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Vous avez sélectionné:
Liturgical Latin Text
Partitions à imprimer
53 partitions trouvées
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1
26
51
Adoramus Te
Adoramus Te
#
Chorale SATB
#
Liturgical Latin Text
#
Robert T
#
Contest
#
Adoramus Te
#
Hal Leonard - Digital Sheet Music
#
SheetMusicPlus
By Liturgical Latin Text. Arranged by Robert T. Townsend. SATB. Concert; Contest; Sacred. Choral. 5 pages. Duration 2:23. Published by Hal Leonard - Digital She...
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By Liturgical Latin Text. Arranged by Robert T. Townsend. SATB. Concert; Contest; Sacred. Choral. 5 pages. Duration 2:23. Published by Hal Leonard - Digital Sheet Music
$1.80 ≈
1.66€
Liturgical Latin Text: Ave Maria for choir and piano (SATB)
#
Chorale SATB
#
INTERMÉDIAIRE
#
Liturgical Latin Text
#
Virtualsheetmusic
Instantly downloadable sheet music by Liturgical Latin Text for choir and piano (SATB) of MEDIUM skill level.
Instantly downloadable sheet music by Liturgical Latin Text for choir and piano (SATB) of MEDIUM skill level.
$2.99 ≈
2.76€
REQUIEM for solo voices, chorus, and organ
REQUIEM for solo voices, chorus, and organ
#
Chorale SATB
#
Musique Sacrée
#
David B
#
REQUIEM for solo voices, choru
#
David B Phillips
#
SheetMusicPlus
Choral Choir (SATB) - SKU: A0.985350 Composed by David B. Phillips. 20th Century,Christian,Easter,Sacred. Octavo. 89 pages. David B Phillips #5990101. P...
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Choral Choir (SATB) - SKU: A0.985350 Composed by David B. Phillips. 20th Century,Christian,Easter,Sacred. Octavo. 89 pages. David B Phillips #5990101. Published by David B Phillips (A0.985350). A Requiem, following the standard text, can be comforting or frightening. I have selected texts from the standard liturgical text that offer comfort and rest. The melodies are memorable, the harmonies interesting, soloists and chorus used effectively.The text is Latin only but the volume includes that English translation at the end. Although not set to music, the work also includes passages from the King James Version of the Bible that enlighten portions of the Latin text.
$14.00 ≈
12.92€
Gloria in excelsis Deo
Gloria in excelsis Deo
#
Chorale SATB
#
INTERMÉDIAIRE/AVANCÉ
#
Helen MacKinnon
#
Gloria in excelsis Deo
#
Helen MacKinnon
#
SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.1021449 Composed by Helen MacKinnon. A Cappella,Contemporary,Sacred. Octavo. 9 pages. Helen MacKinnon #6011107. ...
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Choral Choir (SATB) - Level 4 - SKU: A0.1021449 Composed by Helen MacKinnon. A Cappella,Contemporary,Sacred. Octavo. 9 pages. Helen MacKinnon #6011107. Published by Helen MacKinnon (A0.1021449). SATB choir, a cappellaComposed by Helen MacKinnon. Sheet music. A4. 9 pages. Duration 5'. Published by Helen MacKinnon, 2015. For SATB choir. Gloria in excelsis Deo combines rich polyphonic textures and contrasting moods to create a powerful contemporary setting of the Gloria using the traditional Latin text. The colourful work can be sung as part of a liturgical service or in concerts featuring contemporary sacred repertoire. The work was awarded in the Florence International Choir Festival, 2nd International Competition of Choral Composition 2015 'Ennio Morricone' and forms part of MacKinnon's full Mass for the Spirit. A Youtube excerpt can be heard from 2:12 - 3:15. www.helenmackinnon.co.uk @composerhelen .
$3.00 ≈
2.77€
The Hildegard Motets: 8. O speculum columbe (Downloadable)
The Hildegard Motets: 8. O speculum columbe (Downloadable)
#
Chorale TTBB
#
Frank Ferko
#
The Hildegard Motets: 8. O spe
#
E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
TTBB choir (a cappella) - SKU: MQ.4995-E Composed by Frank Ferko. 12 pages. E. C. Schirmer Music Company - Digital #4995-E. Published by E. C. Schirmer ...
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TTBB choir (a cappella) - SKU: MQ.4995-E Composed by Frank Ferko. 12 pages. E. C. Schirmer Music Company - Digital #4995-E. Published by E. C. Schirmer Music Company - Digital (MQ.4995-E). The Hildegard Motets comprise a cycle of nine unaccompanied choral motets using texts by the 12th century abbess Hildegard von Bingen (1098-1179). The texts were extracted from Hildegard's opus of more than seventy sacred poems titled Symphinia armonie celestium revelationum. Although these poems have been translated into English (more than once) and some of the translations are quite brilliant, I chose to set the original Latin texts as I felt they remained closer to Hildegard's own thoughts. The nine poems used in this cycle were selected according to their appropriateness to seasons in the Christian liturgical caldendar (thus, most of them can be sung in specific liturgical settings) and to their appropriateness to the structured plan of this cycle as well as for their sheer poetic beauty. Hildegard's poetic vocabulary was unusual and unique; she frequently used language that is not found in standard Latin liturgical texts. As with the music she composed, her poetry is highly ecstatic, vivid and rich in imagery.
$2.65 ≈
2.44€
The Hildegard Motets: 2. O splendidissima gemma (Downloadable)
The Hildegard Motets: 2. O splendidissima gemma (Downloadable)
#
Chorale SATB
#
Frank Ferko
#
The Hildegard Motets: 2. O spl
#
E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
SATB Choir divisi - SKU: MQ.4989-E Composed by Frank Ferko. Advent. 11 pages. E. C. Schirmer Music Company - Digital #4989-E. Published by E. C. Schirme...
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SATB Choir divisi - SKU: MQ.4989-E Composed by Frank Ferko. Advent. 11 pages. E. C. Schirmer Music Company - Digital #4989-E. Published by E. C. Schirmer Music Company - Digital (MQ.4989-E). The Hildegard Motets comprise a cycle of nine unaccompanied choral motets using texts by the 12th century abbess Hildegard von Bingen (1098-1179). The texts were extracted from Hildegard's opus of more than seventy sacred poems titled Symphinia armonie celestium revelationum. Although these poems have been translated into English (more than once) and some of the translations are quite brilliant, I chose to set the original Latin texts as I felt they remained closer to Hildegard's own thoughts. The nine poems used in this cycle were selected according to their appropriateness to seasons in the Christian liturgical caldendar (thus, most of them can be sung in specific liturgical settings) and to their appropriateness to the structured plan of this cycle as well as for their sheer poetic beauty. Hildegard's poetic vocabulary was unusual and unique; she frequently used language that is not found in standard Latin liturgical texts. As with the music she composed, her poetry is highly ecstatic, vivid and rich in imagery.
$2.65 ≈
2.44€
The Hildegard Motets: 3. Hodie aperuit (Downloadable)
The Hildegard Motets: 3. Hodie aperuit (Downloadable)
#
Chorale SATB
#
Noël
#
Frank Ferko
#
The Hildegard Motets: 3. Hodie
#
E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
SATB Choir divisi - SKU: MQ.4990-E Composed by Frank Ferko. Christmas. 9 pages. E. C. Schirmer Music Company - Digital #4990-E. Published by E. C. Schir...
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SATB Choir divisi - SKU: MQ.4990-E Composed by Frank Ferko. Christmas. 9 pages. E. C. Schirmer Music Company - Digital #4990-E. Published by E. C. Schirmer Music Company - Digital (MQ.4990-E). The Hildegard Motets comprise a cycle of nine unaccompanied choral motets using texts by the 12th century abbess Hildegard von Bingen (1098-1179). The texts were extracted from Hildegard's opus of more than seventy sacred poems titled Symphinia armonie celestium revelationum. Although these poems have been translated into English (more than once) and some of the translations are quite brilliant, I chose to set the original Latin texts as I felt they remained closer to Hildegard's own thoughts. The nine poems used in this cycle were selected according to their appropriateness to seasons in the Christian liturgical caldendar (thus, most of them can be sung in specific liturgical settings) and to their appropriateness to the structured plan of this cycle as well as for their sheer poetic beauty. Hildegard's poetic vocabulary was unusual and unique; she frequently used language that is not found in standard Latin liturgical texts. As with the music she composed, her poetry is highly ecstatic, vivid and rich in imagery.
$2.65 ≈
2.44€
The Hildegard Motets: 7. O vos angeli (Downloadable)
The Hildegard Motets: 7. O vos angeli (Downloadable)
#
Chorale SATB
#
Frank Ferko
#
The Hildegard Motets: 7. O vos
#
E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
SATB choir - SKU: MQ.4994-E Composed by Frank Ferko. 10 pages. E. C. Schirmer Music Company - Digital #4994-E. Published by E. C. Schirmer Music Company...
(+)
SATB choir - SKU: MQ.4994-E Composed by Frank Ferko. 10 pages. E. C. Schirmer Music Company - Digital #4994-E. Published by E. C. Schirmer Music Company - Digital (MQ.4994-E). The Hildegard Motets comprise a cycle of nine unaccompanied choral motets using texts by the 12th century abbess Hildegard von Bingen (1098-1179). The texts were extracted from Hildegard's opus of more than seventy sacred poems titled Symphinia armonie celestium revelationum. Although these poems have been translated into English (more than once) and some of the translations are quite brilliant, I chose to set the original Latin texts as I felt they remained closer to Hildegard's own thoughts. The nine poems used in this cycle were selected according to their appropriateness to seasons in the Christian liturgical caldendar (thus, most of them can be sung in specific liturgical settings) and to their appropriateness to the structured plan of this cycle as well as for their sheer poetic beauty. Hildegard's poetic vocabulary was unusual and unique; she frequently used language that is not found in standard Latin liturgical texts. As with the music she composed, her poetry is highly ecstatic, vivid and rich in imagery.
$2.65 ≈
2.44€
The Hildegard Motets: 9. Nunc gaudeant (Downloadable)
The Hildegard Motets: 9. Nunc gaudeant (Downloadable)
#
Chorale SATB
#
Frank Ferko
#
The Hildegard Motets: 9. Nunc
#
E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
SATB Choir divisi - SKU: MQ.4996-E Composed by Frank Ferko. Easter, Building Dedication. 10 pages. E. C. Schirmer Music Company - Digital #4996-E. Publi...
(+)
SATB Choir divisi - SKU: MQ.4996-E Composed by Frank Ferko. Easter, Building Dedication. 10 pages. E. C. Schirmer Music Company - Digital #4996-E. Published by E. C. Schirmer Music Company - Digital (MQ.4996-E). The Hildegard Motets comprise a cycle of nine unaccompanied choral motets using texts by the 12th century abbess Hildegard von Bingen (1098-1179). The texts were extracted from Hildegard's opus of more than seventy sacred poems titled Symphinia armonie celestium revelationum. Although these poems have been translated into English (more than once) and some of the translations are quite brilliant, I chose to set the original Latin texts as I felt they remained closer to Hildegard's own thoughts. The nine poems used in this cycle were selected according to their appropriateness to seasons in the Christian liturgical caldendar (thus, most of them can be sung in specific liturgical settings) and to their appropriateness to the structured plan of this cycle as well as for their sheer poetic beauty. Hildegard's poetic vocabulary was unusual and unique; she frequently used language that is not found in standard Latin liturgical texts. As with the music she composed, her poetry is highly ecstatic, vivid and rich in imagery.
$2.65 ≈
2.44€
The Hildegard Motets: 4. O factura Dei (Downloadable)
The Hildegard Motets: 4. O factura Dei (Downloadable)
#
Chorale SATB
#
Frank Ferko
#
The Hildegard Motets: 4. O fac
#
E. C. Schirmer Music Company - Digital
#
SheetMusicPlus
SATB choir - SKU: MQ.4991-E Composed by Frank Ferko. Epiphany. 7 pages. E. C. Schirmer Music Company - Digital #4991-E. Published by E. C. Schirmer Musi...
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SATB choir - SKU: MQ.4991-E Composed by Frank Ferko. Epiphany. 7 pages. E. C. Schirmer Music Company - Digital #4991-E. Published by E. C. Schirmer Music Company - Digital (MQ.4991-E). The Hildegard Motets comprise a cycle of nine unaccompanied choral motets using texts by the 12th century abbess Hildegard von Bingen (1098-1179). The texts were extracted from Hildegard's opus of more than seventy sacred poems titled Symphinia armonie celestium revelationum. Although these poems have been translated into English (more than once) and some of the translations are quite brilliant, I chose to set the original Latin texts as I felt they remained closer to Hildegard's own thoughts. The nine poems used in this cycle were selected according to their appropriateness to seasons in the Christian liturgical caldendar (thus, most of them can be sung in specific liturgical settings) and to their appropriateness to the structured plan of this cycle as well as for their sheer poetic beauty. Hildegard's poetic vocabulary was unusual and unique; she frequently used language that is not found in standard Latin liturgical texts. As with the music she composed, her poetry is highly ecstatic, vivid and rich in imagery.
$2.25 ≈
2.08€
O Salutaris Hostia
O Salutaris Hostia
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Chorale SATB
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INTERMÉDIAIRE
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Nicholas White
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O Salutaris Hostia
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Nicholas White Music
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - SKU: A0.1255178 Composed by Nicholas White. 21st Century,Classical,Sacred,Traditional. Octavo. 8 pages. Nicholas White M...
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Choral Choir (SATB) - Level 3 - SKU: A0.1255178 Composed by Nicholas White. 21st Century,Classical,Sacred,Traditional. Octavo. 8 pages. Nicholas White Music #848743. Published by Nicholas White Music (A0.1255178). In his O Salutaris, Nicholas White provides us a very expressive and beautiful Eucharistic motet. This traditional Latin text has been set for SATB choir and organ. The text of the O Salutaris Hostia is taken from the last two verses of Verbum Supernum, one of the five Eucharistic Hymns written by St. Thomas Aquinas (1225-1274) at the request of Pope Urban IV (1261-1264) when the Pope first instituted the Feast of Corpus Christi in 1264. This beautiful text is most frequently sung in its liturgical contact at Exposition and Benediction of the Blessed Sacrament or as a Eucharistic motet at Mass. O Salutaris Hostia Quae caeli pandis ostium. Bella premunt hostilia; Da robur, fer auxilium. O Saving Victim opening wide The gate of heaven to all below. Our foes press on from every side; Thine aid supply, Thy strength bestow.Uni trinoque Domino Sit sempiterna gloria: Qui vitam sine termino, Nobis donet in patria. Amen. To Thy great name be endless praise Immortal Godhead, One in Three; Oh, grant us endless length of days, In our true native land with Thee. Amen.This motet is dedicated to the St. Cecilia Choir of Chicago's historic St. John Cantius Church. The composer, Nicholas White, directed the premiere of his new motet, O Salutaris, on Sunday, June 10, 2018 at the Latin High Mass at St. John Cantius Church.
$2.00 ≈
1.85€
Gaudete for SATB choir
Gaudete for SATB choir
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Chorale SATB
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FACILE
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Musique Sacrée
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Anonymous
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Mark Reeves
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Gaudete for SATB choir
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Mark Reeves
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SheetMusicPlus
Choral Choir (SATB) - Level 2 - SKU: A0.748682 Composed by Anonymous. Arranged by Mark Reeves. A Cappella,Christmas,Classical,Latin,Praise & Worship,Sac...
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Choral Choir (SATB) - Level 2 - SKU: A0.748682 Composed by Anonymous. Arranged by Mark Reeves. A Cappella,Christmas,Classical,Latin,Praise & Worship,Sacred. Octavo. 9 pages. Mark Reeves #3638835. Published by Mark Reeves (A0.748682). Gaudete for SATB choir and pianoThis Christmas Carol first appeared in print in a Finnish publication of 1582 entitled Piæ Cantiones Ecclesiasticæ et Scholasticæ Veterum Episcoporum. The æolian modal polyphony and Medieval Latin text suggest a much earlier date of composition originating from central Europe; the plainsong melody of the verses is derived from liturgical sources of the same period and was not included in the original document.This new arrangement of Gaudete is based closely on the original music and text. However, the original key of G minor has been transposed to D minor to create more variety in the voicing, yet remaining faithful to the original vocal parts.The piano accompaniment in the refrain is simply an amalgamation of the voices and therefore, in order to create a pure a cappella sound in performance, the piano part may be omitted and used solely for rehearsal purposes. As the verses were originally sung unaccompanied, the piano part in this arrangement has been devised to compliment the plainsong melody, but of course may be omitted in performance if preferred.Originally, each verse would probably have been sung by a solo tenor voice. However, in this arrangement, each of the four verses has been allocated to a different soloist. This should create the effect of a gradual build-up in the intensity of sound, culminating in the final fortissimo refrain.About the ArrangerMark Reeves is a professional pianist, piano teacher and music arranger, with many years of experience. More of his arrangements for piano, choir and other instruments can be downloaded here: https://www.sheetmusicplus.com/publishers/mark-reeves-sheet-music/3001850Further informationWeb: http://www.markreeves.co.uk/Email: info@markreeves.co.ukYouTube: https://www.youtube.com/channel/UCpySKWz7dvreLSmqUXvoXhATwitter: @MarkReeves001
$2.99 ≈
2.76€
Rorate Coeli
Rorate Coeli
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Larry Minton
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Rorate Coeli
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Larry G. Minton
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SheetMusicPlus
Choral Choir (SATB divisi) - Level 4 - SKU: A0.596457 Composed by Larry Minton. A Cappella,Contemporary,Sacred. Octavo. 8 pages. Larry G. Minton #45815....
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Choral Choir (SATB divisi) - Level 4 - SKU: A0.596457 Composed by Larry Minton. A Cappella,Contemporary,Sacred. Octavo. 8 pages. Larry G. Minton #45815. Published by Larry G. Minton (A0.596457). This work is based on the Gregorian chant used during the first and second weeks of Advent in the liturgical calendar. The text, from Isaiah 45:8, expresses the longing of the earth for the righteous and, in particular, for the coming of the Saviour. Time signatures vary from 4/4 to 3/4 depending on the inner rhythms of the text, as in chant. The translation of the Latin text is as follows: Drop down dew, Ye heavens from above, and let the clouds rain down the Just One. Be not angry, oh Lord, and remember no longer our iniquity. Behold, the Holy City has become a desert; Sion has become a desert. Jerusalem is desolate; the house of thy sanctification and of thy glory, where our fathers praised thee.
$1.99 ≈
1.84€
Deus Meus (Ps. 22) satb div.
Deus Meus (Ps. 22) satb div.
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Chorale SATB
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Jamie Dawson Wilcutts
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10 pages.
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Deus Meus
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WilcuttsMusPub
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SheetMusicPlus
Choral Choir (SATB divisi) - SKU: A0.1008837 Composed by Jamie Dawson Wilcutts. A Cappella. Octavo. 10 pages. WilcuttsMusPub #5318253. Published by Wilc...
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Choral Choir (SATB divisi) - SKU: A0.1008837 Composed by Jamie Dawson Wilcutts. A Cappella. Octavo. 10 pages. WilcuttsMusPub #5318253. Published by WilcuttsMusPub (A0.1008837). Deus Meus is the latin text of Ps. 22 vs. 1-2. This piece was the winner of the ACDA-PA 2011 Choral Composition Contest, and is a moderately difficult piece from the larger work Cantata: Deus Meus. It can be used in a concert setting or as a liturgical work during Holy Week; 10 pages.
$2.50 ≈
2.31€
Pie Jesu (for SATB and Organ)
Pie Jesu (for SATB and Organ)
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Chorale SATB
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FACILE
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Classique
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Gabriel Faure
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Stephen DeCesare
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Pie Jesu
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Exultet Music
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SheetMusicPlus
Choral Choir (SATB) - Level 2 - SKU: A0.611507 Composed by Gabriel Faure. Arranged by Stephen DeCesare. Christian,Easter,Romantic Period,Sacred. Octavo....
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Choral Choir (SATB) - Level 2 - SKU: A0.611507 Composed by Gabriel Faure. Arranged by Stephen DeCesare. Christian,Easter,Romantic Period,Sacred. Octavo. 4 pages. Exultet Music #1909203. Published by Exultet Music (A0.611507). 2016 Arrangement New Release. One of the most popular settings of this Latin text has now been arranged for SATB and Organ. For use through many times throughout the liturgical year or for a concert setting.
$3.99 ≈
3.68€
Pie Jesu (for TTBB and Organ)
Pie Jesu (for TTBB and Organ)
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Chorale TTBB
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FACILE
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Classique
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Gabriel Faure
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Stephen DeCesare
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Pie Jesu
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Exultet Music
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SheetMusicPlus
Choral Choir (TTBB) - Level 2 - SKU: A0.611510 Composed by Gabriel Faure. Arranged by Stephen DeCesare. Christian,Easter,Romantic Period,Sacred. Octavo....
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Choral Choir (TTBB) - Level 2 - SKU: A0.611510 Composed by Gabriel Faure. Arranged by Stephen DeCesare. Christian,Easter,Romantic Period,Sacred. Octavo. 5 pages. Exultet Music #1911075. Published by Exultet Music (A0.611510). 2016 Arrangement New Release. One of the most popular settings of this Latin text has now been arranged for TTBB and Organ. For use through many times throughout the liturgical year or for a concert setting.
$3.99 ≈
3.68€
Pie Jesu (for SATB and Piano)
Pie Jesu (for SATB and Piano)
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Chorale SATB
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FACILE
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Classique
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Gabriel Faure
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Stephen DeCesare
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Pie Jesu
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Exultet Music
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SheetMusicPlus
Choral Choir (SATB) - Level 2 - SKU: A0.611516 Composed by Gabriel Faure. Arranged by Stephen DeCesare. Christian,Easter,Romantic Period,Sacred. Octavo....
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Choral Choir (SATB) - Level 2 - SKU: A0.611516 Composed by Gabriel Faure. Arranged by Stephen DeCesare. Christian,Easter,Romantic Period,Sacred. Octavo. 5 pages. Exultet Music #1921301. Published by Exultet Music (A0.611516). One of the most popular settings of this Latin text has now been arranged for SATB and Piano. For use through many times throughout the liturgical year or for a concert setting.
$3.99 ≈
3.68€
Dominus Dabit Benignitatem
Dominus Dabit Benignitatem
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Orgue
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INTERMÉDIAIRE
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Jonathan Hellerman
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Dominus Dabit Benignitatem
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J. F. Hellerman
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SheetMusicPlus
Organ - Level 3 - SKU: A0.921800 Composed by Jonathan Hellerman. 20th Century,Christmas,Concert,Contemporary,Sacred. Score. 2 pages. J. F. Hellerman #35...
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Organ - Level 3 - SKU: A0.921800 Composed by Jonathan Hellerman. 20th Century,Christmas,Concert,Contemporary,Sacred. Score. 2 pages. J. F. Hellerman #3570887. Published by J. F. Hellerman (A0.921800). A beautiful, harmonically rich organ meditation on the Communion chant for the first Sunday in Advent. The chant melody is soloed out on a separate manual, and the Latin text is included in the score for reference. This is appropriate for liturgical use, or as a softer recital selection.For more information about the composer, visit hellermanmusic.com
$3.99 ≈
3.68€
Missa Solemnis, op. 27 (vocal score)
Missa Solemnis, op. 27 (vocal score)
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Chorale SATB
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AVANCÉ
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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 - SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adrian Gagiu #86844...
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Choral Choir (SATB) - Level 5 - 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 ≈
81.17€
Missa Solemnis, op. 27 (parts)
Missa Solemnis, op. 27 (parts)
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Orchestre
#
AVANCÉ
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Adrian Gagiu
#
Missa Solemnis, op. 27
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Adrian Gagiu
#
SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1277141 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Score and Parts. 282 pages. Adrian Gagiu #8...
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Full Orchestra - Level 5 - SKU: A0.1277141 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Score and Parts. 282 pages. Adrian Gagiu #868829. Published by Adrian Gagiu (A0.1277141). Missa Solemnis in B major, op. 27 (orchestral parts). 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.
$160.00 ≈
147.60€
Missa Solemnis, op. 27 - Score Only
Missa Solemnis, op. 27 - Score Only
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Orchestre
#
AVANCÉ
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Adrian Gagiu
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Missa Solemnis, op. 27 - Score
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published ...
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Full Orchestra - Level 5 - 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.
$85.99 ≈
79.33€
Liturgical Latin Text: Adoramus Te for choir and piano (SATB)
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Chorale SATB
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INTERMÉDIAIRE
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Musique Sacrée
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Liturgical Latin Text
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Virtualsheetmusic
Instantly printable sheet music by Robert T. Townsend for choir (SATB: soprano, alto, tenor, bass) of MEDIUM skill level. / concert,sacred
Instantly printable sheet music by Robert T. Townsend for choir (SATB: soprano, alto, tenor, bass) of MEDIUM skill level. / concert,sacred
$3.78 ≈
3.49€
Magnificat and Nunc Dimittis
Magnificat and Nunc Dimittis
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Chorale SATB
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Joe Duddell
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Magnificat and Nunc Dimittis
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Schott Music - Digital
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SheetMusicPlus
Mixed choir (SATB) and organ - SKU: S9.Q19044 For SATB choir and organ. Composed by Joe Duddell. This edition: choral score. Choral Music of Our ...
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Mixed choir (SATB) and organ - SKU: S9.Q19044 For SATB choir and organ. Composed by Joe Duddell. This edition: choral score. Choral Music of Our Time. Downloadable, Choral score. Duration 9 minutes. Schott Music - Digital #Q19044. Published by Schott Music - Digital (S9.Q19044). Latin.Joe Duddell’s Magnificat and Nunc Dimtis was commissioned by Presteigne Festival of Music and the Arts with funding from Kevin Jones and Laura Woodside-Jones and received its first performance by the Choir of Royal Holloway conducted by Rupert Gough at the 2011 Presteigne Festival. Duddell has acknowledged in the past that whilst composing any piece of music, problems arise that require solutions and this new setting of the “Mag and Nunc†is no different. The main challenge for a composer who is openly agnostic is the historical weight behind the liturgical text but taking both musical and philosophical inspiration from composers such as Holst and Tippett, Duddell’s setting is a joyous and uplifting one.Opening with sustained harmonies saturated with open sounding 4ths and 5ths, the music soon leads to faster passages that chase one another. The organ adds syncopation to relatively straight vocal rhythms and at other time emphasises denser rhythmic textures. The work is dedicated to George Vass.
$6.99 ≈
6.45€
Domine salvum fac regem
Domine salvum fac regem
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Peter Cornelius
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Domine salvum fac regem
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Schott Music - Digital
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SheetMusicPlus
Men's choir - intermediate - SKU: S9.Q7313 Motets for four-part men's choir. Composed by Peter Cornelius. This edition: choral score. Schott Chor...
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Men's choir - intermediate - SKU: S9.Q7313 Motets for four-part men's choir. Composed by Peter Cornelius. This edition: choral score. Schott Choral Music. Downloadable, Choral score. Schott Music - Digital #Q7313. Published by Schott Music - Digital (S9.Q7313). Latin.When Peter Cornelius (1824–1874), the musically and literarily talented and versatile artist, went to Weimar in 1852 to pursue further studies with Franz Liszt, the latter advised him to 'throw himself into writing sacred music with a will'. He heeded his advice and thereupon wrote a series of liturgical and religious pieces for men's choir as well as the song cycle 'Vater unser'. 'Domine salvum fac regem' too was composed by Cornelius in this context – in two versions: for a cappella men's choir and for solo tenor, mixed choir and orchestra. The version for men's choir was written in May 1852, setting to music in a 'speaking' and expressive manner the texts compiled from psalm and doxology, with colourful motet-like and block-like sections and a 'Gloria Deo', set as if chiselled, which introduces the final section – an impressive work.
$4.99 ≈
4.60€
O MAGNUM MYSTERIUM
O MAGNUM MYSTERIUM
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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EAM
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O MAGNUM MYSTERIUM
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Eduardo A. Malachevsky
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SheetMusicPlus
Choral Choir,Choral (SATB divisi) - Level 4 - SKU: A0.1284693 By EAM. By Eduardo Andrés Malachevsky. A Cappella,Christmas,Contemporary,Latin,Sacred. ...
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Choral Choir,Choral (SATB divisi) - Level 4 - SKU: A0.1284693 By EAM. By Eduardo Andrés Malachevsky. A Cappella,Christmas,Contemporary,Latin,Sacred. 30 pages. Eduardo A. Malachevsky #875868. Published by Eduardo A. Malachevsky (A0.1284693). O MAGNUM MYSTERIUM Voicing: SSAATTBB a capella  |  Durata Circa: 5 min 30  |  Language: Latin | Score's pages: 25|  Score's meassures: 109 Score Preview & info  |  Video Excerpt 1 |  Video Excerpt 2 |  YouTube's Composer Channel Says the composer: 'On this choral piece I have merge two sources that refer to the same biblical scene: The birth of Jesus. On one hand the traditional liturgical 'O MAGNUM MYSTERIUM', responsorial chant from the Matins of Christmas which a great number of composers of all times have reworked into a choral setting; and on the other hand some selected verses from Chapter 2 of the Gospel according to Matthew. The liturgical Responsory evokes with awe the presence of animals that should see the newborn Lord, lying in a manger ending with a fervent exclamation to the Virgin whose womb was worthy to bear Christ the Lord, whereas the biblical text describes the scene of the magi who have arrived in Jerusalem from the east to homage the new-born King. Both source combined highlight that outstanding 'MAGNUM MYSTERIUM' of a “God is with us, the “Immanuel“ ( ×¢Ö´×žÖ¼Ö¸× ×•Ö¼×לֵ ), Jesus of Nazareth. The Magi, the animals, the Virgin, the new-born: My O MAGNUM MYSTERIUM wish to underscore chorally the FOUR PRESENCES of this sacred set-up'.
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Liturgical Latin Text
