Magnificat: Vocal Score Free
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The Cambridge Singers Christmas Album directed by JOHN RUTTER AROLS AND CHRISTMAS MUSIC have always formed a part of the CCambridge Singers’ recorded repertoire, and this album picks out some of my The Cambridge Singers personal favourites. Most of the 23 items are taken from the two albums Christmas with the Cambridge Singers and Christmas Day in the Morning, and there are four previously unreleased tracks which were squeezed out of those two albums and which I am happy Christmas Album to have found space for here. There are three strands to the programme: traditional carols; choruses and motets; and composers’ carols. In fact these categories are not as separate as they might appear. Composers have always loved to take traditional melodies and incorporate them into their own compositions, sometimes considerably elaborating them in the process: think of all those L’homme armé masses or of Bach’s chorale treatments. The art of the arranger, widely thought of as a twentieth-century invention, is as old as composition itself. When we listen to a ‘traditional’ carol sung by a choir, we are in fact generally hear- ing the work of an identifiable composer who has arranged, in his own style, a melody by an unidentifiable or obscure composer from an earlier era. The earliest examples on this album are Victoria’s O magnum mysterium (1572), a four-voiced motet where the melodic outlines are based on a Gregorian chant, and Scheidt’s In dulci jubilo (1620), which takes one of the best-loved of all Christmas carols and turns it into a resplendent double-choir motet with two antiphonal trumpet parts. -
Magnificat in D Major, BWV
Johann Sebastian Bach Magnificat in D Major, BWV 243 Magnificat Quia respexit Quia fecit mihi magna Et misericordia eius Fecit potentiam Deposuit potentes Suscepit Israel Gloria patri Sicut erat in principio *** Chorus: S-S-A-T-B Soloists: Soprano 1, soprano 2, alto, tenor, bass Orchestra: 2 flutes, 2 oboes, 2 oboes d'amore, 3 trumpets, timpani, strings, continuo ************************* Program notes by Martin Pearlman Bach, Magnificat, BWV 243 In 1723, for his first Christmas as cantor of the St. Thomas Church in Leipzig, Bach presented a newly composed setting of the Magnificat. It was a grand, celebratory work with a five-voice chorus and a colorful variety of instruments, and Bach expanded the Magnificat text itself by interpolating settings of several traditional Christmas songs between movements. This was the original Eb-major version of his Magnificat, and it was Bach's largest such work up to that point. About a decade later, he reworked the piece, lowering the key from Eb to the more conventional trumpet key of D major, altering some of the orchestration, and, perhaps most importantly, removing the Christmas inserts, so that the work could be performed at a variety of festivals during the liturgical year. It is this later D major version of the Magnificat that is normally heard today. Despite its brilliance and grandeur, Bach's Magnificat is a relatively short work. Nonetheless, it is filled with countless fascinating details. The tenor opens his aria Deposuit with a violent descending F# minor scale to depict the text "He hath put down [the mighty]". At the end of the alto aria Esurientes, Bach illustrates the words "He hath sent the rich away empty" by having the solo flutes omit their final note. -
A Meditative and Musical Guide to by John Rutter
A Meditative and Musical Guide to Magnificat by John Rutter The Magnificat, the outpouring of spirit that Mary proclaimed when she visited her cousin Elizabeth and shared her news of the miraculous birth of the Messiah, is the quintessential liturgical text for the Advent Season. Mary’s words, patterned closely from those of Hannah as she gave thanks for the birth of her son Samuel (Samuel 2:1-10) and a close parallel to Psalm 113, are at once a joyous outburst of praise and thanksgiving, an expression of humility, a recognition of the glory of God and his mercy for humankind, a strong statement of God’s love for the humble and poor, and news of the fulfillment of God’s promise of a savior. John Rutter characterizes the text as “a canticle of praise, trust, and joy.” Movement 1 – Mary Sings Praises to God (Luke 1:46-48) Magnificat anima mea Dominum: My soul doth magnify the Lord: et exsultavit spiritus meus in Deo salutari meo. and my spirit hath rejoiced in God my Saviour. Quia respexit humilitatem ancillae suae: For he hath regarded the lowliness of his hand-maiden: ecce enim ex hoc beatam me dicent omnes for behold, from henceforth all generations shall call me generationis. blessed. The first movement is divided into 2 large sections that express contrasting perspectives of Mary’s joy. Rutter looked to the strong musical heritages of Spain and Mexico to derive the rhythmic motors for this joy. The first section begins with an orchestral fanfare that sets the stage for the clearly joyful, festive text of the first part of Mary’s Song. -
Vespers 2020 Music Guide
MILLIKIN UNIVERSITY® 2 0 2 0 ALL IS BRIGHT MUSIC GUIDE VESPERS MEANS ‘EVENING’ AND IS ONE OF THE SEVEN CANONICAL HOURS OF PRAYER. MILLIKIN UNIVERSITY | SCHOOL OF MUSIC BELL CAROL (2017 All Choirs) William Mathias “AlltheBellsonEarthShallRing”wastheVespersthemeinMathias’compositionwastheperfect openingTheprocessionendeavorstorevealtoaudiencemembersthatbellsaregiftssounds(musicifyou will)oeredtothemangerIndeedtheremainderoftheprogramdisplayedbellsinbothcelebratoryand reflectivemomentsThepiecewascomposedforSirDavidWillcocksthechoirmasterwhobroughtsomuch attentiontotheLessonsandCarolsofKing’sCollegeCambridge ALLELUIA(2018 University Choir) Fredrik Sixten “SingAlleluia”wasthethemeofVespersinandSixten’sreflectivesettingcameearlyintheprogram givingthiswordusuallyconsideredfestiveinmoodasenseofadventhope LAUDATE DOMINUM (2015 Millikin Women) Gyöngyösi Levente LaudateDominumhasservedmanycomposersinincludingMozartwhouseditinhiswellknownSolemn VespersContemporaryHungariancomposerGyöngyösicombinesanincessantmantraonasinglenotewith complexrhythmsforthissettingofPs(“OPraisetheLordallyenations”)Harmonicdensityincreasesand joinstherhythmicdrivetothefinalAlleluiawheretheadditionofatambourineaddsafinalcelebratorynote MAGNIFICAT(2017 Collegiate Chorale) Bryan Kelly EvensongtheAnglicanversionofVespersalwaysincludesasettingoftheMagnificatEventhough thisiscomposedforEnglishearsBryanKelly’senthusiasmforLatinAmericanmusicisclearlyevident inthissettingfromthes GLORIA PATRIMAGNIFICAT (2019 All Choirs) John Rutter ThefinalmovementofRutter’sMagnificatgathersmanyofthework’sthemesintoatriumphantfinale -
Grand Music Gracious Word
Grand Music Gracious Word JULY 2012 / YEAR B Sing For Joy® is a production of St. Olaf College. by Pastor Bruce Benson, host f you look up the etymology the turns and tumbles of human society, and we of the English word chorus can all name at least a hundred reasons not to be Ior choir, you will be in- joyful. But I think it is safe to say that as long formed that it comes from the Latin chorus which as the Biblical message of grace, love, dignity, comes from the older Greek word χορός or χῶρος forgiveness is proclaimed among people there will (choros.) The Greek word originally applied to be joy, and where there is joy (if Plato is right!) a circle dance or singing dance in a circle. That there will very likely be choruses. Therefore, at makes sense. Even for a choir of singers who have least in the church, option 1) above seems far been instructed (as I was as a youth,) “Don’t move more likely. anything except your mouth!” the act of sing- ing together is really a kind of dance. The voices This is not to say that we can simply take the must learn to dance with each other. No stepping future of the church choir for granted; we cannot. on anyone else’s musical toes; let your movements But it is to say that every assembly of people complement each other. gathered around the Gospel will feel a tug not just to listen to a chorus but to be a chorus. -
Magnificat JS Bach
Whitehall Choir London Baroque Sinfonia Magnificat JS Bach Conductor Paul Spicer SOPRANO Alice Privett MEZZO-SOPRANO Olivia Warburton TENOR Bradley Smith BASS Sam Queen 24 November 2014, 7. 30pm St John’s Smith Square, London SW1P 3HA In accordance with the requirements of Westminster City Council persons shall not be permitted to sit or stand in any gangway. The taking of photographs and use of recording equipment is strictly forbidden without formal consent from St John’s. Smoking is not permitted anywhere in St John’s. Refreshments are permitted only in the restaurant in the Crypt. Please ensure that all digital watch alarms, pagers and mobile phones are switched off. During the interval and after the concert the restaurant is open for licensed refreshments. Box Office Tel: 020 7222 1061 www.sjss.org.uk/ St John’s Smith Square Charitable Trust, registered charity no: 1045390. Registered in England. Company no: 3028678. ACKNOWLEDGEMENTS The Choir is very grateful for the support it continues to receive from the Department for Business, Innovation and Skills (BIS). The Choir would like to thank Philip Pratley, the Concert Manager, and all tonight’s volunteer helpers. We are grateful to Hertfordshire Libraries’ Performing Arts service for the supply of hire music used in this concert. The image on the front of the programme is from a photograph taken by choir member Ruth Eastman of the Madonna fresco in the Papal Palace in Avignon. WHITEHALL CHOIR - FORTHCOMING EVENTS (For further details visit www.whitehallchoir.org.uk.) Tuesday, 16 -
Magnificat Trombone Duet Sheet Music
Magnificat Trombone Duet Sheet Music Download magnificat trombone duet sheet music pdf now available in our library. We give you 6 pages partial preview of magnificat trombone duet sheet music that you can try for free. This music notes has been read 2498 times and last read at 2021-10-01 11:00:12. In order to continue read the entire sheet music of magnificat trombone duet you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Trombone, Piano Accompaniment Ensemble: Brass Duet, Trombone Duet Level: Early Intermediate [ READ SHEET MUSIC ] Other Sheet Music Magnificat Fugue No 11 For Trombone Or Low Brass Quartet Magnificat Fugue No 11 For Trombone Or Low Brass Quartet sheet music has been read 3158 times. Magnificat fugue no 11 for trombone or low brass quartet arrangement is for Advanced level. The music notes has 3 preview and last read at 2021-09-29 05:03:30. [ Read More ] Magnificat Fugue No 7 For Trombone Or Low Brass Quartet Magnificat Fugue No 7 For Trombone Or Low Brass Quartet sheet music has been read 3004 times. Magnificat fugue no 7 for trombone or low brass quartet arrangement is for Intermediate level. The music notes has 3 preview and last read at 2021-10-01 00:05:11. [ Read More ] Magnificat Fugue No 18 For Trombone Or Low Brass Quartet Magnificat Fugue No 18 For Trombone Or Low Brass Quartet sheet music has been read 2905 times. Magnificat fugue no 18 for trombone or low brass quartet arrangement is for Intermediate level. -
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ASS of the M HILDREN Cand other sacred music by JOHN RUTTER 2 3 institution of special significance to me. I will sing with the spirit (1994) is dedicated to MASS of the CHILDREN and other sacred music another institution, the Royal School of Church Music, who requested a simple anthem to serve as a theme song for their anniversary appeal. Mass of the Children was written in late 2002 and early 2003. The occasion of its first The final three pieces on the album form a group insofar as they are all for choir without performance in February 2003 was a concert in New York’s Carnegie Hall involving orchestra and on a more demanding level chorally. Musica Dei donum (1998), which has children’s choir, adult choir, soprano and baritone soloists, and orchestra. I had always wanted an important part for solo flute, is a setting of an anonymous text first set by Lassus in 1594 to write a work combining children’s choir with adult performers, not only because I find the that speaks of the power of music to draw, to soothe, and to uplift. Originally written for the sound of children’s voices irresistible but also because I wanted to repay a debt. As a boy choir of Clare College, this piece was subsequently included in A Garland for Linda, a cycle of soprano in my school choir I had been thrilled whenever our choir took part in adult works nine choral pieces by different composers in memory of Linda McCartney. I my Best- with children’s choir parts, such as the Mahler Third Symphony and the Britten War Requiem, Beloved’s am (2000) was written for the BBC Singers and first performed by them at a con- and years later I remembered this experience and wanted to write something that would give cert in Canterbury Cathedral on the theme of the seven sacraments. -
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John Rutter writes . impressed by the ease with which we came together musically, and by coincidence I was shortly afterwards asked by a US-based record company to make an album of my church music with hen I formed the Cambridge Singers in the early 1980s as a professional mixed the Gloria as the centrepiece, so the group was assembled once again to make the recording. chamber choir with recording rather than public performance as its principal focus, The Gloria album, released in 1984, marked the recording début of the Cambridge Singers. Wthe idea was a new one, and I never dreamed that we would still be recording – albeit Its unexpected success encouraged us to continue, and the Fauré Requiem, in its hitherto with changing though still Cambridge-leaning membership – thirty years later. little-known chamber version which I had edited from the composer’s manuscript, soon The seeds of the idea were sown during my days in the late 1970s as Director of Music at followed; it won a Gramophone magazine award. Through no one’s fault, there were constraints Clare College, Cambridge. It was an exciting period of change in the choral life of Cambridge and obstacles with both the labels to which these two recordings were contracted, and it seemed University: in 1972 three of our 25 or so men’s colleges, including Clare, began to admit women like the right moment to start a new record label as a permanent home for me and the students for the first time in the university’s 750-year history. -
Doctoral Dissertation Template
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE A PEDAGOGICAL APPROACH TO LEO CORNELIUS NESTOR’S MAGNIFICAT A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By OLIVIA CLAIRE BUTHOD Norman, Oklahoma 2015 A PEDAGOGICAL APPROACH TO LEO CORNELIUS NESTOR’S MAGNIFICAT A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Richard Zielinski, Chair ______________________________ Dr. John Schwandt ______________________________ Dr. Eugene Enrico ______________________________ Dr. Karl Sievers ______________________________ Dr. Tyrrell Conway © Copyright by OLIVIA CLAIRE BUTHOD 2015 All Rights Reserved. This document is dedicated to my late grandparents, Jack and Rosaleen Buthod. Acknowledgements Many thanks to those who have helped me with research and writing: Dr. Richard Zielinski and my committee members, who helped guide me through the entire process. Dr. Diane Burton, who helped me edit and polish this document. Dr. Leo Nestor, who not only offered me valuable information but also strengthened my love of choral music. The Archdiocese of St. Louis, for providing me a DVD of the premiere of the Magnificat along with an outline of the Papal Vespers service. My family and friends, for their constant support and encouragement. iv Table of Contents Acknowledgments iv List of Tables vi List of Figures vii Abstract viii Chapter One: Introduction 1 Survey of Related Literature 3 Methodology 7 Chapter Two: Background History of the Magnificat 9 Tradition -
EMR 30837 Magnificat 5 Trombones
Magnificat inspired by Bach 4 Trombones Piano / Guitar, Bass Guitar, Drums, Percussion (optional) Jirka Kadlec EMR 30837 1. Trombone + + Alto Trombone 2. Trombone + 3. Trombone + 4. Bass Trombone + Partitur / Direction / Score Piano / Guitar (optional) Bass Guitar (optional) Drum Set (optional) Egg Shaker (optional) Print & Listen Drucken & Anhören Imprimer & Ecouter ≤ www.reift.ch Route du Golf 150 CH-3963 Crans-Montana (Switzerland) Tel. +41 (0) 27 483 12 00 Fax +41 (0) 27 483 42 43 E-Mail : [email protected] www.reift.ch Magnificat | Photocopying inspired by Bach Jirka Kadlec is illegal! q = 96 2 3 4 5 6 7 1. Trombone or Alto Trombone mp mp mf mf 2. Trombone mp mf 3. Trombone mp mf 4. Bass Trombone mp mf Piano / Guitar (optional) Bass Guitar 5 Strings (optional) Egg Shaker (optional) Drum Set (optional) 8 9 10A 11 12 13 14 rit. 1. cresc. f mf 2. cresc. poco f f mp 3. cresc. poco f f mp 4. cresc. poco f f mf mp F‹ C/G C7 C(“4)C F‹ Pno./ mp Gtr. B.Gtr. poco f f mf mp (2) (3) (4) E.S. mp H.H. (2) -
Choral Music
SHOWSTOPPERS INTERNATIONAL INVITATIONAL AT DISNEYLAND@ PARK Anaheim, CA / April 17-20, 1997 KEYNOTE CHORAL FESTIVAL SERIES NASHVILLE CHORAL FESTIVAL Nashville, TN / April 17-20, 1997 KEYNOTE CHORAL FESTIVAL SERIES MANHATTAN CHORAL FESTIVAL New York, NY / May 1-4, 1997 CHILDREN IN HARMONY CHORAL FESTIVAL Orlando, FL / May 22-25, 1997 !lew! CHILDREN'S CELEBRATION SHOWSTARTERS CHORAL FESTIVAL SHO\,T CHOIR WORKSHOPS Anaheim, CA / June 26-29, 1997 Coming to an area near you ... September - November 1996 CONCERT TOURS Domestic & International/Year Round CHILDREN'S HOLIDAY CHORAL FESTIVAL AMERICA SINGS! FESTIVALS Orlando, FL / December 5-8, 1996 Los Angeles, CA / March 21-22, 1997 Orlando, FL / April 4-5, 1997 MEN OF SONG SHOWCASE Pittsburgh, PA / April 25-26, 1997 AT WALT DISNEY \VORLD@ RESORT Chicago, IL / May 9-10, 1997 Lake Buena Vista, FL February 27 - March 2, 1997 MAGIC MUSIC DAYS AT WALT DISNEY WORLD RESORT@ SHOWSTOPPERS & DISNE\'LlLND@PARK INTERNATIONAL INVITATIONAL Lake Buena Vista, FL / Anaheim, CA AT WALT DISNEY WORLD@ RESORT Year Round Lake Buena Vista, FL / March 13 -16, 1997 SHOWSTOPPERS NATIONAL --f!W- SHOW CHOIR INVITATIONAL I-= -::. --::. Chicago, IL / March 20-23, 1997 KEYNOTE ARTS ASSOCL\TES KEYNOTE ARTS ASSOCIATES COLLEGIATE 1637 E. ROBINSON ST. SHOWCASE INVITATIONAL ORLANDO, FL 32803 AT \VJ-\LT DISNEY \"X"TORLD@ RESORT Lake Buena Vista, FL / April 10-13, 1997 T407-897-8181 F407-897-8184 TOLL FREE 800-522-2213 KEYNOTE CHORAL FESTIVAL SERIES EMAIL [email protected] CHICAGO CHORAL FESTIVAL Chicago, IL / April 10-13, 1997 Official Publication of the American Choral Directors Association Volume Thirty-seven Number One AUGUST 1996 CHORALJO John Silantien Barton L.Tyner Jr.