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You've selected:
Last Words Orchestra Score and Instrument Parts
Sheetmusic to print
17 sheet music found
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1
Last Words Orchestra Score and Instrument Parts
Choral SATB
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.765565 Composed by Michael…
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.765565 Composed by Michael Myrick. Easter,Sacred. Octavo. 228 pages. MICHAEL MYRICK #2998963. Published by MICHAEL MYRICK (A0.765565). Last Words begins on the day of the crucifixion, the heart of the passion story. The last statements Jesus makes are set to music to bring worshipers to a closer understanding of His sacrifice. The cantata takes the listener from sorrow to heartbreak as Christ looks down from the cross and speaks. This is a deeply moving service your choir and congregation will never forget. BREATHTAKING!CONTENTSPreludeI. Woman Behold Your SonII. Father, Forgive ThemIII. ParadiseIV. My God, Why?V. I ThirstVI. Father into Your HandsVII. It Is FinishedVIII. KyrieSCORE, ALL ORCHESTRA PARTS ARE INCLUDED WITH THIS PURCHASEVideo Promotional: https://youtu.be/jvKOh2oP8xUChoir / Keyboard edition is also available from SMP. S0.187873 Last Words SATB and Keyboard
$100.00
92.35 €
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Choral SATB
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Michael Myrick
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Last Words Orchestra Score and Instrument Parts
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MICHAEL MYRICK
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SheetMusicPlus
Irish National Anthem (Unofficial) for String Orchestra
String Orchestra
String Orchestra - Intermediate - Digital Download Composed by trad. Arranged by Ke…
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String Orchestra - Intermediate - Digital Download Composed by trad. Arranged by Keith Terrett. 20th Century, European, Patriotic. Score, Set of Parts. 10 pages. Published by Music for all Occasions
Londonderry Air arranged for String Orchestra.<br> <br> A big band version of the song is used as the theme for The Danny Thomas Show (a.k.a. Make Room For Daddy).<br> <br> "Danny Boy" was used to represent Northern Ireland at the start of the London 2012 Olympics opening ceremony, sung by a choir of children on the Giant’s Causeway.<br> <br> On November 25, 2014, the Vancouver Canucks used the song in honor of the recently deceased Pat Quinn, who played and worked in many executive capacities for the team.<br> <br> There are various theories as to the true meaning of "Danny Boy". Some listeners have interpreted the song to be a message from a parent to a son going off to war or leaving as part of the Irish diaspora.<br> <br> The 1918 version of the sheet music included alternative lyrics ("Eily Dear"), with the instructions that "when sung by a man, the words in italic should be used; the song then becomes "Eily Dear", so that "Danny Boy" is only to be sung by a lady". In spite of this, it is unclear whether this was Weatherly’s intent.<br> <br> Why the name Londonderry Air? Londonderry and Derry refer to the same place, a city in the north of Ireland, and also to the surrounding county. Supposedly the city of Derry was founded by St. Colmcille, although archaeological evidence shows that people were living there thousands of years earlier. There is an excellent museum in the city, which is worth a visit if you want to find out more. The name of the city was actually "Doire", corrupted to "Derry" by people who can’t pronounce Irish. It thought to derive from an Irish root meaning "oak tree".<br> <br> Moving quickly along in history, about a millenium later the government of England was having a difficult time colonizing Ireland because of the fierce and warlike clans living there, especially in the north of the country, Ulster. The monarchs of England, almost all of whom were notorious cheapskates, were continually looking about for ingenious ways to conquer places without actually having to put up the money themselves, or run the risk of unpopularity if they lost. In the case of Ireland, some of these schemes of the "Brish gummit" (as it is termed nowadays in Ulster) are still producing unfortunate long-term consequences.<br> <br> In 1608, King James I gave the city of Derry to the City of London corporation. I guess the deal could be summed up by saying that if the City of London could figure out a way to chase all the inhabitants out of Derry, they would be allowed to keep the loot, minus a percentage for the King of course. If they lost, well too bad. In celebration of this historic agreement, the name of Derry was officially changed to Londonderry. (For further information, check out the Northern Ireland Tourist Board’s History of Derry.)<br> <br> The linguistic outcome of all this today is that, if you think that King James’s deal with the City of London was a good idea, you call both the city and county "Londonderry". If you do, you are probably a supporter of the Unionist movement that seeks to keep Ulster a part of the United Kingdom. If you think it was a bad idea, you call both "Derry", and you are probably a supporter of the Irish Nationalist cause. Or you might just be someone who thinks it’s confusing for kings to be going around changing the names of places all the time for no good reason.<br> <br> You can find plenty of discussion about the political side of the question elsewhere, but here let’s look at the musical side. We have an air, collected in county Derry/Londonderry, and it doesn’t have a title. What do we call it?<br> <br> If you were a proper Victorian, there’s no way you were going to call it the Londonderry Air, much less the Derry Air, because of the improper sentiments that these titles might suggest. My parents tell me that in their youth in Australia, it was usually called the Air from County Derry. (This would, I suppose, support Winston Churchill’s theory that Australia was inhabited by "convicts and Irishmen".)<br> <br> My mother also sends the following information, referring to an arrangement of the tune by the Australian composer Percy Grainger:<br> <br> Just another note about Danny Boy, that I grew up in Australia believing to be the Air from County Derry. We were looking through some LP’s last night (back to vinyl yet!) and found a Mercury Wing Classical Favorites stereo LP SRW18060, COUNTRY GARDENS and other favorites by Percy Grainger {played by} Eastman-Rochester Pops, Frederick Fennell, conducting. The cover notes included the following: "Irish Tune from County Derry was harmonised in memory of Irish childhood friends in Australia." Considered by many to be Grainger’s masterpiece of harmonization, the tune was collected many years ago by Miss Jane Ross of New Town, Limavady, Ireland. Grainger has set it for many instrumental combinations. So there’s another variant on the name for it. It doesn’t say who wrote the notes, but the bits in quotes for each of the works on the record are Grainger’s original comments.<br> <br> The references to Londonderry Air that I’ve seen don’t go back any earlier than the late 1930s. For example, the Glenn Miller Orchestra recorded Danny Boy (Londonderry Air) in February 1940. Bing Crosby’s version was recorded in July 1941 (reference). (So many different things I could check up on!) Londonderry was an important American naval base during WWII, but the US hadn’t come into the war in 1940.<br> <br> Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com<br> <br> Contact Publisher Related Scores
$8.99
8.3 €
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String Orchestra
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trad
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Irish National Anthem
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Music for all Occasions
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SheetMusicPlus
Thérèse Brenet: Poème de Jade, seven mélodies on Chinese Poems for baritone, flute solo and orchestr
String Orchestra
String Orchestra - Digital Download SKU: A0.532834 Composed by Therese Brenet. 20th…
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String Orchestra - Digital Download SKU: A0.532834 Composed by Therese Brenet. 20th Century,Contemporary. Score and parts. 39 pages. Musik Fabrik Music Publishing #45419. Published by Musik Fabrik Music Publishing (A0.532834). Thérèse Brenet was attracted to the Chinese poems in La Flûte de Jade by Franz Toussaint. She chose seven of these poems in a contrasting style and assembled them into a single work, striving to create an unusual orchestration which reflects this delicate, fantastic and sensual qualities of these poems. Her orchestration uses a small group of strings which are re-enforced by a harpsichord, a vibraphone, a harp and percussion, often superimposed, which serve to underline the delicate character of the poems. IN addition, she uses all styles of vocal production, from whispered passages to spoken words or screams, and from singing normally to sprechgesang. The work finishes serenely with a long melody in flute upon which the baritone repeats the last phrases of the poem in a long perdendosi. The voice and the flute slowly die away without there being a definite ending to the work, which allow the listener to imagine that the work continues, as in a waking dream. One could imagine hearing the echo of the words whispered by the baritone and the arien and luminous sounds of the flute which has lulled us as a soloist throughout the seven poems of the cycle. The orchestration is for 4 percussion, harp, harpsichord, piano and strings (44221). The piece generally lasts approximately fourteen minutes. The composer has intentionally broken with tradition by using instrumental notation for the vovcal part. This notations gives, in her view, a greater ease of reading when the voice exchanges with the flute. This version for flute, voice and piano is identical, as much as is possible, with the orchestral version, excpet for short segments in the 5th and 7th poems. These differences only affect the flute and piano parts and do not affect the vocal part. The Baritone may therefore use this score for performances with orchestra. The Flutist should use the part included in the orchestral parts for performances with orchestra. This work was first performed at the Villa Medicis during Thérèse Brenet time spend there during her Prix de Rome voyage. It was recorded in 2014 with Kurt Ollmann Baritone, Christel Rayneau, flute and the National Polish Radio Orchestra under the direction of Paul Wehage. The orchestral materials are on rental from the publisher.
$25.95
23.97 €
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String Orchestra
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Therese Brenet
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Thérèse Brenet: Poème de Jade, seven mélodies on Chinese Poems for baritone, flute solo and orchestr
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Musik Fabrik Music Publishing
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SheetMusicPlus
Deck The Halls - Concert Band with Optional Strings score and Parts PDF
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.750802 Composed by Traditional …
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Full Orchestra - Level 3 - Digital Download SKU: A0.750802 Composed by Traditional Welsh Melody. Arranged by Brendan Elliget MAGA 537. Christmas. Score and parts. 47 pages. BJE Music #3603959. Published by BJE Music (A0.750802). This is a fairly straightforward and useful arrangement of a traditional Welsh melody that has been designed to give each instrument an interesting part to play with a number of different groups playing the melody and accompaniment. There is a descant in the last verse. It should work well with a choir or congregational singing the traditional words.PDF includes optional String parts (not on the score). Additional parts for Eb Horns, Bb and Eb Basses. The MP3 was recorded with NotePerformer. Grade = 3 Duration - 1:55 mins.
$20.00
18.47 €
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Orchestra
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Traditional Welsh Melody
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Deck The Halls - Concert Band with Optional Strings score and Parts PDF
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BJE Music
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SheetMusicPlus
Jesus Christ Is Risen Today (Easter Hymn) - Orchestra or Mixed Ensemble
Orchestra
Full Orchestra - Digital Download SKU: A0.750718 Composed by Lyra Davidica 1708. Ar…
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Full Orchestra - Digital Download SKU: A0.750718 Composed by Lyra Davidica 1708. Arranged by Brendan Elliget. Christian,Praise & Worship,Sacred. Score and parts. 30 pages. BJE Music #3481743. Published by BJE Music (A0.750718). The Traditional Easter Hymn for Easter Sunday (Melody Lyra Davidica 1708) suitable to accompany a choir or congregation singing the traditional words. The piano part could be used for organ with any combination of the instrumental parts including strings. There is a descant part for Flute, Clarinet or Trumpet in the last verse.If you use this arrangement, let me know how it went!…Listen to the MP3 - It was recorded with NotePerformer!Grade = 3 Duration - 2:35 mins.
$12.00
11.08 €
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Orchestra
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Lyra Davidica 1708
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Jesus Christ Is Risen Today
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BJE Music
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SheetMusicPlus
Thérèse Brenet: Poème de Jade, seven mélodies on Chinese Poems for baritone, flute solo and orchestr
Small Ensemble Flute,Medium Voice,Piano - Level 4 - Digital Download SKU: A0.532835…
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Small Ensemble Flute,Medium Voice,Piano - Level 4 - Digital Download SKU: A0.532835 Composed by Therese Brenet. 20th Century,Concert,Contemporary,Standards. Score and parts. 39 pages. Musik Fabrik Music Publishing #45421. Published by Musik Fabrik Music Publishing (A0.532835). Thérèse Brenet was attracted to the Chinese poems in La Flûte de Jade by Franz Toussaint. She chose seven of these poems in a contrasting style and assembled them into a single work, striving to create an unusual orchestration which reflects this delicate, fantastic and sensual qualities of these poems. Her orchestration uses a small group of strings which are re-enforced by a harpsichord, a vibraphone, a harp and percussion, often superimposed, which serve to underline the delicate character of the poems. IN addition, she uses all styles of vocal production, from whispered passages to spoken words or screams, and from singing normally to sprechgesang. The work finishes serenely with a long melody in flute upon which the baritone repeats the last phrases of the poem in a long perdendosi. The voice and the flute slowly die away without there being a definite ending to the work, which allow the listener to imagine that the work continues, as in a waking dream. One could imagine hearing the echo of the words whispered by the baritone and the arien and luminous sounds of the flute which has lulled us as a soloist throughout the seven poems of the cycle. The orchestration is for 4 percussion, harp, harpsichord, piano and strings (44221). The piece generally lasts approximately fourteen minutes. The composer has intentionally broken with tradition by using instrumental notation for the vovcal part. This notations gives, in her view, a greater ease of reading when the voice exchanges with the flute. This version for flute, voice and piano is identical, as much as is possible, with the orchestral version, excpet for short segments in the 5th and 7th poems. These differences only affect the flute and piano parts and do not affect the vocal part. The Baritone may therefore use this score for performances with orchestra. The Flutist should use the part included in the orchestral parts for performances with orchestra. This work was first performed at the Villa Medicis during Thérèse Brenet time spend there during her Prix de Rome voyage. It was recorded in 2014 with Kurt Ollmann Baritone, Christel Rayneau, flute and the National Polish Radio Orchestra under the direction of Paul Wehage. The orchestral materials are on rental from the publisher.
$22.05
20.36 €
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Therese Brenet
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Thérèse Brenet: Poème de Jade, seven mélodies on Chinese Poems for baritone, flute solo and orchestr
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Musik Fabrik Music Publishing
#
SheetMusicPlus
Missa Solemnis, op. 27 - Score Only
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagi…
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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
92.35 €
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Orchestra
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Adrian Gagiu
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Missa Solemnis, op. 27 - Score Only
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Adrian Gagiu
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SheetMusicPlus
Missa Solemnis, op. 27 (vocal score)
Choral SATB
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1277132 Composed by Adrian…
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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
81.26 €
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Choral SATB
#
Adrian Gagiu
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Missa Solemnis, op. 27
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Adrian Gagiu
#
SheetMusicPlus
The European Anthem
Concert band
Wind band - Digital Download SKU: S9.Q2749 Music from the last movement of the N…
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Wind band - Digital Download SKU: S9.Q2749 Music from the last movement of the Ninth Symphony. Composed by Ludwig van Beethoven. Arranged by Herbert von Karajan. This edition: set of parts. Downloadable, Set of parts. Duration 2' 15. Schott Music - Digital #Q2749. Published by Schott Music - Digital (S9.Q2749). The European Hymn is the hymn not only of the European Union but of Europe in a broader sense. The melody has been taken from the Ninth Symphony by Ludwig van Beethoven from 1823. In the last movement of this symphony Beethoven set music to the 'Ode to Joy' by Friedrich von Schiller from 1785. This poem sprang from Schiller's idealistic vision of men who become brothers – a vision Beethoven shared with him. In 1972 the Council of Europe adopted Beethoven's 'Ode to Joy' as its anthem. The well-known conductor Herbert von Karajan was commissioned to arrange three instrumental versions – for solo piano, wind orchestra and symphony orchestra. Without words, in the universal language of music, the anthem is an expression of the idealistic values of freedom, peace and solidarity which Europe stands for. In 1985 the heads of state and government adopted the hymn as the EU's official anthem. It does not replace the national anthems of the member states, but rather celebrates common values as well as unity in diversity. The score of this offical anthem is exclusively available from the Schott publishing house.(1 Piccolo-Flöte, 2 Flöten, 2 Oboen, 2 Fagotte, 1 Kontrafagott, 1 Klarinette in Es, 3 Klarinetten in B, 1 Bass-Klarinette in B, 2 Alt-Saxophone in Es, 1 Tenor-Saxophon in B, 1 Bariton-Saxophon in Es, 3 Trompeten in B, 2 Kornette in B, 2 Hörner in F, 3 Posaunen, 2 Flügelhörner in B, 3 Tenorhörner in B, 1 Bariton, 2 Tuben, Pauken, Kontrabass).
$47.99
44.32 €
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Concert band
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Ludwig van Beethoven
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The European Anthem
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Schott Music - Digital
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SheetMusicPlus
In Remembrance
Solo Solo instrument (Flute, Orchestra) - Digital Download SKU: H1.C5565ODP Compose…
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Solo Solo instrument (Flute, Orchestra) - Digital Download SKU: H1.C5565ODP Composed by Buryl Red and Ragan Courtney. Arranged by Lloyd Larson. Piano Accompaniment with Optional Orchestra. General Worship, Communion, Sacred. Set of Instrumental Parts. 26 pages. Hope Publishing - Digital #C5565ODP. Published by Hope Publishing - Digital (H1.C5565ODP). By Ragan Courtney & Buryl Red. Luke 22:19 - 1 Corinthians 11:24 - 1 Corinthians 11:25.Communion anthem by Ragan Courtney & Buryl Red The words from The Last Supper are beautifully paraphrased in this timeless, communion anthem from Buryl Red and Ragan Courtney, arranged by Lloyd Larson. The melody is memorable and the text is thoughtful and relevant. The reflective mood is enhanced with the addition of the optional instrumental accompaniment. This setting is included in Lloyd Larson's new collection, Easy Settings: 10 Arrangements for SAB or Two-Part Mixed Choirs (#8507; Preview Pack #8512). The Orchestration by Mark Kellner contains a Conductor's Score and parts for: Flute, Oboe, Horn in F, Cello and Bass Guitar.
$34.95
32.28 €
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Ragan Courtney & Buryl Red
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Buryl Red and Ragan Courtney
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Preview Pack #8512)
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In Remembrance
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Hope Publishing - Digital
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SheetMusicPlus
In Remembrance
Solo Solo instrument (Flute, Orchestra) - Digital Download SKU: H1.C5565FDP Compose…
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Solo Solo instrument (Flute, Orchestra) - Digital Download SKU: H1.C5565FDP Composed by Buryl Red and Ragan Courtney. Arranged by Lloyd Larson. Piano Accompaniment with Optional Orchestra. General Worship, Communion, Sacred. Flute Part. 3 pages. Hope Publishing - Digital #C5565FDP. Published by Hope Publishing - Digital (H1.C5565FDP). By Ragan Courtney & Buryl Red. Luke 22:19 - 1 Corinthians 11:24 - 1 Corinthians 11:25.Communion anthem by Ragan Courtney & Buryl Red The words from The Last Supper are beautifully paraphrased in this timeless, communion anthem from Buryl Red and Ragan Courtney, arranged by Lloyd Larson. The melody is memorable and the text is thoughtful and relevant. The reflective mood is enhanced with the addition of the optional instrumental accompaniment. This setting is included in Lloyd Larson's new collection, Easy Settings: 10 Arrangements for SAB or Two-Part Mixed Choirs (#8507; Preview Pack #8512). The Orchestration by Mark Kellner contains a Conductor's Score and parts for: Flute, Oboe, Horn in F, Cello and Bass Guitar.
$7.95
7.34 €
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Ragan Courtney & Buryl Red
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Buryl Red and Ragan Courtney
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Preview Pack #8512)
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In Remembrance
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Hope Publishing - Digital
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SheetMusicPlus
Spring song op. 62 n. 2
Large Ensemble Double Bass,Flute,Guitar,Harp,Orff Instrument,Piano Accompaniment,Trombone,…
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Large Ensemble Double Bass,Flute,Guitar,Harp,Orff Instrument,Piano Accompaniment,Trombone,Vibraphone,Violin - Level 2 - Digital Download SKU: A0.758376 Composed by Mendelssohn F.B. Arranged by Ester Alessandrini. Easter,Holiday,Instructional,Love,Romantic Period,Wedding. Score and parts. 30 pages. Ester #3907671. Published by ester (A0.758376). Da Romance without words di FB Mendelsshon una trascrizione per orchestra scolastica per i primi 3 anni di studio
$16.00
14.78 €
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Mendelssohn F
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Spring song op. 62 n. 2
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ester
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SheetMusicPlus
In Remembrance
Choral, Vocal, Solo (Flute, Orchestra) - Digital Download SKU: H1.C5565DP Composed …
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Choral, Vocal, Solo (Flute, Orchestra) - Digital Download SKU: H1.C5565DP Composed by Buryl Red and Ragan Courtney. Arranged by Lloyd Larson. Piano Accompaniment with Optional Orchestra. General Worship, Communion, Sacred. Octavo. 8 pages. Hope Publishing - Digital #C5565DP. Published by Hope Publishing - Digital (H1.C5565DP). By Ragan Courtney & Buryl Red. Luke 22:19 - 1 Corinthians 11:24 - 1 Corinthians 11:25.Communion anthem by Ragan Courtney & Buryl Red The words from The Last Supper are beautifully paraphrased in this timeless, communion anthem from Buryl Red and Ragan Courtney, arranged by Lloyd Larson. The melody is memorable and the text is thoughtful and relevant. The reflective mood is enhanced with the addition of the optional instrumental accompaniment. This setting is included in Lloyd Larson's new collection, Easy Settings: 10 Arrangements for SAB or Two-Part Mixed Choirs (#8507; Preview Pack #8512). The Orchestration by Mark Kellner contains a Conductor's Score and parts for: Flute, Oboe, Horn in F, Cello and Bass Guitar.
$3.25
3 €
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Ragan Courtney & Buryl Red
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Buryl Red and Ragan Courtney
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Preview Pack #8512)
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In Remembrance
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Hope Publishing - Digital
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SheetMusicPlus
In Remembrance
Choral, Solo (Flute, Orchestra) - Digital Download SKU: H1.C5899DP Composed by Bury…
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Choral, Solo (Flute, Orchestra) - Digital Download SKU: H1.C5899DP Composed by Buryl Red and Ragan Courtney. Arranged by Lloyd Larson. Piano Accompaniment with Optional Orchestra. General Worship, Communion, Sacred. Octavo. 8 pages. Hope Publishing - Digital #C5899DP. Published by Hope Publishing - Digital (H1.C5899DP). By Ragan Courtney & Buryl Red. Luke 22:19 - 1 Corinthians 11:24 - 1 Corinthians 11:25.Communion anthem by Ragan Courtney & Buryl Red The words from The Last Supper are beautifully paraphrased in this timeless, communion anthem from Buryl Red and Ragan Courtney, arranged by Lloyd Larson. The melody is memorable and the text is thoughtful and relevant. The reflective mood is enhanced with the addition of the optional instrumental accompaniment. This setting is included in Lloyd Larson's new collection, Easy Settings: 10 Arrangements for SAB or Two-Part Mixed Choirs (#8507; Preview Pack #8512). The Orchestration by Mark Kellner contains a Conductor's Score and parts for: Flute, Oboe, Horn in F, Cello and Bass Guitar.
$3.25
3 €
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Ragan Courtney & Buryl Red
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Buryl Red and Ragan Courtney
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Preview Pack #8512)
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In Remembrance
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Hope Publishing - Digital
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SheetMusicPlus
In Remembrance
Vocal, Solo medium voice solo, key of G - Digital Download SKU: H1.8825DP Composed …
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Vocal, Solo medium voice solo, key of G - Digital Download SKU: H1.8825DP Composed by Buryl Red and Ragan Courtney. Arranged by Lloyd Larson. Piano Accompaniment with Optional Orchestra. General Worship, Communion, Sacred. Vocal score. 8 pages. Hope Publishing - Digital #8825DP. Published by Hope Publishing - Digital (H1.8825DP). By Ragan Courtney & Buryl Red. Luke 22:19 - 1 Corinthians 11:24 - 1 Corinthians 11:25.Communion anthem by Ragan Courtney & Buryl Red The words from The Last Supper are beautifully paraphrased in this timeless, communion anthem from Buryl Red and Ragan Courtney, arranged by Lloyd Larson. The melody is memorable and the text is thoughtful and relevant. The reflective mood is enhanced with the addition of the optional instrumental accompaniment. This setting is included in Lloyd Larson's new collection, Easy Settings: 10 Arrangements for SAB or Two-Part Mixed Choirs (#8507; Preview Pack #8512). The Orchestration by Mark Kellner contains a Conductor's Score and parts for: Flute, Oboe, Horn in F, Cello and Bass Guitar.
$7.95
7.34 €
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Ragan Courtney & Buryl Red
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Buryl Red and Ragan Courtney
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Preview Pack #8512)
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In Remembrance
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Hope Publishing - Digital
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SheetMusicPlus
In Remembrance
Choral, Solo SAB choir or 2-part mixed choir - Digital Download SKU: H1.C5722DP Com…
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Choral, Solo SAB choir or 2-part mixed choir - Digital Download SKU: H1.C5722DP Composed by Buryl Red and Ragan Courtney. Arranged by Lloyd Larson. Piano Accompaniment with Optional Orchestra. General Worship, Communion, Sacred. Octavo. 8 pages. Hope Publishing - Digital #C5722DP. Published by Hope Publishing - Digital (H1.C5722DP). By Ragan Courtney & Buryl Red. Luke 22:19 - 1 Corinthians 11:24 - 1 Corinthians 11:25.Communion anthem by Ragan Courtney & Buryl Red The words from The Last Supper are beautifully paraphrased in this timeless, communion anthem from Buryl Red and Ragan Courtney, arranged by Lloyd Larson. The melody is memorable and the text is thoughtful and relevant. The reflective mood is enhanced with the addition of the optional instrumental accompaniment. This setting is included in Lloyd Larson's new collection, Easy Settings: 10 Arrangements for SAB or Two-Part Mixed Choirs (#8507; Preview Pack #8512). The Orchestration by Mark Kellner contains a Conductor's Score and parts for: Flute, Oboe, Horn in F, Cello and Bass Guitar.
$3.25
3 €
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Ragan Courtney & Buryl Red
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Buryl Red and Ragan Courtney
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Preview Pack #8512)
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In Remembrance
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Hope Publishing - Digital
#
SheetMusicPlus
The European Anthem
Symphonic Orchestra - Digital Download SKU: S9.Q2743 Music from the last movemen…
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Symphonic Orchestra - Digital Download SKU: S9.Q2743 Music from the last movement of the Ninth Symphony. Composed by Ludwig van Beethoven. Arranged by Herbert von Karajan. This edition: wind parts. Parts. Duration 2' 15. Schott Music - Digital #Q2743. Published by Schott Music - Digital (S9.Q2743). The European Hymn is the hymn not only of the European Union but of Europe in a broader sense. The melody has been taken from the Ninth Symphony by Ludwig van Beethoven from 1823. In the last movement of this symphony Beethoven set music to the 'Ode to Joy' by Friedrich von Schiller from 1785. This poem sprang from Schiller's idealistic vision of men who become brothers – a vision Beethoven shared with him. In 1972 the Council of Europe adopted Beethoven's 'Ode to Joy' as its anthem. The well-known conductor Herbert von Karajan was commissioned to arrange three instrumental versions – for solo piano, wind orchestra and symphony orchestra. Without words, in the universal language of music, the anthem is an expression of the idealistic values of freedom, peace and solidarity which Europe stands for. In 1985 the heads of state and government adopted the hymn as the EU's official anthem. It does not replace the national anthems of the member states, but rather celebrates common values as well as unity in diversity. The score of this offical anthem is exclusively available from the Schott publishing house.
$22.99
21.23 €
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Ludwig van Beethoven
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The European Anthem
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Schott Music - Digital
#
SheetMusicPlus
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