| Mirabile misterium! Chorale SATB SATB A Cappella [Octavo] CanticaNOVA Publications
Composed by David Barton. Text: 15th century texts. Medieval-flavor motet. Chris...(+)
Composed by David Barton.
Text: 15th century texts.
Medieval-flavor motet.
Christmas. Octavo.
Published by CanticaNOVA
Publications (C5.5054).
$1.85 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| From Tender Stem Chorale SATB SATB [Octavo] Hinshaw Music Inc.
By Carl Nygard. Arranged by Carl Nygard. Text: German, 15th Century. For SATB Ch...(+)
By Carl Nygard. Arranged
by Carl Nygard. Text:
German, 15th Century. For
SATB Choir.
(Accompaniment:
Keyboard). Carl J.
Nygard, Jr. Christmas,
Concert and Sacred. 12
pages. Duration 3 min, 13
sec. Published by Hinshaw
Music Inc. Level:
Medium Advanced Adult.
$2.45 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Welcome Yule (No. 1 from Ringeltaenze) Chorale SATB SATB Schirmer
By Libby Larsen (1950-). Text: Traditional, 15th-Century English. For SATB Choir...(+)
By Libby Larsen (1950-).
Text: Traditional,
15th-Century English. For
SATB Choir, keyboard or
strings, handbells.
(Mixed Voices).
Christmas. Choral.
Published by E.C.
Schirmer Publishing.
$3.15 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Chorale from 15th Century, for English Horn & Strings, Op. 52f Cor Anglais [Conducteur d'étude / Miniature] Thomas C. Stangland Co.
By Tomas Svoboda. String Orch.. For Eng. Horn & Strings. Pocket score. Composed ...(+)
By Tomas Svoboda. String
Orch.. For Eng. Horn &
Strings. Pocket score.
Composed 1949-96. 7
pages. Duration 4
minutes. Published by
Thomas C. Stangland Co.
$3.50 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| There Is No Rose Chorale 3 parties SSA Carl Fischer
Choral SSA choir SKU: CF.CM9580 Composed by Richard Rasch. Arranged by Ri...(+)
Choral SSA choir SKU:
CF.CM9580 Composed by
Richard Rasch. Arranged
by Richard Rasch. Fold.
Performance Score. 4
pages. Duration 2
minutes, 42 seconds. Carl
Fischer Music #CM9580.
Published by Carl Fischer
Music (CF.CM9580).
ISBN 9781491154021.
UPC: 680160912520. 6.875
x 10.5 inches. Key: D
mixolydian. English,
Latin. 15th Century
Medieval Carol. The
text of this poem is from
the Trinity Carol Roll,
an English manuscript
housed at the Wren
Library of Trinity
College, Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written. The Latin
phrases come from
different parts of the
Advent/Christmas
liturgies; a sequence
called
Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and
the shepherds response in
the gospel of Luke 2:15,
Transeamus.
Latin phrase translation
source Alleluia Alleluia
Laetabundus Res miranda A
thing to be wondered at
Laetabundus Pari forma of
equal form Laetabundus
Gaudeamus Let us rejoice!
Gaudeamus Transeamus Let
us go Luke 2:15 The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and beauty.
The music in this setting
mimics the petals of a
rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic twists.
Word painting is employed
in several places but
none are as important as
the dramatic climax in
the fourth verse where
the shepherds along with
all the angels in heaven
proclaim Gloria in
excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compassthe distance
between the highest and
lowest noteis at its
widest. The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol. The text of
this poem is from the
Trinity Carol Roll, an
English manuscript housed
at the Wren Library of
Trinity College,
Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written. The Latin
phrases come from
different parts of the
Advent/Christmas
liturgies; a sequence
called
Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and
the shepherdas response
in the gospel of Luke
2:15,
Transeamus.
Latin phraseA translation
source Alleluia Alleluia
Laetabundus Res miranda A
thing to be wondered at
Laetabundus Pari forma of
equal form Laetabundus
Gaudeamus Let us rejoice!
Gaudeamus Transeamus Let
us go Luke 2:15 The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and beauty.
The music in this setting
mimics the petals of a
rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic twists.
Word painting is employed
in several places but
none are as important as
the dramatic climax in
the fourth verse where
the shepherds along with
all the angels in heaven
proclaim Gloria in
excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compassathe distance
between the highest and
lowest noteais at its
widest. The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol. The text of
this poem is from the
Trinity Carol Roll, an
English manuscript housed
at the Wren Library of
Trinity College,
Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written. The Latin
phrases come from
different parts of the
Advent/Christmas
liturgies; a sequence
called
Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and
the shepherd's response
in the gospel of Luke
2:15,
Transeamus.
Latin phrase translation
source Alleluia Alleluia
Laetabundus Res miranda A
thing to be wondered at
Laetabundus Pari forma of
equal form Laetabundus
Gaudeamus Let us rejoice!
Gaudeamus Transeamus Let
us go Luke 2:15 The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and beauty.
The music in this setting
mimics the petals of a
rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic twists.
Word painting is employed
in several places but
none are as important as
the dramatic climax in
the fourth verse where
the shepherds along with
all the angels in heaven
proclaim Gloria in
excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compass--the distance
between the highest and
lowest note--is at its
widest. The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol. The text of
this poem is from the
Trinity Carol Roll, an
English manuscript housed
at the Wren Library of
Trinity College,
Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written. The Latin
phrases come from
different parts of the
Advent/Christmas
liturgies; a sequence
called Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and the
shepherd's response in
the gospel of Luke 2:15,
Transeamus. Latin phrase
translation source
Alleluia Alleluia
Laetabundus Res miranda A
thing to be wondered at
Laetabundus Pares forma
of equal form Laetabundus
Gaudeamus Let us rejoice!
Gaudeamus Transeamus Let
us go Luke 2:15 The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and beauty.
The music in this setting
mimics the petals of a
rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic twists.
Word painting is employed
in several places but
none are as important as
the dramatic climax in
the fourth verse where
the shepherds along with
all the angels in heaven
proclaim Gloria in
excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compass--the distance
between the highest and
lowest note--is at its
widest. The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol. The text of
this poem is from the
Trinity Carol Roll, an
English manuscript housed
at the Wren Library of
Trinity College,
Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written.The Latin phrases
come from different parts
of the Advent/Christmas
liturgies; a sequence
called Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and the
shepherd’s
response in the gospel of
Luke 2:15,
Transeamus.Latin
phrase translation
sourceAlleluia Alleluia
LaetabundusRes miranda A
thing to be wondered at
LaetabundusPares forma of
equal form
LaetabundusGaudeamus Let
us rejoice!
GaudeamusTranseamus Let
us go Luke 2:15The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and
beauty.The music in this
setting mimics the petals
of a rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic
twists.Word painting is
employed in several
places but none are as
important as the dramatic
climax in the fourth
verse where the shepherds
along with all the angels
in heaven proclaim Gloria
in excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compass—the
distance between the
highest and lowest
note—is at its
widest.The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol. $1.75 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| There Stood in Heaven a Linden Tree Chorale SATB SATB, Piano - Facile Walton Music
SATB choir, piano reduction - Early intermediate SKU: GI.WW1659 Composed ...(+)
SATB choir, piano
reduction - Early
intermediate SKU:
GI.WW1659 Composed by
15th-century carol.
Arranged by Susan LaBarr.
Andrew Crane Choral
Series. Classical.
Octavo. 12 pages. Walton
Music #WW1659. Published
by Walton Music
(GI.WW1659). UPC:
785147007364. English.
Text Source: 15th-century
Carol. This carol
derives from a
15th-century German folk
ballad that compares Mary
to the unique and special
bloom of a linden tree.
Singable, with all of the
harmonies and
counterpoint coming out
of the melodic line. A
great option for both
school and church choirs.
Andrew Crane Choral
Series. $3.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Blessed Be That Maid Marie Chorale SATB SATB divisi - Intermédiaire Walton Music
SATB choir, divisi, piano reduction - Intermediate SKU: GI.WW1661 Compose...(+)
SATB choir, divisi, piano
reduction - Intermediate
SKU: GI.WW1661
Composed by 15th-century
carol. Arranged by Susan
LaBarr. Andrew Crane
Choral Series. Classical.
Octavo. 12 pages. Walton
Music #WW1661. Published
by Walton Music
(GI.WW1661). UPC:
785147007562. English.
Text Source: 15-century
Carol. From three
Marian carol arrangements
written for Seraphic
Fire. This carol first
appeared in a collection
of 15th-century tunes
compiled by G.R.
Woodward. The aeolian
tonality gives the tune
an earthiness and
other-worldliness.
Rhythmic and driving,
this will be a unique
work on your Christmas
program. Andrew Crane
Choral Series. $3.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 122 Bicinia from the 16th century EMB (Editio Musica Budapest)
Voice a Cappella SKU: BT.EMBZ14732 Compiled and edited by Soós Andr...(+)
Voice a Cappella SKU:
BT.EMBZ14732
Compiled and edited by
Soós András.
Classical. Book Only.
Composed 2012. 80 pages.
Editio Musica Budapest
#EMBZ14732. Published by
Editio Musica Budapest
(BT.EMBZ14732).
Hungarian-English-Germ
an-French. This
collection, similarly to
the publication entitled
111 bicinia from the 15th
century (EMB 14478),
contains longer and
shorter two-part excerpts
from polyphonic
ecclesiastical choral
works, for pedagogical
and liturgical use. As
teaching material, on the
one hand it introduces
and notes in brief
textual definitions the
characteristics of each
given excerpt: on the
other hand, it provides
easily usable examples
for teaching music
history, solfege and
counterpoint (practice of
intervals, score-reading,
dictation, stylistic
exercises, etc.) At the
same time the movements,
which also function as
independent units, can be
quickly learnt, and may
on occasions add colour
to themusical palette of
the liturgy by
introducing material that
can be performed even by
a children's choir. The
volume consists mainly of
excerpts taken from Mass
movements and Magnificats
by Palestrina, Lassus,
Gombert, Clemens non Papa
and others. A separate
chapter is devoted to
chorale-based bicinia in
German, which were
already popular in the
initial period of
Evangelical church music.
Ähnlich der
Ausgabe 111 Bicinia aus
dem 15. Jahrhundert (EMB
14478) präsentiert
diese Sammlung für
theoretisch- und
praktisch-pädagogische
, bzw. liturgische Zwecke
mehr oder weniger lange
zweistimmige Ausschnitte
aus geistlichen
Chorwerken Sie stellt als
Lehrstoff einerseits die
musikalische
Charakteristika des
jeweiligen Ausschnittes
vor und registriert diese
in kurzen textlichen
Definitionen,
andererseits liefert sie
Beispiele für den
Unterricht der
Musikgeschichte, der
Solfege- und der
Kontrapunkt- Lehre
(Intervallübungen, des
Lesens vom Blatt, für
das Diktieren, für
Stilübung usw.), die
sich leicht erarbeiten
lassen. Gleichzeitig
können die auch als
eigenständige
Einheitfunktionierenden
Sätze schnell erlernt
werden. Sie bereichern
die musikalische Palette
der Liturgie (Messe und
Offizium) mit dem
fallweise auch vom
Kinderchor
aufführbaren
Stoff. $22.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Blessed Be that Maid Mary Chorale SATB SATB divisi Walton Music
Composed by Stephen Main. For Choral (SATB Divisi). Walton Choral. 16 pages. Wal...(+)
Composed by Stephen Main.
For Choral (SATB Divisi).
Walton Choral. 16 pages.
Walton Music #WW1531.
Published by Walton Music
$2.35 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Beata es Maria Chorale SATB SATB A Cappella [Octavo] Notre Dame Choir Editions
By Jacob Obrecht. Edited by Buxton. For SATB a cappella. (Lat). Sacred Choral Wo...(+)
By Jacob Obrecht. Edited
by Buxton. For SATB a
cappella. (Lat). Sacred
Choral Works. Published
by Notre Dame Choral
Editions.
$3.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Gloria Chorale SATB - Intermédiaire MorningStar Music Publishers
SATB choir divisi, descant, organ - Intermediate SKU: MN.70-106 Composed ...(+)
SATB choir divisi,
descant, organ -
Intermediate SKU:
MN.70-106 Composed by
Marie Stultz. Christmas,
21st Century. Octavo.
Duration 15 minutes.
MorningStar Music
Publishers #70-106.
Published by MorningStar
Music Publishers
(MN.70-106). UPC:
688670701061.
English. Movement
VI from the Suite on the
Nativity
Based on
14th and 15th century
German carol tunes for
SATB chorus, SA voices
(children's chorus) and
chamber orchestra (Fute,
Oboe, Clarinet, Bassoon,
Trumpet in C, Harp,
Timpani, Chimes,
Glockenspiel, Triangle,
and Strings) in six
movements. Performance
time of entire suite
approximately 15
minutes. $2.25 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Come Running, You Shepherds Chorale 2 parties 2 parties, Orgue - Intermédiaire MorningStar Music Publishers
2-part treble voices, organ - Intermediate SKU: MN.70-104 Composed by Mar...(+)
2-part treble voices,
organ - Intermediate
SKU: MN.70-104
Composed by Marie Stultz.
Christmas, 21st Century.
Octavo. Duration 15
minutes. MorningStar
Music Publishers #70-104.
Published by MorningStar
Music Publishers
(MN.70-104). UPC:
688670701047.
English. Movement
IV from the Suite on the
Nativity
Based on
14th and 15th century
German carol tunes for
SATB chorus, SA voices
(children's chorus) and
chamber orchestra (Fute,
Oboe, Clarinet, Bassoon,
Trumpet in C, Harp,
Timpani, Chimes,
Glockenspiel, Triangle,
and Strings) in six
movements. Performance
time of entire suite
approximately 15
minutes. $2.25 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Quem Pastores Laudavere Chorale SATB - Intermédiaire MorningStar Music Publishers
SATB choir a cappella, descant - Intermediate SKU: MN.70-105 Composed by ...(+)
SATB choir a cappella,
descant - Intermediate
SKU: MN.70-105
Composed by Marie Stultz.
Christmas, 21st Century.
Octavo. Duration 15
minutes. MorningStar
Music Publishers #70-105.
Published by MorningStar
Music Publishers
(MN.70-105). UPC:
688670701054.
German. Movement V
from the Suite on the
Nativity
Based on
14th and 15th century
German carol tunes for
SATB chorus, SA voices
(children's chorus) and
chamber orchestra (Fute,
Oboe, Clarinet, Bassoon,
Trumpet in C, Harp,
Timpani, Chimes,
Glockenspiel, Triangle,
and Strings) in six
movements. Performance
time of entire suite
approximately 15
minutes. $2.25 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Wake, Awake for Night Is Flying Chorale SATB - Intermédiaire MorningStar Music Publishers
SATB choir, 2-part or SSA/SSAA choir, organ - Intermediate SKU: MN.70-102 ...(+)
SATB choir, 2-part or
SSA/SSAA choir, organ -
Intermediate SKU:
MN.70-102 Composed by
Marie Stultz. Catholic
Year A Ordinary32;
Catholic Year A
Ordinary32. Christmas,
21st Century. Octavo.
Duration 15 minutes.
MorningStar Music
Publishers #70-102.
Published by MorningStar
Music Publishers
(MN.70-102). UPC:
688670701023.
English. Movement
II from the Suite on the
Nativity
Based on
14th and 15th century
German carol tunes for
SATB chorus, SA voices
(children's chorus) and
chamber orchestra (Flute,
Oboe, Clarinet, Bassoon,
Trumpet in C, Harp,
Timpani, Chimes,
Glockenspiel, Triangle,
and Strings) in six
movements. Performance
time of entire suite
approximately 15
minutes. $2.65 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Suzi's Carol Chorale SATB - Facile Oxford University Press
SATB choir (with soprano voice solo) & harp/organ/percussion/orc hestra (Percuss...(+)
SATB choir (with soprano
voice solo) &
harp/organ/percussion/orc
hestra (Percussion (1
player: marimba and
crotales)) - easy SKU:
OU.9780193525719
Composed by John Rutter.
Christmas Songs & Carols
- Mixed Voices.
Percussion part. 8 pages.
Duration 5'. Oxford
University Press
#9780193525719. Published
by Oxford University
Press (OU.9780193525719).
ISBN 9780193525719. 12
x 9 inches. For
SATB (with soprano solo)
and percussion This is
the original
accompaniment option for
John Rutter's setting of
the well-known
15th-century text from
the Sloane MS: 'A babe is
born all of a may, to
bring salvation unto us'.
Conductors should conduct
from the vocal score. $7.50 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Fragments of Requiem Chorale SATB Wilhelm Hansen
Choral (SATB) SKU: HL.345819 SATB Vocal Score. Composed by Bent So...(+)
Choral (SATB) SKU:
HL.345819 SATB
Vocal Score. Composed
by Bent Sorensen. Choral.
Classical, General
Worship, Sacred. Octavo.
44 pages. Edition Wilhelm
Hansen #WH30802.
Published by Edition
Wilhelm Hansen
(HL.345819). UPC:
840126920833. Fragm
ents Of Requiem for 12
Voices was composed by
Bent Sorensen in 2007.
The Requiem also consists
of movements by Johannes
Ockeghem from his
&ldquo,Missa pro
defunctis&rdquo,
(15th Century). Written
for Ars Nova Copenhagen
and Paul Hillier, with
support from The Danish
Arts Council. In addition
to the Missa Pro
Defunctis by Johannes
Ockeghem, to perform the
complete work the
following separate pieces
by Bent Sorensen are
required: KP01307 -
Recordare WH29967 -
Lacrimosa KP01298 - In
Paradisum. $14.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Hail Lovely and Pure Chorale SATB SATB A Cappella Subito Music
SATB Chorus, a cappella SKU: SU.26180050 For SATB Chorus, a cappella(+)
SATB Chorus, a cappella
SKU: SU.26180050
For SATB Chorus, a
cappella. Composed by
William Mc Clelland.
Vocal/Choral, Sacred
Choral. A cappella.
Choral Score. Subito
Music Corporation
#26180050. Published by
Subito Music Corporation
(SU.26180050).
Hail Lovely and
Pure is a setting for a
cappella chorus of a
short poem from The
Second Shepherds' Play,
an English mystery play
written in the 15th
century by The
Wakeï¬eld Master of
Northern England. Mystery
(or miracle) plays were a
form of medieval drama
that represented Biblical
subjects such as the
Creation and the Last
Judgment. The text
consists of the ï¬rst
lines spoken by the
shepherds when they
entered the stable to
celebrate the birth of
Jesus. My brother David
C. K. McClelland
(1947-1976) translated
this fragment from the
original Middle English
and made a small
calligraphic version of
it which I discovered
among his papers. David
probably intended to make
a larger, more elaborate
manuscript of the poem,
though if he did so it
has not been found.SATB
Chorus, a cappella
Duration: 13'30 Composed:
2011 Published by: WMC
Music (BMI). $4.75 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Fa Una Canzona - SATB Chorale SATB SATB A Cappella [Octavo] - Facile Alfred Publishing
By Orazio Vecchi. Arranged by Russell L. Robinson. For Choir. (SATB, a cappella...(+)
By Orazio Vecchi.
Arranged by Russell L.
Robinson. For Choir.
(SATB, a cappella).
Choral Octavo. Developing
SATB Repertoire.
Madrigal; Masterwork.
Level: Moderately Easy
(grade 2). Choral Octavo.
12 pages. Published by
Alfred Publishing.
$2.25 $2.1375 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Myn lyking Chorale SATB SATB, Clavier [Vocal Score] Oxford University Press
Composed by Richard Runciman Terry. Edited by John Rutter. Mixed Voices. Vocal s...(+)
Composed by Richard
Runciman Terry. Edited by
John Rutter. Mixed
Voices. Vocal score. 4
pages. Duration 2.5'.
Published by Oxford
University Press
(OU.9780193416093).
$2.85 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Suzi's Carol Chorale SATB - Facile Oxford University Press
SATB choir (with soprano voice solo) & harp/organ/percussion/orc hestra (SATB) -...(+)
SATB choir (with soprano
voice solo) &
harp/organ/percussion/orc
hestra (SATB) - easy
SKU:
OU.9780193522909
Composed by John Rutter.
Christmas Songs & Carols
- Mixed Voices. Harp
part. 8 pages. Duration
5'. Oxford University
Press #9780193522909.
Published by Oxford
University Press
(OU.9780193522909).
ISBN 9780193522909. 12
x 9 inches. For
SATB (with soprano solo)
and harp This is the harp
part to accompany John
Rutter's gentle and
lyrical setting of the
well-known 15th-century
text: 'A babe is born all
of a may, to bring
salvation unto us'.
Conductors should conduct
from the vocal score. $7.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Fa Una Canzona (Sing Now a Song) Chorale 3 parties SSA A Cappella [Octavo] - Intermédiaire Alfred Publishing
By Orazio Vecchi. Arranged by Russell L. Robinson. For Choir. (SSA, a cappella)....(+)
By Orazio Vecchi.
Arranged by Russell L.
Robinson. For Choir.
(SSA, a cappella). Choral
Octavo. Belwin Festival
Series. Choral Octavo. 4
pages. Published by
Alfred Publishing.
$2.25 $2.1375 (- 5%) Voir plus => AcheterDélais: 24 hours - In Stock | | |
| As Dew in Aprylle Chorale SATB Boosey and Hawkes
Choral (SATB choir a cappella) SKU: HL.48023700 SATB divisi a cappella...(+)
Choral (SATB choir a
cappella) SKU:
HL.48023700 SATB
divisi a cappella.
Composed by Peter
Warlock. Boosey & Hawkes
Sacred Choral. Christmas,
Classical. Octavo. 8
pages. Boosey & Hawkes
#M060130809. Published by
Boosey & Hawkes
(HL.48023700). ISBN
9781784541538. UPC:
888680616878. 6.75x10.5
inches. Predating
the well-known Bethlehem
Down by just a few years,
As dew in Aprylle
is one of several choral
works by Warlock to draw
on texts from the 15th
century Sloane
Manuscript, yet musically
this work demonstrates a
similar mastery of part
writing and fondness for
chromatic harmonic
language. First published
on 12th June, 1924,
following a period of
unavailability this is
now restored to the
catalogue in a
newly-prepared edition.
For unaccompanied mixed
voices, with occasional
divisi. $1.90 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Fa Una Canzona (Sing Now a Song) Chorale 3 parties SAB A Cappella [Octavo] - Intermédiaire Alfred Publishing
By Orazio Vecchi. Arranged by Russell L. Robinson. For Choir. (3-Part Mixed, a c...(+)
By Orazio Vecchi.
Arranged by Russell L.
Robinson. For Choir.
(3-Part Mixed, a
cappella). Choral Octavo.
Belwin Festival Series.
Choral Octavo. 4 pages.
Published by Alfred
Publishing.
$1.95 $1.8525 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Robin Nelson: Alleluya- A New Work Is Come On Hand Chorale SATB SATB, Orgue - Intermédiaire Music Sales
SATB Choir and Organ - intermediate SKU: HL.14022685 Composed by Robin Ne...(+)
SATB Choir and Organ -
intermediate SKU:
HL.14022685 Composed
by Robin Nelson. Music
Sales America. Classical.
Choral Score. Music Sales
#NOV340901. Published by
Music Sales
(HL.14022685). ISBN
9781844492527. A
lively carol in 6/8
setting text from the
15th Century Selden
Manuscript. For SATB
Choir and Organ. $5.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| O Come, Emmanuel Chorale SATB SATB [Octavo] MorningStar Music Publishers
O Come, Emmanuel by Paul Olejar. For SATB choir, handbells or keyboard. Easy. Oc...(+)
O Come, Emmanuel by Paul
Olejar. For SATB choir,
handbells or keyboard.
Easy. Octavo. Published
by MorningStar Music
Publishers
$2.25 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Barcarolles for a Sinking City Theodore Presser Co.
Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabas...(+)
Orchestra Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabass,
Contrabassoon, English
Horn, Flute 1, Flute 2,
Harp, Horn 1, Horn 2,
Horn 3, Horn 4, Oboe 1,
Oboe 2, Percussion 1,
Percussion 2, Percussion
3, Percussion 4, Piccolo
and more. SKU:
PR.11641139S Composed
by Lowell Liebermann.
Full score. Duration 15
minutes. Theodore Presser
Company #116-41139S.
Published by Theodore
Presser Company
(PR.11641139S). UPC:
680160682119. Barca
rolles for a Sinking City
was inspired by the city
of Venice, a place that
has long held the
fascination of artists,
writers and composers,
and which I have been
lucky enough to visit on
several occasions. Sadly
it seems that future
generations may not be so
lucky: in addition to the
city's slow sinking and
recently discovered
tilting, studies predict
that if global warming
and the resultant rise of
ocean levels is unabated,
the entire city (as well
as many other coastal
cities around the globe)
will be under water by
2100. I. Funeral
Gondola The late, cryptic
piano works of Franz
Liszt made a profound
impression on me as a
young composer, among
them two works he
entitled La Lugubre
Gondola (usually
translated as The Funeral
Gondola ) which were said
to be a premonition of
Wagner's death in Venice,
his coffin transported
through the canals in a
black gondola. These late
pieces of Liszt acquired
even greater significance
to me after I spent two
summers in Bayreuth under
the patronage of
Friedelind Wagner, the
granddaughter of Wagner
and great-granddaughter
of Liszt. This movement
is a meditation on
Wagner, Liszt, Venice and
its own evanescence. II.
Barcarolle/Quodlibet The
Quodlibet (Latin for what
pleases) is a musical
form dating back to the
15th century where many
disparate melodies are
juxtaposed. Popular in
the Renaissance, sacred
and secular melodies were
combined, often to
comical effect due to the
resultant incongruity of
the words. The form was
considered the ultimate
test of a composer's
mastery of counterpoint.
The most famous Quodlibet
is without doubt the
final Variation of Bach's
Goldberg Variations. As a
form the Quodlibet is
less common in more
recent music, although
examples can be found in
the works of Kurt Weill
and David Del Tredici.
My own
Barcarolle/Quodlibet was
inspired by the (perhaps
apocryphal) story of the
funeral where musicians
were asked to play a Bach
Choral, but due to
miscommunication played
instead the Bacarolle
from The Tales of
Hoffmann. Here, the Bach
Choral Allen Menschen
mussen sterben (All Men
Must Die) is heard in the
strings pizzicato, with a
tempo indication In slow
motion. The alto line of
the Bach suggests a
phrase from Beethoven's
Ninth Symphony (Alle
Menchen werden Bruder)
heard in the muted
trombone. Before long,
the famous tune from
Offenbach's opera is
heard, followed by
quotations from iconic
Barcarolles by Chopin,
Mendelssohn and Faure, as
well as two Venetian
popular songs and more
Beethoven. III.
Barcarola/Ostinato/Carill
on An ostinato is a
repeated musical figure,
and carillon is Italian
for music box. This
movement references the
obsolete genre of salon
pieces that imitated
music boxes: such works
by composers like Liadov
and Gretchaninov used to
be a mainstay of
pianists' encore
repertoire. This movement
is however much darker in
conception than those
pleasant trifles.
Utilizing the full
battery of percussion,
the carefully notated
temporal slowing of the
ostinato becomes
overwhelmed by a poignant
chorale melody before
this box is snapped shut.
IV. Barcarolle
Oubliee (Forgotten
Barcarolle) Marked
limpido (still) the final
movement begins with the
sound of rain produced by
a percussion instrument
called (appropriately) a
rain stick. Halting
phrases in the harp
coalesce into the
accompaniment for a
plangent melody heard in
the clarinet. The central
Adagio of this movement
leads to a shattering
climax, before the
opening phrases return
and dissipate into
nothingness. $48.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Barcarolles for a Sinking City Theodore Presser Co.
Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabas...(+)
Orchestra Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabass,
Contrabassoon, English
Horn, Flute 1, Flute 2,
Harp, Horn 1, Horn 2,
Horn 3, Horn 4, Oboe 1,
Oboe 2, Percussion 1,
Percussion 2, Percussion
3, Percussion 4, Piccolo
and more. SKU:
PR.11641139L Composed
by Lowell Liebermann.
Large Score. Duration 15
minutes. Theodore Presser
Company #116-41139L.
Published by Theodore
Presser Company
(PR.11641139L). UPC:
680160682126. Barca
rolles for a Sinking City
was inspired by the city
of Venice, a place that
has long held the
fascination of artists,
writers and composers,
and which I have been
lucky enough to visit on
several occasions. Sadly
it seems that future
generations may not be so
lucky: in addition to the
city's slow sinking and
recently discovered
tilting, studies predict
that if global warming
and the resultant rise of
ocean levels is unabated,
the entire city (as well
as many other coastal
cities around the globe)
will be under water by
2100. I. Funeral
Gondola The late, cryptic
piano works of Franz
Liszt made a profound
impression on me as a
young composer, among
them two works he
entitled La Lugubre
Gondola (usually
translated as The Funeral
Gondola ) which were said
to be a premonition of
Wagner's death in Venice,
his coffin transported
through the canals in a
black gondola. These late
pieces of Liszt acquired
even greater significance
to me after I spent two
summers in Bayreuth under
the patronage of
Friedelind Wagner, the
granddaughter of Wagner
and great-granddaughter
of Liszt. This movement
is a meditation on
Wagner, Liszt, Venice and
its own evanescence. II.
Barcarolle/Quodlibet The
Quodlibet (Latin for what
pleases) is a musical
form dating back to the
15th century where many
disparate melodies are
juxtaposed. Popular in
the Renaissance, sacred
and secular melodies were
combined, often to
comical effect due to the
resultant incongruity of
the words. The form was
considered the ultimate
test of a composer's
mastery of counterpoint.
The most famous Quodlibet
is without doubt the
final Variation of Bach's
Goldberg Variations. As a
form the Quodlibet is
less common in more
recent music, although
examples can be found in
the works of Kurt Weill
and David Del Tredici.
My own
Barcarolle/Quodlibet was
inspired by the (perhaps
apocryphal) story of the
funeral where musicians
were asked to play a Bach
Choral, but due to
miscommunication played
instead the Bacarolle
from The Tales of
Hoffmann. Here, the Bach
Choral Allen Menschen
mussen sterben (All Men
Must Die) is heard in the
strings pizzicato, with a
tempo indication In slow
motion. The alto line of
the Bach suggests a
phrase from Beethoven's
Ninth Symphony (Alle
Menchen werden Bruder)
heard in the muted
trombone. Before long,
the famous tune from
Offenbach's opera is
heard, followed by
quotations from iconic
Barcarolles by Chopin,
Mendelssohn and Faure, as
well as two Venetian
popular songs and more
Beethoven. III.
Barcarola/Ostinato/Carill
on An ostinato is a
repeated musical figure,
and carillon is Italian
for music box. This
movement references the
obsolete genre of salon
pieces that imitated
music boxes: such works
by composers like Liadov
and Gretchaninov used to
be a mainstay of
pianists' encore
repertoire. This movement
is however much darker in
conception than those
pleasant trifles.
Utilizing the full
battery of percussion,
the carefully notated
temporal slowing of the
ostinato becomes
overwhelmed by a poignant
chorale melody before
this box is snapped shut.
IV. Barcarolle
Oubliee (Forgotten
Barcarolle) Marked
limpido (still) the final
movement begins with the
sound of rain produced by
a percussion instrument
called (appropriately) a
rain stick. Halting
phrases in the harp
coalesce into the
accompaniment for a
plangent melody heard in
the clarinet. The central
Adagio of this movement
leads to a shattering
climax, before the
opening phrases return
and dissipate into
nothingness. $90.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Old Composers from the Early Days of the Organ Playing Orgue Breitkopf & Härtel
Organ SKU: BR.EB-3938 12 Compositions of the 15th and 16th Century...(+)
Organ SKU:
BR.EB-3938 12
Compositions of the 15th
and 16th Century.
Composed by Arnold
Schering. Edited by
Arnold Schering. Solo
instruments; stapled.
Edition Breitkopf.
Renaissance/early
Baroque; Baroque. Score.
40 pages. Breitkopf and
Haertel #EB 3938.
Published by Breitkopf
and Haertel (BR.EB-3938).
ISBN 9790004162057. 12
x 9 inches. Antoine
Brumel (ca. 1460-ca.
1520) Um 1460 in den
franzosischen
Niederlanden geboren,
wirkte Antoine Brumel
1483 als Vorsanger an der
Kathedrale zu Chartres,
spater in Laon. 1498-1500
war er Chormeister an
Notre-Dame in Paris. Uber
Lyon kam er 1505 als
Nachfolger Josquins an
den Hof Alfonsos I. von
Ferrara und starb
wahrscheinlich um 1520.
Brumel gilt als einer der
bedeutendsten
,,Niederlander der
Josquin-Generation. Er
schrieb uberwiegend
Kirchenmusik: Messen
(u.a. die 12stimmige
Missa ,,Et ecce terrae
motus, die noch 1570 in
Munchen unter der Leitung
Orlando di Lassos
aufgefuhrt wurde),
Motetten,
Magnificat-Vertonungen
und Bicinien, ferner
einige Chansons. Brumel
ist ein Meister des
polyphonen Satzes;
gelegentlich treten
homophone Partien auf
(Missa ,,Dringhs). Hans
Buchner (1483-1538)
Buchner wurde am 26.
Oktober 1483 in
Ravensburg (Wurttemberg)
geboren. Bereits in
jungen Jahren kam er nach
Augsburg und Innsbruck,
wo er Schuler Paul
Hofhaimers war. In Wien
lernte er in der
kaiserlichen Hofkantorei
wahrscheinlich Heinrich
Isaac und Ludwig Senfl
kennen. 1506 wurde
Buchner Organist in
Konstanz. Er starb im
Jahre 1538. Von ihm sind
zahlreiche Kompositionen
(Orgelwerke, Motetten,
Lieder, Tanze) erhalten.
Buchners Hauptwerk ist
das ,,Fundamentum, ein
theoretisch-praktisches
Lehrbuch der
Orgelspielkunst. Es
enthalt Anweisungen zur
Improvisation, zum
Orgelspiel und zur
lntavolierung sowie 145
Orgelkompositionen.
Heinrich Finck
(1444/45-1527) Finck
stammt wahrscheinlich aus
Bamberg, wo er um 1444/45
geboren wurde. Uber sein
Leben ist wenig bekannt.
Er wirkte an der
koniglich-polnischen
Hofkapelle in Krakau und
Warschau, war aber
daneben viel auf Reisen.
1510 wurde er
Kapellmeister am Hof des
Herzogs von Wurttemberg,
wirkte spater am
erzbischoflichen Hof in
Salzburg und erhielt im
hohen Alter die Stelle
des Hofkapellmeisters
Ferdinands I. in Wien, wo
er am 9. Juni 1527 starb.
Von Heinrich Fincks
Kompositionen ist nur ein
kleiner Teil uberliefert.
An erster Stelle sind
seine deutschen Lieder zu
nennen; ausserdem schrieb
Finck Messen (Missa in
summis) und Motetten. Der
Komponist gilt als der
erste deutsche
Grossmeister der Musik.
Seine Fruhwerke zeigen
zum Teil noch eine karge
Dreistimmigkeit mit
harten Zusammenklangen;
spater wird sein Satz
vollklingender,
wahrscheinlich unter dem
Einfluss der
,,Niederlander (Isaac).
Josquin Desprez
(ca.1440-1521/24) Josquin
ist der beruhmteste
Meister seiner Epoche,
die nach ihm als
Joaquin-Zeit bezeichnet
wird. Er wurde um 1440
wahrscheinlich in der
Picardie geboren und soll
Schuler Ockeghems gewesen
sein. 1459-1472 war
Josquin Sanger der
Mailander Domkantorei,
1473-1479 Mitglied der
Kapelle am Hof der Sforza
in Mailand. 1486-1494
wird Josquin als Mitglied
der papstlichen
Sangerkapelle in Rom
genannt. Seine Tatigkeit
als Chordirektor am Dom
zu Cambrai 1495-1499 ist
urkundlich nicht
gesichert. Er komponierte
fur den Hof Konig Ludwigs
XII. von Frankreich und
fur den Hof der Este in
Ferrara. 1502 wurde
Josquin von Ercole I. als
Kapellmeister nach
Ferrara berufen, wo er
bis zum Tode des Herzogs
(1505) blieb. Sein
Nachfolger wurde Brumel.
Joaquin kehrte in seine
Heimat zuruck und wurde
zum Probst der Kirche
Notre-Dame in Conde
(Hennegau) ernannt. wo er
am 27. August 1521 starb.
Als Komponist gelangte
Josquin bereits zu
Lebzeiten zu europaischer
Beruhmtheit. Sein Stil
beeinflusste das gesamte
musikalische Schaffen in
Europa bis in die
Palestrina-Zeit. Unter
seinen Werken sind an
erster Stelle die Messen
zu nennen (darunter ,,L'
homme arme, Missa sine
nomine, sein Meisterwerk
,,La sol fa re mi, die
zart-lyrische Messe ,,Ave
maris stella, die
Reprasentationsmesse
,,Hercules Dux Ferrariae
und die Spatwerke ,,De
beata virgine, ,,Pange
lingua und ,,Da pacem);
weiterhin schrieb er
Motetten (u. a. ,,Stabat
mater, ,,Miserere mei,
,,Memor esto verbi tui,
,,De profundis, ,,In
exitu Israel, ,,Laudate
pueri Dominum) und
Chansons (die
bekanntesten sind ,,Adieu
mes amours, ,,Mille
regretz und ,,J' ay bien
cause). Josquin ist einer
der genialsten Musiker
aller Zeiten. Sein streng
polyphoner Satz fuhrt
konsequent den Stil
Ockeghems weiter. Josquin
erreicht in seinen Werken
die hochste Meisterschaft
im
konstruktiv-imitatorische
n Stil der
,,Niederlander.
Gleichzeitig uberwindet
er jedoch das nur
Artistische dieser Kunst;
sein subjektiv gefarbtes,
von individuellem
Ausdruckswillen
bestimmtes
Wort-Ton-Verhaltnis wird
zum Ideal der
Renaissancemusik.
Josquins
Kompositionslehre wurde
1552 von seinem Schuler
Adrian Petit Coclico im
,,Compendium musicae
aufgezeichnet. Heinrich
Isaac (ca. 1450-1517)
Isaac wurde kurz vor 1450
in den Niederlanden
geboren. Er war
wahrscheinlich Schuler
Squarcialupis in Florenz
und wirkte in Ferrara und
am Hof Lorenzos de'
Medici in Florenz. 1484
weilte er gleichzeitig
mit Paul Hofhaimer in
Innsbruck, war danach bis
1494 wieder in Florenz
und wurde 1496
Hofkomponist Maximilians
I. in Augsburg und Wien.
Er unternahm zahlreiche
Reisen (u.a. 1497-1500 an
den Hof Friedrichs des
Weisen nach Torgau,
1503-1505 zu Ercole I.
nach Ferrara). Spater
lebte Isaac in Konstanz,
wo er sein Motettenwerk
,,Chorale Constantinum
(1550 von seinem Schuler
Ludwig Senfl
herausgegeben) schuf; von
1514 bis zu seinem Tode
1517 lebte er wieder in
Florenz. Isaac ist einer
der vielseitigsten
Musiker seiner Zeit. Er
ist in allen
musikalischen
Nationalstilen
sattelfest. Der Bogen
seines Schaffens spannt
sich vom Konstruktivismus
der niederlandischen
Polyphonie bis zur
anmutigen Intimitat des
schlichten
Renaissance-Satzes. Isaac
schrieb Messen (u. a. die
beruhmte ,,Missa
carminum), Motetten
(,,Chorale Constantinum),
Chorlieder und Chorsatze
auf deutsche,
franzosische und
italienische Texte (sein
Satz ,,Innsbruck, ich
muss dich lassen wurde
weltberuhmt) sowie
Instrumentalsatze.
Johannes Martini
(1430/40-ca.1500) Der um
1430/40 in Flandern
geborene Komponist wirkte
1474 neben Josquin und
Compere an der Mailander
Hofkapelle. 1475 wurde er
Mitglied der Hofkapelle
zu Ferrara, wo er noch
1492 tatig war. Sein
Todesjahr ist unbekannt.
Nach 1500 wird Martini
nicht mehr in den Listen
bekannter Komponisten
gefuhrt. Von Martini sind
Messen, Motetten und
Chansons uberliefert, die
stilistisch von Dufay und
Ockeghem beeinflusst
sind. Eine gewisse
Erstarrung des Stils ist
unverkennbar. Gregor
Meyer (ca. 1510-1576)
Meyer wurde um 1510 in
Sackingen geboren und
wirkte um 1535 bis 1558
als Organist in
Solothurn, 1561 bis zu
seinem Tode 1576 am
Munster zu Basel. Auf
Veranlassung Glareans
schrieb Meyer fur dessen
,,Dodekachordon (1547)
zahlreiche
Kompositionsbeispiele;
ausserdem sind in anderen
Sammlungen einige Kanons,
Motetten, einzelne
Messsatze und kirchliche
und weltliche Lieder
erhalten. Jacob Obrecht
(1450/51-1505) Als
einziger der grossen
,,Niederlander stammt
Obrecht aus dem
nordniederlandischen
Raum; er wurde
wahrscheinlich am 22.
November 1450 in Bergen
op Zoom geboren.
1476-1478 war er
Chormeister in Utrecht,
1479-1484 in seiner
Heimatstadt. 1484/85
wirkte er als
Kapellmeister an der
Kathedrale in Cambrai und
anschliessend in Brugge.
1487/88 besuchte Obrecht
den Hof Ercoles I. von
Ferrara. 1492 finden wir
ihn als Chormeister an
Notre-Dame zu Antwerpen,
1496 in Bergen op Zoom,
1498 in Brugge. 1500
schied er
krankheitshalber aus dem
Dienst und lebte bis 1504
in Antwerpen. Auf einer
Reise nach Ferrara starb
er im Jahre 1505
(angeblich an der Pest).
Von Obrechts
Kompositionen sind etwa
25 Messen (darunter
,,Maria zart, ,,L' homme
arme, ,,Caput, ,,Je ne
demande, ,,Fortuna
desperata), Motetten und
Chansons auf
niederlandische,
franzosische und
italienische Texte
uberliefert. Obrecht
gehort mit Josquin, lsaac
und Pierre de la Rue zu
den Grossmeistern der
Josquin-Zeit. Er setzt
die Polyphonie Dufays und
Ockeghems fort, doch
spielen bei ihm die
Durchimitation wie auch
das bei Josquin stark
ausgepragte
Wort-Ton-Verhaltnis eine
geringe Rolle. Obrechts
Musik ist durch ihre
vitale Kraft,
Spontaneitat des
Ausdrucks, klare
Periodenbildung, den Hang
zum vollen harmonischen
Satz und ein neues
Tonalitatsbewusstsein
gekennzeichnet. Im
Spatwerk ist der Einfluss
des volkstumlichen
italienischen Liedes
festzustellen. Obrechte
ausgepragter Penonalstil
ist so unnachahmlich,
dass er keine Fortsetzer
fand. Nicht zu Unrecht
wird Obrecht als der
grosse ,,Aussenseiter
zwischen den Perioden
Dufay-Ockeghem und
Josquin-Isaac bezeichnet.
Marbrianus de Orto (ca.
1450-1529) Orto stammt
moglicherweise ebenfalls
aus Flandern; sein
Geburtsjahr ist nicht
bekannt. 1484-1494 war er
gleichzeitig mit Josquin
papstlicher Kapellsanger
in Rom, spater (1505) am
Hofe Philipps des Schonen
von Burgund. Orto starb
1529 in Nivelles. Von ihm
sind Messen, Motetten und
Chansons erhalten.
Vermutlich redigierte er
wahrend seines romischen
Aufenthaltes gemeinsam
mit Josquin die
Bearbeitung Duf'ayscher
Hymnen. Ortos Messen
reichen nicht an die
Spitzenleistungen seiner
Zeit (Josquin, Obrecht)
heran; bedeutender sind
seine Motetten, wie etwa
die Motette ,,Ave Maria,
die Petrucci 1501 an die
Spitze seines ,,Odhecaton
stellte, und die
Vergil-Motette ,,Dulces
exuviae. $24.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| J.S.Bach/Walter Rummel: Ah! How Ephemeral, How Transitory Is Man's Life [Choral Overture] Piano seul Chester
Piano SKU: HL.14001318 Composed by Johann Sebastian Bach. Music Sales Ame...(+)
Piano SKU:
HL.14001318 Composed
by Johann Sebastian Bach.
Music Sales America.
Classical. Book
[Softcover]. Composed
2007. 8 pages. Chester
Music #CH02169. Published
by Chester Music
(HL.14001318).
Extracted from
the Final Chorus of
Bach's Cantata No.22. The
Chorale is a folk-tune of
the 15th Century. The
words are by Elizabeth
Creutziger (1524). Ach
wie fluchtig, ach wie
nichtig ist des menschen
leben. $13.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Madrigal Pavane / Timburibá - Avancé Productions OZ
Guitar solo - Advanced SKU: DZ.DZ-4287 Composed by Francisco Braga. Arran...(+)
Guitar solo - Advanced
SKU: DZ.DZ-4287
Composed by Francisco
Braga. Arranged by
Luciano Lima. Score. Les
Productions d'OZ #DZ
4287. Published by Les
Productions d'OZ
(DZ.DZ-4287). ISBN
9782898522048. Ant
nio Francisco Braga
(1868-1945) belongs to
the generation of
Brazilian composers of
the first republican
period, aesthetically
tied to romanticism,
alongside Henrique Oswald
(1852-1931), Leopoldo
Miguez (1850-1902),
Glauco Velásquez
(1884-1914), and Barrozo
Neto (1881-1941). Born in
Rio de Janeiro, on April
15th, 1868, he began his
musical studies at the
Asilo dos Meninos
Desvalidos, in 1876. In
1883, he enrolled at the
Imperial Conservatório
de Música where he
studied harmony and
counterpoint with Carlos
de Mesquita – a former
student of César Franck,
Durand, and Massenet –
and clarinet with
Antônio Luís de Moura.
Braga's first
compositions date from
this period: Sonho de
Dante (1885), Dolce far
niente (1886), the first
Valse Romantique for
piano (1886), among
others. In 1887, he
premiered his first
symphonic work,
Fantasia-Abertura. In
1890, being one of the
finalists in a
competition to choose the
new Brazilian national
anthem, Braga was awarded
a scholarship to study in
Europe, where he took
classes with Jules
Massenet at the Paris
Conservatory. During this
period, he wrote some of
his most important
symphonic works, Paysage,
Cauchemar, Episódio
Sinfônico, and Marabá
(which was performed by
Richard Strauss and the
Vienna Philharmonic in
1920, in Brazil). His
opera Jupyra is
considered one of the
greatest Brazilian
compositions of that
genre. Back in Brazil,
he was appointed
professor of
counterpoint, fugue, and
composition at the
Instituto Nacional de
Música, in 1902. There,
some of the finest
Brazilian composers
studied with him, like
Glauco Velásquez and
Lorenzo
Fernândez. Braga
wrote operas, symphonic
works, songs, sacred
music, two Masses, music
for piano, different
chamber formations, band,
and choir. He is the
author of many patriotic
hymns, the most popular
of which is Hino à
Bandeira (with lyrics by
Olavo Bilac). He explored
Brazilian nationalist
elements in some of his
works, as in Variações
sobre um Tema Brasileiro
and in the Trio for
violin, cello and piano,
whose third movement is
based on a lundu (a
musical genre and dance
of Afro-Brazilian
origin). In addition
to being a composer,
Braga was one of the most
active conductors of his
time, having been ahead
of three orchestras in
Rio de Janeiro: Instituto
Nacional de Música,
Sociedade de Concertos
Sinfônicos, and Theatro
Municipal. Braga
conducted the Brazilian
premiere of major
symphonic works such as
La Mer (Debussy), Pacific
231 (Honegger) besides
other numerous Brazilian
compositions. In 1938,
he retired from Instituto
Nacional de Música. He
passed away on March
14th, 1945, in Rio de
Janeiro. Unfortunately
, Francisco Braga never
wrote for the guitar.
However, over a century
ago his music had already
been incorporated to its
repertoire. According to
information found in
newspapers of the time,
Spanish guitarist
Josefina Robledo included
transcriptions of pieces
by Braga in her programs
when she performed in
Brazil: Gavota e Minuete
(from the melodrama
Contratador de
Diamantes), in 1919, in
São Paulo, and the
waltz-caprice Corrupio,
in 1921, in Rio de
Janeiro. The piano
score of Madrigal Pavane
was dedicated to Alexina
Leitão and published by
Casa Vieira Machado, in
1901. According to the
composer’s catalogue,
there are two other
versions of this piece:
strings orchestra (1901)
and quartet (which is
still in manuscript).
Dedicated to Braga’s
childhood friend José de
Souza Rocha, Timburibá
(the name of a Brazilian
tree) is a tango for
piano from 1886,
published by Narciso &
Arthur
Napoleão.
Antôni
o Francisco Braga
(1868-1945) appartient à
la génération des
compositeurs brésiliens
de la première période
républicaine,
esthétiquement liés au
romantisme, aux côtés
de Henrique Oswald
(1852-1931), Leopoldo
Miguez (1850-1902),
Glauco Velásquez
(1884-1914) , et Barrozo
Neto (1881-1941). Né à
Rio de Janeiro, le 15
avril 1868, il commence
ses études musicales à
l'Asilo dos Meninos
Desvalidos, en 1876. En
1883, il s'inscrit au
Imperial Conservatório
de Música où il étudie
l'harmonie et le
contrepoint avec Carlos
de Mesquita – ancien
élève de César Franck,
Durand et Massenet – et
clarinette avec Antônio
Luís de Moura. De cette
période datent les
premières compositions
de Braga : « Sonho de
Dante » (1885), « Dolce
far niente » (1886), la
première « Valse
Romantique » pour piano
(1886), entre
autres. En 1887, il
crée sa première œuvre
symphonique, «
Fantasia-Abertura ». En
1890, étant l'un des
finalistes d'un concours
pour choisir le nouvel
hymne national
brésilien, Braga obtient
une bourse pour étudier
en Europe, où il suit
les cours de Jules
Massenet au Conservatoire
de Paris. Durant cette
période, il écrit
certaines de ses œuvres
symphoniques les plus
importantes, « Paysage
», « Cauchemar », «
Episódio Sinfônico »
et « Marabá »
(interprétée par
Richard Strauss et la
Philharmonie de Vienne en
1920, au Brésil). Son
opéra « Jupyra » est
considéré comme l'une
des plus grandes
compositions
brésiliennes de ce
genre. De retour au
Brésil, il fut nommé
professeur de
contrepoint, de fugue et
de composition à
l'Instituto Nacional de
Música, en 1902. Là,
certains des meilleurs
compositeurs brésiliens
étudièrent avec lui,
comme Glauco Velásquez
et Lorenzo
Fernândez. Braga a
écrit des opéras, des
œuvres symphoniques, des
chansons, de la musique
sacrée, deux messes, de
la musique pour piano,
différentes formations
de chambre, un orchestre
et une chorale. Il est
l'auteur de nombreux
hymnes patriotiques, dont
le plus populaire est «
Hino à Bandeira » (avec
des paroles d'Olavo
Bilac). Il a exploré des
éléments nationalistes
brésiliens dans
certaines de ses œuvres,
comme dans « Variações
sobre um Tema Brasileiro
» et dans le Trio pour
violon, violoncelle et
piano, dont le troisième
mouvement est basé sur
un « lundu » (un genre
musical et une danse
afro-américaine).
Origine
brésilienne). En plus
d'être compositeur,
Braga a été l'un des
chefs d'orchestre les
plus actifs de son
époque, ayant dirigé
trois orchestres à Rio
de Janeiro : « Instituto
Nacional de Música »,
« Sociedade de Concertos
Sinfônicos » et «
Theatro Municipal ».
Braga a dirigé la
première brésilienne
d'œuvres symphoniques
majeures telles que « La
Mer » (Debussy), «
Pacific 231 » (Honegger)
ainsi que de nombreuses
autres compositions
brésiliennes. En
1938, il prend sa
retraite de l'Instituto
Nacional de Música. Il
est décédé le 14 mars
1945 à Rio de
Janeiro. Malheureuseme
nt, Francisco Braga n’a
jamais écrit pour la
guitare. Cependant, il y
a plus d'un siècle, sa
musique était déjà
incorporée à son
répertoire. Selon des
informations trouvées
dans les journaux de
l'époque, la guitariste
espagnole Josefina
Robledo incluait des
transcriptions de pièces
de Braga dans ses
programmes lorsqu'elle se
produisait au Brésil :
« Gavota e Minuete »
(du mélodrame «
Contratador de Diamantes
»), en 1919, à São
Paulo, et la
valse-caprice « Corrupio
», en 1921, à Rio de
Janeiro. La partition
pour piano de « Madrigal
Pavane » a été
dédiée à Alexina
Leitão et publiée par
« Casa Vieira Machado
», en 1901. Selon le
catalogue du compositeur,
il existe deux autres
versions de cette pièce
: orchestre à cordes
(1901) et quatuor (qui
est encore manuscrit).
Dédié à José de Souza
Rocha, ami d'enfance de
Braga, « Timburibá »
(nom d'un arbre
brésilien) est un tango
pour piano de 1886,
publié par « Narciso &
Arthur Napoleão
». Envoyer des
commentaires Panneaux
latéraux HistoriqueEnregistrées. $9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
|