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Shepherd’s Lament
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You've selected:
Shepherd’s Lament
Sheetmusic to print
20 sheet music found
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1
Shepherd’s Song from Tristan & Isolde for Horn
Shepherd’s Song from Tristan & Isolde for Horn
#
French horn
#
ADVANCED
#
Classical
#
Richard Wagner
#
Ralph Sauer
#
Isolde
#
Shepherd’s Song from Tristan
#
Gordon Cherry
#
SheetMusicPlus
French Horn Solo - Level 5 - Digital Download SKU: A0.792742 Composed by Richard Wagner. Arranged by Ralph Sauer. Romantic Period. Individual part. 1 pag...
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French Horn Solo - Level 5 - Digital Download SKU: A0.792742 Composed by Richard Wagner. Arranged by Ralph Sauer. Romantic Period. Individual part. 1 pages. Gordon Cherry #6199459. Published by Gordon Cherry (A0.792742). Shepherd's Song is heard in the prelude to the Finale, Act 3 of Wagner's great opera, Tristan & Isolde. It is a bleak and doleful lament played mostly unaccompanied by a shepherd boy keeping watch for Isolde's ship to arrive. The melody is later heard throughout Scene 1.Ralph Sauer, has done a beautiful job in arranging this music (originally played offstage on the English Horn) for Horn in FIt is about 2 1/2 minutes in length and appropriate for advanced performers.
$7.50 ≈
6.91€
Shepherd's Song from Tristan & Isolde for Unaccompanied Bass Trombone
Shepherd's Song from Tristan & Isolde for Unaccompanied Bass Trombone
#
Classical
#
Richard Wagner
#
Sauer, Ralph
#
Isolde
#
Shepherd's Song from Tristan &
#
Gordon Cherry
#
SheetMusicPlus
Bass Trombone,Instrumental Solo - Level 5 - Digital Download SKU: A0.810784 Composed by Richard Wagner. Arranged by Sauer, Ralph. Opera,Romantic Period. ...
(+)
Bass Trombone,Instrumental Solo - Level 5 - Digital Download SKU: A0.810784 Composed by Richard Wagner. Arranged by Sauer, Ralph. Opera,Romantic Period. Individual part. 3 pages. Gordon Cherry #3025585. Published by Gordon Cherry (A0.810784). Shepherd's Song is heard in the prelude to the Finale, Act 3 of Wagner's great opera, Tristan & Isolde. It is a bleak and doleful lament played mostly unaccompanied by a shepherd boy keeping watch for Isolde's ship to arrive. The melody is later heard throughout scene 1. Ralph Sauer, has done a beautiful job in arranging this music (originally played offstage on the English Horn) for Bass Trombone It is about 2 1/2 minutes in length and appropriate for advanced performers.
$5.00 ≈
4.61€
Shepherd's Song from Tristan & Isolde for Unaccompanied Tuba
Shepherd's Song from Tristan & Isolde for Unaccompanied Tuba
#
Tuba
#
ADVANCED
#
Classical
#
Richard Wagner
#
Sauer, Ralph
#
Isolde
#
Shepherd's Song from Tristan &
#
Gordon Cherry
#
SheetMusicPlus
Tuba Solo - Level 5 - Digital Download SKU: A0.810783 Composed by Richard Wagner. Arranged by Sauer, Ralph. Opera,Romantic Period. Individual part. 3 pag...
(+)
Tuba Solo - Level 5 - Digital Download SKU: A0.810783 Composed by Richard Wagner. Arranged by Sauer, Ralph. Opera,Romantic Period. Individual part. 3 pages. Gordon Cherry #3025583. Published by Gordon Cherry (A0.810783). Shepherd's Song is heard in the prelude to the Finale, Act 3 of Wagner's great opera, Tristan & Isolde. It is a bleak and doleful lament played mostly unaccompanied by a shepherd boy keeping watch for Isolde's ship to arrive. The melody is later heard throughout scene 1. Ralph Sauer, has done a beautiful job in arranging this music (originally played offstage on the English Horn) for Tuba or Bass Trombone It is about 2 1/2 minutes in length and appropriate for advanced performers.
$5.00 ≈
4.61€
Shepherd’s Song from Tristan & Isolde for Unaccompanied Euphonium
Shepherd’s Song from Tristan & Isolde for Unaccompanied Euphonium
#
Euphonium
#
ADVANCED
#
Classical
#
Richard Wagner
#
Sauer, Ralph
#
Isolde
#
Shepherd’s Song from Tristan
#
Gordon Cherry
#
SheetMusicPlus
Euphonium Solo - Level 5 - Digital Download SKU: A0.792062 Composed by Richard Wagner. Arranged by Sauer, Ralph. Opera,Romantic Period. Individual part. ...
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Euphonium Solo - Level 5 - Digital Download SKU: A0.792062 Composed by Richard Wagner. Arranged by Sauer, Ralph. Opera,Romantic Period. Individual part. 1 pages. Gordon Cherry #3041937. Published by Gordon Cherry (A0.792062). Shepherd's Song is heard in the prelude to the Finale, Act 3 of Wagner's great opera, Tristan & Isolde. It is a bleak and doleful lament played mostly unaccompanied by a shepherd boy keeping watch for Isolde's ship to arrive. The melody is later heard throughout scene 1. Ralph Sauer, has done a beautiful job in arranging this music (originally played offstage on the English Horn) for Euphonium. It is about 2 1/2 minutes in length and appropriate for advanced performers.
$5.00 ≈
4.61€
Shepherd’s Lament
Shepherd’s Lament
#
Piano solo
#
Classical
#
Johann Friedrich Reichardt
#
Shepherd’s Lament
#
Schott Music - Digital
#
SheetMusicPlus
Piano - intermediate to advanced - Digital Download SKU: S9.Q51905 Composed by Johann Friedrich Reichardt. Edited by Monika Twelsiek. This edition: Sheet...
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Piano - intermediate to advanced - Digital Download SKU: S9.Q51905 Composed by Johann Friedrich Reichardt. Edited by Monika Twelsiek. This edition: Sheet music. (c) 2019 Schott Music GmbH & Co. KG, Mainz. Classical. Downloadable. 2 pages. Schott Music - Digital #Q51905. Published by Schott Music - Digital (S9.Q51905). Key: G minor.Digital publication of the piece found in the following print music collection: Portraits - 45 Easy Piano Pieces from 4 Centuries.
$2.99 ≈
2.76€
Shepherd's Lament
Shepherd's Lament
#
Piano solo
#
INTERMEDIATE
#
Johann Friedrich Reichardt
#
Shepherd's Lament
#
Schott Music - Digital
#
SheetMusicPlus
Piano - intermediate - Digital Download SKU: S9.Q23179 Composed by Johann Friedrich Reichardt. Edited by Monika Twelsiek. This edition: Sheet music. Copy...
(+)
Piano - intermediate - Digital Download SKU: S9.Q23179 Composed by Johann Friedrich Reichardt. Edited by Monika Twelsiek. This edition: Sheet music. Copyright 2009 Schott Music GmbH & Co. KG, Mainz. Downloadable. 1 pages. Schott Music - Digital #Q23179. Published by Schott Music - Digital (S9.Q23179). Digital publication of the piece found in the following print music collection: Programme Music - 40 Original Piano Pieces.
$2.99 ≈
2.76€
Celtic Harmonica Encyclopedia Volume 1
Celtic Harmonica Encyclopedia Volume 1
#
Harmonica
#
INTERMEDIATE
#
Celtic/Irish
#
Celtic Harmonica Encyclopedia
#
Mel Bay Publications - Digital Sheet Music
#
SheetMusicPlus
Harmonica - Intermediate - Digital Download SKU: M0.31181MEB Airs, Waltzes and Mazurkas. Folk. World. Ebook and online audio. 65 pages. Mel Bay Pu...
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Harmonica - Intermediate - Digital Download SKU: M0.31181MEB Airs, Waltzes and Mazurkas. Folk. World. Ebook and online audio. 65 pages. Mel Bay Publications - Digital Sheet Music #31181MEB. Published by Mel Bay Publications - Digital Sheet Music (M0.31181MEB). ISBN 9781513477237. 8.75x11.75 inches.This is the first volume of a four-part collection of over 200 Irish and Scottish dance tunes and airs arranged for standard Richter and Paddy Richter tuned 10-hole diatonic harmonicas. Volume One contains 37 famous Celtic airs, laments, mazurkas, and waltzes including Danny Boy, The Last Rose of Summer, The Minstrel Boy, MacphersonÂ?s Farewell, Annie Laurie, and many others. The book includes standard notation in the original keys, harmonica tab, guitar chords, and downloadable audio files of the tunes. There is also an instructional section explaining all the techniques youÂ?ll need to know to play traditional music on harmonica.
Song List
: Annie Laurie Archibald MacDonald of Keppoch The Arran Boat Song The Ash Grove Believe Me If All Those Endearing Young Charms Boolavogue Cait Ni Dhuibhir Childgrove Danny Boy Down By The Salley Gardens Farewell The Foggy Dew (st and nd settings) For Ireland I'd Not Tell Her Name Gentle Annie Highland Mary Jock O' Hazeldean The Lark In The Clear Air The Last Rose Of Summer Logan Water MacPherson's Farewell Mary, Young and Fair The Minstrel Boy My Love Is Like A Red, Red Rose Neil Gow's Lament for the Death of his Second Wife The Parting Glass Princess Augusta The Pretty Girl Milking Her Cow Rosin The Beau The Shepherd's Wife Sir John Fenwick's The Flower Among Them All The Skye Boat Song The South Wind Two Irish Mazurkas (Sonny's Mazurka and Tommy Peoples' Mazurka) The Wild Geese The Wren
$17.99 ≈
16.58€
Allegories for Flute, Euphonium, and Piano
Allegories for Flute, Euphonium, and Piano
#
Sy Brandon
#
Allegories for Flute, Euphoniu
#
Sy Brandon
#
SheetMusicPlus
Euphonium,Flute,Piano - Level 5 - Digital Download SKU: A0.1141957 Composed by Sy Brandon. 20th Century,Chamber,Children,Classical. 65 pages. Sy Brandon ...
(+)
Euphonium,Flute,Piano - Level 5 - Digital Download SKU: A0.1141957 Composed by Sy Brandon. 20th Century,Chamber,Children,Classical. 65 pages. Sy Brandon #742334. Published by Sy Brandon (A0.1141957). “Allegories†is a five-movement composition based upon Aesop’s Fables. It was commissioned by and dedicated to Frank Meredith. The first movement “The Trumpeter Taken Captive†is a fable about how one’s actions affect the outcome. The trumpeter, who incites others to do battle, is as guilty as those who slay the enemy. The euphonium represents the trumpeter by playing battle tunes. Then the ensemble plays capture music, begging music, fatal music representing the slaying of the trumpeter (euphonium), and finally music representing the moral of the story. “The Boy Who Cried Wolf†is the basis for the second movement. The allegory is that nobody believes a liar. The flute plays a shepherd’s tune to represent the bored shepherd boy. The ensemble plays excited music three times as the boy cries wolf, the first two times just to amuse himself. After the third time when nobody responds to his cries, the flute plays a lament to end the movement. The third movement reflects the story of “The Goose That Laid The Golden Egg.†A golden euphonium melody accompanied by rich harmony represents the golden eggs laid by the goose. The ensemble then plays greedy music that is followed by a minor key lament as the farmer has killed his rich source of income because of his greed. A sweet dancing flute solo begins movement four appropriately named “The Fisherman and His Flute.†This short fable has the allegory of “timing is everything.†The poor fisherman expected the fish to jump out of the sea in response to his flute playing to no avail. When the ensemble plays a similar tune, it represents his success when he uses his net. The fisherman says “you bloody fish, when I played the flute you wouldn’t dance, but as soon I stopped, you started up.†The race between the “Tortoise and the Hare†is the subject of the last movement. The plodding euphonium represents the tortoise and the fast and agile flute represents the hare. The flute takes a nap in the middle of the movement and by the time the flute wakes up, it is too late to catch up with the slow and steady tortoise. The race is not always to the swift.
$14.99 ≈
13.81€
Allegories for Flute, Euphonium, and Percussion
Allegories for Flute, Euphonium, and Percussion
#
Sy Brandon
#
Allegories for Flute, Euphoniu
#
Sy Brandon
#
SheetMusicPlus
Euphonium,Flute,Percussion - Level 5 - Digital Download SKU: A0.1141962 Composed by Sy Brandon. 20th Century,Chamber,Children,Classical. 63 pages. Sy Bra...
(+)
Euphonium,Flute,Percussion - Level 5 - Digital Download SKU: A0.1141962 Composed by Sy Brandon. 20th Century,Chamber,Children,Classical. 63 pages. Sy Brandon #742339. Published by Sy Brandon (A0.1141962). “Allegories†is a five-movement composition based upon Aesop’s Fables. It was commissioned by and dedicated to Frank Meredith. The first movement “The Trumpeter Taken Captive†is a fable about how one’s actions affect the outcome. The trumpeter, who incites others to do battle, is as guilty as those who slay the enemy. The euphonium represents the trumpeter by playing battle tunes. Then the ensemble plays capture music, begging music, fatal music representing the slaying of the trumpeter (euphonium), and finally music representing the moral of the story. “The Boy Who Cried Wolf†is the basis for the second movement. The allegory is that nobody believes a liar. The flute plays a shepherd’s tune to represent the bored shepherd boy. The ensemble plays excited music three times as the boy cries wolf, the first two times just to amuse himself. After the third time when nobody responds to his cries, the flute plays a lament to end the movement. The third movement reflects the story of “The Goose That Laid The Golden Egg.†A golden euphonium melody accompanied by rich harmony represents the golden eggs laid by the goose. The ensemble then plays greedy music that is followed by a minor key lament as the farmer has killed his rich source of income because of his greed. A sweet dancing flute solo begins movement four appropriately named “The Fisherman and His Flute.†This short fable has the allegory of “timing is everything.†The poor fisherman expected the fish to jump out of the sea in response to his flute playing to no avail. When the ensemble plays a similar tune, it represents his success when he uses his net. The fisherman says “you bloody fish, when I played the flute you wouldn’t dance, but as soon I stopped, you started up.†The race between the “Tortoise and the Hare†is the subject of the last movement. The plodding euphonium represents the tortoise and the fast and agile flute represents the hare. The flute takes a nap in the middle of the movement and by the time the flute wakes up, it is too late to catch up with the slow and steady tortoise. The race is not always to the swift.
$14.99 ≈
13.81€
Musica arcaica No. 1
Musica arcaica No. 1
#
Cello, Piano
#
ADVANCED
#
Enjott Schneider
#
Musica arcaica No. 1
#
Schott Music - Digital
#
SheetMusicPlus
Violin, cello and piano - difficult - Digital Download SKU: S9.Q6972 Studies on the Cypriot Folk Song 'The Shepherd'. Composed by Enjott Schneider...
(+)
Violin, cello and piano - difficult - Digital Download SKU: S9.Q6972 Studies on the Cypriot Folk Song 'The Shepherd'. Composed by Enjott Schneider. This edition: score and parts. Folk song. Downloadable, Score and parts. Duration 11 minutes. Schott Music - Digital #Q6972. Published by Schott Music - Digital (S9.Q6972). 'Musica arcaica No.1' is the first piece in a series of chamber music works in which Schneider as a composer examines music of other cultures (songs, dances among others). The old Cypriot shepherd's song Voskos inspired the composer to apply the archaic composition techniques of drone, heterophony and ostinato. The song expresses different moods: The first half of the song is dominated by the yearning lament 'Im Pferch eingesperrt bin ich geboren, im Pferch werde ich sterben'. The second half sets the ecstatically and defiantly, but also proudly sustained thought of death 'Niemand von euch kennt den Tod, noch das Altern!' to music. Schneider presents these emotions in a convincing and exciting manner by means of instruments.
$23.99 ≈
22.11€
Folk Songs For Classical Guitar - Volume 19 (Songs 487-513)
Folk Songs For Classical Guitar - Volume 19 (Songs 487-513)
#
Traditional/Anonymous
#
Socrates Arvanitakis
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Folk Songs For Classical Guita
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Socrates Arvanitakis
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SheetMusicPlus
Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1156207 Composed by Traditional/Anonymous. Arranged by Socrates Arvanitakis. Class...
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Acoustic Guitar,Instrumental Solo - Level 3 - Digital Download SKU: A0.1156207 Composed by Traditional/Anonymous. Arranged by Socrates Arvanitakis. Classical,Early Music,Folk,Traditional. Individual part. 41 pages. Socrates Arvanitakis #756521. Published by Socrates Arvanitakis (A0.1156207). This is the nineteenth volume of an extensive collection of folk songs arranged for the classical guitar mostly in two-part counterpoint. The arrangements are of moderate difficulty and the aims of this publication are to familiarise, entertain and educate guitarists (and other musicians) with a melodic repertoire of lasting aesthetic value, under the light of contrapuntal treatment. The thirty five volumes of this collection can certainly be printed on paper if so desired and there are a few pages in each volume, either blank or with photographs of various musicians, which can be inserted at will in any place for the correct ordering of left and right hand pages so that page turns can be avoided. The principle of avoiding page turns has been maintained in all volumes, but this edition is also designed with mobile electronic devices in mind such as tablets etc, using the environment and facilities of a score reading application, towards a paperless world, at least in music. Therefore the size of the staves is bigger than usual for ease of reading on a small screen but not big enough to exceed the limit of a two-page view. Active internal links for navigating from thematic indexes to particular songs and back to indexes have been added, and also external internet links to sites that give further information for the 945 songs of this first collection for classical guitar.Volume 19 (Songs 487-513)Jovial Young Sailor (the)Joy of SpringtimeJoys of MaryJoys of Mary (the nine)Juda’s LandJust as the Tide was FlowingKeach i’ the Creel (the)Keel Row (the)Keeper (the)Kelvin GroveKeys of CanterburyKing and the TinkerKing Herod and the CockKing PharimKingston Volunteers (the)Kitty of ColeraineKnife in the Window (the)Knight and the Shepherd’s Daughter (the)La PiqueLady Franklin's Lament (Lord Franklin)Lady Maisrey 1Lady Maisrey 2Lady Maisrey 3Lady Maisrey 4Lake of ColphinLambkin.
$25.00 ≈
23.04€
A Klezmer Wedding
A Klezmer Wedding
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String Quartet: 2 violins, viola, cello
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ADVANCED
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Klezmer
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Mike Curtis
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A Klezmer Wedding
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Advance Music GmbH - Digital
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SheetMusicPlus
String quartet - advanced - Digital Download SKU: S9.Q54881 Composed by Mike Curtis. This edition: score and parts. Klezmer - quartet - string instrument...
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String quartet - advanced - Digital Download SKU: S9.Q54881 Composed by Mike Curtis. This edition: score and parts. Klezmer - quartet - string instrument. Downloadable, Score and parts. Advance Music GmbH - Digital #Q54881. Published by Advance Music GmbH - Digital (S9.Q54881). A Klezmer Wedding is a set of four dances, newly-composed but based on traditional models. The Doina is an expressive chant for three successive soloists; it twists and turns with the wailing lament of a shepherd's pipe. Next follows the Hora, a slow Rumanian dance in three with a mood that reflects the wedding's solemn vows. A Chusidl, with a moderate speed and bouncy rhythms, gets the party to the dance floor. The concluding Freylach (happy, but still in a minor key!) takes the bride, groom, and guests to the edge of frenzy.
$17.99 ≈
16.58€
Hinkala - Armenian Song - Jazz Waltz for Piano
Hinkala - Armenian Song - Jazz Waltz for Piano
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Piano solo
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EASY
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Traditional Armenian
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Constance Shelengian
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Hinkala - Armenian Song - Jazz
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Constance Shelengian
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SheetMusicPlus
Piano Solo - Level 2 - Digital Download SKU: A0.1425470 Composed by Traditional Armenian. Arranged by Constance Shelengian. Folk,Jazz,Multicultural,Tradi...
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Piano Solo - Level 2 - Digital Download SKU: A0.1425470 Composed by Traditional Armenian. Arranged by Constance Shelengian. Folk,Jazz,Multicultural,Traditional,World. Score. 2 pages. Constance Shelengian #1006286. Published by Constance Shelengian (A0.1425470). Hinkala, or Hingala is in the key of D minor. In this arrangement, the simple unembellished melody is set in a gentle jazz waltz style where the L.H. provides the sense of movement and harmonic appeal. It is an unpretentious cross between Armenian folk and light swing. When sung in Armenian, the lyrics depict a downhearted shepherd on a mountain playing a love song as he is surrounded by vibrantly colored flowers.A Medley in 3/4 meter (Hinkala/Hrant’s Lament) can be heard on the album, “Oud Vibrations: Songs of Armenian Heritage” featuring Rich Shelengian, oud, Constance Shelengian, piano. Select the YouTube link below to access the audio.
$2.25 ≈
2.07€
Johann Friedrich Reichardt: Shepherd's Lament - piano solo
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Piano solo
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INTERMEDIATE/ADVANCED
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Classical
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Johann Friedrich Reichardt
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Virtualsheetmusic
Instantly printable sheet music by Johann Friedrich Reichardt for piano solo of MEDIUM/HIGH skill level. Contents: Portraits, 45 Easy Piano Pieces from 4 Centuries / classical...
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Instantly printable sheet music by Johann Friedrich Reichardt for piano solo of MEDIUM/HIGH skill level. Contents: Portraits, 45 Easy Piano Pieces from 4 Centuries / classical
$5.99 ≈
5.52€
Johann Friedrich Reichardt: Shepherd's Lament - piano solo
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Piano solo
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INTERMEDIATE
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Classical
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Johann Friedrich Reichardt
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Virtualsheetmusic
Instantly printable sheet music by Johann Friedrich Reichardt for piano solo of EASY/MEDIUM skill level. Contents: Programme Music, 40 Original Piano Pieces / classical...
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Instantly printable sheet music by Johann Friedrich Reichardt for piano solo of EASY/MEDIUM skill level. Contents: Programme Music, 40 Original Piano Pieces / classical
$5.99 ≈
5.52€
Monteverdi - The Sixth Book of Madrigals - 12. Batto qui pianse
Monteverdi - The Sixth Book of Madrigals - 12. Batto qui pianse
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Brass ensemble
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INTERMEDIATE
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Classical
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Claudio Monteverdi
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Mike Lyons
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Monteverdi - The Sixth Book of
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Lyons Music Services
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SheetMusicPlus
Brass Ensemble - Level 3 - Digital Download SKU: A0.767280 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Renaissance. Score and parts. ...
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Brass Ensemble - Level 3 - Digital Download SKU: A0.767280 Composed by Claudio Monteverdi. Arranged by Mike Lyons. Baroque,Renaissance. Score and parts. 40 pages. Lyons Music Services #3218709. Published by Lyons Music Services (A0.767280). As part of my continuing project to transcribe Monteverdi's madrigals onto winds, here is the 6th book. In this book we see a much greater development towards dramatic representation. In a way, this book is divisible into two Scenes with a number of single items in between. The vocal lines are all much more complex and we can also see the beginnings of monodic writing appear in the semi-recit sections of some of the songs. Also clearly developing are delineations of the voices into soloists and chorus. Several songs in this book are almost akin to arias, with clear soloistic writing for the higher voices (Cantus/Tenor). The first four songs form a kind of introductory scena, which Monteverdi calls Lamento d'Arianna and there is a second named group Sestina. This song, No 12, translates as Betty, who cried, was imprisoned by Chloris the shepherd while he hunted a deer. Needless to say, it was for romantic reasons! As with all things madrigalian, the lyrics are rife with double entendres. Monteverdi uses some very close dissonances to describe death and release.
$5.99 ≈
5.52€
Missa Solemnis, op. 27 - Score Only
Missa Solemnis, op. 27 - Score Only
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Orchestra
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ADVANCED
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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 - Digital Download SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #86...
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Full Orchestra - Level 5 - Digital Download 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 ≈
79.24€
Missa Solemnis, op. 27 (vocal score)
Missa Solemnis, op. 27 (vocal score)
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Choral SATB
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ADVANCED
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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 - Digital Download SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adr...
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Choral Choir (SATB) - Level 5 - Digital Download 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 ≈
81.08€
Missa Solemnis, op. 27 (parts)
Missa Solemnis, op. 27 (parts)
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Orchestra
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ADVANCED
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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
Full Orchestra - Level 5 - Digital Download SKU: A0.1277141 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Score and Parts. 282 pages....
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Full Orchestra - Level 5 - Digital Download 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 ≈
147.44€
25 Arrangements for flute and classical guitar
25 Arrangements for flute and classical guitar
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Flute and Guitar
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INTERMEDIATE
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Classical
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Traditional, Franz Schubert,
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David Warin Solomons
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25 Arrangements for flute and
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David Warin Solomons
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SheetMusicPlus
Composed by Traditional, Franz Schubert, William Byrd, Thomas Morley, Henry Purcell, Johannes Brahms, Stephen Collins Foster, Thomas Moore, Philip Ros...
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Composed by Traditional, Franz Schubert, William Byrd, Thomas Morley, Henry Purcell, Johannes Brahms, Stephen Collins Foster, Thomas Moore, Philip Rosseter, Robert Jones. Arranged by David Warin Solomons. 20th Century, Romantic Period, Classical Period, Baroque Period. Score, Set of Parts. 163 pages. Published by David Warin Solomons
These works are all also available separately on this site, but if you are interested in acquiring this album, it will afford you a very big discount.All pieces are arranged by David Warin Solomons and the scores and parts are all provided in the pdf.The sound sample is Lass of Richmond Hill (advanced version) electronic preview.The pieces are as follows:Lass of Richmond Hill (advanced version)Lass of Richmond Hill (simple version)Love's God is a Boy (Jones)Sapphic Ode (Brahms)O du Fröhliche (O sanctissima)Dansons mais sans oublier (based on a Haitian lullaby)When Laura Smiles (Philip Rosseter)To the Maypole haste away (including an extended version)Beautiful dreamer (Stephen Foster)Believe me if all those ndearing young charms (Thomas Moore)Cradle Song (William Byrd)Davy oy vey Davy (a harmonic minor version of Davy Davy Knick Knack)Nobody's JiggBailero (from Songs of the Auvergne)Ound Onoren (from Songs of the Auvergne)L'aio de rotso (from Songs of the Auvergne)The Entertainer (Scott Joplin)Polly Wolly DoodleAn die Musik (Schubert)Dido's Lament (Purcell)Es ist ein Ros Entsprungen (after Praetorius)If music be the food of love (Purcell)It was a lover and his lass (Morley)Nymphs and Shepherds (Purcell)What shall I do (Purcell).
$26.00 ≈
23.96€
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Shepherd’s Lament
