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Messe In C
Choral
Doblinger
SoloA 2Hr Org / Choeur
17.70 EUR - Sold by LMI-partitions
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Motetten (Nr. 1-4 Übersetzungen Der Graduale 1-4)
Choeur SATB a Cappella
[Sheet music]
Lienau
Nr. 1-4 Übersetzungen der Graduale 1-4. Par BRUCKNER ANTON. Nr. 7 : Weihnachtsm...
(+)
Nr. 1-4 Übersetzungen der Graduale 1-4. Par BRUCKNER ANTON. Nr. 7 : Weihnachtsmotette/ Répertoire / Choeur SATB a Cappella
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Motetten (Nr. 1-4 Übersetzungen Der Graduale 1-4)
Choeur SATB a Cappella
[Sheet music]
Lienau
Nr. 1-4 Übersetzungen der Graduale 1-4. Par BRUCKNER ANTON. Nr. 6 : Das Himmlis...
(+)
Nr. 1-4 Übersetzungen der Graduale 1-4. Par BRUCKNER ANTON. Nr. 6 : Das Himmlische Haus/ Répertoire / Choeur SATB a Cappella
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Motetten (Nr. 1-4 Übersetzungen Der Graduale 1-4)
Choeur SATB a Cappella
[Sheet music]
Lienau
Nr. 1-4 Übersetzungen der Graduale 1-4. Par BRUCKNER ANTON. Nr. 4 : Das Heil De...
(+)
Nr. 1-4 Übersetzungen der Graduale 1-4. Par BRUCKNER ANTON. Nr. 4 : Das Heil Der Welt/ Répertoire / Choeur SATB a Cappella
3.88 EUR - Sold by LMI-partitions
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Marianische Gesange 2: Voice: Vocal Album
Voice, Organ
[Sheet music]
Barenreiter
Great significance is attached to the Marian antiphons along with the cult of th...
(+)
Great significance is attached to the Marian antiphons along with the cult of the veneration of the Virgin Mary. This two volume edition contains Latin settings of Marian antiphons from the 18th to the 20th century. The first volume already published contains settings of the Marian antiphon Salve Regina whilst the second volume contains the three other Marian antiphons and the Marian hymn Ave maris stella.These two volumes contain an anthology of works by Johann Michael Haydn Bruckner Gounod Dvorák Elgar Grieg Liszt Mendelssohn a.o. which have been arranged for medium voice and organ without compromising any of the originality of the pieces.
29.50 GBP - Sold by Musicroom UK
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Gioachino Rossini: Petite Messe solennelle: Mixed Choir: Part
Soli, gemischter Chor, 2 Klaviere und Harmonium
Barenreiter
The ?Petite Messe Solennelle? is the finest work of Rossini?s late years. He com...
(+)
The ?Petite Messe Solennelle? is the finest work of Rossini?s late years. He composed it between 1863 and 1864 at the age of 71 as a commission for Countess Louise Pillet-Will for the consecration of her private chapel where the work received its first performance in March 1864. Together with the ?Stabat mater? the mass is one of the composer?s most important sacred works.The unusual instrumentation with two Pianos and Harmonium is entirely in keeping with the Neapolitan Keyboard tradition of the 18th century which was cultivated in France in Rossini?s day. It forms a distinct contrast to the style of large-scale sacred compositionsas written by for example Liszt and Bruckner. Rossini explained that he wrote the later Orchestral version of the work dating from 1867 out of concern that if he did not do this other composers might orchestrate the mass too heavily in later arrangements.The Piano reduction by Andreas Köhs is extremely idiomatic and largely preserves the charming character of the unusual instrumentation.- Based on the Urtext of the series ?Works of Gioachino Rossini?.- Foreword in two languages (Eng/Ger).- With a separate Harmonium part and one part for Pianos I and II.
23.50 GBP - Sold by Musicroom UK
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Gioachino Rossini: Petite Messe Solennelle: Mixed Choir: Vocal Score
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
Barenreiter
The ?Petite Messe Solennelle? is the finest work of Rossini?s late years. He com...
(+)
The ?Petite Messe Solennelle? is the finest work of Rossini?s late years. He composed it between 1863 and 1864 at the age of 71 as a commission for Countess Louise Pillet-Will for the consecration of her private chapel where the work received its first performance in March 1864. Together with the ?Stabat mater? the mass is one of the composer?s most important sacred works.The unusual instrumentation with two Pianos and Harmonium is entirely in keeping with the Neapolitan Keyboard tradition of the 18th century which was cultivated in France in Rossini?s day. It forms a distinct contrast to the style of large-scale sacred compositionsas written by for example Liszt and Bruckner. Rossini explained that he wrote the later Orchestral version of the work dating from 1867 out of concern that if he did not do this other composers might orchestrate the mass too heavily in later arrangements.The Piano reduction by Andreas Köhs is extremely idiomatic and largely preserves the charming character of the unusual instrumentation.- Based on the Urtext of the series ?Works of Gioachino Rossini?.- Foreword in two languages (Eng/Ger).- With a separate Harmonium part and one part for Pianos I and II.
16.50 GBP - Sold by Musicroom UK
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Motetten (Nr. 1-4 Übersetzungen Der Graduale 1-4)
Choeur SATB a Cappella
[Sheet music]
Lienau
Nr. 1-4 Übersetzungen der Graduale 1-4. Par BRUCKNER ANTON. Nr. 1 : Christus Am...
(+)
Nr. 1-4 Übersetzungen der Graduale 1-4. Par BRUCKNER ANTON. Nr. 1 : Christus Am Kreuz/ Répertoire / Choeur SATB a Cappella
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James MacMillan: Gloria: Mixed Choir: Vocal Score
[Vocal Score]
Boosey and Hawkes
performance material available on hire-This is a festive setting and will make a...
(+)
performance material available on hire-This is a festive setting and will make a welcome alternative to John Rutter’s ubiquitous setting for similar forces (Brass and Organ). MacMillan has as always been very practical in making a setting which is an impressive aural experience but which is manageable by competent forces.Instrumentalists have to be agile but the choirs are given music to sing which will be well within the range of most ambitious groups. There are some extended unaccompanied passages which need to be kept in tune to avoid embarrassment (à la Bruckner E minor Mass) particularly the ‘Qui sedes’ section. The most difficult moment is likely to be finding thecluster chord which is used for ‘garbled recitation’ of the ‘quoniam’ text just before the end. An exciting and effective new concert work which should be quickly picked up by many choirs.
12.99 GBP - Sold by Musicroom UK
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Motetten (Nr. 1-4 Übersetzungen Der Graduale 1-4)
Choeur SATB a Cappella
[Sheet music]
Lienau
Nr. 1-4 Übersetzungen der Graduale 1-4. Par BRUCKNER ANTON. Nr. 5 : Anbetung/ R...
(+)
Nr. 1-4 Übersetzungen der Graduale 1-4. Par BRUCKNER ANTON. Nr. 5 : Anbetung/ Répertoire / Choeur SATB a Cappella
3.88 EUR - Sold by LMI-partitions
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Gioachino Rossini: Petite Messe solennelle: Mixed Choir: Part
Soli, Mixted choir and accompaniment
Barenreiter
The ?Petite Messe Solennelle? is the finest work of Rossini?s late years. He com...
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The ?Petite Messe Solennelle? is the finest work of Rossini?s late years. He composed it between 1863 and 1864 at the age of 71 as a commission for Countess Louise Pillet-Will for the consecration of her private chapel where the work received its first performance in March 1864. Together with the ?Stabat mater? the mass is one of the composer?s most important sacred works.The unusual instrumentation with two Pianos and Harmonium is entirely in keeping with the Neapolitan Keyboard tradition of the 18th century which was cultivated in France in Rossini?s day. It forms a distinct contrast to the style of large-scale sacred compositionsas written by for example Liszt and Bruckner. Rossini explained that he wrote the later Orchestral version of the work dating from 1867 out of concern that if he did not do this other composers might orchestrate the mass too heavily in later arrangements.The Piano reduction by Andreas Köhs is extremely idiomatic and largely preserves the charming character of the unusual instrumentation.- Based on the Urtext of the series ?Works of Gioachino Rossini?.- Foreword in two languages (Eng/Ger).- With a separate Harmonium part and one part for Pianos I and II.
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Sing Choirs! Anthems Psalms And Hymns For Choirs: SATB: Vocal Score
Choral SATB
SATB, Organ
[Vocal Score]
Novello & Co Ltd.
Psalms And Hymns For Choirs-Sing Choirs! is a library in miniature. It contains...
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Psalms And Hymns For Choirs-Sing Choirs! is a library in miniature. It contains many of the Christian church’s popular traditional anthems including at least one example that will be suitable for each of the major services of the year.A number of Anglican chants (Psalms Magnificat and Nunc Dimittis) are included set out in a way that should enable those who are unfamiliar with the style to perform them easily. The selection of movements from the Mass can be used to enrich the music of the liturgy in services.Many of the works in Sing Choirs! are presented in their original form such as Bruckner’s Locus Iste and Mozart’s LaudateDominum. Others are arrangements adaptations or longer pieces abridged to bring them into the scope of a useable anthem including choral arrangements of Handel’s Largo the Ave Marias by Schubert and by Bach and Gounod and Franck’s Panis Angelicus amongst many others.This collection has practicability as a priority. The Organ parts can be played on either the Piano or the Keyboard.Much of the music in Sing Choirs! will be suitable for special occasions making this an indispensable volume for choirs singing at weekly church services weddings funerals and in the concert hall.
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Matthew Martin: O Rex Gentium: Mixed Choir: Vocal Score
Voix Mixtes
[Sheet music]
Faber Music Limited
O Rex Gentium sets the Magnificat antiphon for December 22 - one of the great '...
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O Rex Gentium sets the Magnificat antiphon for December 22 - one of the great 'O' antiphons traditionally sung at Vespers in the week before Christmas. These texts are all invocations of the coming of Christ each one offering praise to him using titles taken from the prophet Isaiah.This piece was commissioned in 2011 to form part of a complete set of the seven O Antiphons for the Merton College Choirbook. It is conceived in grand and declamatory style owing a respectful debt to the great motets of Bruckner. Formed in A-B-A structure it uses block harmony in the outer sections for impact whilst the central part employssome more reflective and linear writing. A brief coda suggests an atmosphere of wonder and mystery at the prospect of Christ's birth.
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Abbie Betinis: Dormi Jesu: SATB: Vocal Score
Choral SATB
[Vocal Score]
Schirmer
Dale Warland Choral Series-With homage to Bruckner and Messiaen the gentle phra...
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Dale Warland Choral Series-With homage to Bruckner and Messiaen the gentle phrases and rich harmonies of this contemporary Latin setting will resonate throughout your performance space. 'Sleep Jesus. Thy mother smiles when she sees such gentle slumber.Sleep Jesus gently.' Duration: ca. 4:40.
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Petite Messe Solennelle
Choral SATB
Barenreiter
The 'Petite Messe solennelle? is the finest work of Rossini's late years. He com...
(+)
The 'Petite Messe solennelle? is the finest work of Rossini's late years. He composed it between 1863 and 1864 at the age of 71 as a commission for Countess Louise Pillet -Will for the consecration of her private chapel, where the work received its first performance in March 1864. Together with the 'Stabat mater?, the mass is one of the composer's mostimportant sacred works.The unusual instrumentation with two pianos and harmonium is entirely in keeping with the Neapolitan keyboard tradition of the 18th century which was cultivated in France in Rossini's day. It forms a distinct contrast to the style of large-scale sacred compositions as written by, for example, Liszt and Bruckner. Rossini explained that he wrote the later orchestral version of the work dating from 1867 out of concern that if he did not do this, other composers might orchestrate the mass too heavily in later arrangements.- Choral score based on the Urtext of the series 'Works of Gioachino Rossini?- Supplements the already existing material available to this work / Choeur Mixte (SATB)
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Music For The Spirit
Choral SATB
SATB, Organ
Breitkopf & Härtel
Par . Until now, anyone looking for music on the theme of Pentecost and the Holy...
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Par . Until now, anyone looking for music on the theme of Pentecost and the Holy Spirit for church services and concerts usually had to do so in larger collections that cover the entire church year or parts of it. With Music for the Spirit, there is now a choirbook specifically for the feast of Pentecost for the first time, closing a gap for an important feast of the Catholic, Protestant, and Anglican churches. Over 500 years of choral music from Renaissance to the modern age are covered here with compositions from the German-, English-, Italian- and French-speaking regions. Almost all the great composers of European sacred music are represented, from Palestrina over Byrd, Bach, Mozart, Brahms, Gounod, and Bruckner to Reger, Parry, Stanford, and Distler. With the chronological order, the development of the genre of the Pentecost motet and sacred choral music in general can be traced easily. All pieces can be performed by mixed choir a cappella or with organ accompaniment. In some cases, the accompaniment has been supplemented or arranged by the editor Stephen Harrap, in individual cases also the choral parts, e.g. when the original was composed for male voices only. The scoring ranges from three to eight voices while the length and difficulty of the pieces likewise cover a broad range for a wide variety of choirs and ensembles. / Date parution : 2023-10-31/ Répertoire / Choeur Mixte et Orgue
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The Oratorio Anthology - Tenor
Tenor voice, Piano
[Sheet music]
-
Intermediate
Hal Leonard
Description The Oratorio Anthology - Tenor Newly edited and engraved arias, c...
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Description The Oratorio Anthology - Tenor Newly edited and engraved arias, compiled by Richard Walters. Songlist Ach, Mein Sinn (St. John Passion) [Bach, Johann Sebastian] Behold And See If There Be Any Sorrow (Messiah) [Handel, George Frideric] Benedictus (Mass In B Minor) [Bach, Johann Sebastian] Comfort Ye, My People (Messiah) [Handel, George Frideric] Cujus Animam (Stabat Mater) [Rossini, Gioacchino] Deposuit Potentes (Magnificat) [Bach, Johann Sebastian] Domine Deus (Messe Solennelle) [Rossini, Gioacchino] Domine, Ego Credidi (Oratorio De Noel) [Saint-Saens, Camille] Fac Me Cruce Custodiri (Stabat Mater) [Haydn, Franz Joseph] Frohe Hirten, Eilt, Ach Eilet (Christmas Oratorio) [Bach, Johann Sebastian] Geduld, Geduld (St. Matthew Passion) [Bach, Johann Sebastian] Gentle Airs, Melodious Strains (Athalia) [Handel, George Frideric] Gratias Agimus Tibi (Messa Di Gloria) [Puccini, Giacomo] Hier Steht Der Wand'rer Nun (Die Jahreszeiten) [Haydn, Franz Joseph] If With All Your Hearts (Elijah) [Mendelssohn, Felix] Ingemisco (Messa Di Requiem) [Verdi, Giuseppe] Meine Seele Ist Erschuttert (Christ On The Mount Of Olives) [Beethoven, Ludwig Van] Mit Wurd' Und Hoheit Angetan (Die Schopfung) [Haydn, Franz Joseph] Peccator Videbit (Beatus Vir) [Vivaldi, Antonio] Quia Fecit Mihi Magna (Magnificat) [Bach, Carl Philipp Emanuel] Sanctus (St Cecilia Mass) [Gounod, Charles] Sei Getreu Bis In Den Tod (St. Paul) [Mendelssohn, Felix] Sound An Alarm! (Judas Maccabaeus) [Handel, George Frideric] Strikke Des Todes (Lobgesang) [Mendelssohn, Felix] Te Argo Quaesumus (Te Deum Laudamus) [Bruckner, Anton] The Enemy Said (Israel In Egypt) [Handel, George Frideric] Then Shall The Righteous Truth (Elijah) [Mendelssohn, Felix] Thou Shalt Break Them (Messiah) [Handel, George Frideric] Total Eclipse (Samson) [Handel, George Frideric] Waft Her, Angels (Jephtha) [Handel, George Frideric]
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Missa Sacra Op. 147 (SCHUMANN ROBERT)
Choeur et Orchestre
Eulenburg
Par SCHUMANN ROBERT. Celui qui a tenté de composer un Latin masse dans le milie...
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Par SCHUMANN ROBERT. Celui qui a tenté de composer un Latin masse dans le milieu du XIXe siècle avait rivaliser avec les grands modèles et techniques de composition traditionnelle. La messe en si mineur Bach et la Missa solemnis de Beethoven, mais même sa antérieure Messe en ut majeur (interprétée par Schumann) est parmi les oeuvres clés d'une grande tradition de masse à la réception du romantisme élevé. Pas à la différence de Schubert et plus tard Bruckner avant, Messe de Schumann en ut mineur trop est lié par la tradition, mais trouve sa formulation très propre de la ' Ordinarium Missae ', les traits caractéristiques qui pointent vers le style fin du compositeur./ Répertoire / Choeur et Orchestre
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Panorama, Particolari E Licenza (PESSON GERARD)
Français
Alto, Voix d'Alto et Ensemble
[Sheet music]
Lemoine, Henry
Par PESSON GERARD. Berlioz n'a pas aimé Rome, ni la villa Médicis, où il éta...
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Par PESSON GERARD. Berlioz n'a pas aimé Rome, ni la villa Médicis, où il était parti à contre-coeur. Il trouvait la ville étouffante et provinciale, la Villa étriquée académique et trop seigneuriale. Il est donc allé chercher ailleurs ce qu'il a appelé son 'Italie sauvage', une Italie de ciels, de vents, de pluies, de ruines ensauvagées, de montagnes, de bourgades à flanc de roches. En romantique qui vit des éléments, il n'emportait dans ses nombreuses virées à Tivoli, Subiaco ou aux Castelli Romani, qu'un carnet, un fusil et sa guitare, dormant parfois à la belle étoile, cherchant parfois la compagnie des petites gens, se faisant l'ami de quelques bandits au grand coeur, mais plus souvent épris de solitude. Il y a eu effet-retard de l'Italie dans l'oeuvre de Berlioz. Le temps de développer, par une archéologie rétrospective, les impressions assimilées, et, pour une grande part, de réinventer un pays, certes vécu mais tout autant fantasmé. Ce pays-là, qui n'est donc d'aucun pays, deviendra la dorsale de beaucoup de ses oeuvres: Benvenuto Cellini, Béatrice et Bénédict, Roméo et Juliette, Carnaval Romain etc., et surtout Harold en Italie. Harold reprend la manière autobiographique qui faisait, entre autres, l'originalité de la Symphonie Fantastique. Utilisant le héros byronien, Childe Harold, Berlioz livre en musique un scénario qui commande le cadrage panoramique. On peut parler d'une réappropriation par un héros prête-nom de ses propres sensations relevées sur le motif (processus du plein air à l'atelier qu'effectuaient aussi les peintres, ses collègues de séjour en Italie). C'est cette dualité paysage réel/paysage rêvé que veut traiter la partition Panorama, particolari e licenza ('Panorama, détails et licence') écrite à la demande de Christophe Desjardins. De la même manière que j'ai utilisé parfois des musiques préexistantes pour chercher ma propre musique (Nebenstück/Brahms/filtrage, Wunderblock/Bruckner/effacement), j'ai voulu ici détailler la notion de champ que Berlioz manie de façon véritablement pré-cinématographique. Ce qui se rapproche de nous (un détail infime perdu dans le tutti), ce qui s'en éloigne, ce qui nous parvient encore - un travelling qui devient arrêt sur image, un cadrage resserré, le fondu de deux perspectives. Panorama, particolari e licenza est, en ce sens, une sorte de making of , comme on dit aujourd'hui, de ce modèle génial, partition hirsute, fruste, mais tout à la fois riche, hautement inspirée. Harold en Italie traduit cette sauvagerie que Berlioz voulait rendre en musique, combinat de sensations, de révolte et d'exaltation: un son capté puis stylisé, avec effets de réel devenant sous sa plume des trouvailles, de véritables effets spéciaux dont peu de musiciens avant lui avaient eu l'intuition. A la demande de David Jisse et de la Muse en circuit, j'ai ajouté une partie électronique qui a été conçue par Laurent Sellier. Cette partie, essentielle, est une manière de réaliser concrètement ce qui est en filigrane dans Harold, la transmutation de toute expérience éprouvée en un véritable clavier de sensations. Le percussionniste de Panorama, particolari e licenza est une sorte d'accessoiriste bruiteur. Il reformule concrètement le réel purement rêvé, mais d'une manière que j'ai voulue parfois dérisoire et délibérément 'bricolée', comme un travail magique qui puisse donner sens à cette vérité véhémente, incessamment recyclée, qui faisait tout l'art de Berlioz. La question du soliste est importante dans Panorama, particolari e licenza. Il est tout à la fois le point de vue, la subjection, celui qui dit je, comme il est aussi le sujet de l'autofiction. Tout en étant central, il est égaré, parfois noyé dans le méta-instrument du récit. Au moins c'est ainsi que je l'ai traité, car il maille les instruments ensemble, prenant toutes les bribes du discours, abdiquant souvent ce qu'il y a de performatif dans la place du soliste romantique. Il est ici doublé par une voix d'alto de manière à rendre ce fading du sujet, ainsi que cette prise de parole par le texte poétique toujours central dans l'oeuvre de Berlioz. J'ai expliqué les deux premiers mots du titre. Le dernier renvoie aux licences que je prends par rapport au modèle, mais aussi à cette forme musicale du XVIIIe - La Licenza - qui était une manière d'hommage à un personnage d'influence. Con licenza était aussi une façon d'indiquer une liberté dans l'interprétation (c'est bien ici le sujet: la transcription est un écart), le tempo ou dans l'ornementation. Con alcune licenze écrit Beethoven au début de la fugue de l'opus 106. Panorama, particolari e licenza suit assez fidèlement, quant au déroulement du moins, trois mouvements d'Harold en Italie. I - Aux montagnes: On y entend des bruits de vent, de ruisseaux, des sons de guitare et de harpe de voyage. Des bribes non linéaires du Childe Harold de Byron. II - Marche (moissonneurs et angélus): Il s'agit de pèlerins dans l'original. Toutefois, Berlioz a été précis sur le souvenir qui a déclenché ce tableau dans sa musique. Ce sont des moissonneurs qui rentrent le soir au village en chantant une prière. J'ai choisi ici l'angélus, qui est devenu une véritable icône dans la peinture de ce siècle-là. On y entend donc des fragments chantés en latin. Le percussionniste joue de la faux. Car la mort n'est jamais loin dans l'imaginaire byronien et non moins berliozien. C'est aussi une référence à d'autres 'scènes aux champs' passées dans l'imaginaire collectif. Je ne peux cacher que moissonneur m'a soufflé aussi moins sonneur. III - Sérénade (une chanson des Abruzzes): C'est le mouvement le plus 'stylisé'. On y entend une véritable chanson en dialecte des Abruzzes où est évoqué la fameuse lontananza: à la fois espace résonnant d'une montagne à l'autre, mais aussi éloignement, séparation de deux amants. C'est un chant sur la construction du futur et la désillusion amoureuse que Berlioz a pu entendre et dont il a pu méditer le poème, bien qu'il ne s'en soit pas musicalement inspiré. Mais l'esprit, qui combine la mélancolie, un rien de malice, d'inquiétude et de doute tout berlioziens, est gardé dans ce mouvement, jusque dans les paroles de la chanson: O hirondelle qui vole sur Potenza Salue-le pour moi, c'est mon espoir Demande-lui ce qu'il fait, ce qu'il pense, Comme il supporte la lontananza Demande-lui ce qu'il fait, ce qu'il veut Et comme il supporte la séparation. Gérard Pesson, septembre 2006 / contemporain / Répertoire / Alto, Voix d'Alto et Ensemble
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Gioachino Rossini: Petite Messe Solennelle: Mixed Choir: Score
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
[Sheet music]
Barenreiter
The ?Petite Messe Solennelle? is the finest work of Rossini?s late years. He com...
(+)
The ?Petite Messe Solennelle? is the finest work of Rossini?s late years. He composed it between 1863 and 1864 at the age of 71 as a commission for Countess Louise Pillet-Will for the consecration of her private chapel where the work received its first performance in March 1864. Together with the ?Stabat mater? the mass is one of the composer?s most important sacred works.The unusual instrumentation with two Pianos and Harmonium is entirely in keeping with the Neapolitan Keyboard tradition of the 18th century which was cultivated in France in Rossini?s day. It forms a distinct contrast to the style of large-scale sacred compositionsas written by for example Liszt and Bruckner. Rossini explained that he wrote the later Orchestral version of the work dating from 1867 out of concern that if he did not do this other composers might orchestrate the mass too heavily in later arrangements.The Piano reduction by Andreas Köhs is extremely idiomatic and largely preserves the charming character of the unusual instrumentation.- Based on the Urtext of the series ?Works of Gioachino Rossini?.- Foreword in two languages (Eng/Ger).- With a separate Harmonium part and one part for Pianos I and II.
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Motetten (Nr. 1-4 Übersetzungen Der Graduale 1-4)
Choeur SATB a Cappella
[Sheet music]
Lienau
Nr. 1-4 Übersetzungen der Graduale 1-4. Par BRUCKNER ANTON. Nr. 3 : Wer Gott Li...
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Nr. 1-4 Übersetzungen der Graduale 1-4. Par BRUCKNER ANTON. Nr. 3 : Wer Gott Liebt/ Répertoire / Choeur SATB a Cappella
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German Romantic Motets - Brahms To Mendelssohn: SATB: Vocal Score
Choral SATB
SATB
[Vocal Score]
-
Intermediate/advanced
Novello & Co Ltd.
A superb collection of sixteen works by the greatest nineteenth-century German a...
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A superb collection of sixteen works by the greatest nineteenth-century German and Austrian composers for choir compiled and edited by Ralph Allwood. This volume includes works by Johannes Brahms Anton Bruckner Peter Cornelius and Mendelssohn.
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Motetten (Nr. 1-4 Übersetzungen Der Graduale 1-4)
Choeur SATB a Cappella
[Sheet music]
Lienau
Nr. 1-4 Übersetzungen der Graduale 1-4. Par BRUCKNER ANTON. Nr. 2 : Weihe, Tret...
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Nr. 1-4 Übersetzungen der Graduale 1-4. Par BRUCKNER ANTON. Nr. 2 : Weihe, Tretet Näher/ Répertoire / Choeur SATB a Cappella
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Latin Motets Book 1
Divers
Kevin Mayhew
/ Choeur Mixte
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Anthems Old And New Vol.1
Choral
Kevin Mayhew
/ Choeur Mixte
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Essential Choral Collection Book 1
Choral
Kevin Mayhew
/ Choeur Mixte
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Anthems Old And New Vol.1
Choral SATB
Kevin Mayhew
/ Choeur Mixte (SATB)
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Ave Maria
Choral TTBB
Barenreiter
/ Choeur D'Hommes (TTBB)
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Am Grabe
Choral TTBB
Schott
/ Choeur D'Hommes (TTBB)
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Europa Cantat 4
Choral SATB
SATB A Cappella
Moseler Verlag
/ Choeur Mixte A Cappella
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