| Die Brucke von San Luis Rey Schott
Vocal SKU: HL.49004796 Vocal Score. Composed by Hermann Reutter. T...(+)
Vocal SKU:
HL.49004796 Vocal
Score. Composed by
Hermann Reutter. This
edition: Paperback/Soft
Cover. Sheet music.
Edition Schott.
Classical, Opera. Piano
reduction. Composed 1954.
100 pages. Duration 75'.
Schott Music #ED4318.
Published by Schott Music
(HL.49004796). ISBN
9790001050975. UPC:
073999672749.
9.0x12.0x0.321
inches. (grosse
Fassung): 2 * 2 * 2 * 2 -
4 * 2 * 2 * 0 - P. S.
(Trgl. * Beck. * Tamt. *
Tamb. * Ruhrtr. * Holztr.
* gr. Tr. * Kast. * Rute
* Xyl. * Glspl.) (2
Spieler) - Hfe. * Cel. *
Klav. - Str. (reduzierte
Fassung): 1 * 1 * 1 * 1 -
0 * 1 * 1 * 0 - S. (Trgl.
* Beck. * Tamt. * Tamb. *
Ruhrtr. * Holztr. * gr.
Tr. * Kast. * Rute * Xyl.
* Glspl.) (2 Spieler) -
Klav. - Str. (1 * 1 * 1 *
1 * 1)
(grosse
Fassung): 2 * 2 * 2 * 2 -
4 * 2 * 2 * 0 - P. S.
(Trgl. * Beck. * Tamt. *
Tamb. * Ruhrtr. * Holztr.
* gr. Tr. * Kast. * Rute
* Xyl. * Glspl.) (2
Spieler) - Hfe. * Cel. *
Klav. - Str.
(reduzierte Fassung):
1 * 1 * 1 * 1 - 0 * 1 * 1
* 0 - S. (Trgl. * Beck. *
Tamt. * Tamb. * Ruhrtr. *
Holztr. * gr. Tr. * Kast.
* Rute * Xyl. * Glspl.)
(2 Spieler) - Klav. -
Str. (1 * 1 * 1 * 1 *
1). $70.00 - Voir plus => Acheter | | |
| Verbum Caro Carl Fischer
Choral TBB chorus SKU: CF.CM9588 Composed by Tomas Luis de Victoria. Arra...(+)
Choral TBB chorus SKU:
CF.CM9588 Composed by
Tomas Luis de Victoria.
Arranged by Jeb Mueller.
Fold. Performance Score.
8 pages. Duration 1
minute, 59 seconds. Carl
Fischer Music #CM9588.
Published by Carl Fischer
Music (CF.CM9588).
ISBN 9781491154106.
UPC: 680160912605. 6.875
x 10.5 inches. Key: Eb
major. Latin. Traditional
Latin. Tomas Luis
de Victoria (15481611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange
lingua, both
produced in 1581. This
motet is excerpted from
the first of those and
incorporates the original
Roman melody, or cantus
firmus. (He composed his
second Pange
lingua based on a
Spanish melody.) The
baritones anchor the
motet by singing the tune
in augmentation. This
line should be intoned
with a flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victorias time. It should
be noted that dynamics
are largely subjective,
so performers may make
alternative choices. Each
tenuto indicates
word stress; the most
musical performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is o, which sounds
similar to the English
words bought and got. The
letter t should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of s should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum,
[v??bum k??? p?n?m v?rum]
verbo carnem efficit:
fitque sanguis Christi
merum. [v??b? k??n?m
??fit?it fitkw? s??gwis
k?isti m??um] Et si
sensus deficit, ad
firmandum cor sin cerum.
[?t si s?nsus ?d?fit?it,
?d fi??m?ndum k?? sin
t???um] Jeb
Mueller. TomA!s Luis
de Victoria (1548a1611)
is widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange
lingua, both
produced in 1581. This
motet is excerpted from
the first of those and
incorporates the original
Roman melody, or cantus
firmus. (He composed his
second Pange
lingua based on a
Spanish melody.) The
baritones anchor the
motet by singing the tune
in augmentation. This
line should be intoned
with a flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoriaas time. It
should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each
tenuto indicates
word stress; the most
musical performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is ao,a which
sounds similar to the
English words bought and
got. The letter ata
should be produced
dentally: lift the tongue
to the top of the mouth
as in English, but
aspirate less on the
release. All occurrences
of asa should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum, [vEE
3/4 bum kEE 3/4 E pEnEm
vErum] verbo carnem
efficit: fitque sanguis
Christi merum. [vEE 3/4
bE kEE 3/4 nEm EEfitEit
fitkwE sEAgwis kE 3/4
isti mEE 3/4 um] Et si
sensus deficit, ad
firmandum cor sin cerum.
[Et si sEnsus EdEfitEit,
Ed fiE 3/4 EmEndum kEE
3/4 sin tEEE 3/4 um] Jeb
Mueller. Tomas Luis de
Victoria (1548-1611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange
lingua, both
produced in 1581. This
motet is excerpted from
the first of those and
incorporates the original
Roman melody, or cantus
firmus. (He composed his
second Pange
lingua based on a
Spanish melody.) The
baritones anchor the
motet by singing the tune
in augmentation. This
line should be intoned
with a flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoria's time. It
should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each
tenuto indicates
word stress; the most
musical performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is o, which sounds
similar to the English
words bought and got. The
letter t should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of s should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum,
[verbum karo panem verum]
verbo carnem efficit:
fitque sanguis Christi
merum. [verbo karnem
'efitSit fitkwe saNGgwis
kristi merum] Et si
sensus deficit, ad
firmandum cor sin cerum.
[et si sensus 'defitSit,
ad fir'mandum kor sin
tSerum] Jeb
Mueller. Tomas Luis de
Victoria (1548-1611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange lingua, both
produced in 1581. This
motet is excerpted from
the first of those and
incorporates the original
Roman melody, or cantus
firmus. (He composed his
second Pange lingua based
on a Spanish melody.) The
baritones anchor the
motet by singing the tune
in augmentation. This
line should be intoned
with a flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoria's time. It
should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each tenuto
indicates word stress;
the most musical
performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is o, which sounds
similar to the English
words bought and got. The
letter t should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of s should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum,
[verbum karo panem verum]
verbo carnem efficit:
fitque sanguis Christi
merum. [verbo karnem
'efitSit fitkwe saNGgwis
kristi merum] Et si
sensus deficit, ad
firmandum cor sin cerum.
[et si sensus 'defitSit,
ad fir'mandum kor sin
tSerum] Jeb
Mueller. Tomas Luis de
Victoria (1548-1611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange lingua, both
produced in 1581. This
motet is excerpted from
Pange lingua more
hisapano. The baritones
anchor the motet by
singing the tune in
augmentation. This line
should be intoned with a
flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance. Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoria's time. It
should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each tenuto
indicates word stress;
the most musical
performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and clarity.
PRONUNCIATION GUIDE
Victoria received much of
his training in Italy,
therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is o, which sounds
similar to the English
words bought and got. The
letter t should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of s should be soft and
never hardened to [z],
such as in praise. Verbum
caro, panem verum,
[verbum karo panem verum]
verbo carnem efficit:
fitque sanguis Christi
merum. [verbo karnem
'efitSit fitkwe saNGgwis
kristi merum] Et si
sensus deficit, ad
firmandum cor sin cerum.
[et si sensus 'defitSit,
ad fir'mandum kor sin
tSerum] Jeb
Mueller. Tomás Luis
de Victoria
(1548–1611) is
widely considered the
greatest Spanish
Renaissance composer and
one of the most
influential musicians of
his time. Included in his
oeuvre are two settings
of the Pange lingua, both
produced in 1581. This
motet is excerpted from
Pange lingua more
hisapano.The baritones
anchor the motet by
singing the tune in
augmentation. This line
should be intoned with a
flowing, legato
articulation that
incorporates subtle
phrasing and text
stresses. The more
rhythmic tenor and bass
lines complement the
melody and illustrate the
hopeful nature of its
text. Singing this piece
with two pulses per
measure will encourage a
steady and vital
performance.Composers
provided minimal
performance details in
their scores during this
period in music history,
so I added a time
signature, bar lines,
dynamics, and metronome
markings in order to
facilitate performances
that musicologists
believe mimic those of
Victoria’s time.
It should be noted that
dynamics are largely
subjective, so performers
may make alternative
choices. Each tenuto
indicates word stress;
the most musical
performances will
incorporate gentle
crescendos and
decrescendos before and
after each of them.
Lastly, using minimal
vibrato, especially at
cadences, will imbue this
wonderful motet with
style and
clarity.PRONUNCIATION
GUIDEVictoria received
much of his training in
Italy, therefore making
Italianate Latin most
appropriate. Pure vowels
are critical to correct
pronunciation, and those
phonemes remain constant
without exceptions. The
most problematic of the
vowels is
“o,†which
sounds similar to the
English words bought and
got. The letter
“t†should be
produced dentally: lift
the tongue to the top of
the mouth as in English,
but aspirate less on the
release. All occurrences
of “s†should
be soft and never
hardened to [z], such as
in praise.Verbum caro,
panem
verum,[vɛɾbum
kɑɾɔ
pɑnɛm
vɛrum]verbo carnem
efficit: fitque sanguis
Christi
merum.[vɛɾbɔ
kɑɾnɛm
ˈɛfitʃit
fitkwÉ›
sɑŋgwis kɾisti
mɛɾum]Et si sensus
deficit, ad firmandum cor
sin cerum.[ɛt si
sɛnsus
ˈdɛfitʃit,
É‘d
fiɾˈmɑndum
kɔɾ sin
tʃɛɾum]Jeb
Mueller. $2.25 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Bucher P Fridolins Musik Adventskal [Partition + CD] Schott
(BUCH+CD) SKU: HL.49033159 24 Lieder, Geschichten und Fensterbilder zu...(+)
(BUCH+CD) SKU:
HL.49033159 24
Lieder, Geschichten und
Fensterbilder zur
Weihnachtszeit.
Composed by Bucher. This
edition: Hardback/Hard
Cover. Book with CD.
Edition Schott. Der erste
musikalische
Adventskalender zum
Lesen, Anschauen, Singen
und Mitsingen! Edition
with CD. 58 pages. Schott
Music #ED 9549. Published
by Schott Music
(HL.49033159). ISBN
9783795704797. German.
Petra
Paffenholz. Dieser
musikalische
Adventskalender begleitet
Sie durch die schonste
Zeit des Jahres: An jedem
der 24 Tage des Advents
erlebt Sophie mit ihrem
Freund Fridolin - dem
sprechenden Grammophon -
ein Abenteuer. Jedes Mal
steht ein Advents- oder
Weihnachtslied im
Mittelpunkt der
Geschichte. Alle diese
Lieder sind im Buch
abgedruckt. Die
beigefugte CD enthalt die
Lieder mit Gesang und als
Instrumentalplayback zum
Mitsingen.Das ist aber
noch nicht alles: Das
Buch beinhaltet 24
Folienbilder zum
Herausnehmen und
Ans-Fenster-kleben. So
entsteht im Laufe des
Dezembers ein
wunderschones Fensterbild
mit vielen Abenteuern von
Sophie und Fridolin.
>>Ein toller Kalender<<
Federmappe.de. $27.95 - Voir plus => Acheter | | |
| Maria Luisa Ricordi
SKU: BT.ERBA-1673 Composed by P. Barabino. Book Only. Ricordi #ERBA 1673....(+)
SKU: BT.ERBA-1673
Composed by P. Barabino.
Book Only. Ricordi #ERBA
1673. Published by
Ricordi (BT.ERBA-1673).
$6.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Un siecle de chansons francaises 1879-1919 [Conducteur] Lemoine, Henry
| | |
| Cups (When I'm Gone) Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Hal Leonard
By Anna Kendrick. By A.P. Carter, Heloise Tunstall-Behrens, and Luisa Gerstein. ...(+)
By Anna Kendrick. By A.P.
Carter, Heloise
Tunstall-Behrens, and
Luisa Gerstein. Arranged
by Johnnie Vinson. For
Concert Band (Score and
Parts). Discovery Plus
Concert Band. Grade 2.
Published by Hal Leonard
$55.00 $52.25 (- 5%) Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Romantischer Liederschatz - Intermédiaire Hofmeister Musikverlag
Voice, piano - Level 3 SKU: HF.FH-3858 Edited by Nawroth. Sheet music. Fr...(+)
Voice, piano - Level 3
SKU: HF.FH-3858
Edited by Nawroth. Sheet
music. Friedrich
Hofmeister Musikverlag
#FH 3858. Published by
Friedrich Hofmeister
Musikverlag (HF.FH-3858).
ISBN 9790203438588.
8.3 x 11.7
inches. 1. Voglein
im hohen Baum (Wilhelm
Hey/Friedrich Silcher);
2. Rundgesang im Freien
(Elisa von der Recke/Carl
Loewe); 3. Maienblumlein
(August Eckschlager/Carl
Maria von Weber); 4.
Einkehr (Ludwig
Uhland/Conradin Kreuzer);
5. Erdbeerliedchen (Carl
Loewe); 6. Herbstlied
(Siegfried August
Mahlmann/Heinrich August
Matthai); 7.
Carmosenella, op. 17 (P.
Heyse/Max Bruch); 8.
Lieder der Freude, op. 25
Nr. 5 (E. Gross/Louis
Spohr); 9. Reiten lassen
(Karl Heinrich Wilhelm
Wackernagel/Otto
Nikolai); 10. Der kleine
Weihnachtsmann (A.
Bohme/Hermann Mohr); 11.
Ein Rappchen zum Reiten,
op. 37 Nr. 4 (Carl
Reinecke); 12. Drei
Wochen nach Weihnachten
(Rudolf Lowenstein/Carl
Reinecke); 13. Gebet zur
Nacht, op. 37, Nr. 3
(Luise Hensel/Carl
Reinecke). $25.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
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