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You've Selected:
Ted
Chœur Mixte [SATB] et Orchestre
INSTRUMENTS
INSTRUMENTS
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL - CHOIR
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
ENGLISH HORN
EUPHONIUM
FLUTE
FRENCH HORN
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
LAP STEEL GUITAR
LUTE
MANDOLIN
MARCHING BAND
MARIMBA
MUSIC COURSE
OBOE
OCARINA
ORCHESTRA - BAND
ORGAN
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
SYNTHESIZER KEYBOARD
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLIN - FIDDLE
VIOLONCELLO - CELLO
XYLOPHONE
ZITHER
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In principio (PART ARVO)
Chœur Mixte [SATB] et Orchestre
Universal Edition
Par PART ARVO. 'In principio' takes its words from the Gospel of John 1:1-14 and...
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Par PART ARVO. 'In principio' takes its words from the Gospel of John 1:1-14 and puts them into a five-movement form. This work, as in all of Pärt's music, is governed by a strict formal design, with the clarity of the musical structure corresponding to that of the Latin text. The first movement (vv. 1-5) and the fifth (v. 14) are limited to two opposing formal elements: a static, syllabically articulated A-minor chord, and its timbral and tonal opposite, a fanfare-like figure that expands with each new section, growing in loudness and returning to its beginning after traversing all twelve keys. The second movement (vv. 6-8), devoted to John the Baptist, is conceived as a powerfully moving single-voice monody. The central third movement (vv. 9-11) is not only the longest but the one whose message Pärt specially emphasised by repeating the words three times - something he had never done before in his vocal music. He evidently did so to send a signal directly to each and every one of us. The fourth movement (vv. 12-13) seems to begin ex nihilo, growing slowly but with an ineluctable pulse in a mighty procession. The fifth movement (v. 14) constitutes, in combination with the first, the formal and expressive frame of the composition, albeit in mirror reflection. If the chorus in the first movement statically pulsates while the orchestra proceeds dynamically through the circle of keys, these roles are reversed in the fifth movement. Thus, the expanding thrust given to the orchestra in the opening movement is now focused entirely on the text of the chorus. (Wolfgang Sander, translation by J. Bradford Robinson)/ Répertoire / Chœur Mixte [SATB] et Orchestre
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Requiem (MOZART WOLFGANG AMADEUS)
Chœur Mixte SATB et Orchestre
[Score]
Barenreiter
Par MOZART WOLFGANG AMADEUS. Mozart Requiem (K.626) (Ostrzyga completion) (Full ...
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Par MOZART WOLFGANG AMADEUS. Mozart Requiem (K.626) (Ostrzyga completion) (Full Score) This publication offers a source-critical edition of Mozart’s fragmentary “Requiem” as well as an alternative to the traditional Süssmayr version. It makes it possible to perform 1) the fragment, identified in print in both the score and the parts, 2) the authentic sections left incomplete by Mozart, now in a stylistically appropriate orchestration, and 3) those sections missing entirely in the fragment, newly added in Mozart’s idiom taking into account historical additions by Süssmayr and Eybler. When completing the fragment, the editor drew on comprehensive comparative and analytical studies of Mozart’s church style and compositional workmanship. The influence of Handel and Bach manifested in his final years, particularly in the “Requiem” fragment, is taken into account in those sections requiring completion or fresh composition. At two points readers may choose between alternative movements (or sections), since proceeding from Süssmayr’s historical version, two divergent options cannot be weighed against each other but each one may well reflect Mozart’s intentions: the “Lacrimosa” may end with or without “Amen” fugue, and the “Sanctus” may begin in the customary D major or in D minor. Above all, this makes it possible to retain the B-flat major “Hosanna” from Süssmayr’s autograph, a movement which, until now, has not been appreciated as compositionally flawless. - Scholarly-critical edition of the “Requiem” fragment - With performance material for presentation of 1) the fragment, 2) a version with completions of the authentic Mozart sections or 3) a full completion consistent with Mozart’s musical idiom - Missing sections were completed by drawing from other fragmentary sacred works by Mozart - Added or completed sections incorporate influences from Bach and Handel already detectable in the fragment - Alternative performance options for the “Lacrimosa”, “Sanctus” and “Benedictus” - Straight-forward piano reduction - Extensive foreword (Ger/Eng) on the work’s history, reception and modern completions, with analytical stylistic critique - Detailed Critical Commentary (Eng), partly available on the Bärenreiter website - Tried and tested on many occasions, e.g. at Harvard University, the Rheingau Music Festival, the Monadnock Music Festival (New Hampshire), in Salt Lake City (Utah), as well as in radio broadcasts (NDR, SWR, WDR) and CD recordings with Concerto Köln, Chorwerk Ruhr and Florian Helgath (“Le Disque classique du jour” from francemusique.fr and three nominations for Opus Klassik 2021 in the categories “Ensemble”, “Choral Recording” and “Editorial Achievement”) - Full Score (BA11310), Vocal Score (BA11310-90) and performance material (BA11310) available for sale / Date parution : 2022-07-20/ Répertoire / Chœur Mixte SATB et Orchestre
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Symphonie 09 (HENZE HANS WERNER)
Chœur Mixte SATB et Orchestre
Schott
Par HENZE HANS WERNER. The theme of Henze’s Ninth Symphony is his German homel...
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Par HENZE HANS WERNER. The theme of Henze’s Ninth Symphony is his German homeland as he remembers it during the days of his youth and during the war years. He has written this work in homage to all the people who fought back against the oppression of the Third Reich and sacrificed their lives for freedom of thought. Hans-Ulrich Treichel adapted the text from a poem by Anna Seghers. Henze has called the symphony ‘an apotheosis of the terrible and the painful’. The pinnacle of his prolific and varied œuvre, it is worlds apart from ‘Freude schöner Götterfunken’./ Répertoire / Chœur Mixte SATB et Orchestre
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Cantique des degrés (PART ARVO)
Chœur Mixte [SATB] et Orchestre
[Study Score / Miniature]
Universal Edition
Par PART ARVO. Following an initiative by Princess Caroline of Monaco/Hannover t...
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Par PART ARVO. Following an initiative by Princess Caroline of Monaco/Hannover to commemorate the 50th anniversary of the reign of his Highness, Prince Rainier III of Monaco, composer Arvo Pärt was commissioned to compose a work for choir and orchestra. The finished work, Cantique des degrés, received its premiere on 19 November 1999 during a special service in the Cathedral of Monte-Carlo in the presence of the royal family. It was performed by the Orchestre Philharmonique and the opera choir, both of Monte-Carlo, and conducted by Estonian conductor Tõnu Kaljuste. Cantique des degrés is based on Psalm 121 - Je lève mes yeux vers la montagne - and sung in Latin. Pärt's setting comprises eight sung verses of the psalm that lead to a final, hymn-like instrumental coda. The tonalities of the composition progress regularly, ascending stepwise from verse to verse ('cantique des degrés'); but despite this episodic character, the overall mood of the sequences remains consistent. In this way, the two contrasting basic elements of the piece - dynamic motion and balanced repose - are united creating a harmonious whole./ Répertoire / Chœur Mixte [SATB] et Orchestre
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Symphonie Nr. 8 (MAHLER GUSTAV)
Chœur Mixte [SATB] et Orchestre
[Study Score / Miniature]
Universal Edition
Symphonie der Tausend. Par MAHLER GUSTAV. All my earlier symphonies are mere pre...
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Symphonie der Tausend. Par MAHLER GUSTAV. All my earlier symphonies are mere preludes to this one. In the other works everything is subjective tragedy, - this one is a huge giver of joy.' (Gustav Mahler) Gustav Mahler's 'Symphony No. 8' is a work of exceptions. Seen from the outside, this is true of the forces that are used: with its three choirs, eight soloists and an orchestra of far more than one hundred musicians, there are few similar works in the annals of music. This cast of performers determines the second exceptional element of the work, the mix of instrumental and vocal characteristics that makes it to the prototype of a 'vocal symphony', which - as Mahler put it - 'is sung from beginning to end'. In turn, the texts that are sung influence the structure of the whole, replacing, as it were, the usual four movements of a symphony with two strongly divergent 'parts'. And, finally, as if to emphasize this divergence, the texts used - the hymn 'Veni creator spiritus' in the first part and the final scene of Goethe's Faust in the second - are not only written in two languages but also separated in their origins by more than one thousand years. Thus it is a work of extremes, and a work of contradiction. It seems, however, that it was exactly these distinctive features that lifted the symphony above the others and convinced Mahler that his 'Symphony No. 8' was 'the greatest' work 'that I have composed'./ Répertoire / Chœur Mixte [SATB] et Orchestre
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