9781849386364 - benjamin britten: te deum in c - treble (soprano)/satb/organ chant: (1934) satb, vocal score de britten, benjamin (c (10 resultados)
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Paperback. Condición: new. Paperback. (Choral). for SATB/treble or soprano solo/organ or orchestra (harp or piano and strings) Text: Book of Common Prayer: liturgy of Morning Prayer Publisher: Chester Music Difficulty level: 3 Britten wrote few canticle settings, only two Te Deums, two settings of the Jubilate and a Venite which… was not published in his lifetime. He wrote no settings of the Evening Canticles for the Anglican rite. The settings we have are therefore all the more precious and, as always, show the originality of his creative mind. This Te Deum is, to my mind, the finest of these liturgical settings. It has drama, energy, variety, and clarity and integrity of structure. The opening page sets the scene and introduces the pedal syncopated ostinato which underpins the whole of the first section and the 'reprise' when it comes after the contrasting central section. The voices climb from the bass up to soprano in quietly urgent statements of 'We praise you' and build to a huge climax at 'Holy, Holy, Holy, Lord God of Sabaoth'. The central section is given to a treble or soprano soloist with the choir reinforcing his or her phrase ends with quietly urgent chords and the words 'O Christ!' Longer phrases develop and lead to the reintroduction of the pedal ostinato and the initial choral material. Another thrilling climax is reached before the beautiful quiet ending. Few cathedrals or churches sing the Office of Matins these days for which this canticle was intended and so its original liturgical setting is rarely possible nowadays. It is much more of use as an anthem or as a concert item and it is, of course, extremely effective in either role.The challenges in this work are as much for the conductor as the choir. The conductor needs to see the big picture, relate the first and last sections and prevent the central one from becoming sentimental or too slow. He/she needs to make sure that Britten's directions about tempi are fully understood, and which tempo he means when he directs Tempo I or II etc. For the choir, it is the ability to sing quietly with abundant energy, to have absolute clarity of diction, to note the details of articulation - the staccato marking, for instance, on the word 'Lord' in bar 54, and similar markings in the central section. This is an outstanding setting of these much-set words and it should be far more widely performed. Duration: 9 minutes Paul Spicer, Lichfield, 2011 Shipping may be from multiple locations in the US or from the UK, depending on stock availability.
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sheet_music. Condición: Very Good. Benjamin Britten Te Deum in C (Treble Solo/Satb/Organ) This book is in very good condition and will be shipped within 24 hours of ordering. The cover may have some limited signs of wear but the pages are clean, intact and the spine remains undamaged. This book has clearly been well maintained a…nd looked after thus far. Money back guarantee if you are not satisfied. See all our books here, order more than 1 book and get discounted shipping. .
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Condición: New. Brand New.
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Paperback. Condición: Brand New. 20 pages. 9.45x6.38x0.24 inches. In Stock.
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sheet_music. Condición: Very Good. Shipped within 24 hours from our UK warehouse. Clean, undamaged book with no damage to pages and minimal wear to the cover. Spine still tight, in very good condition. Remember if you are not happy, you are covered by our 100% money back guarantee.
Librería: Kennys Bookshop and Art Galleries Ltd., Galway, GY, IrlandaKennys Bookshop and Art Galleries Ltd.
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Condición: New. 2010. sheet_music. . . . . .
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Condición: New. 2010. sheet_music. . . . . . Books ship from the US and Ireland.
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Condición: acceptable. Ausreichend/Acceptable: Exemplar mit vollständigem Text und sämtlichen Abbildungen oder Karten. Schmutztitel oder Vorsatz können fehlen. Einband bzw. Schutzumschlag weisen unter Umständen starke Gebrauchsspuren auf. / Describes a book or dust jacket that has the complete text pages (including those with ma…ps or plates) but may lack endpapers, half-title, etc. (which must be noted). Binding, dust jacket (if any), etc may also be worn.
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Paperback. Condición: new. Paperback. (Choral). for SATB/treble or soprano solo/organ or orchestra (harp or piano and strings) Text: Book of Common Prayer: liturgy of Morning Prayer Publisher: Chester Music Difficulty level: 3 Britten wrote few canticle settings, only two Te Deums, two settings of the Jubilate and a Venite which… was not published in his lifetime. He wrote no settings of the Evening Canticles for the Anglican rite. The settings we have are therefore all the more precious and, as always, show the originality of his creative mind. This Te Deum is, to my mind, the finest of these liturgical settings. It has drama, energy, variety, and clarity and integrity of structure. The opening page sets the scene and introduces the pedal syncopated ostinato which underpins the whole of the first section and the 'reprise' when it comes after the contrasting central section. The voices climb from the bass up to soprano in quietly urgent statements of 'We praise you' and build to a huge climax at 'Holy, Holy, Holy, Lord God of Sabaoth'. The central section is given to a treble or soprano soloist with the choir reinforcing his or her phrase ends with quietly urgent chords and the words 'O Christ!' Longer phrases develop and lead to the reintroduction of the pedal ostinato and the initial choral material. Another thrilling climax is reached before the beautiful quiet ending. Few cathedrals or churches sing the Office of Matins these days for which this canticle was intended and so its original liturgical setting is rarely possible nowadays. It is much more of use as an anthem or as a concert item and it is, of course, extremely effective in either role.The challenges in this work are as much for the conductor as the choir. The conductor needs to see the big picture, relate the first and last sections and prevent the central one from becoming sentimental or too slow. He/she needs to make sure that Britten's directions about tempi are fully understood, and which tempo he means when he directs Tempo I or II etc. For the choir, it is the ability to sing quietly with abundant energy, to have absolute clarity of diction, to note the details of articulation - the staccato marking, for instance, on the word 'Lord' in bar 54, and similar markings in the central section. This is an outstanding setting of these much-set words and it should be far more widely performed. Duration: 9 minutes Paul Spicer, Lichfield, 2011 Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.
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Librería: AHA-BUCH GmbH, Einbeck, AlemaniaAHA-BUCH GmbH
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Taschenbuch. Condición: Neu. Neuware - (Choral). for SATB/treble or soprano solo/organ or orchestra (harp or piano and strings) Text: Book of Common Prayer: liturgy of Morning Prayer Publisher: Chester Music Difficulty level: 3 Britten wrote few canticle settings, only two Te Deums, two settings of the Jubilate and a Venite whic…h was not published in his lifetime. He wrote no settings of the Evening Canticles for the Anglican rite. The settings we have are therefore all the more precious and, as always, show the originality of his creative mind. This Te Deum is, to my mind, the finest of these liturgical settings. It has drama, energy, variety, and clarity and integrity of structure. The opening page sets the scene and introduces the pedal syncopated ostinato which underpins the whole of the first section and the 'reprise' when it comes after the contrasting central section. The voices climb from the bass up to soprano in quietly urgent statements of 'We praise you' and build to a huge climax at 'Holy, Holy, Holy, Lord God of Sabaoth'. The central section is given to a treble or soprano soloist with the choir reinforcing his or her phrase ends with quietly urgent chords and the words 'O Christ!' Longer phrases develop and lead to the reintroduction of the pedal ostinato and the initial choral material. Another thrilling climax is reached before the beautiful quiet ending. Few cathedrals or churches sing the Office of Matins these days for which this canticle was intended and so its original liturgical setting is rarely possible nowadays. It is much more of use as an anthem or as a concert item and it is, of course, extremely effective in either role.The challenges in this work are as much for the conductor as the choir. The conductor needs to see the big picture, relate the first and last sections and prevent the central one from becoming sentimental or too slow. He/she needs to make sure that Britten's directions about tempi are fully understood, and which tempo he means when he directs Tempo I or II etc. For the choir, it is the ability to sing quietly with abundant energy, to have absolute clarity of diction, to note the details of articulation - the staccato marking, for instance, on the word 'Lord' in bar 54, and similar markings in the central section. This is an outstanding setting of these much-set words and it should be far more widely performed. Duration: 9 minutes Paul Spicer, Lichfield, 2011.
