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where it is also known a.
Non classifié 77

Piano & claviers
Piano seul 9
Orgue, Trompette (duo) 4
Piano, Voix 2
Instruments en Do 2
Piano Quatuor: piano, violon, alto, violoncelle 1

Piano, Voix et Guitare 1

+ 1 instrumentations

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Guitares
Guitare 2
2 Guitares (duo) 1

Voix
Voix Alto, Piano 10
Chorale 3 parties 3
Chorale SATB 2

Chorale SSATB 1

Vents
Quintette de Saxophone: 5 saxophones 48
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 48
Ensemble de Clarinettes 5
Quintette de Flûte : 5 flûtes 4
2 Saxophones (duo) 4

Saxophone Alto et Piano 4
2 Clarinettes (duo) 4
Clarinette, Guitare (duo) 3
Quatuor de Clarinettes: 4 clarinettes 3
Flûte traversière et Piano 3
Clarinette et Piano 2
Quintette de Clarinettes: 5 clarinettes 2
Clarinette, Violon (duo) 2
2 Flûtes traversières (duo) 2
Ensemble de saxophones 1
Saxophone et Guitare 1
Flûte traversière 1
3 Saxophones (trio) 1

+ 13 instrumentations

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Cuivres
Quatuor de Cuivres : 2 trompettes, trombone, tuba 21
Ensemble de Trombones 5
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 5
Cor et Piano 3
Ensemble de Trompettes 3

2 Euphoniums (duo) 1
2 Trombones (duo) 1
2 Trompettes (duo) 1
2 Cors (duo) 1
Ensemble de Cors 1
Trompette 1

+ 6 instrumentations

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Cordes
Quintette à cordes: 2 violons, alto, violoncelle, basse 5
Ensemble d'Altos 4
Ensemble de Violons 4
Quatuor à cordes: 2 violons, alto, violoncelle 4
2 Violons (duo) 2

Violon et Piano 1
Trio à Cordes: violon, alto, violoncelle 1
2 Altos (duo) 1
2 Violoncelles (duo) 1
Trio à Cordes: 3 violoncelles 1
Violoncelle, Piano 1
Violon, Violoncelle (duo) 1

+ 7 instrumentations

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Percussions & orchestre
Orchestre 4
Orchestre d'harmonie 4
Cloches 3
Orchestre à Cordes 3
Orchestre de chambre 2

Ensemble Jazz 1
Ensemble de Percussions 1

+ 2 instrumentations

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Chorale SATB

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Drei Equale / Three Equali

Drei Equale / Three Equali #Chorale SATB #INTERMÉDIAIRE #Classique #Ludwig van Beethoven #Matthijs van der Moolen #Drei Equale / Three Equali #Matthijs van der Moolen #SheetMusicPlus

Choral Choir (4-Part) - Level 3 - SKU: A0.882467 Composed by Ludwig van Beethoven. Arranged by Matthijs van der Moolen. Christian,Classical,Contemporary...(+)

Choral Choir (4-Part) - Level 3 - SKU: A0.882467 Composed by Ludwig van Beethoven. Arranged by Matthijs van der Moolen. Christian,Classical,Contemporary,Romantic Period. Octavo. 18 pages. Matthijs van der Moolen #566711. Published by Matthijs van der Moolen (A0.882467). These â€˜Three Equaliâ€™ are amongst the few pieces that were written for trombone ensemble by a well- known composer, and therefor they are very important pieces for the trombone repertoire. This particular edition is different from the ones that most trombone players know. First of all, it contains a score for male choir. And secondly, it is transposed a major second down. The reason for this is that the original version is too high for the male voices. The version for male choir was added to the first and the last movement by Ignaz Seyfried, a friend of Beethoven. To make the words fit to the music, he had to be quite free with interpreting the rhythmical structure that Beethoven composed. It is debatable if the vocal and instrumental version should be performed all together or alternating with each other. According to the notes about Beethovenâ€™s funeral (where the first and last movement were performed), the voices and instruments were alternating during this performance. The second movement was performed on a later moment, but the link between the instrumental version (with text by Frans Grillparzer) was not made. I have taken the freedom to put these two together in this score, and transposed it one major second down to make it fit smoothly in between the other two movements. The first and last movement also contained a text in Latin, but since the second movement was only available in German, I also used the German texts for the other movements.

$19.99

Three Latin Elegies to Lesbia

Three Latin Elegies to Lesbia #Chorale SATB #INTERMÉDIAIRE #Contemporain #Mark D #Three Latin Elegies to Lesbia #Mark Templeton Choral Music #SheetMusicPlus

Choir, SATB - Intermediate - Composed by Mark D. Templeton. 21st Century, Contemporary Classical, Modern, Neo-Classical. Sheet Music Single. 20 page...(+)

Choir, SATB - Intermediate - Composed by Mark D. Templeton. 21st Century, Contemporary Classical, Modern, Neo-Classical. Sheet Music Single. 20 pages. Published by Mark Templeton Choral Music
Three LatinElegies to Lesbiais a setting of three poems written by the ancient Roman poet, Gaius ValeriusCatullus (84-54 B.C.E.). His muse in these poems is understood to beLesbia, the name believed to have been given by Catullus to his mistress.Lesbia was really Clodia, the sexually promiscuous wife of proconsul QuintusCaecilius Metellus Celer. Clodia was said to have many lovers, and Catullus?torment and obsession for her is well documented in 13 of his poems where thename, Lesbia, is used. His first poem addressed to Lesbia (Catullus 51) is a freetranslation of a poem by the ancient Greek poet, Sappho. Scholars havesuggested that Catullus chose the name, Lesbia, because of his affinity forSappho, who it is believed was a lesbian.

Odie et Amo (Catullus 85), one of the mostcelebrated elegiac couplets composed by Catullus, has inspired many composers withits duality of emotions. The most well-known setting is from Carl Orff?s Catulli Carmina, part of Trionfi, themusical triptych that also includes the Carmina Burana andTrionfo di Afrodite. Unlike Orff?s driving rhythms of outwardlyexpressive anguish, my setting is a more introspective interpretation. It is asif the music is surrendering to the mercurial personalities that Catullus andall humans possess, the tortured ability to hate and love at the same time.

Lesbia mi dicit semper male (Catullus 92) consists of two elegiaccouplets. Catullus? earlier poem, 83,brings some context to 92. In thefirst part of 83, Catullus says:

Lesbia keeps insulting me in front of her husband:

thisfills the fatuous idiot with delight.

Mule, doyou perceive nothing? If she shut up and ignored me

that?dshow healthy indifference;?

In 92, Catullus expounds on the idea of whyLesbia insults him in front of her husband. Catullus reckons that he is alwayscursing her, and he loves her. She always curses him, so she must love him aswell. In his desperation, Catullus uses his wit and humor to reason that hisobsessive love for Lesbia is reciprocated. This setting of 92 uses incessant driving rhythms in the women?s voices to paint thewords, ?Lesbia mi dicit semper male nec tacetumquam de me? (Lesbia always speaks ill of me, never shuts up about me). The repeating rhythmsreturn in the men?s voices when Catullus says he does the same, ?quia sunt totidem mea: deprecor illamassidue? (?it?s the same with me: I?m continually complaining.) The piececomes to a final rest after Catullus realizes the he will always be cursed tolove her.

Mea Lesbia (Catullus 87) also consists of twoelegiac couplets. Catullus was only one of Lesbia?s many lovers, and he oftenwrote of his jealousy and disdain for her unfaithful actions. This elegy waswritten at a time when Lesbia had been particularly cruel toward Catullus.Despite being broken hearted, his obsession with her never waned. In hisdespair and desperation, he basically says, ?My love for you is so great thatno other woman could possibly even know what love is.? This setting of 87 returns to a more introspectivenature where Catullus surrenders his love forever to Lesbia.

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