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Byzantine Theme
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You've selected:
Byzantine Theme
Sheetmusic to print
6 sheet music found
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1
Byzantine Theme & Variations
Cello|Viola|Violin|Classical Guitar
Intermediate/advanced level
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Dusan Bogdanovic
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Byzantine Theme & Variations
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Les Editions Doberman-Yppan
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SheetMusicPlus
By Dusan Bogdanovic (1955-). For chamber ensemble (guitar and string quartet). Level 4. 43 pages. Published by Les Editions Doberman-Yppan (digital) ...
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By Dusan Bogdanovic (1955-). For chamber ensemble (guitar and string quartet). Level 4. 43 pages. Published by Les Editions Doberman-Yppan (digital)
$19.95
Byzantine theme and variations
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3 Guitars (trio)
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ADVANCED
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Contemporary
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Dusan Bogdanovic
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Dimitar Ivanov
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Byzantine theme and variations
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Les Editions Doberman-Yppan
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SheetMusicPlus
3 guitars - Advanced - Digital Download Composed by Dusan Bogdanovic (1955-). Arranged by Dimitar Ivanov. Score and parts. 63 pages. Les Editions Dober...
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3 guitars - Advanced - Digital Download Composed by Dusan Bogdanovic (1955-). Arranged by Dimitar Ivanov. Score and parts. 63 pages. Les Editions Doberman- Yppan (digital) #DO 1416. Published by Les Editions Doberman-Yppan (digital)
$18.95
Missa Solemnis, op. 27 (vocal score)
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Choral SATB
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ADVANCED
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Adrian Gagiu
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Missa Solemnis, op. 27
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Adrian Gagiu
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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
#
Missa Solemnis, op. 27 - Score
#
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
"Of the Creator", op. 60
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Choral SATB
#
INTERMEDIATE/ADVANCED
#
Adrian Gagiu
#
"Of the Creator", op. 60
#
Adrian Gagiu
#
SheetMusicPlus
Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.1004680 Composed by Adrian Gagiu. 20th Century,A Cappella,Christian,Contemporary,Sacred. Octavo....
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Choral Choir (SATB) - Level 4 - Digital Download SKU: A0.1004680 Composed by Adrian Gagiu. 20th Century,A Cappella,Christian,Contemporary,Sacred. Octavo. 7 pages. Adrian Gagiu #4296791. Published by Adrian Gagiu (A0.1004680). A solemn motet in B flat major for mixed choir a cappella, in Neo-Classical style and with some Byzantine influences, on a fragment of the medieval Wessobrunn Prayer (translated in English), with themes extracted from the ancient Oxyrhynchus Hymn and Phos Hilaron. The ending generates a rich texture with divisi in all voices. Appropriate for advanced students choir, it may also be used as praise piece in church service. Duration: 6 min.
$7.00
Apolytikion tis Pentikostis - polyphonic version
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Choral SATB
#
INTERMEDIATE
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Anonymous
#
David Warin Solomons
#
Apolytikion tis Pentikostis -
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David Warin Solomons
#
SheetMusicPlus
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.576129 Composed by Anonymous. Arranged by David Warin Solomons. 20th Century,Christian,Sacred,Wo...
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.576129 Composed by Anonymous. Arranged by David Warin Solomons. 20th Century,Christian,Sacred,World. Octavo. 7 pages. David Warin Solomons #2031521. Published by David Warin Solomons (A0.576129). Setting of the Byzantine chant for dismissal at the time of Pentecost ... This composition starts with the original chant and then, in this less traditional polyphonic version, it keeps the original rhythms but continues with harmonies reminiscent of John Taverner. For the final - somewhat more extended - repetition, the measure is kept in 6/4 time and the basses provide a Western style ostinato while the original themes weave in canon above them. The sound sample is my own multitrack performance, transposed down a third. The more traditional homophonic version is also available. The score shows the Greek words transcribed into Latin letters, since more choirs can read those. However, the final page of the score provides the original words using Greek letters followed by this English translation: ... Blessed be you, O Christ our God Who showed the fishermen to be most wise you sent the Holy Spirit upon them and through them you caught the inhabited world in your net O Lover of Mankind Glory to you.
$2.99
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