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Vous avez sélectionné:
Prayers from the Ark
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1
Prayers from the Ark
Prayers from the Ark
#
Alfred Koerppen
#
Prayers from the Ark
#
Möseler Verlag
#
SheetMusicPlus
Female choir (SSAA) and instruments - level 4 SKU: M2.MOS-69449-01 Composed by Alfred Koerppen. Choral score. Möseler Verlag #MOS 69449-01. Published ...
(+)
Female choir (SSAA) and instruments - level 4 SKU: M2.MOS-69449-01 Composed by Alfred Koerppen. Choral score. Möseler Verlag #MOS 69449-01. Published by Möseler Verlag (M2.MOS-69449-01). ISBN 9790203755685.1955 erschien aus der Hand der franzosischen Nonne Carmen Bernos de Gaszold ein Gedichtband unter dem Titel Prieres dans l'Arche - Gebete aus der Arche. Diese Gebete werden den Tieren in den Mund gelegt, die mit Noah, in der drangvollen Enge der Arche vereint, das Ende der Sintflut erwarten. Die Dichterin folgt einer Tradition - man denkt an Asop, La Fontaine und Goethe - wenn sie im Wesen der Kreaturen Spiegelungen menschlicher Schwachen, Fehler und Tugenden erkennt. Denn die in der Wasserwuste gefangenen Tiere reden so fromm, furchtsam, selbstgerecht und banal, wie es menschlich ware. Und auch das Allzumenschliche - Hoffart, Leichtsinn, Neid - kommt zu Wort. Nur dass die Ichbefangenheit der betenden Tiere ihrer Unschuld keinen Abbruch tut. Ihre bedingte und bedrangte Natur findet Gedanken, die uns ein sympathisierendes Lacheln abgewinnt. Der Zyklus schien mir zur Vertonung geeignet, weil er ein religioses Thema unpratentios und originell vortragt und ein Stuck ermoglicht, das die ubliche Trennung zwischen weltlich und geistlich uberschreitet und Konzertsaal und Kirche in Anspruch nehmen kann. Zur Besetzung: Der Frauenchor muss aus den vier ublichen Stimmlagen 1. und 2. Sopran, 1. und 2. Alt bestehen, wobei auch noch Stimmteilungen vorkommen. In Nr. 9 Gebet der Taube wird noch ein (aus dem Chor zu bildendes) Soloquartett gebraucht. Der Instrumentalpart besteht aus einer Oboe und einem Streicherquintett (1. und 2. Violine, Viola, Violoncello und Kontrabass). Die Besetzung soll solistisch sein, kann aber bei den Streichern (und wenn die Klangbalance zum Chor dies wunschenswert macht) zu einem kleinen Kammerorchester erweitert werden. Der Charakter der Instrumente, ihre Techniken und Farben, erlauben mir realistische Klangmetaphern und physiognomische Parallelen - so, wenn das Cello im Duett mit dem Alt die hochmutige Giraffe in grossintervalligen Sprungen deutet, die rasende Geschaftigkeit der Ameise sich in schnellen Violinbariolagen ausdruckt oder die Oboe ein naturalistisches Rabengekrachz horen lasst. Der Zyklus beginnt mit dem Gebet des Noah. Man stelle sich das Gedrange und Geschrei vor, dass die Arche erfullt, die hochgehenden Wogen, den prasselnden Regen, und mitten darin den Urvater Noah, dem sich der Ausruf entringt: Herr, was fur ein Zirkus! Seine Ausbruche korrespondieren mit dem auf- und niederwogenden Streichersatz, bis der Sturm sich legt, die Wogen sich glatten und Noah in der mehrmals gedehnten Phrase Es dauert lange seine Ergebung und Hoffnung ausdruckt. Nach dem pharisaischen Gebet der Giraffe ergreift die Schildkrote das Wort. Ihr Instrument ist die Bratsche. Ihre schnaufende Kurzatmigkeit hindert sie, ihr Gebet zusammenhangend zu sprechen. Der fleissigen Ameise - sie erbost sich sehr uber die Grille, deren Wirtshausmusik sie unterbricht - folgt der Hahn mit hellen und scharfen Tonen. Er ist es, der die Sonne aufgehen lasst; man kann es in dem sich auffaltenden Klang der Coda horen. Der vergessliche Schmetterling taumelt in immer neu variierten Oboenfiguren durch die glasernen Sommerklange von Streicherflageoletts, bis es ihm einfallt, was er sagen wollte: Amen. Das Schwein bekennt sich zu seiner schnuffelnden und grunzenden Natur, die, von den Streichern mit rauhem Bogendruck gezeichnet, in der Coda durch eine stille F-Dur-Kantilene eine sonderbare Verklarung erfahrt. Vor uns die Sintflut ruft der Rabe, und sein durchdringender Oboenschrei ubertont das Wogen und Schwanken der Streicher, die hier Motive aus dem Gebet des Noah wieder aufnehmen. In der darauf eintretenden Stille bieten die Instrumente verschiedene Themen an, die folgenlos verschwinden - um nach dem Altsolo Die Arche wartet sich in einem ruhig-feierlichen a-cappella-Satz mit alternierendem Soloquartett wieder zusammenzufinden und das Werk in reinem Es-Dur beschliessen. Alfred Koerppen.
$11.95 ≈
11.15€
Prayers from the Ark
Prayers from the Ark
#
Alfred Koerppen
#
Prayers from the Ark
#
Möseler Verlag
#
SheetMusicPlus
Female choir (SSAA) and instruments - level 4 SKU: M2.MOS-69449 Composed by Alfred Koerppen. Score. 56 pages. Möseler Verlag #MOS 69449. Published by ...
(+)
Female choir (SSAA) and instruments - level 4 SKU: M2.MOS-69449 Composed by Alfred Koerppen. Score. 56 pages. Möseler Verlag #MOS 69449. Published by Möseler Verlag (M2.MOS-69449). ISBN 9790203755678.1955 erschien aus der Hand der franzosischen Nonne Carmen Bernos de Gaszold ein Gedichtband unter dem Titel Prieres dans l'Arche - Gebete aus der Arche. Diese Gebete werden den Tieren in den Mund gelegt, die mit Noah, in der drangvollen Enge der Arche vereint, das Ende der Sintflut erwarten. Die Dichterin folgt einer Tradition - man denkt an Asop, La Fontaine und Goethe - wenn sie im Wesen der Kreaturen Spiegelungen menschlicher Schwachen, Fehler und Tugenden erkennt. Denn die in der Wasserwuste gefangenen Tiere reden so fromm, furchtsam, selbstgerecht und banal, wie es menschlich ware. Und auch das Allzumenschliche - Hoffart, Leichtsinn, Neid - kommt zu Wort. Nur dass die Ichbefangenheit der betenden Tiere ihrer Unschuld keinen Abbruch tut. Ihre bedingte und bedrangte Natur findet Gedanken, die uns ein sympathisierendes Lacheln abgewinnt. Der Zyklus schien mir zur Vertonung geeignet, weil er ein religioses Thema unpratentios und originell vortragt und ein Stuck ermoglicht, das die ubliche Trennung zwischen weltlich und geistlich uberschreitet und Konzertsaal und Kirche in Anspruch nehmen kann. Zur Besetzung: Der Frauenchor muss aus den vier ublichen Stimmlagen 1. und 2. Sopran, 1. und 2. Alt bestehen, wobei auch noch Stimmteilungen vorkommen. In Nr. 9 Gebet der Taube wird noch ein (aus dem Chor zu bildendes) Soloquartett gebraucht. Der Instrumentalpart besteht aus einer Oboe und einem Streicherquintett (1. und 2. Violine, Viola, Violoncello und Kontrabass). Die Besetzung soll solistisch sein, kann aber bei den Streichern (und wenn die Klangbalance zum Chor dies wunschenswert macht) zu einem kleinen Kammerorchester erweitert werden. Der Charakter der Instrumente, ihre Techniken und Farben, erlauben mir realistische Klangmetaphern und physiognomische Parallelen - so, wenn das Cello im Duett mit dem Alt die hochmutige Giraffe in grossintervalligen Sprungen deutet, die rasende Geschaftigkeit der Ameise sich in schnellen Violinbariolagen ausdruckt oder die Oboe ein naturalistisches Rabengekrachz horen lasst. Der Zyklus beginnt mit dem Gebet des Noah. Man stelle sich das Gedrange und Geschrei vor, dass die Arche erfullt, die hochgehenden Wogen, den prasselnden Regen, und mitten darin den Urvater Noah, dem sich der Ausruf entringt: Herr, was fur ein Zirkus! Seine Ausbruche korrespondieren mit dem auf- und niederwogenden Streichersatz, bis der Sturm sich legt, die Wogen sich glatten und Noah in der mehrmals gedehnten Phrase Es dauert lange seine Ergebung und Hoffnung ausdruckt. Nach dem pharisaischen Gebet der Giraffe ergreift die Schildkrote das Wort. Ihr Instrument ist die Bratsche. Ihre schnaufende Kurzatmigkeit hindert sie, ihr Gebet zusammenhangend zu sprechen. Der fleissigen Ameise - sie erbost sich sehr uber die Grille, deren Wirtshausmusik sie unterbricht - folgt der Hahn mit hellen und scharfen Tonen. Er ist es, der die Sonne aufgehen lasst; man kann es in dem sich auffaltenden Klang der Coda horen. Der vergessliche Schmetterling taumelt in immer neu variierten Oboenfiguren durch die glasernen Sommerklange von Streicherflageoletts, bis es ihm einfallt, was er sagen wollte: Amen. Das Schwein bekennt sich zu seiner schnuffelnden und grunzenden Natur, die, von den Streichern mit rauhem Bogendruck gezeichnet, in der Coda durch eine stille F-Dur-Kantilene eine sonderbare Verklarung erfahrt. Vor uns die Sintflut ruft der Rabe, und sein durchdringender Oboenschrei ubertont das Wogen und Schwanken der Streicher, die hier Motive aus dem Gebet des Noah wieder aufnehmen. In der darauf eintretenden Stille bieten die Instrumente verschiedene Themen an, die folgenlos verschwinden - um nach dem Altsolo Die Arche wartet sich in einem ruhig-feierlichen a-cappella-Satz mit alternierendem Soloquartett wieder zusammenzufinden und das Werk in reinem Es-Dur beschliessen. Alfred Koerppen.
$56.95 ≈
53.15€
Prayers from the Ark
Prayers from the Ark
#
Alfred Koerppen
#
Prayers from the Ark
#
Möseler Verlag
#
SheetMusicPlus
Female choir (SSAA) and instruments (oboe, violin I, violin II, viola, cello, double bass) - level 4 SKU: M2.MOS-69449-60 Composed by Alfred Koerppen. Se...
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Female choir (SSAA) and instruments (oboe, violin I, violin II, viola, cello, double bass) - level 4 SKU: M2.MOS-69449-60 Composed by Alfred Koerppen. Set of parts. Möseler Verlag #MOS 69449-60. Published by Möseler Verlag (M2.MOS-69449-60). ISBN 9790203755692.1955 erschien aus der Hand der franzosischen Nonne Carmen Bernos de Gaszold ein Gedichtband unter dem Titel Prieres dans l'Arche - Gebete aus der Arche. Diese Gebete werden den Tieren in den Mund gelegt, die mit Noah, in der drangvollen Enge der Arche vereint, das Ende der Sintflut erwarten. Die Dichterin folgt einer Tradition - man denkt an Asop, La Fontaine und Goethe - wenn sie im Wesen der Kreaturen Spiegelungen menschlicher Schwachen, Fehler und Tugenden erkennt. Denn die in der Wasserwuste gefangenen Tiere reden so fromm, furchtsam, selbstgerecht und banal, wie es menschlich ware. Und auch das Allzumenschliche - Hoffart, Leichtsinn, Neid - kommt zu Wort. Nur dass die Ichbefangenheit der betenden Tiere ihrer Unschuld keinen Abbruch tut. Ihre bedingte und bedrangte Natur findet Gedanken, die uns ein sympathisierendes Lacheln abgewinnt. Der Zyklus schien mir zur Vertonung geeignet, weil er ein religioses Thema unpratentios und originell vortragt und ein Stuck ermoglicht, das die ubliche Trennung zwischen weltlich und geistlich uberschreitet und Konzertsaal und Kirche in Anspruch nehmen kann. Zur Besetzung: Der Frauenchor muss aus den vier ublichen Stimmlagen 1. und 2. Sopran, 1. und 2. Alt bestehen, wobei auch noch Stimmteilungen vorkommen. In Nr. 9 Gebet der Taube wird noch ein (aus dem Chor zu bildendes) Soloquartett gebraucht. Der Instrumentalpart besteht aus einer Oboe und einem Streicherquintett (1. und 2. Violine, Viola, Violoncello und Kontrabass). Die Besetzung soll solistisch sein, kann aber bei den Streichern (und wenn die Klangbalance zum Chor dies wunschenswert macht) zu einem kleinen Kammerorchester erweitert werden. Der Charakter der Instrumente, ihre Techniken und Farben, erlauben mir realistische Klangmetaphern und physiognomische Parallelen - so, wenn das Cello im Duett mit dem Alt die hochmutige Giraffe in grossintervalligen Sprungen deutet, die rasende Geschaftigkeit der Ameise sich in schnellen Violinbariolagen ausdruckt oder die Oboe ein naturalistisches Rabengekrachz horen lasst. Der Zyklus beginnt mit dem Gebet des Noah. Man stelle sich das Gedrange und Geschrei vor, dass die Arche erfullt, die hochgehenden Wogen, den prasselnden Regen, und mitten darin den Urvater Noah, dem sich der Ausruf entringt: Herr, was fur ein Zirkus! Seine Ausbruche korrespondieren mit dem auf- und niederwogenden Streichersatz, bis der Sturm sich legt, die Wogen sich glatten und Noah in der mehrmals gedehnten Phrase Es dauert lange seine Ergebung und Hoffnung ausdruckt. Nach dem pharisaischen Gebet der Giraffe ergreift die Schildkrote das Wort. Ihr Instrument ist die Bratsche. Ihre schnaufende Kurzatmigkeit hindert sie, ihr Gebet zusammenhangend zu sprechen. Der fleissigen Ameise - sie erbost sich sehr uber die Grille, deren Wirtshausmusik sie unterbricht - folgt der Hahn mit hellen und scharfen Tonen. Er ist es, der die Sonne aufgehen lasst; man kann es in dem sich auffaltenden Klang der Coda horen. Der vergessliche Schmetterling taumelt in immer neu variierten Oboenfiguren durch die glasernen Sommerklange von Streicherflageoletts, bis es ihm einfallt, was er sagen wollte: Amen. Das Schwein bekennt sich zu seiner schnuffelnden und grunzenden Natur, die, von den Streichern mit rauhem Bogendruck gezeichnet, in der Coda durch eine stille F-Dur-Kantilene eine sonderbare Verklarung erfahrt. Vor uns die Sintflut ruft der Rabe, und sein durchdringender Oboenschrei ubertont das Wogen und Schwanken der Streicher, die hier Motive aus dem Gebet des Noah wieder aufnehmen. In der darauf eintretenden Stille bieten die Instrumente verschiedene Themen an, die folgenlos verschwinden - um nach dem Altsolo Die Arche wartet sich in einem ruhig-feierlichen a-cappella-Satz mit alternierendem Soloquartett wieder zusammenzufinden und das Werk in reinem Es-Dur beschliessen. Alfred Koerppen.
$39.95 ≈
37.28€
Blessed Are They That Mourn (for SATB Chorus and Brass Quintet)
Blessed Are They That Mourn (for SATB Chorus and Brass Quintet)
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Johannes Brahms
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F
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Blessed Are They That Mourn
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Sweetwater Brass Press
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.808672 Composed by Johannes Brahms (1833–1897). Arranged by F. Leslie Smith. Contemporary,Easter,Romantic...
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Choral Choir (SATB) - Level 4 - SKU: A0.808672 Composed by Johannes Brahms (1833–1897). Arranged by F. Leslie Smith. Contemporary,Easter,Romantic Period,Sacred. Octavo. 38 pages. Sweetwater Brass Press #3046205. Published by Sweetwater Brass Press (A0.808672). Brahms composed Ein deutsches Requiem, nach Worten der heiligen Schrift, his longest composition, during the period, 1865-1868. For the libretto, he eschewed the Latin text of the Roman Catholic Requiem Mass, using instead verses he chose from the German-language Luther Bible. Thus, it was A German Requiem. The Roman Church’s Requiem Mass begins with prayers for the dead; Brahms, on the other hand, chose to console the living and framed his first movement around the second of the Beatitudes, Blessed are they that mourn, for they shall be comforted.  The first movement is, indeed, comforting, filled with warmth and beauty. This arrangement retains Brahms’ original choral parts and translates the orchestral accompaniment to the five quietly playing brass instruments. The audio sample was digitally created, so the choral part of the arrangement can be heard but without words. This arrangement was completed in 2017 and runs about 10 minutes, 32 seconds. The arranger, Les Smith, can be reached at lessmith61@bellsouth.net. For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the search box. (Also, purchase of this piece entitles you to your choice of another of his arrangements at no charge; send a copy of your purchase receipt directly to him at lessmith61@bellsouth.net.)
$14.95 ≈
13.95€
Blessed Are They That Mourn (for Brass Quintet)
Blessed Are They That Mourn (for Brass Quintet)
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE/AVANCÉ
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Johannes Brahms
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F
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Blessed Are They That Mourn
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Sweetwater Brass Press
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SheetMusicPlus
Brass Ensemble - Level 4 - SKU: A0.808673 Composed by Johannes Brahms (1833–1897). Arranged by F. Leslie Smith. Contemporary,Easter,Romantic Peri...
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Brass Ensemble - Level 4 - SKU: A0.808673 Composed by Johannes Brahms (1833–1897). Arranged by F. Leslie Smith. Contemporary,Easter,Romantic Period,Sacred. Score and parts. 38 pages. Sweetwater Brass Press #3064649. Published by Sweetwater Brass Press (A0.808673).    Brahms composed Ein deutsches Requiem, nach Worten der heiligen Schrift, his longest composition, during the period, 1865-1868. For the libretto, he eschewed the Latin text of the Roman Catholic Requiem Mass, using instead verses he chose from the German-language Luther Bible. Thus, it was A German Requiem. The Roman Church’s Requiem Mass begins with prayers for the dead; Brahms, on the other hand, chose to console the living and framed his first movement around the second of the Beatitudes, Blessed are they that mourn, for they shall be comforted. The first movement is, indeed, comforting, filled with warmth and beauty. This arrangement translates Brahms’ choral parts and orchestral accompaniment into a warm and appealing five-brass-instruments version.    This arrangement was completed in 2017, and performance time runs about 10 minutes, 32 seconds. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge; contact him directly at lessmith61@bellsouth.net. For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the search box. (Also, purchase of this piece entitles you to your choice of another of his arrangements at no charge; send a copy of your purchase receipt directly to him at lessmith61@bellsouth.net.)
$7.95 ≈
7.42€
Paul Wehage: To You for baritone, tenor saxophone and piano
Paul Wehage: To You for baritone, tenor saxophone and piano
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Paul Wehage
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Paul Wehage: To You for barito
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Musik Fabrik Music Publishing
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SheetMusicPlus
Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary,Holiday,Love,St...
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Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary,Holiday,Love,Standards. Score and parts. 41 pages. Musik Fabrik Music Publishing #3396161. Published by Musik Fabrik Music Publishing (A0.534375). To You for Baritone, Tenor Saxophone and piano is dedicated to the American Baritone Kurt Ollmann, who has done much for the promotion and performance of American music both in the United States and abroad.Whitman’s poem speaks of seeing a stranger and feeling love for this person. In contrast to Poe’s To Helen, which treats a similar subject of a chance meeting of a stranger that the poet loves, Whitman does not idealize his subject but rather pointedly and brutally describes how he sees this person and what feelings (both negative and positive) this contemplation provokes in the poet’s mind In order to reflect this musically, there is an alternation between more introspective and brooding sections which are then followed by more ecstatic outbursts. The piece ends with the poet watching the stranger leave, expressing what the composer felt to be acceptance and release.As in any chamber music with voice, it is important that the two instruments allow the voice to predominate, regardless of the dynamics marked in their parts. The saxophonist should try as much as possible to match colour with the voice,in order to allow the contrapuntal exchanges between the voice and the saxophone to blend evenly. The pianist should play the passages at rehearsal marks E, G and K in a more soloist manner, always taking care not to cover the voice..To YouWhoever you are, I fear you are walking the walks of dreams,I fear these supposed realities are to melt from under your feet and hands,Even now your features, joys, speech, house, trade, manners,troubles, follies, costume, crimes, dissipate away from you,Your true soul and body appear before me.They stand forth out of affairs, out of commerce, shops, work,farms, clothes, the house, buying, selling, eating, drinking,suffering, dying.Whoever you are, now I place my hand upon you, that you be my poem,I whisper with my lips close to your ear.I have loved many women and men, but I love none better than you.O I have been dilatory and dumb,I should have made my way straight to you long ago,I should have blabb'd nothing but you, I should have chanted nothingbut you.I will leave all and come and make the hymns of you,None has understood you, but I understand you,None has done justice to you, you have not done justice to yourself,None but has found you imperfect, I only find no imperfection in you,None but would subordinate you, I only am he who will never consentto subordinate you,I only am he who places over you no master, owner, better, God,beyond what waits intrinsically in yourself.Painters have painted their swarming groups and the centre-figure of all,From the head of the centre-figure spreading a nimbus of gold-color'd light,But I paint myriads of heads, but paint no head without its nimbusof gold-color'd light,From my hand from the brain of every man and woman it streams,effulgently flowing forever.O I could sing such grandeurs and glories about you!You have not known what you are, you have slumber'd upon yourselfall your life,Your eyelids have been the same as closed most of the time,What you have done returns already in mockeries,(Your thrift, knowledge, prayers, if they do not return inmockeries, what is their return?)The mockeries are not you,Underneath them and within them I see you lurk,I pursue you where none else has pursued you,Silence, the desk, the flippant expression, the night, theaccustom'd routine, if these conceal you from others or fromyourself, they do not conceal you from me,The shaved face, the unsteady eye, the impure complexion, if thesebalk others they do not balk me,The pert apparel, the deform'd attitude, drunkenness, greed,premature death, all these I part aside.There is no endowment in man or woman that is not tallied in you,There is no virtue,.
$29.95 ≈
27.95€
Evening Prayer from "Hansel & Gretel"
Evening Prayer from "Hansel & Gretel"
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Piano seul
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INTERMÉDIAIRE
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New Age
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Contemporain
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Engelbert Humperdinck
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Pam Asberry
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Evening Prayer from "Hans
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Pamela C Asberry
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.904911 Composed by Engelbert Humperdinck. Arranged by Pam Asberry. 20th Century,Children,Contemporary,New Age. Score. 2 p...
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Piano Solo - Level 3 - SKU: A0.904911 Composed by Engelbert Humperdinck. Arranged by Pam Asberry. 20th Century,Children,Contemporary,New Age. Score. 2 pages. Pamela C Asberry #4852419. Published by Pamela C Asberry (A0.904911). A beautiful solo piano arrangement of the song from the opera Hansel & Gretel by 19th century composer Engelbert Humperdinck, based on a fairy tale by the Brothers Grimm. Lost in a dark forest, the children remember to say their evening prayers before they fall asleep on the forest floor. From the solo piano album All Through the Night. .
$5.95 ≈
5.55€
Tribute to Pioneer Women - an original hymn for SATB voices
Tribute to Pioneer Women - an original hymn for SATB voices
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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Kevin G
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Tribute to Pioneer Women - an
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Kevin G. Pace
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.701458 Composed by Kevin G. Pace, Kathryn W. Hales. Christian,Praise & Worship,Sacred. Octavo. 3 pages. Kevin G....
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Choral Choir (SATB) - Level 4 - SKU: A0.701458 Composed by Kevin G. Pace, Kathryn W. Hales. Christian,Praise & Worship,Sacred. Octavo. 3 pages. Kevin G. Pace #3125373. Published by Kevin G. Pace (A0.701458). An original hymn about pioneer women. See the text by Kathryn Hales below.YouTube video: https://youtu.be/fHirSHGBR0M The women walked alongside the wagons, The burden on oxen to spare, Wrapped in a shawl or a blanket, Their feet often calloused and bare. They met at the quarter-master’s wagon, Their own scant rations to receive, Then with culinary skills prepared A meal, a family’s hunger to relieve. Their prayers arose like incense From the campfires’ spark-filled glow, That the God they believed in from Heaven Would bless their loved ones below. Left alone to drive the wagons When military duty was the demand, Courageous pioneer women Obeyed the prophet’s commands. Some lived to complete their journey; Some died by the trail on the way, Yet the trials or hardships encountered, Their faith in God did not sway. Whether over the rivers or mountains They trudged onward each day, Till they arrived in The Valley, And prayed for more courage to stay. Praise be to such pioneer women, Who with courage did their part, For the building up of a holy people, With Zion a goal of their hearts. Valiant men have always needed Virtuous women by their sides, So both can progress together And in God’s eternal home abide.
$1.99 ≈
1.86€
Christe Redemptor Omnium (SATB)
Christe Redemptor Omnium (SATB)
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Chorale SATB
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INTERMÉDIAIRE
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Sarum chant
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Sara Garrard
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Christe Redemptor Omnium
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Sara Garrard
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SheetMusicPlus
Choral Choir (SATB divisi) - Level 3 - SKU: A0.1100378 Composed by Sarum chant. Arranged by Sara Garrard. Christmas,Holiday,Medieval,Religious,Sacred. O...
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Choral Choir (SATB divisi) - Level 3 - SKU: A0.1100378 Composed by Sarum chant. Arranged by Sara Garrard. Christmas,Holiday,Medieval,Religious,Sacred. Octavo. 7 pages. Sara Garrard #704207. Published by Sara Garrard (A0.1100378). The words and melody of 'Christe redemptor omnium' are hundreds of years old. Here is an arrangement of the Christmas plainchant hymn for SATB choir divisi, the effect warm and full, building over the sevenfold structure of the piece. 1. Christe, redemptor omnium, ex Patre, Patris unice, solus ante principium natus ineffabiliter, 2. Tu lumen, tu splendor Patris, tu spes perennis omnium, intende quas fundunt preces tui per orbem servuli. 3. Salutis auctor, recole quod nostri quondam corporis, ex illibata Virgine nascendo, formam sumpseris. 4. Hic praesens testatur dies, currens per anni circulum, quod a solus sede Patris mundi salus adveneris; 5. Hunc caelum, terra, hunc mare, hunc omne quod in eis est, auctorem adventus tui laudat exsultans cantico. 6. Nos quoque, qui sancto tuo redempti sumus sanguine, ob diem natalis tui hymnum novum concinimus. 7. Jesu, tibi sit gloria, qui natus es de Virgine, cum Patre et almo Spiritu, in sempiterna saecula. Amen. Rhymed English translation by John Mason Neale (1818-1866) 1. O Christ, the Father's only Son, whose death for all redemption won, before the worlds, of God most high, begotten all ineffably. 2. The Father's Light and Splendour Thou their endless Hope to Thee that bow: accept the prayers and praise today that through the world Thy servants pay. 3. Salvation's author, call to mind how, taking the form of humankind, born of a Virgin undefiled, Thou in man's flesh becamest a Child. 4. Thus testifies the present day Through every year in long array, that Thou, salvation's source alone proceedest from the Father's Throne. 5. Whence sky, and stars, and sea's abyss, and earth, and all that therein is, shall still, with laud and carol meet, the Author of thine Advent greet. 6. And we who, by Thy precious Blood from sin redeemed, are marked for God, on this, the day that saw Thy Birth, sing the new song of ransomed earth. 7. All honour, laud, and glory be, O Iesu, Virgin-born, to Thee; whom with the Father we adore, and Holy Ghost forevermore. Amen.
$4.50 ≈
4.20€
De Profundis/Lux Aeterna
De Profundis/Lux Aeterna
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Nancy DeVries
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St Raphael's Psaltery
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De Profundis/Lux Aeterna
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Nancy DeVries
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.964560 Composed by Nancy DeVries. Arranged by St Raphael's Psaltery. Christian,Concert,Easter,Sacred. Score. 3 pages. Nan...
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Piano Solo - Level 4 - SKU: A0.964560 Composed by Nancy DeVries. Arranged by St Raphael's Psaltery. Christian,Concert,Easter,Sacred. Score. 3 pages. Nancy DeVries #6570351. Published by Nancy DeVries (A0.964560). De Profundis/Lux Aeterna is a piano interpretation of Psalm 130 (Out of the Depths) which is a penitential psalm also known as a prayer for the Holy Souls in Purgatory. The dark and somber quality of the first theme contrasts with the luminosity and serenity of the second theme, Lux Aeterna, which is a chanted prayer taken from the traditional Gregorian Requiem Mass. The plea to the Lord for light to shine upon the suffering souls eventually overcomes and triumphs over the depths of darkness as the souls are transported by our prayers to the eternal bliss of Heaven. This meditative and uplifting work may be suitable for use in churches, particularly for All Soul's Day, Lent, or funerals. Suitable also for recital programs or home use. Advanced Intermediate level: some challenges from accidentals and changes in meter, but overall not too difficult. This is a piece that will be enhanced by careful and heartfelt interpretation.
$3.99 ≈
3.72€
Brightest and Best - Strings Quintet and Piano
Brightest and Best - Strings Quintet and Piano
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Noël
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Musique Sacrée
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Reginald Heber
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Connie Boss
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Brightest and Best - Strings Q
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Connie Boss
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SheetMusicPlus
Cello,Piano Accompaniment,Violin - Level 3 - SKU: A0.1324370 Composed by Reginald Heber. Arranged by Connie Boss. Christian,Christmas,Holiday,Religious....
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Cello,Piano Accompaniment,Violin - Level 3 - SKU: A0.1324370 Composed by Reginald Heber. Arranged by Connie Boss. Christian,Christmas,Holiday,Religious. 15 pages. Connie Boss #912571. Published by Connie Boss (A0.1324370). This wonderful Epiphany song is for Strings quintet and piano. You can purchase other versions at Sheet Music Plus. Parts are included with purchase.For any questions or requests, email cdboss@cvalley.net Lyrics:Verse 1Cold on his cradle the dewdrops are shining;low lies his head with the beasts of the stall.Angels adore him in slumber reclining,maker and monarch and Savior of all.Refrain:Brightest and best of the sons of the morning,dawn on our darkness and lend us your aid.Star of the east, the horizon adorning,guide where our infant Redeemer is laid.Verse 2:Shall we yield him in costly devotionrarest of fragrances, tribute divine,gems of the mountain and pearls of the ocean,myrrh from the forest and gold from the mine?Refrain:Verse 3:Vainly we offer each ample oblation,vainly with gifts would his favor secure.Richer by far is the heart's adoration,dearer to God are the prayers of the poor. Refrain:.
$7.99 ≈
7.46€
Illumine le tenebre
Illumine le tenebre
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Chorale SATB
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AVANCÉ
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Sarah Labrie, Conductor - Cham
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Illumine le tenebre
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Mary Ellen Haupert
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SheetMusicPlus
Choral Choir,Choral (SATB divisi) - Level 5 - SKU: A0.900166 By Sarah Labrie, Conductor - Chamber Choral Conducting Workshop, Sarteano, Italy. By Mary E...
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Choral Choir,Choral (SATB divisi) - Level 5 - SKU: A0.900166 By Sarah Labrie, Conductor - Chamber Choral Conducting Workshop, Sarteano, Italy. By Mary Ellen Haupert. Easter,Sacred,Spiritual. 5 pages. Mary Ellen Haupert #3031789. Published by Mary Ellen Haupert (A0.900166). ILLUMINE LE TENEBRE (SSAATTBB) For Jean Saladino and the Viterbo University Concert Choir TRANSLATION of TEXT: Most High, glorious God, enlighten the darkness of my heart and give me true faith, certain hope and perfect charity, sense and knowledge, Lord, that I may carry out your holy and true command. Amen. - St. Francis of Assisi's Prayer before the Crucifix NOTES from the composer: One year ago, I had the privilege of participating in the Leadership Pilgrimage to Assisi and Rome (2011) sponsored by the Franciscan Sisters of Perpetual Adoration, Franciscan Healthcare, and Viterbo University. I carried with me, not only the responsibility of bringing back a hint of Francis’ lived experience to my students, but the desire to compose something wholly Franciscan. The San Damiano Cross is one of the most distinctive Franciscan images we have on campus. The gentle Jesus that hangs on this 12th-century icon will forever be linked to Francis’ dramatic step from citizen to sainthood-welcoming his earnest prayer to enlighten the darkness of his heart. The Basilica of Santa Chiara in Assisi holds both the San Damiano Cross and the remains of his confidante, St. Clare. It seemed a good place to start getting serious. Copying the prayer in at least six different languages, I tucked it away in my travel books, not digging it out again until the following summer (2012). The opening phrases in the piece came easily enough (Altissimo, glorioso Dio), but I stumbled through a handful of ideas before coming up with the mantra (illumine le tenebre…). It made sense that Francis would joyfully address God singing forte (Altissimo and Signore), while quietly chanting his humble prayers for faith, hope, charity, and knowledge. The friendship between Francis and Clare can’t be missed, not only in the intermingling of SATB voices, but in the setting of che faccia lo tuo santo e verace comadamento (that I may carry out your holy and true command). The phrase is sung only once by the women before the final return of the illumine chant (which is repeated throughout by the men). Maybe I chanced on weaving some of Clare’s courage with Francis’ persistence into Illumina le tenebre, all while trying to compose something wholly Franciscan?  ---Mary Ellen Haupert, October 2012. Â
$3.99 ≈
3.72€
Christ in Prayer, sacred music for SATB choir
Christ in Prayer, sacred music for SATB choir
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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Kevin G
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Christ in Prayer, sacred music
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Kevin G. Pace
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SheetMusicPlus
Choral Choir,Choral (SATB) - Level 4 - SKU: A0.1397300 Composed by Kevin G. Pace (ASCAP), Mark R. Fotheringham. Christian,Praise & Worship,Religious,Sac...
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Choral Choir,Choral (SATB) - Level 4 - SKU: A0.1397300 Composed by Kevin G. Pace (ASCAP), Mark R. Fotheringham. Christian,Praise & Worship,Religious,Sacred,Spiritual. 10 pages. Kevin G. Pace #980616. Published by Kevin G. Pace (A0.1397300). A gorgeous choral composition with music by Kevin G. Pace and text by Mark R. Fotheringham.Text:Jesus was a humble man, who prayed to God each day. On His knees before the throne of grace, He sought the way. He spoke as one who knew His God, both faith and knowledge sure, Reaching out to seek His will with heart and spirit pure. His simple words belied the strength and power of his prayer, Which e'er sought to lift and bless all others who were there. His voice would bring on tears of joy from those who knew The Son, Asking Father's blessing that His friends with Him be One. He might ask for miracles to heal or raise the dead. When compassion filled his heart, to prayer His heart was lead. His gratitude would overflow and God's pow'r was revealed. Giving glory unto God, the gift on Him was sealed. May the prayers of Christ be heard and pondered in each heart, Helping us to lift and bless, in service do our part. Then lift our voices unto God, His will to seek and do. Humble prayer, like Christ our Lord's, will lead us straight and true.
$1.99 ≈
1.86€
Christ in Prayer, a sacred hymn
Christ in Prayer, a sacred hymn
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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Kevin G
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Christ in Prayer, a sacred hym
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Kevin G. Pace
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SheetMusicPlus
Choral Choir (SATB) - Level 4 - SKU: A0.1049509 Composed by Kevin G. Pace (ASCAP), Mark R. Fotheringham. Praise & Worship,Sacred,Spiritual. Octavo. 2 pa...
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Choral Choir (SATB) - Level 4 - SKU: A0.1049509 Composed by Kevin G. Pace (ASCAP), Mark R. Fotheringham. Praise & Worship,Sacred,Spiritual. Octavo. 2 pages. Kevin G. Pace #653866. Published by Kevin G. Pace (A0.1049509). A beautiful, sacred hymn with music by Kevin G. Pace and text by Mark R. Fotheringham. Text: Jesus was a humble man, who prayed to God each day. On His knees before the throne of grace, He sought the way. He spoke as one who knew His God, both faith and knowledge sure, Reaching out to seek His will with heart and spirit pure. His simple words belied the strength and power of his prayer, Which e'er sought to lift and bless all others who were there. His voice would bring on tears of joy from those who knew The Son, Asking Father's blessing that His friends with Him be One. He might ask for miracles to heal or raise the dead. When compassion filled his heart, to prayer His heart was lead. His gratitude would overflow and God's pow'r was revealed. Giving glory unto God, the gift on Him was sealed. May the prayers of Christ be heard and pondered in each heart, Helping us to lift and bless, in service do our part. Then lift our voices unto God, His will to seek and do. Humble prayer, like Christ our Lord's, will lead us straight and true.
$1.99 ≈
1.86€
Deliver Us (StA C00178)
Deliver Us (StA C00178)
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Chorale SATB
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INTERMÉDIAIRE
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Musique Sacrée
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Mark Rippe
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Mark Rippe
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Deliver Us
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Mark Rippe
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SheetMusicPlus
Choral Choir,Choral (SATB) - Level 3 - SKU: A0.1291264 Composed by Mark Rippe. Arranged by Mark Rippe. Christian,Religious,Sacred,Traditional. 9 pages. ...
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Choral Choir,Choral (SATB) - Level 3 - SKU: A0.1291264 Composed by Mark Rippe. Arranged by Mark Rippe. Christian,Religious,Sacred,Traditional. 9 pages. Mark Rippe #881913. Published by Mark Rippe (A0.1291264). StA C00178. Â An SATB setting of a prayer from the Episcopal Book of Common Prayer (Other Prayers - Before Service). Â Both organ and piano accompaniment are provided. Â Part of the St. Andrew's Collection.
$1.99 ≈
1.86€
Kyrie for Ten Voices
Kyrie for Ten Voices
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Chorale SATB
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INTERMÉDIAIRE
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Christian contemporain
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Musique Sacrée
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utilizing close harmonies and
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Mark Kline
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Christ have mercy
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Kyrie for Ten Voices
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Mark Kline
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SheetMusicPlus
Choral Choir (Mixed) - Level 3 - SKU: A0.933469 Composed by Mark Kline. Christian,Contemporary,Easter,Holiday,Sacred. Octavo. 8 pages. Mark Kline #23322...
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Choral Choir (Mixed) - Level 3 - SKU: A0.933469 Composed by Mark Kline. Christian,Contemporary,Easter,Holiday,Sacred. Octavo. 8 pages. Mark Kline #2332297. Published by Mark Kline (A0.933469). One of the most ancient, beloved, and enduring prayers of the Christian Faith is the Kyrie. In the language of the New Testament, Koine Greek, the simple phrase Kyrie Eleison, Christe Eleison means Lord, have mercy; Christ have mercy. By utilizing close harmonies and a fluid increase of intensity, Mark Kline’s composition is meant to suggest the heavenl-like sounds of grace in the hearts of penitents. At two minutes in length, this Kyrie works well in both church and concert settings, engaging a listening audience or aiding in reflective prayer and meditation. In the context of the Mass, the liturgical form used is three Kyrie’s, three Christe’s, and three Kyrie’s. This arrangement can also function in the Mass as a song of thanksgiving after Communion or as an opening or closing piece. Mark Kline's Kyrie is written in ten indispensable parts, and can benefit greatly from multiple singers on each part (especially the men’s continuo with its close harmonies).
$5.95 ≈
5.55€
Taking Your Place
Taking Your Place
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Musique Sacrée
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Tom Kitt
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Choral Octavo
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Taking Your Place
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Jubilate Music Group - Digital
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SheetMusicPlus
Choir Sacred Instrumental Ensemble - SKU: JX.00-39174 Composed by Tom Kitt. This edition: InstruPax. Choral (Sacred); Choral Octavo; Performance Music E...
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Choir Sacred Instrumental Ensemble - SKU: JX.00-39174 Composed by Tom Kitt. This edition: InstruPax. Choral (Sacred); Choral Octavo; Performance Music Ensemble; Single Titles; Worship Resources. Simply Praise & Worship. Jewish Heritage; Sacred. Part(s). 23 pages. Jubilate Music Group - Digital #00-39174. Published by Jubilate Music Group - Digital (JX.00-39174). English. Words by Abigail Pogrebin.Taking Your Place offers a stirring way to mark the milestone of the bar or bat mitzvah. It's been added to Saturday morning Shabbat services at the historic Central Synagogue in New York -- not only because of it's simple beauty but because it communicates so clearly the significance of a child choosing to join the larger Jewish family. The Hebrew comes from the mishebeirach prayer-- the blessing for the child found in the Shabbat morning liturgy. The Hebrew blessing is one of the mishebeirach prayers for the Torah service found in any traditional siddur.
$40.00 ≈
37.33€
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Prayers from the Ark
