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Vous avez sélectionné:
Perotin
Partitions à imprimer
6 partitions trouvées
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1
Pérotin-Graduale Viderunt omnes,in F Major,for A cappella
Pérotin-Graduale Viderunt omnes,in F Major,for A cappella
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Chorale SATB
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INTERMÉDIAIRE
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Classique
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Pérotin le Grand
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OSM Press
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Pérotin-Graduale Videru
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Open Cloud
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SheetMusicPlus
Choral Choir,Choral (4-Part) - Level 3 - SKU: A0.1368440 Composed by Pérotin le Grand. Arranged by OSM Press. Classical. 55 pages. Open Cloud #952786...
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Choral Choir,Choral (4-Part) - Level 3 - SKU: A0.1368440 Composed by Pérotin le Grand. Arranged by OSM Press. Classical. 55 pages. Open Cloud #952786. Published by Open Cloud (A0.1368440).
$7.99 ≈
7.48€
Veni Sancte Spiritus
Veni Sancte Spiritus
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Chorale 3 parties
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INTERMÉDIAIRE
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Przemysław Scheller
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Veni Sancte Spiritus
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Przemysław Scheller
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SheetMusicPlus
Choral Choir (3-Part) - Level 3 - SKU: A0.931684 Composed by Przemysław Scheller. Christian,Christmas,Contemporary,Easter. Octavo. 4 pages. Przemys...
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Choral Choir (3-Part) - Level 3 - SKU: A0.931684 Composed by Przemysław Scheller. Christian,Christmas,Contemporary,Easter. Octavo. 4 pages. Przemysław Scheller #3557549. Published by Przemysław Scheller (A0.931684). Sacred text used in neo-medival style inspired by Perotin, Guillaume de Machault and Arvo Part. Meditative, luminous textures combined with polyphony. Ideal for liturgical use. Male choir Tenor, Baritone, Bass. 4-part version available (with audio preview).
$9.95 ≈
9.31€
Veni Sancte Spiritus
Veni Sancte Spiritus
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Chorale TTBB
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INTERMÉDIAIRE
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Przemysław Scheller
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Veni Sancte Spiritus
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Przemysław Scheller
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SheetMusicPlus
Choral Choir (TTBB) - Level 3 - SKU: A0.931683 Composed by Przemysław Scheller. Christian,Christmas,Contemporary,Easter,Sacred. Octavo. 6 pages. Prz...
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Choral Choir (TTBB) - Level 3 - SKU: A0.931683 Composed by Przemysław Scheller. Christian,Christmas,Contemporary,Easter,Sacred. Octavo. 6 pages. Przemysław Scheller #3557547. Published by Przemysław Scheller (A0.931683). Sacred text used in neo-medival style inspired by Perotin, Guillaume de Machault and Arvo Part. Meditative, luminous textures combined with polyphony. Ideal for liturgical use. Male choir Contratenor (falsetto), Tenor, Baritone, Bass. 3 part version (TTB) available.
$9.95 ≈
9.31€
Gaudeamus
Gaudeamus
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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David W
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Gaudeamus
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David W. Barber
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SheetMusicPlus
Choral Choir,Choral (SATB) - Level 4 - SKU: A0.1333731 Composed by David W. Barber. A Cappella,Christian,Early Music,Jazz,Medieval. 25 pages. David W. B...
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Choral Choir,Choral (SATB) - Level 4 - SKU: A0.1333731 Composed by David W. Barber. A Cappella,Christian,Early Music,Jazz,Medieval. 25 pages. David W. Barber #920028. Published by David W. Barber (A0.1333731). I wrote this piece in 2018 to mark the 50th anniversaryof the Toronto Chamber Choir, a fine early music choir I have sung with since 1998.Using the  opening of the well-known Gregorian chant Gaudeamus omnes (and changingthe text to let us rejoice in music, Gaudeamus is a five- minute musical history tourthrough the various time periods the TCC sings. It begins with plainchant, then two-voiceorganum of the 11th-century Notre Dame school of Leonin and Perotin, followed bythree-voice hocket of a slightly later period. Then a nod to the 15th-century Dufay motetNuper rosarum flores (which the TCC has performed.) Next comes some 16th-centuryTudor music -- Byrd, say -- including some false relations and a typical English cadence.Then comes an allusion to Purcell, specifically the pleasing dissonance of the “voice of theTurtle†from My Beloved Spake. Then comes a little Bach-like fugue (or fughetta) based onthe Gaudeamus motif. Since the TCC rarely performs Classic/Romantic repertoire, wejump immediately to a jazzy ending in compound meter -- imagine Byrd meets Brubeck,based on one of my own earlier pieces for solo piano, but with elements of the Gaudeamusmelody. And all that in five minutes. Phew!
$3.99 ≈
3.73€
Big Yellow Taxi (Medium-high voice)
Big Yellow Taxi (Medium-high voice)
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Piano, Voix
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AVANCÉ
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Maria Thompson Corley
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Big Yellow Taxi
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Maria Thompson Corley
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SheetMusicPlus
Piano,Vocal,Voice - Level 5 - SKU: A0.846529 Composed by Maria Thompson Corley. Concert,Contemporary. Score. 9 pages. Maria Thompson Corley #5803441. Pu...
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Piano,Vocal,Voice - Level 5 - SKU: A0.846529 Composed by Maria Thompson Corley. Concert,Contemporary. Score. 9 pages. Maria Thompson Corley #5803441. Published by Maria Thompson Corley (A0.846529). The title alludes to the classic Joni Mitchell song, however, this is a piece of classical music. The poem refers to the burning of Notre Dame, then the inevitable physical decline inherent in aging, then the unexpected crumbling of our democratic institutions. The original melodic material echoes the fragments taken from the two masters of the Notre Dame school of organum, however, the dissonant, challenging piano accompaniment deconstructs them. The middle section is wistful and less dissonant, followed by a return to the earlier musical material. The piece ends with the quote from Perotin with which it begins, the vowel O, however, at the end it is a moan of regret. Words and music by Maria Thompson Corley, incorporating Leonin's Haec Dies and Perotin's Beata Viscera.
$9.99 ≈
9.35€
Glorious Hill
Glorious Hill
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Gavin Bryars
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Glorious Hill
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Schott Music - Digital
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SheetMusicPlus
4 male voices (CtenTTBar) - SKU: S9.Q19219 For four male voices. Composed by Gavin Bryars. This edition: score. Downloadable, Score. Duration 15 ...
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4 male voices (CtenTTBar) - SKU: S9.Q19219 For four male voices. Composed by Gavin Bryars. This edition: score. Downloadable, Score. Duration 15 minutes. Schott Music - Digital #Q19219. Published by Schott Music - Digital (S9.Q19219). Latin.Glorious Hill may be performed by a male choir. Text by Pico della Mirandola (1463-1497) from De Hominis Dignitate. Glorious Hill was commissioned by the Hilliard Ensemble and first performed by them at its summer Festival of Voices in Lewes, Sussex, in August 1988. It was the first piece I wrote for the ensemble and I focused on the singers' unique ability to move with ease from early music to tonal music of the present day. There were techniques which I asked for which I hardly needed to notate - the staggered breathing of the two tenors to supply a continuous unbroken held note for example - and the piece moves between passages for solo voices and sections of highly chromatic homophony, almost as if the music were switching between the 12th century of Perotin and the 16th century of Gesualdo. Each of the four voices is given its own solo passage, sometimes accompanied, sometimes quietly supported by the other voices. The title, Glorious Hill comes from the name of the small-town Mississippi setting of Tennessee Williams' Summer and Smoke. I wrote the music for the 1987 production of this play at the Leicester Haymarket Theatre, the first time I had written any incidental music for the stage. Williams makes very specific demands in terms of music and there is one particularly powerful scene, the penultimate one, throughout which music and atmospheric sound effects are continuous. The principle character Alma argues passionately about the vital importance of human choice with the man to whom she has, too late, admitted her love. I watched this section every night throughout the 4 week run of the play watching the different ways in which the actress, Frances Barber, played the scene. There is a powerful emotional and philosophical connection between the imagery of this scene and a passage from the Renaissance philosopher Pico della Mirandola's Oration on the Dignity of Man which forms the text of Glorious Hill. This passage has been described as one of the few passages in Renaissance philosophy to treat human freedom in a modern way. The text, which is sung in Latin, is addressed by God to Adam before the fall from grace. Gavin Bryars.
$6.99 ≈
6.54€
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Perotin
