Matériel : Conducteur d'étude / Miniature
SKU: 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.
SKU: 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.
SKU: 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.
SKU: 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.
SKU: MN.70-106
UPC: 688670701061. English.
Movement VI from the Suite on the NativityBased 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.
SKU: MN.70-104
UPC: 688670701047. English.
Movement IV from the Suite on the NativityBased 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.
SKU: MN.70-105
UPC: 688670701054. German.
Movement V from the Suite on the NativityBased 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.
SKU: MN.70-102
UPC: 688670701023. English.
Movement II from the Suite on the NativityBased 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.
SKU: 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.
SKU: 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.
SKU: 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 Wakefield 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 first 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).
SKU: 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.
SKU: 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.