Partitions Numériques de Crucifixus pour Orchestre

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Crucifixus
Non classifié 21

Piano & claviers
Orgue 3
Piano seul 3
Piano, Voix 2
2 Pianos, 4 mains 1

Guitares

Voix
Chorale SATB 14
Chorale TTBB 2
Voix duo 2
Chorale SSAATTBB 1
Chorale 3 parties 1

Chorale SSAA 1

+ 1 instrumentations

Retracter

Vents
Ensemble de Clarinettes 5
Ensemble de Flûtes 3
Clarinette 2
Quatuor de Saxophones: 4 saxophones 2
Clarinette, Orgue 1

Flûte traversière 1
2 Flûte à bec (duo) 1
Ensemble de saxophones 1

+ 3 instrumentations

Retracter

Cuivres
Ensemble de Trombones 5
Trombone 1
Quatuor de Cuivres: 2 trompettes, Cor, trombone 1
Quatuor de cuivres: 4 trombones 1

Cordes
Trio à Cordes: violon, alto, violoncelle 1

Percussions & orchestre
Ensemble de cuivres 4
Orchestre à Cordes 3
Orchestre 2

Cloches 1

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Crucifixus

Orchestre

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2 partitions trouvées

Missa Solemnis, op. 27 (parts)

Missa Solemnis, op. 27 (parts) #Orchestre #AVANCÉ #Adrian Gagiu #Missa Solemnis, op. 27 #Adrian Gagiu #SheetMusicPlus

Full Orchestra - Level 5 - SKU: A0.1277141 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Score and Parts. 282 pages. Adrian Gagiu #8...(+)

Full Orchestra - Level 5 - SKU: A0.1277141 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Score and Parts. 282 pages. Adrian Gagiu #868829. Published by Adrian Gagiu (A0.1277141). Missa Solemnis in B major, op. 27 (orchestral parts). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the â€žFilioqueâ€ (which would still fit the rhythm of the repeated â€žqui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a â€žliturgical oratorio for all nationsâ€, more appropriate in the concert hall.Â The work has had a long gestation: imagined in 1984 after the composerâ€™s first contact with Beethovenâ€™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 Â King of Kings), â€žrex caelestisâ€ and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the â€žanabasisâ€ gesture at â€žGloria in excelsis Deoâ€, â€žet ascendit in caelisâ€, â€žin remissionem peccatorumâ€ and the resurrection, a flute trill standing for the Holy Spirit who has come â€™like a doveâ€™ at â€žet incarnatus estâ€, a cross-shaped texture at â€žcrucifixusâ€, and some word-painting (hushed sonorities at â€žet invisibiliumâ€, anticipations between orchestra and chorus at â€žet exspectoâ€ 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).Â â€žKyrieâ€ is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrinaâ€™s serene modality and counterpoint. â€žGloriaâ€ 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. â€žCredoâ€ has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn â€žPange linguaâ€, made famous by Mozartâ€™s last symphony and by other Classical composers. Both â€žGloriaâ€ and â€žCredoâ€ end with extended, powerful and elaborate fugues (â€žin gloria Dei Patrisâ€ and â€žet vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the wordsâ€™ accents, a la Stravinsky. The same sections plus â€žAgnus Deiâ€ end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of â€žSanctusâ€). â€žJudicareâ€ quotes the beginning of the well-known â€žDies iraeâ€ plainchant tune, and the Consecration between the â€žSanctusâ€ and â€žBenedictusâ€ 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 â€žAgnus Deiâ€, which includes another quotation (the famous â€™Dresden Amenâ€™ at â€žqui tollis peccata mundiâ€ and â€ždona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the â€žKyrie eleisonâ€ theme is briefly remembered, then it ends softly and peacefully.Â Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.

$160.00 ≈ 147.60€

Missa Solemnis, op. 27 - Score Only

Missa Solemnis, op. 27 - Score Only #Orchestre #AVANCÉ #Adrian Gagiu #Missa Solemnis, op. 27 - Score #Adrian Gagiu #SheetMusicPlus

Full Orchestra - Level 5 - SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published ...(+)

Full Orchestra - Level 5 - SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published by Adrian Gagiu (A0.1277133). Missa Solemnis in B major, op. 27 (conductor's score). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the â€žFilioqueâ€ (which would still fit the rhythm of the repeated â€žqui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a â€žliturgical oratorio for all nationsâ€, more appropriate in the concert hall.Â The work has had a long gestation: imagined in 1984 after the composerâ€™s first contact with Beethovenâ€™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 Â King of Kings), â€žrex caelestisâ€ and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the â€žanabasisâ€ gesture at â€žGloria in excelsis Deoâ€, â€žet ascendit in caelisâ€, â€žin remissionem peccatorumâ€ and the resurrection, a flute trill standing for the Holy Spirit who has come â€™like a doveâ€™ at â€žet incarnatus estâ€, a cross-shaped texture at â€žcrucifixusâ€, and some word-painting (hushed sonorities at â€žet invisibiliumâ€, anticipations between orchestra and chorus at â€žet exspectoâ€ 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).Â â€žKyrieâ€ is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrinaâ€™s serene modality and counterpoint. â€žGloriaâ€ 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. â€žCredoâ€ has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn â€žPange linguaâ€, made famous by Mozartâ€™s last symphony and by other Classical composers. Both â€žGloriaâ€ and â€žCredoâ€ end with extended, powerful and elaborate fugues (â€žin gloria Dei Patrisâ€ and â€žet vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the wordsâ€™ accents, a la Stravinsky. The same sections plus â€žAgnus Deiâ€ end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of â€žSanctusâ€). â€žJudicareâ€ quotes the beginning of the well-known â€žDies iraeâ€ plainchant tune, and the Consecration between the â€žSanctusâ€ and â€žBenedictusâ€ 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 â€žAgnus Deiâ€, which includes another quotation (the famous â€™Dresden Amenâ€™ at â€žqui tollis peccata mundiâ€ and â€ždona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the â€žKyrie eleisonâ€ theme is briefly remembered, then it ends softly and peacefully.Â Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.

$85.99 ≈ 79.33€

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