivere. Leo era di taglia media, colorito bruno, occhio vivo e temperamento ardente. Sebbene fosse abitualmente piuttosto serioso, non mancava di urbanità e gentilezza. Infaticabile nella professione, passava spesso la maggior parte delle notti a comporre e si trovava sempre in vena- Amava le sue opere, ma rendeva giustizia al merito dei suoi rivali quando occorreva. Morì rimpianto da tutti, lasciando a lungo il ricordo di sé e delle sue opere, nonché della scuola di cui fu uno dei fondatori. Considerazioni sull'artista Leo condivide col suo predecessore Alessandro Scarlatti e i contemporanei Nicola Porpora, Francesco Durante e Francesco Feo, la gloria di aver fondato la scuola di Napoli, da cui sono usciti, durante tutto un secolo, una moltitudine di compositori drammatici di prim'ordine. Egli stesso fu non soltanto un grande professore, ma un artista dei più dotati. La sua musica da chiesa non ha meno maestà di quella di Durante, tocca il cuore e fa nascere degli slanci di tenera devozione. Il suo Miserere a due cori è una composizione tanto notevole per l'elevatezza dei sentimenti che l'hanno dettata, quanto per la purezza di stile in cui si riconoscono le tracce della scuola cantoria romana in cui studiò. Nella sua musica sacra nello stile accompagnato e concertato, de Leo conserva la semplicità e si fa ammirare per la bellezza dell'espressione, come l'Ave Maris Stella per voce di soprano e orchestra o il Credo a quattro. Egualmente notevole nel genere teatrale, de Leo è sempre nobile, spesso patetico e appassionato ed è con questi mezzi, molto semplici, che perviene a grandi effetti. Piccinni fa i più grandi elogi alle sue opere, e cita in particolare l'aria Misero pargoletto da Demoofonte come modello di espressione drammatica, quest'aria è, in effetti, della più grande bellezza, anche Arteaga è prodigo di elogi verso questo musicista Segui lo spartito qui/Follow the score here: http://youtu.be/q3iMskZjm1Y.
$17.99
16.6 €
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Chorale SATB
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Leonardo Leo
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Guido Menestrina
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Leonardo Leo - Dixit Dominus a 2 cori, 1741, Primo movimento
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Guido Menestrina
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SheetMusicPlus
Leonardo Leo - Dixit Dominus a 2 cori, 1741, Quarto movimento (Quartetto)
Small Ensemble Cello,High Voice,Low Voice,Oboe,Viola,Violin - Level 3 - Digital Download
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Small Ensemble Cello,High Voice,Low Voice,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.828718 Composed by Leonardo Leo. Arranged by Guido Menestrina. A Cappella. Score and parts. 22 pages. Guido Menestrina #516705. Published by Guido Menestrina (A0.828718). Leonardo Leo - Dixit Dominus a 2 cori, 1741, Quarto movimento Transcribed by Guido Menestrina Celebre compositore e capostipite della bella scuola napoletana del XVIII secolo, nacque a San Vito degli Schiavoni, presso Brindisi, in provincia di Terra d'Otranto. De Leo avrebbe compiuto i suoi studi musicali al conservatorio della Pietà dei Turchini, sotto la direzione di Nicola Fago, soprannominato il tarentino[1]. Girolamo Chigi, maestro di Cappella di San Giovanni in Laterano, allievo e amico di Pitoni, dice che de Leo si recò a Roma e che vi studiò il contrappunto sotto la guida di questo sapiente maestro. Di ritorno a Napoli, de Leo ottenne il posto di secondo maestro al conservatorio della Pietà . Nel 1716 fu nominato organista della cappella reale e l'anno successivo venne designato per occupare il posto di maestro di cappella della chiesa di Santa Maria della Solitaria, per la quale scrisse molta musica. Nel 1719 fece rappresentare la Sofonisba, sua prima opera seria che fu ben accolta e in cui il carattere espressivo del suo talento si faceva già notare. I biografi che sostengono abbia insegnato al conservatorio di Loreto s'ingannano, fu infatti prima al conservatorio della Pietà , poi a quello di Sant'Onofrio, dove ebbe per allievi alcuni dei compositori più illustri del XVIII secolo, come Jommelli e Piccinni. Non morì nel 1743, come dice lo stesso Piccinni, in una breve notizia biografica sul suo maestro, né nel 1742 come afferma Burney, ma nel 1744. Il marchese di Villarosa, riferisce che de Leo sarebbe stato colpito da apoplessia, mentre era intento a scrivere un'aria buffa de La finta frascatana che comincia con queste parole: Voi par che gite/di palo in frasca. Lo si trovò con la testa appoggiata sul suo clavicembalo e si credette, in un primo momento che dormisse, ma in realtà aveva già cessato di vivere. Leo era di taglia media, colorito bruno, occhio vivo e temperamento ardente. Sebbene fosse abitualmente piuttosto serioso, non mancava di urbanità e gentilezza. Infaticabile nella professione, passava spesso la maggior parte delle notti a comporre e si trovava sempre in vena- Amava le sue opere, ma rendeva giustizia al merito dei suoi rivali quando occorreva. Morì rimpianto da tutti, lasciando a lungo il ricordo di sé e delle sue opere, nonché della scuola di cui fu uno dei fondatori. Considerazioni sull'artista Leo condivide col suo predecessore Alessandro Scarlatti e i contemporanei Nicola Porpora, Francesco Durante e Francesco Feo, la gloria di aver fondato la scuola di Napoli, da cui sono usciti, durante tutto un secolo, una moltitudine di compositori drammatici di prim'ordine. Egli stesso fu non soltanto un grande professore, ma un artista dei più dotati. La sua musica da chiesa non ha meno maestà di quella di Durante, tocca il cuore e fa nascere degli slanci di tenera devozione. Il suo Miserere a due cori è una composizione tanto notevole per l'elevatezza dei sentimenti che l'hanno dettata, quanto per la purezza di stile in cui si riconoscono le tracce della scuola cantoria romana in cui studiò. Nella sua musica sacra nello stile accompagnato e concertato, de Leo conserva la semplicità e si fa ammirare per la bellezza dell'espressione, come l'Ave Maris Stella per voce di soprano e orchestra o il Credo a quattro. Egualmente notevole nel genere teatrale, de Leo è sempre nobile, spesso patetico e appassionato ed è con questi mezzi, molto semplici, che perviene a grandi effetti. Piccinni fa i più grandi elogi alle sue opere, e cita in particolare l'aria Misero pargoletto da Demoofonte come modello di espressione drammatica, quest'aria è, in effetti, della più grande bellezza, anche Arteaga è prodigo di elogi verso questo musicista Segui lo spartito qui/Follow the score here: https://youtu.be/qjcFrb638VI or listen to it on soundcloud: https://soundcloud.com/guido-menestrina/leonardo-leo-dixit-dominus-4a-parte-quartetto Score includes: - full score - strings part - oboi par.
$12.99
11.99 €
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Leonardo Leo
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Guido Menestrina
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Leonardo Leo - Dixit Dominus a 2 cori, 1741, Quarto movimento
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Guido Menestrina
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SheetMusicPlus
Josquin: 22 Duets for French Horn & Bass Trombone
Bass Trombone,Horn,Instrumental Duet - Level 3 - Digital Download SKU: A0.1074291 C…
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Bass Trombone,Horn,Instrumental Duet - Level 3 - Digital Download SKU: A0.1074291 Composed by Josquin des Prez. Arranged by James M. Guthrie. Contest,Festival,Instructional,Renaissance,Traditional,Wedding. 50 pages. Jmsgu3 #678587. Published by jmsgu3 (A0.1074291). Josquin des Prez (c.1450-1521) was a composer of the Renaissance period, widely regarded as one of the greatest composers of all time. His compositions set the standard for polyphonic music and are considered a high point in the history of music. He wrote a wide range of works, including masses, motets, and chansons, and was the first composer to set popular secular tunes as mass movements. His influence can be seen in the works of many later composers, including Johann Sebastian Bach, Antonio Vivaldi, and George Frideric Handel.Josquin des Prez was a prolific composer of chamber music and duets during the Renaissance period. He wrote several types of chamber music and duets, including madrigals, chansons, and motets. His compositions are characterized by their intricate counterpoint, as well as their harmonic richness and emotional expressiveness. His works often featured two voices in harmony, and he was known to use imitation and complex canonic techniques to create interesting musical textures. Josquin's chamber music and duets are renowned for their complexity and beauty, and they remain some of the most influential and admired works from the Renaissance period.Josquin Desprez is widely regarded as one of the most influential composers of the Renaissance period. His innovative use of counterpoint and canon helped to revolutionize the musical landscape of the time. Counterpoint is a technique of combining two or more independent melodies in a way that creates harmony and a cohesive musical texture. Josquin was a master of this technique, often combining multiple voices in complex contrapuntal textures. His use of canon, or round, was also highly influential. Canon involves two or more voices repeating the same melody in different registers and often with different rhythms. Josquin wrote canons in various styles and forms, including the popular “circular canon†and the more complex “strict canon.†He was also an early adopter of the “inverted canon†form, in which the same melody is repeated but in an inverted form. Josquin’s use of counterpoint and canon had a lasting impact on the development of Western music and helped to establish the foundation for many of the musical forms and techniques still used today.Contents: I. Duo from the Augsberger LiederbuchII. Agnus Dei II from Missa De Beata Virgine III. Duo from the Hör Organ tablatureIV. Agnus Dei II from Missa Ave maris stellaV. Benedictus from Missa GaudeamusVI. Agnus Dei II from Missa GaudeamusVII. Pleni sunt coeli from the Sanctus of Missa Hercules dux Ferrarie VIII. Agnus Dei II from Missa La sol fa re mi IX. Benedictus from Missa L'homme armé super voces musicalesX. Benedictus from Missa L'homme armé Sexti Toni XI. Pleni sunt coeli from Missa Malheur me bat XII. Pleni sunt from Missa Mater patris (canon at the major second)XIII. Benedictus from Missa Mater patris XIV. Agnus Dei II from Missa Mater patris (canon at the unison)XV. Pleni sunt caeli from Missa Pange lingua XVI. Benedictus from Missa Pange lingua XVII. Agnus Dei II from Missa Pange lingua XVIII. Pleni sunt from Missa sine nomine XIX. Domine non secundum peccata nostra XX. Ave verum and Cuius latus XXI. In principio erat verbum from Motet Verbum caro factus est XXII. Per illud ave prolatum - Secunda pars of motet Benedicta es caelorum regina.
$32.95
30.41 €
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Josquin des Prez
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James M
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Josquin: 22 Duets for French Horn & Bass Trombone
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jmsgu3
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SheetMusicPlus
Josquin: 22 Duets for Trombone & Tuba
Instrumental Duet,Tenor Trombone,Tuba - Level 3 - Digital Download SKU: A0.1074311 …
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Instrumental Duet,Tenor Trombone,Tuba - Level 3 - Digital Download SKU: A0.1074311 Composed by Josquin des Prez. Arranged by James M. Guthrie. Contest,Festival,Instructional,Renaissance,Traditional,Wedding. 50 pages. Jmsgu3 #678601. Published by jmsgu3 (A0.1074311). Josquin des Prez (c.1450-1521) was a composer of the Renaissance period, widely regarded as one of the greatest composers of all time. His compositions set the standard for polyphonic music and are considered a high point in the history of music. He wrote a wide range of works, including masses, motets, and chansons, and was the first composer to set popular secular tunes as mass movements. His influence can be seen in the works of many later composers, including Johann Sebastian Bach, Antonio Vivaldi, and George Frideric Handel.Josquin des Prez was a prolific composer of chamber music and duets during the Renaissance period. He wrote several types of chamber music and duets, including madrigals, chansons, and motets. His compositions are characterized by their intricate counterpoint, as well as their harmonic richness and emotional expressiveness. His works often featured two voices in harmony, and he was known to use imitation and complex canonic techniques to create interesting musical textures. Josquin's chamber music and duets are renowned for their complexity and beauty, and they remain some of the most influential and admired works from the Renaissance period. Josquin Desprez is widely regarded as one of the most influential composers of the Renaissance period. His innovative use of counterpoint and canon helped to revolutionize the musical landscape of the time. Counterpoint is a technique of combining two or more independent melodies in a way that creates harmony and a cohesive musical texture. Josquin was a master of this technique, often combining multiple voices in complex contrapuntal textures. His use of canon, or round, was also highly influential. Canon involves two or more voices repeating the same melody in different registers and often with different rhythms. Josquin wrote canons in various styles and forms, including the popular “circular canon†and the more complex “strict canon.†He was also an early adopter of the “inverted canon†form, in which the same melody is repeated but in an inverted form. Josquin’s use of counterpoint and canon had a lasting impact on the development of Western music and helped to establish the foundation for many of the musical forms and techniques still used today.Contents: I. Duo from the Augsberger LiederbuchII. Agnus Dei II from Missa De Beata Virgine III. Duo from the Hör Organ tablatureIV. Agnus Dei II from Missa Ave maris stellaV. Benedictus from Missa GaudeamusVI. Agnus Dei II from Missa GaudeamusVII. Pleni sunt coeli from the Sanctus of Missa Hercules dux Ferrarie VIII. Agnus Dei II from Missa La sol fa re mi IX. Benedictus from Missa L'homme armé super voces musicalesX. Benedictus from Missa L'homme armé Sexti Toni XI. Pleni sunt coeli from Missa Malheur me bat XII. Pleni sunt from Missa Mater patris (canon at the major second)XIII. Benedictus from Missa Mater patris XIV. Agnus Dei II from Missa Mater patris (canon at the unison)XV. Pleni sunt caeli from Missa Pange lingua XVI. Benedictus from Missa Pange lingua XVII. Agnus Dei II from Missa Pange lingua XVIII. Pleni sunt from Missa sine nomine XIX. Domine non secundum peccata nostra XX. Ave verum and Cuius latus XXI. In principio erat verbum from Motet Verbum caro factus est XXII. Per illud ave prolatum - Secunda pars of motet Benedicta es caelorum regina.
$32.95
30.41 €
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Josquin des Prez
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James M
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Josquin: 22 Duets for Trombone & Tuba
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jmsgu3
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SheetMusicPlus
Josquin: 22 Duets for Clarinet & Bass Clarinet
2 Clarinettes (duo)
Clarinet Duet Bass Clarinet - Level 2 - Digital Download SKU: A0.1074017 Composed b…
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Clarinet Duet Bass Clarinet - Level 2 - Digital Download SKU: A0.1074017 Composed by Josquin des Prez. Arranged by James M. Guthrie. Contest,Festival,Instructional,Renaissance,Traditional,Wedding. 2 scores. 50 pages. Jmsgu3 #678286. Published by jmsgu3 (A0.1074017). Josquin des Prez (c.1450-1521) was a composer of the Renaissance period, widely regarded as one of the greatest composers of all time. His compositions set the standard for polyphonic music and are considered a high point in the history of music. He wrote a wide range of works, including masses, motets, and chansons, and was the first composer to set popular secular tunes as mass movements. His influence can be seen in the works of many later composers, including Johann Sebastian Bach, Antonio Vivaldi, and George Frideric Handel.Josquin des Prez was a prolific composer of chamber music and duets during the Renaissance period. He wrote several types of chamber music and duets, including madrigals, chansons, and motets. His compositions are characterized by their intricate counterpoint, as well as their harmonic richness and emotional expressiveness. His works often featured two voices in harmony, and he was known to use imitation and complex canonic techniques to create interesting musical textures. Josquin's chamber music and duets are renowned for their complexity and beauty, and they remain some of the most influential and admired works from the Renaissance period.Josquin Desprez is widely regarded as one of the most influential composers of the Renaissance period. His innovative use of counterpoint and canon helped to revolutionize the musical landscape of the time. Counterpoint is a technique of combining two or more independent melodies in a way that creates harmony and a cohesive musical texture. Josquin was a master of this technique, often combining multiple voices in complex contrapuntal textures. His use of canon, or round, was also highly influential. Canon involves two or more voices repeating the same melody in different registers and often with different rhythms. Josquin wrote canons in various styles and forms, including the popular “circular canon†and the more complex “strict canon.†He was also an early adopter of the “inverted canon†form, in which the same melody is repeated but in an inverted form. Josquin’s use of counterpoint and canon had a lasting impact on the development of Western music and helped to establish the foundation for many of the musical forms and techniques still used today.Contents: I. Duo from the Augsberger LiederbuchII. Agnus Dei II from Missa De Beata Virgine III. Duo from the Hör Organ tablatureIV. Agnus Dei II from Missa Ave maris stellaV. Benedictus from Missa GaudeamusVI. Agnus Dei II from Missa GaudeamusVII. Pleni sunt coeli from the Sanctus of Missa Hercules dux Ferrarie VIII. Agnus Dei II from Missa La sol fa re mi IX. Benedictus from Missa L'homme armé super voces musicalesX. Benedictus from Missa L'homme armé Sexti Toni XI. Pleni sunt coeli from Missa Malheur me bat XII. Pleni sunt from Missa Mater patris (canon at the major second)XIII. Benedictus from Missa Mater patris XIV. Agnus Dei II from Missa Mater patris (canon at the unison)XV. Pleni sunt caeli from Missa Pange lingua XVI. Benedictus from Missa Pange lingua XVII. Agnus Dei II from Missa Pange lingua XVIII. Pleni sunt from Missa sine nomine XIX. Domine non secundum peccata nostra XX. Ave verum and Cuius latus XXI. In principio erat verbum from Motet Verbum caro factus est XXII. Per illud ave prolatum - Secunda pars of motet Benedicta es caelorum regina.
$32.95
30.41 €
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2 Clarinettes (duo)
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Josquin des Prez
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James M
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Josquin: 22 Duets for Clarinet & Bass Clarinet
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jmsgu3
#
SheetMusicPlus
Josquin: 22 Duets for Bassoon & Contrabassoon
Contrabassoon,Instrumental Duet - Level 2 - Digital Download SKU: A0.1074025 Compos…
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Contrabassoon,Instrumental Duet - Level 2 - Digital Download SKU: A0.1074025 Composed by Josquin des Prez. Arranged by James M. Guthrie. Contest,Festival,Instructional,Renaissance,Traditional,Wedding. 50 pages. Jmsgu3 #678293. Published by jmsgu3 (A0.1074025). Josquin des Prez (c.1450-1521) was a composer of the Renaissance period, widely regarded as one of the greatest composers of all time. His compositions set the standard for polyphonic music and are considered a high point in the history of music. He wrote a wide range of works, including masses, motets, and chansons, and was the first composer to set popular secular tunes as mass movements. His influence can be seen in the works of many later composers, including Johann Sebastian Bach, Antonio Vivaldi, and George Frideric Handel.Josquin des Prez was a prolific composer of chamber music and duets during the Renaissance period. He wrote several types of chamber music and duets, including madrigals, chansons, and motets. His compositions are characterized by their intricate counterpoint, as well as their harmonic richness and emotional expressiveness. His works often featured two voices in harmony, and he was known to use imitation and complex canonic techniques to create interesting musical textures. Josquin's chamber music and duets are renowned for their complexity and beauty, and they remain some of the most influential and admired works from the Renaissance period.Josquin Desprez is widely regarded as one of the most influential composers of the Renaissance period. His innovative use of counterpoint and canon helped to revolutionize the musical landscape of the time. Counterpoint is a technique of combining two or more independent melodies in a way that creates harmony and a cohesive musical texture. Josquin was a master of this technique, often combining multiple voices in complex contrapuntal textures. His use of canon, or round, was also highly influential. Canon involves two or more voices repeating the same melody in different registers and often with different rhythms. Josquin wrote canons in various styles and forms, including the popular “circular canon†and the more complex “strict canon.†He was also an early adopter of the “inverted canon†form, in which the same melody is repeated but in an inverted form. Josquin’s use of counterpoint and canon had a lasting impact on the development of Western music and helped to establish the foundation for many of the musical forms and techniques still used today.Contents: I. Duo from the Augsberger LiederbuchII. Agnus Dei II from Missa De Beata Virgine III. Duo from the Hör Organ tablatureIV. Agnus Dei II from Missa Ave maris stellaV. Benedictus from Missa GaudeamusVI. Agnus Dei II from Missa GaudeamusVII. Pleni sunt coeli from the Sanctus of Missa Hercules dux Ferrarie VIII. Agnus Dei II from Missa La sol fa re mi IX. Benedictus from Missa L'homme armé super voces musicalesX. Benedictus from Missa L'homme armé Sexti Toni XI. Pleni sunt coeli from Missa Malheur me bat XII. Pleni sunt from Missa Mater patris (canon at the major second)XIII. Benedictus from Missa Mater patris XIV. Agnus Dei II from Missa Mater patris (canon at the unison)XV. Pleni sunt caeli from Missa Pange lingua XVI. Benedictus from Missa Pange lingua XVII. Agnus Dei II from Missa Pange lingua XVIII. Pleni sunt from Missa sine nomine XIX. Domine non secundum peccata nostra XX. Ave verum and Cuius latus XXI. In principio erat verbum from Motet Verbum caro factus est XXII. Per illud ave prolatum - Secunda pars of motet Benedicta es caelorum regina.
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Josquin des Prez
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James M
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Josquin: 22 Duets for Bassoon & Contrabassoon
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jmsgu3
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SheetMusicPlus
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