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Choral SATB
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6 sheet music found
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1
Alles zu seiner Zeit
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Choral SATB
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INTERMEDIATE
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Hermann Regner
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Alles zu seiner Zeit
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Schott Music - Digital
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SheetMusicPlus
Mixed choir a cappella - intermediate - Digital Download SKU: S9.Q11262 6 Miniaturen mit Gedichten von Catarina Carsten. Composed by Hermann Regne...
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Mixed choir a cappella - intermediate - Digital Download SKU: S9.Q11262 6 Miniaturen mit Gedichten von Catarina Carsten. Composed by Hermann Regner. This edition: choral score. Schott Choral Music. Downloadable, Choral score. Duration 7' 30. Schott Music - Digital #Q11262. Published by Schott Music - Digital (S9.Q11262). German.Der Komponist, Dirigent und Musikpädagoge Hermann Regner (1928–2008) war nach einer Dozententätigkeit an der Hochschule für Musik in Trossingen lange Jahre am Orff-Institut des Mozarteum Salzburg tätig. Die Begegnung und intensive Zusammenarbeit mit Carl Orff selbst hat Regners Schaffen nachhaltig beeinflusst. Seine Kompositionen sind stets musizier- und hörbar; davon zeugen auch seine aus dem Nachlass veröffentlichten sechs Miniaturen „Alles zu seiner Zeit für gemischten Chor a cappella, auf Texte der Salzburger Schriftstellerin Catarina Carsten. Dank eines gemäßigt modernen Stils und einer guten Ausführbarkeit eignen sich diese aphoristisch knappen Sätze auch gut für ambitionierte Liebhaberchöre.
$4.99
Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga
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Choral SATB
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ADVANCED
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Carson Cooman
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Carson Cooman: Ascensions
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Musik Fabrik Music Publishing
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.535388 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 82 pages. Musik Fabrik Mu...
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.535388 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 82 pages. Musik Fabrik Music Publishing #3043975. Published by Musik Fabrik Music Publishing (A0.535388). I. SinfoniaII. To Mary on the vigil of her AssumptionIII. A Votive SongIV. The Heliotrope-the mind of man turned to GodAscensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and organ was commissioned by and isdedicated to the Cornell University Chamber Singers, Holland J. Jancaitis, director.The work is a cantata consisting of an instrumental sinfonia followed by choral settings of three poems by neo-Latin poetJakob Balde, S.J. (1604–68), hailed as the Horace of Germany and considered one of the greatest Latin poets of any era.In the case of the three poems selected, Balde’s vivid imagery and mastery of Latin poetics are put in service of religiousexpression. The poems are filled with countless allusions to the classical poetic tradition; notably, he creates a strongcorrelation between the Virgin Mary of his Christian tradition (Balde was a Jesuit priest) and the goddesses invoked inclassical Latin poetry. Thus, Balde uses the older forms to express something that was, for him, contemporary andrelevant. (An analogue to this use of language is the idea of creating new music to be played on period instruments.)The opening sinfonia begins with an ascending pattern of triads, which returns throughout the work. The forwardmomentum is interrupted several times before the movement settles tonally. The first choral movement employs abouncy momentum to set the celebratory poem on the Virgin’s assumption. The second movement is a prayerful song onthe acceptance of death; it is spare and meditative, unfolding as a series of sectional canons over several drones. The finalmovement returns to the celebratory spirit of the opening; this time, instead of the Virgin’s journey, the poem describesthe speaker’s journey and compares a purposeful sea voyage to a directed life.Balde’s poems are provided in their original Latin and in two translations. One is a free translation in rhyming poeticEnglish created by James J. Mertz, S.J., longtime professor at Loyola University. The other is a newly-created literaltranslation by Edward J. Vodoklys, S.J., Senior Lecturer in Classics at the College of the Holy Cross.Carson P. Cooman, January 2009, Cambridge, Massachusetts, USAPERFORMANCE NOTES: The composer prefers a classically-informed Italianate pronunciation of the Latin(church Latin is acceptable). (It is important that V always be pronounced as V, not as the W soundoften used by classical Latinists.)The work is conceived for a chamber choir, as a larger choir would not balance the timbres of the baroqueinstruments. It is suggested that 16–24 singers be employed (no fewer than 12).As with much early repertoire, dynamic and expressive markings are kept to a minimum. It is expected thatdirector and performers will inflect lines expressively and naturally. The organ part is notated for a small portatiforgan with pull-down pedal (with no independent pedal stops). If played on a larger instrument, this smallerregistration plan should be kept in mind so as to create balance with the instruments and choir.
$25.95
Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga
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Choral SATB
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ADVANCED
#
Carson Cooman
#
Carson Cooman: Ascensions
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.535387 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 65 pages. Musik Fabrik Mu...
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Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.535387 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 65 pages. Musik Fabrik Music Publishing #3043973. Published by Musik Fabrik Music Publishing (A0.535387). I. SinfoniaII. To Mary on the vigil of her AssumptionIII. A Votive SongIV. The Heliotrope-the mind of man turned to GodAscensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and organ was commissioned by and isdedicated to the Cornell University Chamber Singers, Holland J. Jancaitis, director.The work is a cantata consisting of an instrumental sinfonia followed by choral settings of three poems by neo-Latin poetJakob Balde, S.J. (1604–68), hailed as the Horace of Germany and considered one of the greatest Latin poets of any era.In the case of the three poems selected, Balde’s vivid imagery and mastery of Latin poetics are put in service of religiousexpression. The poems are filled with countless allusions to the classical poetic tradition; notably, he creates a strongcorrelation between the Virgin Mary of his Christian tradition (Balde was a Jesuit priest) and the goddesses invoked inclassical Latin poetry. Thus, Balde uses the older forms to express something that was, for him, contemporary andrelevant. (An analogue to this use of language is the idea of creating new music to be played on period instruments.)The opening sinfonia begins with an ascending pattern of triads, which returns throughout the work. The forwardmomentum is interrupted several times before the movement settles tonally. The first choral movement employs abouncy momentum to set the celebratory poem on the Virgin’s assumption. The second movement is a prayerful song onthe acceptance of death; it is spare and meditative, unfolding as a series of sectional canons over several drones. The finalmovement returns to the celebratory spirit of the opening; this time, instead of the Virgin’s journey, the poem describesthe speaker’s journey and compares a purposeful sea voyage to a directed life.Balde’s poems are provided in their original Latin and in two translations. One is a free translation in rhyming poeticEnglish created by James J. Mertz, S.J., longtime professor at Loyola University. The other is a newly-created literaltranslation by Edward J. Vodoklys, S.J., Senior Lecturer in Classics at the College of the Holy Cross.Carson P. Cooman, January 2009, Cambridge, Massachusetts, USAPERFORMANCE NOTES: The composer prefers a classically-informed Italianate pronunciation of the Latin(church Latin is acceptable). (It is important that V always be pronounced as V, not as the W soundoften used by classical Latinists.)The work is conceived for a chamber choir, as a larger choir would not balance the timbres of the baroqueinstruments. It is suggested that 16–24 singers be employed (no fewer than 12).As with much early repertoire, dynamic and expressive markings are kept to a minimum. It is expected thatdirector and performers will inflect lines expressively and naturally. The organ part is notated for a small portatiforgan with pull-down pedal (with no independent pedal stops). If played on a larger instrument, this smallerregistration plan should be kept in mind so as to create balance with the instruments and choir
$19.95
Messe de Minuit H 9
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Choral SATB
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INTERMEDIATE
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Sacred music
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Marc-Antoine Charpentier
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Messe de Minuit H 9
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Ernst Eulenburg & Co. GmbH - Digital
#
SheetMusicPlus
Solos: SSATB - choir: SATB - 2./2rec.0.0.0. - 0.0.0.0. - 2vl.2va.vc - bc(org) mixed choir (SATB) with soloists (SSATB), 2 flutes, strings and basso continuo - i...
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Solos: SSATB - choir: SATB - 2./2rec.0.0.0. - 0.0.0.0. - 2vl.2va.vc - bc(org) mixed choir (SATB) with soloists (SSATB), 2 flutes, strings and basso continuo - intermediate - Digital Download SKU: S9.Q4694 Composed by Marc-Antoine Charpentier. This edition: study score. Choral music - Ernst Eulenburg - Score. Eulenburg Miniature Scores. Downloadable, Study score. Duration 20 minutes. Ernst Eulenburg & Co. GmbH - Digital #Q4694. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4694). Of the 11 surviving settings of the Mass by Charpentier, the present work, the Messe de minuit, is without doubt one of the most popular. Although Charpentier's Parisian career is quite well documented, little is known about the genesis and first performance of the Messe de minuit. It is likely, however, that it was commissioned by the Jesuits of the church of Saint-Louis (today, Saint-Paul-Saint-Louis) for whom Charpentier had been working as maître de musique since 1687. The Messe de minuit belongs to the tradition of the parody-mass for which Charpentier adapted 10 noëls - whose titles are given in the autograph MS - to the text of the ordinary and the resulting music is fresh, charming and jubilant.Von den 11 erhaltenen Sätzen der Messe von Charpentier ist die Messe de minuit zweifellos eine der populärsten. Die Messe gehört in die Tradition der Parodiemesse, für die Charpentier 10 noëls zum Text der normalen Weihnachtslieder eingerichtet hat. Das Ergebnis ist eine frische, bezaubernde und jubelnde Musik.
$25.99
Aprèslude
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Choral SATB
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INTERMEDIATE/ADVANCED
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Heinrich Poos
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Aprèslude
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Schott Music - Digital
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SheetMusicPlus
Mixed choir and piano - intermediate to advanced - Digital Download SKU: S9.Q7320 9 Metamorphoses based on the Preludes Op. 28 by Fréderic Chopin
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Mixed choir and piano - intermediate to advanced - Digital Download SKU: S9.Q7320 9 Metamorphoses based on the Preludes Op. 28 by Fréderic Chopin. Composed by Heinrich Poos. This edition: score. Downloadable, Score. Duration 20 minutes. Schott Music - Digital #Q7320. Published by Schott Music - Digital (S9.Q7320). German.Bei einem Aufenthalt auf Mallorca 1838/39 fasste Frédéric Chopin 24 Klavier-Miniaturen zur Sammlung seiner „Préludes, op. 28, zusammen. Den stumm-beredten Ausdruck dieser „Lieder ohne Worte sucht Heinrich Poos in seiner Komposition „Aprèslude durch Kombination von Texten von Heine, Claudius, Brecht u. a. zu verdeutlichen. Was Poos in Chopins Musik heraushört, wird in neun kunstvollen Meditationen für 4-stimmigen gemischten Chor und Klavier gespiegelt – eine spannende Aufgabe für Vokalensembles, eine Repertoire-Bereicherung durch den Chorspezialisten Heinrich Poos.
$9.99
Moonlight Sonata by Beethoven for Choral and Piano
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Choral SATB
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EASY
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Classical
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Ludwig van Beethoven
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Ander
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Moonlight Sonata by Beethoven
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Woods Only, Arrangements
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SheetMusicPlus
Choral Choir,Choral (SATB) - Level 2 - Digital Download SKU: A0.1150939 Composed by Ludwig van Beethoven. Arranged by Ander. Christmas,Classical,March,Ro...
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Choral Choir,Choral (SATB) - Level 2 - Digital Download SKU: A0.1150939 Composed by Ludwig van Beethoven. Arranged by Ander. Christmas,Classical,March,Romantic Period,Wedding. 23 pages. Woods Only, Arrangements #751125. Published by Woods Only, Arrangements (A0.1150939). This arrangement adapted for choir SATB and piano was designed to make its listeners weep with emotion, because the adaptation preserves the original essence of the work, keeping its integrity faithful to what Beethoven wanted to transmit, with only a slight change in tone and addition of harmonic resources in the structure of the arrangement. Even though it is a funeral march, it is well suited for any musical performance occasion, being intended for beginner students who want to immerse themselves in the universe of romantic music, and nothing better than starting with the transitional composer of this period, which also does not prevent professional teachers from using it for recitals, academic presentations or didactic material in their classes as an ensemble practice. Ludwig van Beethoven's Piano Sonata No. 14 in C minor sharp, Op. 27, No. 2, is one of his most popular compositions and was an audience favorite even in his day. Written when Beethoven was 31, the Moonlight Sonata (Mondscheinsonate in German) was composed after he finished some commissioned works, but there is no evidence that he was hired to write this work. It did not receive its nickname until 1832, five years after Beethoven's death. It was the critic Ludwig Rellstab who compared the music to a moonlighting on Lake Lucerne. This comparison was adopted as a nickname for the work. Called Quasi una fantasia by the author - like its companion Op. 27, No. 1 - the piece was completed in 1801 and dedicated the following year to one of the composer's pupils. Beethoven chose to open the sonata with a slow, hypnotic arpeggio movement, the best known of the entire work. The dotted rhythm of its minimal melody evokes the tradition of 'Trauermusik' (funeral music).
$9.99
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