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Vous avez sélectionné:
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Chorale SATB
Partitions à imprimer
8 partitions trouvées
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1
The Dybbuk - A chamber opera
The Dybbuk - A chamber opera
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Chorale SATB
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AVANCÉ
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Ofer Ben-Amots, composer and l
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The Dybbuk - A chamber opera
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The Composer's Own Press
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.944030 Composed by Ofer Ben-Amots, composer and librettist. 20th Century,Contemporary,Jewish,Opera. Octavo. 230 ...
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Choral Choir (SATB) - Level 5 - SKU: A0.944030 Composed by Ofer Ben-Amots, composer and librettist. 20th Century,Contemporary,Jewish,Opera. Octavo. 230 pages. The Composer's Own Press #4605467. Published by The Composer's Own Press (A0.944030). Romeo and Juliet meets The Exorcist is the way that one critic has described the extraordinary emotional and generational pull that has made The Dybbuk so compelling to audiences from all over the world for over close to a century, including women writers like Francine Prose, who have appropriated the pre-feminist themes of the play.Performance material by rental only! For demo recording, questions, or any additional information plaese e-mail Ofer Ben-Amots at: thecomposerspress@gmail.com
$90.00
The Story of a Leader
The Story of a Leader
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Chorale SATB
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AVANCÉ
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Classique
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Igor Korneitchouk
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The Story of a Leader
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Studio at the Post
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.1143904 Composed by Igor Korneitchouk. 20th Century,A Cappella,Contemporary,Religious. Octavo. 37 pages. Studio ...
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Choral Choir (SATB) - Level 5 - SKU: A0.1143904 Composed by Igor Korneitchouk. 20th Century,A Cappella,Contemporary,Religious. Octavo. 37 pages. Studio at the Post #744209. Published by Studio at the Post (A0.1143904). Duration: 16 minutes, 33 pp. Description: Exodus is a great story that belongs to everyone. Not only is it central to Judaism, not only is it integral to the Christian Bible, it is an immortal story that has been, and continues to be, an inspiration to oppressed peoples everywhere on this planet. It is relevant not just as ancient scripture but as living text, to be rediscovered by each new generation of an ever-widening Family of Man. The theme of struggle against oppression and slavery was just as relevant to the early Christians persecuted in Ancient Rome as it was relevant to the American Civil Rights movement of the 1960's, just as relevant to the Soviet Jews wishing to emigrate as it is to the South African Blacks resisting Apartheid. From the Dark Ages and the Spanish Inquisition, to Ghandi's emancipation of India, to the Holocaust, to, full-circle, the ongoing struggles in Palestine today, the story of Exodus is a guiding light in a dim and often grim world. According to the composer: The Story of a Leader is a collection of ‘re-chorales’ I created one summer when I was totally immersed in a post-educational obsession with the 371 Chorales by Johann Sebastian Bach. We used to study these to learn the rules of harmony and voice-leading (no parallel fifths, avoid crossed voices, etc.) at the Cleveland Institute of Music where I began my compositional career. That summer, now a professor of music in my own right, I discovered many broken and bent rules by the master himself and, along with the glory of being able to work through these Chorales myself at the piano, I felt an incredible feeling of liberation and possibilities unmediated by instructors of music theory. I began by stripping away all that Bach wrote, leaving only the hymn tunes which were not his to begin with. These tunes existed long before Bach used them for his tonal experiments, some attributed to Martin Luther, or someone else, others simply listed as ‘anonymous’. The same is true for the texts, which were then translated into English mostly in the 19th century (the provenance of each can be found herein on the first page of each of my reharmonizations). In some cases I modified the text to fit the context. I selected 12 of these ‘re-chorales,’ linking them together based on their texts in a kind of logic that worked for me, and created a narrative that told The Story of a Leader (Moses). This story is highlighted in the music with such techniques as cross-modal harmonies, points of imitation, a beer drinking song in one instance, and in another, to symbolize the parting of the seas for Moses’ people, an inversion of the soprano line in the bass..
$15.04
Amida Buddha, Flower of the Dharma: For Chorus, Orchestra and Soloists
Amida Buddha, Flower of the Dharma: For Chorus, Orchestra and Soloists
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Chorale SATB
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AVANCÉ
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Musique Sacrée
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Richard St
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Amida Buddha, Flower of the Dh
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Richard St. Clair
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SheetMusicPlus
Choral Choir (4-Part) - Level 5 - SKU: A0.939786 Composed by Richard St. Clair. 20th Century,Praise & Worship,Sacred. Octavo. 129 pages. Richard St. Cla...
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Choral Choir (4-Part) - Level 5 - SKU: A0.939786 Composed by Richard St. Clair. 20th Century,Praise & Worship,Sacred. Octavo. 129 pages. Richard St. Clair #3636483. Published by Richard St. Clair (A0.939786). Full orchestral score, parts available upon request. This work is an expression of the composer's faith in the Buddhist savior, Amida Buddha. In seven sections with two solo arias, this work is expansive and full of vigor and devotion. The audio clip is movements 4 and 7 in a chamber version.
$30.00
Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga
Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga
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Chorale SATB
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AVANCÉ
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Carson Cooman
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Carson Cooman: Ascensions
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Musik Fabrik Music Publishing
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.535388 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 82 pages. Musik Fabrik Music Publishing #...
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Choral Choir (SATB) - Level 5 - SKU: A0.535388 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 82 pages. Musik Fabrik Music Publishing #3043975. Published by Musik Fabrik Music Publishing (A0.535388). I. SinfoniaII. To Mary on the vigil of her AssumptionIII. A Votive SongIV. The Heliotrope-the mind of man turned to GodAscensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and organ was commissioned by and isdedicated to the Cornell University Chamber Singers, Holland J. Jancaitis, director.The work is a cantata consisting of an instrumental sinfonia followed by choral settings of three poems by neo-Latin poetJakob Balde, S.J. (1604–68), hailed as the Horace of Germany and considered one of the greatest Latin poets of any era.In the case of the three poems selected, Balde’s vivid imagery and mastery of Latin poetics are put in service of religiousexpression. The poems are filled with countless allusions to the classical poetic tradition; notably, he creates a strongcorrelation between the Virgin Mary of his Christian tradition (Balde was a Jesuit priest) and the goddesses invoked inclassical Latin poetry. Thus, Balde uses the older forms to express something that was, for him, contemporary andrelevant. (An analogue to this use of language is the idea of creating new music to be played on period instruments.)The opening sinfonia begins with an ascending pattern of triads, which returns throughout the work. The forwardmomentum is interrupted several times before the movement settles tonally. The first choral movement employs abouncy momentum to set the celebratory poem on the Virgin’s assumption. The second movement is a prayerful song onthe acceptance of death; it is spare and meditative, unfolding as a series of sectional canons over several drones. The finalmovement returns to the celebratory spirit of the opening; this time, instead of the Virgin’s journey, the poem describesthe speaker’s journey and compares a purposeful sea voyage to a directed life.Balde’s poems are provided in their original Latin and in two translations. One is a free translation in rhyming poeticEnglish created by James J. Mertz, S.J., longtime professor at Loyola University. The other is a newly-created literaltranslation by Edward J. Vodoklys, S.J., Senior Lecturer in Classics at the College of the Holy Cross.Carson P. Cooman, January 2009, Cambridge, Massachusetts, USAPERFORMANCE NOTES: The composer prefers a classically-informed Italianate pronunciation of the Latin(church Latin is acceptable). (It is important that V always be pronounced as V, not as the W soundoften used by classical Latinists.)The work is conceived for a chamber choir, as a larger choir would not balance the timbres of the baroqueinstruments. It is suggested that 16–24 singers be employed (no fewer than 12).As with much early repertoire, dynamic and expressive markings are kept to a minimum. It is expected thatdirector and performers will inflect lines expressively and naturally. The organ part is notated for a small portatiforgan with pull-down pedal (with no independent pedal stops). If played on a larger instrument, this smallerregistration plan should be kept in mind so as to create balance with the instruments and choir.
$25.95
Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga
Carson Cooman: Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and orga
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Chorale SATB
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AVANCÉ
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Carson Cooman
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Carson Cooman: Ascensions
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Musik Fabrik Music Publishing
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.535387 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 65 pages. Musik Fabrik Music Publishing #...
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Choral Choir (SATB) - Level 5 - SKU: A0.535387 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 65 pages. Musik Fabrik Music Publishing #3043973. Published by Musik Fabrik Music Publishing (A0.535387). I. SinfoniaII. To Mary on the vigil of her AssumptionIII. A Votive SongIV. The Heliotrope-the mind of man turned to GodAscensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and organ was commissioned by and isdedicated to the Cornell University Chamber Singers, Holland J. Jancaitis, director.The work is a cantata consisting of an instrumental sinfonia followed by choral settings of three poems by neo-Latin poetJakob Balde, S.J. (1604–68), hailed as the Horace of Germany and considered one of the greatest Latin poets of any era.In the case of the three poems selected, Balde’s vivid imagery and mastery of Latin poetics are put in service of religiousexpression. The poems are filled with countless allusions to the classical poetic tradition; notably, he creates a strongcorrelation between the Virgin Mary of his Christian tradition (Balde was a Jesuit priest) and the goddesses invoked inclassical Latin poetry. Thus, Balde uses the older forms to express something that was, for him, contemporary andrelevant. (An analogue to this use of language is the idea of creating new music to be played on period instruments.)The opening sinfonia begins with an ascending pattern of triads, which returns throughout the work. The forwardmomentum is interrupted several times before the movement settles tonally. The first choral movement employs abouncy momentum to set the celebratory poem on the Virgin’s assumption. The second movement is a prayerful song onthe acceptance of death; it is spare and meditative, unfolding as a series of sectional canons over several drones. The finalmovement returns to the celebratory spirit of the opening; this time, instead of the Virgin’s journey, the poem describesthe speaker’s journey and compares a purposeful sea voyage to a directed life.Balde’s poems are provided in their original Latin and in two translations. One is a free translation in rhyming poeticEnglish created by James J. Mertz, S.J., longtime professor at Loyola University. The other is a newly-created literaltranslation by Edward J. Vodoklys, S.J., Senior Lecturer in Classics at the College of the Holy Cross.Carson P. Cooman, January 2009, Cambridge, Massachusetts, USAPERFORMANCE NOTES: The composer prefers a classically-informed Italianate pronunciation of the Latin(church Latin is acceptable). (It is important that V always be pronounced as V, not as the W soundoften used by classical Latinists.)The work is conceived for a chamber choir, as a larger choir would not balance the timbres of the baroqueinstruments. It is suggested that 16–24 singers be employed (no fewer than 12).As with much early repertoire, dynamic and expressive markings are kept to a minimum. It is expected thatdirector and performers will inflect lines expressively and naturally. The organ part is notated for a small portatiforgan with pull-down pedal (with no independent pedal stops). If played on a larger instrument, this smallerregistration plan should be kept in mind so as to create balance with the instruments and choir
$19.95
Ode to Psyche (Vocal Score)
Ode to Psyche (Vocal Score)
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Chorale SATB
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AVANCÉ
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Contemporain
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William Hawley
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Ode to Psyche
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William Hawley
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.889701 Composed by William Hawley. Contemporary. Octavo. 37 pages. William Hawley #3530229. Published by William...
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Choral Choir (SATB) - Level 5 - SKU: A0.889701 Composed by William Hawley. Contemporary. Octavo. 37 pages. William Hawley #3530229. Published by William Hawley (A0.889701). The Ode to Psyche by William Hawley is a one-movement setting of the ode by John Keats, for Soprano and Baritone Soloists, SSAATTBB Mixed Chorus, and Orchestra. The work has yet to be premiered. The Full Score and Set of Parts may be downloaded from SMP Press as well as this Vocal Score. This download includes permission to photocopy the Vocal Score as necessary without limit for the Conductor, Rehearsal Pianist, Soloists, and Chorus. The audio clip is the complete Composer's Virtual Instruments Demo of this work. Duration: 12 minutes. ASCAP http://williamhawley.net
$4.99
Ode to Psyche (Full Score)
Ode to Psyche (Full Score)
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Chorale SATB
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AVANCÉ
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Contemporain
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William Hawley
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Ode to Psyche
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William Hawley
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.889700 Composed by William Hawley. Contemporary. Octavo. 49 pages. William Hawley #3530225. Published by William...
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Choral Choir (SATB) - Level 5 - SKU: A0.889700 Composed by William Hawley. Contemporary. Octavo. 49 pages. William Hawley #3530225. Published by William Hawley (A0.889700). The Ode to Psyche by William Hawley is a one-movement setting of the ode by John Keats, for Soprano and Baritone Soloists, SSAATTBB Mixed Chorus, and Orchestra. The work has yet to be premiered. The Vocal Score and Set of Parts may be downloaded from SMP Press as well as this Full Score. The audio clip is the complete Composer's Virtual Instruments Demo of this work. Duration: 12 minutes. ASCAP http://williamhawley.net
$12.99
Missa melismatica
Missa melismatica
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Chorale SATB
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AVANCÉ
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Hermann Schroeder
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Missa melismatica
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Schott Music - Digital
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SheetMusicPlus
Mixed choir a cappella - advanced - SKU: S9.Q6889 Composed by Hermann Schroeder. This edition: choral score. Schott Choral Music. Downloadable, Choral s...
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Mixed choir a cappella - advanced - SKU: S9.Q6889 Composed by Hermann Schroeder. This edition: choral score. Schott Choral Music. Downloadable, Choral score. Duration 16 minutes. Schott Music - Digital #Q6889. Published by Schott Music - Digital (S9.Q6889). Latin.Herrmann Schroeder (1904-1984), one of the most important church music composers of the 20th century, wrote this Latin mass in 1961, i.e. at the beginning of the Second Vatican Council. The Council marked a turning point in the field of church music: Masses in the respective native languages gained more and more acceptance, Gregorian chant faded into the background, stylistic features of popular music were also taken up in church music. Today, about 50 years after the beginning of the Council, one can see a return to Gregorian chant and polyphonic vocal music, and this is why even works such as Schroeder's Latin Missa melismatica arouse great interest again. The work takes the free intonation of the Gregorian chant as a starting-point and is enriched with wide-spun melodic arcs in elaborate polyphony, according to Schroeder's opinion that Gregorian chant and polyphony are particularly suitable for giving expression to the mysticism and irrationality of religious faith in the liturgy. A demanding work for good choirs, duration ca. 16 minutes.
$6.99
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