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Agnus Dei for SAB Chorus and Organ
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Agnus Dei for SAB Chorus and Organ
Sheetmusic to print
11 sheet music found
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1
Agnus Dei for SAB Chorus and Organ
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Choral 3-part
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INTERMEDIATE/ADVANCED
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Sacred music
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G
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A
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Agnus Dei for SAB Chorus and O
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Adrian D Biggs
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SheetMusicPlus
Choral Choir (SAB) - Level 4 - Digital Download SKU: A0.882271 Composed by G. F. Handel. Arranged by A. Douglas Biggs. Easter,Sacred. Octavo. 9 pages. Ad...
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Choral Choir (SAB) - Level 4 - Digital Download SKU: A0.882271 Composed by G. F. Handel. Arranged by A. Douglas Biggs. Easter,Sacred. Octavo. 9 pages. Adrian D Biggs #5970773. Published by Adrian D Biggs (A0.882271). Agnus dei for SAB Chorus and Organ uses as an inspiration the melody from the aria Ombra mai fú from Handel’s opera Serse. The long, lyrical melody borne forward by the steady, quiet, powerful accompaniment conveys a tranquil sacredness. The sense of entreaty and desire for benediction expressed in the Agnus Dei seems a natural fit with Handel’s famous melody. An instrumental introduction leads to the choir section agnus dei, qui tollis peccata mundi. An instrumental meditation follows leading back to the conclusion of the piece. Arrangements for other ensembles are also available (Vocal Solo, SSA, SATB) as well as separate versions featuring the addition of Solo Violin, Flute, Oboe or Clarinet and soloist with chorus. Difficulty is moderate for the singers and organ. Suitable for a sacred setting or the concert hall. Duration approximately 4 minutes. Score and part included. Also available for SAB and piano.
$3.00
Agnus Dei for SATB chorus and Organ
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Choral SATB
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INTERMEDIATE/ADVANCED
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G
#
A
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Agnus Dei for SATB chorus and
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Adrian D Biggs
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.882270 Composed by G. F. Handel. Arranged by A. Douglas Biggs. Contemporary,Easter,Sacred. Octav...
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.882270 Composed by G. F. Handel. Arranged by A. Douglas Biggs. Contemporary,Easter,Sacred. Octavo. 9 pages. Adrian D Biggs #5970749. Published by Adrian D Biggs (A0.882270). Agnus dei for SATB Chorus and Organ uses as an inspiration the melody from the aria Ombra mai fú from Handel’s opera Serse. The long, lyrical melody borne forward by the steady, quiet, powerful accompaniment conveys a tranquil sacredness. The sense of entreaty and desire for benediction expressed in the Agnus Dei seems a natural fit with Handel’s famous melody. An instrumental introduction leads to the voice calling out agnus dei, qui tollis peccata mundi. An instrumental meditation follows leading back to the conclusion of the piece. Arrangements for other ensembles are also available (Vocal Solo, SSA, SAB) as well as separate versions featuring the addition of Solo Violin, Flute, Oboe or Clarinet and soloist with chorus. Difficulty is moderate for the singers, organist. Suitable for a sacred setting or the concert hall. Duration approximately 4 minutes. Score and part included. Also available for SATB and Piano.
$3.00
Agnus Dei for SSA Chorus, Violin Solo and Organ
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Choral 3-part
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INTERMEDIATE/ADVANCED
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G
#
A
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Agnus Dei for SSA Chorus, Viol
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Adrian D Biggs
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SheetMusicPlus
Choral Choir (SSA) - Level 4 - Digital Download SKU: A0.882272 Composed by G. F. Handel. Arranged by A. Douglas Biggs. Contemporary,Easter,Sacred. Octavo...
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Choral Choir (SSA) - Level 4 - Digital Download SKU: A0.882272 Composed by G. F. Handel. Arranged by A. Douglas Biggs. Contemporary,Easter,Sacred. Octavo. 13 pages. Adrian D Biggs #5970785. Published by Adrian D Biggs (A0.882272). Agnus dei for SSA Women’s Chorus, Violin Solo and Organ uses as an inspiration the melody from the aria Ombra mai fú from Handel’s opera Serse. The long, lyrical melody borne forward by the steady, quiet, powerful accompaniment conveys a tranquil sacredness. The sense of entreaty and desire for benediction expressed in the Agnus Dei seems a natural fit with Handel’s famous melody. An instrumental introduction leads to the chorus statement of agnus dei, qui tollis peccata mundi. An instrumental meditation follows and leads back to the conclusion of the piece. Arrangements for other ensembles are also available (Vocal Solo, SAB, SATB) as well as separate versions featuring the addition of Solo Violin, Flute, Oboe or Clarinet and soloist with chorus. Difficulty is moderate for the singers, violin and organ.Suitable for a sacred setting or the concert hall. Duration approximately 4 minutes. Score and part included. Also available with piano in place of organ.
$4.00
Agnus Dei for High Voice Solo, Violin Solo, SAB Chorus and Organ
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Choral 3-part
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INTERMEDIATE/ADVANCED
#
G
#
A
#
Agnus Dei for High Voice Solo,
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Adrian D Biggs
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SheetMusicPlus
Choral Choir (SAB) - Level 4 - Digital Download SKU: A0.882273 Composed by G. F. Handel. Arranged by A. Douglas Biggs. Contemporary,Easter,Sacred. Octavo...
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Choral Choir (SAB) - Level 4 - Digital Download SKU: A0.882273 Composed by G. F. Handel. Arranged by A. Douglas Biggs. Contemporary,Easter,Sacred. Octavo. 14 pages. Adrian D Biggs #5970801. Published by Adrian D Biggs (A0.882273). Agnus dei for High Voice Solo, Violin Solo, SAB Chorus and Organ uses as an inspiration the melody from the aria Ombra mai fú from Handel’s opera Serse. The long, lyrical melody borne forward by the steady, quiet, powerful accompaniment conveys a tranquil sacredness. The sense of entreaty and desire for benediction expressed in the Agnus Dei seems a natural fit with Handel’s famous melody. An instrumental introduction leads to the voice calling out agnus dei, qui tollis peccata mundi. An instrumental meditation follows leading back to the conclusion of the piece. Arrangements for other ensembles are also available (Vocal Solo, SSA, SAB, SATB) as well as separate versions featuring the addition of Solo Violin, Flute, Oboe or Clarinet and soloist with chorus. Difficulty is moderate for the singers, violin and organ. Suitable for a sacred setting or the concert hall. Duration approximately 4 minutes. Score and part included. Also available with piano in place of organ.
$4.00
Agnus Dei for SSA Women's Chorus and Organ
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Choral 3-part
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INTERMEDIATE
#
G
#
A
#
Agnus Dei for SSA Women's Chor
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Adrian D Biggs
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SheetMusicPlus
Choral Choir (SSA) - Level 3 - Digital Download SKU: A0.882267 Composed by G. F. Handel. Arranged by A. Douglas Biggs. Contemporary,Easter,Sacred. Octavo...
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Choral Choir (SSA) - Level 3 - Digital Download SKU: A0.882267 Composed by G. F. Handel. Arranged by A. Douglas Biggs. Contemporary,Easter,Sacred. Octavo. 10 pages. Adrian D Biggs #5728919. Published by Adrian D Biggs (A0.882267). Agnus dei for SSA Women’s Chorus and Organ uses as an inspiration the melody from the aria Ombra mai fú from Handel’s opera Serse. The long, lyrical melody borne forward by the steady, quiet, powerful accompaniment conveys a tranquil sacredness. The sense of entreaty and desire for benediction expressed in the Agnus Dei seems a natural fit with Handel’s famous melody. An instrumental introduction leads to the voice calling out agnus dei, qui tollis peccata mundi. An instrumental meditation follows leading back to the conclusion of the piece. Arrangements for other ensembles are also available (Vocal Solo, SAB, SATB) as well as separate versions featuring the addition of Solo Violin, Flute, Oboe or Clarinet and soloist with chorus. Difficulty is moderate for the singers, instrumental soloist and pianist and is suitable for a sacred setting or the concert hall. Duration approximately 4 minutes. Versions with piano accompaniment are also available.
$3.00
Agnus Dei for High or Medium Voice, Oboe or Clarinet Solo and Organ
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G
#
A
#
Agnus Dei for High or Medium V
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Adrian D Biggs
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SheetMusicPlus
Small Ensemble Clarinet,Oboe,Organ,Voice - Level 4 - Digital Download SKU: A0.882269 Composed by G. F. Handel. Arranged by A. Douglas Biggs. Contemporary...
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Small Ensemble Clarinet,Oboe,Organ,Voice - Level 4 - Digital Download SKU: A0.882269 Composed by G. F. Handel. Arranged by A. Douglas Biggs. Contemporary,Easter,Sacred. Score and parts. 13 pages. Adrian D Biggs #5970719. Published by Adrian D Biggs (A0.882269). Agnus dei for high or medium Voice, Oboe or Clarinet Solo and Organ uses as an inspiration the melody from the aria Ombra mai fú from Handel’s opera Serse. The long, lyrical melody borne forward by the steady, quiet, powerful accompaniment conveys a tranquil sacredness. The sense of entreaty and desire for benediction expressed in the Agnus Dei seems a natural fit with Handel’s famous melody. An introduction featuring Solo Flute precedes the voice calling out agnus dei, qui tollis peccata mundi. An instrumental meditation follows leading back to the conclusion of the piece. Arrangements for other ensembles are also available (Vocal Solo, SSA, SATB, SAB) as well as featuring the addition of Solo Violin, Flute, Oboe or Clarinet and soloist with chorus. Difficulty is moderate for the singer, oboe or clarinet and organ. Suitable for a sacred setting or the concert hall. Duration approximately 4 minutes. Score and part included.
$7.00
Agnus Dei for High or Medium Voice and Organ
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Piano, Voice
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INTERMEDIATE/ADVANCED
#
G
#
A
#
Agnus Dei for High or Medium V
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Adrian D Biggs
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SheetMusicPlus
Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.882264 Composed by G. F. Handel. Arranged by A. Douglas Biggs. Contemporary,Easter,Sacred. Score. ...
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Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.882264 Composed by G. F. Handel. Arranged by A. Douglas Biggs. Contemporary,Easter,Sacred. Score. 7 pages. Adrian D Biggs #5728909. Published by Adrian D Biggs (A0.882264). Agnus dei for high or medium Solo Voice and Organ uses as an inspiration the melody from the aria Ombra mai fú from Handel’s opera Serse. The long, lyrical melody borne forward by the steady, quiet, powerful accompaniment conveys a tranquil sacredness. The sense of entreaty and desire for benediction expressed in the Agnus Dei seems a natural fit with Handel’s famous melody. An instrumental introduction precedes the voice calling out agnus dei, qui tollis peccata mundi. A solo instrumental meditation follows leading back to the conclusion of the piece. Arrangements for other ensembles are also available (SSA, SAB, SATB) as well as featuring the addition of Solo Violin, Flute, Oboe or Clarinet and soloist with chorus. Difficulty is moderate for both the singer and pianist and is suitable for a sacred setting or the concert hall. Duration approximately 4 minutes. Also available in piano versions
$6.00
Agnus Dei for High or Medium Voice, Violin Solo and Organ
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G
#
A
#
Agnus Dei for High or Medium V
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Adrian D Biggs
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SheetMusicPlus
Small Ensemble Piano,Violin,Voice - Level 4 - Digital Download SKU: A0.882266 Composed by G. F. Handel. Arranged by A. Douglas Biggs. Contemporary,Easter...
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Small Ensemble Piano,Violin,Voice - Level 4 - Digital Download SKU: A0.882266 Composed by G. F. Handel. Arranged by A. Douglas Biggs. Contemporary,Easter,Sacred. Score and parts. 11 pages. Adrian D Biggs #5728915. Published by Adrian D Biggs (A0.882266). Agnus dei for high or medium Voice, Violin Solo and Piano uses as an inspiration the melody from the aria Ombra mai fú from Handel’s opera Serse. The long, lyrical melody borne forward by the steady, quiet, powerful accompaniment conveys a tranquil sacredness. The sense of entreaty and desire for benediction expressed in the Agnus Dei seems a natural fit with Handel’s famous melody. An introduction featuring Solo Violin precedes the voice calling out agnus dei, qui tollis peccata mundi. An instrumental meditation follows leading back to the conclusion of the piece. Arrangements for other ensembles are also available (Vocal Solo, SSA, SAB, SATB) as well as featuring, Solo Violin, Flute, Oboe or Clarinet and soloist with chorus. Difficulty is moderate for both the singer, instrumental soloist and pianist and is suitable for a sacred setting or the concert hall. Duration approximately 4 minutes. Score and part included. Also available with Piano accompaniment
$7.00
Missa Solemnis for mixed choir, soloist voices and organ - Full
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Choral SATB
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ADVANCED
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Sacred music
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Santino Cara
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Missa Solemnis for mixed choir
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Santino Cara
#
SheetMusicPlus
Choral Choir (SATB divisi) - Level 5 - Digital Download SKU: A0.516511 Composed by Santino Cara. Sacred. Octavo. 90 pages. Santino Cara #13549. Published...
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Choral Choir (SATB divisi) - Level 5 - Digital Download SKU: A0.516511 Composed by Santino Cara. Sacred. Octavo. 90 pages. Santino Cara #13549. Published by Santino Cara (A0.516511). The Solemn Mass CS524 for chorus of mixed voices, soloist voices and organ, was composed in Rome by Santino Cara at the end of 1999, and published in 2001. This Mass retraces the six classical canons Latin of the Roman Missal: Kyrie, Gloria, Credo, Sanctus-Benedictus and Agnus Dei. In addition to the complete score of the entire Mass, within the pdf file, are also included the separate part for choir and soloists voice. Movements and voices: 1. Kyrie - Choir SATB 2. Gloria - SATB choir and soloist voices (soprano, alto, tenor, and bass) 3. Credo - SSAATTBB choir and soloist voices (soprano, tenor and bass) 4. Sanctus - Choir SABrB and Variation on the Sanctus for solo voices 5. Benedictus - Choir SABrB 6. Agnus Dei - Choir SATB.
$20.20
Missa Solemnis, op. 27 (vocal score)
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Choral SATB
#
ADVANCED
#
Adrian Gagiu
#
Missa Solemnis, op. 27
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Adrian Gagiu
#
SheetMusicPlus
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adr...
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Choral Choir (SATB) - Level 5 - Digital Download 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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Orchestra
#
ADVANCED
#
Adrian Gagiu
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Missa Solemnis, op. 27 - Score
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Adrian Gagiu
#
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
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