Veni Creator Spiritus-Prelude was commissioned by the Dunfermline Abbey Festival and first performed on 21 June 1987. Veni Redemptor-A Celebration was commissioned by the North Wales Music Festival and first performed on 26 September 1985 at St Asaphn Cathedral by John Scott.

In monte Oliveti - Veni Creator Spiritus. Par BRUCKNER ANTON. Gattungen: Hymnen - Verwendung / Anlässe: Marienfeste, Marianische Gesänge - Verwendung / Kirchenjahr: Karwoche, Pianoingsten -/ Répertoire / Choeur Mixte

Work for Flute and Bass Clarinet. 'Veni Creator Spiritus' is one of a series of shorter works written in tandem with a Mass for Westminster Cathedral for liturgical use at Pentecost. Larger performing score available on specialorder: SOS15675

This is an innovative yet accessible setting of the well-known Vespers hymn. A meditative rendering of the familiar plainchant is nestled within a lyrical setting of a verse from John Donne's A Litany making for an intriguing narrative juxtaposition. With unusual harmonic shifts dynamic contrasts and rhythmic interest this motet is sure to maintain the attention of both choir and listener from beginning to end. Veni Creator Spiritus is particularly suitable for Pentecost and other celebrations of the Holy Spirit but can be used throughout the church year.Stephen HarrapStephen Harrap was born in Portsmouth in1952 and studied at the London Guildhall School of Music and Drama and the London Opera Centre. As a conductor he has collaborated with many leading musicians and ensembles including Luciano Berio Karlheinz Stockhausen Nikolaus Harnoncourt the London Sinfonietta and the Orchestra di Santa Cecilia in Rome; he has also worked at prominent opera houses including Covent Garden Paris and Salzburg. Since 1995 he has focused on the composition and performance of his own choral and orchestral works which have been premiered at numerous venues and festivals across Europe.

Voici une partition musicale que vous pouvez acquérir pour moins de 10C. Classée dans la catégorie Classique, cette partition dont le titre est VENI CREATOR SPIRITUS a été composée par le célèbre compositeur Gagneux Renaud. C'est l'éditeur Billaudot sous la référence GB6652 qui a les droits pour éditer cette partition. / Divers / Partition

Larsen's flowing meditation on the 'Veni creator' tune was written as the Pentecost entry for a multi-composer anthology based on the liturgical year. It was given one of the highest rankings in a survey of pieces that most strongly moved listeners to prayer.

Cette oeuvre de César Franck (1822-1890) a été composée en 1872. À l'origine il s'agit d'un duo pour ténor et basse (avec orgue). Franck en a fait un arrangement pour 2 voix égales en 1876 pour la maîtrise de l'église Sainte-Clotilde à Paris dont il a été l'organiste titulaire pendant de nombreuses années.La structure musicale est tripartite : une première partie lente et majestueuse en alternance sur les paroles ' Veni Creator Spiritus ', une partie centrale d'un tempo plus allant ' Qui diceris? ' et un bref rappel de l'alternance du début dans la courte coda conclusive.Cette oeuvre convient à un choeur d'enfants expérimenté ou à un choeur de femmes désirant aborder ce répertoire riche du 19ème siècle. / 2 Voix Egales Et Piano / 4 pages / Partition

Symphonie der Tausend-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 twostrongly 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'. It is an understandable coincidence that he thus raised Symphony No. 8 to the same rank within his oeuvre as Goethe who claimed that the drama was his 'Hauptgeschäft' [main work] did with Faust. Even after composing his late works Mahler retained his belief that Symphony No. 8 was his 'opus summum'. (Christian Wildhagen)

Arrangés par Ernst Rudolph 1. Symphonie, aus dem 2. Satz 1. Symphonie, 2. Satz: Trio 1. Symphonie, 3. Satz: Kanon und Volksweise 2. Symphonie, aus dem 2. Satz 2. Symphonie, 4. Satz: Altsolo (Urlicht) 2. Symphonie, 5. Satz: Der Rufer in der Wüste 3. Symphonie, aus dem 2. Satz 4. Symphonie, aus dem 3. Satz 4. Symphonie, 4. Satz 8. Symphonie, Veni creator spiritus (1. Satz) 8. Symphonie, Gretchens Gebet 8. Symphonie, Chorus mysticus 9. Symphonie, Ländler (2. Teil) Das Lied von der Erde: Von der Jugend

The text of this work is by Bishop J Cosin based on Veni Creator Spiritus. The music is based on a pentatonic chord throughout and reflects the floating rhythms of plainchant. The piece builds to a wonderful and ecstatic climax using a set of aleatoric overlapping vocal phrases. Commissioned by 1984 Southern Cathedrals Festivaland first performed at Winchester Cathedral in June 1984. The piece is for an unaccompanied SATB choir of at least sixteen voices.