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Organ: Crucifixus
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Crtitères actifs :
Organ: Crucifixus
Partitions à imprimer
13 partitions trouvées
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1
Crucifixus from Mass in B Minor
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Orgue
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INTERMÉDIAIRE
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Musique Sacrée
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Johann Sebastian Bach
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James Gilbert
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Crucifixus from Mass in B Mino
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James Gilbert Music
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SheetMusicPlus
Organ - Level 3 - SKU: A0.728985 Composed by Johann Sebastian Bach. Arranged by James Gilbert. Baroque,Praise & Worship,Sacred. Score. 5 pages. James Gi...
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Organ - Level 3 - SKU: A0.728985 Composed by Johann Sebastian Bach. Arranged by James Gilbert. Baroque,Praise & Worship,Sacred. Score. 5 pages. James Gilbert Music #3546677. Published by James Gilbert Music (A0.728985). For Solo Organ.
$4.99
Crucifixus (Octavo for SATB and Organ and/or Strings)
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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Antonio Lotti
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Jim Ailor
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Organ, opt
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Crucifixus
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ResurrectionSong
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.978352 Composed by Antonio Lotti. Arranged by Jim Ailor. Baroque,Christian,Easter,Sacred. Octavo. 8 pages. Resur...
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Choral Choir (SATB) - Level 4 - SKU: A0.978352 Composed by Antonio Lotti. Arranged by Jim Ailor. Baroque,Christian,Easter,Sacred. Octavo. 8 pages. ResurrectionSong #6854509. Published by ResurrectionSong (A0.978352). Crucifixus (Adapted for SATB Choir & Organ, opt. Strings)If you've ever wanted to sing Antonio Lotti's SSAATTBB Crucifixus for Lent, but didn't have an 8-part choir, here is your opportunity. The beautiful, intertwining melodies have been preserved in this SATB setting for choir (or quartet) with organ and/or string accompaniment. Hard copies available at https://www.jwpepper.com/11393943.item#.YjFZ6HrMJD8.
$2.25
Crucifixus (Score for SATB Choir, Organ and/or Strings)
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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Antonio Lotti
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Jim Ailor
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Organ, opt
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Crucifixus
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ResurrectionSong
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.978353 Composed by Antonio Lotti. Arranged by Jim Ailor. Baroque,Christian,Easter,Sacred. Octavo. 10 pages. Resu...
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Choral Choir (SATB) - Level 4 - SKU: A0.978353 Composed by Antonio Lotti. Arranged by Jim Ailor. Baroque,Christian,Easter,Sacred. Octavo. 10 pages. ResurrectionSong #6854517. Published by ResurrectionSong (A0.978353). Crucifixus (SCORE)(Adapted for SATB Choir & Organ, opt. Strings)If you've ever wanted to sing Antonio Lotti's SSAATTBB Crucifixus for Lent, but didn't have an 8-part choir, here is your opportunity. The beautiful, intertwining melodies have been preserved in this SATB setting for choir (or quartet) with organ and/or string accompaniment. Available at https://www.jwpepper.com/11393943.item#.YjFZ6HrMJD8
$15.00
Crucifixus
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Quatuor de Saxophones: 4 saxophones
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AVANCÉ
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Enjott Schneider
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Crucifixus
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Schott Music - Digital
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SheetMusicPlus
Saxophone-Quartett (SATBar) and organ - advanced - SKU: S9.Q5794 Composed by Enjott Schneider. This edition: score and parts. Downloadable, Score and pa...
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Saxophone-Quartett (SATBar) and organ - advanced - SKU: S9.Q5794 Composed by Enjott Schneider. This edition: score and parts. Downloadable, Score and parts. Duration 18 minutes. Schott Music - Digital #Q5794. Published by Schott Music - Digital (S9.Q5794). This work was composed for the 250th anniversary of J. S. Bach's death. It was premiered in Erfurt cathedral by the Raschèr Saxophone Quartet and Silvius von Kessel, the cathedral organist. The work contains numerous allusions to Bach. The famous bass ostinato from his Mass in B minor serves as the principal inspiration, while the motif B-A-C-H and the formal structure of his 'Toccata, Adagio und Fuge' provide further links to the master.
$31.99
Andrea Benedetti: CRUCIFIXUS (ES 597) - Score Only
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Contemporain
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Andrea Benedetti
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Andrea Benedetti: CRUCIFIXUS
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Sconfinarte
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SheetMusicPlus
Small Ensemble - Level 5 - SKU: A0.1182060 Composed by Andrea Benedetti. Classical,Contemporary. Score and parts. 11 pages. Sconfinarte #781823. Publish...
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Small Ensemble - Level 5 - SKU: A0.1182060 Composed by Andrea Benedetti. Classical,Contemporary. Score and parts. 11 pages. Sconfinarte #781823. Published by Sconfinarte (A0.1182060). CRUCIFIXUS (ES 597)Organico: Flauto, Clarinetto, Pianoforte, Violino, Violoncello.
$20.00
Crucifixus a 10 for Double Brass Quintet & Organ
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Antonio Lotti
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Dorm 40 Music
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Crucifixus a 10 for Double Bra
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dorm40music.com
#
SheetMusicPlus
Small Ensemble Horn,Organ,Trombone,Trumpet,Tuba - SKU: A0.785296 Composed by Antonio Lotti. Arranged by Dorm 40 Music. A Cappella,Baroque. Score and par...
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Small Ensemble Horn,Organ,Trombone,Trumpet,Tuba - SKU: A0.785296 Composed by Antonio Lotti. Arranged by Dorm 40 Music. A Cappella,Baroque. Score and parts. 29 pages. Dorm40music.com #3557767. Published by dorm40music.com (A0.785296). An acapella work from the Credo of the Mass arranged for double brass quintet and organ. It may be performed without organ but the organ adds power to the brass. This work sounds great performed in a large hall or church with lots of reverb.
$28.00
Organ: Crucifixus (Motet for 8 Voices from Credo in F) - Antonio Lotti
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Orgue
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INTERMÉDIAIRE
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Classique
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Antonio Lotti
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Aubrey Tucker
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Organ: Crucifixus
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Aubrey Tucker
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SheetMusicPlus
Composed by Antonio Lotti (1667-1740). Arranged by Aubrey Tucker. Baroque, Christian, Concert, Contemporary, Sacred. Score. 3 pages. Aubrey Tucker #62...
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Composed by Antonio Lotti (1667-1740). Arranged by Aubrey Tucker. Baroque, Christian, Concert, Contemporary, Sacred. Score. 3 pages. Aubrey Tucker #6253441. Published by Aubrey Tucker
$5.95
CRUCIFIXUS (EASY ORGAN) - J. S. BACH
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Orgue
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FACILE
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Classique
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Johann Sebastian Bach
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Juliano Music
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CRUCIFIXUS
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Juliano Alessandro Molteni
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SheetMusicPlus
Composed by Johann Sebastian Bach (1685-1750). Arranged by Juliano Music. Baroque, Instructional, Renaissance, Sacred, Standards. Score. 3 pages. Juli...
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Composed by Johann Sebastian Bach (1685-1750). Arranged by Juliano Music. Baroque, Instructional, Renaissance, Sacred, Standards. Score. 3 pages. Juliano Alessandro Molteni #5821051. Published by Juliano Alessandro Molteni
$1.99
VIVALDI - CRUCIFIXUS (From Credo RV 591) Arr. for SATB Choir and Organ
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Chorale SATB
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Classique
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Antonio Vivaldi
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Renato Tagliabue
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VIVALDI - CRUCIFIXUS
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Renato Tagliabue
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SheetMusicPlus
Choral Choir (SATB) - SKU: A0.724752 Composed by Antonio Vivaldi. Arranged by Renato Tagliabue. Baroque,Christian,Sacred. Octavo. 5 pages. Renato Taglia...
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Choral Choir (SATB) - SKU: A0.724752 Composed by Antonio Vivaldi. Arranged by Renato Tagliabue. Baroque,Christian,Sacred. Octavo. 5 pages. Renato Tagliabue #5011355. Published by Renato Tagliabue (A0.724752).
$2.35
Missa Solemnis, op. 27 (vocal score)
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Chorale SATB
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AVANCÉ
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Adrian Gagiu
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Missa Solemnis, op. 27
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Adrian Gagiu
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adrian Gagiu #86844...
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Choral Choir (SATB) - Level 5 - SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adrian Gagiu #868444. Published by Adrian Gagiu (A0.1277132). Missa Solemnis in B major, op. 27, vocal score and piano part (for rehearsal purposes only). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$87.99
Missa Solemnis, op. 27 - Score Only
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Orchestre
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AVANCÉ
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Adrian Gagiu
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Missa Solemnis, op. 27 - Score
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published ...
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Full Orchestra - Level 5 - SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published by Adrian Gagiu (A0.1277133). Missa Solemnis in B major, op. 27 (conductor's score). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$100.00
Credo from Missa Aedis Christi (Downloadable)
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Chorale SATB
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Howard Goodall
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Credo from Missa Aedis Christi
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
SATB choir divisi and organ - Moderately Difficult - SKU: MQ.56-0074-E Composed by Howard Goodall. Instrument parts. 24 pages. Duration 7 minutes, 16 se...
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SATB choir divisi and organ - Moderately Difficult - SKU: MQ.56-0074-E Composed by Howard Goodall. Instrument parts. 24 pages. Duration 7 minutes, 16 seconds. MorningStar Music Publishers - Digital Sheet Music #56-0074-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.56-0074-E). Latin.This mass setting was commissioned by the Friends of Christ Church Cathedral, Oxford and first performed on Ascension Sunday, 1994. Suitable for both church and concert use, the music is both lyrical and dramatic. The mood of the text is faithfully represented in the setting, yet with a lot of originality. The setting is sometimes declamatory, sometimes mysterious, with a “Crucifixus†which is hushed and reverent. Material from the “Kyrie†returns at “Et resurrexit.†Sections of this movement are in eight parts. Duration 7:16.
$3.70
Carson Cooman: Crucifixus (1999) for clarinet and organ
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Clarinette, Orgue
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Carson Cooman
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Carson Cooman: Crucifixus
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Musik Fabrik
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SheetMusicPlus
Composed by Carson Cooman (1982-). 21st Century, Contemporary Classical, Sacred, Repertoire. Score, Solo Part. 16 pages. Published by Musik Fabrik (S0.207037). ...
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Composed by Carson Cooman (1982-). 21st Century, Contemporary Classical, Sacred, Repertoire. Score, Solo Part. 16 pages. Published by Musik Fabrik (S0.207037). - Score,Solo Part - 21st Century,Contemporary Classical,Sacred,Repertoire - Musik Fabrik
$16.95
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Organ: Crucifixus