Format : Part
SKU: GI.G-8155
UPC: 785147815501. English, Latin. Translation: James Quinn, SJ. Text by Thomas Aquinas.
From unison to full 4-part harmony, the gradual amassing of forces adds interest and passion to this essential work. The final statement of the chant brings the piece to a glorious conclusion. Much of the piece is a cappella, but piano reductions and closed-score writing make it easy to double the voices for support, if needed.
SKU: CA.9191532
Key: C major. Language: German.
Score available separately - see item CA.9191500.
SKU: CA.9191531
SKU: CA.9130200
ISBN 9790007117658. Language: German.
SKU: CA.9222400
ISBN 9790007126056. Key: C major. Language: German.
SKU: CA.9191500
ISBN 9790007127114. Key: C major. Language: German.
SKU: CA.324190
ISBN 9790007178598. Key: A minor. Text language: Latin.
SKU: CA.306030
ISBN 9790007148690. Key: A minor. Language: German. Text: von Aquin, Thomas. Text: Thomas von Aquin.
SKU: BA.BA04197
ISBN 9790006444762. 27.5 x 19.5 cm inches.
22 Magnificat-Vertonungen der Jahre 1583-1585 aus Munchner Handschriften. Kompositionen zu 4 bis 7 Stimmen.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: BT.WHKB056
Pange Lingua (Tantum ergo) for Mixed Choir and Organ ad lib. (1960) by Leif Kayser. Choral score available: KB056-1.
SKU: BT.WHKB0561
Choral score for Pange Lingua (Tantum ergo), for Mixed Choir and Organ ad lib. (1960) by Leif Kayser. .
SKU: CY.CC2755
Bruckner's Pange Lingua motet, composed in 1868 is a hymn by the thirteenth-century theologian, St. Thomas Aquinas. The setting of the simple hymn is chorale-like, with the same music used for all three verses, and a lovely Amen being added to mark its finish. The text haunted Bruckner since his early years and he wrote a few settings of it during his lifetime. The music with all of its simplicity has some unexpected dissonances. Mr. Sauer's lovely arrangement of about 3 minutes in length is appropriate for moderately advanced performers.
SKU: BT.EMBZ6725
Hungarian.
Zoltán Kodály s unaccompanied mixed choruses first appeared in print in 1943 as a collected volume published by the association Magyar Kórus. This collection contained twenty-five works. In 1951, the volume was released again in the author s edition, being expanded with eight new compositions, but without Els áldozás (First Communion). Reprint editions of this collection had been distributed by Editio Musica Budapest until 1972, when a commemorative extended edition of the mixed choruses was issued, edited by Lajos Bárdos. Until now, reprints of this collection with forty-five compositions have been circulated. Péter Erdei carefully compared the printed edition with themanuscripts of the works preserved at the Kodály Archives. As a result of his work, in 2011 we emended a number of misprints, including those that had been inherited since the earliest print. Seventy-five years after the first release, the time has come for Kodály s collected choral works for mixed voices to appear in a completely new, expanded edition. Our collection contains six compositions that were not included in earlier editions: Jövel, Szentlélek eristen (Come, Holy Spirit), Miatyánk (The Lord s Prayer), Miserere, Salló Pista, Semmit ne bánkódjál (Do Not Grieve), ejesztend t köszönt (A Christmas Carol). In addition, two versions - both equally authentic - are published of the work known under the title of Naphimnusz (Canticle of the Sun), due to earlier editions the new release comes with lyrics in Hebrew and English (Adoration), as well as Dénes Szed s Hungarian translation (Napének [Hymn of the Sun]). This is the most complete and most authentic edition of Kodály s mixed choruses to date it is printed in a slightly larger format than previous editions, and it contains new easily-legible music scores and an informative epilogue. Diese Ausgabe entstand unter der Mitwirkung von Lajos Bárdos.
SKU: BT.EMBZ6725A
Zoltán Kodály s unaccompanied mixed choruses first appeared in print in 1943 as a collected volume published by the association Magyar Kórus. This collection contained twenty-five works. In 1951, the volume was released again in the author s edition, being expanded with eight new compositions, but without Els áldozás (First Communion). Reprint editions of this collection had been distributed by Editio Musica Budapest until 1972, when a commemorative extended edition of the mixed choruses was issued, edited by Lajos Bárdos. Until now, reprints of this collection with forty-five compositions have been circulated. Péter Erdei carefully compared the printed edition with themanuscripts of the works preserved at the Kodály Archives. As a result of his work, in 2011 we emended a number of misprints, including those that had been inherited since the earliest print. Seventy-five years after the first release, the time has come for Kodály s collected choral works for mixed voices to appear in a completely new, expanded edition. Our collection contains six compositions that were not included in earlier editions: Jövel, Szentlélek eristen (Come, Holy Spirit), Miatyánk (The Lord s Prayer), Miserere, Salló Pista, Semmit ne bánkódjál (Do Not Grieve), ejesztend t köszönt (A Christmas Carol). In addition, two versions - both equally authentic - are published of the work known under the title of Naphimnusz (Canticle of the Sun), due to earlier editions the new release comes with lyrics in Hebrew and English (Adoration), as well as Dénes Szed s Hungarian translation (Napének [Hymn of the Sun]). This is the most complete and most authentic edition of Kodály s mixed choruses to date it is printed in a slightly larger format than previous editions, and it contains new easily-legible music scores and an informative epilogue.
SKU: MN.50-7033
UPC: 688670570339.
New translation of Pange Lingua, Gloriosi (St. Thomas of Acquinas) with sturdy, singable new tune NEW LONDON. Basically homophonic with Unison and voice doublings. Handbell parts included. Handbells 3-4 octaves: 23-26 bells included in score.
SKU: CA.9179000
ISBN 9790007126650. Key: F minor. Language: Latin.
SKU: BT.DMP114108
SKU: CA.324880
ISBN 9790007178956. Key: A minor. Text language: Latin.
SKU: CA.325570
ISBN 9790007179311. Key: A minor. Text language: Latin.
SKU: HL.49024174
ISBN 9790001134750. 9.0x12.0x0.064 inches.
SKU: CA.313720
ISBN 9790007175917. Language: Latin.
SKU: CA.321720
ISBN 9790007157548. Key: D major. Language: Latin. Text: von Aquin, Thomas. Text: Thomas von Aquin.
SKU: CA.326260
ISBN 9790007179670. Key: A minor. Language: Latin.
SKU: CA.313710
ISBN 9790007175900. Language: Latin.
SKU: CA.313690
ISBN 9790007152598. Key: C major. Language: Latin. Text: von Aquin, Thomas. Text: Thomas von Aquin.
SKU: CF.CM9588
ISBN 9781491154106. UPC: 680160912605. 6.875 x 10.5 inches. Key: Eb major. Latin. Traditional Latin.
Tomas Luis de Victoria (15481611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victorias time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [v??bum k??? p?n?m v?rum] verbo carnem efficit: fitque sanguis Christi merum. [v??b? k??n?m ??fit?it fitkw? s??gwis k?isti m??um] Et si sensus deficit, ad firmandum cor sin cerum. [?t si s?nsus ?d?fit?it, ?d fi??m?ndum k?? sin t???um] Jeb Mueller.TomA!s Luis de Victoria (1548a1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoriaas time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is ao,a which sounds similar to the English words bought and got. The letter ata should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of asa should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [vEE 3/4 bum kEE 3/4 E pEnEm vErum] verbo carnem efficit: fitque sanguis Christi merum. [vEE 3/4 bE kEE 3/4 nEm EEfitEit fitkwE sEAgwis kE 3/4 isti mEE 3/4 um] Et si sensus deficit, ad firmandum cor sin cerum. [Et si sEnsus EdEfitEit, Ed fiE 3/4 EmEndum kEE 3/4 sin tEEE 3/4 um] Jeb Mueller.Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from Pange lingua more hisapano. The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.Tomás Luis de Victoria (1548–1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from Pange lingua more hisapano.The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance.Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria’s time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity.PRONUNCIATION GUIDEVictoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is “o,” which sounds similar to the English words bought and got. The letter “t” should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of “s” should be soft and never hardened to [z], such as in praise.Verbum caro, panem verum,[vɛɾbum kɑɾɔ pɑnɛm vɛrum]verbo carnem efficit: fitque sanguis Christi merum.[vɛɾbɔ kɑɾnɛm ˈɛfitʃit fitkwɛ sɑŋgwis kɾisti mɛɾum]Et si sensus deficit, ad firmandum cor sin cerum.[ɛt si sɛnsus ˈdɛfitʃit, ɑd fiɾˈmɑndum kɔɾ sin tʃɛɾum]Jeb Mueller.