 | Praetorius, Michael - "Magnificat per omnes versus super ut re mi fa sol la" for Wind Sextet Sextuor à vent. |
VoirPDF : "Magnificat per omnes versus super ut re mi fa sol la" for Wind Sextet (66 pages - 1.24 Mo)126x⬇ VoirPDF : Bass Clarinette (138.13 Ko) VoirPDF : Basson (120.59 Ko) VoirPDF : Bb Clarinette (147.99 Ko) VoirPDF : Flûte (137.31 Ko) VoirPDF : French Cor (144.61 Ko) VoirPDF : Hautbois (141.25 Ko) VoirPDF : Conducteur complet (768.1 Ko) MP3 : "Magnificat per omnes versus super ut re mi fa sol la" for Wind Sextet 25x⬇ 247x
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| Compositeur : | Praetorius, Michael (1571 - 1621) | ||
| Instrumentation : | Sextuor à vent. | ||
| Genre : | Renaissance | ||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Date : | 1611 | ||
| Droit d'auteur : | Public Domain | ||
| Ajoutée par magataganm, 31 Déc 2019 Michael Praetorius (c. 1571 – 1621) was a German composer, organist, and music theorist. He was one of the most versatile composers of his age, being particularly significant in the development of musical forms based on Protestant hymns, many of which reflect an effort to improve the relationship between Protestants and Catholics. He was born Michael Schultze, Schultheis, or Schultz, the youngest son of a Lutheran pastor, in Creuzburg, in present-day Thuringia. After attending school in Torgau and Zerbst, he studied divinity and philosophy at the University of Frankfurt (Oder). He was fluent in a number of languages. After receiving his musical education, from 1587 he served as organist at the Marienkirche in Frankfurt. From 1592/3 he served at the court in Wolfenbüttel, under the employ of Henry Julius, Duke of Brunswick-Lüneburg. He served in the duke's State Orchestra, first as organist and later (from 1604) as Kapellmeister. His first compositions appeared around 1602/3. Their publication primarily reflects the care for music at the court of Gröningen. The motets of this collection were the first in Germany to make use of the new Italian performance practices; as a result, they established him as a proficient composer. Praetorius was a prolific composer; his compositions show the influence of Italian composers and his younger contemporary Heinrich Schütz. His works include the nine volume Musae Sioniae (1605–10), a collection of more than twelve hundred (ca. 1244) chorale and song arrangements; volume eleven of twenty is called Missodia Sionia and contains sacred music in Latin for church services for two to eight voices. He wrote many other works for the Lutheran church; and Terpsichore, a compendium of more than 300 instrumental dances, which is both his most widely known work, and his sole surviving secular work. Many of Praetorius' choral compositions were scored for several mini-choirs situated in several locations in the church for multi-phonic effect. Praetorius composed the familiar harmonization of Es ist ein Ros entsprungen (Lo, How a Rose E'er Blooming) in 1609. The six-part Magnificat per omnes versus super ut re mi fa sol la opens the door to the soaring counterpoint of Praetorius’ sacred choral music. Praetorius often divided his singers into smaller groupings, placed around the church for a multi-phonic effect. Source: Wikipedia (https://en.wikipedia.org/wiki/Michael_Praetorius). Although originally composed for Chorus (SSATTB), I created this interpretation of the "Magnificat per omnes versus super ut re mi fa sol la" for Wind Sextet (Flute, Oboe, Bb Clarinet, Bass Clarinet, French Horn & Bassoon). | |||
