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Missa Solemnis, op. 27 (vocal score)
Missa Solemnis, op. 27 (vocal score)
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Chorale SATB
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AVANCÉ
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Adrian Gagiu
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Missa Solemnis, op. 27
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Adrian Gagiu
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adrian Gagiu #86844...
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Choral Choir (SATB) - Level 5 - 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 „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’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  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†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). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†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. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†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 „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$87.99 ≈
81.37€
Ho! Ye That Thirst
Ho! Ye That Thirst
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Chorale SATB
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AVANCÉ
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Traditional English Melody
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Daniel Steenson
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Ho! Ye That Thirst
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Daniel Steenson
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.905640 Composed by Traditional English Melody. Arranged by Daniel Steenson. 20th Century,Concert,Easter,Sacred. ...
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Choral Choir (SATB) - Level 5 - SKU: A0.905640 Composed by Traditional English Melody. Arranged by Daniel Steenson. 20th Century,Concert,Easter,Sacred. Octavo. 7 pages. Daniel Steenson #4581035. Published by Daniel Steenson (A0.905640). A unique setting for voice and piano featuring a sacred poetic text, Isaiah 55, from the Scottish Psalter paired with the beloved English melody, FOREST GREEN, originally harmonized by Ralph Vaughan Williams for the English Hymnal. This moderately advanced arrangement by Daniel Steenson is effective as service music or a concert piece. The musical pulse may be felt in two (though mm. 50-63 are to be sung quasi-recitative). Eighth notes should not be rushed. Listen for clear voice-leading in the accompaniment (use discreet pedaling), and respond to the rise-and-fall of phrases between the voice and keyboard.
$3.99 ≈
3.69€
Labia Mea for 8 voices a cappella
Labia Mea for 8 voices a cappella
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Chorale SATB
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AVANCÉ
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Vahram Sarkissian
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Labia Mea for 8 voices a cappe
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Vahram Sargsyan
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SheetMusicPlus
Choral Choir (Mixed) - Level 5 - SKU: A0.882922 Composed by Vahram Sarkissian (Sargsyan). 20th Century,A Cappella,Contemporary,Sacred. Octavo. 14 pages....
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Choral Choir (Mixed) - Level 5 - SKU: A0.882922 Composed by Vahram Sarkissian (Sargsyan). 20th Century,A Cappella,Contemporary,Sacred. Octavo. 14 pages. Vahram Sargsyan #2002319. Published by Vahram Sargsyan (A0.882922). Labia Mea for eight mixed voices a cappella is a unique innovative composition that explores and questions the possibilities of the human voice. Several unusual techniques are used throughout the work such as different types of throat singing, overtone singing, multiphonics, vocal percussion, extreme registers etc. It reveals some sounds and colors yet unknown to the world of vocal music. The work is based on a short excerpt of the psalm 50 (Domine labia mea aperies). There is a text accumulation process throughout the work, at the beginning there are just sounds, then phonemes assemble, words appear and closer to the end the full text is revealed.
$44.99 ≈
41.60€
Symphony No.25 (Our Earth) PART 3
Symphony No.25 (Our Earth) PART 3
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Chorale SATB
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AVANCÉ
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Jordan Grigg
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Symphony No.25
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Jordan Grigg
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SheetMusicPlus
Choral Choir (SATB divisi) - Level 5 - SKU: A0.863789 Composed by Jordan Grigg. 20th Century,Concert,Romantic Period,Standards,World. Octavo. 50 pages. ...
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Choral Choir (SATB divisi) - Level 5 - SKU: A0.863789 Composed by Jordan Grigg. 20th Century,Concert,Romantic Period,Standards,World. Octavo. 50 pages. Jordan Grigg #3395203. Published by Jordan Grigg (A0.863789).
$7.95 ≈
7.35€
Beowulf: A Classical Melodrama in Four Scenes for Chorus, Soiloists and Piano
Beowulf: A Classical Melodrama in Four Scenes for Chorus, Soiloists and Piano
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Chorale SATB
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AVANCÉ
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Contemporain
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Richard St
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Beowulf: A Classical Melodrama
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Richard St. Clair
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.939813 Composed by Richard St. Clair. 20th Century,Contemporary. Octavo. 139 pages. Richard St. Clair #4760561. ...
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Choral Choir (SATB) - Level 5 - SKU: A0.939813 Composed by Richard St. Clair. 20th Century,Contemporary. Octavo. 139 pages. Richard St. Clair #4760561. Published by Richard St. Clair (A0.939813). This work, running over 50 minutes performance time, is a dramatic presentation of the Beowulf epic from Medieval England. The action is compelling throughout, with prominent solo and full chorus passages. The Audio Clip presents the complete Overture and highlights from Scene 1 and the battle with Grendel and the joyful conclusion of Scene 4. This work is not intended for stage production, but with imagination it could be presented on stage. Rather, the concept is for concert performance. The Score, 139 pages long, is the complete piano-vocal score.
$100.00 ≈
92.47€
Concierto para Coro
Concierto para Coro
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Chorale SATB
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AVANCÉ
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Contemporain
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Miguel Astor
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Miguel Astor
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Concierto para Coro
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Miguel Astor
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SheetMusicPlus
Choral Choir,Choral (SATB divisi) - Level 5 - SKU: A0.1364758 By Miguel Astor. By Miguel Astor. Arranged by Miguel Astor. 21st Century. 50 pages. Miguel...
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Choral Choir,Choral (SATB divisi) - Level 5 - SKU: A0.1364758 By Miguel Astor. By Miguel Astor. Arranged by Miguel Astor. 21st Century. 50 pages. Miguel Astor #949052. Published by Miguel Astor (A0.1364758). A virtuoso work for choir based on poems by Federico GarcÃa Lorca in three movements Noche, Prendimiento de Antoñito el Camborio and Muerte de Antoñito el Camborio.
$13.00 ≈
12.02€
Missa melismatica
Missa melismatica
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Chorale SATB
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AVANCÉ
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Hermann Schroeder
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Missa melismatica
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Schott Music - Digital
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SheetMusicPlus
Mixed choir a cappella - advanced - SKU: S9.Q6889 Composed by Hermann Schroeder. This edition: choral score. Schott Choral Music. Downloadable, Choral s...
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Mixed choir a cappella - advanced - SKU: S9.Q6889 Composed by Hermann Schroeder. This edition: choral score. Schott Choral Music. Downloadable, Choral score. Duration 16 minutes. Schott Music - Digital #Q6889. Published by Schott Music - Digital (S9.Q6889). Latin.Herrmann Schroeder (1904-1984), one of the most important church music composers of the 20th century, wrote this Latin mass in 1961, i.e. at the beginning of the Second Vatican Council. The Council marked a turning point in the field of church music: Masses in the respective native languages gained more and more acceptance, Gregorian chant faded into the background, stylistic features of popular music were also taken up in church music. Today, about 50 years after the beginning of the Council, one can see a return to Gregorian chant and polyphonic vocal music, and this is why even works such as Schroeder's Latin Missa melismatica arouse great interest again. The work takes the free intonation of the Gregorian chant as a starting-point and is enriched with wide-spun melodic arcs in elaborate polyphony, according to Schroeder's opinion that Gregorian chant and polyphony are particularly suitable for giving expression to the mysticism and irrationality of religious faith in the liturgy. A demanding work for good choirs, duration ca. 16 minutes.
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