Influencé par Felix Mendelssohn Bartholdy, compositeur irlandais Sir Charles Villiers Stanford (1852-1924) a développé un en langue anglaise romantique musicale de la sienne.Cette évolution est perceptible surtout dans ses trois motets en latin dans lequel un cadre typiquement 'anglais' ton règne qui se caractérise par des mélodies, des harmonies très fluides et lisses singability grande et évite plutôt les contrastes. Avec Edward Elgar et Hubert Parry, Stanford a grandement contribué à la rénovation de la musique anglaise.Ces trois compositions sont parfaites pour les services religieux et des concerts. / Choeur Mixte (SATB) Et Piano
SKU: CA.411000
ISBN 9790007181635.
Char les Gounod, the 200th anniversary of whose birth falls in 2018, is known above all for his operas - Faust, Sapho, Romeo et Juliette, etc. But throughout his life Gounod was also a very religious man. As winner of the prestigious Prix de Rome in 1839, he spent an extended period in the Holy City and subsequently devoted several years exclusively to writing sacred music. For a time he even thought of becoming a priest and signed his letters Abbe Ch. Gounod. As well as several masses - including the famous St Cecilia Mass - he composed numerous smaller works for various scorings for use in the liturgy and other church services. This collection contains 20 smaller sacred motets for 4-6-part mixed choir with organ or piano accompaniment, mostly ad libitum.
SKU: ST.B370
ISBN 9790220203053.
This volume is devoted to Byrd's Latin sacred works which have survived only in manuscript sources. Its contents range from those motets such as Alleluya. Confitemini Domino judged to be among the composer's earliest, to works of the 1560s - Ad Dominum cum tribularer for example - and two later cantus firmus respond motets that may also be dated to this period.
SKU: HL.49019422
ISBN 9790001190268. 7.5x11.0x0.1 inches. Latin.
Influenced by Felix Mendelssohn Bartholdy, the Irish composer Sir Charles Villiers Stanford (1852-1924) developed an English Romantic musical language of his own. This is noticeable especially in his three Latin motets in which a typically 'English' tone prevails, characterized by extremely flowing melodies, smooth harmonies and great singability. These three compositions are perfect for church services and concerts. Contents: Iustorum animae • Coelos ascendit hodie • Beati quorum via.
SKU: ST.B371
ISBN 9790220219511.
Volu me 9 completes the collection of Byrd's Latin sacred works from the late 1570s onwards preserved in manuscript alone. It includes Domine, exaudi orationem meam, which is published for the first time in fully reconstructed form. Philippe de Monte's partial Psalm 136 setting, Super flumina Babylonis, to which Byrd's Quomodo cantabimus (here appearing for the first time with text correctly underlaid) was a musical response, features in the appendices, together with the fragmentary Ad punctum in modico and a number of motets putatively ascribed to the composer, but judged unlikely to be by him.
SKU: HL.14018990
ISBN 9788759853603. Latin.
For SATB Choir.
SKU: HL.14023414
ISBN 9788759809563. UPC: 884088440534. 8.25x11.75x0.072 inches. English-Latin.
A set of pieces suitable for Liturgical use, either individually or as a whole. Arranged here for SSATB Chorus a cappella.
SKU: BT.EMBZ14964
Latin.
The composer wrote of his work as follows: The text of the three motets takes three motifs from the story of the birth of Jesus: (1) the joy of the Magi at seeing the Star, (2) Mary s cradle song as she rocks the Baby, and (3) the choir of Angels praising the joyful news in song. The movements may also be performed singly, but it is best for them to be heard together as a cycle. Their style and tonal system are marked by modulating modality . So schrieb der Komponist über sein Werk: Der Text der drei Motetten greift drei Bilder aus der Geschichte von Jesu Geburt heraus: (1) die Szene der den Stern erblickenden und frohlockenden Weisen aus dem Morgenland, (2) die das Kind in der Wiege schaukelnde Maria und (3) der die Frohe Botschaft mit Lobgesang feiernde Chor der Engel. Die Sätze können auch einzeln aufgeführt werden, doch am besten ist es, wenn sie zusammen als Zyklus erklingen. Ihre Stile und Tonsysteme sind hauptsächlich von‚ modulierender Modalität‘ geprägt.“.
SKU: GI.G-005790
UPC: 641151057903. Latin, English.
With over six hundred songs ( Lieder.) to his name, Franz Schubert was one fo the most prolific and gifted composers of the genre who ever lived. His wonderful sense of beautiful melody pervades much of his music--symphonic, stage and opera, choral, chamber, and piano solos and duets. A devout Catholic and former Vienna Boys Choir singer, he composed six Latin settings of the Mass as well as settings of the Salve Regina, Tantum Ergo., and numerous other works. Schubert's Antiphons for Palm Sunday., Opus 113, are a set of four easy liturgical motets for a cappella .choir. A singable English translation is provided with the original Latin. The four Gregorian chant compositions for the same Sunday are also provided in Latin and English. Hosanna Filio David .is sung for the blessing of the palms. The responsory In Monte Oliveti .can be sung between the Epistle reading and the Gospel, followed by Pueri Hebraeorum .for the distribution of the palms and Cum Angelis. for the procession of the palms.--Dr. William Tortolano.
SKU: CA.132700
ISBN 9790007002862. Language: Latin.
SKU: HL.50486907
ISBN 9790080146569. UPC: 840126939682. 8.0x11.25x0.088 inches. Hungarian, Latin. Gyorgy Bardos Deak.
SKU: CA.204160
ISBN 9790007096090.
The final part from 1791 took on a new direction, as was reflected in the formulation of the title: Four-part Latin and German choral settings for use by choirs in churches and schools. The first part, or the motet collection, part VI, from Johann Adam Hiller, Ducal Music Director of Kurland, Cantor of St. Thomas School and Music Director of both of the main churches in Leipzig. (additional parts were not published). The volume precedes a foreword, in which Hiller relates why he composed and published the present pieces. Of special interest is the great amount of information about church music and liturgical practice of this time, which he in part could shape, but in the face of whose traditions he also sometimes felt powerless. So this foreword belongs among the most important documents on the living practice of Protestant church music in the last years of the 18th century.