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NATUS EST
Non classifié 93

Piano & claviers
Piano, Voix et Guitare 6
Orgue 6
Piano seul 3
Piano, Voix 2
Piano Facile 2

Piano Trio: piano, violon, violoncelle 1
Piano Quatuor: piano, violon, alto, violoncelle 1

+ 2 instrumentations

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Guitares
Guitare 1

Voix
Chorale SATB 119
Chorale 2 parties 17
Chorale 3 parties 16
Chorale 8
Chorale SSAA 5

Chorale Unison 5
Chorale TTBB 2
Chorale SSATB 2
Chorale SSAATTBB 1
Voix haute 1
Voix duo 1

+ 6 instrumentations

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Vents
Flûte, Hautbois, Clarinette, Basson 7
Quatuor de Saxophones: 4 saxophones 7
Quintette de Saxophone: 5 saxophones 6
2 Saxophones (duo) 5
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 4

3 Saxophones (trio) 4
Quatuor de Clarinettes: 4 clarinettes 4
Ensemble de Clarinettes 4
Ensemble de Flûtes 4
Trio de Flûtes: 3 flûtes 3
Ensemble de saxophones 2
3 Clarinettes (trio) 2
Quatuor de Flûtes : 4 flûtes 2
2 Flûtes traversières (duo) 2
Hautbois, Piano (duo) 2
2 Clarinettes (duo) 1
3 Hautbois 1
4 Hautbois 1
Quintette de Clarinettes: 5 clarinettes 1
Flûte, Clarinette et Basson 1
Quintette de Flûte : 5 flûtes 1
Flûte, Hautbois, Basson 1
Flûte, Hautbois, Piano (trio) 1
Clarinette et Piano 1
2 Hautbois (duo) 1

+ 20 instrumentations

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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 7
Quatuor de Cuivres : 2 trompettes, trombone, tuba 4
Quatuor de Cuivres: 2 trompettes, Cor, trombone 2
Ensemble de Trombones 2
Quatuor de Cuivres 2

Quatuor de cuivres: 4 cors 1
Quatuor de cuivres: 2 trompettes, 2 trombones 1
2 Trompettes (duo) 1
2 Trombones (duo) 1
3 Trombones (trio) 1
Trompette, Trombone (duo) 1
Ensemble de Trompettes 1
Trio de Cuivres 1
Quatuor de cuivres: 4 trombones 1

+ 9 instrumentations

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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle 9
Trio à Cordes: 2 violons, violoncelle 2
Violon 1
2 Altos (duo) 1
Violon et Piano 1

Ensemble d'Altos 1
Trio à Cordes: 3 violoncelles 1
Ensemble de Violons 1
Violon, Violoncelle (duo) 1
Trio à Cordes: violon, alto, violoncelle 1
2 Violoncelles (duo) 1
Trio à cordes: 3 violins 1
2 Violons (duo) 1

+ 8 instrumentations

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Percussions & orchestre
Ensemble de cuivres 6
Orchestre à Cordes 5
Orchestre d'harmonie 3
Orchestre 2

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NATUS EST

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2 partitions trouvées

Missa Solemnis, op. 27 - Score Only

Missa Solemnis, op. 27 - Score Only #Orchestre #AVANCÉ #Adrian Gagiu #Missa Solemnis, op. 27 - Score #Adrian Gagiu #SheetMusicPlus

Full Orchestra - Level 5 - SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published ...(+)

Full Orchestra - Level 5 - SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published by Adrian Gagiu (A0.1277133). Missa Solemnis in B major, op. 27 (conductor's score). 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 â€žFilioqueâ€ (which would still fit the rhythm of the repeated â€žqui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a â€žliturgical oratorio for all nationsâ€, more appropriate in the concert hall.Â The work has had a long gestation: imagined in 1984 after the composerâ€™s first contact with Beethovenâ€™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 Â King of Kings), â€žrex caelestisâ€ and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the â€žanabasisâ€ gesture at â€žGloria in excelsis Deoâ€, â€žet ascendit in caelisâ€, â€žin remissionem peccatorumâ€ and the resurrection, a flute trill standing for the Holy Spirit who has come â€™like a doveâ€™ at â€žet incarnatus estâ€, a cross-shaped texture at â€žcrucifixusâ€, and some word-painting (hushed sonorities at â€žet invisibiliumâ€, anticipations between orchestra and chorus at â€žet exspectoâ€ 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).Â â€žKyrieâ€ is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrinaâ€™s serene modality and counterpoint. â€žGloriaâ€ 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. â€žCredoâ€ has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn â€žPange linguaâ€, made famous by Mozartâ€™s last symphony and by other Classical composers. Both â€žGloriaâ€ and â€žCredoâ€ end with extended, powerful and elaborate fugues (â€žin gloria Dei Patrisâ€ and â€žet vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the wordsâ€™ accents, a la Stravinsky. The same sections plus â€žAgnus Deiâ€ end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of â€žSanctusâ€). â€žJudicareâ€ quotes the beginning of the well-known â€žDies iraeâ€ plainchant tune, and the Consecration between the â€žSanctusâ€ and â€žBenedictusâ€ 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 â€žAgnus Deiâ€, which includes another quotation (the famous â€™Dresden Amenâ€™ at â€žqui tollis peccata mundiâ€ and â€ždona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the â€žKyrie eleisonâ€ theme is briefly remembered, then it ends softly and peacefully.Â Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.

$100.00 ≈ 90.41€

Divinum Mysterium

Divinum Mysterium #Orchestre #INTERMÉDIAIRE/AVANCÉ #12th Century Plainchant #Robert Myers #Oboe 1,2 #Divinum Mysterium #WheatMyer Music #SheetMusicPlus

Full Orchestra - Level 4 - SKU: A0.976721 Composed by 12th Century Plainchant. Arranged by Robert Myers. Christian,Christmas,Contemporary,Sacred. Score ...(+)

Full Orchestra - Level 4 - SKU: A0.976721 Composed by 12th Century Plainchant. Arranged by Robert Myers. Christian,Christmas,Contemporary,Sacred. Score and parts. 76 pages. WheatMyer Music #4798079. Published by WheatMyer Music (A0.976721). DIVINUM MYSTERIUM is a chant tune dating to the 12th century which is associated with the hymn, Of the Father's Love Begotten, based on the Latin hymn, Corde natus ex parentis, written by Prudentius in the late 4th / early 5th century. This is thus one of the very oldest texts and tunes still sung in our churches today. The shape and flow of this arrangement, which includes quotations from CANTIQUE de NOEL (O Holy Night) â€“ Adolphe Adam (1844), was strongly influenced by what one writer described as the strong wave shapes of the tune. Iâ€™ve attempted to make these waves a significant feature of the piece, featured in both the constant crescendo/decrescendos and the interweaving of the two tunes. And, just as ocean waves donâ€™t arrive in steady rhythms, these musical waves are variable â€“ sometimes closely spaced, sometimes not, and sometimes overlapping. The unique character of each of the three major sections is implied in their headings: (1) with mystery and wonder, (2) Joyfully â€“ a child is born, and (3) contemplative â€“ God is with us. The opening section portrays the mystery of the trinity (the hymn text was written as an apology for the Nicene Creed) mixed with the wonder of the Creator God lying in a manger. Since the tune is derived from medieval chant, I wanted this section to reflect the loose metrical nature of that genre, so the melodic phrasing should predominate over any sense of meter up to letter C. The initial tonal and metrical ambiguity and the fractured melodic lines gradually meld into conventional tonality and clear statements of the two main themes. Donâ€™t let the poco rit. just before C be too poco. Build a definite sense of tension in anticipation of the Presto section. The Presto section presents the first complete statement of the main theme. I felt a strong, rhythmic treatment should follow the ambiguity of the opening to reflect the joy of the Messiahâ€™s incarnation realized. However, the gravity of the text demands avoidance of frivolity and banality. Thus, I used a combination of the long, flowing lines with a syncopated pulse and echoing rhythms to produce what I hope is a fresh but still reverent treatment of this ancient hymn â€“ one that produces a kaleidoscope of tonal color. Arriving at the third section at letter F, the asymmetrical pulse gradually shifts into a straight 3 pattern. The slower tempo and return of the secondary theme call us to reflect on the import of God now with us. The marking of Let off the gas and coast to the end is a word picture of how the tempo should draw to a close, as would an expert helmsman allow the shipâ€™s momentum to stop just as it taps the dock. One parting moment is provided to savor the woodwinds closing phrase from CANTIQUE de NOEL. Robert Myers S.D.G. INSTRUMENTATION Fl 1,2; Oboe 1,2; Bb Cl 1,2 ; Bsn 1,2 Hn in F 1/2, 3/4; C Tpt 1,2 (Opt Bb Tpt 1,2); Tbn 1, 2; Tuba Timpani Perc. 1 (cymbals, tam-tam, vibraphone) Perc. 2 (chimes, snare) Perc. 3 (concert toms (4), bass drum) Vln 1,2; Vla 1,2; VC; DB

$75.00 ≈ 67.81€

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