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BIBLIOTHÈQUE
Vivanco, Sebastian de Sebastian de Vivanco
Espagne Espagne
(1551 - 1622)

1 Partition
1 MP3





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Partitions Hautbois Double-Reed Quartet Sebastian de Vivanco
Vivanco, Sebastian de: "O quam suavis est" for Double Reed Quartet

"O quam suavis est" for Double Reed Quartet
Sebastian de Vivanco




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EcouterTélécharger MP3 : "O quam suavis est" (O how sweet is thy spirit, Lord) for Double Reed Quartet 1x 23x VoirTélécharger PDF : "O quam suavis est" (O how sweet is thy spirit, Lord) for Double Reed Quartet (7 pages - 160.59 Ko)4x
VoirTélécharger PDF : Bassoon (58.67 Ko)
VoirTélécharger PDF : English Horn (60.97 Ko)
VoirTélécharger PDF : Oboe 1 (59.56 Ko)
VoirTélécharger PDF : Oboe 2 (60.48 Ko)
VoirTélécharger PDF : Full Score (115.59 Ko)
 

 
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Compositeur :Sebastian de VivancoVivanco, Sebastian de (1551 - 1622)
Instrumentation :

Double-Reed Quartet

Genre :

Renaissance

Arrangeur :
Editeur :
Sebastian de VivancoMagatagan, Mike (1960 - )
Droit d'auteur :Public Domain
Sebastián de Vivanco (c. 1551 - 1622) was a Spanish priest and composer of the Renaissance. He was born in Ávila, like Tomás Luis de Victoria; however, the exact date of his birth is unknown. It is hypothesized that he was born a few years after Victoria and that they both knew each other as children and sang together at the chapel of the Cathedral of Ávila. During the time that Vivanco sang in the chorus, the maestri di cappella were Gerónimo de Espinar, Bernardino de Ribera (1559) and Juan Navarro Hispalensis (1563). This last composer had the most profound influence on Vivanco. After 1566, with the change in his voice, Vivanco commenced studies as a priest, as Victoria had done.

Around 1576, while still a subdeacon, he was named maestro di cappella at the Cathedral of Lérida, but shortly thereafter, on July 4, 1576, he was dismissed from this position. Upon his return to Castille, in February 1577, he was named maestro di cappella at the Cathedral of Segovia, a position of higher prestige and pay than the previous ones. He moved there with his mother and remained there for the following ten years. During this period he became a deacon and then, in 1581, was ordained as a priest.

In 1588, he returned to his native city, Ávila, in order to take charge of the cathedral chapel. He remained here until 1602, when he took possession of the position of maestro di cappella at the Cathedral of Salamanca. This was his last position and the most important to his musical contributions. His three publications were printed during his time in this city. On February 19, 1603, he became professor of music at the University of Salamanca, and on March 4 of the same year, he received the degree of Master of Arts honoris causa. Vivanco was occupied with his position in the cathedral of the university until his death, on October 26, 1622.

The bulk of Vivanco's surviving work was published in three books in Salamanca between 1607 and 1610 by the printer Artus Taberniel of Antwerp, who by then was the official printer of the University of Salamanca. The books contain a selection probably chosen by the composer himself of his best pieces, spanning over 40 years of work.

Source: Wikipedia (https://en.wikipedia.org/wiki/Sebasti%C3%A1n_de_Vivanc o).

Although originally created for four (4) Voices (SATB), I created this Arrangement of the "O quam suavis est" (O how sweet is thy spirit, Lord) for Double-Reed Quartet (2 Oboes, English Horn & Bassoon).
Ajoutée par magataganm le 2020-02-17



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Cette partition est associée à la collection de magataganm :
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arrangements à vent
Liste des partitions :
› Sonata in A Major from Chandos Anthem No. 8 for Oboe & Strings
› "À Tout Jamais" for Oboe & Bassoon Quartet - Haubois et basson
› "Élévation ou Communion" from "L'Organiste Moderne" for Oboe & Harp
› "Ach, dass ich Wassers gnug hätte" for English Horn & Strings
› "Adieu Anvers" for Double Reed Quintet - Hautbois, Cor anglais, Basson
› "Adieux de l'hôtesse Arabe" for Oboe & Strings
› "Agnus Dei " from the Mass in B Minor for Double-Reed Trio
› "Album Leaf" from Lyric Pieces for Clarinet & Strings
› "All we Like Sheep have Gone Astray" for Winds & Strings
› "Allegro di Molto" from "Lieder ohne Worte" for Oboe & Strings






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