Partition Preface, Liturgy of St. John Chrysostom,, Литургия святого Иоанна Златоуста par Pyotr Tchaikovsky

-

Partitions
1 page
Obtenez un accès à la bibliothèque pour le consulter en ligne
En savoir plus

Description

Visualisez la partition de Liturgy of St. John Chrysostom, Preface, Liturgies, de Tchaikovsky, Pyotr , Op. 41 ; TH 75. La partition romantique célèbre écrite pour les instruments comme:
  • chœur mixte (SATB)

La partition se constitue de plusieurs mouvements: 15 pièces: Amen. Lord Have Mercy (Амин. Господи помилуй)After pour exclamation Blessed is pour Kingdom(После возглашения «Благословенно царство») (50 bars) Glory to pour Father et to pour Son (Господи помилуй)After pour First Antiphon (После первого антифона) (63 bars) Come, Let Us Worship (Приидите, поклонимся)After pour Little Entrance (После малого входа) (56 bars) Alleleuja (Аллилуйя)After pour Epistle Reading (После чтения апостола) (15 bars) Glory to Thee, O Lord (Слава тебе Господи)After pour Gospel Reading (После чтения евангелия) (26 bars) Cherubic Hymn (Херувимская песнь) (98 bars) Lord Have Mercy (Господи помилуй)After pour Cherubic Hymn (После херувимской песни) (16 bars) I Believe en One God, pour Father, pour Almighty (Верую во Единаго Бога Отца)pour Creed (Символ веры) (92 bars) Merciful Peace (Милость мира)After pour Creed (После Cимвола веры) (42 bars) We Hymn Thee (Тебе поем)After pour exclamation Thine Own of Thine Own(После возглашения «Твоя от твоих») (39 bars) It is Truly Fitting (Достойно есть)After pour words Especially pour Our Most Holy(После слов «Изрядко о пресвятей») (55 bars) Amen. et avec Your Spirit, Lord Have Mercy(Амин. И со духом твоим, Господи, помилуй)After pour exclamation et Grant That avec Our Mouths(После возглашения: «И даждь нам единеми усты») (13 bars) Our Father (Отче наш)pour Lord's Prayer (Молитва Господня) (44 bars) Praise pour Lord from pour Heavens (Хвалите, хвалите, Господа с небес)Communion Hymn (Причастный стих) (86 bars) Blessed is He Who Comes en pour Name of pour Lord(Благословен грядый во имя Господне)After pour Exclamation en pour Fear of God(После возглашения «Со страхом Божиим») (92 bars) et est classifiée dans les genres pour non accompagné chœur, partitions pour tuba, partitions pour flûte, pour 2 cornets, 2 euphoniums (arr), pour 2 violons, viole de gambe, violoncelle (arr), pour 4 enregistrements (arr), partitions pour trompette, partitions pour alto flûte, partitions chœur mixte, partitions pour viole de gambe, partitions pour clarinette, partitions pour cor, Liturgies, partitions pour enregistrement, pour chœur mixte, partitions pour cornet, partitions pour euphonium, partitions pour trombone, partitions corde ensemble, pour 4 flûtes (arr), partitions pour basse clarinette, pour 4 clarinettes (arr), pour 4 cornes (arr), église Slavonic langue, partitions pour violoncelle, pour cornet, 2 cornes, tuba (arr), pour 2 trompettes, 2 trombones (arr), partitions pour violon, pour 3 clarinettes, basse clarinette, pour 4 musiciens, religieux travaux
Découvrez en même temps tout un choix de musique pour chœur mixte (SATB) sur YouScribe, dans la catégorie Partitions de musique romantique.
Date composition: 1878
Edition: Klaus Bjerre
Durée / duration: 48 minutes
Libbretiste: Russian Orthodox liturgy

Sujets

Informations

Publié par
Nombre de visites sur la page 31
Langue Church SlavicРоссию
Signaler un problème
“Simbol very: Veruju” and “Posle Simbola very: Svjat”
“Credo: I believe” and “After the Credo: Holy”
Composed for 4-part mixed choir by Peter Tchaikovsky as the choruses ## 8 and 9 for the Chrysostomos liturgy from
opus 41 (1878). Edited for various instrumental ensemble constellations by Klaus Bjerre (2003).
Several decades ago this editor was breath-taken by hearing some of Tchaikovsky’s liturgical music for 4-part mixed choir on
the radio, which makes the delivery time of this edition quite long. But here a bit of this wonderful music comes:
The rhythm is clearly built on basis of the text, so the articulation shall be a clear
portamento
with micro-dynamics outlining
the rhythm. The original key of G major is kept in all of these 8 quartet scores and parts provided for these ensemble types, so
that they can be mixed in larger ensembles in schools, churches, and community contexts:
Brass Quartet:
2 trumpet in C and 2 bass clef concert trombones (or trombone and bass tuba). This score would be the easi-
est one from which to lead mixed ensembles. Oboes can read from the trumpet parts.
Brass Quartet:
2 Bb cornets and 2 Bb treble clef euphoniums. Can be used in brass band contexts with the Eb version.
Brass Quartet:
4 horns in F. This setting hardly can be performed but by quartets excelling in “Konzertstück”, but the lower
parts will work fine in mixed ensembles. The occasional cor de anglais can read from the 2
nd
horn part.
Brass Quartet:
Eb cornet, 2 Eb alto horns, and treble clef Eb tuba. Hardly a stand-alone formation, but this version can be
used in brass band contexts and by Eb saxophones/clarinets.
Clarinet Quartet:
2 Bb soprano clarinets, Eb alto clarinet (with a substitution part for 3
rd
Bb clarinet), and Bb bass clarinet.
String Quartet:
2 violins, viola, and cello.
There are no string bass or contrabass tuba parts, as these choruses are not out of a tradition with doublings in the lower oc-
tave.
For doublings in the upper octave there are these two settings, which can be used for each their own stand-alone formation:
Recorder Quartet:
SATB. The alto part is provided in transposed and
loco
octave versions.
Flute Quartet:
SSSA.
Tchaikovsky on a few occasions in the first chorus exploits the options of letting the voices in the choir split into
divisi
to
achieve a denser sound texture. However this fine music can be performed by quartets, if these directions are observed:
In the Soprano voice the upper note in bar #4 shall be played. In larger ensembles about 2 thirds of the players should play
the upper note and the remaining third should play the lower note.
In the Alto voice the lower note in bar #97 shall be played. In larger ensembles about 2 thirds of the players should play the
lower note and the remaining third should play the upper note.
Originally the Tenor voice has no
divisi
, but some have been added to help out the Bass voice. In quartet contexts the upper
note shall be played in bar #4, whereas the lower notes shall be played in bars ## 97 and 98.
In larger ensembles the upper Tenor and lower Bass note are the important ones in bar #4. A very few players from each part
should play the common “middle” note (G concert). In bars ## 97 and 98 both of the bass voices and the lower tenor voice
are the more important ones. This can be resolved by letting the majority of the Basses as well as the majority of the Tenors
play their respective lower notes.
This edition can be used free of charge, but reports on readings and performances would be nice.
Klaus Bjerre
Postboks 38
DK-4220 Korsør
Danmark
k-bone@mail.dk