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Till the End of Time
Not classified 46

Piano & keyboards
Piano solo 14
Piano, Voice 2
Organ 1
Piano Quartet: piano, 2 violins, cello 1
1 Piano, 4 hands 1

Guitars
Piano, Guitar (duet) 1

Voice
Choral SATB 2

Woodwind
2 Flutes (duet) 13
Saxophone Quartet: 4 saxophones 11
Oboe (band part) 9
Clarinet 8
Flute and Piano 3

Treble (Alto) Recorder, Piano 1
Flute Quartet: 4 flutes 1

+ 2 instrumentations

- Retract

Woodbrass
French horn 1
Bass Trombone and Piano 1
Brass quartet : 2 trumpets, trombone, tuba 1

Strings
2 Violins (duet) 6
String Quartet: 2 violins, viola, cello 4
Violin and Piano 3
2 Cellos (duet) 2
Violin, Viola (duet) 2

Viola, Cello (duet) 1
Cello, Piano 1

+ 2 instrumentations

- Retract

Percussion & orchestra
Orchestra 5
Brass ensemble 2
Concert band 2
Chamber Orchestra 2
String Orchestra 1

Percussion Ensemble 1
Piano and Orchestra 1

+ 2 instrumentations

- Retract

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Till the End of Time

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2 sheet music found

Missa Solemnis, op. 27 (vocal score)

Missa Solemnis, op. 27 (vocal score) #Choral SATB #ADVANCED #Adrian Gagiu #Missa Solemnis, op. 27 #Adrian Gagiu #SheetMusicPlus

Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adr...(+)

Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adrian Gagiu #868444. Published by Adrian Gagiu (A0.1277132). Missa Solemnis in B major, op. 27, vocal score and piano part (for rehearsal purposes only). 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.

$87.99 ≈ 82.34€

The Choir Invisible

The Choir Invisible #Choral SATB #ADVANCED #Nicholas White #The Choir Invisible #Nicholas White Music #SheetMusicPlus

Choral Choir (SATB divisi) - Level 5 - Digital Download SKU: A0.1257185 Composed by Nicholas White. 21st Century,Classical,Traditional. Octavo. 16 pages....(+)

Choral Choir (SATB divisi) - Level 5 - Digital Download SKU: A0.1257185 Composed by Nicholas White. 21st Century,Classical,Traditional. Octavo. 16 pages. Nicholas White Music #850509. Published by Nicholas White Music (A0.1257185). George Eliot's poem is given a rich and powerful setting for choir and organ.O May I join the choir invisible Â Of those immortal dead who live again Â In minds made better by their presence: live Â In pulses stirr'd to generosity, Â In deeds of daring rectitude, in scornÂ For miserable aims that end with self, Â In thoughts sublime that pierce the night like stars, Â And with their mild persistence urge man's search Â To vaster issues. Â Â Â Â Â So to live is heaven: Â To make undying music in the world, Â Breathing as beauteous order that controls Â With growing sway the growing life of man. Â So we inherit that sweet purity Â For which we struggled, fail'd, and agoniz'dÂ With widening retrospect that bred despair. Â Rebellious flesh that would not be subdued, Â A vicious parent shaming still its child, Â Poor anxious penitence, is quick dissolv'd; Â Its discords, quench'd by meeting harmonies, Â Â Die in the large and charitable air. Â And all our rarer, better, truer self, Â That sobb'd religiously in yearning song, Â That watch'd to ease the burthen of the world, Â Laboriously tracing what must be, Â Â Â And what may yet be better,â€”saw within Â A worthier image for the sanctuary, Â And shap'd it forth before the multitude, Â Divinely human, raising worship so Â To higher reverence more mix'd with love,â€” Â Â That better self shall live till human Time Â Shall fold its eyelids, and the human sky Â Be gather'd like a scroll within the tomb Unread forever. Â Â Â Â Â This is life to come, Â Which martyr'd men have made more glorious Â Â Â Â For us who strive to follow. May I reach Â That purest heaven, be to other souls Â The cup of strength in some great agony, Â Enkindle generous ardor, feed pure love, Â Beget the smiles that have no cruelty,Be the sweet presence of a good diffus'd, Â And in diffusion ever more intense! Â So shall I join the choir invisible Â Whose music is the gladness of the world.

$4.00 ≈ 3.74€