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PASSION CHORALE
Orchestra
Sheetmusic to print
3 sheet music found
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1
O Sacred Head Surrounded
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Orchestra
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Classical
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Hans Leo Hessler
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Johann Sebastian Bach and Josh
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O Sacred Head Surrounded
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JMJ Arrangements
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1079738 Composed by Hans Leo Hessler. Arranged by Johann Sebastian Bach and Joshua Choe. Baroque,Classical,East...
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Full Orchestra - Digital Download SKU: A0.1079738 Composed by Hans Leo Hessler. Arranged by Johann Sebastian Bach and Joshua Choe. Baroque,Classical,Easter,Sacred. Score and parts. 31 pages. JMJ Arrangements #683925. Published by JMJ Arrangements (A0.1079738). Celebrate the Passion of Our Lord Jesus Christ with this arrangement of the Passion Chorale. This can also be used as an accompaniment for choirs.
$34.99
Missa Solemnis, op. 27 - Score Only
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Orchestra
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ADVANCED
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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 - Digital Download SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #86...
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Full Orchestra - Level 5 - Digital Download 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
Wachet auf, ruft uns die Stimme (from 3 Corali - DAI CHORALVORSPIELE, PER ORGANO)
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Orchestra
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INTERMEDIATE/ADVANCED
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Classical
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Johann Sebastian Bach and Otto
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Flavio Regis Cunha
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Wachet auf, ruft uns die Stimm
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Flavio Regis Cunha
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.1280391 By Johann Sebastian Bach and Ottorino Respighi. By Johann Sebastian Bach. Arranged by Flavio ...
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Full Orchestra - Level 4 - Digital Download SKU: A0.1280391 By Johann Sebastian Bach and Ottorino Respighi. By Johann Sebastian Bach. Arranged by Flavio Regis Cunha. Classical,Contemporary,Contest,Festival,Sacred,Wedding. Score and Parts. 32 pages. Flavio Regis Cunha #871838. Published by Flavio Regis Cunha (A0.1280391). Wachet auf, ruft uns die Stimme (from 3 Corali - DAI CHORALVORSPIELE, PER ORGANO) from Bach - 3 chorales, P. 167, N.3.Let your church, school and professional orchestra stand out with this unique and beautiful arrangement of 'Wachet auf, ruft uns die Stimme' composed in the traditional style of Johann Sebastian Bach and embellished by Ottorino Respighi. Resonating with complexity and elegance, it's perfect for special services, concerts or educational purposes. Let your performance envelope the auditorium in a peaceful warmth created by its grand choral accompaniment. Sumptuous and profound, it's an excellent way to touch the hearts of all your audiences. Make this timeless masterpiece the centerpiece of your repertoire with our exclusive sheet music and own a part of history!Advanced IntermediateFormat: 9 x 12 inchesFull Score and Orchestral PartsSize: 32 pagesDuration: 4min.InstrumentationCLARINET 1 IN Bb CLARINET 2 IN Bb BASSOON 1 BASSOON 2 CONTRABASSOON HORN 1 IN F HORN 2 IN F HORN 3 IN F HORN 4 IN F TRUMPET 1 IN Bb TRUMPET 1 IN Bb TRUMPET 1 IN Bb TROMBONE 1 TROMBONE 2 BASS TROMBONE VIOLIN 1 VIOLIN 2 VIOLA 1 VIOLA 2 VIOLONCELLO DOUBLE BASSNotesBach's beloved Wachet auf, ruft uns die Stimme, is known for its solemn beauty and is often referred to as the first choral prelude. Written for organ, it has been composed by Johann Sebastian Bach and lovingly arranged by Otorino Respighy for a modern music audience. This timeless piece is a beautifully layered statement of faith, representing the Church of the Great Awakening that swept through northern Europe in the 17th century. From the opening of the Passion Choral to its closing codetta, Bach's devotion runs deep as his majestic and undulating organ structures propel the work towards its soaring climax. Whether you have heard this classic before or not, we invite to join us to experience the power of this musical devotion. You are bound to be moved and surprised by its radiant beauty.
$49.99
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