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Baroque Not classified 10,108 Piano & keyboards Piano solo 4,720 Piano, Voice 4,438 Easy Piano 1,484 C Instruments 292 Piano Trio: piano, violin, cello 138 Piano, Vocal and Guitar 135 1 Piano, 4 hands 133 2 Pianos, 4 hands 128 Organ, Piano (duet) 86 Piano Accompaniment 82 Piano Quartet: piano, violin, viola, cello 45 Piano Quintet: piano, 2 violins, viola, cello 41 Piano Quartet: piano, 2 violins, cello 34 Big Note Piano 13 1 Piano, 6 hands 11 Piano (band part) 4 2 Pianos, 8 hands 2
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668 sheet music found "Laudate Dominum - Rare Baroque Baroque Choral Piece - Mateo de Dallo y Lana
"Laudate Dominum - Rare Baroque Baroque Choral Piece - Mateo de Dallo y Lana # Choral SATB # Arturo Escorza # Arturo Escorza # "Laudate Dominum - Rare Baroqu # Arturo Escorza # SheetMusicPlus
Choral,Mixed Chorus Choir,Choral - Digital Download SKU: A0.1468146 By Arturo Escorza. By Mateo de Dallo y Lana. Arranged by Arturo Escorza. Baroque,Cham...(+)
Choral,Mixed Chorus Choir,Choral - Digital Download SKU: A0.1468146 By Arturo Escorza. By Mateo de Dallo y Lana. Arranged by Arturo Escorza. Baroque,Chamber,Early Music,Historic,Sacred. 13 pages. Arturo Escorza #1046457. Published by Arturo Escorza (A0.1468146). Laudate Dominum - A Rare Baroque New Spanish Masterpiece by Mateo de Dallo y LanaLaudate Dominum, an unpublished before Baroque composition by the renowned Spanish composer Mateo de Dallo y Lana, Master of Chapel of the Cathedral of Puebla de los Ángeles. This exceptional piece, written for 6 voices (Alto, Tenor of the first choir, Soprano, Alto, Tenor, Bass of the second choir) with basso continuo, captures the essence of 18th-century sacred music in the New World.With its harmonies and rich textures, Laudate Dominum is a must-have for choral ensembles and music historians alike.Ideal for performances, academic study, and collectors of rare music, this piece offers a glimpse into the musical heritage of colonial Mexico. Enhance your repertoire with this extraordinary work and bring the timeless sounds of Baroque Novohispano music to life.Key Features:Composer: Mateo de Dallo y LanaTitle: Laudate DominumGenre: New Spanish Baroque (modern Mexico)Voicing: 6 voices (Alto, Tenor of the first choir, Soprano, Alto, Tenor, Bass of the second choir) with basso continuoLength: 13 pages, 63 measuresPerfect for: Choral performances, music historians, academic study, collectors of rare music. 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 # Choral SATB # ADVANCED # Carson Cooman # Carson Cooman: Ascensions # Musik Fabrik Music Publishing # SheetMusicPlus
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.535388 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 82 pages. Musik Fabrik Mu...(+)
Choral Choir (SATB) - Level 5 - Digital Download 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. 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 # Choral SATB # ADVANCED # Carson Cooman # Carson Cooman: Ascensions # Musik Fabrik Music Publishing # SheetMusicPlus
Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.535387 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 65 pages. Musik Fabrik Mu...(+)
Choral Choir (SATB) - Level 5 - Digital Download 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 Hallelujah from Handel's Messiah - SATB Choir and Piano (Full Score)
Hallelujah from Handel's Messiah - SATB Choir and Piano (Full Score) # Choral SATB # INTERMEDIATE # Classical # George Frideric Handel # César Madeira # Hallelujah from Handel's Messi # Sheet Music To Play Editions # SheetMusicPlus
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1216802 Composed by George Frideric Handel. Arranged by César Madeira. Baroque,Early Music,Pr...(+)
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1216802 Composed by George Frideric Handel. Arranged by César Madeira. Baroque,Early Music,Praise & Worship,Religious,Sacred. Octavo. 17 pages. Sheet Music To Play Editions #813318. Published by Sheet Music To Play Editions (A0.1216802). Hallelujah Chorus from Handel's Messiah. Arrangement for Choir SATB and Piano. With Full Score. Enjoy it!Georg Friedrich Händel (1685 –1759) was a German-born Baroque composer becoming well known for his operas, oratorios, anthems, concerti grossi and organ concertos. Handel received his training in Halle and worked as a composer in Hamburg and Italy before settling in London in 1712, where he spent the bulk of his career and became a naturalised British subject in 1727. He was strongly influenced both by the middle-German polyphonic choral tradition and by composers of the Italian Baroque.For Tutorials, Play Alongs or request New Arrangements, visit the YouTube Channel: Sheet Music To Play O Praise the Lord
O Praise the Lord # Choral SATB # INTERMEDIATE # Sacred music # Andrew Schneider # O Praise the Lord # Andrew Schneider # SheetMusicPlus
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.930752 Composed by Andrew Schneider. Baroque,Christian,Classical,Contemporary,Sacred. Octavo. 18...(+)
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.930752 Composed by Andrew Schneider. Baroque,Christian,Classical,Contemporary,Sacred. Octavo. 18 pages. Andrew Schneider #3584607. Published by Andrew Schneider (A0.930752). This is a choral anthem setting of Psalm 117 designed for either church or concert use. In its effortless use of various elements of Baroque practice, I have written a piece which will hopefully be useful for high schools and community colleges with smaller choirs to get students to sing works which can prep them for repertoire. Churches will also find this a work appropriate for any festive occasion and also useful in telling people that composers actually exist today who like the bygone way of doing things. And also with a rather exciting piano part! I certainly enjoy raising the bar.To that end, the A section can be sung on its own as a separate piece, as it is deliberately easier than the B section, which has more chromatic and polyphonic passages. This is the perfect piece to convey to high school students the impression that Baroque music can be exciting, spontaneous, and not old-fashioned, and in a matter which will be immediately perceived to be authentic.The ad libitum trumpet parts are available directly from the composer. Though they are not strictly necessary for a successful performance, they do give a special spice and festive aura that can only be beneficial.