O Wisdom Sheet Music to download and print

O Wisdom

Choral Choir (SATB) - Digital Download SKU: A0.873041 Composed by Sally Whitwell. 20th Century,A Cappella,Contemporary. Octavo. 10 pages. Sally Whitwell #4765201. Published by Sally Whitwell (A0.873041). My family were early adopters on Compact Disc technology. Whilst my school peers in the late 80s and early 90s were collecting tapes for their VHS video recorders, my family were collecting hi-fidelity CD recordings of classical masterworks. Three of these CDs stick in my mind; a period instrument performance of Vivaldiâ€™s Four Seasons performed by Trevor Pinnock and The English Concert; a recording of the 1812 overture which boasted Real Cannons (and also warned listeners against setting the volume too high because it might damage the equipment!); and A feather on the breath of God, an album of works by Hildegard performed by Gothic Voices with soloist Emma Kirkby. Thus began my life long love affair with the life and works of Hildegard. I have been performing this particular Hildegard chant O Virtus Sapientiae in solo piano recitals since around 2014. Basically, I have been freely improvising on it, so itâ€™s different each time. Some ideas formed during those improvisations which have really stuck in my brain. Iâ€™ve transferred some of these into this a cappella work. In una via, quae habet vitam â€ƒ(In one path, which gives life) O Strength of Wisdom Who circling circled, enclosing all Growing from the earth Soaring in the heights One life-giving path Of omnipresent light Laus tibi sit, sicut te decet O Sapientiae â€ƒ(Praise to you, as is fitting, â€ƒO Wisdom)

#O Wisdom

Choral Choir (SSA) - Digital Download SKU: A0.873040 Composed by Sally Whitwell. 20th Century,A Cappella,Contemporary. Octavo. 10 pages. Sally Whitwell #4765189. Published by Sally Whitwell (A0.873040). My family were early adopters on Compact Disc technology. Whilst my school peers in the late 80s and early 90s were collecting tapes for their VHS video recorders, my family were collecting hi-fidelity CD recordings of classical masterworks. Three of these CDs stick in my mind; a period instrument performance of Vivaldiâ€™s Four Seasons performed by Trevor Pinnock and The English Concert; a recording of the 1812 overture which boasted Real Cannons (and also warned listeners against setting the volume too high because it might damage the equipment!); and A feather on the breath of God, an album of works by Hildegard performed by Gothic Voices with soloist Emma Kirkby. Thus began my life long love affair with the life and works of Hildegard. I have been performing this particular Hildegard chant O Virtus Sapientiae in solo piano recitals since around 2014. Basically, I have been freely improvising on it, so itâ€™s different each time. Some ideas formed during those improvisations which have really stuck in my brain. Iâ€™ve transferred some of these into this a cappella work. Sally Whitwell In una via, quae habet vitamâ€ƒ(In one path, which gives life) O Strength of Wisdom Who circling circled, enclosing all Growing from the earth Soaring in the heights One life-giving path Of omnipresent light Laus tibi sit, sicut te decet O Sapientiae â€ƒ(Praise to you, as is fitting, â€ƒO Wisdom)

O virtus Sapientiæ (Downloadable) Choral SSAA

SSAA/SSAA a cappella - Medium - Digital Download SKU: MQ.7913-E Composed by Alice P…(+)

SSAA/SSAA a cappella - Medium - Digital Download SKU: MQ.7913-E Composed by Alice Parker and Hildegard Von Bingen. Instrument part. 11 pages. E. C. Schirmer Music Company - Digital #7913-E. Published by E. C. Schirmer Music Company - Digital (MQ.7913-E). Latin.O strength of Wisdom,which circles the spherescomprehending everythingin the one way which holds life,having three wings, of which one rushes to the heights and another drips with sweat from the earth, and the third flies from all sides. Praise be to you as it is fitting to you, O Wisdom.Recording Credits:This performance was given by the Smith College Glee Club under the direction of Jonathan Hirsh, on November 6, 2009, in the Battell Chapel at Yale University, as part of their participation in the National Collegiate Choral Organization's National Conference. The recording engineer was Mateusz Zechowski with Studioteo Recording Services. Permission to used this track was kindly given by Katie Lipow.
$2.65 2.43 € #Choral SSAA #Alice Parker and Hildegard Von Bingen #O virtus Sapientiæ #E. C. Schirmer Music Company - Digital #SheetMusicPlus

The Great O Antiphons Choral SATB

Choral Choir (SATB divisi) - Level 5 - Digital Download SKU: A0.1255171 Composed by…(+)

Choral Choir (SATB divisi) - Level 5 - Digital Download SKU: A0.1255171 Composed by Nicholas White. 21st Century,A Cappella,Advent,Sacred,Traditional. Octavo. 36 pages. Nicholas White Music #848736. Published by Nicholas White Music (A0.1255171). A setting of the seven Great O Antiphons for unaccompanied choir. Suitable for the Advent season of general concert use.â€‹Dec. 17, Oâ€™ Sapientia (meaning O Wisdom), from Isaiah 11:2-3.Â Dec. 18, Oâ€™ Adonai (O Lord or Ruler), 11:4-5 and 33:22.Â Dec. 19, Oâ€™ Radix (O Root of Jesse), 11:1.Â Dec. 20, Oâ€™ Clavis (O Key of David), 22:22.Â Dec. 21, Oâ€™ Oriens (O Radiant Dawn), 9:1.Â Dec. 22, Oâ€™ Rex Gentium (O King of the Nations), 2:4.Â Dec. 23, Oâ€™ Emmanuel (O God with Us), 7:14.
$7.00 6.42 € #Choral SATB #Nicholas White #The Great O Antiphons #Nicholas White Music #SheetMusicPlus

Advent Reflections (Downloadable Piano/Choral Score) Choral SATB

SATB choir (choir divisi) and harp or piano - Medium - Digital Download SKU: MQ.8490-E(+)

SATB choir (choir divisi) and harp or piano - Medium - Digital Download SKU: MQ.8490-E Composed by Joseph Gregorio. Advent. 16 pages. E. C. Schirmer Music Company - Digital #8490-E. Published by E. C. Schirmer Music Company - Digital (MQ.8490-E). English. Isaiah 61.A triptych of pieces for harp or piano and SATB chorus divisi, using texts by poet Christine Schenk. Here her version of the O Antiphons provides a means of contemporary reflection on those ancient texts. The three short movements are untitled but the texts begin 1. O Wisdom, 2. I wait with quickened hope for crooked paths to straighten, and 3. You who make wastelands bloom. The music is masterful, at times introspective and gentle, at times sweeping and dramatic. A jewel for an accomplished ensemble. Duration: 9:00
$2.85 2.61 € #Choral SATB #Joseph Gregorio #Advent Reflections #E. C. Schirmer Music Company - Digital #SheetMusicPlus

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... Â· Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin â€¢ German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of â€œletting goâ€. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: â€œI will return the key of my doorâ€. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though â€œin an oceanâ€ of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: â€œSo teach us to number our days, that we may apply our hearts unto wisdomâ€. This cannot be expressed more plainly.I have begun the requiem with a solo boyâ€™s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent â€œlux aeternaâ€. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: â€œEntreiÃŸ dich, Seele, nun der Zeit, entreiÃŸ dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgenâ€ [â€œTear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ€] and later: â€œUnd die Seele unbewacht will in freien FlÃ¼gen schweben, um im Zauberkreis der Nacht tief und tausendfach zu lebenâ€ [â€œAnd the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: â€œUnd meine Seele spannte weit ihre FlÃ¼gel aus. Flog durch die stillen Lande, als flÃ¶ge sie nach Hausâ€ [â€œAnd my soul spread its wings wide. Flew through the still country as if homeward bound.â€]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethovenâ€™s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my â€œrenewedâ€ occupation with the â€œoldâ€ country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a â€œhomecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) Â· 2 (2. auch Engl. Hr.) Â· 1 (auch Bassklar.) Â· 0 - 2 Â· Flhr. Â· 0 Â· 0 - P. S. (Glsp. Â· RÃ¶hrengl. Â· Gongs Â· Trgl. Â· Beck. Â· Tamt. Â· 2 Holzschlitztr. (oder Woodbl.) Â· Woodbl. Â· gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 Â· 4 Â· 4 Â· 4 Â· 2).